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Graphic Scores: Tokyo, 1962

Graphic scores tend to have multiple identities. Simultaneously, they can be design objects, artworks, and documents silently encoded with music whose future performance can depend, at least to some degree, on their existence. What can graphic scores tell us about music, art, design, and performance, and about their intersections?

During the late 1950s and the first half of the 1960s, many prominent composers on the international avant-garde music scene began producing graphic scores that employed new forms of notation and inscribed them on sheets that deviated radically from convention in size, shape, and color, as a new way to communicate ideas about music. In contrast to scores representing sound in traditional notation, graphic notation emphasized concepts and actions to be carried out in performance itself, resulting in “unexpected sounds and unpredictable actions” that may not even include the use of musical instruments. In 1962, two exhibitions of graphic scores were held in Tokyo, bringing together the work of Japanese and international experimental composers. The first, 4 Composers, presented scores by four Japanese musicians: Mayuzumi Toshiro, Ichiyanagi Toshi, Takahashi Yuji, and Takemitsu Toru. The second, An Exhibition of World Graphic Scores, was organized by Akiyama Kuniharu and Ichiyanagi Toshi to coincide with John Cage and David Tudor’s first visit to Japan. Crammed into a small gallery, that ambitious show featured close to 150 scores by dozens of Japanese and international composers and artists. Some of the works, such as the collaboration between designer Sugiura Kohei and composer Takemitsu Toru, were clearly made with exhibition display in mind.

This Curated Selection on post presents documentation of the exhibitions, primarily in the forms of scores, photographs, flyers, and planning materials from MoMA's collection. Ironically, although scores typically function as instructions for musical performance, in the context of an exhibition, the sounds themselves of performance exist only as ideas. The double function of a score—both a means for performance, and a visual object—presents an interesting challenge to exhibiting graphic scores. Does it make sense to display scores in the same way as other printed matter or drawings? Where and when should performances take place? Why don’t the performances receive as much veneration as the scores? The answer to these questions depends on more questions: Where is the “work” (is it the material object, the duration of performance, or both)? What do we privilege as artists, musicians, curators, viewers, and listeners? Check out our selections below and send us your comments, ideas, and interpretations of the scores.

With many thanks to Sen Uesaki of the Keio University Art Center for research guidance.

Author

Mk c map

Miki Kaneda

Lecturer, College of Fine Arts, School of Music, Boston University Harvard University As a scholar and teacher, Miki aims to increase meaningful conversations between researchers and practitioners of sonic and visual arts in order to address the... Read more »
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Graphic Scores: Tokyo, 1962

Graphic scores tend to have multiple identities. Simultaneously, they can be design objects, artworks, and documents silently encoded with music whose future performance can depend, at least to some degree, on their existence. What can graphic scores tell us about music, art, design, and performance, and about their intersections?

During the late 1950s and the first half of the 1960s, many prominent composers on the international avant-garde music scene began producing graphic scores that employed new forms of notation and inscribed them on sheets that deviated radically from convention in size, shape, and color, as a new way to communicate ideas about music. In contrast to scores representing sound in traditional notation, graphic notation emphasized concepts and actions to be carried out in performance itself, resulting in “unexpected sounds and unpredictable actions” that may not even include the use of musical instruments. In 1962, two exhibitions of graphic scores were held in Tokyo, bringing together the work of Japanese and international experimental composers. The first,...

Show More

Graphic scores tend to have multiple identities. Simultaneously, they can be design objects, artworks, and documents silently encoded with music whose future performance can depend, at least to some degree, on their existence. What can graphic scores tell us about music, art, design, and performance, and about their intersections?

During the late 1950s and the first half of the 1960s, many prominent composers on the international avant-garde music scene began producing graphic scores that employed new forms of notation and inscribed them on sheets that deviated radically from convention in size, shape, and color, as a new way to communicate ideas about music. In contrast to scores representing sound in traditional notation, graphic notation emphasized concepts and actions to be carried out in performance itself, resulting in “unexpected sounds and unpredictable actions” that may not even include the use of musical instruments. In 1962, two exhibitions of graphic scores were held in Tokyo, bringing together the work of Japanese and international experimental composers. The first, 4 Composers, presented scores by four Japanese musicians: Mayuzumi Toshiro, Ichiyanagi Toshi, Takahashi Yuji, and Takemitsu Toru. The second, An Exhibition of World Graphic Scores, was organized by Akiyama Kuniharu and Ichiyanagi Toshi to coincide with John Cage and David Tudor’s first visit to Japan. Crammed into a small gallery, that ambitious show featured close to 150 scores by dozens of Japanese and international composers and artists. Some of the works, such as the collaboration between designer Sugiura Kohei and composer Takemitsu Toru, were clearly made with exhibition display in mind.

