{"id":6768,"date":"2026-02-12T14:21:51","date_gmt":"2026-02-12T13:21:51","guid":{"rendered":"https:\/\/www.mdw.ac.at\/mdwpress\/?p=6768"},"modified":"2026-02-24T11:11:11","modified_gmt":"2026-02-24T10:11:11","slug":"mdwp004-032","status":"publish","type":"post","link":"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp004-032\/","title":{"rendered":"Conducting Experiments"},"content":{"rendered":"<h2 class=\"subtitle\">Theorizing Sound through Conductors\u2019 Movement in Experimental Music<\/h2>\n<h3 class=\"author\"><em>Drake Andersen <a href=\"https:\/\/orcid.org\/0000-0002-9338-604X\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-600\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2021\/02\/orcid.png\" alt=\"orcid\" width=\"19\" height=\"19\" \/><\/a><\/em><\/h3>\n<p>&nbsp;<br \/>\n<head><\/p>\n<style>\n        .tsquotation strong {\n            font-weight: bold;\n        }\n        .tsquotation em {\n            font-style: italic !important;\n        }\n        .bibliography {\n            margin-top: -1em !important;\n            padding-left: 22px;\n            text-indent: -22px;\n        }\nfigure {\n            margin: 0;\n }<\/p>\n<p> table {\n      line-height: 1.4;\n    border-collapse: collapse;\n    width: 100%;\nfont-family: inherit;\n  }<\/p>\n<p>table p {\n      margin: 0;\n    }\n  th, td {\n    border: 1px solid black;\n    padding: 8px;\n    text-align: left;\n    vertical-align: top;\n  }\n  thead tr {\n    background-color: #e0e0e0;\n }\n  th {\n    text-transform: none;\n  }\n    <\/style>\n<p><\/head><\/p>\n<div class=\"one_half\">\n<p style=\"text-align: left;\"><span class='bdaia-btns bdaia-btn-medium' style=\"background:#b2b2b2 !important;color:#000000 !important;\"><a href=\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp004-031\/\" style=\"color:#000000 !important;\">&#129028;<\/a><\/span><\/div>\n<div class=\"one_half last\">\n<p style=\"text-align: right;\"><span class='bdaia-btns bdaia-btn-medium' style=\"background:#b2b2b2 !important;color:#000000 !important;\"><a href=\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp004-033\" style=\"color:#000000 !important;\">&#129030;<\/a><\/span><\/div><div class=\"clear-fix\"><\/div>\n<div class=\"bdaia-toggle close\"><h4 class=\"bdaia-toggle-head toggle-head-open\"><span class=\"bdaia-sio bdaia-sio-angle-up\"><\/span><span class=\"txt\">How to cite<\/span><\/h4><h4 class=\"bdaia-toggle-head toggle-head-close\"><span class=\"bdaia-sio bdaia-sio-angle-down\"><\/span><span class=\"txt\">How to cite<\/span><\/h4><div class=\"toggle-content\"><p>\n<div id=\"zotpress-27edd425c4bf86f771bc0db588827368\" class=\"zp-Zotpress zp-Zotpress-Bib wp-block-group\">\n\n\t\t<span class=\"ZP_API_USER_ID ZP_ATTR\">4511395<\/span>\n\t\t<span class=\"ZP_ITEM_KEY ZP_ATTR\">{4511395:5V4NZRAM}<\/span>\n\t\t<span class=\"ZP_COLLECTION_ID ZP_ATTR\"><\/span>\n\t\t<span class=\"ZP_TAG_ID ZP_ATTR\"><\/span>\n\t\t<span class=\"ZP_AUTHOR ZP_ATTR\"><\/span>\n\t\t<span class=\"ZP_YEAR ZP_ATTR\"><\/span>\n        <span class=\"ZP_ITEMTYPE ZP_ATTR\"><\/span>\n\t\t<span class=\"ZP_INCLUSIVE ZP_ATTR\">1<\/span>\n\t\t<span class=\"ZP_STYLE ZP_ATTR\">chicago-author-date<\/span>\n\t\t<span class=\"ZP_LIMIT ZP_ATTR\">50<\/span>\n\t\t<span class=\"ZP_SORTBY ZP_ATTR\">default<\/span>\n\t\t<span class=\"ZP_ORDER ZP_ATTR\"><\/span>\n\t\t<span class=\"ZP_TITLE ZP_ATTR\"><\/span>\n\t\t<span class=\"ZP_SHOWIMAGE ZP_ATTR\"><\/span>\n\t\t<span class=\"ZP_SHOWTAGS ZP_ATTR\"><\/span>\n\t\t<span class=\"ZP_DOWNLOADABLE ZP_ATTR\">1<\/span>\n\t\t<span class=\"ZP_NOTES ZP_ATTR\"><\/span>\n\t\t<span class=\"ZP_ABSTRACT ZP_ATTR\"><\/span>\n\t\t<span class=\"ZP_CITEABLE ZP_ATTR\">1<\/span>\n\t\t<span class=\"ZP_TARGET ZP_ATTR\"><\/span>\n\t\t<span class=\"ZP_URLWRAP ZP_ATTR\"><\/span>\n\t\t<span class=\"ZP_FORCENUM ZP_ATTR\"><\/span>\n        <span class=\"ZP_HIGHLIGHT ZP_ATTR\"><\/span>\n        <span class=\"ZP_POSTID ZP_ATTR\">6768<\/span>\n\t\t<span class=\"ZOTPRESS_PLUGIN_URL ZP_ATTR\">https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/plugins\/zotpress\/<\/span>\n\n\t\t<div class=\"zp-List loading\">\n\t\t\t<div class=\"zp-SEO-Content\">\n\t\t\t\t<span class=\"ZP_JSON ZP_ATTR\">%7B%22status%22%3A%22success%22%2C%22updateneeded%22%3Afalse%2C%22instance%22%3Afalse%2C%22meta%22%3A%7B%22request_last%22%3A0%2C%22request_next%22%3A0%2C%22used_cache%22%3Atrue%7D%2C%22data%22%3A%5B%7B%22key%22%3A%225V4NZRAM%22%2C%22library%22%3A%7B%22id%22%3A4511395%7D%2C%22meta%22%3A%7B%22creatorSummary%22%3A%22Anderson%22%2C%22parsedDate%22%3A%222026%22%2C%22numChildren%22%3A0%7D%2C%22bib%22%3A%22%26lt%3Bdiv%20class%3D%26quot%3Bcsl-bib-body%26quot%3B%20style%3D%26quot%3Bline-height%3A%201.35%3B%20padding-left%3A%201em%3B%20text-indent%3A-1em%3B%26quot%3B%26gt%3B%5Cn%20%20%26lt%3Bdiv%20class%3D%26quot%3Bcsl-entry%26quot%3B%26gt%3BAnderson%2C%20Drake.%202026.%20%26%23x201C%3BConducting%20Experiments%3A%20Theorizing%20Sound%20through%20Conductors%26%23x2019%3B%20Movement%20in%20Experimental%20Music.%26%23x201D%3B%20In%20%26lt%3Bi%26gt%3BMusic%20and%20Motion%20%26%23x2013%3B%20Interweaving%20Artistic%20Practice%20and%20Theory%20in%20Dance%20and%20Beyond%26lt%3B%5C%2Fi%26gt%3B%2C%20edited%20by%20Stephanie%20Schroedter.%20Vienna%20and%20Bielefeld.%20%26lt%3Ba%20title%3D%26%23039%3BCite%20in%20RIS%20Format%26%23039%3B%20class%3D%26%23039%3Bzp-CiteRIS%26%23039%3B%20data-zp-cite%3D%26%23039%3Bapi_user_id%3D4511395%26amp%3Bitem_key%3D5V4NZRAM%26%23039%3B%20href%3D%26%23039%3Bjavascript%3Avoid%280%29%3B%26%23039%3B%26gt%3BCite%26lt%3B%5C%2Fa%26gt%3B%20%26lt%3B%5C%2Fdiv%26gt%3B%5Cn%26lt%3B%5C%2Fdiv%26gt%3B%22%2C%22data%22%3A%7B%22itemType%22%3A%22bookSection%22%2C%22title%22%3A%22Conducting%20Experiments%3A%20Theorizing%20Sound%20through%20Conductors%5Cu2019%20Movement%20in%20Experimental%20Music%22%2C%22creators%22%3A%5B%7B%22creatorType%22%3A%22editor%22%2C%22firstName%22%3A%22Stephanie%22%2C%22lastName%22%3A%22Schroedter%22%7D%2C%7B%22creatorType%22%3A%22author%22%2C%22firstName%22%3A%22Drake%22%2C%22lastName%22%3A%22Anderson%22%7D%5D%2C%22abstractNote%22%3A%22%22%2C%22bookTitle%22%3A%22Music%20and%20Motion%20%5Cu2013%20Interweaving%20Artistic%20Practice%20and%20Theory%20in%20Dance%20and%20Beyond%22%2C%22date%22%3A%222026%22%2C%22originalDate%22%3A%22%22%2C%22originalPublisher%22%3A%22%22%2C%22originalPlace%22%3A%22%22%2C%22format%22%3A%22%22%2C%22ISBN%22%3A%22978-3-8376-5611-4%22%2C%22DOI%22%3A%22%22%2C%22citationKey%22%3A%22%22%2C%22url%22%3A%22%22%2C%22ISSN%22%3A%22%22%2C%22language%22%3A%22en%22%2C%22collections%22%3A%5B%22C96IEEWM%22%5D%2C%22dateModified%22%3A%222026-02-09T09%3A45%3A27Z%22%7D%7D%5D%7D<\/span>\n\n\t\t\t\t<div id=\"zp-ID-6768-4511395-5V4NZRAM\" data-zp-author-date='Anderson-2026' data-zp-date-author='2026-Anderson' data-zp-date='2026' data-zp-year='2026' data-zp-itemtype='bookSection' class=\"zp-Entry zpSearchResultsItem\">\n<div class=\"csl-bib-body\" style=\"line-height: 1.35; padding-left: 1em; text-indent:-1em;\">\n  <div class=\"csl-entry\">Anderson, Drake. 2026. \u201cConducting Experiments: Theorizing Sound through Conductors\u2019 Movement in Experimental Music.\u201d In <i>Music and Motion \u2013 Interweaving Artistic Practice and Theory in Dance and Beyond<\/i>, edited by Stephanie Schroedter. Vienna and Bielefeld. <a title='Cite in RIS Format' class='zp-CiteRIS' data-zp-cite='api_user_id=4511395&item_key=5V4NZRAM' href='javascript:void(0);'>Cite<\/a> <\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\n\t\t\t<\/div><!-- .zp-zp-SEO-Content -->\n\t\t<\/div><!-- .zp-List -->\n\t<\/div><!--.zp-Zotpress-->\n\n\n<\/p><\/div><\/div>\n<div class=\"bdaia-toggle close\"><h4 class=\"bdaia-toggle-head toggle-head-open\"><span class=\"bdaia-sio bdaia-sio-angle-up\"><\/span><span class=\"txt\">Abstract<\/span><\/h4><h4 class=\"bdaia-toggle-head toggle-head-close\"><span class=\"bdaia-sio bdaia-sio-angle-down\"><\/span><span class=\"txt\">Abstract<\/span><\/h4><div class=\"toggle-content\"><p>\nExperimental musicians have long questioned traditional aesthetic attitudes towards sound. In this chapter, I examine how conductors\u2019 movements in American experimental art music both shaped and reflected these changing conceptions. Drawing on examples from the 1950s to the 1980s including John Cage, Butch Morris, Earle Brown, Walter Thompson, John Zorn, and Frank Zappa, I argue that conducting styles are aligned with experimental musicians\u2019 distinctive approaches to sound. For example, Cage envisioned the conductor as an expressionless utility for timekeeping, in keeping with his interest in non-intention, while Butch Morris\u2019s conduction technique makes use of bodily and spatial metaphors to encourage intuitive improvisation. Focusing on the conductor\u2019s movements\u2014rather than composers\u2019 words\u2014reveals hidden artistic priorities and assumptions, while also offering an opportunity to address the performing body\u2019s status as a mediator of both the aesthetic and the social.