Graphic Notation as Means of Musical Gesture:

Examining percussion works by John Cage, Morton

Feldman, and Vinko Globokar

By
Cory Hills

Submitted to the graduate degree program in Music and the

Graduate Faculty of the University of Kansas
in partial fulfillment of the requirements for the degree of
Masters of Music Theory
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 CHAPTER 1: Introduction

“Play whatever you want, as long as it’s there.”

--Pianist/Composer Anthony Coleman to me before
a concert in New York (Summer 2009)

This advice, given by improviser Anthony Coleman, speaks volumes to the state of improvised

music and graphic notation. The following thesis seeks to address the relationship between

graphic notation and musical gesture, and will argue that graphic notation became necessary in

order to adequately represent the composer’s gestural intent. Graphic notation has been around

for hundreds of years, first in the form of visual art, as found in Baude Cordier’s chanson Belle,

bonne, sage.1 This heart-shaped score, with specks of red, depicts the love that is found within

the musical composition and subject matter itself. Guido de’Arezzo’s landmark Micrologus

(c.1025) directly changed the notation of music by writing neumes (an antiquated form of block

notation) on a system of lines that in turn, were offset by a third. This resulted in a line or

subsequent space for each tone.2 The two main lines, the C line and the F line due to the semi-

tones falling below, were further denoted by yellow ink for the former and red ink for the latter.3

This development allowed for music to be more definitely notated.

One could make the argument that Guido’s contribution to the musical staff, and the

subsequent development of western notation in the Middle Ages through Johannes de Garlandia,

Franco of Cologne, and Petrus de Cruce, was in fact just one type of graphic notation. While an

1
Sylvia and Stuart Smith, "Music Notation as Visual Art," Percussionist 18. No. 2 (1981), 8.
2
Claude V. Palisca. "Guido of Arezzo." Grove Music Online. (2011). Accessed 16 Aug. 2011
<http://www.oxfordmusiconline.com.www2.lib.ku.edu:2048/subscriber/article/grove/music/11968>.
3
Ibid.
1
interesting debate worth further exploration, graphic notation referred to in this document is a

compositional tool that grew out of the experimental music scene of the 1950s.

In the late 1950s, some artists, among them John Cage, argued that music composition

required extensive training in science and mathematics. While this argument was not made in

response to any one composer, the work of Milton Babbitt best epitomizes this correlation

between music and mathematics. Babbitt’s professional life feeds the connection between

mathematics and music. While primarily known as a composer, Babbitt served as a mathematics

researcher in Washington D.C., and was on the mathematics faculty at Princeton University from

1943-1945.4 These years were pivotal years for Babbitt’s development as a thinker and theorist,

as he published The Function of Set Structure in the Twelve-Tone System, or the first article that

examines the set structures found in the music of Arnold Schoenberg.5 As a result, Babbitt came

to define and codify many of Schoenberg’s techniques. Babbitt was fascinated with the strict

constructs of 12-tone theory, and took the concept to new extremes, which can be seen through

numerous musical constructs, among them maximal diversity, aggregate, and all-combinatorial

hexachords.

The concept of maximal diversity is one that seeks to include every possible combination

of a set or perceived parameter. Andrew Mead, in his discussion of Babbitt’s music, says,

“Babbitt has extended this idea [maximal diversity] to virtually every conceivable dimension...

All sorts of aspects of Babbitt’s music involve the disposition of all possible ways of doing

something within certain constraints.”6 Babbitt applied elements of maximal diversity to aspects

of the tone row, which allowed for his music to be highly derived and interconnected. This

4
Elaine Barkin and Martin Brody. "Babbitt, Milton." Grove Music Online. (2011). Accessed 15 Oct.
2011<www.oxfordmusiconline.com.www2.lib.ku.edu:2048/subscriber/article/grove/music/01645>.
5
Ibid.
6
Andrew Mead. An Introduction to the Music of Milton Babbitt (Princeton: Princeton University Press, 1994), 20.
2
principle is more commonly referred to as all-combinatoriality, a term coined by Babbitt himself,

and a process that allows the pairing of a hexachord with any transformation of itself.7 Babbitt

discovered that there were a finite number of these rows (six) that could be transformed by

various operations to form the overall aggregate.8 These strict compositional processes resulted

in music that was tightly controlled and highly derived.

In contrast, and in response to the aforementioned strict compositional processes, John

Cage worked with the I-Ching, or a system of calculated randomness otherwise known as chance

music or aleatoric music derived from ancient Chinese philosophy. An early example of this is

heard in Cage’s Music for Changes (1951). Working with the I-Ching resulted in musical

flattening and equalizing, or a condition of taking prescribed parameters of music, such as

melody, harmony, form, texture, tempo, dynamics, tone, and rhythm, and assigning equal

values.9 Eventually, Cage found his way to indeterminacy, or a system of composition that grants

the performers free choice. Each realization of the composition resulted in a unique performance

based on the choices made by the performer. The score was simply a set of instructions to create

a sonic map, one that the artist was in charge of reading and realizing.

Cage was interested in the natural world and how to listen to the sounds that occur within

it.10 As a result, silence became vital in his compositions because Cage found it did not exist in

the natural world, a belief similar to Eric Satie and Jean Cocteau’s desire for more space and

silence. The notion of time and space is directly seen in Cage’s “silent” piece, 4’33”. This issue

of silence and space is one that will come up throughout the analyses section of this paper. Satie,

7
Elaine Barkin and Martin Brody. "Babbitt, Milton." Grove Music Online. (2011). Accessed 15 Oct.
2011<www.oxfordmusiconline.com.www2.lib.ku.edu:2048/subscriber/article/grove/music/01645>.
8
Ibid.
9
Henry Flynt, "Cage and Fluxus," Writings About John Cage, ed. Richard Kostelanetz (Ann Arbor: The University
of Michigan Press, 1990), 279.
10
Ibid, 280.
3
Cocteau and other members of the Dada art movement had considerable influence on Cage and

the Fluxus art movement.11

The Fluxus movement itself was a direct response to the influential lectures given by

Cage at the New School for Social Research from 1957 to 1959.12 In these lectures, Cage called

for a liberation of the ear, so that the ear could be retuned to new facets of perception. He also

called for a breakdown of structure, while at the same time maintaining the sense of

compositional purpose. The issue of compositional purpose is an important one in a movement

that railed against the aforementioned strict serialism, while at the same time pushing the

boundaries of the avant-garde.13 Fluxus members lauded the necessity of audience participation

during performances. Audience participation did not mean bringing someone up on stage to

interact with the performance; rather, it meant using the audience’s senses to aid in the overall

performance. One way that artists advocated audience participation was through the concept of

gesture.

Gesture has taken on numerous definitions throughout art history. It is imperative at this

point to provide a brief discussion of musical gesture in order to set a framework for a discussion

of graphic notation as means of musical gesture. Before delving into musical gesture, it is

important to include a brief background on semiotics and musical signs.

In his Playing with Signs, Kofi Agawu asks the directed question of how a piece means.14

While the scope of his research focuses on the classical period (works by Haydn, Mozart, and

Beethoven), this question gets to the root of listener-oriented music. It points to the classical

11
Francis M. Naumann, "Man Ray and the Ferrer Center: Art and Anarchy in the Pre-Dada Period," New York
Dada, ed. Rudolf E. Kuenzli (New York: Willis Locker and Owens, 1986), 12.
12
Daniel Herwitz, "John Cage," Encyclopedia of Aesthetics, ed. Michael Kelly (New York: Oxford University Press,
1998), 1.
13
Ibid, 3.
14
Kofi Agawu, Playing with Signs: A Semiotic Interpretation of Classical Music (New Jersey: Princeton University
Press, 1991), 5.
4
style as a possible language that was spoken by the aforementioned composers. Agawu goes on

to quote Charles Sanders Peirce: “We think only in signs.”15 The result is a new system of

thinking, whereas music is redefined as a system of signs that are introversive or extroversive.

Introversive signs reference sonic elements to other sonic elements that appear within the

composition. Extroversive signs reference sonic elements from the outside world to the

composition.16 These extroversive musical signs can be grouped as topics. Topics can be broken

down in two parts, a signifier, something found within a parameter of music, and a signified, a

stylistic unit that is normally referential in nature.17 To clarify, the signifier carries the meaning

and the signified is the mental concept that is the meaning. Together they make up the

associative total, which is the sign.

Signifier + Signified = Sign

This can be explained linguistically through the word elephant. The word elephant in

English, which is zilonis in Lithuanian for example, is the signifier (the signifier will be different

in every language). The large creature with a long trunk is the signified (the signified will be fact

in any language). Together they make up the associative total for the sign elephant. Both the

signifier and the signified play an equally important role in determining the meaning of the

overall sign. Agawu’s discussion of musical signs is fascinating, but semiotics and musical signs

simply provide a springboard for this thesis, which, as mentioned above, seeks to examine

graphic notation as musical gesture.

15
Ibid, 10.
16
Ibid, 23.
17
Ibid, 49.
5
 Music theorist Robert Hatten brings the concept of musical sign into the world of musical

gesture. He writes that gesture is movement that can be interpreted in turn as sign, and can be

classified according to Peirce’s categories: Firstness, Secondness, and Thirdness, which to Peirce

represented a quality of feeling, a reaction, and a representation.18 Firstness is qualitative and is

concerned with the attitude of the gesturer. Secondness focuses on goals of the gesturer.

Thirdness relies on extra-conventional wisdom and referential thought to add symbolic

knowledge.19 Hatten describes a musical performance as synthesizing musical parameters to one

gesture that conveys a great deal of information.20 He goes on to point out the clear shortcomings

in standard notation to clearly represent the elements of gesture.21 Essentially, gestures are a

synthesis of the various parameters of music, defined herein as melody, harmony, form, tone,

dynamics, texture, tempo, and rhythm.

One argument of this paper is that standard Western Classical notation cannot accurately

represent and portray all of these elements. As such, and as mentioned earlier, there existed a

need in the 1950s for a new system of notation to adequately measure and represent the more

performance-art-based scores that were being composed.22 A single gesture full of information,

along with shortcomings in standard notation to represent the gesture, points to a need for a new

system of notation. Graphic notation fills this need by allowing the composer to detail musical

gestures to the performer. The musical gestures, defined in detail as noted by Hatten’s request for

all gestures to be defined, are as follows: introductory gesture, ascending gesture, descending

18
Robert S. Hatten, "Musical Gesture," Semiotic Institute Online (2001), Lecture 2. Accessed 17 October 2009
<http://www.chass.utoronto.ca/epc/srb/cyber/cyber.html>.
19
Ibid.
20
Robert S. Hatten, "Musical Gesture," Semiotic Institute Online (2001), Lecture 1. Accessed 17 October 2009
<http://www.chass.utoronto.ca/epc/srb/cyber/cyber.html>.
21
Ibid.
22
Smith, "Music Notation as Visual Art, 1."
6
gesture, static gesture, and cadential gesture. In addition, in the Globokar chapter, physical

gestures, such as the concurrent gesture and independent gesture, are also present and defined.

At this point it is necessary to provide definitions of the terms used throughout the paper,

which are introductory gesture, ascending gesture, descending gesture, static gesture, concurrent

physical gesture, and independent physical gesture. These gestures have roots in Wallace Berry’s

progression, recession, and stasis from his Structural Functions in Music.23 Progression is a

structural function consisting of increasing intensity while regression is a structural function

consisting of decreasing or subsiding intensity. Stasis is a state of unchanging degrees of

intensity.24 Berry goes on to apply these different structural functions across parameters of

music, including tonality, texture, and rhythm and meter. In tonality, progression is defined as

movement away from tonic, whereas recession is defined as movement back toward tonic. 25 In

texture, progression is defined as increased density through the emergence of polyphony whereas

recession is defined as the stabilization of textures through cadential formations.26 In rhythm and

meter, progression is defined as an increase in the rate of motion of space and attack as well as

metric instability, whereas recession is defined as having larger rhythmic units and symmetrical

unit relations.27 Two central facets of Berry’s procession and recession are reproduced below.

1. …progressive fluctuation in the direction of intensifying conditions expecting resolution

(dissonance, complexity, ambiguity, instability, distance, acceleration, etc.).
2. …recessive fluctuation in the direction of conditions achieving or tending toward
resolution (consonance, simplicity, clarity, stability, proximity, deceleration, etc.).28

As indicated above, Berry chose to focus on tonality, texture, and rhythm and meter in his

discussion of structural functions. In the current paper, these functions will be expounded upon

23
Wallace Berry, Structural Functions in Music (Mineola: Dover Publications, 1987), 7.
24
Berry, Structural Functions in Music, 7.
25
Ibid, 11.
26
Ibid, 201.
27
Ibid, 331.
28
Berry, Structural Functions in Music, 84.
7
in regards to musical gesture, thus changing their names and definitions slightly, all while

adhering to Berry’s aforementioned central facets. In addition, as the following analyses focus in

great detail on motivic development, the gestures will be discussed in regards to motives.

Definitions of the different gestures will be followed by score examples of each gesture.

Introductory Gesture

An introductory gesture is pre-gestural motion, acting before an ascending or descending gesture.

The introductory gesture serves to provide the first hearing of motivic material, but without

development, essentially thrusting the musical phrase into motion. Sparse textures, minimal

density, and minimal rhythmic and metric rate or motion are all characteristics of an introductory

gesture.

Ascending Gesture

An ascending gesture functions essentially as procession, where intensity creates a sense of

tension, which requires release. Characteristics of ascending gestures center on accelerated

rhythmic and metric motion and increased density. In an ascending gesture, there is an increase

in surface level motives. As discussed throughout this paper, an ascending gesture is associated

with tension. This musical tension can be achieved in various ways and depends on the context.

Examples of tension include a buildup of density, rhythmic complexity and density, and silence.

