This document discusses the adaptation of John Cage's 'Radio Music' for digital performance, outlining the various parameters and scores involved. It examines the concepts of indeterminacy, performance limitations, and the structuring of formal elements within Cage's original compositions. Additionally, it provides detailed insights into frequency changes and their implications for performance duration and experience.

1. Adapting John Cage’s Radio Music for digital performance
Lindsay Vickery
Western Australian Academy of Performing Arts
Edith Cowan University

2. A
1950s
RCA
“Golden
Throat”
radio
similar
to
the
type
John
Cage
conceived
Radio
Music
for.
Note
the
AM
kHz
dial
shows
frequencies
abbreviated
to
two
numbers.
Cage’s Radio Works
Imaginary Landscape No. 4 (1951) for 12 radios
Speech 1955 (1955) for 5 radios and newsreader
Radio Music (1956) 1-8 radios
I didn't myself turn on a radio to listen to it;
but when I was going through the streets or
when a neighbor was playing the radio, and
so forth, I listened as though I were listening
to a musical instrument. (…) It made it
possible for me to listen to radio with great
interest, no matter what it was doing.
Kostelanetz 1986 A Conversation about Radio p. 220
CAGE
AND
THE
RADIO

3. Authenticity to the score.
The issue of “Available Indeterminacy”: when at least one musical
parameter is fixed, each “free” choice made by the performer
reduces the “available indeterminacy” of the remaining choices.
The articulation of Formal Structure that emerges from Cage’s
specifications.
“Authentic performance” issues.
THE
ISSUES

4. Radio frequencies arranged in columns in the score of Part A of Radio Music.
THE
SCORE

5. THE
SCORE
The Instructions (Part A)
“Part A of Radio Music to be played alone or in a
combination with parts B-H. In 4 sections (I-IV) to be
programmed by the player with or without silences
between the sections, the 4 to take place within a total
time-length of 6 minutes. Duration of the individual
tunings free. Each tuning to be expressed by
maximum amplitude. A _______ indicates ‘silence’
obtained by reducing amplitude approximately to
zero. Before beginning to play, turn radio on with
amplitude near zero.”

6. I (29%) II (20%) III (25%) IV (26%)
Determinate Elements
Total Duration less than 6 minutes
Total no. of Frequencies
per part
A B C D E F G H
68 51 86 42 36 70 71 46
A B C D E F G H
Number of frequencies per
part per section
I 28 15 37 8 8 7 44 3
II 11 14 30 2 10 16 6 1
III 3 2 11 23 2 7 2 38
IV 26 20 8 9 16 40 19 4
Largest number of
frequencies per section
I II III IV
44 30 38 40
1 2 3 4
A B C D E F G H A B C D E F G H A B C D E F G H A B C D E F G H
105 92 84 97 79 71 117 0 56 92 55 125 66 81
5
5
97 0 107 109 57 86 130 105 105 99 91 135 104 55 105 64 63
0 0 99 0 0 78 140 105 124 91 145 0 64 0 0 76 0 153 86 0 73 0 0 0 117 99 124 0 68 57 69
125 124 125 120 71 120 0 0 125 84 76 57 137
1
0
9
0 0 0 99 91 69 96 69 0 99 0 61 0
55 57 0 0 63 0 107 0 57 0 55 153 0 71 66 0 79 0 76 0 76 86 55 0 151
0 109 145 71 57 153 91 120 0 107 71 0
1
2
0
107 151 55 0 91 105 120 109 0 0 124
91 55 84 0 107 0 55 55 125 57 0 120 0 0 84 153 71 0 0 0 0 71 128 143
60 0 91 104 86 74 124 56 55 0 122 0 92 86 91 109 146 135 55 138 0 0 55
69 94 57 0 57 0 125 122 91 55 57 0 55 115 69 0 73 0 55 125 0
76 57 0 76 69 0 57 57 0 69 127 55 0 74 55 0 84 145
112 0 66 0 84 86 0 0 140 0 86 109 97 94 86 0 0
56 71 107 148 120 74 92 69 148 99 124 0 57 91 71 76
0 0 0 55 124 0 138 68 0 91 71 0 0 140
86 55 151 110 60 57 0 55 61 156 58 57 68 64
73 0 71 73 0 61 155 115 124 0 156 135 55 69
127 109 86 0 0 0 73 109 55 73 0 0 81
73 91 96 55 84 69 0 155 69 105 148 55
148 55 68 0 84 74 128 0 0 0
76 107 0 124 57 0 0 109 55 57
109 0 86 91 97 92 138 0 78 0
63 81 153 0 107 0 0 79 0
67 69 0 97 124 57 107 104
91 109 57 92 55 0 0 86
86 0 0 0 74 84 99 74
73 57 96 76 124 0 0
107 91 81 0 0 153 94
0 0 124 55 94 63 0
69 55 0 97 55 60
107 0 71 92 0 0
68 112 78 153 92
96 0 57 84 115
79 71 127 0
73 112 0 57
91 156 73 107
55 74 0 0
0 137 127 73
107 0 0 55
55 92 0 0
55 64 76
0 0
61 120
112
92
87
76
28 15 37 8 8 7 44 3 11 14 30 2 10 16 6 1 3 2 11 23 2 7 2 38 26 20 8 9 16 40 19 4
IMPLICATIONS
OF
THE
SCORE

