This article interprets John Zorn's composition Interzone (2010) by comparing it to the eponymous place that is found throughout William S. Burroughs’ early novels. This is done through linking some of the ‘sound blocks’ that make up Zorn's composition to selected passages from Burroughs’ books as well as to specific events from the lives of Interzone's two dedicatees: Burroughs, and his associate, the writer and painter Brion Gysin. Zorn's disjointed, chaotic arrangement of sound blocks, and by extension their extra-musical associations, is then shown to emulate the dream-like structure of the phantasmatic place that is Interzone, which Burroughs created for his novels with the aid of Gysin's ‘cut-up’ method. Through these extra-musical connotations, it is demonstrated that Zorn's composition imitates Interzone's distortion of place; of internal and external space; and, most importantly, of time.

中文翻译：

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对扭曲的地点、空间和时间的音乐描绘：对约翰·佐恩的中间地带的诠释

本文解读约翰佐恩的作文区间（2010 年）将其与威廉·S·巴勒斯早期小说中的同名地点进行比较。这是通过将构成 Zorn 作品的一些“声音块”与 Burroughs 书中的选定段落以及生活中的特定事件联系起来来完成的。区间的两个奉献者：Burroughs 和他的同事、作家和画家 Brion Gysin。佐恩对音块的不连贯、混乱的安排，以及它们额外的音乐联想，随后被证明是为了模仿梦幻般的地方的梦幻结构，即 Interzone，Burroughs 借助 Gysin 的“cut-上”的方法。通过这些额外的音乐内涵，证明了佐恩的作曲模仿了Interzone对地方的扭曲；内部和外部空间；而且，最重要的是，时间。