Descending Gesture

A descending gesture functions essentially as recession, where musical movement tends toward

resolution. There are still surface level motives in a descending gesture, but the motives are

8
fewer and more focused as the intent is to release the tension created from the ascending gesture.

Characteristics of a descending gesture center on increased space, a decrease in surface level

rhythms, a deceleration of metric motion, and silence.

Static Gesture

A static gesture functions as a moment of little to no structural change and also of little to no

motivic development. A static gesture is infrequently used in the following analyses, but by no

means is meant to disregard Berry’s definition of stasis. As this paper focuses on musical

gesture, moments of stasis are rare and infrequent, and the argument will be made that the

musical gestures are in a constant state of motion.

Cadential Gesture

A cadential gesture acts as an end to the musical phrase or musical motion. To clarify, and as

Caplin states, a cadence is marked at the initial place of the cadence, not the final note.29 Thus,

the material that follows the marked cadence is the cadential extension, which is part of the

overall cadential function. A cadential gesture, in comparison, contains all the cadential material

within, marking the end of the musical motion. Minimal motivic development, minimal rhythmic

or metric motion, and silence are all characteristics of a cadential gesture.

Concurrent Physical Gesture

Physical gestures are discussed in Chapter 3: ¿Corporel by Vinko Globokar, as this is the only

piece discussed with prescribed physical movements. A concurrent physical gesture is one where

29
William Caplin, "The Classical Cadence: Conceptions and Misconceptions," Journal of the American
Musicological Society 57.No.1 (2004), 56.
9
the musical and physical components run parallel to each other. But as discussed during Chapter

3, a concurrent physical gesture itself can be ascending or descending or introductory or

cadential. Thus, the previously discussed characteristics for the musical gestures are still applied

within a concurrent physical gesture.

Independent Physical Gesture

An independent physical gesture is essentially the opposite of a concurrent gesture, where the

musical and physical components are unique lines, running with little regard to one another. As

just mentioned, an independent physical gesture can function as either an introductory,

ascending, descending, or cadential gesture.

The following example, from Composed Improvisation by John Cage illustrates examples

of both an ascending and descending gesture. The ascending gesture is much denser than the

descending gesture. In addition, there is a rhythmic acceleration leading to a silent pause before

the descending gesture begins. This silence creates a great deal of tension, as the build-up of

density and rhythmic motion necessitates resolution. The silence prolongs the resolution and

thus, creates tension. The tension is released through the descending gesture, beginning on the

single quarter notes. The quarter notes are followed by silence, a soft figure, more silence, and

then a final soft four-stroke ruff. The decrease in density and in rhythmic motion results in the

descending gesture. The silence that is present here is different than the silence from the

ascending gesture. The silence during the descending gesture stretches out the resolution, and

additionally creates an even sparser texture as the resolution continues.

10
Example 1: Ascending and Descending Gestures in Composed Improvisation

The next example, from The King of Denmark by Morton Feldman, details both an

introductory and ascending gesture. Density is a marked difference between the two, as is the

amount of rhythmic complexity and motivic development. The additive motive is a common

feature of an introductory gesture, when the initial motive is embellished before transitioning to

either an ascending or descending gesture. This is opposite in a cadential gesture when a

subtractive process is more common as the motives have already been previously developed.

Example 2: Introductory and Ascending Gestures in The King of Denmark

11
 The following shows a static gesture from The King of Denmark. The section with

specifically notated instruments is simply one ictus after another for 22 grids. There is no motivic

development; rather, it is a state of unchanging musical material and motion.

Example 3: Static Gesture in The King of Denmark

An example from ¿Corporel by Vinko Globokar illustrates the use of both kinds of

physical gestures, a concurrent physical gesture and an independent physical gesture. The

concurrent physical gesture shows a direct parallel movement between musical and physical

components. In this example, the physical movements on the face switches directions at the

precise moment the vocal line changes from open-mouthed to closed-mouthed “H” sounds. In

contrast, the independent physical gesture shows the hands moving on the face indirectly of the

vocal line. They do come together to change halfway through (phrase 1 to phrase 2) at the “s”

sound, but within the phrases themselves, the lines work independently of one another.

12
Example 4: Concurrent Physical and Independent Physical Gestures in ¿Corporel

What follows are three separate analyses, Composed Improvisation for snare drum alone by John

Cage (1987), The King of Denmark by Morton Feldman (1964), and ¿Corporel by Vinko

Globokar. As a theorist-performer (percussionist), I have performed each one of these

compositions, and wanted the focus of the graphically notated pieces to remain firmly fixed on

percussion scores as opposed to other instrumental scores. In addition, each of the composers has

ties to the Fluxus arts movement of the late 1950s as well as other visual arts movements of the

latter half of the 20th century. A copy of each score is found in the Appendix. Furthermore, a CD

recording of Cage’s Composed Improvisation for snare drum alone is included. As Cage

provided a text-based score that I realized per his instructions only to use as the basis of my

analysis, I have included the recording for readers.

Each piece is analyzed in relation to the previously outlined musical gestures. The

resulting analyses will then be used to develop a theory of the composer’s intent for use of

graphic notation. Why did the composer choose to notate this way? It is my belief that the

13
composers used graphic notation as musical gesture, in order to convey musical concepts that

would not have been possible through standard notation.

14
 CHAPTER 2: Composed Improvisation for snare drum alone by John Cage

Although officially composed in 1987 for a series of snare drum solos entitled The Noble Snare

(Smith Publications),1 Composed Improvisation for snare drum alone by John Cage is an

example of Cage’s early use of aleatoric music and indeterminacy. Cage initially began

experimenting with aleatoric music during the late 1950s and early 1960s after a lecture series at

the New School for Social Research from 1957-1959 resulted in an art movement known as

Fluxus.2 In these lectures, Cage essentially called for a liberation of the ear, so that the ear could

be retuned to new facets of perception. He also discussed the need for a breakdown of structure,

while at the same time maintaining the sense of compositional purpose.3 This experimentation

led Cage to the I Ching, an ancient Taoist and Confucian document known as the Book of

Changes. The I Ching is a system of devising order among randomness, initially intended as a

philosophical gaze into the meaning of life, but more recently used in the creation of art through

chance operations.4

The score for Composed Improvisation is a text-based event score, a term taken from

Fluxus member Dick Higgins. Event scores are characterized by the use of reduction, repetition,

improvisation, and chance.5 A text-based score is classified as graphic notation, as the prose

takes the place of notated music. In order to dig deeper into the relationship between the graphic

notation and the gestures associated with the music, one must go through numerous processes to

realize the text-based score. As a result, it is more useful to think of the original text-based score

1
John Cage, "Composed Improvisation," The Noble Snare, ed. Sylvia Smith (Baltimore: Smith Publications, 1987),
vol. 2, 24.
2
Daniel Herwitz, "John Cage," Encyclopedia of Aesthetics, ed. Michael Kelly (New York: Oxford University Press,
1998), 1.
3
Ibid, 2.
4
James Pritchett, "John Cage," Oxford Music Online ed. by Deane Root (2009). Accessed 8 February 2009
<http://www.oxfordmusiconline.com/subscriber/article/grove/music/49908>.
5
Simon Shaw-Miller, "A Chorus of Voices: Seeing Music in Cage and Fluxus, the Birth of Postmodern," Visible
Deeds of Music, ed. Simon Shaw-Miller (New Haven: Yale University Press, 2002), 208.
15
of Composed Improvisation as a map that provides the necessary instructions to realize a sonic

event.

In order to more clearly examine the piece, I realized Cage’s score (Appendix A)

through a series of chance operations. I placed 64 sheets of paper into a hat, numbered from 1 to

64, and completed each one of Cage’s instructions for different parameters. In lieu of detailing

this process in drawn-out prose form, I have opted to include in Appendix B, a page indicating

complete results of the chance selection of pieces of paper. In short, the piece was divided into

three parts based on 15 second intervals between 0’00” and 8’00.”

Table 1: Formal Breakdown of Composed Improvisation

Part 1: 0” to 45” Part 2: 1’00” to 4’45” Part 3: 5’00” to 8’00”

Event a: 15 icti Event a: 51 icti Event a: 12 icti
Event b: 24 icti Event b: 17 icti Event b: 21 icti
Event c: 28 icti Event c: 27 icti
Event d: 1 icti Event d: 31 icti
Event e: 59 icti
Event f: 52 icti

As indicated above, each part consisted of a set number of events, which themselves

consisted of a set number of icti, or unique sonic occurrences. Snare drum technique utilizes a

great deal of embellishments, such as flams, buzzes, drags, rim clicks, and dead strokes. Cage

makes special mention of extended techniques by stating that any embellishment counts as one

icti. For example, a flam, which is a small grace-note figure that is tied to a rhythmic note value,

would only constitute one ictus. Similarly, a buzz, which is made up of three to seven notes,

would be considered one ictus.

Different pairings of sticks and beaters were chosen at random in order to create sonic

variance within each event. Cage dictates ten different pairs of beaters: eight pairs of standard

16
percussion beaters, one pair of hands, and one pair of nothing. Cage does not specify the type of

beaters, so I selected the following: regular drum sticks, brushes, medium rubber mallets,

blasticks, soft yarn mallets, hard yarn mallets, hard plastic mallets, and medium timpani mallets.

As a result, the breakdown of beater by event is shown in the following table.

Table 2: Stick and Mallet Use by Event

Event 1 Event 2 Event 3

Blastick, Hand, Nothing,
a a a
hard yarn timpani nothing
Rubber, soft Hard yarn, Hard yarn,
b b b
yarn hard yarn timpani
Hand, hard
c Hand, plastic c
yarn
d Stick, plastic d Hand, hand
Rubber,
e
timpani
f Brush, brush

While not specified in the score, I made the decision that the first stick in a pairing would

be for my left hand, while the second stick would be for my right. For example, in Event 1a, I

would hold a blastick in my left hand and a hard yarn mallet in my right.

A misconception about this piece, as well as other text-based scores by Cage and other

avant-garde composers, is that a text-based graphic score is not music. It is possible to view this

composition as non-musical randomness, meaning that Cage simply wrote down a series of

numbers and instructions and called it art. This is a similar held belief that my college art teacher

harbored against abstract-expressionist Mark Rothko, resulting in the common classroom

statement, “I could have done that.” While not seeking to tell people how to think, the following

analysis of my sonic realization of Composed Improvisation seeks to dispel these beliefs by

17
relating the text-based graphic score to the element of musical gesture, as previously defined in

the first section of this paper.

Part 1

Part 1 of Composed Improvisation is 45 seconds long and consists of four unique events

totaling 68 icti. In contrast to Jason Baker’s realization and analysis of this piece that breaks

down each event into a set length, I did not set a time length for each event that makes up Part 1;

rather, I chose to focus on Part 1 as an overall phrase consisting of 68 icti in 45 seconds with a

variety of different beaters.6 This choice allows for more freedom within an event, as well as a

continuity of structure and motivic development.

Part 1a serves as a presentation of initial motives that will be developed throughout the

entire composition (Note: dynamics only apply to the note or grouping they appear under;

unmarked notes or groupings are assumed to have a dynamic of mf). It should be noted that all

rhythmic transcriptions are approximate and are not intended to show metric relationships;

rather, they are intended to show motivic development and gesture.

Example 1: Score of Part 1a

6
Jason Baker, "The Snare Drum as a Solo Concert Instrument," UNT Digital Library, dissertation (2004). Accessed
3 November 2008 <http://digital.library.unt.edu/ark:/67531/metadc4721/>.
18
 This 15-note event played with a blastick and hard yarn mallet consists of two dependent

clauses that serve as a model for the rest of the improvisation. The first clause contains two

motives, a simple struck quarter note of any embellishment, Motive A, and a three-note figure of

two sixteenth notes followed by an eighth, Motive B (although the order is not as important as

the grouping of three notes). The second part of the first clause consists of an augmentation of

the original motive (two eighth notes followed by a quarter note). The buzz effectively acts as a

cadential arrival, but is not strong enough to dictate an actual end to the event. In comparison, the

second clause, which contains both Motives A and B, ends on an emphatic two-note accented

figure. This marks the end to Part 1a and the transition to Part 1b.

In regards to gesture, the first clause is made up of two independent phrases, each of

which, as previously mentioned, are made up of Motives A and B. The Motive A echo produced

from the first note at mf to the next figure at p to the next one at pp signifies a prolongation of the

initial motive, and as a result, I have labeled this type of musical gesture a Descending Gesture.

The second half is made up of only one independent phrase, which helps it to serve as a closing

function and subsequent arrival at the end of the event. I have labeled this type of musical

gesture an Ascending Gesture.

The strict analysis of the Part 1a raises some significant questions about the intent of the

composer and the role of the performer. While it is true that I am an accomplished improviser

with extensive training on percussion instruments, I recorded my realization of Composed

Improvisation in one take. I did not have enough time to compose-out a version of the piece, as I

was too busy following the strict time parameters, mallet changes, and other directions laid out

by Cage. While one could argue that this element of gesture and motivic development is

19
circumstantial, further study of the rest of the improvisation yields far too many structural

relationships as to be labeled coincidental.

Part 1b consists of 24 icti played with a medium rubber mallet and soft yarn mallet. The

24-icti take place over 15 seconds, marking an increase in sonic activity. The first four icti of

Part 1b, stemming from the accented eighth notes at the end of Part 1a, function as a transition to

the real start of the phrase, which begins on the fifth ictus, a grouping of four sixteenth notes.

Sonically, Part 1b introduces two new sounds into the improvisation, the flam and the rim click.

In addition, one new motive is introduced and is represented by the flourish of five sixteenth

notes in a row starting on the 9th ictus (following the sixteenth rest). Discussion of later events

will follow up on the presence of five-note units in the improvisation.

