adapting john cage’s radio music for a digital score player (2012) lindsay vickery

Adapting John Cage’s Radio Music for digital performance Lindsay Vickery

Western Australian Academy of Performing Arts Edith Cowan University

A 1950s RCA “Golden Throat” radio similar to the type John Cage conceived Radio Music for. Note the AM kHz dial shows frequencies abbreviated to two numbers.

Cage’s Radio Works Imaginary Landscape No. 4 (1951) for 12 radios

Speech 1955 (1955) for 5 radios and newsreader

Radio Music (1956) 1-8 radios

I didn't myself turn on a radio to listen to it; but when I was going through the streets or when a neighbor was playing the radio, and so forth, I listened as though I were listening to a musical instrument. (…) It made it possible for me to listen to radio with great interest, no matter what it was doing.

Kostelanetz 1986 A Conversation about Radio p. 220

CAGE AND THE RADIO

Authenticity to the score.

The issue of “Available Indeterminacy”: when at least one musical parameter is fixed, each “free” choice made by the performer reduces the “available indeterminacy” of the remaining choices.

The articulation of Formal Structure that emerges from Cage’s specifications.

“Authentic performance” issues.

THE ISSUES

Radio frequencies arranged in columns in the score of Part A of Radio Music.

THE SCORE

THE SCORE

The Instructions (Part A) “Part A of Radio Music to be played alone or in a combination with parts B-H. In 4 sections (I-IV) to be programmed by the player with or without silences between the sections, the 4 to take place within a total time-length of 6 minutes. Duration of the individual tunings free. Each tuning to be expressed by maximum amplitude. A _______ indicates ‘silence’ obtained by reducing amplitude approximately to zero. Before beginning to play, turn radio on with amplitude near zero.”

I (29%) II (20%) III (25%) IV (26%)

Determinate Elements Total Duration less than 6 minutes

Total no. of Frequencies per part

A B C D E F G H 68 51 86 42 36 70 71 46

A B C D E F G H Number of frequencies per

part per section I 28 15 37 8 8 7 44 3 II 11 14 30 2 10 16 6 1 III 3 2 11 23 2 7 2 38 IV 26 20 8 9 16 40 19 4

Largest number of frequencies per section I II III IV

44 30 38 40 1 2 3 4 A B C D E F G H A B C D E F G H A B C D E F G H A B C D E F G H

105 92 84 97 79 71 117 0 56 92 55 125 66 81 55

97 0 107 109 57 86 130 105 105 99 91 135 104 55 105 64 63

0 0 99 0 0 78 140 105 124 91 145 0 64 0 0 76 0 153 86 0 73 0 0 0 117 99 124 0 68 57 69

125 124 125 120 71 120 0 0 125 84 76 57 137 109

0 0 0 99 91 69 96 69 0 99 0 61 0

55 57 0 0 63 0 107 0 57 0 55 153 0 71 66 0 79 0 76 0 76 86 55 0 151

0 109 145 71 57 153 91 120 0 107 71 0 120

107 151 55 0 91 105 120 109 0 0 124

91 55 84 0 107 0 55 55 125 57 0 120 0 0 84 153 71 0 0 0 0 71 128 143 60 0 91 104 86 74 124 56 55 0 122 0 92 86 91 109 146 135 55 138 0 0 55 69 94 57 0 57 0 125 122 91 55 57 0 55 115 69 0 73 0 55 125 0 76 57 0 76 69 0 57 57 0 69 127 55 0 74 55 0 84 145

112 0 66 0 84 86 0 0 140 0 86 109 97 94 86 0 0 56 71 107 148 120 74 92 69 148 99 124 0 57 91 71 76 0 0 0 55 124 0 138 68 0 91 71 0 0 140

86 55 151 110 60 57 0 55 61 156 58 57 68 64 73 0 71 73 0 61 155 115 124 0 156 135 55 69

127 109 86 0 0 0 73 109 55 73 0 0 81 73 91 96 55 84 69 0 155 69 105 148 55

148 55 68 0 84 74 128 0 0 0 76 107 0 124 57 0 0 109 55 57

109 0 86 91 97 92 138 0 78 0 63 81 153 0 107 0 0 79 0 67 69 0 97 124 57 107 104 91 109 57 92 55 0 0 86 86 0 0 0 74 84 99 74 73 57 96 76 124 0 0 107 91 81 0 0 153 94