7. Determinate Elements: Performative limitations
There are performative limitations upon the speed that a
performer can adjust the tuning and volume of the radio.
IMPLICATIONS
OF
THE
SCORE

8. 56 mHz
72 mHz
volume
Max. Vol. Max. Vol.
tuning volume
156 mHz
0 mHz
The minimum rate of change was estimated to be 1.5 seconds.
Frequency 1 Frequency 2
IMPLICATIONS
OF
THE
SCORE

9. movements parts A B C D E F G H
min-max min-max min-max min-max min-max min-max min-max min-max min-max
I 44 -198 2 -7 3 -13 1 -5 6 -25 6 -25 6 -28 1 -4 15-65
II 45 -177 3 -17 2 -13 1 -6 15-91 3 -18 2 -11 5 -30 30-182
III 57 -189 13-63 19-95 3 -17 2 -8 19-95 5 -27 19-95 1 -5
IV 60 -192 2 -7 2 -10 5 -24 4 -21 3 -12 1 -5 2 -10 10 -48
Minimum Section Duration
– the largest number of tuning changes multiplied by 1.5 seconds
For example: (Section 1) 44*1.5 = 66
Maximum Section Duration
– total duration minus the remaining Section duration (assuming all
other sections at at their minimum ÷ the number of tunings changes.
For example: Section =360-((30*1.5)+(38*1.5)+(40*1.5))=198
IMPLICATIONS
OF
THE
SCORE
Indeterminate Elements
Number of Parts Performed: 1-8
Duration: between 152-360 seconds.
At the level of the work’s four sections, the “available indeterminacy” of
Cage’s “free duration of tunings” is minimally bounded by the shortest time
required to perform all tunings in a section, and maximally by the remaining
time required to perform the tunings in the other three sections.
These boundaries are shown below.

10. Examples of potential proportions of the four sections:
Equal weighting of the
maximum number of
frequencies in each section.
Section I with maximum
duration and all other sections
with minimum duration.
Section II with maximum
duration and all other sections
with minimum duration.
IMPLICATIONS
OF
THE
SCORE
104 72 90 94
198 45 6057
177 605766

11. movements parts A B C D E F G H
min-max min-max min-max min-max min-max min-max min-max min-max min-max
I 44 -196 2 -7 3 -13 1 -5 6 -25 6 -25 6 -28 1 -4 15-65
II 30 -182 3 -17 2 -13 1 -6 15-91 3 -18 2 -11 5 -30 30-182
III 38 -190 13-63 19-95 3 -17 2 -8 19-95 5 -27 19-95 1 -5
IV 40 -192 2 -7 2 -10 5 -24 4 -21 3 -12 1 -5 2 -10 10 -48
Indeterminate Elements
The “available indeterminacy” of each section and frequency is calculated:
Minimum Frequency Duration
– shortest time required to perform a tuning (1.5 s)
Maximum Frequency Duration
– total assigned section duration minus the
remaining
Jme
required
to
perform
the
other
tunings
in
the
current
secJon.
IMPLICATIONS
OF
THE
SCORE

