Indeterminacy and Performance Practice in Cage's Variations

By David P. Miller


Many admirers of John Cage's work know little of the number and variety of works he wrote in the series he titled Variations. Consider this brief summary: Variations I was composed in January 1958 for the pianist (and, later, electronic composer) David Tudor, but the score is marked "for any kind and number of instruments." Variations II, "for any number of players and any sound producing means," was written in February and march 1961, as a further development of the notational concepts of Variations I. Variations III, "for one or any number of people performing any actions," notated between December 1962 and January 1963, was frequently given as a solo performance by Cage himself. Variations IV, "for any number of players, any sounds or combinations of sounds produced by any means, with or without other activities," was notated in July 1963. Variations V, subtitled "thirty-seven remarks re an audiovisual performance," was created in collaboration with the merce Cunningham Dance Company and premiered in July of 1965. Variations VI, "for a plurality of sound-systems (any sources, components and loudspeakers)," was notated in 1966; early performances were again given by Cage and Tudor. Variations VII was performed in 1966 and a draft score (as yet unpublished) was notated in 1972. Variations VIII, published in 1978, was developed and performed by Cage in 1967, on very short notice, at the Skowhegan School of Painting and Sculpture. The score for this work focuses on the process of creating a performance without prepared materials.