This is a set of lecture notes David Tudor wrote for a lecture in Darmstadt, likely in 1961. They demonstrate his trajectory as a pianist toward the use of realizations during the 1950s. In addition to describing a great number of specific scores and their demands on the performer, Tudor describes a philosophy that abjures “muscular rhythm” in favor of the possibility of “irregular rhythm” that is based in the “bloodstream” and “body feeling” that can be elicited in sight-reading techniques and customized notations “when visual and aural impressions overlap.” In his lecture, Tudor notes that this latter idea is indebted to Morton Feldman’s approach to composition.
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| Title | Lecture notes on David Tudor’s performance practice as a pianist during the late 1950s and early ’60s |
| Maker | David Tudor (American, 1926–96) |
| Date | early 1960s |
| Type | archival materials |
| Location | Getty Research Institute, David Tudor Papers, 980039, box 107, folder 10 |
Cite
Tudor, David. Lecture notes on David Tudor’s
performance practice as a pianist during the late
1950s and early ’60s, early 1960s. Getty Research
Institute, David Tudor Papers, 980039, box 107, folder
10. In
The Scores Project: Experimental Notation in Music,
Art, Poetry, and Dance, 1950–1975, ed. Michael Gallope, Natilee Harren, and John
Hicks. Los Angeles: Getty Research Institute, 2025.
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