Many of John Cage’s scores seem to allow performers a degree of freedom that often leads to interpretations that, by the composer’s own admission, do not reflect the spirit of the work. This is a problem of both attitude and notation. If we are to continue or reconstruct the tradition, we must look to the one performer in particular who defined and was defined by the performance practice of Cage’s music – the pianist, composer, and electronic musician David Tudor.
For a while it seemed to me like every successful composer was telling the same story about their working habits—get up early in the morning, maybe have breakfast, then write music for several hours straight. It’s funny how this pattern used to feel like a prison to me, and now it feels like a vacation.
The idea that elites congratulate themselves on their eclectic tastes, while not recognizing that they are class-determined, is thought-provoking and significant. The reality, however, is certainly at least a little more complicated; for one thing, you certainly don’t need to be painfully wealthy to have eclectic tastes.
Musicians and researchers must work together to build a streaming music service that is musically and technologically sophisticated, appealing to audiences, fair to musicians, and conducive to direct engagement between the two. We must be involved in this next phase of creation, or we leave the future of music up to others.