Edgard Varese

THE LIBERATION OF SOUND:AN EXPLORATION OF THE WORK OF EDGARD VARÈSE

John Freyermuth

Freyermuth 1

ManyscholarsandhistorianshaveresearchedandwrittenabouttheinfluenceofEdgard

Varèse’s compositions and theories on modern music, and they have outlined his importance

asacomposerandahistoricalfigure.Inhis1977essayThe Genesis of a Specific Twelve-Tone

System in the Works of Varèse;AndrásWilheimoutlinesVarèse’sdevelopmentanduseofhis

ownspecifictwelve-tonesysteminhisacousticcompositionsandlaterinhistapeandacoustic

composition Deserts.1In1981JonathanW.Bernard’sessayPitch/Register in the Music of

Edgard Varèse,BernardillustrateshowVarèse’suseofpitchandregisterseparatehisworks

fromthatofothercomposersthroughouthistoryandhowheusedpitchandregistertoputto

workhistheoriesoutlinedinthecollectionoflecturesVarèsegavebetween1936and1962,

compiledbyhisstudentChouWen-Chungandencapsulatedundertheheading“The Liberation

of Sound”.2TheinfluenceofVarèse’spieceDesert’s ischronicledinOliviaMattis’s1992essay

Varèse’s Multimedia Conception of Deserts.3InthisMattisalsorevealsthatherresearchhas

uncovered that Deserts wasoriginallyintendedtobeamultimediaprojectinsteadofthepurely

audiocompositioniteventuallybecame.4 Inthe1992essayVarèse and the Lyricism of the New

Physics,JohnD.AndersonexaminestheconnectionthatexistsbetweenVarèse’scompositions

andtheoriestoscienceandmathematics.5 Andersonexaminestheinfluenceofphysicsandother

contemporaryscientificadvancementsthataffectedVarèse.6

ThesignificanceofVarèse’sacousticworkisoftendiscussedbutcurrentstudyofhis

masterpiece Poème Électroniqueislackingbycomparisons.Poème Électroniqueisinvestigated

foritssignificanceasasite-specificmultimediaimmersivepiecebytheVirtual Electronic Poem

(VEP) Project,whichwithfundingfromtheEuropeanUnionCulture2000Programme,aimed

torecreatetheoriginalPoème ÉlectroniqueasitwasperformedinsidethePhilipsPavilionat

the1958BrusselsWorldsFairwithvirtualrealitytechnology.7TheVEPresearchfocusedonthe

performanceofPoème Électronique andhowtomostaccuratelyrecreatetheexperienceofthe

audio/visualspectacleasitoccurredin1958andthePhilipsPavilion.8

Inher2004essayHistorical Perspective: A Symphony of Sensations in the Spectator:

Le Corbusier’s Poème Électronique and the Historicization of New Media Arts, Kate Mondloch

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describesingreatdetailhowPoème Électronique was conceptualized and created {Poème

Électroniqueinthisinstanceisreferringtothetotalmultimediaeventthatoccurredinsidethe

PhilipsPavilion,notjusttheaudiopiececreatedbyEdgardVarèsethatbearsthesamename}.

9SheanalyzestheculturalandhistoricalimpactofPoème Électroniqueandcontextualizesitin

thecannonofnewmediahistory.10InheressayMondlochfocusesonhowthroughtechnology

thespectaclewasalmostentirelyautomatedandhowthatthroughthislargedegreeofcontrol

Poème Électroniquestandsapartfromothermultimediaartofthetimeandsettheframeworkfor

contemporarymultimediaartinstallations.11

ThroughalloftheinvestigationsintoVarèse’sworkandtheexaminationofPoème

Électroniqueasamultimediaimmersiveeventandasaoneofakindsite-specificeventwhat

islostisaninvestigationofthesignificanceofEdgardVarèse’sPoème Électronique as a

workofaudioart.Thispaperwillillustratetheimportanceofthe1958performanceofPoème

Électroniqueasaoneofakindimmersivemultimediaeventandasthegrandculminationof

Varèse’stheoriesonsoundfinallyrealizedintheelectronicmediumthathehadcalledforand

foughtsohardfor.ItwilloutlinethelastingeffectsofPoème Électronique and illustrate how it

hasinfluencedmusictheoryandcompositionaswellaschangedthetoolsthatareusedtocreate

music.Ithasopenedupthedoorsforsoundartinstallationsandisevenoneoftheprecursorsto

modernsurroundsound.ThispaperwillgiveabackgroundonVarèseandoutlinethetheories

heascribedtoandhowandwhyhewasdriventomakePoème Électronique.Itwillalsoillustrate

Poème Électronique’s importanceandhowwithoutitmodernmusicwouldnotexistasitdoestoday.

ThroughoutEdgardVarèse’scareerhefoughtforwhathebelievedin.Hefoughtforhis

righttomakemusicthewayheconceivedit.Hewasuncompromisingandspokefreelyofhis

ideasthatwentagainstthenorm.Theequipmentheneededtoaccomplishthegoalshesetfor

himselfasacomposerwasnotyetavailable;thisiswhyhespentthemajorityofhislifeisolated

fromtherestofthemusiccommunity.Hestruggledwiththeinstrumentshehadavailableto

makethemusicheconceived.Varese’sbrilliancewasmisunderstoodandunderappreciated,and

hegrewtiredofit.Afteryearsofbeingdeniedaccesstotheequipmentheneeded,hewasfinally

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allowedtoworkwiththeelectronicmediumthathehadstruggledsohardfor.

EdgardVarèsewasbornDecember22,1883inParis,France.Helivedwithhismother

andhisfatherHenriinParisandlaterinVillars,avillageinBurgundy.12In1892,theVarèse’s

movedtoTurin,ItalywereEdgardwantedtostudymusic,buthisfather,whowasaengineer,

pushedEdgardtopursueacareerinengineering.Itwastheeducationinscienceandmaththat

wouldpreparehimforacareerinengineeringanditwouldhaveaprofoundeffectonEdgard

Varèseasamanandasacomposer.HereceivedprivatemusiclessonsfromGiovanniBolzoni

againsthisfatherswishes,andin1903,helefthisfamilyandreturnedtoParistopursuehis

musicalstudies,alsoagainsthisfatherswishes.13Laterinlifehewouldgoontodescribethis

tyrannicalrelationshipwithhisfather.Itispostulatedthathisdifficultrelationshipwithhis

fatherledinparttohisdisdainforauthorityandhisinsistancetofollowhisowndesiresevenif

theywentagainstthemajority.In1904,hewasadmittedtoScholaCantorumwherehestudied

underd’Indy,RousselandCharlesBordes.14ItisduringthistimeinParisthatVarèsedeveloped

adeepunderstandingandappreciationforthehistoryofmusicthatwouldeventuallyallowhim

todevelophisowntheoriesandmoveawayfromtraditionaltheoriesofcomposition.In1907,at

therecommendationofCharlesWidor,VarèsereceivedthePremière Bourse artistique de la ville

de Paris.15DespitehissuccessinParis,inlate1907,VarèseleftforBerlin.