12. 2 109
3 109
4 109
1 110
1 112
2 112
3 112
4 112
1 117
1 120
2 120
1 124
2 124
3 124
1 125
2 125
1 127
1 137#!"
$!"
%!"
&!"
'!!"
'#!"
'$!"
'%!"
'&!"
incidence no. frequencies
1 19 56, 60, 61, 66, 67, 78, 87, 94, 97, 99, 104, 110, 117, 127, 137, 140, 145, 151, 156
2 11 63, 68, 74, 79, 81, 84, 105, 120, 125, 148, 153
3 4 69, 92, 96, 124
4 3 76, 109, 112
5 2 73, 86
7 4 57, 71, 91, 107
10 1 55
blank 37
FORMAL IMPLICATIONS
OF THE SCORE
Forty-four different carrier frequencies are used in the 150 frequency changes specified
amongst the eight parts of Radio Music. The
carrier
frequencies
are
not
uniformly
distributed
across
the
AM
spectrum.
These are graphed in ascending order below.

13. FORMAL IMPLICATIONS OF THE SCORE
Although Radio Music can not rely on the elements typically found in musical
discourse, it does potentially draw on recognizable elements that could be expected
to give rise to some of the experiences typical of musical listening, such as
expectation, surprise a sense of departure and return, conjunction and disjunction of
the sonic materials and so on.
105 105 0 0 125 55 55 0 0 91 60 60 69 69 76 112 112 56 56 0 86 86 73 73 127 73 73 148
92 92 92 0 0 0 124 124 124 57 57 57 109 109 109 55 55 55 0 0 0 94 94 94 57 57 57 0
84 99 125 0 145 145 84 91 57 0 66 66 107 0 151 71 86 86 91 55 107 0 81 81 69 109 0 57
97 97 97 97 97 0 0 0 0 0 0 120 120 120 120 120 0 0 0 0 0 71 71 71 71 71 0 0
79 79 79 79 79 79 0 0 0 0 71 71 71 71 71 71 71 63 63 63 63 63 63 63 63 63 63 57
71 71 71 71 71 71 71 71 78 78 78 78 78 78 120 120 120 120 120 120 120 120 120 0 0 0 0 0
117 140 0 107 91 55 124 0 76 0 148 55 110 73 0 96 68 0 86 153 0 57 0 96 81 124 0 71
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 105 105 105 105 105 105 105 105 105 105 105 105 105
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 105 105 105 105 105 105 105 105 105 105 105 105 105
71 71 71 71 71 71 71 71 78 78 78 78 78 78 120 120 120 120 120 120 120 120 120 0 0 0 0 0
97 97 97 97 97 0 0 0 0 0 0 120 120 120 120 120 0 0 0 0 0 71 71 71 71 71 0 0
79 79 79 79 79 79 0 0 0 0 71 71 71 71 71 71 71 63 63 63 63 63 63 63 63 63 63 57
92 92 92 0 0 0 124 124 124 57 57 57 109 109 109 55 55 55 0 0 0 94 94 94 57 57 57 0
105 105 0 0 125 55 55 0 0 91 60 60 69 69 76 112 112 56 56 0 86 86 73 73 127 73 73 148
84 99 125 0 145 145 84 91 57 0 66 66 107 0 151 71 86 86 91 55 107 0 81 81 69 109 0 57
117 140 0 107 91 55 124 0 76 0 148 55 110 73 0 96 68 0 86 153 0 57 0 96 81 124 0 71
117 140 0 107 91 55 124 0 76 0 148 55 110 73 0 96 68 0 86 153 0 57 0 96 81 124 0 71
84 99 125 0 145 145 84 91 57 0 66 66 107 0 151 71 86 86 91 55 107 0 81 81 69 109 0 57
105 105 0 0 125 55 55 0 0 91 60 60 69 69 76 112 112 56 56 0 86 86 73 73 127 73 73 148
92 92 92 0 0 0 124 124 124 57 57 57 109 109 109 55 55 55 0 0 0 94 94 94 57 57 57 0
79 79 79 79 79 79 0 0 0 0 71 71 71 71 71 71 0 0 63 63 63 63 63 63 63 0 0 57
97 97 97 97 97 0 0 0 0 0 0 120 120 120 120 120 0 0 0 0 0 71 71 71 71 71 0 0
71 71 71 71 71 71 71 71 0 0 78 78 78 78 0 120 120 120 120 120 120 120 120 0 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 105 105 105 105 105 105 105 105 105 105 105 105 105
Part G Part C Part A Part B Part D Part E Part F Part H
(low)frequency(high)
105 105
0
0
125 55
55
0
0
91
60
60
69
69
76 112 112 56
56
0
86
86
73
73 127 73
73 148
92
92
92
0
0
0
124 124 124 57
57
57 109 109 109 55
55
55
0
0
0
94
94
94
57
57
57
0
84
99 125
0
145 145 84
91
57
0
66
66 107
0
151 71
86
86
91
55 107
0
81
81
69 109
0
57
97
97
97
97
97
0
0
0
0
0
0
120 120 120 120 120
0
0
0
0
0
71
71
71
71
71
0
0
79
79
79
79
79
79
0
0
0
0
71
71
71
71
71
71
71
63
63
63
63
63
63
63
63
63
63
57
71
71
71
71
71
71
71
71
78
78
78
78
78
78 120 120 120 120 120 120 120 120 120
0
0
0
0
0
117 140
0
107 91
55 124
0
76
0
148 55 110 73
0
96
68
0
86 153
0
57
0
96
81 124
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
105 105 105 105 105 105 105 105 105 105 105 1
0
0
0
0
0
0
0
0
0
0
0
105 105 105 105 105 105 105 105 105 1
71
71
71
78
78
78
78
78
78 120 120 120 120 120 120 120 120 120
0
0
0
0
0
120 120 120 120 120
0
0
0
0
0
71
71
0
0
71
71
71
71
71
71
71
63
63
63
63
63
7
57
57 109 109 109 55
55
55
0
0
0
60
69
69
76 112 112 56
56
0
8
07
0
151 71
86
86
91
55
0
96
68
0
86
PartG
PartC
PartA
PartB
PartD
PartE
PartF
PartH
A graph of the carrier frequency structure of the 8 parts in Section I.

