In this review of a 1961 recital by David Tudor at the New School, Francis Perkins generously describes the range of experimental works on display with no trace of moral panic or fear that the history of music is being distorted or displaced. As an interesting detail, he notes that he would have liked more pedagogical guidance in the recital’s program, an element John Cage and Tudor often included either through printed material or through simultaneous lectures (as in Cage’s “Indeterminacy” lecture at Darmstadt in 1958).
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| Title | “David Tudor Plays Piano at Social Research School,” review of a recital by David Tudor of works by Richard Maxfield, John Cage, Hans Otto, and Roland Kayn at the New School for Social Research, New York, NY, New York Tribune |
| Maker | Francis D. Perkins |
| Date | 24 March 1961 |
| Type | press clipping |
| Location | Getty Research Institute, David Tudor Papers, 980039, box 63, folder 3 |
Cite
Perkins, Francis D. “David Tudor Plays Piano at Social
Research School,” review of a recital by David Tudor
of works by Richard Maxfield, John Cage, Hans Otto,
and Roland Kayn at the New School for Social Research,
New York, NY, New York Tribune, 24 March
1961. Getty Research Institute, David Tudor Papers,
980039, box 63, folder 3. 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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