Example 2: Score of Part 1b

Similar to Part 1a, Part 1b can be broken down into two separate clauses, the first ending

on the 15th ictus and the second beginning with the first flam of the improvisation. The first

clause has a distinct echo effect that results in a large-scale decrescendo to the end of the clause.

Each of the four rhythmic groupings represented on the score above get progressively softer until

the silence is interrupted by the first flam, which starts the second clause. In stark contrast, the

second clause grows to the end due to the rim click and diminution of the opening motive of the

second clause. This creates tension that leads to the last ictus, a flam, followed by a great deal of

20
silence. As in Part 1a, the first clause is a descending gesture, while the second clause is an

ascending gesture.

Of particular interest is the amount of time and number of icti each clause takes up.

Clause 1 consists of 11 icti that take place over 10 seconds. Clause 2 consists of 9 icti that take

place over 5 seconds. While not statistically significant, the almost two to one relationship

between the changes of densities over time between the two clauses is curious. Comparing this

data to that of the clauses in Part 1a, one finds similar results. The first clause of 1a consists of 9

icti over 11 seconds, while the second clause consists of 6 icti over 4 seconds. Combined with

the aforementioned decay of clause 1 and growth of clause 2, this comparison to Part1a further

supports labeling the first clause as descending and the second as ascending.

Part 1c is the densest phrase of Part 1, consisting of 28 icti in 20 seconds. No new

motives are introduced in this phrase; rather, the material develops from various augmentations

and diminutions of previous motives. While a noticeable meter is absent from this improvisation,

I have tried to indicate a metric relationship between the various rhythmic figures. This results in

Part 1a centering on quarter and eighth notes, Part 1b centering on eighth and sixteenth notes,

and Part 1c centering on sixteenth, sixteenth note triplets, and 32nd notes. This large-scale,

rhythmic accelerando culminates at the high point of the entire part, the accented four-stroke

drag that is the 11th icti of the event. What follows is effectively the denouement. This period

attempts to re-reach the high point, but fails to reach the four-stroke drag until all but sputtering

out. The final pp gesture is Motive B, in its original form.

21
 Example 3: Score of Part 1c

The form of this phrase is different than the previous ones in that the first of two clauses,

which ends with the aforementioned 11th ictus high point, is the ascending gesture. There is no

descending gesture in the phrase since the material that follows the 11th ictus functions like a

cadential extension, causing me to label it a Cadential Gesture.

Example 4: Score of Part 1d

The cadential gesture carries over into Part 1d, which consists of only one note, a buzz,

indicating in this instance that the final ictus in Part 1d is actually still part of the cadential

gesture started at the end of Part 1c. This final arrival point is followed by a silence until the start

of Part 2a.

22
Part 2

Part 2 is 3’45” long and consists of six events totaling 238 icti. In general, Part 2

functions as a development section, whether intended or not, effectively taking previous motives

and composing them out. The only additional features include different sounds, such as the

addition of a dead stroke, an extended roll, and a rim shot and greater use of embellishments,

accents, and crescendos. Combining all of these elements together results in Part 2 being the

most active section of the piece, in regards to both rhythmic variety and density.

Part 2a consists of 51 icti that take place over 52 seconds. This near 1:1 relationship of

ictus to unit of time, especially in relation to the denseness of Part 1c, results in more sonic

space. The notion of space is important for the function of Part 2a, which is to introduce new

sounds on the drum. First, the snares are off for all of Part 2, meaning a resonant tom sound

becomes the new timbre. Second, the aforementioned dead strokes are clearly audible, as they

raise the pitch of the purely pitched tom.

Part 2a can be broken down into two distinct clauses: the beginning up to, but not

including, the first quintuplet, and the quintuplet to the end. In contrast to the phrases in Part 1,

these two clauses are not dependent on one another. The first clause itself is made up of two

segments, consisting of ten icti each. The initial segment repeats the beginning of Part 1b with

the single sound of Motive A. In addition, the final note of the grouping is the first dead stroke of

the piece, an extremely audible moment. The final two gestures of the first segment are both

exact versions of Motive B, with the second one consisting of all dead strokes. This segment

contains only previous material, acting like a review of the gestures used in Part 1. With the rise

in tension, the first segment plays the role of ascending gesture, while the second segment is a

23
descending gesture. This second segment eventually leads to a pair of p dead strokes that mark

the completion of the first clause.

Example 5: Score of Part 2a

The lack of activity in the first clause is compensated for in the second clause, which

consists of 30 icti in 18 seconds. The first half of the clause features a repeated phrase of a

quintuplet followed by a syncopated five-note unit. The repeat is not literal, as the repeated

version features a dead stroke version of the quintuplet and a diminution of the five-note unit.

The importance of the number five is one that can be debated in theoretical terms; however, it is

interesting to note my personal obsession with the number five. This obsession seems to have

worked its way into the improvisation as the entire Part 2 of the piece is saturated with

quintuplets and various five-note groupings. In addition, it should be noted that a future analysis

would consist of other percussionists performing the composition as to relieve any bias from my

version.

After a brief interjection of a dead stroke Motive B, the second segment spins into a

cadential gesture, a progression of Motive A that crescendos to the one and only rim shot in the

24
composition, as dictated by Cage. The fact that this is only the first of six events in Part 2 seems

to signify that a plethora of activity might follow.

Indeed, Parts 2b-2d follow in the same direction as Part 2a. I have chosen to group these

three events together for purposes of analysis as they are less independent phrases, and more a

long unit that culminates in the four-stroke drag, or the last icti of Part 2d. These three events

combined consist of 77 icti over 79 seconds, a near 1:1 relationship that is found in Part 2a.

Part 2b features two extended buzzes, each of which occur at the end of its respective

clause. The two clauses are relatively simple in motivic scope, consisting of direct use of

Motives A and B. The extended buzz marks the first time in the improvisation that a single ictus

has been sustained for longer than a single one-handed buzz. On its own, Part 2b lacks any

gestural element as the event essentially ends exactly where it began. This cyclic feel to Part 2b

becomes important only in relation to its place as an introduction to Parts 2c and 2d, which will

be discussed below.

Example 6: Score of Part 2b

Part 2c features two clauses of quintuplets and five-note units. The initial segment of Part

2c is the retrograde of the Clause 2 repeat by diminution found in the score example of Part 2a.

Combined with the two note dead-stroke unit attached to the end of this segment, this segment

functions as an ascending gesture. The second segment of Part 2c features a gradual decline in

25
scope on motives A and B, until a final four-stroke drag, the softest unit of the segment. This

second segment functions as a clear descending gesture as sonic space increases and the dynamic

range decreases. The final quintuplet unit at the end of Part 2c functions as a cadential gesture as

it looks back to the quintuplet in Segment 1 while playing at a higher dynamic level. What is

most striking about all three gestures in Part 2c is that they feature, what I would like to call (as

adapted from Caplin), limited gestural scope. While they clearly function in the ways previously

described, within the larger form of Part 2b, 2c, and 2d, the gestural strength becomes somewhat

muted. The concept of limited gestural scope will be discussed further below.

Example 7: Score of Part 2c

Part 2d marks the end to this three-part grouping, and seems to combine various aspects

of Parts 2b and 2c. There is a quintuplet, an augmentation of a five-note grouping, and even a

quotation of the cadential gesture (featuring Motive A) that leads to the rim shot in Part 2a. The

four-stroke drag that ends the section after a long period of silence refers to the end of the

descending gesture that ends the second segment of Part 2c.

26
 Example 8: Score of Part 2d

The plethora of motivic repetition in Part 2d, combined with the introductory feel of Part

2b causes me to see each of these parts as its own gesture. Part 2b would introduce the section,

while Part 2c consists of an ascending gesture and a descending gesture, and Part 2d is one long

cadential gesture. This relates back to a previous statement made about the limited gestural scope

of segments of Part 2c. As such, the cadential gesture at the end of Part 2c would not be a

gesture, and the ascending and descending gestures are made stronger by the introductory feel of

Part 2b and the cadential gesture of Part 2d.

Part 2e consists of 59 sounds in 54 seconds, the first time in all of Part 2 that an event has

greater than a 1 to 1 ratio of icti to units of time. In fact, as we will discover soon about the final

section of Part 2, Part 2f, the ratio becomes even greater as the section comes to a close. The two

most unique aspects of Part 2e are the introductory accelerando and crescendo culminating in

Motive A, as well as the four consecutive five-note groupings that make up the majority of the

second clause. The first clause consists of the aforementioned accelerando/crescendo, which is

immediately followed by a quick decrease in motion and volume. As a result, the arch-like

structure of this clause functions as an introduction.

27
 Example 9: Score of Part 2e

The second clause features the aforementioned five-note groupings, which seem to

characterize Part 2. In general, this clause, while containing a great amount of silence and taking

up a lot of time, gradually ascends due to its increased dynamic level, marking the whole clause

as an ascending gesture.

The final phrase of Part 2, Part 2f consists of 52 icti in 40 seconds. In addition, Part 2f

features the only exclusive use of brushes in the improvisation. The brushes add a different

timbre as well as new possibilities for sustain. Part 2f begins with fragmentation of the five-note

unit found at the beginning of Part 2c. Motive C appears six times in Part 2f, accounting for 30

of the 52 icti. This marks the most intense event of motivic development and also corresponds to

the end of Part 2. Specifically, Part 2f begins with an introductory gesture that leads to an

ascending gesture, which itself contains a weak cadential gesture. The sustained roll, the longest

sustain in the piece, is a descending gesture, which is immediately followed by a strong cadential

gesture for Part 2f.

28
 Example 10: Score of Part 2f

The end of Part 2f, at 4’45”, is nearly 60 percent of the way through the entire

improvisation, or close to the Golden Mean. Coupled with the intense motivic development and

repetition, and the longest sustained note of the improvisation, Part 2f plays an important

hierarchical and structural role in the improvisation. It seems to indicate that the development of

material is now complete and the improvisation is going to begin winding down. And as we will

soon find out, this is exactly what happens. In regards to the aforementioned hierarchical

structure, Part 2f serves as the cadential gesture for the entirety of Part 2.

Part 3

Part 3 of Composed Improvisation features 33 icti over 3 minutes. This large decrease in

rhythmic activity marks the denouement of the improvisation. In addition, part 3a is the only

event that uses neither sticks nor beaters. I had to create unique icti without using hands. The

twelve icti created feature blowing into the drum, saying “Too” into the drum, grinding my beard

on the drum, and striking the drum with my nose. Even with these new icti, the element of

29
musical gesture is present. The ascending gesture occurs up to, but not including the beard

scrape, which is transitory. The remainder of the material constitutes a descending gesture,

ending with a cadential “Too.”

Example 11: Score of Part 3a

The final event of the piece, Part 3b, consists of 21 icti over 88 seconds, and features the

use of increased texture for the first time in the piece. The increase in texture is heard as a mallet

that is dragged around the drum while other single icti are played. This added sonic element aids

in the cadential aspect of the entire event, although, as seen in the score example, Part 3b is made

up of musical gestures, albeit weak ones. The ascending gesture is comprised of a large-scale

augmentation of Motive C, the five-note unit. However, in this context it is meant to comprise

five unique sonic entrances that are preceded and followed by space. The descending gesture is

comprised of the material that takes place during the textural drag. A final cadential gesture is

heard on the last icti of the piece, a sustained drag across the drum.

30
 Example 12: Score of Part 3b

As evident in the previous analysis of my realization of Cage’s Composed Improvisation,

a hierarchical structure of musical gesture permeates the surface of the music. The idea of limited

gestural scope can be applied on the clausal, phrase, and section-level. As a result, a particular

event can consist of introductory, ascending, descending, and cadential gestures while

functioning, on the larger level, as a descending gesture. As transitory sections merely serve to

link the aforementioned gestures, I have opted to leave transitory functions out of the

hierarchical table.

31
 Table 2: Gestural Hierarchy in Cage’s Composed Improvisation

Internal Event- Event-Level

Part-Level
Event Level Gestural Gestural
Gestural Function
Functions Function
1a Descending,
Introductory
ascending
1b Descending,
Ascending Introductory,
ascending
ascending
1c Ascending, Descending,
cadential cadential
1d Cadential (from 1c) Cadential
2a Ascending,
descending, Ascending
cadential
2b n/a Introductory
2c Ascending,
Ascending,
descending,
descending
cadential
Ascending,
2d n/a Cadential
descending
2e Introductory,
Ascending
ascending
2f Introductory,
ascending,
Descending,
cadential,
cadential
descending,
cadential
3a Ascending,
descending, Ascending
cadential
Cadential
3b Ascending,
descending, Descending
cadential

Table 2 details this gestural hierarchy on the internal event-level, the event-level, and the

part level. The result is a smooth formal structure: introductory, ascending that transitions from

Part1 into Part 2, descending, and cadential.

One might ask what part of this analysis is coincidence, and what part Cage intends.

While the former question is intriguing, it would require further study as well as a comparison of

32
dozens of different sonically-realized versions of Composed Improvisation. However, the present

analysis yields interesting results as to Cage’s intent. Why did Cage choose to notate the piece as

he did, in textual form with no standard notational characters? I argue, and the previous analysis

supports the notion, that Cage found that the most effective way to encompass the idea of

musical gesture in this piece was to notate it as prose. Due to elements of chance, the only way

for Cage to notate the piece with formal elements as well as chance elements was to create a set

of instructions. As Cage said himself in his lectures, he desired to breakdown the structural

element of music, while at the same time maintaining his sense of compositional and musical

purpose. It seems that chance was simply Cage’s method to breakdown the musical structure, but

as evident in the previous analysis of this particular musical realization, Cage maintained a strict

adherence to the compositional process through the use of musical gesture.