<br \/>\n<\/p><\/div><\/div>\n<div class=\"bdaia-toggle close\"><h4 class=\"bdaia-toggle-head toggle-head-open\"><span class=\"bdaia-sio bdaia-sio-angle-up\"><\/span><span class=\"txt\">Outline<\/span><\/h4><h4 class=\"bdaia-toggle-head toggle-head-close\"><span class=\"bdaia-sio bdaia-sio-angle-down\"><\/span><span class=\"txt\">Outline<\/span><\/h4><div class=\"toggle-content\"><p>\n<a href=\"#1\">The Hands of the Clock<\/a><br \/>\n<a href=\"#2\">(Finger) Painting with Sound<\/a><br \/>\n<a href=\"#3\">Embodiment and Social Mediation<\/a><br \/>\n<\/p><\/div><\/div>\n<hr>\n<p><!-- \n\n<p style=\"text-align: right;\">[btn btnlink=\"\" btnsize=\"medium\" bgcolor=\"#b2b2b2\" txtcolor=\"#000000\" btnnewt=\"1\" nofollow=\"1\"]CHAPTER PDF <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/download-1459070_1280.png\" style=\"vertical-align: middle\" alt=\"Download-Logo\" width=\"17\" height=\"17\">[\/btn]\n\n --><\/p>\n<p>Despite John Cage\u2019s insistence that his compositions were devoted to letting the sounds \u201cbe themselves,\u201d it is this dictum, rather than any particular sound, that most reliably persists in listeners\u2019 minds.<a href=\"#fn1\" class=\"footnote-ref\" id=\"fnref1\" role=\"doc-noteref\"><sup>1<\/sup><\/a> In fact, in looking back at postwar experimental music as a whole, it seems that the aesthetic theories that accompanied this music have received considerably more attention than the sounds themselves. This state of affairs, while seemingly incongruous, is by no means an outlier among artistic movements in the twentieth century. As Georgina Born succinctly observes, \u201cmodernist art invests an unprecedented power in exegetical texts.\u201d<a href=\"#fn2\" class=\"footnote-ref\" id=\"fnref2\" role=\"doc-noteref\"><sup>2<\/sup><\/a> While Cage and his coterie frequently sought to distinguish themselves from European arch-modernists such as Pierre Boulez, Born emphasizes how the United States experimentalists\u2019 music was nevertheless still \u201cconstructed in discursive texts,\u201d reflecting a modernist sensibility that was ultimately \u201ctheoreticist and determinist.\u201d<a href=\"#fn3\" class=\"footnote-ref\" id=\"fnref3\" role=\"doc-noteref\"><sup>3<\/sup><\/a> The reception of Cage as more of a philosopher than a composer\u2014a view which even Cage seemed to encourage at times\u2014exemplifies this tendency.<\/p>\n<p>Nevertheless, as many have pointed out, the extensive theorizations of experimentalism were frequently frustrated by the sonic realities of performance. As Cornelius Cardew once pointedly observed,<\/p>\n<blockquote>\n<p class=\"tsquotation\">contrary to his own \u2018beautiful idea\u2019, Cage himself, in his performance of [<em>Variations\u00a0I<\/em>] with David Tudor [&#8230;] never let the sounds be just sounds. Their performances were full of crashes, bangs, radio music and speech, etc. No opportunity for including emotive material was lost.<a href=\"#fn4\" class=\"footnote-ref\" id=\"fnref4\" role=\"doc-noteref\"><sup>4<\/sup><\/a><\/p>\n<\/blockquote>\n<p>Anecdotes like this, in which theory is found to be inconsistent with both the sounds themselves and how they are received, call into question the role of theory in experimental music more broadly. In this chapter, I want to experiment with a different approach: examining experimental aesthetics of sound as expressed not through words\u2014or through sounds\u2014but through movement. I will attend to the movements of the conductor\u2014that is, the conductor of experimental music\u2014and consider how these movements both shape and reflect how experimental musicians conceived of sound from the 1950s to the 1980s. I argue that these conceptions were frequently predicated on discursive negations that resulted in the conductor withholding conventionally musical or expressive bodily movements. This observation foregrounds the role of the body in experimental music, offering an opportunity to address its status as a mediator of both the aesthetic and the social.<\/p>\n<h4 id=\"1\">The Hands of the Clock<\/h4>\n<p>Despite the postwar experimentalists\u2019 special attention to the conceptual and theoretical implications of their work, experimental music was initially envisioned along the lines of what it wasn\u2019t, rather than what it was. As Born has emphasized, the post-Cagean experimental tradition was defined \u201cthrough a series of negations,\u201d while Rebecca Y. Kim notes Cage\u2019s parallel rejections of conventional art music, popular musics, and jazz.<a href=\"#fn5\" class=\"footnote-ref\" id=\"fnref5\" role=\"doc-noteref\"><sup>5<\/sup><\/a> From Derek Bailey\u2019s aporic notion of \u201cnon-idiomatic\u201d improvisation to Morton Feldman\u2019s \u201cobliterating\u201d repetitions, experimental music was enmeshed in a negative sonic aesthetics that trafficked in rejection and disavowal.<a href=\"#fn6\" class=\"footnote-ref\" id=\"fnref6\" role=\"doc-noteref\"><sup>6<\/sup><\/a><\/p>\n<p>Sound itself was not rejected\u2014at least in most cases\u2014but the properties of musical sound were called into question by embracing noise, spontaneity, electronic tones, and dynamic extremes. Rather than specifying the types of sounds to be produced, composers like Cage, Feldman, and Earle Brown explored intentionally ambiguous forms of notation intended to discourage conventional musical patterns such as scales, chords, and rhythmic synchronization. These same composers took pains to emphasize that this approach necessarily reflected not only a transformation of the sonic content of their works, but an entirely novel aesthetic theory. For example, in the 1950s, Cage criticized American composers of electronic music who \u201ccall themselves experimental because of their use of this new medium.\u201d In his view, these composers simply employed electronic means to \u201ccontinue conventional musical practices.\u201d<a href=\"#fn7\" class=\"footnote-ref\" id=\"fnref7\" role=\"doc-noteref\"><sup>7<\/sup><\/a> For Cage and others, it was not enough to simply pursue new sounds. On the contrary, the core meaning of experimental music was to be found through the manner in which the sounds were produced and organized. In practice, this often entailed meticulously purging any recognizable content.<\/p>\n<p>A particularly illustrative example is John Cage\u2019s \u201cclock\u201d conducting technique, first called for in the 1958 composition <em>Concert for Piano and Orchestra<\/em>.<a href=\"#fn8\" class=\"footnote-ref\" id=\"fnref8\" role=\"doc-noteref\"><sup>8<\/sup><\/a> In this technique, the conductor\u2019s principal task is not to cue or indicate tempo, dynamics, or expressive qualities of the music, but rather to simply mark the passage of time without regard for the sounds produced by the musicians. In performance, the conductor imitates the hand of a clock by lifting and lowering their arm while fully outstretched to the side in a clockwise direction (from the performers\u2019 perspective). The conductor uses one arm at a time, exchanging arms at the twelve o\u2019clock and six o\u2019clock positions.