During their partnership between 1955 and 1968, composer James Tenney (1934–2006) and artist Carolee Schneemann (b. 1939) engaged in what initially appear to be opposing modes of practice. Tenney developed theories concerning the perception of musical form and composed rationalized works based on carefully calculated algorithms. Schneemann, by contrast, was driven by spontaneity and sensuality, and her provocative artworks vehemently address sexual, gender, and political issues. This duality was especially evident in the mid-1960s, when Tenney was conducting psychoacoustic research at Yale University and Schneemann was producing her first theater events in downtown New York. Although his compositional productivity declined during this period, he participated in several of Schneemann's projects, scripted a few theater pieces of his own, and wrote extensive notes on artistic form as a perceptual model of physiological processes. Drawing from unpublished archival documents and personal interviews, this article provides an overview of Tenney's relationship with Schneemann and demonstrates how his simultaneous involvement in theoretical research and theatrical performance transformed his creative work. A close examination of Tenney's scores, journals, and correspondence reveals that he was deliberately exploring the distinctions between abstraction and collage and seeking to reconcile the apparent dualism of theory and theater.

中文翻译：

---

“惊奇地观看”：理论、戏剧以及詹姆斯·坦尼和卡罗琳·施尼曼的合作

在 1955 年至 1968 年的合作期间，作曲家詹姆斯·坦尼 (James Tenney) (1934-2006) 和艺术家卡罗莉·施尼曼 (Carolee Schneemann)（生于 1939 年）从事了最初看似相反的实践模式。坦尼发展了关于音乐形式感知的理论，并根据精心计算的算法创作了合理化的作品。相比之下，施尼曼则受到自发性和性感的驱使，她的挑衅性艺术作品强烈地解决了性、性别和政治问题。这种二元性在 1960 年代中期尤为明显，当时 Tenney 在耶鲁大学进行心理声学研究，而 Schneemann 正在纽约市中心制作她的第一个戏剧活动。虽然在此期间他的作曲效率有所下降，但他参与了施尼曼的几个项目，编写了一些他自己的戏剧作品，并写了大量关于艺术形式作为生理过程感知模型的笔记。本文取材于未发表的档案文件和个人访谈，概述了 Tenney 与 Schneemann 的关系，并展示了他同时参与理论研究和戏剧表演如何改变了他的创作工作。对 Tenney 的乐谱、日记和信件的仔细研究表明，他在刻意探索抽象和拼贴之间的区别，并试图调和理论和戏剧明显的二元论。s 与 Schneemann 的关系，并展示了他同时参与理论研究和戏剧表演如何改变了他的创作工作。对 Tenney 的乐谱、日记和信件的仔细研究表明，他在刻意探索抽象和拼贴之间的区别，并试图调和理论和戏剧明显的二元论。s 与 Schneemann 的关系，并展示了他同时参与理论研究和戏剧表演如何改变了他的创作工作。对 Tenney 的乐谱、日记和信件的仔细研究表明，他在刻意探索抽象和拼贴之间的区别，并试图调和理论和戏剧明显的二元论。