WhileinBerlin,VarèsefinishedhispieceBourgonge,onofhisearliestcompositions.In

1909hebecamefriendswithClaudeDebussy,RichardStraussandFerruccioBusoni.16These

threemenwouldgoontobeimportantinfluencesonVarèseandgreatlyimpacthismusicand

theories.In1915VarèseimmigratedtotheUnitedStatesweresettledinNewYorkwherehe

wouldspendthemajorityoftherestofhislife.FromthemomenthereachedNewYork,Varèse

washardatwork.HeconductedmanyorchestrasincludingtheCincinnatiSymphonyOrchestra

in1918,thesameyearhebegancompositionthefirstpieceofmusichewouldwriteinhis

new home land, aptly titled Amèriques.17WhilenotbusyconductingandcomposingVarèse

wasoutchampioningtheworkofothercontemporarycomposers.In1921hefoundedtheIGC

(InternationalComposersGuild)1921,theInternationaleKompponisten-GildeinBerlinwith

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Busoniin1922,andhefoundedthePan-AmericanAssociationofComposersin1928.18Varèse

foundedtheseorganizationsforthepurposeofperformingtheworksoftwentiethcentury

composersandthroughtheseorganizationsVarèseisresponsibleforpremieringinAmerica

theworkofHenryCowell,CharlesIves,BelaBartokandmanyothercomposersthatwithout

Varèse’shardworkandardentsupportmaynothavebeenshownintheUnitedStatesuntila

muchlaterperiodinhistory.19

ShortlyafterarrivingintheUnitedStatesVarèsebegantoillustratehisrevolutionary

theoriesonmusicandmusiccompositiontotheAmericanpublic.In1917heisquotedassaying:

Ourmusicalalphabetispoorandillogical.Music,whichshouldbealiveandvibrating,needsnewmeansofexpression,andsciencealonecaninfuseitwithyouthfulvigor.Idreamofinstrumentsobedienttomythoughtandwhich,withtheircontributionofawholenewworldofunsuspectedsounds,willlendthemselvestothedemandsofmyinnerrhythm.20

In1922,thefirstofhisfourteencompositionswasperformedbytheIGC,Offrandes, was

performedonFebruary191922.Likeanynewmovement,itwasmetwithseriousopposition.In

thefollowingyears,Varèse,nevercompromisinghisbeliefs,composedandpremieredsomeof

themostexcitingandchallengingworksthatthetwentiethcenturyhadtooffer.Heproposeda

challengetohisaudienceandthecriticsofthetime,andunfortunately,fewofthemrosetomeet

thatchallenge.TheequipmentVarèseneededtoachievethesoundheclamouredforwaseither

notavailabletohimordidnotexistyet.Theangstthiscausedhimwasechoedintheresponseof

thecrowd.TheywerenotabletocomprehendVarèse’smusicbecauseitpresentedsucharadical

leapaheadofthecompositionsofthetime.

NothingepitomizedVarèse’sstrugglewiththepublicandcriticsmorethantheresponse

totheMarch4,1923premiereofispieceHyperprisminhisadoptedhometownofNewYork.

WithVarèseatthehelmconductingtheorchestra,Hyperprism introduceditselftotheaudience

withanopeningcymbalcrashfollowedbyhowlingsirensandathunderousbassrumble.21Sitting

throughlessthanhalfofthefourandahalfminutepiece,halfofthecrowdleftinprotestand

startedasmallriotinthelobby,whiletheotherhalfdemandedanencoreassoonasthefinal

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cymbalcrashfadedout.22Thisresponse,mixedreviewsdiametricallyopposed,notriots,would

becomeatrendforthereceptionsofVarèse’sworkinthefollowingyearsasVarèsecontinued

topremiereworksthroughoutthenineteentwenties.Inthe1920’sandearlypartofthe1930’s

Varèsewasverybusyandreleasedalargeportionofhiscareerworks.From1924-1936Varèse

composedandpremieredsixofhismostinfluentialandappreciatedworksallinNewYork.He

premiered Octandre 1924,Intègrales1925,Amèriques1926,Arcana1927,Ionisation 1933,

Ecuatorial 1934andDensity 21.5 in1936.23

In1936,Varèsegavethefirstofaseriesoflecturesoutlininghistheoriesonsoundand

music.HislectureswouldlaterbecompiledbyhisstudentChouWen-Chungundertheheading

of“TheLiberationofSound”.24Thisfirstlecture,inSantaFeNewMexico,reiteratedVarèse’s

callfor“newinstruments”and“newMusic”aswellasoutlinehistheorieson“sound-masses”,

“zonesofintensities”,“soundbeingprojectedthroughspace”andhiscallforanewnotation

fornewmusic.25From1932-1936VarèsecontinuallyappliedforaGuggenheimFellowshipto

“pursueworkonaninstrumentfortheproducingofnewsounds.”26EdgardVarèseneverreceived

theGuggenheimFellowshipandsharesthedubiousdistinctionwithArnoldSchoenberg,asthe

onlytwomajorcomposerstohaveeverbeendeniedaGuggenheimFellowship.27

Thisbeganwhatwouldbecomeasilentperiodfrom1937to1952whereVarèsedidnot

composeanyworksthatwerepremiered.DuringthistimeperiodVarèsecontinuedtosearchfor

ameansofrealizinghisdreamsofworkingintheelectronicmedium.In1937heapproached

soundstudiosinLosAngelesaboutuseoftheirfacilitiesandwasdenied,andthroughoutthis

fifteenyearsilentperiodVarèseattemptedtogettheattentionofmanydirectors,including

WaltDisney,todevelopthevisualcomponentofamultimediapresentationofhis,atthis

point, unreleased piece Dèserts.28Hewasunabletoprocureanyinterestfromthedirectorshe

approached,andthusneverrealizedhismultimediaaspirationsforthispiece.Varèseworkedon

hisunfinishedOpusEspace, whichwentbymanynames,andisbelievedtohavebecomepartof

his composition Dèserts.29Inhissilentyears,Varèsecontinuedtolectureatvariousuniversities

includingtheArsunaSchoolofFineArts,SantaFeandColumbiaUniversity.30In1939,Varèse

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gavealectureattheUniversityofsouthernCaliforniathatwouldlaterbeencapsulatedbyhis