<a href=\"#fn9\" class=\"footnote-ref\" id=\"fnref9\" role=\"doc-noteref\"><sup>9<\/sup><\/a><\/p>\n<p>Unlike conventional conducting techniques in which the conductor attempts to capture the expressive qualities of the music through movement, in this technique the conductor evokes the complete equanimity of an inanimate object. More strikingly, the conductor\u2019s arm movement negates any semblance of rhythm or pulse, moving smoothly at a uniform pace through its circuit without any subdivisions. Even where phrasing could theoretically be suggested\u2014for example, the arm exchanges at the twelve o\u2019clock and six o\u2019clock positions\u2014the conductor gives no acknowledgement, passing through these movements without the slightest change in demeanor, or even a cueing breath. Far from gesturing outwards towards an ensemble, the conductor seems deeply absorbed in executing the movements with almost scientific precision.<\/p>\n<table>\n<colgroup>\n<col style=\"width: 33%\" \/>\n<col style=\"width: 33%\" \/>\n<col style=\"width: 33%\" \/> <\/colgroup>\n<thead>\n<tr>\n<th style=\"text-align: center;\"><strong>Clock Time<\/strong><\/th>\n<th style=\"text-align: center;\"><strong>Effective Time<\/strong><\/th>\n<th style=\"text-align: center;\"><strong>Omit<\/strong><\/th>\n<\/tr>\n<\/thead>\n<tbody>\n<tr>\n<td style=\"text-align: center;\">30\u02b9\u02b9<\/td>\n<td style=\"text-align: center;\">45\u02b9\u02b9<\/td>\n<td style=\"text-align: center;\">00\u02b9\u02b9<\/td>\n<\/tr>\n<tr>\n<td style=\"text-align: center;\">2\u02b900\u02b9\u02b9<\/td>\n<td style=\"text-align: center;\">1\u02b915\u02b9\u02b9<\/td>\n<td style=\"text-align: center;\">00\u02b9\u02b9<\/td>\n<\/tr>\n<tr>\n<td style=\"text-align: center;\">1\u02b915\u02b9\u02b9<\/td>\n<td style=\"text-align: center;\">1\u02b915\u02b9\u02b9<\/td>\n<td style=\"text-align: center;\">15\u02b9\u02b9<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p><span class=\"caption-text\"><strong>Table 1:<\/strong> Excerpt from John Cage <em>Concert for Piano and Orchestra<\/em>, Conductor\u2019s Part<\/span><\/p>\n<p>Table\u00a01 is a transcription of a brief excerpt from the conductor\u2019s part in the <em>Concert for Piano and Orchestra.<\/em> The part is read from top to bottom, with each row representing a particular span of movement, and three columns specifying different aspects of that movement. The first column, labeled \u201cClock Time,\u201d indicates the absolute duration of a given span of movement. For example, the first movement in the excerpt will last thirty seconds, and the second will last two minutes. The second column, labeled \u201cEffective Time,\u201d indicates the amount of movement that should take place within the amount of clock time specified in the first column, with one complete circle representing one minute of effective time. Consequently, in the first row, the conductor must move their arm three quarters of the way around the circle (45\u201d) in thirty seconds of clock time. Immediately following, the conductor must make one and a quarter circles (1\u201915\u201d) in two minutes of clock time. In other words, the conductor\u2019s arm first moves slightly faster than the second hand of a clock, then somewhat slower. The starting position for each row\u2019s change of speed depends on the ending position resulting from the movement in the previous row. The third column, which allows the conductor to omit certain durations of clock time, is only observed if the conductor wishes to achieve a performance of exactly twenty rotations (one of the performance options suggested by Cage).<a href=\"#fn10\" class=\"footnote-ref\" id=\"fnref10\" role=\"doc-noteref\"><sup>10<\/sup><\/a><\/p>\n<p>Yet for all of these intricate calculations and choreography, Cage did not view the conductor as a conscious actor or agent. On the contrary, Cage felt that not only should the conductor not serve as a leader, but that they, like all of the other musicians involved, should not have any intentional interpretive influence on the performance whatsoever. As he wrote in a statement reflecting on his music:<\/p>\n<blockquote>\n<p class=\"tsquotation\">Thinking of orchestra not just as musicians but as people I have made different translations of people to people in different pieces. [\u2026] In [\u2026] <em>Concert for Piano and Orchestra<\/em> the conductor is not a governing agent but a utility, providing the time.<a href=\"#fn11\" class=\"footnote-ref\" id=\"fnref11\" role=\"doc-noteref\"><sup>11<\/sup><\/a><\/p>\n<\/blockquote>\n<p>Cage saw experimental musical performance as an opportunity for individuals to reject expression and transcend their own subjectivity in order to achieve something that was, in his view, more meaningful. By framing the conductor as a \u201cutility\u201d rather than a \u201cgoverning agent,\u201d Cage links a musical situation to a broader distinction between political and utilitarian aims that reappears throughout his theoretical writings.<a href=\"#fn12\" class=\"footnote-ref\" id=\"fnref12\" role=\"doc-noteref\"><sup>12<\/sup><\/a> While Cage viewed the control exerted by the conductor in a conventional performance situation to be overtly political\u2014and consequently repressive\u2014the conductor in <em>Concert<\/em> is merely providing a service which has a utility to the individuals of the orchestra. Cage\u2019s understanding of the orchestra as composed of individuals was consistent and explicit. Proceeding from the assumption that \u201ceach musician is a soloist,\u201d Cage\u2019s aims were, in his own words, \u201cto bring to orchestral society the devotion to music that characterizes chamber music. To build a society one by one. To bring chamber music to the size of orchestra.\u201d<a href=\"#fn13\" class=\"footnote-ref\" id=\"fnref13\" role=\"doc-noteref\"><sup>13<\/sup><\/a><\/p>\n<p>It\u2019s worth contextualizing just how radical this point of view was. The year 1958, in addition to being the year in which the <em>Concert for Piano and Orchestra<\/em> was premiered, was also the year in which Leonard Bernstein assumed the role of music director of the New York Philharmonic. Bernstein became known and loved for his confident and expressive interpretations, and his outsize public persona. Whereas Bernstein aimed for an embodied interpretation of sound through his arms, posture, facial expressions, lip-syncing, and so forth, Cage studiously avoided any correlation between movement and music. It is hard to imagine two more contrasting approaches to the performance of music, and yet both are undeniably embodied. As if to underline this fact, it was not a musician who played the role of the conductor at the premiere of the <em>Concert for Piano<\/em>, but a dancer: Cage\u2019s partner, Merce Cunningham. Cage could have had the musicians use a stopwatch\u2014he did in other works\u2014but he clearly felt the need to create a part for the conductor who, through their body, resists all that is expressive and musical. This rejection literally embodied the tripartite aesthetic negation of experimental music: of the dance of popular music, the emotion of classical art music, and the dialectical content of the avant-garde. In place of the charismatic leader, the musical personality, here was a living mannequin\u2014an inversion of the nineteenth-century automaton: human as machine. By withholding their expressivity\u2014their human qualities\u2014the conductor would come to embody an objective reference\u2014a \u201cutility\u201d\u2014against which abstract duration could be measured.<\/p>\n<p>Liz Kotz writes that Cage understood musical activity to be \u201cexperimental\u201d only if it emerged from a continuous, non-symbolic medium that was \u201cunhinged not only from <em>sound<\/em> as a system of discrete notes but also from <em>time<\/em> as a graphically-plotted system of rhythmic measure.\u201d<a href=\"#fn14\" class=\"footnote-ref\" id=\"fnref14\" role=\"doc-noteref\"><sup>14<\/sup><\/a> For Cage and others, this kind of work was facilitated by composing directly with magnetic tape in the electronic music studio. As Cage wrote in the late 1950s:<\/p>\n<blockquote>\n<p class=\"tsquotation\">Counting is no longer necessary for magnetic tape music [&#8230;]: magnetic tape music makes it clear that we are in time itself, not in measures of two, three, or four or any other number. [&#8230;] All this can be summed up by saying each aspect of sound is to be seen as a continuum, not as a series of discrete steps favored by conventions.