0 0 124 55 94 63 0 69 55 0 97 55 60 107 0 71 92 0 0

68 112 78 153 92 96 0 57 84 115 79 71 127 0 73 112 0 57 91 156 73 107 55 74 0 0 0 137 127 73

107 0 0 55 55 92 0 0

55 64 76 0 0

61 120 112 92 87 76

28 15 37 8 8 7 44 3 11 14 30 2 10 16 6 1 3 2 11 23 2 7 2 38 26 20 8 9 16 40 19 4

IMPLICATIONS OF THE SCORE

Determinate Elements: Performative limitations There are performative limitations upon the speed that a performer can adjust the tuning and volume of the radio.


56 mHz

72 mHz volu

me

Max. Vol. Max. Vol.

tuning volume

156 mHz

0 mHz

The minimum rate of change was estimated to be 1.5 seconds.

Frequency 1 Frequency 2


movements parts A B C D E F G H min- max min- max min- max min- max min- max min- max min- max min- max min- max

I 44 - 198 2 - 7 3 - 13 1 - 5 6 - 25 6 - 25 6 - 28 1 - 4 15- 65

II 45 - 177 3 - 17 2 - 13 1 - 6 15- 91 3 - 18 2 - 11 5 - 30 30- 182

III 57 - 189 13- 63 19- 95 3 - 17 2 - 8 19- 95 5 - 27 19- 95 1 - 5

IV 60 - 192 2 - 7 2 - 10 5 - 24 4 - 21 3 - 12 1 - 5 2 - 10 10 - 48

Minimum Section Duration – the largest number of tuning changes multiplied by 1.5 seconds For example: (Section 1) 44*1.5 = 66

Maximum Section Duration – total duration minus the remaining Section duration (assuming all other sections at at their minimum ÷ the number of tunings changes. For example: Section =360-((30*1.5)+(38*1.5)+(40*1.5))=198


Indeterminate Elements Number of Parts Performed: 1-8

Duration: between 152-360 seconds.

At the level of the work’s four sections, the “available indeterminacy” of Cage’s “free duration of tunings” is minimally bounded by the shortest time required to perform all tunings in a section, and maximally by the remaining time required to perform the tunings in the other three sections.

These boundaries are shown below.

Examples of potential proportions of the four sections:

Equal weighting of the maximum number of frequencies in each section.

Section I with maximum duration and all other sections with minimum duration.

Section II with maximum duration and all other sections with minimum duration.


104 72 90 94

198 45 60 57

177 60 57 66

movements parts A B C D E F G H min- max min- max min- max min- max min- max min- max min- max min- max min- max

I 44 - 196 2 - 7 3 - 13 1 - 5 6 - 25 6 - 25 6 - 28 1 - 4 15- 65

II 30 - 182 3 - 17 2 - 13 1 - 6 15- 91 3 - 18 2 - 11 5 - 30 30- 182

III 38 - 190 13- 63 19- 95 3 - 17 2 - 8 19- 95 5 - 27 19- 95 1 - 5

IV 40 - 192 2 - 7 2 - 10 5 - 24 4 - 21 3 - 12 1 - 5 2 - 10 10 - 48

Indeterminate Elements The “available indeterminacy” of each section and frequency is calculated:

Minimum Frequency Duration – shortest time required to perform a tuning (1.5 s)

Maximum Frequency Duration – total assigned section duration minus the remaining Jme required to perform the other tunings in the current secJon.


2 109

3 109

4 109

1 110

1 112

2 112

3 112

4 112

1 117

1 120

2 120

1 124

2 124

3 124

1 125

2 125

1 127

1 137

1 140

1 145

1 148

2 148

!"

#!"

$!"

%!"

&!"

'!!"

'#!"

'$!"

'%!"

'&!"

incidence no. frequencies

1 19 56, 60, 61, 66, 67, 78, 87, 94, 97, 99, 104, 110, 117, 127, 137, 140, 145, 151, 156

2 11 63, 68, 74, 79, 81, 84, 105, 120, 125, 148, 153

3 4 69, 92, 96, 124

4 3 76, 109, 112

5 2 73, 86

7 4 57, 71, 91, 107

10 1 55

blank 37

FORMAL IMPLICATIONS OF THE SCORE

Forty-four different carrier frequencies are used in the 150 frequency changes specified amongst the eight parts of Radio Music. The carrier frequencies are not uniformly distributed across the AM spectrum. These are graphed in ascending order below.