studentChouWen-Chungaspartof“TheLiberationofSound”.Thislecturefocusedon“Music

asanArt-Science”.31Inthislectureheoutlinedhisthereasonswhymachinesareneededin

musicandhowcomposerswouldbenefitfromthenew“soundproducingmachines”.32

In1950EMS,arecordcompany,attemptedtoproducethefirstrecordingsofVarèse’s

works,butsadlytheprojectwasabortedafterthedeathofJackSkurnick,theownerofEMS.33

In1951Varèseagaintriedtoprocurethenecessaryequipmentandfacilitiesheneededtowork

intheelectronicmediumandproducehismusicthewayheconceivedit.Heapproachedvarious

companies,likeBellLabsandMagnecord,butagainwasdeniedaccesstothematerialheneeded

tocomposethewayhesawfitandtoputintopracticehistheoriesonsoundandcomposition.34

ThisagainwasaverysadtimeforVarèse.Hefeltmoreisolatedtheneverandevenconsidered

abandoningmusicaltogether.DuringthistimeVarèsefellintosuchatremendousdepressionthat

heevencontemplatedcommittingsuicide.35

AfterallofthestrugglesandtheisolationVarèse’sluckbegantochangewhenin1951

hereceivedanAmpexmodel401Ataperecorderfromananonymousdonor.Thisextremely

wonderfulgiftrejuvenatedVarèseandhequicklybeganworkontheelectronicinterpolationsfor

hisunreleased,failedmultimediapieceDèserts.36AfterworkingonDèserts onhisownforthe

betterpartofthreeyears,in1954VarèsewasinvitedbyPierreSchaefertocompletehisworkon

thetapeinterpolationsforDèserts with him at the Studio D’Essai of Radiodiffusion francaise,

(RTF)inParisFrance.37Dèserts waspremieredDecember2,1954inParis,Francewhereitwas

“thefirststereophonicbroadcastinFrenchradiohistory.”38Itwasonceagainmetwithlessthan

stellarreviewsandbecauseofthenumberofcomplaintstheFrenchradioreceivedfundingfor

PierreSchaefer’sworkattheRTFwasalmostpulled. In1955Varèsebeganworkonanelectronic

pieceofThomasBouchard’sfilmAround and about Joan Miro,whichhecompletedin1956.39

In1957EdgardVarèsewaspresentedwiththeopportunityhehadwaitedhisentirelife

for,hewasapproachedbythePhilipsCorporationtocomposesoundfortheiraudio/visual

spectacle Poème ÉlectroniqueatthePhilipsPavilionatthe1958World’sFair.Varèsewasgiven

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thechancetoworkontheprojectbecauseoftheinsistenceoftheleaddesignerLeCorbusier,who

refusedtoworkontheprojectifVarèsewasnotthecomposer,thissentimentwasechoedbyhis

assistantIannisXenakis.BegrudginglyPhilipshadnochoicebuttoacceptandallowedVarèse

tocomposethemainaudiopiecefortheproject.LuckilyforPhilipstheyagreedtoCorbusier’s

demandsbecauseupontheprojectscompletionin1958,itwasahugesuccessandamongstall

ofthegreatartworkthatcomprisedinthepiece,LeCorbusier’sandIannisXenakis’architectural

designandCorbusier’svisualspectacleVarèsePoème Électroniquestoodoutfromtheother

installations.MarcTriebinhisbookSpace Calculated in Seconds, Philips Pavilion, Le Corbusier,

Edgard Varèse,TriebstatestheimportanceofVarèse’sPoème Électroniqueas“ofallofthe

elementsthatmakeupthePoème Électronique,onlyVarèse’s480secondcompositionretainsa

reputationasamasterwork.”40WorkingonPoème ÉlectroniqueallowedVarèsetofinallybeable

toworkwithintheelectronicmediumthathehadpinedforallhislife.Itwasanopportunitythat

Varèsedidnotwaste.Heshowedthatifhehadhadthetoolshecalledforin“TheLiberationof

Sound”thathecouldcreatetheworkshistheoriescallforandthathisdreamsofsound-masses

projectingthroughspace,afreedomfromthetemperedscaleandfreedomfromcounterpointcould

allbecomeareality.

EdgardVarèsewasinfluencedbywidevarietyofindividualsanddisciplinesHedrewas

muchfromtheworkofmineralogistNathanielArbiterashedidfromthatofClaudeDebussy.

AccordingtoLarryStempleinhis1974essayNot Even Varèse Can Be an Orphan,states,“itis

knownthatVarèsedidfindgreaterstimulationinthecompanyofscientistsandartistsotherthan

musicians.”41Varèsewasgreatlyinfluencedbythediscoveriesinthefieldofphysicsduringthe

latenineteenthandearlytwentiethcenturies.42Hewasespeciallyinterestedinandinfluencedby

JohnRedfield’sbookMusic, a Science and an Artandborrowedfromitextensivelyinhis1939

lectureattheUniversityofSouthernCaliforniaabout“MusicasanArt-Science”.43The most

influentialscientificinfluenceonVarèsewasthatofHermanL.F.Helmholtz,1821-1894,whose

study On the Sensations of Tone as a Physiological Basis for the Theory of Music, was the theory

Varèseadoptedtocomposemusicinlieuofthetraditionalcompositionalapproach.44 This lead

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tomanyoftheinnovationsVarèseusedinhiscompositionalmethods.BecauseofHelmholtz’s

workVarèsewasabletoenvisiontheusageofsoundsincompositionsdifferentlythanother

composersfromthesameera,allowinghimtotakerisksinhiscompositions.Forexample,he

usedpolyphonicsirenstoproduceuptoeightdifferentdistinctpitchesatonce,likethesirens

thatHelmoltzdiscussedinhisworkOn the Sensations of Tone and a Physiological Basis for the

Theory of Music.45

Varèsewasnotlimitedtodrawinginspirationandbeinginfluencedbywesternculture,

accordingtoMichikoToyamainFernandOuellette’sEdgard Varèse, Octandre and Intègrales

werebothclaimedasgagaku.46Varèsewasinfluencedverystronglybyhisfather.Inmultiple

sourcesitisstatedhowVarèsefoughtauthorityinmusicbecauseofhisrelationshipwithhis

tyrannicalfatherandthathiscompositionswereaformofpatricideonmusicalhistory.Musically

VarèsewasdeeplyinfluencedbytwocomposershebefriendedduringhistimeinBerlininthe

earlynineteenhundreds,FerruccioBusoniandClaudeDebussy.InadiscussionbetweenVarèse

andDebussyaboutcomposingDebussytoVarèse,“Youhavearighttocompose,whatyouwant

to,andthewayyouwantto,ifthemusiccomesanditisyourown.”47Thishadagreatinfluence

onVarèsebecauseitgavehimtheconfidenceandthejustificationtocontinuetocomposeworks

inthefashionthathesawfit,andnotfeelthatneedtobowtothetrendsofhiscontemporaries.

