Re: Re: Music cirsus vs Music for a house

Actually, I'm pretty sure that Cage made a distinction, perhaps in one of
his letters, between a Musicircus and a House Full of Music, the latter
indicating an event in which different ensembles played in different rooms.
(I thought he described this in  Junkerman's article, "nEw / roRms of living
together" (in *John Cage: Composed in America*) but I'm not right.
 Presumably the source I'm dimly remembering postdated that event.

Rob

On Mon, Feb 14, 2011 at 2:59 AM, Clemens Gresser <[email protected]> wrote:

> 2011/2/14 Dionisis Boukouvalas <[email protected]>:
> > If there are many rooms, could one still call it "music circus", or
> should
> > one call it "music for a house"?
>
> I always had thought of  "A house full of music" (1982) as a
> realisation of the "Musicircus" (1968) concept... This is also what
> André Chaudron
> states at http://www.johncage.info/workscage/housefullofmusic.html
> (i.e. relating to sources by David Revill: The Roaring Silence; Paul
> van Emmerik: Thema's en Variaties). See also "Musicircus for Children"
> (for an online description:
> http://www.johncage.info/workscage/musicircuschildren.html).
>
> I think this shows Cage as a pragmatic (not always, but definitely
> here): trying to come up with a concept for a large-scale performance
> which will involve a high number of people. Whereas the first
> Musicircus in the 1960s could make use of the vast space available in
> Bremen he needed to use a building with many rooms and a more
> "vertical space", on many levels. Maybe one could see it as an
> "Apartment House 1982" (as opposed to "Apartment House 1776") - just
> that sounds very more divided throughout
> an actual building?
>
> Sorry if that doesn't make any sense - I just only had my breakfast... :-)
> Clemens
>
> --
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-- 
Rob Haskins, Ph.D.
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