Although Radio Music can not rely on the elements typically found in musical discourse, it does potentially draw on recognizable elements that could be expected to give rise to some of the experiences typical of musical listening, such as expectation, surprise a sense of departure and return, conjunction and disjunction of the sonic materials and so on.

105 105 0 0 125 55 55 0 0 91 60 60 69 69 76 112 112 56 56 0 86 86 73 73 127 73 73 148

92 92 92 0 0 0 124 124 124 57 57 57 109 109 109 55 55 55 0 0 0 94 94 94 57 57 57 0

84 99 125 0 145 145 84 91 57 0 66 66 107 0 151 71 86 86 91 55 107 0 81 81 69 109 0 57

97 97 97 97 97 0 0 0 0 0 0 120 120 120 120 120 0 0 0 0 0 71 71 71 71 71 0 0

79 79 79 79 79 79 0 0 0 0 71 71 71 71 71 71 71 63 63 63 63 63 63 63 63 63 63 57

71 71 71 71 71 71 71 71 78 78 78 78 78 78 120 120 120 120 120 120 120 120 120 0 0 0 0 0

117 140 0 107 91 55 124 0 76 0 148 55 110 73 0 96 68 0 86 153 0 57 0 96 81 124 0 71

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 105 105 105 105 105 105 105 105 105 105 105 105 105

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 105 105 105 105 105 105 105 105 105 105 105 105 105

71 71 71 71 71 71 71 71 78 78 78 78 78 78 120 120 120 120 120 120 120 120 120 0 0 0 0 0

97 97 97 97 97 0 0 0 0 0 0 120 120 120 120 120 0 0 0 0 0 71 71 71 71 71 0 0

79 79 79 79 79 79 0 0 0 0 71 71 71 71 71 71 71 63 63 63 63 63 63 63 63 63 63 57

92 92 92 0 0 0 124 124 124 57 57 57 109 109 109 55 55 55 0 0 0 94 94 94 57 57 57 0

105 105 0 0 125 55 55 0 0 91 60 60 69 69 76 112 112 56 56 0 86 86 73 73 127 73 73 148

84 99 125 0 145 145 84 91 57 0 66 66 107 0 151 71 86 86 91 55 107 0 81 81 69 109 0 57

117 140 0 107 91 55 124 0 76 0 148 55 110 73 0 96 68 0 86 153 0 57 0 96 81 124 0 71

117 140 0 107 91 55 124 0 76 0 148 55 110 73 0 96 68 0 86 153 0 57 0 96 81 124 0 71

84 99 125 0 145 145 84 91 57 0 66 66 107 0 151 71 86 86 91 55 107 0 81 81 69 109 0 57

105 105 0 0 125 55 55 0 0 91 60 60 69 69 76 112 112 56 56 0 86 86 73 73 127 73 73 148

92 92 92 0 0 0 124 124 124 57 57 57 109 109 109 55 55 55 0 0 0 94 94 94 57 57 57 0

79 79 79 79 79 79 0 0 0 0 71 71 71 71 71 71 0 0 63 63 63 63 63 63 63 0 0 57

97 97 97 97 97 0 0 0 0 0 0 120 120 120 120 120 0 0 0 0 0 71 71 71 71 71 0 0

71 71 71 71 71 71 71 71 0 0 78 78 78 78 0 120 120 120 120 120 120 120 120 0 0 0 0 0

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 105 105 105 105 105 105 105 105 105 105 105 105 105

Part G Part C Part A Part B Part D Part E Part F Part H

(low

)

frequ

ency

(hig

h)