This Curated Selection on post presents documentation of the exhibitions, primarily in the forms of scores, photographs, flyers, and planning materials from MoMA's collection. Ironically, although scores typically function as instructions for musical performance, in the context of an exhibition, the sounds themselves of performance exist only as ideas. The double function of a score—both a means for performance, and a visual object—presents an interesting challenge to exhibiting graphic scores. Does it make sense to display scores in the same way as other printed matter or drawings? Where and when should performances take place? Why don’t the performances receive as much veneration as the scores? The answer to these questions depends on more questions: Where is the “work” (is it the material object, the duration of performance, or both)? What do we privilege as artists, musicians, curators, viewers, and listeners? Check out our selections below and send us your comments, ideas, and interpretations of the scores.

With many thanks to Sen Uesaki of the Keio University Art Center for research guidance.

     
Ma1581.5

Pages from exhibition brochure, 4 Composers—Exhibition of Graphic Score: Toshi Ichiyanagi, Toshiro Mayuzumi, Yuji Takahashi, Toru Takemitsu

The Gilbert and Lila Silverman Fluxus Collection Archives, I.25. The Museum of Modern Art Archives, New York
Ma1863 cropped

Scores by Takahashi Yuji and Ichiyanagi Toshi, installed in the exhibition, 4 Composers—Exhibition of Graphic Score: Toshi Ichiyanagi, Toshiro Mayuzumi, Yuji Takahashi, Toru Takemitsu

Photographer unknown. The Gilbert and Lila Silverman Fluxus Collection Archives, I.11. The Museum of Modern Art Archives, New York
Ma1860 crop

Two versions of Takemitsu Toru's "Corona" for pianist and "Crossing" (bottom left) installed in 4 Composers—Exhibition of Graphic Score: Toshi Ichiyanagi, Toshiro Mayuzumi, Yuji Takahashi, Toru Takemitsu

Photographer unknown. The Gilbert and Lila Silverman Fluxus Collection Archives, I.11. The Museum of Modern Art Archives, New York
Ma1864 cropped

"Ekstasis," by Takahashi Yuji , installed in the exhibition, 4 Composers—Exhibition of Graphic Score: Toshi Ichiyanagi, Toshiro Mayuzumi, Yuji Takahashi, Toru Takemitsu

Photographer unknown. The Gilbert and Lila Silverman Fluxus Collection Archives, I.11. The Museum of Modern Art Archives, New York
Ma1861 cropped

Mayuzumi Toshiro's "Mobile-Music" instructions, installed in the exhibition, 4 Composers—Exhibition of Graphic Score: Toshi Ichiyanagi, Toshiro Mayuzumi, Yuji Takahashi, Toru Takemitsu

Photographer unknown. The Gilbert and Lila Silverman Fluxus Collection Archives, I.11. The Museum of Modern Art Archives, New York
Ma1862 cropped

Mayuzumi Toshiro's "Mobile-Music" score, installed in the exhibition, 4 Composers—Exhibition of Graphic Score: Toshi Ichiyanagi, Toshiro Mayuzumi, Yuji Takahashi, Toru Takemitsu

Photographer unknown. The Gilbert and Lila Silverman Fluxus Collection Archives, I.11. The Museum of Modern Art Archives, New York
Ma1858 cropped

Mayuzumi Toshiro's "Tadpoles-Music" instructions, installed in the exhibition, 4 Composers—Exhibition of Graphic Score: Toshi Ichiyanagi, Toshiro Mayuzumi, Yuji Takahashi, Toru Takemitsu

Photographer unknown. The Gilbert and Lila Silverman Fluxus Collection Archives, I.11. The Museum of Modern Art Archives, New York
Ma1859 cropped

Mayuzumi Toshiro's "Tadpoles-Music," installed in the exhibition, 4 Composers—Exhibition of Graphic Score: Toshi Ichiyanagi, Toshiro Mayuzumi, Yuji Takahashi, Toru Takemitsu

