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IDEA AND COMMUNITY: THE GROWTH OF

DAVID TUDOR'S RAINFOREST, 1965-2006

Matthew

R. Rogalsky

Submitted

for the qualification of Doctor of Philosophy City

University

London

Music Department

April 2006

TABLE OF CONTENTS

List of tables and illustrations .................................................. 3 List of tracks on accompanying audio CD ............................... 10

Acknowledgements

.................................................................. 13

Declaration

re: copying ............................................................ 15

Abstract

........... 16

Introduction

...... 17

1. Contextualising Rainforest .................................................. 34

2. Preludes to Rainforest:

Fluorescent

Sound (1964) and Bandoneon ! (1966) ....... 58

3. Entering Rainforest: Versions 1 (1968) and 2 (1969-70) ..... 90

4. The Pepsi Pavilion (1970) and Rainforest 3 (1972) ............. 148

5.

Rainforest 4 (1973) and the development

of a performance community .......................................... 182

6. Composers Inside Electronics:

Formalising

the Rainforest community, 1974-1982 ........ 261

7. After David Tudor: the Future of Rainforest

and Composers Inside Electronics ................................. 387

Appendix:

Performances of Rainforest I with Merce Cunningham Dance Company, 1968-2003

Performances of Rainforest 3

(European

Tour 1972)

Performances of Rainforest 4 by Composers Inside

Electronics

Other

Composers Inside Electronics

performances / residencies ........................................ 449

Combined

bibliography and list of references ......................... 464 List of interviews ...................................................................... 492

Discography

.... 494 2

LIST OF TABLES AND ILLUSTRATIONS

Figure 2-1. David Tudor performing John Cage's Water Music, "5 New York Evenings",

Moderna

Museet, Stockholm September 10 1964.

63

Figure

2-2. Robert Rauschenberg performing Elgin Tie, "5 New York Evenings",

Moderna

Museet, Stockholm September 13 1964. Note recessed banks of fluorescent lights overhead, used by David Tudor for accompanying piece Fluorescent Sound. 65

Figure

2-3. Robert Rauschenberg performing Elgin Tie, "5 New York Evenings",

Moderna

Museet, Stockholm September 13 1964. Note recessed banks of fluorescent lights overhead, used by David Tudor for accompanying piece Fluorescent Sound. 66

Figure

2-4. Poster for "Projects Outside Art" initiative, Experiments in Art and

Technology

1969-1971, employing rainforest imagery.

70
Figure 2-5. "Build a fantastic coneless loudspeaker! " (Popular Mechanics, 1966). 74
Figure 2-6. Notes for Bandoneon !, from the programme book for 9 Evenings: Theatre and

Engineering.

76

Figure

2-7. Stills from videotape of Bandoneon ! performance October 13 1966, in the

series

9 Evenings: Theatre and Engineering, 69th Regiment Armory, New York City.

85
Figure 2-8. Stills from videotape of Bandoneon ! performance October 13 1966, in the series

9 Evenings: Theatre and Engineering, 69th Regiment Armory, New York City.

86

Figure

2-9. David Tudor, "Bandoneon Factorial Generalized Diagram", a score diagram

for performances October 13 and 18 1966, in the series 9 Evenings: Theatre and Engineering. 87
Figure 2-10. David Tudor, "Bandoneon Factorial Audio Processing and Routing" (Tudor

1966d),

showing two variations on usage of loudspeaker-objects for performances in the series

9 Evenings: Theatre and Engineering.

88

Figure

2-11. Stills from videotape of Bandoneon ! performance October 13 1966, in the

series

9 Evenings: Theatre and Engineering, 69th Regiment Armory, New York City.

David

Tudor with bandoneon.

89

Figure

3-1. Block diagram for Rainforest 1 (1968) showing use of eight-channel amplifier

with outputs to eight transduced objects; pickups (phonograph cartridges) return the sounds of each resonating object to a conventional sound system of between four and eight channels. ....................................................... 99

Figure

3-2. List of performance options for Rainforest.

100
3

Figure 3-3. A 1971 setup for Rainforest 1.

108
Figure 3-4. Eight channels of low-power amplification built into a briefcase, for performances of Rainforest 1 with the Merce Cunningham Dance Company, circa 1968- 1971.
116

Figure 3-5. Lists naming objects to be transduced, attached to the eight-channel "briefcase amplifier".

............................................................ 117

Figure

3-6. "Wooden box" included on list taped inside eight-channel briefcase amplifier.

........................................................... 118 Figure 3-7. "Metal box" included on list taped inside eight-channel briefcase amplifier. ........................................................... 119 Figure 3-8. Detail of phonograph cartridge mounted in metal box, showing extension of stiff wire from stylus hole to body of the box itself, to conduct vibrations to the cartridge's pickup element. ........................................................... 121 Figure 3-9. "Springs" object as installed as part of Rainforest 4 at Fort Worth Art

Museum,

October 1975.

123
Figure 3-10. Setup for performance of Rainforest 1,1971. 127
Figure 3-11. Nombrex Audio Generator 30 and Midland Model 23-165 Audio Generator, as seen in Rainforest 1 setup in Figure 3-3. 129

Figure

3-12. Portion of first page of memo from Gordon Mumma to John Cage and David Tudor, regarding sound setup for the Cunningham Company.