33
 CHAPTER 3: The King of Denmark (Solo Percussionist) by Morton Feldman

Morton Feldman’s The King of Denmark was composed in 1964, when Feldman was an active

member of the Fluxus art movement and a downstairs neighbor to John Cage.1 Feldman was a

staunch advocate of visual art, and in his later career, joined the abstract-expressionist art

movement, working closely with Mark Rothko.2 As a member of Fluxus, Feldman composed

works that centered on space and duration, and he often employed aleatoric devices in addition to

pure improvisation. The King of Denmark is an example of a technique referred to as musical

flattening—a process that treats all notes equally on a timbral playing field.3 It features a grid-

like score, with each graphic space or grid corresponding to one unit of time at a metronomic

marking of 66-92 beats per minute. The piece is composed in three distinct timbral places: high,

medium, and low; with corresponding metal and wood sounds. Numbers that appear in each grid

correspond to how many sonic events are to occur in each unit of time and in which register

these sounds are to occur. Feldman employs one compositional restraint, as the performer must

initiate each sonic event with only his or her hands, fingers, or arms (no stick or beater is

allowed). This results in a mono-timbral plane with registral and sonic shifts that follow the

graphic layout of the score.

Feldman’s instructions for the performance of the piece, which are included in Appendix

A, indicate a strong desire to level the sonic playing field, thus rendering the sounds as equal as

possible. In addition to various metal and skin instruments (themselves of various levels of

sustain), Feldman specifically writes for cymbals, gongs, timpani, a triangle, a vibraphone, and a

1
Matthew Sansom, "Imaging Music: Abstract Expressionism and Free Improvisation," Leonardo Music Journal 11
(2001), 29.
2
Amy C. Beal, "Time Canvasses: Morton Feldman and the Painters of the New York School," Music and Modern
Art, ed. James Leggio (New York: Routledge, 2002), 227.
3
Sansom, "Imaging Music: Abstract Expressionism and Free Improvisation", 30.
34
single crotale. All other sounds are left to the discretion of the performer. The piece itself is

notated as a series of numbers found within the various grids. A single number represents the

quantity of icti to be played in that particular grid. Roman numerals represent simultaneous

sounds, and each of the simultaneous sounds are counted as unique icti. For example, the Roman

numeral V will count as five icti, even though the icti occur simultaneously, as a vertical

sonority. The Roman numerals are not to be confused with clusters, which are represented by

thick horizontal lines. Numbers that fill up more than one grid represent single sounds that are

played in any register at any time. Finally, broken lines and ties represent sustained sounds.

Author and musician John Welsh published a study of The King of Denmark in 2008 that

seeks to uncover the secret structure of the composition.4 While this analysis is interesting in its

attempt to show density as the link to form, it falls short in addressing silence as another

parameter that influences the structure. In addition, Welsh’s definition of density ends at the grid

level, while my analysis will seek to go one step further, into the icti-level that is found within

each grid.

It is necessary to explain some decisions made at the point of analysis. First, Feldman

makes frequent use of a tie to an empty grid, as seen between grids 19 and 20. The ties indicate a

sustained sound, which limits the type of instrument to be used. Feldman does not always use a

tie, indicating the presence of a tie as important. As a result, I decided to count the empty grid

following a tie as at least one ictus. For purposes of analysis, and since instrumentation will vary

from realization to realization, I assert that a number such as 7, with a tie, would result in one

ictus in the following grid. While it is plausible that all 7 icti could sustain over, because it is

impossible to say for certain, the presence of a tie results in only one guaranteed icti. I make

4
John Welsh, "The Secret Structure in Morton Feldman's King of Denmark Part 2." Percussive Notes June, (2008),
32.
35
special mention of this procedure because it will lead to a great deal of discrepancy between my

analysis and Welsh’s analysis, and also leads to a plethora of new information about the structure

of the piece.

The second decision relates to how to split up the large numbers found in grids, which as

discussed above, indicate single sounds to be played in all registers at any time. For example,

with the large number 3, it is possible that one performance could feature three high sounds or

three low sounds or two high sounds and one medium sound. In order to take the average, I

assumed that an even split would occur, so I assigned a value of 1 to each of the high, medium,

and low sounds categories. And if these three icti were to occur over two grids, then I simply

divided the value in two. The formula used for this process is Value = (X/Y)/3, where x=notated

number, and y=number of grids.

The final decision relates to the aforementioned large numbers. When these occur on the

score, they take up a certain amount of grid space, although the grid lines are not drawn. I have

drawn in these grid lines in order to understand that they take up that particular unit of time,

while also understanding that they do not constitute a unique grid. This results in the total

number of grids being 414, but will not affect the total number of silent icti, which will be

discussed in much greater detail below. The drawn in lines will not appear on the score

examples, but will appear on the score itself of The King of Denmark, found in Appendix A.

The following analysis seeks to provide a detailed formal structure of The King of

Denmark, which will provide the necessary framework to explain the use of gesture as it relates

to Feldman’s use of graphic notation. In order to develop a macro-level structure, I prepared a

spreadsheet featuring all 414 grids of the composition (see Appendix C: Spreadsheet Data of Icti

by Grid in King of Denmark). In each of these grids I counted the total number of icti and the

36
total number of high, middle, and low sounds that make up the total number of icti. This data

was graphed, yielding Graph 1: Total Number of Icti, Graph 2A: Total Number of High Icti,

Graph 2B: Total Number of Medium Icti, and Graph 2C: Total Number of Low Icti.

Graph 1: Total Number of Icti in The King of Denmark

Graph 2A: Number of High Icti, 2B: Number of Medium Icti, 2C: Number of Low Icti
(X axis=Grid number; Y axis=Number of Icti)

37
 While these graphs are interesting and show a clear progression of density throughout the

piece, they do little to shed light on the micro-level form. As a result, I calculated the mode, sum,

mean, and proportion of each of the aforementioned categories (number of sounds and number of

high, medium, and low sounds).

Table 1: Density Data from The King of Denmark

Total Total number Total Number Total Number

Number of of High of Medium of Low
Sounds Sounds Sounds Sounds
Mode 0 0 0 0
Sum 628 245.33 221.33 161.33
Mean 1.54 .6 .54 .4
Proportion .39 .35 .26

The first item of interest from the table was a mode of zero. While unclear at this point as

to its function, I believe that zero, or silence as it manifests itself sonically, will play a significant

role in the structure of the piece. The second item of interest was the decrease in density from the

densest high sounds to the least dense low sounds. This proportion will be an excellent source of

comparison to micro-level structures. In addition to density, register plays an important role in

King of Denmark. As such, it is necessary to graph the density of register throughout the piece. I

assigned the following values to each grid, the results of which can be seen in Graph 3:

1 = zero icti
2 = at least one ictus in one of the registers
3 = at least one ictus in two of the registers
4 = at least one ictus in all three registers

38
 Graph 3: Registral Density in The King of Denmark

It became clear that there was a large amount of data with little direction. After crunching

numbers and applying algebraic formulae to find the hidden answer, I came to the conclusion

that there was no magical mathematical or statistical equation that holds together The King of

Denmark. Instead, the form is organized in silence, as mentioned above as being an important

parameter in the composition. Feldman makes extensive use of silence, at seemingly random

times. In conjunction with my statistical data, I counted the number of silent grids, 20, and

compared back with the total number of sounds and mean, mode, sum, and proportion. I

discovered that the quantity of silent grids in large structural sections were all multiples of five.

After searching back and forth between the density graphs to the register graph to the silent

grids, I was able to ascertain a tentative macro-level form of the piece, which follows. It should

be noted that shifts in the form will result in an even shift of multiples of five silent grids.

Section 1- 1 to 153 with 45 silent grids

Section 2- 154 to 322 with 50 silent grids
Section 3- 323 to 414 with 30 silent grids

39
 Section 1

Section 1 of The King of Denmark consists of 153 boxes and 237 icti, of which 87 are

high sounds, 86 are medium sounds, and 64 are low sounds. Section 1 contains 35 silent grids.

Based on the placement of these grids, and the motivic development, Section 1 can be split into

three sections, 1a, from 1 to 49, 1b, from 50 to 99, and 1c, from 100 to 153.

Section 1a serves as a general introduction to the piece. It is the first time a majority of

the sounds are heard and sets the tone for the remainder of the composition. Section 1a consists

of 54 icti, of which 27 are high sounds, 16 are medium sounds, and 11 are low sounds (Note: the

relationship between number of icti and number of grids will be represented on all score

examples as X:X; the grayed out sections on score examples refers to material that is not

discussed in that example). The first clause of Section 1a is 20 grids in duration and contains 18

icti, all of which take place in the high register. The large amount of silence in this clause, 8 grids

in all, allows for a longer development of icti. The initial motivic material, coupled with the long

period of silence, allows for the clause to be labeled an introductory gesture. The 1------ in grid 8

that is followed by three silent grids becomes longer with the addition of a single ictus and the

final sustained icti of the clause. The sustained single icti in grid 19 and 20 functions as a type of

half cadence as it partially closes the previous phrase, while anticipating another phrase to

develop the ideas from the first clause and provide a sense of closure.

40
 Example 1: Score of Section 1a

The second clause of Section 1a features a much denser texture with 30 icti occurring

over 15 grids. In addition to this increase in density, the register shifts from high sounds to

predominantly medium sounds. The lack of ties in this clause indicates a move from sustained

sounds or metals to the drier skin sounds. This clause also features the high point of the entire

section, grids 30 and 31, each of which contains seven icti in all three registers. A tension-

building silent grid immediately follows this high point, which in turn is expectantly resolved

with a single ictus in the low register. The density of this clause, coupled with the shift in

register, allows me to label it an ascending gesture.

The third and final clause of Section 1a consists of only six icti over fourteen grids. This

sudden change in density also features a minor shift in register to low and medium sounds. The

clause features the reverse of the additive process described above. The 1--- in grid 36 that lasts

for three grids leads to an R--- that lasts for only two grids, which is followed by five silent grids,

marking the end of the entire section and providing a sense of balance, hence constituting a

cadential gesture.

41
 Section 1b consists of grids 50 to 153 and can be broken up into two clauses, the first

from grids 50 to 99 and the second from grids 100 to 153. Section 1b features an increase in

density and a decrease in silent grids. There are 25 silent grids in Part 1b, as compared to the 20

found in Section 1a, but Section 1b is twice as long in duration as 1a. The increase in density can

be seen in the average number of icti per grid. Section 1a has a 1.1 average, while 1b has a 1.76

average. This increase further strengthens the claim that 1a functions as an introduction to the

piece. Section 1a, being less dense, features less development of motivic material, which is

another reason for it being an introduction.

Section 1b commences with an introductory gesture for 11 grids, which consists of 20 icti

and three silent grids. The introductory gesture is seen most clearly during icti 6 to 8, where 5

high, 4 medium, and 2 low sounds are sustained over two silent grids. This extra space creates a

sense of anticipation for the silence to be resolved. The resolution occurs in the form of an

ascending gesture for 12 grids, which consist of 34 icti. There are no silent grids in this gesture,

and the predominant register is medium, following a similar pattern found in the first ascending

gesture in Section 1a. The first Roman numeral motive appears during this clause, representing

the first moment in the piece where vertical sonorities are heard. What follows is a unique phrase

in the piece. I have labeled grids 72 (just the pickup in the low gong) to 83 as an interruption.

Feldman, for the first time, indicates exactly what type of instrument is to sound. Feldman’s

choices of gongs for the interruption creates an entire phrase that is one long sustain. Sonically,

there is no way to stop the resonance from all of the gongs, thus ensuring a consistent wall of

sound.

42
 Example 2: Score of Clause 1 of Section 1b

The next phrase marks another ascending gesture that features 35 icti over 15 grids. In

conjunction with the previous interruption, I believe that this gesture is merely a continuation of

the first ascending gesture of Section 1b rather than a new ascending gesture. The continuation,

as in the first ascending gesture, features an increase in density, as well as the presentation of a

new motive. The new motive is the cluster, seen in grid 84, which represents a quick succession

of an indeterminate amount of icti (as such, a cluster itself counts as only one distinct icti). The

continuation of the ascending gesture features a balanced organization, similar to that seen in

Section 1a. The opening cluster, the first icti of the phrase, is ascending in register while the final

icti, also a cluster, is descending in register. It would be easy to call this latter part of the

continuation a descending gesture; however, I find this misleading because the overall function

of the phrase is of an ascending gesture, due to the descending gesture being part of an ictus (in

this case, a cluster) rather than a phrase, thus weakening its overall appeal as a descending

gesture.

43
 Grid 100 marks the beginning of Section 1c. This clause opens with an introductory

gesture that features a nine-grid fragmentation of motives from the opening introductory gesture

of Section 1a. The remainder of the introductory gesture features a synthesis of motives from

Section 1a and Section 1b, as well as an increased number of silent grids. Out of 25 grids, twelve

of them, or nearly half, are silent. The main build up of tension is felt in grid 121, when two icti

that follow nine icti lead to two silent grids. The nine icti in grid 119 mark the densest grid of the

piece to this point.

Example 3: Score of Section 1c

The tension created at the end of the introductory gesture is relieved starting on the

sustained roll in grid 124. What follows is a long descending gesture that features 47 icti over 30

grids, culminating in three silent grids (bringing the total to 45) that mark the end of Section 1.

While the descending gesture does not feature any new motives, it does feature the first use of

notated instruments (the gongs used in 1b was a suggested sound for an extended number of icti;

in this case, however, Feldman actually notates that a high triangle is to be played in one icti).

Feldman calls for a triangle hit and timpani roll in grids 129 and 130 respectively. It is interesting

44
to note that these two instruments represent two of the extremes in register in the percussion

repertoire; the triangle is one of the highest registral sounds, while the timpani is one of the

lowest registral sounds. Similar to the first descending gesture found at the end of Section 1a,

this descending gesture features a plethora of resonant icti. As previously mentioned, a notated

sustained ictus creates an extra amount of silence, which, in conjunction with the increase in

silent grids, aids in the overall perception of a descending gesture. It should be noted that this

descent is not cadential in nature, although an argument could be made for the final three silent

grids as being a cadential gesture within the overarching descending gesture. This limited

gestural strength indicates that a weak cadential gesture exists within the larger, more functional

framework of 1c as a descending gesture.