14. FORMAL IMPLICATIONS
OF THE SCORE
Carrier frequencies of radio broadcasts do not specify
pitch – so in what way can they be considered to be
“form-bearing”?
• usually roughly predictable - Classical Music,
Rock, Jazz, talkback and so on – and in cases
with detailed program listings quite precise.
• strong consistency over a short period of time
(such as found in Radio Music), generating what
we might consider a linear “narrative”, that
emerges as a consequence of the timbre of a
presenter’s voice the continuity of a piece of
music, the subject matter under discussion and
so on.
• many broadcasters also have a distinctive timbre
and dynamic, resulting from varied studio
equipment, production approaches and broadcast
strength.
Frequencies without radio broadcasts generally give rise to static which
has
specific
colours
in
different
parts
of
the
AM
band.

15. FORMAL IMPLICATIONS OF THE SCORE
Radio broadcasts are strongest at a specific frequency, but are spread, increasingly
weakly over a band of frequencies about 10 kHz on either side, so a specific carrier
frequency number may be “in the middle” of a broadcast frequency or in the
“detuned” penumbra of the broadcast in which the broadcast is still present, but
often mixed with static or spill from other broadcasts.
Centre broadcast frequency
signal
noise noise
signal
umbra
signal
umbra
- 10 kHz
+ 10 kHz
Both broadcast signals and static are struck as a consequence of performers tuning
from frequency to frequency.