105105

00125

5555

00

9160

6069

6976

112112

5656

086

8673

73127

7373

148

9292

920

00124

124124

5757

57109

109109

5555

550

00

9494

9457

5757

0

8499

1250145

14584

9157

066

66107

0151

7186

8691

55107

081

8169

1090

57

9797

9797

970

00

00

0120

120120

120120

00

00

071

7171

7171

00

7979

7979

7979

00

00

7171

7171

7171

7163

6363

6363

6363

6363

6357

7171

7171

7171

7171

7878

7878

7878

120120

120120

120120

120120

1200

00

00

117140

0107

9155

1240

760148

55110

730

9668

086

1530

570

9681

1240

71

00

00

00

00

00

00

00

0105

105105

105105

105105

105105

105105

105105

00

00

00

00

00

00

00

0105

105105

105105

105105

105105

105105

105105

7171

7171

7171

7171

7878

7878

7878

120120

120120

120120

120120

1200

00

00

9797

9797

970

00

00

0120

120120

120120

00

00

071

7171

7171

00

7979

7979

7979

00

00

7171

7171

7171

7163

6363

6363

6363

6363

6357

9292

920

00124

124124

5757

57109

109109

5555

550

00

9494

9457

5757

0

105105

00125

5555

00

9160

6069

6976

112112

5656

086

8673

73127

7373

148

8499

1250145

14584

9157

066

66107

0151

7186

8691

55107

081

8169

1090

57

117140

0107

9155

1240

760148

55110

730

9668

086

1530

570

9681

1240

71

117140

0107

9155

1240

760148

55110

730

9668

086

1530

570

9681

1240

71

8499

1250145

14584

9157

066

66107

0151

7186

8691

55107

081

8169

1090

57

105105

00125

5555

00

9160

6069

6976

112112

5656

086

8673

73127

7373

148

9292

920

00124

124124

5757

57109

109109

5555

550

00

9494

9457

5757

0

7979

7979

7979

00

00

7171

7171

7171

00

6363

6363

6363

630

057

9797

9797

970

00

00

0120

120120

120120

00

00

071

7171

7171

00

7171

7171

7171

7171

00

7878

7878

0120

120120

120120

120120

1200

00

00

00

00

00

00

00

00

00

0105

105105

105105

105105

105105

105105

105105

Part G

Part C

Part A

Part B

Part D

Part E

Part F

Part H

A graph of the carrier frequency structure of the 8 parts in Section I.


Carrier frequencies of radio broadcasts do not specify pitch – so in what way can they be considered to be “form-bearing”?

•  usually roughly predictable - Classical Music, Rock, Jazz, talkback and so on – and in cases with detailed program listings quite precise. •  strong consistency over a short period of time (such as found in Radio Music), generating what we might consider a linear “narrative”, that emerges as a consequence of the timbre of a presenter’s voice the continuity of a piece of music, the subject matter under discussion and so on. •  many broadcasters also have a distinctive timbre and dynamic, resulting from varied studio equipment, production approaches and broadcast strength.

Frequencies without radio broadcasts generally give rise to static which has specific colours in different parts of the AM band.


Radio broadcasts are strongest at a specific frequency, but are spread, increasingly weakly over a band of frequencies about 10 kHz on either side, so a specific carrier frequency number may be “in the middle” of a broadcast frequency or in the “detuned” penumbra of the broadcast in which the broadcast is still present, but often mixed with static or spill from other broadcasts.

Centre broadcast frequency

signal

noise noise

signal umbra

signal umbra

- 10 kHz + 10 kHz

Both broadcast signals and static are struck as a consequence of performers tuning from frequency to frequency.

105 105 0 0 125 55 55 0 0 91 60 60 69 69 76 112 112 56 56 0 86 86 73 73 127 73 73 148

92 92 92 0 0 0 124 124 124 57 57 57 109 109 109 55 55 55 0 0 0 94 94 94 57 57 57 0

84 99 125 0 145 145 84 91 57 0 66 66 107 0 151 71 86 86 91 55 107 0 81 81 69 109 0 57

97 97 97 97 97 0 0 0 0 0 0 120 120 120 120 120 0 0 0 0 0 71 71 71 71 71 0 0

79 79 79 79 79 79 0 0 0 0 71 71 71 71 71 71 71 63 63 63 63 63 63 63 63 63 63 57

71 71 71 71 71 71 71 71 78 78 78 78 78 78 120 120 120 120 120 120 120 120 120 0 0 0 0 0

117 140 0 107 91 55 124 0 76 0 148 55 110 73 0 96 68 0 86 153 0 57 0 96 81 124 0 71

