000 | 02065ncm a22002177a 4500 | ||
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008 | 161029b xxu||||| |||| 00| 0 eng d | ||
024 |
_2ISM _aM-3007-3284-8 |
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041 | _aEnglish | ||
100 |
_aJohn Cage _917615 |
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245 |
_aRyoanji (Voice) _bwith percussion or orchestra obligato and ad libitum with other pieces of the same title |
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250 |
_aScores _bEdition Peters |
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260 |
_aNew York _bHenmar Press Inc. _c1983 |
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300 |
_a19 pages _bMusical Scores |
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306 | _a30 minutes | ||
500 | _aEach 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. | ||
520 | _aComposed 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. | ||
648 |
_aAvant-garde, Modern Composer _917616 |
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651 |
_aUSA _917617 |
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655 |
_aIndeterminant Music, Non-standard _917618 |
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942 |
_2ddc _cM _n0 |
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999 |
_c8963 _d8963 |