16. 105 105 0 0 125 55 55 0 0 91 60 60 69 69 76 112 112 56 56 0 86 86 73 73 127 73 73 148
92 92 92 0 0 0 124 124 124 57 57 57 109 109 109 55 55 55 0 0 0 94 94 94 57 57 57 0
84 99 125 0 145 145 84 91 57 0 66 66 107 0 151 71 86 86 91 55 107 0 81 81 69 109 0 57
97 97 97 97 97 0 0 0 0 0 0 120 120 120 120 120 0 0 0 0 0 71 71 71 71 71 0 0
79 79 79 79 79 79 0 0 0 0 71 71 71 71 71 71 71 63 63 63 63 63 63 63 63 63 63 57
71 71 71 71 71 71 71 71 78 78 78 78 78 78 120 120 120 120 120 120 120 120 120 0 0 0 0 0
117 140 0 107 91 55 124 0 76 0 148 55 110 73 0 96 68 0 86 153 0 57 0 96 81 124 0 71
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 105 105 105 105 105 105 105 105 105 105 105 105 105
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 105 105 105 105 105 105 105 105 105 105 105 105 105
71 71 71 71 71 71 71 71 78 78 78 78 78 78 120 120 120 120 120 120 120 120 120 0 0 0 0 0
97 97 97 97 97 0 0 0 0 0 0 120 120 120 120 120 0 0 0 0 0 71 71 71 71 71 0 0
79 79 79 79 79 79 0 0 0 0 71 71 71 71 71 71 71 63 63 63 63 63 63 63 63 63 63 57
92 92 92 0 0 0 124 124 124 57 57 57 109 109 109 55 55 55 0 0 0 94 94 94 57 57 57 0
105 105 0 0 125 55 55 0 0 91 60 60 69 69 76 112 112 56 56 0 86 86 73 73 127 73 73 148
84 99 125 0 145 145 84 91 57 0 66 66 107 0 151 71 86 86 91 55 107 0 81 81 69 109 0 57
117 140 0 107 91 55 124 0 76 0 148 55 110 73 0 96 68 0 86 153 0 57 0 96 81 124 0 71
117 140 0 107 91 55 124 0 76 0 148 55 110 73 0 96 68 0 86 153 0 57 0 96 81 124 0 71
84 99 125 0 145 145 84 91 57 0 66 66 107 0 151 71 86 86 91 55 107 0 81 81 69 109 0 57
105 105 0 0 125 55 55 0 0 91 60 60 69 69 76 112 112 56 56 0 86 86 73 73 127 73 73 148
92 92 92 0 0 0 124 124 124 57 57 57 109 109 109 55 55 55 0 0 0 94 94 94 57 57 57 0
79 79 79 79 79 79 0 0 0 0 71 71 71 71 71 71 0 0 63 63 63 63 63 63 63 0 0 57
!"#$%&% !"#$%'% !"#$%(% !"#$%)% !"#$%*% !"#$%+% !"#$%,% !"#$%-%
57/56/57
66/67/68/69
137/140
145 148 151 153 156
91/92
71 71 71 71 71 71 71 71 78 78 78 78 78 78 120 120 120 120 120 120 120 120 120 0 0 0 0
117 140 0 107 91 55 124 0 76 0 148 55 110 73 0 96 68 0 86 153 0 57 0 96 81 124 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 105 105 105 105 105 105 105 105 105 105 105 10
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 105 105 105 105 105 105 105 105 105 105 105 10
71 71 71 71 71 71 71 71 78 78 78 78 78 78 120 120 120 120 120 120 120 120 120 0 0 0 0
97 97 97 97 97 0 0 0 0 0 0 120 120 120 120 120 0 0 0 0 0 71 71 71 71 71 0
79 79 79 79 79 79 0 0 0 0 71 71 71 71 71 71 71 63 63 63 63 63 63 63 63 63 6
92 92 92 0 0 0 124 124 124 57 57 57 109 109 109 55 55 55 0 0 0 94 94 94 57 57 5
105 105 0 0 125 55 55 0 0 91 60 60 69 69 76 112 112 56 56 0 86 86 73 73 127 73 7
84 99 125 0 145 145 84 91 57 0 66 66 107 0 151 71 86 86 91 55 107 0 81 81 69 109 0
117 140 0 107 91 55 124 0 76 0 148 55 110 73 0 96 68 0 86 153 0 57 0 96 81 124 0
117 140 0 107 91 55 124 0 76 0 148 55 110 73 0 96 68 0 86 153 0 57 0 96 81 124 0
84 99 125 0 145 145 84 91 57 0 66 66 107 0 151 71 86 86 91 55 107 0 81 81 69 109 0
105 105 0 0 125 55 55 0 0 91 60 60 69 69 76 112 112 56 56 0 86 86 73 73 127 73 7
92 92 92 0 0 0 124 124 124 57 57 57 109 109 109 55 55 55 0 0 0 94 94 94 57 57 5
79 79 79 79 79 79 0 0 0 0 71 71 71 71 71 71 0 0 63 63 63 63 63 63 63 0 0
97 97 97 97 97 0 0 0 0 0 0 120 120 120 120 120 0 0 0 0 0 71 71 71 71 71 0
71 71 71 71 71 71 71 71 0 0 78 78 78 78 0 120 120 120 120 120 120 120 120 0 0 0 0
0 0 0 0 0 0 0 0 0 0 0 0 0 0 0 105 105 105 105 105 105 105 105 105 105 105 10
!"#$%&% !"#$%'% !"#$%(% !"#$%)% !"#$%*% !"#$%+% !"#$%,% !"#$%-%
(start)  duration  (end)
(low)frequency(high)
(start)  duration  (end)
A “wire-frame” cross section of the representation of frequency changes. The lower graph
shows the incidence of recurring frequencies with potentially form-bearing characteristics.
(low)frequency(high)
FORMAL IMPLICATIONS OF THE SCORE