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 105 105 105 105 105 105 105 105 105 105 105 105 105

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 105 105 105 105 105 105 105 105 105 105 105 105 105

71 71 71 71 71 71 71 71 78 78 78 78 78 78 120 120 120 120 120 120 120 120 120 0 0 0 0 0

97 97 97 97 97 0 0 0 0 0 0 120 120 120 120 120 0 0 0 0 0 71 71 71 71 71 0 0

79 79 79 79 79 79 0 0 0 0 71 71 71 71 71 71 71 63 63 63 63 63 63 63 63 63 63 57

92 92 92 0 0 0 124 124 124 57 57 57 109 109 109 55 55 55 0 0 0 94 94 94 57 57 57 0

105 105 0 0 125 55 55 0 0 91 60 60 69 69 76 112 112 56 56 0 86 86 73 73 127 73 73 148

84 99 125 0 145 145 84 91 57 0 66 66 107 0 151 71 86 86 91 55 107 0 81 81 69 109 0 57

117 140 0 107 91 55 124 0 76 0 148 55 110 73 0 96 68 0 86 153 0 57 0 96 81 124 0 71

117 140 0 107 91 55 124 0 76 0 148 55 110 73 0 96 68 0 86 153 0 57 0 96 81 124 0 71

84 99 125 0 145 145 84 91 57 0 66 66 107 0 151 71 86 86 91 55 107 0 81 81 69 109 0 57

105 105 0 0 125 55 55 0 0 91 60 60 69 69 76 112 112 56 56 0 86 86 73 73 127 73 73 148

92 92 92 0 0 0 124 124 124 57 57 57 109 109 109 55 55 55 0 0 0 94 94 94 57 57 57 0

79 79 79 79 79 79 0 0 0 0 71 71 71 71 71 71 0 0 63 63 63 63 63 63 63 0 0 57

97 97 97 97 97 0 0 0 0 0 0 120 120 120 120 120 0 0 0 0 0 71 71 71 71 71 0 0

71 71 71 71 71 71 71 71 0 0 78 78 78 78 0 120 120 120 120 120 120 120 120 0 0 0 0 0

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 105 105 105 105 105 105 105 105 105 105 105 105 105

!"#$%&% !"#$%'% !"#$%(% !"#$%)% !"#$%*% !"#$%+% !"#$%,% !"#$%-%

57/56/57

66/67/68/69

137/140

145 148 151 153 156

91/92

105 105 0 0 125 55 55 0 0 91 60 60 69 69 76 112 112 56 56 0 86 86 73 73 127 73 73 148

92 92 92 0 0 0 124 124 124 57 57 57 109 109 109 55 55 55 0 0 0 94 94 94 57 57 57 0

84 99 125 0 145 145 84 91 57 0 66 66 107 0 151 71 86 86 91 55 107 0 81 81 69 109 0 57

97 97 97 97 97 0 0 0 0 0 0 120 120 120 120 120 0 0 0 0 0 71 71 71 71 71 0 0

79 79 79 79 79 79 0 0 0 0 71 71 71 71 71 71 71 63 63 63 63 63 63 63 63 63 63 57

71 71 71 71 71 71 71 71 78 78 78 78 78 78 120 120 120 120 120 120 120 120 120 0 0 0 0 0

117 140 0 107 91 55 124 0 76 0 148 55 110 73 0 96 68 0 86 153 0 57 0 96 81 124 0 71

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 105 105 105 105 105 105 105 105 105 105 105 105 105

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 105 105 105 105 105 105 105 105 105 105 105 105 105

71 71 71 71 71 71 71 71 78 78 78 78 78 78 120 120 120 120 120 120 120 120 120 0 0 0 0 0

97 97 97 97 97 0 0 0 0 0 0 120 120 120 120 120 0 0 0 0 0 71 71 71 71 71 0 0

79 79 79 79 79 79 0 0 0 0 71 71 71 71 71 71 71 63 63 63 63 63 63 63 63 63 63 57

92 92 92 0 0 0 124 124 124 57 57 57 109 109 109 55 55 55 0 0 0 94 94 94 57 57 57 0

105 105 0 0 125 55 55 0 0 91 60 60 69 69 76 112 112 56 56 0 86 86 73 73 127 73 73 148