InaverylargewayDebussyisprobablythebiggestinfluenceonVarèsebecauseheistheone

thatsethimfreetocomposeworksashesawfit.ThesoundsthatVarèsecreatedwerealways

undoubtedly“hisown”.FerruccioBusonigreatlyinfluencedVarèsewithhisA New Aesthetic of

Music,whichcontainedthedictum“Musicwasbornfree,andtowinfreedomisitsdestiny”.48

AlsowhileinBerlin,VarèsewasinfluencedbyfellowcomposersRomainRollandandRichard

StrausswhoencouragedVarèsetofollowhisidealsandcomposemusicashesawfit.Duringhis

fifteenyearsilentperiodVarèsespentalotoftimeinSantaFeNewMexicowherehespenttime

amongstthevariousNativeAmericantribesofthearea.Varèsestatesthathewasdeeplyinfluenced

bytheirmythologyandfolkloreandacknowledgestheirinfluenceintheprefacetoEcuatorial.49

Duringthemid-twentiethcenturyVarèsewasnottheonlycomposerexperimenting

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withnewmusictheory,newcompositionalmethodsandusingnewinstruments,bothacoustic

andelectronic.Duringthe1951’sJohnCagewasworkingonvariouspreparedinstrument

piecesthatusedextendedtechniquetoplaythem,whichallowedhimtocreatesoundsoutside

oftheinstrumentsregularvoicings.Cagewasalsoworkingwithnewformsofindeterminate

compositionaltechniques,wheretheoutcomeofthepiecewaslefttobedeterminedbyfactors

outsidethecomposition.Forexample,inMusic of Changes,CageusedtheI Ching,tomake

decisionsabouttheduration,voicinganddynamicsofthenotesplayedonthepiano.50

AnothercomposercallingfornewmusicandinstrumentswasHarryPartch.He

composedmusicforperformanceonacousticinstrumentsthatheinventedthatallowedhimto

composemusicforaspecificforty-threetoneoctave,whichallowedhimtoescapethetrapping

oftheequaltemperedtwelve-tonesystem.51Thesearejusttwoofthemanyothercomposers

workingatthesametimeperiodasVarèseandworkingonformulationsimilarideasandsimilar

goals.WhatseparatesVarèsefromtherestofhisfellowtwentiethcenturycomposerswasthat

Varèsewascallingfornewmusic,newinstrumentsandanewformofnotationin1907,twenty-

threeyearsearlierthenhisclosetscontemporaryavant-gardecomposer.Whatalsoseparated

Varèsewasthestructureofhiscompositionsandtheories.LarryStempelinhis1974articlefor

The Music Quarterly entitled, Not Even Varèse Can be an Orphan,wonderfullysummarizesthe

uniquenessofEdgardVarèse’scatalogue,inrespecttothatofothercomposers.Stempelwrites,

Asithasstoodsincehisdeathin1965,thecompleteVarèseianoeuvre,glisteningwiththenewnessofitstensilephonology,seemstohavesprungoutofmusichistorylikeAthenebornfull-grownandbattle-clad.Fromitsfirstrudeutterancesinthe1920stherepertoireofsoundwenowhearassodistinctivelyVarèsenotonlyinducedfewsympatheticvibrationsinhiscontemporaries,butstilldefiesoureffortstounmaskresonancesfromanyrealmusicalprogenyofprogenitors.52

ForVarèsetherewasnoperiodwherehewasdefininghisstyleandtryingtofigureouthisvoice

incomposition.FromthebeginningVarèseknewwhathewantedandfoughtforhisrightto

composewiththesoundshewantedandinthestylehewanted.Varèsewassetapartfromhis

contemporariesbecausehewasatitlongerthanthemandhisstylewasmoreuniqueandmore

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definedthenthatofCageorPartchandunlikehiscontemporariesnoonesinceVarèsehasbeen

abletocapturethesoundandmoodofhiserathatwayVarèse’scompositionscapturedthemood

andtheatmosphereofearlytwentiethcenturyAmerica.

Varèsebegancomposingwithanalreadyfullydevelopedidiosyncraticstyle,thathehad

yettoputintoaformaldocumentation.53Varèseneverwroteamanifesto,heneverwaspartofa

schoolofcomposersandheneverformulatedan“ism”. 54Varèsejustspokehismind,andspoke

itoften.Hemostlyspokethroughinterviewsandlettersthathesenttopublicationslikebutnot

excludedto“The Commonwealth”,theNewYorkMorning Telegraph, The Christian Science

Monitor.55 Themajorityofourunderstandingofhistheoriescomefromaseriesoflecturesgiven

atdifferentuniversitiesbetween1936and1962.56“TheLiberationofSound”isbrokendown

intofourmainsectionseachdealingwithdifferenttheoriesVarèsehadondifferentaspectsof

soundandmusic.Histheorieswerenotintroducedtotheworldspecificallywhenthelectures

occurred, as is the case in his lecture entitled New Instruments and New Music.Thisisnotthe

firsttimeVarèsecalledfornewinstrumentsandnewmusicthisisjusttheinstanceinwhich

hebestexplainedthereasonswhyheneedednewinstrumentsandwhathisnewmusicwould

becomposedof. Thefirstlecturethatisusedtoformtheopeningsegmentof“TheLiberation

ofSound”occurredinSantaFeNewMexicoin1936.ThisparticularlectureistitledNew

Instruments and New Music.InthislectureVarèseaptlyoutlineshisneedfornewinstruments

andwhattheywillallowhimtoaccomplish.Varèsestates,

WhennewinstrumentswillallowmetowritemusicasIconceiveit,themovementofsound-masses,ofshiftingplanes,willbeclearlyperceivedinmywork,takingtheplaceoflinearcounterpoint.Whenthesesound-massescollide,thephenomenaofpenetrationorrepulsionwillseemtooccur.Certaintransmutationstakingplaceoncertainplaneswillseemtobeprojectedontootherplanes,movingatdifferentspeedsandatdifferentangles.Therewillnolongerbetheoldconceptionofmelodyorinterplayofmelodies.Theentireworkwillbeamelodictotality.Theentireworkwillflowasariverflows.57

