Ryoanji (Voice) with percussion or orchestra obligato and ad libitum with other pieces of the same title
By: John Cage
.
Material type: 
ScorePublisher: New York Henmar Press Inc. 1983Edition: Scores Edition Peters.Description: 19 pages Musical Scores.Subject(s): Avant-garde, Modern Composer | USAGenre/Form: Indeterminant Music, Non-standardSummary: Composed between 1983 and 1985, the four soloists play sliding pitches, shapes traced from the outlines of fifteen stones trhat compromise the famous Zen Buddhist rock garden in Kyoto. The orchestra of 20 performers play steady, widely-spaced pulses but not together - notations indicate when an individual performer plays slightly before, slightly after, and "more or less" on the beat, with microtonal slides on the one pitch or sound that has been chosen by the performer (rather than the composer) for the entire performance. Using these two basic ingredients - the sliding tones for the soloists and the "Korean unison" beats for the orchestra - Cage created a work of gentle suspense and plaintive beauty. This feeling, or sensibility, also occurs in performances of the original version of this piece for one or more soloists and a percussionist.
| Item type | Current location | Call number | Status | Notes | Date due |
|---|---|---|---|---|---|
Music
|
BardBerlinLibrary Circulation Office | Available | check out possible only Monday-Friday, 10:00-17:00 |
Each two pages represent a "garden" of sounds. The glissandi are to be played smoothly and as much as is possible like sound events in nature rather than sounds in music. The dynamics, not given, are to be soft rather than loud, as a rule, a rule that has exceptions. The pieces is for bass solo (shown below in the part as a solid line) ____ , with vocalise ad libitum (the straight horizontal lines, below, represent the staff) and prerecorded parts. These latter are ......, __ __, and _ . _ . Each part is to have its own sound system.
Composed between 1983 and 1985, the four soloists play sliding pitches, shapes traced from the outlines of fifteen stones trhat compromise the famous Zen Buddhist rock garden in Kyoto. The orchestra of 20 performers play steady, widely-spaced pulses but not together - notations indicate when an individual performer plays slightly before, slightly after, and "more or less" on the beat, with microtonal slides on the one pitch or sound that has been chosen by the performer (rather than the composer) for the entire performance. Using these two basic ingredients - the sliding tones for the soloists and the "Korean unison" beats for the orchestra - Cage created a work of gentle suspense and plaintive beauty. This feeling, or sensibility, also occurs in performances of the original version of this piece for one or more soloists and a percussionist.
There are no comments for this item.