PureData Sketchbook & Discoveries
Response to Sonic Framework Examples
In the ever-evolving landscape of contemporary music, two composers stand out for their transformative approaches: John Cage and Iannis Xenakis. Their works, ‘Inlets’ and ‘Metastasis,’ respectively, not only challenge conventional notions of sound and performance but also invite audiences to actively engage in the musical experience.
John Cage’s ‘Inlets,’ created for the 2008 John Cage 100th Anniversary Countdown Event, stands as a compelling testament to his revolutionary approach to music and sound. This piece not only embodies the essence of Cage's artistic philosophy but also serves as a powerful example of an interactive framework that engages both performers and audiences in a unique sonic experience. During my research I found “Cage turned to Zen Buddhism and other Eastern philosophies and concluded that all the activities that make up music must be seen as part of a single natural process. He came to regard all kinds of sounds as potentially musical, and he encouraged audiences to take note of all sonic phenomena, rather than only those elements selected by a composer. To this end he cultivated the principle of indeterminism in his music.”
‘Inlets’ exemplifies Cage's fascination with chance and spontaneity. Cage believed that music should be an exploration of the unpredictable nature of sound itself. In ‘Inlets,’ he invites musicians to utilize unconventional instruments such as seashells. This unpredictability is central to the work, as it emphasizes the importance of the moment, urging performers to react to their surroundings and to one another. Each performance of ‘Inlets’ becomes a unique event, shaped by the specific context and the choices made by the musicians.
The interactive framework of "Inlets" is particularly striking. Unlike traditional performances where the audience is often relegated to a passive role, Cage's work encourages active participation. ”There’s no such thing as silence,” Cage said, “You could hear the wind stirring outside during the first movement. During the second, raindrops began pattering the roof, and during the third people themselves made all kinds of interesting sounds as they talked or walked out.” This communal aspect fosters a sense of connection and shared experience, as the audience becomes part of the unfolding narrative of the performance. It is a celebration of collective creativity, allowing individuals to feel a personal investment in the art being created.
Moreover, ‘Inlets’ serves as a commentary on the nature of sound itself. Cage's radical departure from conventional musical structures invites us to reconsider our relationship with noise and silence. In a world increasingly filled with manufactured soundscapes, Cage’s work reminds us to find beauty in the organic and the unexpected. The interplay of sounds generated by various performers transforms the performance space into an acoustic landscape that is alive and ever-changing, encouraging listeners to attune themselves to the subtleties around them.
As for Iannis Xenakis’s ‘Metastasis’ composition, it stands out as a transformative work within the realm of contemporary music, embodying an innovative interplay between sound, space, and mathematical structures. Following Messiaen’s suggestion, he began to use mathematical models in composing his musical pieces. His formal approach was rare among European composers, who had largely embraced serialism. In 1954 he began his experiments in stochastic music with the composition Métastasis. This piece not only showcases Xenakis's pioneering use of spectral techniques but also serves as a profound exploration of auditory experience, positioning it as a compelling example of a sonic/interactive framework.
One of the most striking aspects of ‘Metastasis’ is its integration of architectural concepts with musical composition. Xenakis, who had a background in both music and architecture, was able to create a piece that feels both dimensional and mundane. The score is characterized by glissandi which is “a rapidly executed series of notes on the harp or piano, each note of which is discretely audible and complex textures that emulate the movement and fluidity of sound through space.”
In terms of its sonic framework, ‘Metastasis’ achieves a remarkable balance between chaos and order. The gradual build-up of sound clusters and their dispersal create a tension that mirrors natural experiences. Each performance of ‘Metastasis’ can yield a unique auditory experience, dictated not only by the musicians' interpretations but also by the acoustics of the performance space and the positioning of the audience.
In conclusion, John Cage's ‘Inlets’ is a compelling work that encapsulates the essence of his innovative spirit. Through its emphasis on chance, interaction, and the exploration of sound, it transcends traditional boundaries of performance. As a sonic/interactive framework, ‘Inlets’ not only highlights Cage’s artistic legacy but also invites us into a participatory experience. By engaging with the unpredictable nature of sound, we are reminded of the beauty found in collaboration, spontaneity, and the shared moments that define our existence. As for Iannis Xenakis’s ‘Metastasis’ serves as a powerful testament to the potential of music as an interactive framework. Through its innovative use of space, mathematical structure, and listener engagement, it challenges conventional models of music composition and performance. In an era where the boundaries of musical expression are continually expanding, ‘Metastasis’ stands as a landmark achievement, illuminating the path for future explorations in the sonic arts.
References:
https://youtu.be/3-wF0zrev7c?si=Fpc7eG2VFw504xzi
https://www.britannica.com/biography/John-Cage
https://www.britannica.com/art/Formalism-literary-criticism
https://www.newyorker.com/magazine/2010/10/04/searching-for-silence