Varèsealsodescribesthemultipledimensionsofsound,vertical,horizontalanddynamic,and

howheshallusethemtoprojectsoundsintospace.Thesesound-massesbeingprojectedinto

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spacewillbedifferentiatedby“zonesofintensities”thataredistinguishedfromeachotherby

theirtimbre,differenttonecolorsandbydifferencesintheirperceivedvolume.Hegoesonto

illustratethatthetonesthatresultfromthecollisionandrepulsionofthesesoundmasseswould

resultinnewsoundsthathadneverbeenusedincompositionbeforeandthereforewillcallfor

anewtypeofnotationthatwilladequatelyallowthecomposertotransposehisthisnew“magic

sound”.Varèsefeltthatthenewformofnotationwouldbeseismographic.58Thetheoryofsound-

masses,zonesofintensitiesandnewsoundsderivedfromthesemovingsound-massesutilizedin

Varèse’spreelectronicworkcanbestbeheardinHyperprism 1923, andisevenbetterrecognized

by Varèse in Arcana 1927.59

Thesecondsectionof“TheLiberationofSound”isfroma1939lectureattheUniversity

ofSouthernCaliforniaentitledMusic as an Art Science.60Inthissection,Varèsereiterateshis

needforanewmediumofexpressionforhisconception,andhowwhenthisnewmediumis

combinedwithhisaforementionednewnotationsystemtheaudiencewillbeabletohearmusic

asthecomposerconceiveditwithouttheinterferenceoftheperformer/musiciansinterpretation

ofwhatthecomposerwrote.61Varèse also describes how electronic instruments will allow

composerstowritemusicthatexceedslimitationsoftheofamusiciansabilitytoplaythe

piece.ThenewmediumVarèsecallsforwillallowforgreaterdiversityanddifficultyinpieces

composerscreatebecausetheywillnothavetobeconsciousoftheperformersabilitytoplaythe

piecebecausetheywillsimplyinputthescoreintoamachineandthemusicwillbeperformed

bythemachine.Varèsestatestheimportanceofagreatercollaborationbetweencomposerand

scientistorengineerwillbenecessarytoachievethedesiredresultsinthisnewmedium.62

WhatVarèseisexpressinginthissectionof“TheLiberationofSound”ishisfrustration

withperformers/musiciansinterpretinghismusicincorrectlywhileplayingit,andwiththe

restrictionsimposedonhiscompositionsbybeinglimitedtohavingtowritemusicforthe

limitedrangeoftheinstrumentsavailableandforthelimitedabilityoftheperforms/musicians

thatplaythepiece.Varèsewascallingforsomethingmorewherehewouldnotbeboundby

technologyorperformerandwouldbefreetocomposepiecesfreefromrestraintandwithanew

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paletteofsoundstoworkwith.

Thethirdsectionof“TheLiberationofSound”isfroma1959lectureatPrinceton

UniversitytitledRhythm, Form and Content.63ThissectionbeginswithVarèsedefendinghis

callfornewinstrumentsandillustratingthatheisnotouttodestroytraditionalcomposition

andneveragainusetraditionalinstruments,butrathertousetheminconjunctionwiththenew

electronicmedium;tousetheelectronicmediumasanaddiditive.64Heillustratesthatitisstill

uptothecomposertowritegoodmusicwhetheritbefororchestraorfortapeandthatmusical

principlesremainthesameforeithermedium.65Varèsethengoesontotodescribehistheorieson

rhythmas“asuccessionofalternateandoppositeorcorrelativestates.”66Healsodescribesthe

differencebetweenrhythmandcadence.Varèsedescribesthedifference,

Cadenceoftheregularsuccessionofbeatsandaccentshaslittletodowiththerhythmofacomposition.Rhythmistheelementinmusicthatgiveslifetotheworkandholdsittogether.Itistheelementofstability,thegeneratorofform.Inmyownworks,forinstance,rhythmderivesfromthesimultaneousinterplayofunrelatedelementsthatinterveneatcalculated,butnotregulartimelapses.67

Varèsethengoesontoexplainhistheoryon“formasaresultant–theresultofa

process”.68Heexplainshowhisformislikethatoftheformationofacrystalandthateachof

hispieces’formsarederivedfromtheinteractionoftheelementsinsidethepieceandthatthe

differentcombinationsandinteractionsandthereforethedifferentformsthatcanbecreatedare

limitless,liketheexteriorformsofacrystal.AccordingtoVarèsethatmeansthatthereisan

endlessamountofpossiblemusicalforms.69Varèsealsostatesthatthereisnodifferencebetween

contentandform,becauseifyouremoveoneofthemthenthereisnocontent.70

WhatVarèseisdemonstratinginthissectionistheimportanceofcompositional

techniquestohismusic.Heisdemonstratingthatmorethannewelectronicinstrumentsare

neededtocreate“good”newmusic,andthatitisstilluptothecomposertowritegoodmusic.

Varèsestressestheimportanceofhistoryandillustratestohiscriticsthathehasavastknowledge

ofmusictheoryandhistoryandthathehastheutmostrespectforthecomposersthatcame

Freyermuth 13

beforehim.Varèsealsoillustrateshisconceptionsofrhythmandformandhowhetreatsthemin

hiscompositionsandunderlinesthesimilaritybetweenworkingintheoldmediumandthenew

electronicmedium,thattheybothstillboildowntothecomposer’suseofrhythmandform.

TheforthandfinalsectionofVarèse’s“TheLiberationofSound”comesfromalecture

hegaveatYaleUniversity1962titledThe Electronic Medium.71InthislectureVarèseillustrates

whathebelievestobethebestdefinitionofmusic,“thecorporealizationoftheintelligencethat

isinsound,”HoeneWronsky.72Varèseoftenusedthisdefinitionofmusicanduseditasthebasis

forwhyhecalledhismusic“organizedsound”andwhyhereferredtohimselfas“aworkerin

rhythms,frequenciesandintensities”notasamusician.73Varèsethengoesontodescribethe

newfreedomsandlibertiesattainedbytheuseoftheelectronicmedium.Howithasallowed

composerstoworkwithsoundsthatmanyconsidernoiseandtobeabletoworkwithsustained

notesthatwerenotpossiblewithearlierinstruements.74Hediscussesthefreedomtheelectronic

mediumhasgrantedthecomposerfromthetemperedsystemandfromestheticcodification.75

Varèsealsoillustratesthattheelectronicmediumwillnotdoalltheworkforthecomposerand

thatgoodmusicwillstillhavetobewrittenandthatnewelectronicdevicesneedtobecreated

specificallytocreatemusicandthatonlythroughacloserrelationshipbetweenartandscience

willthisbepossible.76

InthisfinallectureVarèseillustratestheimportanceofwhattheelectronicmediumhas

doneforcomposition,whilewarningthatitisnotamiraclemachineandthatcomposersstill

havetowritegoodmusicandmastertheircrafttomakeinterestingmusicwithinthescopeof

thisnewandlimitlessmedium.Varèseiscallingfortheresearchintoandthecallfornewmusic

to continue and that only with a closer relationship with science will music and art be able to

continuallymoveforwardandextrapolatethemostfromthenewelectronicmedium.Varèseis

pointingoutthatthereisstillmuchworktobedonetotrulyliberatesound.

