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David
Tudor
in
the
Late
a
Secret
Understanding
1980s:
Voice
D 'ArcyPhilip Gray
lT
hemid-to-late
1980s
wasanimportant
timefor
audio signal. (below) the gated signal. The original signal is from
Tudor's Web source material. (? D'Arcy Philip Gray)
OF THEWORK
HISTORICALPLACEMENT
During the 1950s, two major electronic music studios emerged
in Europe: the Groupe de recherche de musique concrete at
!1
D'Arcy Philip Gray (musician), 6625 rue Hurteau, Montreal, Quebec, H4E 2Y7 Canada.
E-mail: <starchy@cam.org>.
? 2004 ISAST
LEONARDO
MUSIC JOURNAL,
2004
41
ii
42
Secondary Pieces
-i?---i??-
AUDIO-ELECTRONIC
PRINCIPLES OF THE WORK
Nothing typifies Tudor's work during this
period more than the process of taking
unique pre-recorded material, changing
and layering it in real time and playing it
through a multichannel sound system.
The Webpieces are excellent examples of
this type of composition.
The processing system depends on a
central switching matrix. The custom matrix routes the input signal (i.e. the
source tape) to any processor the performer chooses. This matrix allowed
Tudor a high degree of flexibility in performance. He was able to modify the
original signal in a variety of ways using
noise gate, phase shift, strong equalization and auto filter devices. These ele-
43
Mix 15
S-2
dl
d2 2M
d -
3 XI
16
---Mix
SW
.
MI
X
12
12
1 2 3 4 5 6 7 8 9 10 11 12 13 14 Matrix
15 16
dl
d2
d3
d4
Aux
MIXER
DSR PQ4
1234
5678
DS
ADSW
T
I/
xQ
Fig. 4. Author's schematic for his revival of David Tudor's WebIlforJohn Cagefor performance at Banff Centre, 2003. See Appendix III for explanation of abbreviations. (@ D'Arcy
Philip Gray)
PERFORMANCE
PROBLEMS
After rebuilding the setup, two problems
remain. The first of these relates to the
source material.As mentioned above, the
source material for the three principal
Webpieces is a series of recordings of
brass, gold and crystal spiderwebs. This
is not indicated in the score, but in a
handwritten program note found in the
GRI archive. In the case of these pieces,
there are also several clearly labeled tapes
and a recorded performance. As such,
the question of source material is easily
answered. Other pieces, unfortunately,
are not as clear. During my research period at GRI, I spent a significant amount
of time trying to reconstruct Tudor's
Fragments(1984). In this case, I have fully
deciphered the score, but there is no indication as to the source material. Until
this problem can be solved, the piece in
un-performable.
The second problem, not addressed by
Tudor's scores, is that of how the pieces
evolve over time. The solution to this
problem is a study of Tudor's performance practices: the context in which he
IV (which has had numerous performances since its revival in 1996), the
NeuralSeries(performed numerous times
since 1998) and Untitled(revived byJohn
D.S. Adams in 1998). In short, this brings
us a large step closer to a body of Tudor's
work that can be heard in live performance.
ANALYSIS OF THE WORK'S
As both a pianist and as a composer,
ULTIMATE PERFORMABILITY
Tudor always worked outside the mainAt this point, the three primary WebSe- stream. While Robert Moog put together
ries pieces can be considered to be per- custom synthesizers, Tudor worked with
formable. The first performance after his phase feedback circuits. While David
Tudor's passing in 1996 was a result of Zicarelli and Miller Puckette were putmy efforts and research at GRI. This per- ting together plans to commercialize
formance of WebII for John Cage took Max, Tudor was working on his own
place on 26 June 2003 in the Rice Tele- unique systems to process his vast library
vision Studio at the Banff Centre for the of source material in real time.
Arts in the Canadian Rockies. This was a
Tudor's work as a performer is of conof
the
International
siderable
24th
presentation
importance in the context of
Audio Engineering Society Conference
mid-20th-century music. As a pianist, his
"Multichannel Audio: The New Reality." influence touched composers such as
Of the secondary pieces in the series, Cage, Christian Wolff, Karlheinz Stockthe only one that is performable is Five hausen and many others. His work in
Stone.This was performed a number of composing for unique, unstable systems
times by John D.S. Adams during should be of great value to those work1995-1996 as part of the Merce Cun- ing in the field of live electronic music
ningham Dance Company Event per- today. His influence can be seen in the
formances. Haiku remains somewhat of work of Gordon Mumma, Pauline Olia mystery. In all likelihood, this was a veros, David Behrman, Paul DeMarinis,
"one-off": something that Tudor per- Bill Viola and many other colleagues.
formed only once.
Despite this, Tudor's music has reAlthough there remains the issue of mained largely a mystery. His influence
the missing components of the original will continue to grow, given a better understanding of his systems and live persetup, replacements have been found
that are acceptable. Over time (via used formances of his music. Like that of
guitar shops, eBay, etc.), many of the Merzbow, Tudor's music has a secret
original components will be found. Ap- voice that is waiting to be exposed.
propriate to the Tudor aesthetic is the act
of exploring-even
when it comes to
Acknowledgments
shopping.
The author greatly acknowledges the support of the
The main unanswered question is: Getty Research
Institute for the Arts and Humanities
and the Canada Council for the Arts (Music and
What are the real differences between
Arts Sections) for their support in researchthe three pieces? My hypothesis is that Media
ing this material. A special acknowledgment goes to
the WebforJohn Cage pieces are simply John D.S. Adams of Toronto for his advice and suplonger versions of the piece for MCDC port.
and that the different versions of the material should be seen as one piece with a
APPENDIX I:
flexible duration.
45
46
13. Allan Kozinn, "DavidTudor, 70, Electronic Composer, Dies," New YorkTimes,15 August 1996, sec. D,
p. 23.
Manuscriptreceived25 December2003.
D 'ArcyPhilip Grayperformsregularsoloand
chambermusic concertsin various parts of
Canadaas a percussionistand electronicmusician. From 1993 to 1995 Grayperformed
regularlywiththeMerceCunninghamDance
CompanyofNew York,wherehebeganto work
closelywith David Tudor In 1998, he took
part in a revivalof Tudor'sRainforest IV at
theLincoln Centerin New York.Since 1998,
he has beena memberof theMotionEnsemble
In recentmonthshe has given
(Fredericton).
solo performancesin Holland, Germany,
Montreal,and at the Banff Centre,and released a recordingofJohn Cage'smusicfor
Mode recordsin New York.His next project
will incorporate
feedbacksystemswithgestural
controllers.
47