Section 2

Section 2 consists of 169 grids totaling 253 icti, of which 50 grids are silent. The icti can

be broken up into 102.3 high sounds, 92.3 medium sounds, and 58.3 low sounds. Section 2

features a prominent amount of motivic development and repetition. The section itself is broken

up into two large clauses, grids 154 to 230 and grids 231 to 322.

Section 2a, grids 154 to 230, consists of 117 icti over 77 grids with 25 silent grids.

Section 2a begins with an introductory gesture from grid 154 to 165. The opening vertical

sonority heard in grid 154 pulls on previous material from the end of Section 1. What follows are

two high resonant icti, each of which are followed by silent grids. These icti represent the highest

register thus far in the piece. The register, coupled with the surrounding silence, creates a great

deal of tension, thus defending the label of an introductory gesture. The tension is quickly

dispelled with the onset of an ascending gesture in grid 166. The ascent takes a long time to

45
develop, in part due to the vertical interjection in grid 172. The gesture continues to ascend even

after the third high register strike in grid 188, which creates even more tension as it is followed

by more silence.

Example 4: Score of Section 2a

The second part of this phrase is merely a figurative repeat of the first, thus enabling me

to label the entire section as one long ascending gesture. The two vertical sonorities in grid 199

refer to the opening icti of the phrase, while the two sustained rolls, one of which is 6 grids long,

creates a great amount of tension. The tension is dispelled with a 10-icti motive, virtually

identical to the one found in grid 166. After a brief interruption on skin instruments (specifically

notated by Feldman, which reminds one of the gong interruption in Section 1), the ascent

continues with another near identical repeat. The 14-icti motive that finishes Section 2a are

similar to the 14-icti motive found in grid 179.

The smooth and balanced form created by this motivic repetition allows me to label the

first half A, and the second half A1. The commonalities found between A and A1 help allow for

all of Section 2a to be labeled a long ascending gesture. The 25 silent grids, a strong multiple of

46
five, also strengthen this case. In addition, as seen in previous ascending gestures, new motives

have only appeared in ascending gestures. In Section 2a, there is one additional added motive,

that of the large numeral 5 that occurs over 4 grids (starting in grid 172). As briefly explained

earlier, the large numerals indicate icti to played in any register at any time over the course of the

grid space the numeral takes up. In this case, five icti are to be played over four grids in any

register at any time.

Section 2b, beginning in grid 231, proves to be more difficult to analyze. The opening

gesture of Section 2b is neither introductory nor ascending nor descending nor cadential and

marks the most specific instrumental control Feldman has employed throughout the piece. Every

single icti is specified. As a result, the phrase has a very static musical feel to it, one that fails to

move anywhere at all. I have labeled this type of gesture a static gesture. The remainder of

Section 2b constitutes a long descending gesture, almost mirroring the long ascent found in

Section 2a.

The descending gesture begins with an interruption on the cymbals (similar to the

aforementioned interruption on gongs in Section 1 and skins in Section 2a), marking a smooth

transition from the static gesture of sustained sounds into the descending gesture. What follows,

is a gradual decrease in texture and an increase in silent grids. In addition, this phrase of Section

2b features the most extreme of registers. There are numerous icti notated above the highest

register line as in grid 269, and below the lowest register line as in grid 287. The motivic content

of the descending gesture is a mix of specifically notated instruments, such as those found in the

static gesture, and single grid icti groupings, such as those found in Section 2a. The fight

between notated and non-notated icti continues to the final two icti of Section 2, each of which

occur on the triangle and are followed by silent grids. These measures are a direct reference back

47
to the introductory gesture at the beginning of Section 2, which presented two very high,

sustained sounds that are also followed by silent grids. The overall arch-like structure to Section

2 further strengthens the argument for Section 2a to function as an ascending gesture, and for

Section 2b to function as a descending gesture.

Example 5: Score of Section 2b

Of great importance in the descending gesture is the prominence of sustainable icti. Upon

closer examination of the icti in Section 2a and the icti in Section 2b, one immediately notices a

much greater amount of ties and sustained icti in Section 2b. One might expect this increase in

sustained sounds to be followed by an increase in silent grids to balance the amount of sound, but

this is not the case. There are 25 silent grids in Section 2a and 25 silent grids in Section 2b.

However, if you were to remove the static gesture found at the beginning of Section 2b, the

density of the section reveals interesting results. While Section 2a consists of 117 icti in 77 grids,

Section 2b (after the static gesture) consists of 83 icti in 69 grids. This difference in .32 icti per

grid (Section 2a has and average of 1.52 icti per grid and Section 2a has an average of 1.2 icti per

grid) further supports the notion of Section 2b being a long descending gesture.

48
 Section 3

Section 3 of The King of Denmark consists of 138 icti in 85 grids, of which 56 are high

sounds, 43 are medium sounds, and 39 are low sounds. There are 30 silent grids. Based on

motivic material and placement of silent grids, Section 3 can be broken up into two distinct

clauses. The first clause is from grid 323 to 368 and the second clause is from grid 369 to 414.

Section 3a is an interesting moment in the composition. Overall, it consists of 91 icti over

46 grids, or a near 2 to 1 relationship. This density might refer back to the various ascending

gestures found throughout the piece. However, upon closer examination, the clause is made up of

motivic fragments from various gestures in Section 1 and Section 2.

The first fragment (323 to 337) consists of 41 icti over 15 grids. This near 3 to 1 ratio is

one of the densest moments in the composition. The only other place with a density level this

high is the ascending gesture found in Section 1b with 34 icti over 12 grids. In addition to being

very dense, the icti are mainly dry sounds, similar to that found in Section 1b. Going one step

further, the dry sounds in this fragment are interrupted by resonant sounds twice, a clear

reference to the interruption that occurs after the ascending gesture in Section 1b, which in turn

leads to a continuation of that same ascending gesture. In the end, the dry sounds lose out to the

resonant sounds, and the next motivic fragment begins.

This second fragment consists only of clusters, which are resonant sounds. The five

clusters in this phrase follow a registral rise and fall before leading into the next fragment. This

fragment of clusters refers back to the end of Section 1. The descending gesture in Section 1c

contains five such clusters that appear towards the end of the gesture and help slow down the

motion.

49
 Example 6: Score of Section 3a

The third fragment is a reference to the static gesture found at the beginning of Section

2b. Section 2b is the most specifically notated phrase of the piece in regards to instrumentation.

The final fragment consists of two high resonant icti over 10 grids, 6 of which are silent. The

high resonant quality followed by silence refers back to the final two icti of Section 2. These

two triangle sounds, found in Section 2b, are the final icti of a long descending gesture that ends

all of Section 2 and transitions into Section 3. The fragment functions similarly as the two icti

followed by silent grids help to dispel some of the tension from the previous fragments, and

leads into the second clause of Section 3.

Section 3b consists of 41+x icti in 46 grids, 20 of which are silent. The 41+x refers to

grid 392, which instructs the performer to play as many different sounds as possible over the

course of 5 grids. As every realization of The King of Denmark will be different, this moment

proves difficult to analyze. I chose to represent the number of icti as x, as it is possible that one

performance will consist of 100 icti and another of 40 (there is no limit).

50
 Example 7: Score of Section 3b

Regardless of how to interpret these grids, the ratio of icti to grids is almost 1 to 1, which

is similar to Section 1a. In fact, there are more similarities between these two clauses. Not only

are the ratios about the same (41+x: 46 and 54:49), the length of the clauses is almost the same.

In addition, each clause contains 20 silent grids. The final two icti of Section 3 are two resonant

icti, one a four-note cluster on the vibraphone and the other a single icti on a crotale, both of

which are surrounded by silent grids. This is similar to the final two sustained icti found at the

end of Section 1a, which are also surrounded by silent grids. This balanced structural

organization allows me to label Section 3b as a long cadential gesture, effectively a retrograde of

the introductory gesture at the beginning of the piece.

As discussed in detail in the chapter analyzing Cage’s Composed Improvisation, a

gestural hierarchy can manifest itself through limited gestural strength. Table 2: Gestural

Hierarchy in The King of Denmark shows three different levels of gestures. The first column

shows internal gestures at the clausal level, the second column shows external gestures at the

clausal level, and the third column shows gestural function at the section level.

51
 Table 2: Gestural Hierarchy in The King of Denmark

Internal Clause-level External clause-level Section-level

Section
gestural functions gestural functions gestural functions
1a Introductory, ascending,
cadential Introductory
Introductory,
1b Introductory, ascending
Ascending ascending
1c Introductory, descending
Descending
2a Introductory, ascending
Ascending
Ascending,
2b Static, descending descending
Descending
3a Ascending, descending,
static, cadential n/a
Cadential
3b Cadential
Cadential

As seen in the table, Section 1a of The King of Denmark functions as a strong

introductory gesture, even though it is made up of an introductory gesture, an ascending gesture,

and a cadential gesture. The same can be said about Sections 1b, 1c, 2a, 2b, and 3a. Each of these

sections contains numerous gestures of limited strength within a larger gestural function. The

exception to this is Section 3b, in which an internal cadential gesture functions externally as a

larger cadential gesture. The result is a smooth structural organization, where an introductory

gesture leads to an ascending gesture that contains the bulk of motivic material, which in turn

leads to the denouement that characterizes a descending gesture, ending with a cadential gesture.

The next question centers on Feldman’s choice of graphic notation for The King of

Denmark. Why did he choose to notate it the way he did, with numbers instead of standard note

heads? I believe, and the current analysis supports the premise, that Feldman desired to create a

52
previously unattained soundscape. He desired an equal-timbral sonic field, or one that features

musical flattening. Feldman creates this flattened sonic environment by controlling the mood and

tone of the composition. This control is reminiscent of the influence visual art played on

Feldman’s development as a composer. While Feldman did study under Cage and was a

prominent member of Fluxus, he worked more with members of the later Abstract-Expressionist

movement. Specifically, Feldman worked with painter Mark Rothko, who embodied a spirit of

visual flattening. In relation to this, it is plausible that Feldman’s notation in The King of

Denmark fits the notion of musical flattening on two levels. First, the visual representation of a

grid-like score lends itself to a two-dimensional reading. All scores are, of course, two-

dimensional. In The King of Denmark, Feldman creates a visually flat score, essentially numbers

on graph paper, which mimics the sonic environment he desires to create. Second, Feldman’s

choice and style of graphic notation lends itself to a clear interpretation of musical gesture, from

a completely linear perspective. As just mentioned, the score is two-dimensional, but what is

unique is how the grid-like notation style allows musical gestures to pop out of the score, which

in turn creates a new sense of depth.

This new sense of depth allows Feldman to create a soundscape that features extreme

registral shifts, a diversity of texture, and an amorphous style of density that flows throughout

the composition. Feldman used graphic notation to convey this to the performer. If he did not, I

believe the piece would exhibit musical flattening of a different variety, or one where not only

the sounds are mono-timbral, but the motivic material is as well. Instead, through graphic

notation, Feldman is able to create a new compositional possibility that allows for musical

flattening of sounds that coexist with rich motivic development. In a sense, it seems as if

53
Feldman has created a three-dimensional motivic world, through musical gesture, within a two-

dimensional sonic world.

54
 CHAPTER 4: ¿Corporel, for a percussion player and his body, by Vinko Globokar

¿Corporel by Vinko Globokar was composed in 1985. Globokar is known as an avant-garde

trombonist, having premiered works by Luciano Berio and Karlheinz Stockhausen, both of with

whom he later studied composition.1 As a composer, Globokar has roots in jazz, especially in

free improvisation. The element of free improvisation found its way into his music by means of

aleatoric devices. In addition, Globokar combines aspects of the physical with elements of the

musical, creating unique soundscapes that are reminiscent of musical theatre.2 This aspect of

theatre leads to the use of speech in many of Globokar’s compositions. ¿Corporel is an example

of all of the aforementioned qualities; it features a unique musical soundscape that mixes vocal

and body sounds with specific physical and theatrical movements.

Globokar composed ¿Corporel as a response against what he called Badabum, a subject

he takes up directly in a 1992 essay entitled Anti-Badabum.3 This essay rails against what

Globokar called the latest trend in percussion writing, or a method of composing that results in

one instrument creating one sound. If a composer wanted another sound, then he or she needed to

write for another instrument.4 As evident in the essay, this compositional approach greatly

angered Globokar, and he argued that each instrument was capable of producing numerous

sounds even if these sounds were against the nature of the instrument. ¿Corporel takes up this

issue by limiting the soundscape to only sounds that the body and voice can produce. As a result,

Globokar reduces the performer to his or her most naked form; both literally and figuratively as

the performer should be naked or wearing a pair of canvas shorts.

1
Niall O'Loughlin, "Vinko Globokar," Grove Music Online ed. Deane Root (2009). Accessed 28 January 2010
<http://www.oxfordmusiconline.com.www2.lib.ku.edu:2048/subscriber/article/grove/music/11283>.
2
Ibid.
3
Vinko Globokar, "Anti-Badabum," Percussive Notes, October (1992), 77.
4
Ibid, 77.
55
 The resultant soundscape features a variety of innovative techniques for the body and

voice, part of which help create the shocking quality that many audience members experience

during a performance of ¿Corporel. The sounds can be grouped into two main categories, sounds

created from the voice and sounds created from the body. Globokar scores for guttural vocal

sounds, consonant syllables, and a range of extended vocal techniques. The vocal sounds called

for in ¿Corporel can be seen in the following table.