In1956,EdgardVarèsewaspresentedwithachancetofinallyrealizehisdreamonbeing

abletoworkentirelyintheelectronicmedium.AtthePhilipslabsinEindhoven,heworked

inthelaboratorywithateamofengineersandthelatestequipmentathisdisposaltocreatein

Freyermuth 14

anymannerhesawfitthescoreforCorbusier’selectronicpoem.Varèsestruggledtocompose

materialontimeforPhilipsbecausetherewasalackofterminologyfordescribingelectronic

musicwhichmadeitextremelydifficulttocommunicatewiththeengineersandtherefore

achievethedesiredsonicresults.77Itwasextremelydifficultwork,becausethiswasVarèse’sfirst

completelytapecomposition,andhewasalsoasunfamiliarwiththeequipmentasthePhilips

engineerswerewithhissonicideas.TherewasalsoaconstantstruggletohaveVarèseremoved

fromtheprojectbecausePhilipsneverwantedhimasthecomposerandtheywerenothappy

withthemusichewascreating,butashedidtogetVarèseinitiallyinvolvedintheproject,Le

CorbusierfoughtforVarèseandthreatenedtoleaveiftheyattemptedtogetridofVarèse.

Fortheproject,Varèsecomposedsoundthatwastobejuxtaposedagainstimages,film,

coloredlightsandsculptureshangingfromtheceiling.Thevisualcomponentsoftheexhibition

wereconceivedbyLeCorbusierandcreatedwiththehelpofcinematographerPhilippeAgostini.

ThearchitecturalworkwasoverseenandconceivedbyLeCorbusierandIannisXenakis,

althoughlateradisputeofauthorshipoftheprojectarouse,andwaseventuallysettledthatthe

twowouldbecoauthorsontheproject.Xenakisalsoscoredashortmusicpiece,Concrete PH,

fortheentrywaytothemainroomofthepavilion.Onceinsidethemainroomofthepavilionthe

audiencewouldstandindarknessuntiltheeight-minutepresentationofPoème Électronique.78

Once the presentation began the audience was engulfed in Varèse’s composition, also titled

Poème Électronique, as it was played off of three optical tapes and routed, by a fully automated

system, to four hundred and twenty-five different speakers that lined the curved walls of the

pavilion and to eleven subwoofers that were scattered amongst the floor of the pavilion. As

the sound was being played it was juxtaposed against the visual component that le Corbusier

designed and the juxtaposition of the site and sound created a thrilling experience for the

audience. Varèse’s Poème Électroniquewascomposedofunmodifiedandmodifiedsounds,

machinenoises,distortedorgans,disembodiedchants,humannoises,pipeorgan,percussion,

electronicsoundsandmodifiedrecordings.79Varèse’s Poème Électronique was recorded onto

threeseparateaudiotracksthatwereroutedthroughadistributionmatrixthatdisbursedthe

Freyermuth 15

soundsthroughdifferentspeakersatdifferenttimesthroughouttheperformance,andnotwo

performancessharedtheroutingsystem.80

Poème Électronique premieredin1958atthePhilipsPavilionattheWorldsFairin

Brussels,Belgiumtogreatsuccesses.Itwasconsideredahugesuccessandwasviewedby

approximatelytwomillionpeoplebeforeitwasdismantledin1959.Poème Électronique was

asite-specificartinstallationandassoonasitwasdestroyedin1959theworldwouldnotbe

abletowitnesstheeventeveragain,butwhatwasleftfromtheoriginalsite-specificPoème

ÉlectroniquewasEdgardVarèse’saudioPoème Électronique,whichhaswithstoodthetestof

timeandisregardedasthefirstmasterpiececreatedforthefledglingelectronicmedium.81

AfterthesuccessofPoème Électronique Varèse was instantly elevated to celebrity status

andhisworkthathadbeendismissedearlierinhiscareerwasnowbeingtakenseriously.The

newfoundstatusasacelebrityallowedVarèsetocontinuetoworkintheelectronicmedium.

HewasabletoworkwithVladimirUssachevskyattheColumbia-PrincetonElectronicMusic

Centerin1961toreworkthetapeinterpolationsforhispieceDèserts.82ThesuccessofPoème

Électroniquehadgivenhimtherecognitionhesoughtandallowedhimtocontinuehisworkin

theelectronicmedium.Itisashamethatittookuntilhewasinhisseventiesforhimtogetthe

recognitionhedeserved.VarèsewasnotabletocontinuehisresearchattheColumbia-Princeton

ElectronicMusicCenterbecauseshortlyaftercompletingDèserrtshecontractedabadstrainof

bronchitisanddiedNovember5,1965inNewYork.

EdgardVarèse’sPoème Électroniqueservedasanillustrationofthetheoriesoutlined

in“TheLiberationofSound”.Varèseforyearsimplementedhistheoriesintohisacoustic

compositionsyearningfortheopportunitytotrulyrealizetheminthemediumtheywere

intendedfor.Thoughhistheoriesworkedintheacousticrealmandareplainlyaudibleinhis

earliercompositions,theyarebeautifullyillustratedinPoème Électronique and demonstrate

justhowfaraheadofhistimeVarèsewas.ThroughPoème Électronique, Varèse was able to

hearhiscompositionasheintendedittobeheard.Inthesite-specificinstallationofPoème

ÉlectroniqueVarèsewasabletohearhissound-massesbeingprojectedintospaceandmoving

Freyermuth 16

throughitinteractingwithothersound-massesastheycollide,penetrateandreflectoffofeach

other.Hewasabletohearhowthisinteractionshapedtheformofthecompositionandgavelife

tothepiecethroughtheirrhythm.Varèsewasabletodemonstrateandheartheuseoftimbreasa

meanstodifferentiatedifferentsound-masses.Heheardhiscompositionfreedfromthetempered

systemincludingallsoundshesawfitintothecomposition.Hewasabletousesustained

electronicsoundsthatswelledandfadedinintensity.Inshort,Varèsewasableto“liberate

sound”withintheworldofPoème Électronique. With Poème Électronique Varèse illustrated

theeffectivenesswithwhichartandsciencecanworktogethertocreateamasterpiece.In1958

EdgardVarèselaidthefollowinggoalsoutforhimselfasamusician.Thesegoalswere:

Tocomposefreely,followingnoestablishedrules,dogmas,orfashions.Tocomposeontheprinciplethatallsoundsaretherawmaterialofmusic.Tofreesound-tofreemusicfromthelimitationsofthetemperedsystem.82

Varèse,throughPoème Électroniqueandhisothercompositions,wasabletoaccomplishallof

hisgoalsasamusicianandmuchmore.Heinfluencedcountlesscomposersandmusicians,and

eventhoughhedidnotreceivetheproperrecognitionforhiscontributionstocontemporary

music,throughouthislifeandbecauseofthathesufferedgreatly,atlastinthetwilightofhislife

hereceivedtherecognitionandrespecthedeserved.Longafterhisdeathhisinfluenceisstill

beingfeltandhismusicisstillbeingheardandtothisdaystillsoundsalittleaheadofitstime.