Photographer unknown. The Gilbert and Lila Silverman Fluxus Collection Archives, I.11. The Museum of Modern Art Archives, New York
Ma1856 cropped

Ichiyanagi Toshi performing during the exhibition, 4 Composers—Exhibition of Graphic Score: Toshi Ichiyanagi, Toshiro Mayuzumi, Yuji Takahashi, Toru Takemitsu

Photographer unknown. The Gilbert and Lila Silverman Fluxus Collection Archives, I.12. The Museum of Modern Art Archives, New York
Ma1857 cropped

Ichiyanagi Toshi performing during the exhibition, 4 Composers—Exhibition of Graphic Score: Toshi Ichiyanagi, Toshiro Mayuzumi, Yuji Takahashi, Toru Takemitsu

Photographer unknown. The Gilbert and Lila Silverman Fluxus Collection Archives, I.12. The Museum of Modern Art Archives, New York
Ma1818 1 cropped

Page spread of flyer, An Exhibition of World Graphic Scores

The Gilbert and Lila Silverman Fluxus Collection Archives, I.24. The Museum of Modern Art Archives, New York
Ma1817 (01) cropped

Page spread of flyer, An Exhibition of World Graphic Scores with annotations

The Gilbert and Lila Silverman Fluxus Collection Archives, I.24. The Museum of Modern Art Archives, New York
Ma1818 2 (01) cropped

Back cover of flyer, An Exhibition of World Graphic Scores

The Gilbert and Lila Silverman Fluxus Collection Archives, I.24. The Museum of Modern Art Archives, New York
Ma1579 (01)cropped

Installation view of the exhibition, An Exhibition of World Graphic Scores

Photographer unknown. The Gilbert and Lila Silverman Fluxus Collection Archives, I.13. The Museum of Modern Art Archives, New York
Ma1820 cropped

Scores by John Cage and George Brecht installed in the exhibition, An Exhibition of World Music Scores

Photographer unknown. The Gilbert and Lila Silverman Fluxus Collection Archives, I.13. The Museum of Modern Art Archives, New York
Ma1821 (01) cropped

Scores by Ichiyanagi Toshi, Takahashi Yuji , Takemitsu Toru, George Yuasa, Yasunao Tone (?) installed in the exhibition, An Exhibition of World Graphic Scores

Photographer unknown. The Gilbert and Lila Silverman Fluxus Collection Archives, I.13. The Museum of Modern Art Archives, New York
Ma1578 (01)cropped

Installation view of the exhibition, An Exhibition of World Graphic Scores

Photographer unknown. The Gilbert and Lila Silverman Fluxus Collection Archives, I.13. The Museum of Modern Art Archives, New York
Ma1641 (01)cropped

Center, Yoko Ono, above right, Yasunao Tone's "Music for Pump Organ" (alternate title, "Music for Reed Organ") installed in the exhibition, An Exhibition of World Graphic Scores

Photographer unknown. The Gilbert and Lila Silverman Fluxus Collection Archives, I.14. The Museum of Modern Art Archives, New York
Ma1580 (01)cropped

From left: Yoko Ono and Takiguchi Shuzo at the opening of the exhibition, An Exhibition of World Graphic Scores

Photographer unknown. The Gilbert and Lila Silverman Fluxus Collection Archives, I.14. The Museum of Modern Art Archives, New York
Ma1640 (01) cropped

From left: Takemitsu Toru, Mayuzumi Toshiro, Akiyama Kuniharu, and John Cage at the opening of the exhibition, An Exhibition of World Graphic Scores

The Gilbert and Lila Silverman Fluxus Collection Archives, I.14. The Museum of Modern Art Archives, New York
Ma1819 (01) cropped

From left: Yuasa Joji and Mayuzumi Toshiro during a peformance by John Cage at the opening of An Exhibition of World Graphic Scores

Photographer unknown. The Gilbert and Lila Silverman Fluxus Collection Archives, I.14. The Museum of Modern Art Archives, New York
Ma1651 1 (01)cropped

Cover of the notebook containing notes for the planning of the exhibition, An Exhibition of World Graphic Scores

The Gilbert and Lila Silverman Fluxus Collection Archives, I.28. The Museum of Modern Art Archives, New York
Ma1816 (01) cropped