<a href=\"#fn15\" class=\"footnote-ref\" id=\"fnref15\" role=\"doc-noteref\"><sup>15<\/sup><\/a><\/p>\n<\/blockquote>\n<p>By this logic, we can imagine Cage\u2019s famous composition <em>4\u201933\u201d<\/em>, for example, as a length of magnetic tape of just under five minutes\u2019 duration. Extending this metaphor, it is as though the conductor in the <em>Concert for Piano<\/em> is not only letting the tape run, but changing the tape speed as it passes over the record head through the discrepancy between clock time and effective time. This additional level of abstraction completes the chain from the symbolic rhythm of musical notation to the chronometric duration of unmeasured sound to scientific notions of relativity and uncertainty, or as Cage put it, indeterminacy.<\/p>\n<h4 id=\"2\">(Finger) Painting with Sound<\/h4>\n<p>Cage\u2019s conducting technique was one of two major practices that emerged in the early days of experimental music. The other is the composer Earle Brown\u2019s conducting technique for his open form compositions. Brown\u2019s open form works consisted of musical events scored for subsets of an ensemble that can be performed in any order. The conductor cues the beginning and ending of each event, designating each event number with one hand\u2014usually the left\u2014and using a placard with a moveable arrow to indicate the page from which the event is given. At the same time, the conductor uses conventional hand gestures to shape the expressive qualities of each event.<a href=\"#fn16\" class=\"footnote-ref\" id=\"fnref16\" role=\"doc-noteref\"><sup>16<\/sup><\/a><\/p>\n<p>While many of Brown\u2019s scores use traditional notation, over time Brown increasingly employed graphic and verbal instructions, introducing a great deal of unpredictability into each performance. The indeterminacy of the relationship between notation and sound is one of the central conceits in experimental music. However, the conductor\u2019s involvement introduces the possibility of the indeterminacy of a cue or gesture as well. For example, Brown\u2019s improvisatory score <em>One to Five<\/em>, composed around 1970, includes five distinct categories of sound, described only in the most general terms: (1) \u201clong high notes\u201d; (2) \u201cquick angular melodic lines\u201d; (3) \u201cvery legato lines\u201d; (4) \u201chighly fragmented lines\u201d; and (5) \u201cvery small noisy sounds.\u201d<a href=\"#fn17\" class=\"footnote-ref\" id=\"fnref17\" role=\"doc-noteref\"><sup>17<\/sup><\/a> The open-ended nature of these categories illustrates Brown\u2019s interest in achieving variable responses to a single gesture. In performance, the conductor assigns one of these categories of sound to a given performer (or subset of the ensemble) using the fingers of one hand, and then uses more traditional conducting gestures to shape expressive qualities. Even though there is likely to be a stronger correlation between sound and movement in a composition by Brown as compared with Cage, indeterminacy is still thematized through the underdetermination of the musical material that corresponds to each gesture.<\/p>\n<p>Brown\u2019s technique\u2014which has precedent in big-band jazz and other improvised conducted forms\u2014influenced a number of musicians of the younger generation, including Walter Thompson. Thompson is best known as the inventor of Soundpainting, a sign language for improvisation\u2014or \u201clive composing\u201d\u2014developed in 1974. It is unique among experimental conducting techniques in that it has made its way from avant-garde circles to the musical mainstream over the past few decades. In an interview, Thompson explained that Soundpainting was born out of two complementary needs: (1) to communicate more directly with an ensemble as a conductor, and (2) to produce sounds that he had difficulty notating.<a href=\"#fn18\" class=\"footnote-ref\" id=\"fnref18\" role=\"doc-noteref\"><sup>18<\/sup><\/a><\/p>\n<p>Like Brown, Thompson\u2019s work explores the creative potential at the confluence of multiple agencies, such as the conductor\u2019s gestures and the performer\u2019s interpretation. In fact, both Brown and Thompson organized performances with multiple conductors and Soundpainters, respectively. Much experimental music is concerned with similar investigations of what has more recently been characterized as distributed creativity, however this kind of practice is by no means unique to experimental music. Both Brown and Thompson also exhibited an interest in the intersections between different art forms, further complicating the translation between movement and sound. Brown consistently linked his open form works with midcentury action painting, in which a painted gesture on the canvas was taken as index of a physical movement.<a href=\"#fn19\" class=\"footnote-ref\" id=\"fnref19\" role=\"doc-noteref\"><sup>19<\/sup><\/a> Meanwhile, Thompson has expanded the Sound\u00adpainting lexicon to facilitate performances that include dancers, actors, and visual artists, in addition to musicians, developing these interdisciplinary dialects in collaboration with specialists. For instance, Thompson developed the movement language with the choreographers Margery Segal and Gus Solomon. As Thompson explains regarding his initial foray into dance with Segal: \u201cSome gestures were easy to translate to movement while others were not. For example, it took us more than two weeks to codify what a Long Tone was for Dancers.\u201d<a href=\"#fn20\" class=\"footnote-ref\" id=\"fnref20\" role=\"doc-noteref\"><sup>20<\/sup><\/a> The result is a complex chain of mediation in which the Soundpainter\u2019s gesture, originally devised with explicitly musical connotations, is interpreted by a dancer through further movement linked to sound on a metaphorical\u2014which is to say, theoretical\u2014level.<\/p>\n<p>Another example from this later generation of experimental musicians is John Zorn, who developed a series of compositions in the 1970s and 1980s known as the \u201cgame pieces.\u201d In these works, the structure of the composition is determined spontaneously through playful interactions between the performers. Some of the \u201cgames,\u201d like <em>Cobra<\/em>, employ the use of a conductor-like figure called the \u201cprompter.\u201d The prompter is not exactly a conductor, but more like a conduit: the performers all actively gesture and signal throughout the performance, and the conductor mediates, keeping track of the progress of the game, different groupings, and designating when \u201cguerilla operations\u201d to overrule a prevailing musical texture have been successful. Zorn has written that he sees his game pieces as \u201ctying together loose strings left dangling by composers such as Earle Brown, Cornelius Cardew, John Cage, and Stock\u00adhausen,\u201d though the complexity of the possible interactions in performance surpasses those in works by any of these predecessors.<a href=\"#fn21\" class=\"footnote-ref\" id=\"fnref21\" role=\"doc-noteref\"><sup>21<\/sup><\/a><\/p>\n<p>Zorn not only engages with the conductor\u2019s physicality, but also that of the musicians. Zorn\u2019s instructions stipulate that performers propose different categories of events or actions by making hand signals or pointing to different parts of their body, including the mouth, nose, eye, and ear. The prompter acknowledges performers\u2019 requests by holding up a card, and then lowering it to signal a downbeat. As David Brackett points out, the prompter\u2019s ability to decide which signals to acknowledge (or ignore)\u2014as well as individual performers\u2019 inclinations and actions\u2014leads not only to musical tensions, but also potentially personal and social tensions. Zorn himself has variously compared <em>Cobra<\/em> to a psychodrama, a model society, and \u201clife itself\u201d in its improvised staging of the circulations of power.<a href=\"#fn22\" class=\"footnote-ref\" id=\"fnref22\" role=\"doc-noteref\"><sup>22<\/sup><\/a> Despite a significant departure from Cage\u2019s practice on a musical level, Zorn recapitulates aspects of Cage\u2019s theorization of performance as a site for modeling wider social relations.<\/p>\n<p>The theatricality of Zorn\u2019s performances is intensified in the work of another conductor of experimental music: rock musician Frank Zappa. Thompson suggested that Zappa may have been influenced by Brown\u2019s open form conducting technique, though the origins and extent of Zappa\u2019s technique ultimately remain unclear.