EdgardVarèseinfluencedmanycomposersandmusiciansduringhislifeandhiswork

continuestoinfluenceartistsafterhisdeath.SomecomposersthatwereinfluencedbyVarèse

wereMortonFeldman,Chicago,BrianEnoandFrankZappa.MortonFeldmanhadthistosay

aboutEdgardVarèseinhisEssaySound, Noise, Varèse, and Boulez,

Soundisallourdreamsofmusic.Noiseismusic’sdreamsofus.Andthosemomentswhenonelossescontrol,andsoundlikecrystalsformsitsownplanes,andwithathrust,thereisnosound,notone,nosentiment,nothingleftbutthesignificanceofourfirstbreath-suchisthemusicofVarèse.Healonehasgivenusthiselegance,thisphysicalreality,thisimpressionthatthemusiciswritingaboutmankindratherthanbeingcomposed.83

Freyermuth 17

Varèse’s Poème ÉlectroniquehadastrikingimpactonBrianEon’saudiovisual

installations.84Varèse’stheoriesoutlinedin“TheLiberationofSound”,especiallytheexcerpt

aboutsound-massesinteractingwitheachotherastheyareprojectedthroughspaceandtheuse

oftheinferiorresultantsthatwerecreatedwhenthesound-massesinteractedwitheachother

wasofgreatinfluencetoEnoinhisambientpieces.EspeciallyDiscreet Music, 1975,atape

compositionwherethecontentandtheformofthepiecearedeterminedbytheinteractionofthree

synthesizerchordsastheydecaythroughthesyntheticspacecreatedbyreverberationprocessors

andanalogtapedelayeffects.Enoevenusedanalternateformofnotationtotranscribethispiece

becausetraditionalstaffnotationwasincapableofcapturingtheit.85AlthoughVarèse’swork

bynomeanscouldbeclassifiedasambient,ithashadamassiveinfluenceononeofthemajor

pioneersofambientmusic.AnothermoderncomposerhighlyinfluencedbyEdgardVarèsewas

FrankZappawhowroteandessayentitled,Edgard Varèse: The Idol of My Youth,inwhichZappa

outlineshisloveofVarèse’smusicandtheimpactthatithadonhislife.86

IftechnologymovedatspeedofEdgardVarèsethenhemayneverhavehadtohavegone

throughsuchalongperiodoftimewherehisworkwasnottakenseriouslyandwerehedidnot

gettherespecthedeserved.ThispaperillustrateshowimportantafigureEdgardVarèsewasto

modernmusicandthathisinfluencebothtechnicallyandaestheticallyisfarmoreencompassing

thanoriginallytheorized.ThesignificanceofPoème Électroniqueisuniqueasitservesasa

demonstrationofVarèse’stheoriesinactionandalsoservesasthepointinwhichthemajorityof

therestoftheworldbegantocatchupwithVarèse’space.InaninterviewwithAlcopleyin1963

Varèsesays,“Contrarytogeneralbelief,anartistisneveraheadofhistime,butmostpeopleare

alwaysfarbehind.”87ThisstatementbrilliantlyencapsulatestheplightofVarèse’scareerand

theimportanceofPoème Électroniqueasthepointinwhicheverybodyelsebegantocatchup

toVarèse.InPoème Électronique all Varèse theorized, wrote, proclaimed and lived was able to

bemadepresent.Poème Électroniqueistheculminationofhistheoriesandproclamationson

soundthatarescatteredamongsthisthirteenotherpublishedcompositionsbutworkinperfect

harmonytogetherinPoème Électronique. Finally,withthenecessarytechnologyathiscommand

Freyermuth 18

theaudiencewasfinallyabletocatchuptoVarèseandunderstandwhyhehadfoughtsohardfor

“theliberationofsound”.TheyhadenteredtheworldofVarèsebyenteringthePhilipsPavilion

andenteringPoème Électronique and now that they had visited his seldom heard world they

couldappreciateVarèseasoneofthemostinfluentialandimportantcomposersinmusichistory

and Poème Électroniqueashissignaturepiece.

Notes

1. AndrasWilheim,“TheGenesisofaSpecificTwelve-ToneSystemintheWorksofVarese,”StudiaMusicologicaAcademiaeScientiarumHungaricae19(Fall1977):pg.#,http://www.jstor.org/stable/901798(accessedOctober30,2009).

2. JonathanW.Bernard,“Pitch/RegisterintheMusicofEdgarddVarese,”MusicTheorySpectrum3(Spring1981):pg.#,http://www.jstor.org/stable/746131(accessedOctober30,2009).

3. OliviaMattis,“Varese’sMultimediaConceptionofDeserts,”TheMusicQuarterly76,no.4(Winter1992):pg.#,http://www.jstor.org/stable/742477(accessedOctober30,2009).

4. OliviaMattis,“Varese’sMultimediaConceptionofDeserts,”TheMusicQuarterly76,no.4(Winter1992):pg.#,http://www.jstor.org/stable/742477(accessedOctober30,2009).

5. JohnD.Anderson,“VareseandtheLyricismoftheNewPhysics,”TheMusicQuarterly75,no.1(Spring1991):sectiongoeshere,http://www.jstor.org/stable/742126(accessedOctober30,2009).

6. JohnD.Anderson,“VareseandtheLyricismoftheNewPhysics,”TheMusicQuarterly75,no.1(Spring1991):sectiongoeshere,http://www.jstor.org/stable/742126(accessedOctober30,2009).

7. “VEP,”VirtualReality&MultiMediaPark-Torino,sectiongoeshere,http://www.edu.vrmmp.it/vep/(accessedNovember11,2009).

8. “VEP,”VirtualReality&MultiMediaPark-Torino,sectiongoeshere,http://www.edu.vrmmp.it/vep/(accessedNovember11,2009).

9. KatieMondloch,“ASymphonyofSensationsintheSpectator:LeCorbusier’sPoemeelectroniqueandtheHistoricizationofNewMediaArts,”Leonardo37,no.1(2004):sectiongoeshere,http://www.jstor.org/stable/1577575(accessedOctober30,2009).