Table 1: Vocal sounds found in ¿Corporel (in order of appearance)

Consonant
Breathing Sounds
Sounds Miscellaneous
(said while Extended Sounds
(produced while Sounds
breathing)
inhaling)
H T Kiss Teeth chatter
F P Cluck tongue Hum
(low)
S K Tongue drawn Snore
back on palate
(high)
Sch (pronounced G Say ts while Scream ‘AH’
shh) inhaling
R (rolled r) D Sudden open Recite passage
throat inhale

The percussive sounds called for in ¿Corporel can be broken down into two main

categories, one for struck icti with fingers and one for icti slides produced with the palm of the

hand. These sounds can be seen in the following table.

56
 Table 2: Percussive sounds found in ¿Corporel

Strike Sounds Slide Sounds Miscellaneous Sounds

Soft body icti Groping with hands over body Clap

Bony body icti Rubbing with hands over the Snap
body (fast and slow)

The following sounds take place all over the body and are either fleshy or bony

depending upon Globokar’s instructions.

Table 3: Body sounds found in ¿Corporel

Body parts (from high to low)

Skull
Head
Forehead
Face
Chin
Neck
Chest
Stomach
Abdomen
Leg
Thigh
Shin
Foot

As seen in the above list, some body parts such as the skull (bony) or stomach (fleshy)

create sounds based on anatomy. However, for some other body parts, the performer must get

creative in order to create both fleshy and bony sounds. For example, Globokar calls for fleshy

and bony sounds on the face. This could result in use of cheeks for fleshy sounds or use of the

cheekbones for bony sounds. It could also result in the use of lips for fleshy sounds and the

57
bridge of the nose for bony sounds. Regardless, these decisions are left up to the performer as

long as a clear sonic distinction can be heard between fleshy and bony sounds.

The creation of the aforementioned sounds requires one element not discussed in the

previous two chapters: the element of physical gesture. Globokar details specific instructions for

how sounds are to be created in addition to detailing numerous generalities about how the body

is to be positioned as the piece progresses. This attention to physical detail will allow the

following analysis of ¿Corporel to focus not only on musical gestures obtained through the use

of graphic notation, but also focus on the synthesis of musical and physical gestures.

¿Corporel is composed as a series of six sections that are separated by fermatas. The

overall macro-level form is not extremely important in addressing the issue of gesture, as each

phrase contains clear motivic development. Each section is separated by one fermata, one

transition section, and a second final fermata that leads to the next section.

Section 1

For purposes of analysis, the circled numbers on the score (provided by Globokar to

correspond to the key of instructions) will be referred to as formal markers. As such, Section 1

begins at circle 2 and ends at the fermata that follows the teeth chattering at circle 5. As indicated

on the instructions, score space with hand slides are represented as one centimeter per unit of

time, which is defined as one second. Following this formula, there are 60 centimeters in this

phrase, resulting in one minute. The 60-second phrase can be split into a two clauses, each of

which contains musical and physical gestures.

Clause 1 is 30 seconds long and contains three phrases of sound and two phrases of

silence. The first phrase is five seconds long and features the consonant “H” spoken first with a

58
closed mouth and then gradually leading to an open mouth. This process is mirrored by the

physical motion, which calls for hands to slide over the face, first from a covered position and

then gradually moving to an uncovered position. The second phrase begins with an open “H”

sound that closes, opens, closes, and opens again. This process is mimicked again in the physical

movements of the hands on the face. 6 seconds of silence are followed by phrase 3, which is 4

seconds long and features an open “H” sound that closes, opens, and closes again, similar to the

physical motion.

Example 1: Score of Section 1 from ¿Corporel

As seen in Clause 1, parallel motion seems to occur between the musical and physical

gestures. The notion of physical motion paralleling vocal sounds results in what I label a

concurrent gesture, where the physical gesture works concurrently with the musical gesture.

Concurrent gestures can be introductory, ascending, descending, or cadential, depending on the

function of the overall phrase. As such, Clause 1 consists of a clear introductory gesture that is

59
followed by an ascending and descending gesture, ending ultimately with a cadential gesture (the

cadential gesture consists of a closed “H” sound and the hands covering the face).

Clause 2 acts in much the same way as Clause 1 with the addition of struck icti on bony

parts of the skull and face. Additional sounds are also introduced, such as “F,” “S,” “SCH,” and

“R.” Clause 2 is also 30 seconds long and consists of two phrases and two moments of silence.

The first phrase occurs after a 5 second moment of silence. This phrase is 15 seconds long and

features an increase in activity that can be divided into two repeated ideas. Vocally, the syllables

“F” and “S” are pronounced with varying degrees of openness. Physically, hands are groping and

sliding over the face in a more intense fashion, creating a sense of tension. It is interesting to note

that the struck icti take the place of the hand movements from Clause 1 in that they correspond to

the open and closed sounds of the syllables. Thus, the concurrent gesture in Clause 2 is between

the vocal syllables and the struck bony icti. The rhythmic unit that comprises the struck bony icti

is an extremely important motive that will develop in each section throughout the piece. The

hand slides gradually move from the neck to the face and finally to the skull. The independent

nature of the hand slides allows me to label it an independent physical gesture as the slides do

not follow the vocal part or vice versa. Overall, this phrase functions as an ascending gesture that

itself contains a concurrent ascending gesture and an independent physical gesture.

A two-second moment of silence is followed by fragmentation of material from the

previous phrase (the “F” to the “SCH”). Two, struck icti then appear as the only sounds in the

piece thus far that occur by themselves. This important sonic moment is followed a retrograde of

the introductory gesture in Clause 1, with a rolled “R” closing as the hands cover the face. A

fermata freezes this position, completing Section 1. This end of phrase, aided in the balance

between it and the introductory gesture, allow it to be labeled a concurrent cadential gesture. The

60
transitory phrase for Section 1 consists of chattering or clicking of the teeth, which is followed

by a second smaller fermata. The fermata is interesting to examine, as the score is entirely hand

drawn. It will become apparent as the piece progresses that large fermatas are placed at the ends

of major phrases, while smaller fermatas are placed at the ends of transitions between the larger

phrases. Overall, Section 1 functions as a concurrent introductory gesture, as musical gestures

and physical gestures work simultaneously while motivic material is presented for the first time.

Section 2

Section 2 of ¿Corporel introduces percussive use of the consonants “T,” “P,” “K,” “D,”

and “G,” which are all pronounced while inhaling. In general Section 2 consists of strict meters

that are interrupted by hand slides in similar delineated time to that found in Section 1. This

creates an effective transition of motivic material from Section 1 into Section 2 as the hand slides

eventually lose out to the new percussive consonant sounds. It should be noted that the struck

bony icti remain, although they shift throughout the section from bony to fleshy. Section 2 can be

broken up into 5 clauses and one transition (circle 6 to circle 9). Each of the clauses increases in

intensity and tempo until the 5th clause, which does not contain any hand slides.

Each of the clauses increases in tempo by eight quarter notes per minute, starting at 44

and ending at 76. The first four clauses feature a similar layout. The consonants are spoken in

fragmented units of the rhythmic motive, which work contrary to the struck bony icti. Hand

slides interrupt the motion before transitioning to the next clause, which is 8 beats faster. This

process is repeated until the 5th clause, which finally breaks free of the hand slide interruptions.

The 5th clause is 8 measures of 3/4 time at a quarter note equaling 76 beats per minute. The vocal

sounds repeat the rhythmic motive at the beginning of every measure (3 beat pattern), resulting

61
in 7 times through the motive (the last measure is partial). The physical struck icti follow its own

pattern (4 beat pattern), resulting in 5.5 times through the pattern. The physical pattern also

features a movement from the chest, shifting to the stomach by the end of the phrase.

Example 2: Score of Section 2 from ¿Corporel

The most unique aspect of Section 2 is not the micro-level material, although it is

interesting to discover the pattern of syllables being used by Globokar. If you were to take a step

back from the page, you would notice a clear and gradual development of motivic ideas

throughout this section, from the elongation of the vocal rhythmic motive, to the additive process

used to develop the rhythmic cell that makes up the struck fleshy motive in Clause 5. There are

no concurrent moments in this section, as the musical and physical gestures seem to develop. As

a result of the musical gestures and physical gestures developing without reference to each other,

62
I have labeled this a long-developing independent gesture. Circle 9 represents the transition from

the end of Section 2 into the beginning of Section 3. This transition consists of an alternation of

snaps and claps that follow the original rhythmic motive. I have decided to label the whole of

Section 2 as an independent ascending gesture, as the vocal and physical sounds do not occur

simultaneously and each of the phrases builds in motivic development until reaching the climax

in Clause 5.

Section 3

Section 3 (circle 10 to circle 14) features a denser landscape, both musically and

physically. The tempo increases greatly, from 76 at the end of Section 2, to the vivo marked at

the beginning of Section 3. It can be broken down into clauses consisting of rhythmic material

interrupted by ametric hand glides. In contrast to Section 2, Section 3 consists of a greater

musical and physical texture as represented by the string of vocal syllables that does not stop the

entire section. The structure of Section 3 is determined by the Fibonacci sequence, which can be

seen in the following table.

Table 4: Fibonacci series found in Section 3 of ¿Corporel

Metered length Non-metered

Fibonacci series
(in beats) length(in seconds)
13 -- 1
8 1 2
5 2 3
3 3 5
2 5 8
1 8 13

63
 This structural organization creates a strong symmetric and balanced feel to the section.

In addition, new motives are introduced in the form of the extended vocal techniques described

in Table 1. These five sounds are the kiss, clucked tongue, drawn-back tongue, sound of

disapproval, and open-mouthed gasp. Musically, the rhythmic motive from Section 1 and Section

2 continues to be developed. In Section 3, this motive appears in both hands, the first time that

both the right and left hand play different ideas at the same time. In addition, a new textural line

of rolled “R’s” is added above the rhythmic motive, of which an alternation between open and

closed mouth sounds are to be ad-libbed. In subsequent clauses, in order of the Fibonacci series,

syllables are added to the rolled “R” as follows: “R,” “F,” “SCH,” “H,” and “S,” ending

ultimately on a one beat utterance of “SCHRFSH.” As each of these rhythmic motives progress,

they become shorter and shorter as the interruption on the extended vocal sounds becomes

longer. The kiss, the first extended vocal sound, is one second long and occurs concurrently with

an intense rubbing of the hands over the head and chest. This process continues with each new

extended vocal sound (duration increases according to Fibonacci), at which time the rubbing of

hands increases in intensity as the hands move from the head to the chest to the abdomen to the

leg.

The balanced structure to this section creates difficulty in labeling it as a type of gesture

on a macro level. On a micro level, however, different breakdowns can be made. The

interruptions that increase in duration collectively represent a concurrent ascending gesture as the

physical hand slides correspond to the different extended vocal sounds. In contrast, the rhythmic

material with ad-libbed vocal syllables represents a descending gesture as they diminish in length

and intensity at each sequence of the Fibonacci series. The argument is made that each of the

lines, the rhythmic line and the vocal line, are independent gestures (the former musical and the

64
latter physical). These lines do not seem to be working with each other, although they work at

the same time. This results in a kind of gestural counterpoint. In the confines of Section 3 of

¿Corporel, we find a resemblance to first species counterpoint, note against note, except in this

case it is gesture against gesture. On one level it appears as if the two aforementioned lines are

completely unique and independent on one another. However, after closer examination, we find

that while the lines are independent, and thus function on their own, they both contribute equally

to the macro-level gestural function of Section 3, an ascending gesture.

Example 3: Score of Section 3 from ¿Corporel

The transition (circle 14) is an interesting addendum as it is a hummed melody that is

roughly notated. I use the word roughly because there is no clef provided on the staff, although

there is a clear pitch differential. Why did Globokar choose to include this transition here and

65
why is it notated this way? The first question proves easier to answer as, up to this point, each

transition consists of new sound or physical icti. In Section 1, the teeth chattered while in Section

2, the hands alternated between claps and snaps. Thus, the presence of a transition of humming is

not out of character for the composition. The notational style proves to be much more difficult to

analyze. I believe that in conjunction with the notation of hand glides over the body, Globokar

notates this way to maintain contour, but still allow freedom for the performer, such as glissing

between the notated pitches. The hand glides are all drawn as gradual shifts among different

body parts, as seen in the introductory gesture of Section 1. Using Globokar’s graphic notation as

a guide, it is possible to understand where he wants the performer to begin (in this case hands

covering the face) and end (in this case hands not covering the face). However, Globokar does

not choose to control the physical movements that take place in between. I would compare this

style to reading a jazz chart, as the chord progression is provided along with the head and

possible hits. However, the specifics of what the musician plays is not present; instead, similar to

the Cage instructions, a map is supplied in order to complete a sonic realization. This concept

greatly contributes to the aleatoric elements found in ¿Corporel.

Section 4

Section 4 (circle 15 to Circle 20) of ¿Corporel is a gradual subtraction of musical and

physical material until the performer literally falls asleep on stage and snores (circle 20). The

subtraction of material parallels a rise in physical motion from the legs back to the face. As such,

the entire section has a diminishing quality to it. The rhythmic motive generated from Section 3

loses one note starting the 5th measure from the outside in (the first note disappears first then the

last and so forth). The physical motions of the hands fit inside the gaps of the rhythmic passage.

66
This creates a continuous wall of sound that lasts until the 5th measure, where the subtractive

process begins. The vocal material provides the consonants in retrograde from their original

order, which was “T,” “P,” “K,” “D,” “G.” The other vocal sounds are the open to closed mouth

syllables, which each appear once. One other notable characteristic of this section is Globokar’s

instructions for the performer to gradually lie down as the section progresses. This ultimately

leads to the performer sleeping and snoring on stage.

Example 4: Score of Section 4 from ¿Corporel

The overall texture of Section 4 lightens, especially in relation to the very dense Section 3

that featured, at times, three voices moving at once. The linear dominance of Section 4, the lying

67
down of the body, and the subtractive rhythmic process allows me to call it a long, independent

descending gesture. There are no concurrent moments between the voice and the body in Section

4, with the exception of the last icti, causing me to label it a cadential gesture.