<a href=\"#fn23\" class=\"footnote-ref\" id=\"fnref23\" role=\"doc-noteref\"><sup>23<\/sup><\/a> In a filmed interview, the percussionist Art Tripp, who played with Zappa in the late 1960s, noted a number of specific gestures, such as a raised middle finger jerked upward indicating a high-pitched \u201cpeep\u201d sound, or a wave-like gesture across the body with one hand indicating a guttural, almost emetic groan.<a href=\"#fn24\" class=\"footnote-ref\" id=\"fnref24\" role=\"doc-noteref\"><sup>24<\/sup><\/a> Zappa\u2019s physicality was an enormous part of his artistry, as for most rock musicians, yet his approach was unique. In video clips of Zappa conducting, he can be seen turning towards the other musicians on stage to direct them, like the leader of a big band, eager to evoke the rarefied role of conductor, only to bring it back down to earth with scatological force. On television talk shows, he would cue the band and audience alike during his appearances to produce flatulence-like raspberry sounds, eliciting peals of laughter. His movements\u2014which oscillated rapidly between the comically formal and winningly crude\u2014alternately served to sustain the frame of conducted music and to puncture it: an echo of Cage\u2019s original negation, to be sure, but a much more targeted one.<\/p>\n<h4 id=\"3\">Embodiment and Social Mediation<\/h4>\n<p>In the final section of this chapter, I want to linger on the social aspects of the conductor\u2019s role in the experimental music ensemble. As mentioned above, many experimental musicians, most notably John Cage, were focused on eliminating aspects of individual subjectivity from musical performance. For Cage, the solution was to resist and purge subjectivity through individual discipline. The younger generation, however, saw that multiplying the subjects involved could have the same desired effect of preventing any single individual from dominating a performance. Negotiating multiple creative agents requires attending to the social dynamics of performance, and understanding the conductor as not only an interpretive force, but also a conduit of social mediation.<\/p>\n<p>An experimental conducting practice that illustrates this dynamic is Lawrence \u201cButch\u201d Morris\u2019s conducted improvisation system known as conduction. After beginning his career as a jazz musician, Morris began to develop the conduction technique in 1985. (At Morris\u2019s first performance at The Kitchen in New York that same year, Zorn was among the musicians in the ensemble.) Conduction is distinct from the other techniques discussed in that virtually all of the musical material is developed by the musicians independently, and the conductor\u2019s role is to shape and organize, rather than to create. As the journalist Ben Ratliff has written, Morris<\/p>\n<blockquote>\n<p class=\"tsquotation\">would often begin a performance by setting a tempo with his baton and having his musicians develop a theme spontaneously and then seize on the musical ideas he wanted to work with, directing the ensemble with a vocabulary of gestures and signals.<a href=\"#fn25\" class=\"footnote-ref\" id=\"fnref25\" role=\"doc-noteref\"><sup>25<\/sup><\/a><\/p>\n<\/blockquote>\n<p>The significance of improvisation in this context suggests a strong parallel with the music of Zorn and Thompson in particular, but Morris\u2019s reliance on a shared, intuitive understanding of the relationship between gesture and sound also suggests a link with a conventional conducting language, such as that employed by Bernstein.<a href=\"#fn26\" class=\"footnote-ref\" id=\"fnref26\" role=\"doc-noteref\"><sup>26<\/sup><\/a> Meanwhile, a link to Brown can also be ascertained through the fact that the conductor\u2019s role is primarily one of arrangement\u2014though in Brown\u2019s case the material was usually notated to some degree, rather than completely improvised.<\/p>\n<p>Morris\u2019s gestures are precise and confident\u2014unlike other conductors of experimental music, he used a baton\u2014and, like Bernstein, also engage seemingly instinctual physical metaphors for sound and action. For example, an open palm moving up or down indicates volume, the vertical position of the hands along the length of the body indicates pitch or register, and a finger pointed to the forehead indicates that performers should remember a sound. Yet Morris\u2019s process was undeniably distinctive: not only were the musicians improvising, but the meaning in Morris\u2019s gestures ultimately remained fluid and contextual. As Ratliff points out, Morris frequently found himself asking musicians to \u201creorient themselves to his imagination,\u201d a process that required negotiation and improvisation of a different kind.<a href=\"#fn27\" class=\"footnote-ref\" id=\"fnref27\" role=\"doc-noteref\"><sup>27<\/sup><\/a> I argue that this is fundamentally different from responding to signals that are contextual or ambiguous but fixed, like Brown\u2019s graphic notations, Thompson\u2019s well-defined signs, or Zorn\u2019s instructions. Morris relies on a shared understanding that emerges through interaction with the ensemble, which ultimately suggests a more overtly social valence for Morris\u2019s gestures.<\/p>\n<p>During a rehearsal featured in a 1992 documentary, one of the performers asks for clarification on Morris\u2019s cueing system and he replies: \u201cEverybody that\u2019s worked with me before should know that I\u2019m pretty good at making eye contact with you, so you\u2019ll know that it\u2019s you.\u201d<a href=\"#fn28\" class=\"footnote-ref\" id=\"fnref28\" role=\"doc-noteref\"><sup>28<\/sup><\/a> This response speaks not only to the physicality inherent in the microsocial interactions of performance, but also of a community assembled through an ongoing practice and shared musical understanding. In other words, it reveals multiple orders or planes of social mediation, as Georgina Born has theorized them.<a href=\"#fn29\" class=\"footnote-ref\" id=\"fnref29\" role=\"doc-noteref\"><sup>29<\/sup><\/a> In this case, the microsociality of performance is mobilized through the conductor\u2019s body, while community manifests through the musicians\u2019 continuing co-presence in rehearsal and performance. The simultaneous interactions on and through multiple planes suggest a hybrid approach that contrasts sharply with more rigid conducting techniques, such as Cage\u2019s clock conducting. In this way, conduction exhibits an affinity with other hybridized experimental practices, such as Anthony Braxton\u2019s language music, in which Braxton frequently shifts between conducting and playing an instrument\u2014or more than one.<a href=\"#fn30\" class=\"footnote-ref\" id=\"fnref30\" role=\"doc-noteref\"><sup>30<\/sup><\/a><\/p>\n<p>While the hybrid polystylism of experimental music in general has often been celebrated, many writers have asserted the basis of Morris and Braxton\u2019s practices in jazz, apparently owing to their Black identities. This lineage is frequently restated in reviews and even scholarly literature, despite being contradicted by available stylistic evidence and, in many cases, the artists\u2019 own accounts of their work. George E. Lewis has noted that Black artists\u2014and others from backgrounds underrepresented within experimental music communities\u2014are frequently marginalized through reductive assumptions about genre and style. As he writes:<\/p>\n<blockquote>\n<p class=\"tsquotation\">Claims of genre transcendence often feature a complementary Othering of someone else as \u2018genre-bound,\u2019 with criteria for the identification of genre diversity that shift according to not only (or even primarily) musical direction, but also the race, ethnicity, class position and, quite often, the gender of the artist involved.<a href=\"#fn31\" class=\"footnote-ref\" id=\"fnref31\" role=\"doc-noteref\"><sup>31<\/sup><\/a><\/p>\n<\/blockquote>\n<p>This racialized dynamic illuminates the third of Born\u2019s orders of social mediation, in which music can be seen to embody \u201cstratified and hierarchical social relations, of the structures of class, race, nation, gender and sexuality, and of the competitive accumulation of legitimacy, authority and social prestige.