84 99 125 0 145 145 84 91 57 0 66 66 107 0 151 71 86 86 91 55 107 0 81 81 69 109 0 57

117 140 0 107 91 55 124 0 76 0 148 55 110 73 0 96 68 0 86 153 0 57 0 96 81 124 0 71

117 140 0 107 91 55 124 0 76 0 148 55 110 73 0 96 68 0 86 153 0 57 0 96 81 124 0 71

84 99 125 0 145 145 84 91 57 0 66 66 107 0 151 71 86 86 91 55 107 0 81 81 69 109 0 57

105 105 0 0 125 55 55 0 0 91 60 60 69 69 76 112 112 56 56 0 86 86 73 73 127 73 73 148

92 92 92 0 0 0 124 124 124 57 57 57 109 109 109 55 55 55 0 0 0 94 94 94 57 57 57 0

79 79 79 79 79 79 0 0 0 0 71 71 71 71 71 71 0 0 63 63 63 63 63 63 63 0 0 57

97 97 97 97 97 0 0 0 0 0 0 120 120 120 120 120 0 0 0 0 0 71 71 71 71 71 0 0

71 71 71 71 71 71 71 71 0 0 78 78 78 78 0 120 120 120 120 120 120 120 120 0 0 0 0 0

0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 105 105 105 105 105 105 105 105 105 105 105 105 105

!"#$%&% !"#$%'% !"#$%(% !"#$%)% !"#$%*% !"#$%+% !"#$%,% !"#$%-%

(start) duration (end)

(low

)

frequ

ency

(hig

h)


A “wire-frame” cross section of the representation of frequency changes. The lower graph shows the incidence of recurring frequencies with potentially form-bearing characteristics.

(low

)

frequ

ency

(hig

h)


0 0 0 0 0 0 0 0 0 0 0 0 0 0 105 105 105 105 105 105 105

0 0 0 0 0 0 0 0 0 0 0 0 0 0 105 105 105 105 105 105 105

71 71 71 71 71 71 71 78 78 78 78 78 78 120 120 120 120 120 120 120 120

97 97 97 97 0 0 0 0 0 0 120 120 120 120 120 0 0 0 0 0 71

79 79 79 79 79 0 0 0 0 71 71 71 71 71 71 71 63 63 63 63 63

92 92 0 0 0 124 124 124 57 57 57 109 109 109 55 55 55 0 0 0 94

105 0 0 125 55 55 0 0 91 60 60 69 69 76 112 112 56 56 0 86 86

99 125 0 145 145 84 91 57 0 66 66 107 0 151 71 86 86 91 55 107 0

140 0 107 91 55 124 0 76 0 148 55 110 73 0 96 68 0 86 153 0 57

140 0 107 91 55 124 0 76 0 148 55 110 73 0 96 68 0 86 153 0 57

99 125 0 145 145 84 91 57 0 66 66 107 0 151 71 86 86 91 55 107 0

57/56/57

66/67/68/69

137/140

145 148 151 153 156

91/92

0 0 0 0 0 0 0 0 0 0 0 0 0 0 105 105 105 105 105 105 105

0 0 0 0 0 0 0 0 0 0 0 0 0 0 105 105 105 105 105 105 105

71 71 71 71 71 71 71 78 78 78 78 78 78 120 120 120 120 120 120 120 120

97 97 97 97 0 0 0 0 0 0 120 120 120 120 120 0 0 0 0 0 71

79 79 79 79 79 0 0 0 0 71 71 71 71 71 71 71 63 63 63 63 63

92 92 0 0 0 124 124 124 57 57 57 109 109 109 55 55 55 0 0 0 94

105 0 0 125 55 55 0 0 91 60 60 69 69 76 112 112 56 56 0 86 86

99 125 0 145 145 84 91 57 0 66 66 107 0 151 71 86 86 91 55 107 0

140 0 107 91 55 124 0 76 0 148 55 110 73 0 96 68 0 86 153 0 57

140 0 107 91 55 124 0 76 0 148 55 110 73 0 96 68 0 86 153 0 57

99 125 0 145 145 84 91 57 0 66 66 107 0 151 71 86 86 91 55 107 0


(low

)

frequ

ency

(hig

h)


The actual formal structure of a particular performance of Radio Music emerges as a result of:

•  the number of parts that are performed simultaneously, •  the temporal occurrence of frequencies in each performed part, •  the number and frequencies of radio broadcasters in that region, •  the location of the performer, •  the qualities of the radios.