Section 5

Section 5 (circle 23 to circle 25) of ¿Corporel literally begins with a primal scream and

does not let up from there. The structure of Section 5 is different from the previous sections in

that the transitional fermata begins the section rather than ends it. Regardless, the loud yell of the

open mouthed word “AH” leads directly into a phrase of immense density and motivic

development.

Rhythmically, Section 5 consists of one long hocket, where musical and physical

elements combine to form one meta-line. The first seven measures contain fast hand glides, a

direct reference to Section 4. However, in similar fashion to Section 4, the hand glides disappear,

giving way to the interplay between the vocal syllables and the struck icti. The vocal syllables

alternate with extended vocal sounds, creating an ametric pattern that repeats 4 times before

ending abruptly part way through the fifth repeat. The order for the vocal syllables and the

extended vocal sounds is the same order that they appear in the instructions as well as the order

the first time they appear in the score. Of particular interest is the development of the struck icti,

which start as bony icti, but gradually incorporate fleshy icti as well. In contrast to previous

sections, the two sounds work together. This creates another two-hand texture, reminiscent of

that found in Section 3. The movement of these icti is one of static motion for the bony icti and

perpetual motion for the fleshy icti. The bony icti stays on the head the entire section, while the

fleshy icti starts on the leg and works up the body until joining the bony icti on the final two icti

68
of the section. Curiously, these two icti are two extra icti, if one were to continue the pattern,

which ends abruptly creating a great deal of tension.

Example 5: Score of Section 5 from ¿Corporel

As the musical and physical gestures are of increasing density and activity, Section 5 as a

whole represents an ascending gesture. While the musical and physical gestures are not working

concurrently with each other, they also are not independent of one another, causing me to label

the section as an ascending gesture in hocket.

Section 6

Section 6 (circle 26 to circle 32) is the final section of the piece and contains many

deviations from the other sections. The section starts with the most jarring moment of the

composition, spoken text with cohesive grammar. The text follows:

I recently read this remark: The history of mankind is a long succession of synonyms for
the same word. It is a duty to disprove this.

In a piece of guttural utterances nonsense syllables, a moment of grammatical clarity stands out

as a special event.

69
 Following the speech, the guttural sounds return, marking a phrase of great tension and

intensity. The extended vocal sounds occur one by one for extended lengths of time. The kiss

rallentandos, while the cluck accelerandos and rallentandos. The drawn back tongue stays

regular, the “TS” sound is irregular, and gasps are as dense as possible. These vocal sounds take

place over a constant sound of hand glides rubbing and scratching all over the head as fast as

possible until an abrupt end to the phrase. The result is an immense build up of tension that is

only enhanced by what follows. Instead of dispelling the tension, Globokar instead opts for more

of it by asking the performer to hold his or her arms up, stretch and yawn loudly before reaching

the penultimate fermata.

Example 6: Score of Section 6 from ¿Corporel

70
 At this point, there is a great deal of uncertainty and uneasiness, as the tension needs to

be released. This extra build up of tension is finally released in the most violent phrase of the

piece (circle 30). In this phrase, Globokar asks the performer to beat up himself or herself on

stage. Rhythmically, the struck body icti follow a similar subtractive process akin to Section 4. In

this case, the outside in process refers to rhythmic values at the beginning and end of the

measure. Each repetition results in a new value being subtracted from the original from the

beginning or end of the measure until finally reaching one final note. This entire last phrase is

without vocal sounds, with the exception of the final icti, which strikes the stomach while the

performer yells “AH”.

This crashing finale to the piece represents a strong cadential gesture, although other

micro-level gestures appear. The extended vocal sounds that are followed by the yawn represent

an ascending gesture with independent musical and physical lines. The violent phrase represents

a cadential gesture within the scope of Section 6 as one long cadential gesture.

As in previous chapters of this thesis, a hierarchy exists among the different gestures in

¿Corporel. This hierarchy can be seen in the following table.

71
 Table 5: Gestural Hierarchy in ¿Corporel

Musical Physical Section-Level Macro-level

Section Gestural Gestural Gestural Gestural
Function Function Function Function
Introductory,
ascending, Concurrent, Concurrent
1 Introductory
descending, independent introductory
cadential
Independent
2 Ascending Independent
ascending
Ascending
Ascending,
3 Independent
descending
Introductory,
Independent
4 descending, Independent Descending
descending
cadential
Introductory, Ascending in
5 n/a
ascending hocket
Cadential
Ascending, Independent
6 Independent
cadential Cadential

As seen in the table, a section of the piece can function as an introductory, ascending,

descending, or cadential gesture while at the same time functioning as a different physical

gesture. This can be seen in Section 1, where a series of musical gestures that function as a

macro-level musical gesture, occurs alongside a concurrent physical gesture (the concurrent

gesture aids in the overall section being labeled as introductory). This is important to note, as it

emphasizes the importance of the synthesis of musical and physical gestures. Apart, each section

can function as different musical and physical gestures; however, together the overall function of

the sections becomes more clearly defined.

The next question: why did Globokar decide to notate ¿Corporel graphically? It is true

that there is a greater amount of standard notation in ¿Corporel as compared to the previous

examples by Cage and Feldman (this can be seen in the rhythmic writing, which is in standard

rhythmic notation). As previously mentioned in the sections of this chapter, I believe that

72
Globokar wanted to create the feeling of a free improvisation, a genre that he was very familiar

with as a performer. The feeling of free improvisation allows for a synthesis to occur between

the musical requirements and the physical requirements. And as previously stated, this synthesis

is the vital backbone of ¿Corporel, a piece that seeks to reduce the performer to his or her bare

form, with only the voice and body to be used. It is difficult to imagine a strictly notated version

of ¿Corporel that calls for the performer to rub violently on his or her skull for 3.5 seconds with

the right hand while tapping his or her shin with the left hand at a tempo of 76 beats per minute

all while vocalizing an open mouthed inhalation that occurs on the 5th sixteenth note of the

measure. This would be an immensely difficult piece to notate without allowing the performer

and the composer freedom. Globokar himself states in Anti-Badabum that the performer is “no

longer asked to produce fifteen precise attacks per second but simply to invest each movement,

however innocuous it first seems to be, with a meaning.”5

This brings up another point about Globokar’s intent. Thus far I have discussed how his

choice of graphic notation aids the performer in synthesizing musical and physical gestures, but I

have not discussed how this decision also gave him more freedom. Globokar originally

composed ¿Corporel as a response against the percussion writing of the 1970s and 1980s that

called for numerous instruments as one instrument was only used for one sound. In order to

accomplish this, he had to create new sounds and new sound possibilities. The result was a new

notational system that allows Globokar to convey musical and physical meaning directly to the

performer.

5
Globokar, "Anti-Badabum, 81."
73
 CHAPTER 5: Conclusion

As discussed in the previous three analyses, there are two concurrent issues that necessitate

discussion, the first of which centers on musical gesture, and the second of which centers on

graphic notation. These two topics will be dealt with individually before synthesizing the data in

order to make broader ranging conclusions about the use of graphic notation as musical gesture.

Four main musical gestures dominated the surface of each composition. The introductory

gesture parallels its definition as a formal parameter, and provides the first hearing of motivic

material. The ascending gesture finds its definition as an increase of surface tension. It functions

to provide musical questions that require answers. It is characterized by an increase in surface

activity, both rhythmic and motivic. In contrast, the descending gesture serves to dispel tension

that was created by the ascending gesture. It is comparable in literature to the resolution that is

followed by the denouement. The cadential gesture does not introduce any new motives, instead

opting for closure that manifests itself as means of breath and release.

In addition to these four main musical gestures, other gestures, both musical and physical,

were discussed within this paper. A static gesture, found in The King of Denmark marks a period

of motivic idleness. In this particular example, the static gesture was found in a phrase that

contained fragments of four phrases that appeared throughout the piece. Since the fragmented

material had already been heard, and since it was followed by simply more fragmented material,

the phrase as a unit did not move anywhere. It ended where it began, thus allowing for a static

gesture label. In ¿Corporel, physical gestures began to permeate the surface. A concurrent

physical gesture parallels the musical gesture occurring at the same moment. As a result, the two

work concurrently. Conversely, the independent physical gesture exists when the physical

gesture and the musical gesture work indirectly of one another.

74
 The concept of musical motion is an important one to make in a discussion of musical

gesture. As seen in the tables at the end of each analysis (and reproduced below), which detail

the micro-level and macro-level function of musical gestures, a balanced form manifests itself.

On the macro-level, each of the compositions exhibits the following gestural structure:

Introductory, Ascending, Descending, and Cadential. Overall, this form creates a strong “ebb and

flow” of musical ideas.

75
 Gestural Hierarchy in Cage’s Composed Improvisation *

Internal Event- Event-Level

Part-Level
Event Level Gestural Gestural
Gestural Function
Functions Function
1a Descending,
Introductory
ascending
1b Descending,
Ascending Introductory,
ascending
ascending
1c Ascending, Descending,
cadential cadential
1d Cadential (from 1c) Cadential
2a Ascending,
descending, Ascending
cadential
2b n/a Introductory
2c Ascending,
Ascending,
descending,
descending
cadential
Ascending,
2d n/a Cadential
descending
2e Introductory,
Ascending
ascending
2f Introductory,
ascending,
Descending,
cadential,
cadential
descending,
cadential
3a Ascending,
descending, Ascending
cadential
Cadential
3b Ascending,
descending, Descending
cadential

* As indicated in Chapter 2, transitional material is omitted from the gestural hierarchy

76
 Gestural Hierarchy in Feldman’s King of Denmark

Internal Clause-level External clause-level Section-level

Section
gestural functions gestural functions gestural functions
1a Introductory, ascending,
cadential Introductory
Introductory,
1b Introductory, ascending
Ascending ascending
1c Introductory, descending
Descending
2a Introductory, ascending
Ascending
Ascending,
2b Static, descending descending
Descending
3a Ascending, descending,
static, cadential n/a
Cadential
3b Cadential
Cadential

Gestural Hierarchy in Globokar’s ¿Corporel

Musical Physical Section-Level Macro-level

Section Gestural Gestural Gestural Gestural
Function Function Function Function
Introductory,
ascending, Concurrent, Concurrent
1 Introductory
descending, independent introductory
cadential
Independent
2 Ascending Independent
ascending
Ascending
Ascending,
3 Independent
descending
Introductory,
Independent
4 descending, Independent Descending
descending
cadential
Introductory, Ascending in
5 n/a
ascending hocket
Cadential
Ascending, Independent
6 Independent
cadential Cadential

77
 As mentioned above, each of the gestures maintains a sense of physical motion. Each of

the musical gestures contains an associative movement. In order to better see this movement and

compare the three compositions from a perspective of gestural motion, I graphed each of the

pieces micro- and macro-level gestural functions on the horizontal axis.

Graph of Musical Gestures on a Horizontal Axis

Graph of Physical Gestures on a Horizontal Axis

An introductory gesture comes from nowhere and provides motivic life to the

composition. As a result, on the graph below, a vertical arrow, pointing upward, indicates

motivic movement and represents the introductory gesture. This shows the onset of gestural

motion. The ascending gesture provides the motivic thrust of the composition, taking the

introduced motives, and springing them forward to development. On the horizontal axis below,

the ascending gesture starts on the axis and arcs upward (an arc was used instead of a line as
78
development is never immediate, as it takes change over time, thus creating a smoother arc). This

is the reverse of the descending gesture, which, while still rich in motivic content, wanes in

motivic energy. This results in the descending gesture beginning where the ascending gesture

finished and over time, also in the shape of an arc, moving back down to the axis. The cadential

gesture serves as a closing passage, wherein motives come to an idle position or to rest. On the

horizontal axis, an arrow pointed down represents cadential gesture, coming to rest on the plane

of the axis. This effectively shows the end of the gestural motion. A horizontal line represents a

static gesture. The three horizontal lines on the following graphs, from top to bottom, represent a

micro- to macro-level view of gestural motion.

Upon looking at the horizontal axis, it becomes apparent that musical gesture acts much

the same way as an object in motion (Newton’s first law of motion: An object in motion remains

in motion unless acted upon by an outside force). The introductory gesture sets the motivic

material in motion. This motion is altered through musical inertia, or the ascending, descending,

and cadential gestures that develop the motives until bringing them to a final resting point. The

ascending and descending gestures can be likened to the gravity principle of “what goes up, must

come down.” The ascending gesture thrusts the motives up and the descending gesture helps to

bring them down again (but not resting until the cadential gesture completes its function).

79
 Gestural Motion in Cage’s Composed Improvisation

80
Gestural Motion in Feldman’s King of Denmark

Gestural Motion in Globokar’s ¿Corporel

81
So how does graphic notation fit into this sense of musical gesture and gestural motion? What

immediately stands out from the horizontal axis graphs is the likeness to a Schenker graph.

While no melodic material is present in any of these three compositions, one is able to view them

on a hierarchical plane, and clearly see where the strong structural points lie. The benefits of this

type of analysis for a performer are great, yet while interesting, are not in the scope of this paper.

What is in the scope of this paper is the composer’s intent for using graphic notation. As has

been asked throughout this paper, why did the composer choose to notate as they did? The

gestural reduction chart, seen above, supports the claim that graphic notation was a necessary

tool employed by the various composers in order to create a sense of musical gesture and musical

motion that was previously unattainable through standard notation.

Cage used chance procedures and prose instructions as graphic notation in order to allow

the performer sonic freedom. However, this sonic freedom manifests through the formal

constructs outlined in each section and subsequent analysis, in clear musical gestures. By

seemingly controlling less, Cage ultimately controls more.