130

Figure

3-13. External and internal views of pulse generator constructed by David Tudor

and used in performances of Rainforest 1. 132
Figure 3-14. Circuit diagram for David Tudor pulse generator device as shown in Figure 3-13. 135

Figure

3-15. Three devices constructed by David Tudor based on commercially

available amplifier circuit boards. 138
Figure 4-1. Block diagram of the Pepsi Pavilion sound system. ........................................................... 153

Figure

4-2. Control layout for one of eight sound modification channels on the Gordon

Mumma-designed

Pepsi Pavilion console, showing FM, AM and highpass filter sections. ........................................................... 154 4 Figure 4-3. Partial list of David Tudor's source tapes for Rainforest 3, derived from the

Pepsi Pavilion collection.

........................................................... 164

Figure

4-4. Spectrogram of a five-second excerpt of 'BR WAVES SLO" (brain wave

sonification played back at half speed) showing three distinct tone regions. ........................................................... 166

Figure

4-5. Notes on Rainforest 3.

170
Figure 4-6. List of technical requirements for performance of Rainforest 3 and John Cage's Mureau, drawn up by David Tudor for Performing Artservices. 172
Figure 4-7. Preliminary sketch for routing of signals returning from loudspeaker-objects' contact microphones.. ........................................................... 174

Figure

4-8. Preliminary sketch indicating consideration of use of four cassette tape

recorders for playback. ........................................................... 174 Figure 4-9. Five variations on routing diagrams for mixing and distribution of signals returning from Rainforest loudspeaker-objects, with apparent cable counts above each diagram. ........................................................... 175 Figure 4-10. David Tudor's "master" score diagram for Rainforest 3. 176
Figure 4-11. David Tudor's notes on "new" features of Rainforest 3. 177
Figure 4-12. David Tudor's original diagram of eight-channel speaker setup for performance of Rainforest 3, Berlin, July 11 1972. 178
Figure 4-13. Identification of source tapes in first half hour of David Tudor's premiere performance of Rainforest 3, with John Cage's Mureau, Bremen, May 5 1972. 180
Figure 5-1. New Music in New Hampshire course list. 189

Figure

5-2. Rainforest 4 generalized score diagram ..

........................................................... 202

Figure

5-3. A view of the Rainforest workshop room in the inn at Stafford's-in-the-Fields,

showing David Tudor's assistant Ritty Burchfield, and Rainforest 4 in development. 207

Figure

5-4. View from balcony of preparations for Sliding Pitches in the Rainforest in the

Field,

in the barn at Stafford's-in-the-Field on July 7,1973. 217

Figure

5-5. View of preparations for Sliding Pitches in the Rainforest in the Field, in the

barn at Stafford's-in-the-Field on July 7,1973. 218
5 Figure 5-6. View of preparations for Sliding Pitches in the Rainforest in the Field, in the barn at Stafford's-in-the-Field on July 7,1973. 219

Figure

5-7. View of preparations for Sliding Pitches in the Rainforest in the Field, in the

barn at Stafford's-in-the-Field on July 7,1973. 220
Figure 5-8. View of loudspeaker-objects prepared for Sliding Pitches in the Rainforest in the Field, in the barn at Stafford's-in-the-Field on July 7,1973. 224
Figure 5-9. David Tudor's master list of technical details for realization of Sliding Pitches in the Rainforest in the Field, July 7 1973. 231
Figure 5-10. Top: David Tudor's original diagram and notes for Chocorua Rainforest loudspeaker-objects. 232
Figure 5-11. Three makes of audio transducer identified by abbreviations in Tudor's notes for Chocorua Rainforest objects. ........................................................... 233 Figure 5-12. Another view of preparations for Sliding Pitches in the Rainforest in the

Field.

234
Figure 5-13. David Tudor's notes on source material for copper still and plastic sprinkler loudspeaker objects for Sliding Pitches in the Rainforest in the Field. 235
Figure 5-14. Copy of Ann Sandifur's petition regarding the lack of women faculty at Chocorua'73, signed by most students and staff members of New Music New

Hampshire,

as printed alongside her review of the workshop series. ........................................................... 251 Figure 6-1. Rainforest installation at Buffalo State College, Buffalo NY, June 12 1974. 267

Figure

6-2. Walker Art Centre Rainforest 4 installation, June 1976

277
Figure 6-3. Walker Art Centre Rainforest 4 installation, June 1976. 278
Figure 6-4. Photograph of David Tudor and John Driscoll at the Walker Art Centre installation of Rainforest 4, June 1976. 279
Figure 6-5. Detail from Festival d'Automne programme book for series presented by David Tudor and Composers Inside Electronics, Paris 1976. 284
Figure 6-6. Detail from page one of John Driscoll's score realisation for CIE's performance of John Cage's Cartridge Music at the Festival d'Automne, Paris 1976. 295
Figure 6-7. One of Paul DeMarinis' 4x7 inch Pygmy Gamelan circuits. ........................................................... 302 Figure 6-8. Score diagram by John Driscoll for his Listening Out Loud, in a version similar to that presented at the Festival d'Automne 1976.quotesdbs_dbs10.pdfusesText_16