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Down in Greensboro, North Carolina, David Tudor and I gave an
interesting program. We played five pieces three times each. They
were the Klavierstück XI by Karlheinz Stockhausen, Christian
Wolff’s Duo for Pianists, Morton Feldman’s Intermission No. 6,
Earle Brown’s Four Systems and my Variations. All of these pieces
are composed in various ways that have in common indeterminacy of
performance. Each performance is unique, as interesting to the
composers and performers as to the audience. Everyone in fact,
that is, becomes a listener. I explained all this to the audience
before the musical program began. I pointed out that one is
accustomed to thinking of a piece of music as an object suitable
for understanding and subsequent evaluation, but that here the
situation was quite other. These pieces, I said, are not objects
but processes essentially purposeless. Naturally then I had to
explain the purpose of having something be purposeless. I said
that sounds were just sounds and that if they weren’t just sounds
that we would (I was of course using the editorial we) — we would do
something about it in the next composition. I said that since the
sounds were sounds this gave people hearing them the chance to be
people, centered within themselves where they actually are, not
off artificially in the distance as they are accustomed to be,
trying to figure out what is being said by some artist by means of
sounds. Finally I said that the purpose of this purposeless music
would be achieved if people learned to listen; that when they
listened they might discover that they preferred the sounds of
everyday life to the ones they would presently hear in the
musical program; that that was alright as far as I was concerned.
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