Letter from Sylvano Bussotti to Akiyama Kuniharu regarding An Exhibition of World Graphic Scores

The Gilbert and Lila Silverman Fluxus Collection Archives, I.32. The Museum of Modern Art Archives, New York
Ma1814 (01) cropped

Letter from David Behrman to Ichiyanagi Toshi regarding An Exhibition of World Graphic Scores

The Gilbert and Lila Silverman Fluxus Collection Archives, I.32. The Museum of Modern Art Archives, New York
Ma1781 (01)cropped

Letter from Nam June Paik about music to Akiyama Kuniharu, in conjunction with An Exhibition of World Graphic Scores

Courtesy of Name June Paik. The Gilbert and Lila Silverman Fluxus Collection Archives, I.34. The Museum of Modern Art Archives, New York. © 2013 the artist
Ma1782 1 (01) cropped

Page 1 of 2-page letter from Nam June Paik with suggestions for An Exhibition of World Graphic Scores to Akiyama Kuniharu

Courtesy of Name June Paik. The Gilbert and Lila Silverman Fluxus Collection Archives, I.34. The Museum of Modern Art Archives, New York. © 2013 the artist
Ma1784 (01) cropped

Postcard from Dick Higgins to Akiyama Kuniharu in conjunction with An Exhibition of World Graphic Scores

The Gilbert and Lila Silverman Collection Archives, I.33. The Museum of Modern Art Archives, New York
Ma1815 (01) cropped

Letter from Akiyama Kuniharu and Ichiyanagi Toshi to George Brecht in conjunction with An Exhibition of World Graphic Scores

The Gilbert and Lila Silverman Collection Archives, I.32. The Museum of Modern Art Archives, New York
42 1972 ricr (01)

Page 18, of "Solo for Piano," from "Concert for Piano and Orchestra"

The Museum of Modern Art, New York. Gift of Lily Auchincloss © 2014 John Cage Trust
3031 2008 x1 vw6 cc (01) cropped

"Five Piano Pieces for David Tudor: extraits de pièces de chair II"

Courtesy of Sylvano Bussotti. The Museum of Modern Art, New York. The Gilbert and Lila Silverman Fluxus Collection Gift. © 2014 Casa Ricordi
2258 2008 cccr (01)

"Music for Electric Metronome"

The Museum of Modern Art, New York. The Gilbert and Lila Silverman Fluxus Collection Gift © 2014 the artist
2737 2008 cccr

"Anagram for Strings"

The Museum of Modern Art, New York. The Gilbert and Lila Silverman Fluxus Collection Gift © 2014 the artist
2739 2008 cccr (01)

"Music for Several Composers, Solo for Several Composers, Music for Every Tableaux, and Music for Pump Organ"

The Museum of Modern Art, New York. The Gilbert and Lila Silverman Fluxus Collection Gift © 2014 the artist
Ma1581.5

Pages from exhibition brochure, 4 Composers—Exhibition of Graphic Score: Toshi Ichiyanagi, Toshiro Mayuzumi, Yuji Takahashi, Toru Takemitsu

Page size: 9 5/16 x 9 1/4" (23.6 x 23.5 cm). Top left and right, offset printed in gray; middle left, offset printed in color with die cut suspended with string; middle right, printed in black on handmade paper; bottom, offset printed in color.

The Gilbert and Lila Silverman Fluxus Collection Archives, I.25. The Museum of Modern Art Archives, New York
Ma1863 cropped

Scores by Takahashi Yuji and Ichiyanagi Toshi, installed in the exhibition, 4 Composers—Exhibition of Graphic Score: Toshi Ichiyanagi, Toshiro Mayuzumi, Yuji Takahashi, Toru Takemitsu

April 16–26, 1962. Gelatin silver print. 6 1/2 x 4 3/4" (16.5 x 12.1 cm)

Photographer unknown. The Gilbert and Lila Silverman Fluxus Collection Archives, I.11. The Museum of Modern Art Archives, New York
Ma1860 crop

Two versions of Takemitsu Toru's "Corona" for pianist and "Crossing" (bottom left) installed in 4 Composers—Exhibition of Graphic Score: Toshi Ichiyanagi, Toshiro Mayuzumi, Yuji Takahashi, Toru Takemitsu

April 16–26, 1962. Gelatin silver print. 6 1/2 x 4 3/4" (16.5 x 12.1 cm)