\u201d<a href=\"#fn32\" class=\"footnote-ref\" id=\"fnref32\" role=\"doc-noteref\"><sup>32<\/sup><\/a> It is through a recognition of music\u2019s potency along this plane of mediation that Lewis identifies an evocation of the \u201cone-drop rule\u201d in one reviewer\u2019s revocation of Braxton\u2019s genre mobility.<a href=\"#fn33\" class=\"footnote-ref\" id=\"fnref33\" role=\"doc-noteref\"><sup>33<\/sup><\/a> Similarly, Morris once reflected that, \u201cas long as I\u2019m a black man playing a cornet, I\u2019ll be a jazz musician in other people\u2019s eyes.\u201d<a href=\"#fn34\" class=\"footnote-ref\" id=\"fnref34\" role=\"doc-noteref\"><sup>34<\/sup><\/a> Yet both artists found ways to resist the binary implications of racialized musical discourse seemingly invited by the mere presence of their bodies on stage: for Braxton, the integration of improvised elements with notation and several volumes of aesthetic explication; for Morris, the evocation of the European conducting tradition through the use of the baton. In this way, both artists engage in a hybridizing practice analogous to what Lisa Barg describes as Billy Strayhorn\u2019s \u201cqueer\u201d arrangements, which occupy a similarly liminal space amongst nominally opposing musical practices.<a href=\"#fn35\" class=\"footnote-ref\" id=\"fnref35\" role=\"doc-noteref\"><sup>35<\/sup><\/a> In short, in this context the notion of the conductor\u2019s movement can be extended so as to encompass their very presence before an audience.<\/p>\n<p>In contemporary scholarship on experimental music, there is a particular focus on the social and political aspects of performance, in which the conductor frequently figures prominently.<a href=\"#fn36\" class=\"footnote-ref\" id=\"fnref36\" role=\"doc-noteref\"><sup>36<\/sup><\/a> Yet the conductor is too often treated as a kind of symbol, and too little attention is paid to what the conductor actually does\u2014and who they actually are. While it is undeniable that the conductor\u2019s technique, presence, and movements do shape and reflect how sound is understood in the experimental context, I conclude with the social\u2014rather than the aesthetic\u2014in order to emphasize the contingencies of this understanding. Many theorizations of experimental sound have historically proceeded from essentialist and rationalist tendencies that are as unsustainable as the frameworks they purported to negate. By reintroducing the social\u2014alongside the embodied\u2014I hope to have illustrated how theory is constructed through interactions between musicians: interactions that are heard, but also seen and felt.<\/p>\n<section id=\"footnotes\" class=\"footnotes footnotes-end-of-document\" role=\"doc-endnotes\">\n<hr \/>\n<ol>\n<li id=\"fn1\">\n<p>Cage expressed this sentiment frequently from the 1950s onward. For an early example, see John Cage, \u201cExperimental Music,\u201d in <em>Silence: Lectures and Writings by John Cage<\/em> (Middletown, CT: Wesleyan University Press, 1961), 7-12, 10.<a href=\"#fnref1\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn2\">\n<p>Georgina Born, <em>Rationalizing Culture: IRCAM, Boulez, and the Institutionalization of the Musical Avant Garde<\/em> (Berkeley: University of California Press<em>,<\/em> 1995), 42.<a href=\"#fnref2\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn3\">\n<p>Ibid., 57.<a href=\"#fnref3\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn4\">\n<p>Cornelius Cardew, \u201cJohn Cage: Ghost or Monster,\u201d in <em>Stockhausen Serves Imperialism<\/em> (Ubu Editions, 2004), accessed 5 July 2022, http:\/\/www.ensemble21.com\/cardew_stockhausen.pdf, 34-40, 37.<a href=\"#fnref4\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn5\">\n<p>Born, <em>Rationalizing Culture,<\/em> 63; Rebecca Y. Kim, \u201cJohn Cage in Separate Together\u00adness with Jazz,\u201d in <em>Contemporary Music Review<\/em> 31, no. 1 (February 2012): 63-89, 65.<a href=\"#fnref5\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn6\">\n<p>See Morton Feldman, \u201cThe Anxiety of Art,\u201d in <em>Give My Regards to Eighth Street: Collected Writings of Morton Feldman,<\/em> ed. B.H. Friedman (Cambridge, MA: Exact Change, 2000), 21-32, 25.<a href=\"#fnref6\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn7\">\n<p>John Cage, \u201cHistory of Experimental Music in the United States,\u201d in <em>Silence: Lectures and Writings by John Cage<\/em> (Middletown, CT: Wesleyan University Press, 1961), 67-75, 74.<a href=\"#fnref7\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn8\">\n<p>For a detailed description of the clock conducting technique, see chapter 5 of Martin Iddon and Philip Thomas, <em>John Cage\u2019s Concert for Piano and Orchestra<\/em> (New York: Oxford University Press, 2020).<a href=\"#fnref8\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn9\">\n<p>For a demonstration of this technique, see the video featuring conductor Jack Sheen produced as part of a long-term research project on John Cage\u2019s <em>Concert for Piano and Orchestra<\/em> at the Universities of Huddlesfield and Leeds led by Thomas and Iddon, accessed 5 July 2022, https:\/\/cageconcert.org.<a href=\"#fnref9\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn10\">\n<p>Hans G. Helms\u2019s film <em>Birdcage: 73\u201920.958\u201d for a composer<\/em> depicts Cage con\u00adducting rehearsals of the <em>Concert for Piano and Orchestra<\/em>.<a href=\"#fnref10\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn11\">\n<p>John Cage, \u201cAutobiographical Statement (1990),\u201d John Cage Trust, accessed 5 July 2022, https:\/\/johncage.org\/autobiographical_statement.html.<a href=\"#fnref11\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn12\">\n<p>For more on this distinction, see John Cage, \u201cReflections of a Progressive Composer on a Damaged Society,\u201d in <em>October 82<\/em> (Autumn 1997): 77-92, 81-2.<a href=\"#fnref12\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn13\">\n<p>Cage, \u201cAutobiographical Statement (1990).\u201d<a href=\"#fnref13\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn14\">\n<p>Liz Kotz, \u201cPost-Cagean Aesthetics and the \u2018Event\u2019 Score,\u201d in <em>October<\/em> 95 (Winter 2001): 55-89, 70.<a href=\"#fnref14\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn15\">\n<p>Cage, \u201cHistory of Experimental Music,\u201d in <em>Silence<\/em>, 70-1.<a href=\"#fnref15\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn16\">\n<p>For more on this technique, see Stephen Drury, \u201cThen and Now: Changing Perspectives on Performing Earle Brown\u2019s Open Form Scores,\u201d in <em>Beyond Notation: The Music of Earle Brown,<\/em> ed. Rebecca Y. Kim (Ann Arbor: University of Michigan Press, 2017), 231-48 and Drake Andersen, \u201c(Per)forming Open Form: A Case Study with Earle Brown\u2019s <em>Novara<\/em>,\u201d in <em>Music Theory Online<\/em> 26, no. 3 (September 2020), accessed 5 July 2022, https:\/\/mtosmt.org\/issues\/mto.20.26.3\/mto.20.26.3.andersen.html.<a href=\"#fnref16\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn17\">\n<p>For more on <em>One to Five,<\/em> see David Ryan, \u201cEnergy Fields: Earle Brown, Open Form, and the Visual Arts,\u201d in <em>Beyond Notation: The Music of Earle Brown,<\/em> ed. Rebecca Y. Kim (Ann Arbor: University of Michigan Press, 2017), 80-112, 108.<a href=\"#fnref17\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn18\">\n<p>Walter Thompson, interview with author, July 20, 2017.<a href=\"#fnref18\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn19\">\n<p>See, for example Brown\u2019s directions for performance in <em>Novara<\/em> (Litolff\/Peters, 2007).<a href=\"#fnref19\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn20\">\n<p>Walter Thompson, \u201cHistory of Soundpainting,\u201d accessed 5 July 2022, http:\/\/www.soundpainting.com\/history\/.<a href=\"#fnref20\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn21\">\n<p>John Zorn, \u201cThe Game Pieces,\u201d in <em>Audio Culture: Readings in Modern Music,<\/em> ed. Christoph Cox and Daniel Warner (New York: Bloomsbury, 2013), 196-200, 196.