formances or further analysis, for example. The Concert Player app differs in that it enables the user to combine sound recordings of orchestral solos by Apartment House to generate various audible versions of the piece. The app cannot replace the experience of multiple possibilities through performance and collaboration; however, it allows the user to readily explore 16,383 possible combinations with varied durations and sequences of score pages. After choosing a duration, the app enables the user to create an automatic or manual arrangement. The manual arrangement allows the user to select instruments and distribute their pages of notation and silences over time. The automatic arrangement has a more limited number of interactive features, for example, the number of instruments and pages can be specific or random. Additionally, the automatic arrangement can be edited in the same way as the manual one. Each arrangement can be played almost instantly with recordings for a personalised performance. As well as orchestral solos, there is a conductor’s part for Concert for Piano and Orchestra, and the Concert Player app does not include this because it ‘is a performative input, changing the performer’s psychology whilst playing’, thus bringing a ‘further element of randomness to it, which is already instilled in the app through the random generation feature’. It is regrettably not possible to see the notation of the orchestral solos, however some can be viewed on the Cage Concert website and the score is published by Edition Peters. As a composer, listener and sometimes performer, I am especially interested in quiet, sparse, and durational indeterminate music. Therefore, the interpretations that I explored within the Concert Player app were mostly of durations of 20 minutes or more, few instruments and pages, and many silences. In fact, whilst working on my PhD thesis, I listened to a version for three hours, comprising three instruments (cello, viola and clarinet) and with only three pages each, separated by silences. I often listen to durational music, such as Éliane Radigue’s Occam Ocean (2011–) and Eva Maria Houben’s Breath for Organ (2018), whilst I work as a repeated listening practice, and I replicated this using the app. In contrast, I played with shorter durations of under 10 minutes with as many possible instruments and pages that would fit into that duration. Using the apps is less like work than like playing a problem-solving game. I played with several notations and their numerous possibilities, as well as automatic and manual arrangements of the Concert for Piano and Orchestra. It is amazing how quick and easy it is to hear such contrasting interpretations of the piece. What’s remarkable about these apps is the ability to create versions of the piano’s notation for performance in a much shorter time than it would usually take, and this should encourage more performances of the complex work with combinations of notations and instruments that have never been heard before. For example, just hours after Thomas’s online workshop, James Joslin, composer and publisher, shared on Twitter his playing of the piano part’s first page in 100 seconds. Furthermore, the apps are not only useful for performers, composers and researchers, but they could be used as a fun educational tool to show and explore the complexity but also the accessibility of Cage’s music and other indeterminate works. The apps widen the understanding of this piece, which is an important milestone in extending the methods of analysis for the most complex indeterminate compositions.

中文翻译：

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约翰·凯奇的钢琴与管弦乐队音乐会，由马丁·伊登和菲利普·托马斯创作。牛津大学出版社，457 页。 $74.00。

例如，形式或进一步分析。Concert Player 应用程序的不同之处在于，它使用户能够将 Apartment House 的管弦乐独奏的录音结合起来，以生成该作品的各种可听版本。该应用程序无法通过性能和协作取代多种可能性的体验；但是，它允许用户轻松探索 16,383 种可能的组合，这些组合具有不同的持续时间和乐谱页面序列。选择持续时间后，该应用程序使用户能够创建自动或手动安排。手动排列允许用户选择乐器并随时间分发他们的记谱和静音页面。自动排列具有更有限数量的交互功能，例如，工具和页面的数量可以是特定的或随机的。此外，自动排列可以按照与手动排列相同的方式进行编辑。每个编曲几乎可以立即播放，并带有录音以进行个性化表演。除了管弦乐独奏之外，Concert for Piano and Orchestra 还包含指挥部分，Concert Player 应用程序不包含此部分，因为它“是一种表演输入，在演奏时会改变演奏者的心理”，从而带来“更多的元素随机性，这已经通过随机生成功能灌输在应用程序中。遗憾的是，无法看到管弦乐独奏的乐谱，但有些可以在 Cage Concert 网站上查看，乐谱由 Edition Peters 出版。作为作曲家、听众和有时是表演者，我对安静、稀疏和持续时间不确定的音乐特别感兴趣。所以，我在 Concert Player 应用程序中探索的诠释大多持续时间为 20 分钟或更长，乐器和页面很少，并且有很多沉默。事实上，在我的博士论文工作期间，我听了三个小时的版本，包括三种乐器（大提琴、中提琴和单簧管），每件只有三页，被静音隔开。我经常听持续音乐，例如 Éliane Radigue 的 Occam Ocean (2011–) 和 Eva Maria Houben 的 Breath for Organ (2018)，同时我进行反复的听力练习，并使用该应用程序复制它。相反，我演奏了持续时间较短，不到 10 分钟，并有尽可能多的适合该持续时间的文书和页面。使用这些应用程序与其说是工作，不如说是在玩解决问题的游戏。我玩了几个符号和它们的无数可能性，以及钢琴和管弦乐队音乐会的自动和手动安排。令人惊讶的是，听到这首曲子的这种对比鲜明的解释是多么快捷和容易。这些应用程序的显着之处在于能够在比通常需要的时间短得多的时间内为演奏创建钢琴记谱的版本，这应该鼓励使用以前从未听过的记谱和乐器的组合进行更多复杂的演奏. 例如，就在 Thomas 的在线研讨会后几个小时，作曲家兼出版商 James Joslin 在 Twitter 上分享了他在 100 秒内弹奏钢琴部分的第一页。此外，这些应用程序不仅对表演者、作曲家和研究人员有用，但它们可以作为一种有趣的教育工具来展示和探索凯奇音乐和其他不确定作品的复杂性和可及性。这些应用程序拓宽了对这件作品的理解，这是扩展最复杂的不确定构图的分析方法的一个重要里程碑。