Difference between revisions of "Imaginary Landscape No.4 or March No. 2"

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[[Image:changethistothecomposername.jpg|right|thumb|250px|Composer Name]]
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[[John Cage]]
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[[Full Composer Name]]
 
  
 
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== General Info ==
 
== General Info ==
  
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'''Year''': <br /-->
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'''Year''': 1951<br /-->
 
'''Duration''':  c. <br /-->
 
'''Duration''':  c. <br /-->
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'''Difficulty''': (see [[Ratings]] for explanation)<br /-->
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'''Difficulty''': Advanced (see [[Ratings]] for explanation)<br /-->
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'''Publisher''': <br /-->
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'''Publisher''': [[Peters]]<br /-->
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'''Cost''': Score and Parts - $0.00 &nbsp;&nbsp;|&nbsp;&nbsp; Score Only - $0.00<br /-->
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'''Cost''': Score and Parts - $0.00 &nbsp;&nbsp;|&nbsp;&nbsp; Score Only - $0.00<br /-->
  
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==Movements==
 
  
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== Instrumentation ==
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Players I - XII (24 musicians): 12 [[Radio]]s <br>  
  
  
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== Instrumentation ==
 
  
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Player I: <br>
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Player II: <br>
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Player III: <br>  
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== Program Notes ==
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Written in 1951, Imaginary Landscape No. 4 is scored for twelve radios. Two perform­ers “play” each radio, one dialing the frequency, the other changing the volume and tone. The work is notated conventionally, i.e. with notes expressing duration placed on a five line staff, and was composed using chance operations (in this case coin tosses), as was Cage’s Music of Changes, written at the same time. Though their compositional methods were identical, the two works differ in one fundamental respect: given the nature of the instruments they employ the piano in the former case and the radio in the latter  Imaginary Landscape No. 4 is indeterminate whereas Music of Changes is not.
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The indeterminacy stems from the fact that radios produce sounds that vary according to frequency, time of day, and geographic location. It follows that those sounds cannot be determined in advance, and thus that each performance of Imaginary Landscape No. 4 will be different in ways that cannot be predicted. According to Cage himself, the expe­rience of indeterminacy was the motivation for the piece:
  
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== Errata ==
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"When I wrote the Imaginary Landscape for twelve radios, it was not for the purpose of shock or as a joke but rather to increase the unpre­dictability already inherent in the situation through the tossing of coins. Chance, to be precise, is a leap, provides a leap out of reach of one’s own grasp of oneself. "
  
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=== Review ===
  
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== Program Notes ==
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== Errata ==
  
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== Awards ==
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==Awards==
 
  
 
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== Commercial Discography==
  
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===Online Recordings===
  
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== Commercial Discography==
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==Recent Performances==
 
==Recent Performances==
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== Works for Percussion by this Composer ==
 
== Works for Percussion by this Composer ==
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{{cageworks}}<br>
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== Additional Resources ==
 
== Additional Resources ==
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== References ==
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[[Category:Percussion 12 Works]]

Latest revision as of 05:08, 7 August 2025

John Cage


General Info

Year: 1951
Duration: c.
Difficulty: Advanced (see Ratings for explanation)
Publisher: Peters
Cost: Score and Parts - $0.00   |   Score Only - $0.00


Instrumentation

Players I - XII (24 musicians): 12 Radios



Program Notes

Written in 1951, Imaginary Landscape No. 4 is scored for twelve radios. Two perform­ers “play” each radio, one dialing the frequency, the other changing the volume and tone. The work is notated conventionally, i.e. with notes expressing duration placed on a five line staff, and was composed using chance operations (in this case coin tosses), as was Cage’s Music of Changes, written at the same time. Though their compositional methods were identical, the two works differ in one fundamental respect: given the nature of the instruments they employ the piano in the former case and the radio in the latter Imaginary Landscape No. 4 is indeterminate whereas Music of Changes is not. The indeterminacy stems from the fact that radios produce sounds that vary according to frequency, time of day, and geographic location. It follows that those sounds cannot be determined in advance, and thus that each performance of Imaginary Landscape No. 4 will be different in ways that cannot be predicted. According to Cage himself, the expe­rience of indeterminacy was the motivation for the piece:

"When I wrote the Imaginary Landscape for twelve radios, it was not for the purpose of shock or as a joke but rather to increase the unpre­dictability already inherent in the situation through the tossing of coins. Chance, to be precise, is a leap, provides a leap out of reach of one’s own grasp of oneself. "


Review

Errata

Awards

Commercial Discography

Online Recordings

Recent Performances

To submit a performance please join the TEK Percussion Database


Works for Percussion by this Composer

27' 10.554" for a Percussionist - Multiple Percussion
Amores - Percussion Trio; Piano
Branches - Percussion Duo
But what about the noise of crumpling paper.....? - Percussion Sextet
Child of Tree - Multiple Percussion
Composed Improvisation for Snare Drum - Snare Drum
Composed Improvisation: for one-sided drum with or without jangles - Multiple Percussion
Composed Improvisation: for Snare Drum Alone - Snare Drum
Credo in US - Percussion Quartet
Dance Music: for Elfrid Ide - Percussion Sextet; Dancer
Double Music - Percussion Quartet - Cage/Harrison
First Construction (in metal) - Percussion Quintet; Piano
Forever and Sunsmell - Percussion Duo; Voice
Four4 - Percussion Quartet
Imaginary Landscape No.2 - Percussion Quintet
Imaginary Landscape No.3 - Percussion Sextet
Imaginary Landscape No.4 or March No. 2 - 12 Radios - 24 Players
Inlets - Percussion Trio; Conch Shells
Living Room Music - Percussion Quartet
One4 - Multiple Percussion
Quartet - Percussion Quartet
R= Ryoanji - Multiple Percussion
Second Construction - Percussion Trio; Piano
She is Asleep: Quartet - Percussion Quartet; Voice; Piano
Six - Percussion Sextet
The Wonderful Widow of Eighteen Springs Multiple Percussion (Piano); Voice
Third Construction - Percussion Quartet
Three2 - Percussion Trio
Trio - Percussion Trio



Additional Resources



References




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