<a href=\"#fnref21\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn22\">\n<p>David Brackett, \u201cSome Notes on John Zorn\u2019s <em>Cobra<\/em>,\u201d in <em>American Music<\/em> 28, no. 1 (Spring 2010): 44-75, 55-6.<a href=\"#fnref22\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn23\">\n<p>Thompson, interview with author, July 20, 2017.<a href=\"#fnref23\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn24\">\n<p><em>Frank Zappa and the Mothers of Invention: In the 1960s<\/em>, DVD (New Malden, Surrey UK: Sexy Intellectual, 2008).<a href=\"#fnref24\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn25\">\n<p>Ben Ratliff, \u201cButch Morris Dies at 65; Creator of \u2018Conduction,\u2019\u201d January 30, 2013, accessed 5 July 2022, https:\/\/www.nytimes.com\/2013\/01\/30\/arts\/music\/butch-morris-dies-at-65-creator-of-conduction.html.<a href=\"#fnref25\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn26\">\n<p>According to Ratliff, Morris cited Bernstein\u2019s <em>Four Improvisations<\/em> with the New York Philharmonic, released in 1965 on the Columbia Masterworks Music of Our Time series, as an inspiration for his work.<a href=\"#fnref26\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn27\">\n<p>Ratliff, \u201cButch Morris.\u201d<a href=\"#fnref27\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn28\">\n<p>This quote is taken from an undated and unattributed rehearsal clip featured in Derek Bailey\u2019s 1992 Channel 4 (UK) television miniseries on improvisation <em>On The Edge<\/em>.<a href=\"#fnref28\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn29\">\n<p>Georgina Born, \u201cFor a Relational Musicology: Music and Interdisciplinarity, Beyond the Practice Turn,\u201d in <em>Journal of the Royal Musical Association<\/em> 135, no. 2 (2010): 205-43, 232.<a href=\"#fnref29\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn30\">\n<p>Much of Braxton\u2019s music is distinguished by the importance of multi-in\u00adstru\u00admentalism. See Paul Steinbeck, \u201cImprovisation and Collaboration in Anthony Braxton\u2019s <em>Composition 76<\/em>,\u201d in <em>Journal of the Society of American Music<\/em> 62, no. 2 (October 2018): 249-78.<a href=\"#fnref30\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn31\">\n<p>George E. Lewis, \u201cAfterword to \u2018Improvised Music after 1950\u2019: The Changing Same,\u201d in <em>The Other Side of Nowhere,<\/em> ed. Daniel Fischlin and Ajay Heble (Middle\u00adtown, CT: Wesleyan University Press, 2004), 163-72, 166.<a href=\"#fnref31\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn32\">\n<p>Born, \u201cFor a Relational Musicology,\u201d 232.<a href=\"#fnref32\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn33\">\n<p>Lewis, \u201cAfterword,\u201d 166.<a href=\"#fnref33\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn34\">\n<p>Quoted in Ratliff, \u201cButch Morris.\u201d<a href=\"#fnref34\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn35\">\n<p>As Barg writes, \u201carranging involves weaving together or \u2018composing\u2019 in time and space the formal dimensions of a song or musical material and specific bodies, voices, or sonic personalities, itself a process that fundamentally depends on collaboration and interaction,\u201d adding that \u201cone could, of course, point to any number of compositional and improvisational practices that similarly blur the lines [&#8230;] such as graphic scores or structured improvisations\/conductions, both of which function very similarly to arrangements.\u201d See Lisa Barg, \u201cBilly Strayhorn\u2019s Queer Arrangements,\u201d in <em>Improvisation and Social Aesthetics,<\/em> ed. Georgina Born, Eric Lewis, and Will Straw (Durham, NC: Duke University Press, 2017), 183-212, 188-9.<a href=\"#fnref35\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn36\">\n<p>See Nicholas Cook\u2019s critique of oversimplified political metaphors centered around the conductor in Cook, \u201cScripting Social Interaction: Improvisation, Performance, and Western \u2018Art\u2019 Music,\u201d in <em>Improvisation and Social Aesthetics<\/em>, ed. Georgina Born, Eric Lewis, and Will Straw (Durham, NC: Duke University Press, 2017), 59-77, 70-3.<a href=\"#fnref36\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<\/ol>","protected":false},"excerpt":{"rendered":"<p>Theorizing Sound through Conductors\u2019 Movement in Experimental Music Drake Andersen &nbsp; Despite John Cage\u2019s insistence that his compositions were devoted to letting the sounds \u201cbe themselves,\u201d it is this dictum, rather than any particular sound, that most reliably persists in listeners\u2019 minds.1 In fact, in looking back at postwar experimental music as a whole, it &hellip;<\/p>\n","protected":false},"author":7,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"footnotes":""},"categories":[242],"tags":[],"class_list":["post-6768","post","type-post","status-publish","format-standard","hentry","category-schroedter-ed-music-and-motion"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.9 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Conducting Experiments &#8211; mdwPress<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp004-032\/\" \/>\n<meta property=\"og:locale\" content=\"de_DE\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Conducting Experiments &#8211; mdwPress\" \/>\n<meta property=\"og:description\" content=\"Theorizing Sound through Conductors\u2019 Movement in Experimental Music Drake Andersen &nbsp; Despite John Cage\u2019s insistence that his compositions were devoted to letting the sounds \u201cbe themselves,\u201d it is this dictum, rather than any particular sound, that most reliably persists in listeners\u2019 minds.1 In fact, in looking back at postwar experimental music as a whole, it &hellip;\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp004-032\/\" \/>\n<meta property=\"og:site_name\" content=\"mdwPress\" \/>\n<meta property=\"article:published_time\" content=\"2026-02-12T13:21:51+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2026-02-24T10:11:11+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2021\/02\/orcid.png\" \/>\n<meta name=\"author\" content=\"Jana Diewald\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Verfasst von\" \/>\n\t<meta name=\"twitter:data1\" content=\"Jana Diewald\" \/>\n\t<meta name=\"twitter:label2\" content=\"Gesch\u00e4tzte Lesezeit\" \/>\n\t<meta name=\"twitter:data2\" content=\"54\u00a0Minuten\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp004-032\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp004-032\/\"},\"author\":{\"name\":\"Jana Diewald\",\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/en\/#\/schema\/person\/718d5159661e1c0dbf47804f556bf0ba\"},\"headline\":\"Conducting Experiments\",\"datePublished\":\"2026-02-12T13:21:51+00:00\",\"dateModified\":\"2026-02-24T10:11:11+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp004-032\/\"},\"wordCount\":10858,\"publisher\":{\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/en\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp004-032\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2021\/02\/orcid.png\",\"articleSection\":[\"Schroedter (ed.): Music and Motion\"],\"inLanguage\":\"de\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp004-032\/\",\"url\":\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp004-032\/\",\"name\":\"Conducting Experiments &#8211; mdwPress\",\"isPartOf\":{\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/en\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp004-032\/#primaryimage\"},\"image\":{\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp004-032\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2021\/02\/orcid.png\",\"datePublished\":\"2026-02-12T13:21:51+00:00\",\"dateModified\":\"2026-02-24T10:11:11+00:00\",\"breadcrumb\":{\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp004-032\/#breadcrumb\"},\"inLanguage\":\"de\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp004-032\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"de\",\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp004-032\/#primaryimage\",\"url\":\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/2021\/02\/orcid.png\",\"contentUrl\":\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/2021\/02\/orcid.png\",\"width\":64,\"height\":64,\"caption\":\"orcid\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp004-032\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Startseite\",\"item\":\"https:\/\/www.mdw.ac.at\/mdwpress\/en\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Conducting