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