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The way in which every part of the piano is used as a sound resource, with plucked and prepared notes alongside conventionally sounding ones, places it firmly in the 1950s, when European composers were coming to terms with John Cage's experiments across the Atlantic.
In each of these instances, the creation of property interests in environmental resources has created powerful economic incentives for sound resource stewardship and protection.
IN the 1930's and early 40's, before John Cage made his pioneering explorations of random procedures in composition, before he wrote his captivating works for prepared piano (inserting screws and glass pieces into the strings to create an exotically new sound resource), before he conceived of compositions for a stageful of radios turned on and off, he composed charming and mercurial piano pieces.
Public and private property are different, and sound resource management respects that fact.
What is required is sound resource management regardless of the fiscal climate.
Scientific and sound resource management practices conducted by conscientious logging companies have helped to sustain the country's forest resources.
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Seldom has the Met made such elaborate use of videos and electronic sound resources.
Perhaps Mr. Machover is consumed these days with research into electronic sound resources.
Fourth, "experimental," meaning composers who departed from Western traditions and explored elements of chance and innovative sound resources in their works, like John Cage and Morton Feldman.
They are relevant to all subjects and we are delighted that this programme will bring wide access to rare, historic and hugely valuable sound resources.
Of course, advanced interactive technology, we are told, will not eliminate the need for composers but simply expand available sound resources and create a role for newly engaged audiences.
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Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com