[continued]
Early in 1965, I adapted this composition. In this adaptation, I have magnified as closely to the original as possible, these inflections in pitch, articulation, timbre, dynamics, and rhythm to a more perceptible level, by expanding the articulations and timbres possible on each instrument used and by controlling the microtonal modifications in pitch according to the nature of each instrument.
These ideas and those in Metaphors are combined in Cursive (1963), for flute and piano. “Cursive” refers to the type of script in which the joined strokes and rounded angles result in expressive and contrasting curves and loops. The cursive script represents the ultimate in the art of Chinese calligraphy, as its power of expression depends solely upon the spontaneous manifestation of the power inherent in the controlled flow of ink. In this score, the cursive concept has influenced the use of specified but indefinite pitches and durations, and the use of regulated but variable tempo and intensity. Throughout the score, the piano is treated as a combination of keyboard, string and percussion instrument, while the flute is required to use controlled microtonal modifications in pitch. An attempt is made to treat the individual sound as a “living matter” through inflections in its production and control.
Now in conclusion, let me add the following: if I seem to have dwelt on certain Chinese philosophical ideas, it is because of my conviction that we have reached the stage where a true re-merger of Oriental and Occidental musical concepts and practices — which at one time shared a common foundation — can and should take place. It seems to me that the music of China, India, Varèse, the Balinese gamelan music, the Japanese gagaku, the Korean ah ak, and even our new electronic music all have much in common, sharing the same family traits.