Photographer unknown. The Gilbert and Lila Silverman Fluxus Collection Archives, I.11. The Museum of Modern Art Archives, New York
Ma1864 cropped

"Ekstasis," by Takahashi Yuji , installed in the exhibition, 4 Composers—Exhibition of Graphic Score: Toshi Ichiyanagi, Toshiro Mayuzumi, Yuji Takahashi, Toru Takemitsu

April 16–26, 1962. Gelatin silver print. 4 3/4 x 6 1/2" (12.1 x 16.5 cm)

Photographer unknown. The Gilbert and Lila Silverman Fluxus Collection Archives, I.11. The Museum of Modern Art Archives, New York
Ma1861 cropped

Mayuzumi Toshiro's "Mobile-Music" instructions, installed in the exhibition, 4 Composers—Exhibition of Graphic Score: Toshi Ichiyanagi, Toshiro Mayuzumi, Yuji Takahashi, Toru Takemitsu

April 16–26, 1962. Gelatin silver print. 6 1/2 x 4 3/4" (16.5 x 12.1 cm)

Photographer unknown. The Gilbert and Lila Silverman Fluxus Collection Archives, I.11. The Museum of Modern Art Archives, New York
Ma1862 cropped

Mayuzumi Toshiro's "Mobile-Music" score, installed in the exhibition, 4 Composers—Exhibition of Graphic Score: Toshi Ichiyanagi, Toshiro Mayuzumi, Yuji Takahashi, Toru Takemitsu

April 16–April 26, 1962. Gelatin silver print. 4 1/2 x 6 1/2" (11.4 x 16.5 cm)

Photographer unknown. The Gilbert and Lila Silverman Fluxus Collection Archives, I.11. The Museum of Modern Art Archives, New York
Ma1858 cropped

Mayuzumi Toshiro's "Tadpoles-Music" instructions, installed in the exhibition, 4 Composers—Exhibition of Graphic Score: Toshi Ichiyanagi, Toshiro Mayuzumi, Yuji Takahashi, Toru Takemitsu

April 16–26, 1962. Gelatin silver print. 6 1/2 x 4 3/4" (16.5 x 12.1 cm)

Photographer unknown. The Gilbert and Lila Silverman Fluxus Collection Archives, I.11. The Museum of Modern Art Archives, New York
Ma1859 cropped

Mayuzumi Toshiro's "Tadpoles-Music," installed in the exhibition, 4 Composers—Exhibition of Graphic Score: Toshi Ichiyanagi, Toshiro Mayuzumi, Yuji Takahashi, Toru Takemitsu

April 16–26, 1962. Gelatin silver print. 4 3/4 x 6 1/2" (12.1 x 16.5 cm)

Photographer unknown. The Gilbert and Lila Silverman Fluxus Collection Archives, I.11. The Museum of Modern Art Archives, New York
Ma1856 cropped

Ichiyanagi Toshi performing during the exhibition, 4 Composers—Exhibition of Graphic Score: Toshi Ichiyanagi, Toshiro Mayuzumi, Yuji Takahashi, Toru Takemitsu

April 16–26, 1962. Gelatin silver print. 6 1/2 x 4 3/4" (16.5 x 12.1 cm)

Photographer unknown. The Gilbert and Lila Silverman Fluxus Collection Archives, I.12. The Museum of Modern Art Archives, New York
Ma1857 cropped

Ichiyanagi Toshi performing during the exhibition, 4 Composers—Exhibition of Graphic Score: Toshi Ichiyanagi, Toshiro Mayuzumi, Yuji Takahashi, Toru Takemitsu

April 16–26, 1962. Gelatin silver print. 6 1/2 x 4 3/4" (16.5 x 12.1 cm)

Photographer unknown. The Gilbert and Lila Silverman Fluxus Collection Archives, I.12. The Museum of Modern Art Archives, New York
Ma1818 1 cropped

Page spread of flyer, An Exhibition of World Graphic Scores

November 10–20, 1962. Offset, printed in black. Page spread: 13 5/16 x 7 1/8" (34.6 x 18.1 cm)

The Gilbert and Lila Silverman Fluxus Collection Archives, I.24. The Museum of Modern Art Archives, New York
Ma1817 (01) cropped

