抄録
This paper focuses on the notation of the composer Christian Wolff in the 1950s and examines how he stepped away from the influence of his teacher John Cage to lead a different path. Wolff, who studied with Cage for a short period at the age of sixteen, developed a unique approach to his own notation from the late 1950s to the 1960s. He removes the fixed temporal axis from scores and presents “cues,” an idea devised by Wolff to connect musical notes relying solely on performer's act of listening. I argue that Wolff found a new aspect of time by deliberately incorporating into the process of performance the existence of each note, as well as the vacancy needed to recognize and react to it.