Experiments\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/en\/#website\",\"url\":\"https:\/\/www.mdw.ac.at\/mdwpress\/en\/\",\"name\":\"mdwPress\",\"description\":\"Der Open-Access-Universit\u00e4tsverlag der mdw\",\"publisher\":{\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/en\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/www.mdw.ac.at\/mdwpress\/en\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"de\"},{\"@type\":\"Organization\",\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/en\/#organization\",\"name\":\"mdwPress\",\"url\":\"https:\/\/www.mdw.ac.at\/mdwpress\/en\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"de\",\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/en\/#\/schema\/logo\/image\/\",\"url\":\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2021\/02\/mdwpress-logo-schwarz.svg\",\"contentUrl\":\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2021\/02\/mdwpress-logo-schwarz.svg\",\"width\":\"1024\",\"height\":\"1024\",\"caption\":\"mdwPress\"},\"image\":{\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/en\/#\/schema\/logo\/image\/\"}},{\"@type\":\"Person\",\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/en\/#\/schema\/person\/718d5159661e1c0dbf47804f556bf0ba\",\"name\":\"Jana Diewald\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"de\",\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/en\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/a4b75bccf744c20e6f1ce58da4b60fff9900c5fb1be09774b839b8b078ca748c?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/a4b75bccf744c20e6f1ce58da4b60fff9900c5fb1be09774b839b8b078ca748c?s=96&d=mm&r=g\",\"caption\":\"Jana Diewald\"},\"url\":\"https:\/\/www.mdw.ac.at\/mdwpress\/author\/diewald\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Conducting Experiments &#8211; mdwPress","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp004-032\/","og_locale":"de_DE","og_type":"article","og_title":"Conducting Experiments &#8211; mdwPress","og_description":"Theorizing Sound through Conductors\u2019 Movement in Experimental Music Drake Andersen &nbsp; Despite John Cage\u2019s insistence that his compositions were devoted to letting the sounds \u201cbe themselves,\u201d it is this dictum, rather than any particular sound, that most reliably persists in listeners\u2019 minds.1 In fact, in looking back at postwar experimental music as a whole, it &hellip;","og_url":"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp004-032\/","og_site_name":"mdwPress","article_published_time":"2026-02-12T13:21:51+00:00","article_modified_time":"2026-02-24T10:11:11+00:00","og_image":[{"url":"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2021\/02\/orcid.png","type":"","width":"","height":""}],"author":"Jana Diewald","twitter_card":"summary_large_image","twitter_misc":{"Verfasst von":"Jana Diewald","Gesch\u00e4tzte Lesezeit":"54\u00a0Minuten"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp004-032\/#article","isPartOf":{"@id":"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp004-032\/"},"author":{"name":"Jana Diewald","@id":"https:\/\/www.mdw.ac.at\/mdwpress\/en\/#\/schema\/person\/718d5159661e1c0dbf47804f556bf0ba"},"headline":"Conducting Experiments","datePublished":"2026-02-12T13:21:51+00:00","dateModified":"2026-02-24T10:11:11+00:00","mainEntityOfPage":{"@id":"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp004-032\/"},"wordCount":10858,"publisher":{"@id":"https:\/\/www.mdw.ac.at\/mdwpress\/en\/#organization"},"image":{"@id":"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp004-032\/#primaryimage"},"thumbnailUrl":"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2021\/02\/orcid.png","articleSection":["Schroedter (ed.): Music and Motion"],"inLanguage":"de"},{"@type":"WebPage","@id":"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp004-032\/","url":"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp004-032\/","name":"Conducting Experiments &#8211; mdwPress","isPartOf":{"@id":"https:\/\/www.mdw.ac.at\/mdwpress\/en\/#website"},"primaryImageOfPage":{"@id":"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp004-032\/#primaryimage"},"image":{"@id":"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp004-032\/#primaryimage"},"thumbnailUrl":"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2021\/02\/orcid.png","datePublished":"2026-02-12T13:21:51+00:00","dateModified":"2026-02-24T10:11:11+00:00","breadcrumb":{"@id":"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp004-032\/#breadcrumb"},"inLanguage":"de","potentialAction":[{"@type":"ReadAction","target":["https:\/\/www.mdw.ac.at\/mdwpress\/mdwp004-032\/"]}]},{"@type":"ImageObject","inLanguage":"de","@id":"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp004-032\/#primaryimage","url":"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/2021\/02\/orcid.png","contentUrl":"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/2021\/02\/orcid.png","width":64,"height":64,"caption":"orcid"},{"@type":"BreadcrumbList","@id":"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp004-032\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Startseite","item":"https:\/\/www.mdw.ac.at\/mdwpress\/en\/"},{"@type":"ListItem","position":2,"name":"Conducting Experiments"}]},{"@type":"WebSite","@id":"https:\/\/www.mdw.ac.at\/mdwpress\/en\/#website","url":"https:\/\/www.mdw.ac.at\/mdwpress\/en\/","name":"mdwPress","description":"Der Open-Access-Universit\u00e4tsverlag der mdw","publisher":{"@id":"https:\/\/www.mdw.ac.at\/mdwpress\/en\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/www.mdw.ac.at\/mdwpress\/en\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"de"},{"@type":"Organization","@id":"https:\/\/www.mdw.ac.at\/mdwpress\/en\/#organization","name":"mdwPress","url":"https:\/\/www.mdw.ac.at\/mdwpress\/en\/","logo":{"@type":"ImageObject","inLanguage":"de","@id":"https:\/\/www.mdw.ac.at\/mdwpress\/en\/#\/schema\/logo\/image\/","url":"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2021\/02\/mdwpress-logo-schwarz.svg","contentUrl":"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2021\/02\/mdwpress-logo-schwarz.svg","width":"1024","height":"1024","caption":"mdwPress"},"image":{"@id":"https:\/\/www.mdw.ac.at\/mdwpress\/en\/#\/schema\/logo\/image\/"}},{"@type":"Person","@id":"https:\/\/www.mdw.ac.at\/mdwpress\/en\/#\/schema\/person\/718d5159661e1c0dbf47804f556bf0ba","name":"Jana Diewald","image":{"@type":"ImageObject","inLanguage":"de","@id":"https:\/\/www.mdw.ac.at\/mdwpress\/en\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/a4b75bccf744c20e6f1ce58da4b60fff9900c5fb1be09774b839b8b078ca748c?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/a4b75bccf744c20e6f1ce58da4b60fff9900c5fb1be09774b839b8b078ca748c?s=96&d=mm&r=g","caption":"Jana Diewald"},"url":"https:\/\/www.mdw.ac.at\/mdwpress\/author\/diewald\/"}]}},"_links":{"self":[{"href":"https:\/\/www.mdw.ac.at\/mdwpress\/wp-json\/wp\/v2\/posts\/6768","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.mdw.ac.at\/mdwpress\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.mdw.ac.at\/mdwpress\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.mdw.ac.at\/mdwpress\/wp-json\/wp\/v2\/users\/7"}],"replies":[{"embeddable":true,"href":"https:\/\/www.mdw.ac.at\/mdwpress\/wp-json\/wp\/v2\/comments?post=6768"}],"version-history":[{"count":7,"href":"https:\/\/www.mdw.ac.at\/mdwpress\/wp-json\/wp\/v2\/posts\/6768\/revisions"}],"predecessor-version":[{"id":6971,"href":"https:\/\/www.mdw.ac.at\/mdwpress\/wp-json\/wp\/v2\/posts\/6768\/revisions\/6971"}],"wp:attachment":[{"href":"https:\/\/www.mdw.ac.at\/mdwpress\/wp-json\/wp\/v2\/media?parent=6768"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.mdw.ac.at\/mdwpress\/wp-json\/wp\/v2\/categories?post=6768"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.mdw.ac.at\/mdwpress\/wp-json\/wp\/v2\/tags?post=6768"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}