Page spread of flyer, An Exhibition of World Graphic Scores with annotations

November 10– 20, 1962. Offset, printed in black. Page spread: 13 5/16 x 7 1/8" (34.6 x 18.1 cm)

The Gilbert and Lila Silverman Fluxus Collection Archives, I.24. The Museum of Modern Art Archives, New York
Ma1818 2 (01) cropped

Back cover of flyer, An Exhibition of World Graphic Scores

November 10–20, 1962. Offset, printed in black. Page spread: 13 5/16 x 7 1/8" (34.6 x 18.1 cm)

The Gilbert and Lila Silverman Fluxus Collection Archives, I.24. The Museum of Modern Art Archives, New York
Ma1579 (01)cropped

Installation view of the exhibition, An Exhibition of World Graphic Scores

November 10–20, 1962. Gelatin silver print. 4 3/4 x 6 1/2" (12.1 x 16.5 cm)

Photographer unknown. The Gilbert and Lila Silverman Fluxus Collection Archives, I.13. The Museum of Modern Art Archives, New York
Ma1820 cropped

Scores by John Cage and George Brecht installed in the exhibition, An Exhibition of World Music Scores

November 10–20, 1962. Gelatin silver print. 4 3/4 x 6 1/2" (12.1 x 16.5 cm)

Photographer unknown. The Gilbert and Lila Silverman Fluxus Collection Archives, I.13. The Museum of Modern Art Archives, New York
Ma1821 (01) cropped

Scores by Ichiyanagi Toshi, Takahashi Yuji , Takemitsu Toru, George Yuasa, Yasunao Tone (?) installed in the exhibition, An Exhibition of World Graphic Scores

November 10–20, 1962. Gelatin silver print. 4 3/4 x 6 1/2" (12.1 x 16.5 cm)

Photographer unknown. The Gilbert and Lila Silverman Fluxus Collection Archives, I.13. The Museum of Modern Art Archives, New York
Ma1578 (01)cropped

Installation view of the exhibition, An Exhibition of World Graphic Scores

November 10–20, 1962. Gelatin silver print. 4 3/4 x 6 3/8" (12.1 x 16.2 cm)

Photographer unknown. The Gilbert and Lila Silverman Fluxus Collection Archives, I.13. The Museum of Modern Art Archives, New York
Ma1641 (01)cropped

Center, Yoko Ono, above right, Yasunao Tone's "Music for Pump Organ" (alternate title, "Music for Reed Organ") installed in the exhibition, An Exhibition of World Graphic Scores

November 10, 1962. Gelatin silver print. 6 1/2 x 4 3/4" (16.5 x 12.1 cm)

Photographer unknown. The Gilbert and Lila Silverman Fluxus Collection Archives, I.14. The Museum of Modern Art Archives, New York
Ma1580 (01)cropped

From left: Yoko Ono and Takiguchi Shuzo at the opening of the exhibition, An Exhibition of World Graphic Scores

November 10, 1962. Gelatin silver print. 4 3/4 x 6 1/2" (12.1 x 16.5 cm)

Photographer unknown. The Gilbert and Lila Silverman Fluxus Collection Archives, I.14. The Museum of Modern Art Archives, New York
Ma1640 (01) cropped

From left: Takemitsu Toru, Mayuzumi Toshiro, Akiyama Kuniharu, and John Cage at the opening of the exhibition, An Exhibition of World Graphic Scores

November 10, 1962. Resin-coated print. 9 13/16 x 11 7/16" (24.9 x 29 cm)

The Gilbert and Lila Silverman Fluxus Collection Archives, I.14. The Museum of Modern Art Archives, New York
Ma1819 (01) cropped

From left: Yuasa Joji and Mayuzumi Toshiro during a peformance by John Cage at the opening of An Exhibition of World Graphic Scores

November 10, 1962. Gelatin silver print. 4 3/4 x 6 1/2" (12.1 x 16.5 cm)

Photographer unknown. The Gilbert and Lila Silverman Fluxus Collection Archives, I.14. The Museum of Modern Art Archives, New York
Ma1651 1 (01)cropped

Cover of the notebook containing notes for the planning of the exhibition, An Exhibition of World Graphic Scores

c. 1962. Offset, printed in black with ink. Page size: 10 x 7 1/4" (25.4 x 18.4 cm)