(low

)

frequ

ency

(hig

h)

The Interface select performance duration

THE RADIO MUSIC SCOREREADER

Choo

se w

hich

par

ts to

per

form

select the duration of gaps between the movements

select the degree of randomness

set the minimum frequency duration

set the delay prior to the beginning of the performance

eval

uate

sec

tion

leng

ths

eval

uate

freq

uenc

y le

ngth

s

start

save

THE RADIO MUSIC SCOREREADER

The parameters chosen by the performer(s) are calculated to generate a screenscore to assist performance of the work.

1, 58;!2, 18;!3, 166;!4, 162;!5, 14;!6, 66;!7, 182;!8, 30;!9, 94;!10, 130;!11, 190;!12, 2;!13, 142;!14, 174;!15, 146;!16, 110;!17, 118;!18, 90;!19, 78;!20, 134;!21, 82;!22, 46;!23, 138;!24, 86;!25, 186;!26, 74;!27, 50;!28, 178;!29, 114;!

0, 2;!1, 14;!2, 18;!3, 30;!4, 46;!5, 50;!6, 58;!7, 66;!8, 74;!9, 78;!10, 82;!11, 86;!12, 90;!13, 94;!14, 110;!15, 114;!16, 118;!17, 130;!18, 134;!19, 138;!20, 142;!21, 146;!22, 162;!23, 166;!24, 174;!25, 178;!26, 182;!27, 186;!28, 190;!

The durations of the sections are evaluated by calculating the length of each movement as a deviation from its “ideal” proportion. The results are then scaled to the total duration that have been chosen.

The durations of frequencies are evaluated by randomly assigning each of the frequencies in the section to a value between zero and the total duration of the section.

The random numbers, corresponding to the point of occurrence of each frequency, are then reordered in an ascending sequence.

total duration (D) calculation Example (duration 360 s)

largest no. of frequencies (f) performed by any part in sections I+II+III+IV

fi=44 fii =30 fiii=38 fiv=40

sum of the largest frequencies (F) fi + fii + fii + fiv 152

relative proportions (p) of each section f(i-iv)/F pi=0.29 pii,=0.20 piii=0.25 piv=0.26

average duration in seconds of each section (S) (D*pi-iv) Si, Sii, Siii, Siv 104 71 90 95

randomness of section lengths S(i-iv)(+/- r) 104(+/-8) 71(+/-8) 90(+/-8) 95(+/-8)

100 (-4) 63(+1) 83 (-7) 91(-4)

Scaled (S(i-)(+/- r))

107 67 89 97 / S(i-iv)(+/- r)* Si


THE REAL-TIME SCREEN-SCORE The Scoreplayer is a real-time representation of the performers radio dial, showing the tuning frequency to be performed (left number box) and its approximate position. The notional position of the tuning indicator of the performer’s radio is shown by scrolling frequency value and black line.

The 44 frequencies specified in the work ploNed against the actual exisJng local and regional radio staJons that might be detected from Perth, Western Australia in 2011. As can be seen, only four of the eleven local radio staJons coincide with frequencies specified by Cage. In regional staJons are included the number goes up to 17 out of 44 staJons.

PERFORMANCE OF RADIO MUSIC

The result of the ever-diminishing number of AM band radio stations is that Radio Music will be increasingly comprised of static rather than signal.

•  to embrace the realties of evolving technology and realize the work principally with the “noise” of static;

•  to “transpose” the work into a frequency band such as FM which is still relatively populated with Radio stations;

•  to “narrowcast” internet radio stations in the vicinity of the performance.

PERFORMANCE OF RADIO MUSIC

FUTURE WORK

•  Refinement of sensitivity to the physical distance between tuning positions on the radio.

•  the application of this scoreplayer to directly controlling radios.

•  to “narrowcast” internet radio stations in the vicinity of the performance.

•  investigation of formal structure through mapping the trajectories of frequencies across a large number of performances.

adapting john cage’s radio music for a digital score player (2012) lindsay vickery

Education