17. 0 0 0 0 0 0 0 0 0 0 0 0 0 0 105 105 105 105 105 105 105
0 0 0 0 0 0 0 0 0 0 0 0 0 0 105 105 105 105 105 105 105
71 71 71 71 71 71 71 78 78 78 78 78 78 120 120 120 120 120 120 120 120
97 97 97 97 0 0 0 0 0 0 120 120 120 120 120 0 0 0 0 0 71
79 79 79 79 79 0 0 0 0 71 71 71 71 71 71 71 63 63 63 63 63
92 92 0 0 0 124 124 124 57 57 57 109 109 109 55 55 55 0 0 0 94
105 0 0 125 55 55 0 0 91 60 60 69 69 76 112 112 56 56 0 86 86
99 125 0 145 145 84 91 57 0 66 66 107 0 151 71 86 86 91 55 107 0
140 0 107 91 55 124 0 76 0 148 55 110 73 0 96 68 0 86 153 0 57
140 0 107 91 55 124 0 76 0 148 55 110 73 0 96 68 0 86 153 0 57
99 125 0 145 145 84 91 57 0 66 66 107 0 151 71 86 86 91 55 107 0
57/56/57
66/67/68/69
137/140
145 148 151 153 156
91/92
0 0 0 0 0 0 0 0 0 0 0 0 0 0 105 105 105 105 105 105 105
0 0 0 0 0 0 0 0 0 0 0 0 0 0 105 105 105 105 105 105 105
71 71 71 71 71 71 71 78 78 78 78 78 78 120 120 120 120 120 120 120 120
97 97 97 97 0 0 0 0 0 0 120 120 120 120 120 0 0 0 0 0 71
79 79 79 79 79 0 0 0 0 71 71 71 71 71 71 71 63 63 63 63 63
92 92 0 0 0 124 124 124 57 57 57 109 109 109 55 55 55 0 0 0 94
105 0 0 125 55 55 0 0 91 60 60 69 69 76 112 112 56 56 0 86 86
99 125 0 145 145 84 91 57 0 66 66 107 0 151 71 86 86 91 55 107 0
140 0 107 91 55 124 0 76 0 148 55 110 73 0 96 68 0 86 153 0 57
140 0 107 91 55 124 0 76 0 148 55 110 73 0 96 68 0 86 153 0 57
99 125 0 145 145 84 91 57 0 66 66 107 0 151 71 86 86 91 55 107 0
(start)  duration  (end)
(low)frequency(high)
(start)  duration  (end)
The actual formal structure of a particular performance of Radio
Music emerges as a result of:
• the number of parts that are performed simultaneously,
• the temporal occurrence of frequencies in each performed
part,
• the number and frequencies of radio broadcasters in that
region,
• the location of the performer,
• the qualities of the radios.
(low)frequency(high)