Feldman, in contrast to Cage, provides a strict numerical grid system that corresponds to

unique icti. The specifics of how and where these icti are to played are left to the performer, thus

leaving certain musical elements to chance processes. Feldman achieves a musical flattening by

controlling aspects of how the sounds are to be produced. The result is a series of musical

gestures that emerge, and specifically fit with Feldman’s tight control over musical parameters.

By allowing a performer freedom in aleatoric sections, Feldman achieves his sonic desire.

As compared to Cage and Feldman, Globokar adds the physical element to the musical

one. ¿Corporel contains composed as well as aleatoric sections, specifically asking the performer

how to create the sounds requested by the composer. Globokar desires a synthesis of physical

82
and musical gestures that show the performer in the barest of forms, performing on him or

herself. He creates this synthesis by allowing the performer freedom; however, the resultant

musical and physical gestures are precisely the desired effect, and Globokar gets what he wants.

In each of the three pieces, graphic notation is a vehicle by which the composers use

musical gesture. Would it be possible for Composed Improvisation, King of Denmark, and

¿Corporel to be in standard notation and still achieve the same overall effect? The data presented

in the previous pages says no, as the graphic notation was a musical imperative to achieve a

previously unattainable sound. Yet in deference to the quote at the beginning of this thesis, I will

refer to Anthony Coleman, “Play whatever you want, as long as it’s there.” I believe that Cage,

Feldman, and Globokar would all agree with Mr. Coleman. They all desire performer freedom,

and provide it in the guise of graphic notation and aleatoric music, but only if the performers

play what they want, in the guise of musical gesture.

83
 Appendix A:

Scores of Composed Improvisation by Cage, King of Denmark by Feldman, and ¿Corporel

by Globokar

84
85
86
87
88
89
90
91
92
 Appendix B:

Composed Improvisation for snare drum by John Cage

realization by Cory Hills

93
Sections:
45” 3’45” 2’15” 5’00” 8’00”

Part 1: 0” to 45”
Part 2: (45” to 3’45”) to (2’15” to 5’00”) which becomes 1’00” to 4’45”
Part 3: 5’00” to 8’00”

Events:
Part 1: 4 events
Part 2: 6 events
Part 3: 2 events

Icti:
Part 1: 4 events (0” to 45”)
a. 15
b. 24
c. 28
d. 1

Part 2: 6 events (1’00” to 4’45”)

a. 51
b. 17
c. 27
d. 31
e. 59
f. 52

Part 3: 2 events (5’00” to 8’00”)

a. 12
b. 21

Beaters:
1=Sticks
2=Brushes
3=Rubber
4=Blasticks
5=Soft Yarn
6=Hard Yarn
7=Plastic
8=Medium Timpani
H=Hands
/=no hands or beaters

94
Part 1:
a. 4,6
b. 3,5
c. H,7
d. 1,7

Part 2:
a. H,8
b. 6,6
c. H,6
d. H,H
e. 3,8
f. 2,2

Part 3:
a. /, /
b. 6,8

Snares:
Part 1: On
Part 2: Off
Part 3: On

Rimshot:
Part 2a

95
 Appendix C:

Spreadsheet Data of Icti by Grid in King of Denmark

96
 Number High Middle Low
Box
of Icti Icti Icti Icti
1 7 7 0 0
2 0 0 0 0
3 0 0 0 0
4 1 1 0 0
5 0 0 0 0
6 0 0 0 0
7 0 0 0 0
8 1 1 0 0
9 1 1 0 0
10 1 1 0 0
11 1 1 0 0
12 0 0 0 0
13 0 0 0 0
14 0 0 0 0
15 1 1 0 0
16 1 1 0 0
17 1 1 0 0
18 1 1 0 0
19 1 1 0 0
20 1 1 0 0
21 5 0 5 0
22 1 0 0 1
23 1 0 0 1
24 1 0 1 0
25 1 0 0 1
26 3 1 1 1
27 2 0 2 0
28 1 1 0 0
29 0 0 0 0
30 7 3.5 2.5 1
31 7 3.5 2.5 1
32 0 0 0 0
33 1 0 0 1
34 0 0 0 0
35 0 0 0 0
36 1 0 0 1
37 1 0 0 1
38 1 0 0 1
39 1 0 0 1
40 0 0 0 0
41 0 0 0 0
42 0 0 0 0
43 1 0 1 0

97
44 1 0 1 0
45 0 0 0 0
46 0 0 0 0
47 0 0 0 0
48 0 0 0 0
49 0 0 0 0
50 1 0 1 0
51 1 0 1 0
52 2 1.5 0 0.5
53 2 1.5 0 0.5
54 0 0 0 0
55 3.66 1.66 1.33 0.66
56 3.66 1.66 1.33 0.66
57 3.66 1.66 1.33 0.66
58 3 1 1 1
59 0 0 0 0
60 0 0 0 0
61 1 0 1 0
62 1 0 0 1
63 3 2 0 1
64 2 0.5 1 0.5
65 2 0.5 1 0.5
66 2 1 1 0
67 1 0 0 1
68 6 3 1 2
69 7 0 7 0
70 4 1 2 1
71 3 0.5 0.5 2
72 3 0.5 0.5 2
73 2 1 0 1
74 1 1 0 0
75 0 0 0 0
76 1 1 0 0
77 3 1 1 1
78 3 0 1 2
79 2 0 1 1
80 2 1 1 0
81 2 1 0 1
82 2 0 1 1
83 1 0 1 0
84 1 0 0 1
85 6 2 0 4
86 3 1 1 1
87 3 1 1 1
88 0 0 0 0
89 3 2 0 1
90 0 0 0 0

98
 91 0 0 0 0
92 1 1 0 0
93 0 0 0 0
94 2 1 1 0
95 9 1 3 5
96 5 2 3 0
97 2 1 0 1
98 0 0 0 0
99 1 1 0 0
100 1 1 0 0
101 1 1 0 0
102 0 0 0 0
103 0 0 0 0
104 0 0 0 0
105 2 1 1 0
106 2 1 1 0
107 0 0 0 0
108 1 0 0 1
109 2 0 1 1
110 2 0 1 1
111 0 0 0 0
112 0 0 0 0
113 1 0 1 0
114 0 0 0 0
115 0.33 0 0.33 0
116 0.33 0 0.33 0
117 0.33 0 0.33 0
118 0 0 0 0
119 9 5 3 1
120 1 0 0 1
121 2 0 2 0
122 0 0 0 0
123 0 0 0 0
124 1 0 1 0
125 1 0 1 0
126 1 1 0 0
127 1 1 0 0
128 1 0 1 0
129 2 1 1 0
130 2 1 0 1
131 1 1 0 0
132 1 1 0 0
133 1 1 0 0
134 2 1 1 0
135 3 1 1 1
136 2 0 0 2
137 0 0 0 0

99
138 2 1 1 0
139 0 0 0 0
140 0 0 0 0
141 3 1 1 1
142 5 1 2 2
143 3 0 2 1
144 1 0 1 0
145 1 0 1 0
146 1 0 1 0
147 1 0 0 1
148 6 0 5 1
149 4 1 2 1
150 2 1 0 1
151 0 0 0 0
152 0 0 0 0
153 0 0 0 0
154 4 0 2 2
155 2 0 1 1
156 0 0 0 0
157 0 0 0 0
158 1 1 0 0
159 1 1 0 0
160 0 0 0 0
161 0 0 0 0
162 0 0 0 0
163 1 1 0 0
164 1 1 0 0
165 0 0 0 0
166 9 5 3 1
167 1 0 0 1
168 2 0 2 0
169 0 0 0 0
170 0 0 0 0
171 0 0 0 0
172 1.25 0.416 0.416 0.416
173 1.25 0.416 0.416 0.416
174 1.25 0.416 0.416 0.416
175 1.25 0.416 0.416 0.416
176 0 0 0 0
177 0 0 0 0
178 0 0 0 0
179 12 2 7 3
180 0 0 0 0
181 0 0 0 0
182 1 1 0 0
183 1 1 0 0
184 0 0 0 0

100
185 1 0 0 1
186 1 0 1 0
187 2 0 1 1
188 1 1 0 0
189 1 1 0 0
190 0 0 0 0
191 2 1 1 0
192 2 1 1 0
193 0 0 0 0
194 0 0 0 0
195 0 0 0 0
196 3 0 2 1
197 1 1 0 0
198 4 1 0 3
199 4 2 2 0
200 2 1 1 0
201 0 0 0 0
202 1 0 1 0
203 1 0 1 0
204 0 0 0 0
205 0 0 0 0
206 0 0 0 0
207 1 0 1 0
208 1 0 1 0
209 1 0 1 0
210 1 0 1 0
211 1 0 1 0
212 1 0 1 0
213 8 5 2 1
214 1 0 0 1
215 1 0 0 1
216 3 0 0 3
217 0 0 0 0
218 1 0 1 0
219 1 0 1 0
220 2 0 2 0
221 1 1 0 0
222 2 1 0 1
223 5 5 0 0
224 0 0 0 0
225 2 2 0 0
226 7 6 1 0
227 2 0 1 1
228 3 1 2 0
229 4 2 2 0
230 2 1 1 0
231 1 1 0 0

101
232 1 1 0 0
233 1 0 1 0
234 2 1 1 0
235 2 1 0 1
236 2 0 1 1
237 2 0 1 1
238 2 0 1 1
239 2 0 1 1
240 2 1 0 1
241 3 1 1 1
242 3 0 1 2
243 2 1 0 1
244 2 1 0 1
245 2 0 1 1
246 2 0 1 1
247 1 0 0 1
248 1 0 0 1
249 2 0 1 1
250 2 0 1 1
251 3 1 1 1
252 3 1 1 1
253 1 0 1 0
254 2 0 1 1
255 2 1 0 1
256 1 0 1 0
257 3 1 1 1
258 2 1 0 1
259 0 0 0 0
260 7 4 3 0
261 1 0 1 0
262 0 0 0 0
263 5 5 0 0
264 0 0 0 0
265 0 0 0 0
266 0 0 0 0
267 6 2 3 1
268 1 0 1 0
269 4 4 0 0
270 1 1 0 0
271 7 5 2 0
272 3 2 1 0
273 0 0 0 0
274 0 0 0 0
275 1 0 1 0
276 1 0 1 0
277 0 0 0 0
278 0 0 0 0

102
279 2 0 1 1
280 2 0 1 1
281 1 0 1 0
282 1 0 1 0
283 3 2 0 1
284 2 1 1 0
285 1 0 1 0
286 4 4 0 0
287 3 1 1 1
288 4 2 1 1
289 2 1 1 0
290 0 0 0 0
291 0 0 0 0
292 0.55 0.183 0.183 0.183
293 0.55 0.183 0.183 0.183
294 0.55 0.183 0.183 0.183
295 0.55 0.183 0.183 0.183
296 0.55 0.183 0.183 0.183
297 0.55 0.183 0.183 0.183
298 0.55 0.183 0.183 0.183
299 0.55 0.183 0.183 0.183
300 0.55 0.183 0.183 0.183
301 0 0 0 0
302 3 1 1 1
303 2 1 0 1
304 0 0 0 0
305 0 0 0 0
306 0 0 0 0
307 0 0 0 0
308 3 1 1 1
309 2 1 0 1
310 1 1 0 0
311 1 1 0 0
312 0 0 0 0
313 0 0 0 0
314 0 0 0 0
315 0 0 0 0
316 0 0 0 0
317 1 0 1 0
318 1 0 1 0
319 0 0 0 0
320 0 0 0 0
321 0 0 0 0
322 0 0 0 0
323 2 1 0 1
324 4 0 1 3
325 5 0 5 0

103
326 3 3 0 0
327 1 0 1 0
328 1 0 0 1
329 1 1 0 0
330 2 1 0 1
331 1 0 0 1
332 7 4 3 0
333 3 0 0 3
334 1 0 0 1
335 2 0 1 1
336 2 1 1 0
337 6 1 2 3
338 2 0 1 1
339 4 0 2 2
340 2 0 1 1
341 0 0 0 0
342 3 1 1 1
343 2 1 0 1
344 2 1 1 0
345 2 1 1 0
346 0 0 0 0
347 2 0 1 1
348 5 1 2 2
349 3 1 1 1
350 0 0 0 0
351 3 1 1 1
352 3 1 1 1
353 3 1 1 1
354 4 2 1 1
355 2 1 0 1
356 4 1 1 2
357 3 1 1 1
358 0 0 0 0
359 1 1 0 0
360 1 1 0 0
361 0 0 0 0
362 0 0 0 0
363 0 0 0 0
364 0 0 0 0
365 1 1 0 0
366 1 1 0 0
367 0 0 0 0
368 0 0 0 0
369 1.66 0.553 0.553 0.553
370 1.66 0.553 0.553 0.553
371 1.66 0.553 0.553 0.553
372 0 0 0 0

104
373 0 0 0 0
374 1 1 0 0
375 0 0 0 0
376 1 1 0 0
377 2 1 1 0
378 1 0 1 0
379 0 0 0 0
380 0 0 0 0
381 1 0 1 0
382 1 0 1 0
383 3.5 1.16 1.16 1.16
384 3.5 1.16 1.16 1.16
385 1 0 1 0
386 0 0 0 0
387 1 0 1 0
388 1 0 0 1
389 3 2 1 0
390 7 7 0 0
391 7 7 0 0
392 x x x x
393 x x x x
394 x x x x
395 x x x x
396 x x x x
397 3 1 1 1
398 0 0 0 0
399 0 0 0 0
400 0 0 0 0
401 0 0 0 0
402 0 0 0 0
403 x x x x
404 x x x x
405 0 0 0 0
406 0 0 0 0
407 0 0 0 0
408 0 0 0 0
409 1 1 0 0
410 1 1 0 0
411 0 0 0 0
412 0 0 0 0
413 0 0 0 0
414 0 0 0 0

105
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