10.KatieMondloch,“ASymphonyofSensationsintheSpectator:LeCorbusier’sPoemeelectroniqueandtheHistoricizationofNewMediaArts,”Leonardo37,no.1(2004):57,http://www.jstor.org/stable/1577575(accessedOctober30,2009)

11.KatieMondloch,“ASymphonyofSensationsintheSpectator:LeCorbusier’sPoemeelectroniqueandtheHistoricizationofNewMediaArts,”Leonardo37,no.1(2004):57-58,http://www.jstor.org/stable/1577575(accessedOctober30,2009).

12.ChouWen-Chung,“AVareseChronology,”PerspectivesofNewMusic5,no.1(Winter

1

1966):7,http://www.jstor.org/stable/(accessedOctober30,2009).

13.ChouWen-Chung,“AVareseChronology,”PerspectivesofNewMusic5,no.1(Winter1966):7,http://www.jstor.org/stable/(accessedOctober30,2009).



16.EncyclopediaBritannica,,s.v.“Varese,Edgardd,”http://0-www.search.eb.com.library.scad.edu/eb/article-9074843(accessedNovember3,2009).


18.ChouWen-Chung,“AVareseChronology,”PerspectivesofNewMusic5,no.1(Winter1966):8-9,http://www.jstor.org/stable/(accessedOctober30,2009).

19.EncyclopediaBritannica,,s.v.“Varese,Edgardd,”http://0-www.search.eb.com.library.scad.edu/eb/article-9074843(accessedNovember3,2009).

20.GilbertChase,“EdgardVarese,”Anuario2(1966):95,http://www.jstor.org/stable/779769(accessedOctober30,2009).



23.ChouWen-Chung,“AVareseChronology,”PerspectivesofNewMusic5,no.1(Winter1966):8-9,http://www.jstor.org/stable/(accessedOctober30,2009).

24.DanielWarner,AudioCultureReadingsinModernMusic,ed.ChristophCox(NewYork:ContinuumInternationalGroup,2004),17.

25.DanielWarner,AudioCultureReadingsinModernMusic,ed.ChristophCox(NewYork:ContinuumInternationalGroup,2004),17-18.


27.“EdgarddVarese,”Tobey_christineHomePage,3,http://homepage.smc.edu/tobey_

2

christine/varese/varese.html(accessedNovember3,2009).

28.OliviaMattis,“Varese’sMultimediaConceptionofDeserts,”TheMusicQuarterly76,no.4(Winter1992):560,http://www.jstor.org/stable/742477(accessedOctober30,2009).







35.PeterDickinson,“ViewsofVarese,”reviewofEdgardVarese:AMusicalBiographybyFernandOuellettebyFernandOuellette,TheMusicalTimes,January1975,42,http://www.jstor.org/stable/958871(accessedOctober30,2009).





40.CharlotteSkene-Catling,reviewofSpaceCalculatedinSeconds:ThePhilipsPavilion,LeCorbusier,EdgarddVarese,TheBurlingtonMagazine,October1998,699,http://www.jstor.org/stable/888181(accessedOctober30,2009).

41.LarryStempel,“NotEvenVareseCanBeanOrphan,”TheMusicQuarterly60,no.1(January1974):51,http://www.jstor.org/stable/741666(accessedNovember1,2009)

3

42.JonathanW.Bernard,“Pitch/RegisterintheMusicofEdgarddVarese,”MusicTheorySpectrum3(Spring1981):pg.#,http://www.jstor.org/stable/746131(accessedOctober30,2009).

43.JonathanW.Bernard,“Pitch/RegisterintheMusicofEdgarddVarese,”MusicTheorySpectrum3(Spring1981):37,http://www.jstor.org/stable/746131(accessedOctober30,2009).



46.HalimEl-Dabh,reviewofEdgardVaresebyFernandOuellette,MusicEducatorsJournal,November1968,119,http://www.jstor.org/stable/3392394(accessedOctober30,2009).

47.R.H.M,reviewofEdgarddVaresebyFernandOuellette;DerekColtman,MusicandLetters,July1973,338,http://www.jstor.org/stable/733711(accessedOctober30,2009).

48.R.H.M,reviewofEdgarddVaresebyFernandOuellette;DerekColtman,MusicandLetters,July1973,338,http://www.jstor.org/stable/733711(accessedOctober30,2009).



51.ElliotSchwartz,“DirectionsinAmericanCompositionsincetheWorldWarpartI:1945-1960,”MusicEducatorsJournal61,no.6(February1975):75,http://www.jstor.org/stable/3394722(accessedOctober30,2009).

52.LarryStempel,“NotEvenVareseCanBeanOrphan,”TheMusicQuarterly60,no.1(January1974):47,http://www.jstor.org/stable/741666(accessedNovember1,2009).

53.RobertHenderson,“Varese,”TheMusicalTimes106,no.1474(December1965):942,http://www.jstor.org/stable/954344(accessedOctober30,2009).


4

55.ChouWen-Chung,“OpenRatherThanBounded,”PerspectivesofNewMusic5,no.1(Autumn1966):1-2,http://www.jstor.org/stable/832383(accessedOctober30,2009).




59.AndrasWilheim,“TheGenesisofaSpecificTwelve-ToneSystemintheWorksofVarese,”StudiaMusicologicaAcademiaeScientiarumHungaricae19(Fall1977):213,217,http://www.jstor.org/stable/901798(accessedOctober30,2009).

60.“EdgarddVarese,”Tobey_christineHomePage,3,http://homepage.smc.edu/tobey_christine/varese/varese.html(accessedNovember3,2009).






66.“LiberationofSound,”ZakrosInterArts,sectiongoeshere,http://www.zakros.com/mica/soundart/s04/varese_text.html(accessedNovember5,2009).




5

70.“HACU123-EdgarddVar,”TITLE,sectiongoeshere,http://helios.hampshire.edu/~hacu123/papers/varese.html(accessedNovember16,2009)











81.CharlotteSkene-Catling,reviewofSpaceCalculatedinSeconds:ThePhilipsPavilion,LeCorbusier,EdgarddVarese,TheBurlingtonMagazine,October1998,699,http://www.jstor.org/stable/888181(accessedOctober30,2009).


6


84.EricTamm,BrianEnohismusicandtheverticalcolorofsound(NewYork:DaCapoP,1995),168.

85.BrianEno,DiscreetMusic,CD,BrianEno,1975.

86.“EdgarddVarese:TheIdolofMyYouth|A42,”A42|A42-TheanswerstoLinux,theuniverse,andeverything...maybe.,sectiongoeshere,http://www.a42.com/node/536(accessedNovember6,2009).

7

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Edgard Varese