18. The Interface
select performance duration
THE RADIO MUSIC SCOREREADER
Choosewhichpartstoperform select the duration of gaps between the movements
select the degree of randomness
set the minimum frequency duration
set the delay prior to the beginning of the performance
evaluatesectionlengths
evaluatefrequencylengths
start
save

19. THE RADIO MUSIC SCOREREADER
The parameters chosen by the performer(s) are calculated to generate a screenscore
to assist performance of the work.
1, 58;!
2, 18;!
3, 166;!
4, 162;!
5, 14;!
6, 66;!
7, 182;!
8, 30;!
9, 94;!
10, 130;!
11, 190;!
12, 2;!
13, 142;!
14, 174;!
15, 146;!
16, 110;!
17, 118;!
18, 90;!
19, 78;!
20, 134;!
21, 82;!
22, 46;!
23, 138;!
24, 86;!
25, 186;!
26, 74;!
27, 50;!
28, 178;!
29, 114;!
0, 2;!
1, 14;!
2, 18;!
3, 30;!
4, 46;!
5, 50;!
6, 58;!
7, 66;!
8, 74;!
9, 78;!
10, 82;!
11, 86;!
12, 90;!
13, 94;!
14, 110;!
15, 114;!
16, 118;!
17, 130;!
18, 134;!
19, 138;!
20, 142;!
21, 146;!
22, 162;!
23, 166;!
24, 174;!
25, 178;!
26, 182;!
27, 186;!
28, 190;!
The durations of the sections are evaluated by calculating the
length of each movement as a deviation from its “ideal”
proportion. The results are then scaled to the total duration that
have been chosen.
The durations of frequencies are evaluated by randomly assigning
each of the frequencies in the section to a value between zero and
the total duration of the section.
The random numbers, corresponding to the point of occurrence of
each frequency, are then reordered in an ascending sequence.

20. total duration (D) calculation Example (duration 360 s)
largest no. of frequencies (f)
performed by any part in
sections I+II+III+IV
fi
=44 fii
=30 fiii
=38 fiv
=40
sum of the largest
frequencies (F)
fi
+ fii
+ fii
+ fiv
152
relative proportions (p)
of each section
f(i-iv)
/F pi
=0.29 pii,
=0.20 piii
=0.25 piv
=0.26
average duration in seconds of
each section (S) (D*pi-iv
)
Si
, Sii
, Siii
, Siv
104 71 90 95
randomness of section lengths S(i-iv)
(+/- r)
104(+/-8) 71(+/-8) 90(+/-8) 95(+/-8)
100 (-4) 63(+1) 83 (-7) 91(-4)
Scaled
(S(i-)
(+/- r))
107 67 89 97
/ S(i-iv)
(+/- r)* Si
IMPLICATIONS
OF
THE
SCORE

21. THE REAL-TIME SCREEN-SCORE
The Scoreplayer is a real-time representation of the performers radio dial, showing the
tuning frequency to be performed (left number box) and its approximate position. The
notional position of the tuning indicator of the performer’s radio is shown by scrolling
frequency value and black line.

22. The
44
frequencies
specified
in
the
work
ploNed
against
the
actual
exisJng
local
and
regional
radio
staJons
that
might
be
detected
from
Perth,
Western
Australia
in
2011.
As
can
be
seen,
only
four
of
the
eleven
local
radio
staJons
coincide
with
frequencies
specified
by
Cage.
In
regional
staJons
are
included
the
number
goes
up
to
17
out
of
44
staJons.
PERFORMANCE
OF
RADIO
MUSIC
The result of the ever-diminishing number of AM band radio stations is that
Radio Music will be increasingly comprised of static rather than signal.

23. • to embrace the realties of evolving technology and realize the
work principally with the “noise” of static;
• to “transpose” the work into a frequency band such as FM which
is still relatively populated with Radio stations;
• to “narrowcast” internet radio stations in the vicinity of the
performance.
PERFORMANCE
OF
RADIO
MUSIC

24. FUTURE
WORK
• Refinement of sensitivity to the physical distance between
tuning positions on the radio.
• the application of this scoreplayer to directly controlling
radios.
• to “narrowcast” internet radio stations in the vicinity of the
performance.
• investigation of formal structure through mapping the
trajectories of frequencies across a large number of
performances.