The Gilbert and Lila Silverman Fluxus Collection Archives, I.28. The Museum of Modern Art Archives, New York
Ma1816 (01) cropped

Letter from Sylvano Bussotti to Akiyama Kuniharu regarding An Exhibition of World Graphic Scores

March 27, 1962

The Gilbert and Lila Silverman Fluxus Collection Archives, I.32. The Museum of Modern Art Archives, New York
Ma1814 (01) cropped

Letter from David Behrman to Ichiyanagi Toshi regarding An Exhibition of World Graphic Scores

Envelope postmarked March 31, 1962

The Gilbert and Lila Silverman Fluxus Collection Archives, I.32. The Museum of Modern Art Archives, New York
Ma1781 (01)cropped

Letter from Nam June Paik about music to Akiyama Kuniharu, in conjunction with An Exhibition of World Graphic Scores

Envelope postmarked May 21, 1962

Courtesy of Name June Paik. The Gilbert and Lila Silverman Fluxus Collection Archives, I.34. The Museum of Modern Art Archives, New York. © 2013 the artist
Ma1782 1 (01)crop

Page 1 of 2-page letter from Nam June Paik with suggestions for An Exhibition of World Graphic Scores to Akiyama Kuniharu

Envelope postmarked May 28, 1962.

Courtesy of Name June Paik. The Gilbert and Lila Silverman Fluxus Collection Archives, I.34. The Museum of Modern Art Archives, New York. © 2013 the artist
Ma1784 (01) cropped

Postcard from Dick Higgins to Akiyama Kuniharu in conjunction with An Exhibition of World Graphic Scores

The Gilbert and Lila Silverman Collection Archives, I.33. The Museum of Modern Art Archives, New York
Ma1815 (01) cropped

Letter from Akiyama Kuniharu and Ichiyanagi Toshi to George Brecht in conjunction with An Exhibition of World Graphic Scores

c. 1962

The Gilbert and Lila Silverman Collection Archives, I.32. The Museum of Modern Art Archives, New York
42 1972 ricr (01)

Page 18, of "Solo for Piano," from "Concert for Piano and Orchestra"

Ink and pencil on transparentized paper. 10 7/8 x 17 1/8" (27.6 x 43.3 cm)

The Museum of Modern Art, New York. Gift of Lily Auchincloss © 2014 John Cage Trust
3031 2008 x1 vw6 cc (01) cropped

"Five Piano Pieces for David Tudor: extraits de pièces de chair II"

Offset score, page (each): 14 1/16 x 10 15/16" (35.7 x 27.8 cm)

Courtesy of Sylvano Bussotti. The Museum of Modern Art, New York. The Gilbert and Lila Silverman Fluxus Collection Gift. © 2014 Casa Ricordi
2258 2008 cccr (01)

"Music for Electric Metronome"

Ink and typewriting on transparentized paper. sheet (irreg.): 11 1/4 x 15 1/4" (28.5 x 38.7 cm)

The Museum of Modern Art, New York. The Gilbert and Lila Silverman Fluxus Collection Gift © 2014 the artist
2737 2008 cccr

"Anagram for Strings"

Ink and typewriting on paper. Sheet: 8 1/4 x 11 5/8" (21 x 29.6 cm)

The Museum of Modern Art, New York. The Gilbert and Lila Silverman Fluxus Collection Gift © 2014 the artist
2739 2008 cccr (01)

"Music for Several Composers, Solo for Several Composers, Music for Every Tableaux, and Music for Pump Organ"

Typewriting and pencil on paper; and ink, pencil and colored pencil on paper. sheet (score): 11 x 8 9/16" (27.9 x 21.7 cm); sheet (diagram): 7 1/16 x 10 1/16" (18 x 25.5 cm)

The Museum of Modern Art, New York. The Gilbert and Lila Silverman Fluxus Collection Gift © 2014 the artist

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Graphic Scores: Tokyo, 1962

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Mk c map

Posted on 21 May

Speaking of Cage... you can find a fantastic "living archive" of John Cage-related materials including scores, manuscripts, and recent performances organized by the NYPL here: http://exhibitions.nypl.org/johncage/manuscripts

Show less »

Speaking of Cage... you can find a fantastic "living archive" of John Cage-related materials including scores, manuscripts, and recent performances organized by the NYPL here: http://exhibitions.nypl.org/johncage/manuscripts

Show more »