'The new painting made me desirous of a sound world more direct, more immediate, more physical than anything that had existed heretofore, said Feldman about the musical ideas to which he was inspired by his first meeting with the new work of artists like Robert Rauschenberg, Mark Rothko, and Philip Guston around 1950. The utopian ideal not to "compose" but to project sounds into time led Feldman - even before Cage and Earle Brown - to experiment with graphic notation.'
- Peter Niklas Wilson, excerpt In Search of Plasticity of Sound
'Projection II for flute, trumpet, violin and cello - one of the first graph pieces - was my first experience with this new thought. My desire here was not to 'compose,' but to project sounds into time, free from a compositional rhetoric that had no place here. In order not to involve the performer (i.e. myself) in memory (relationships), and because the sounds no longer had an inherent symbolic shape, I allowed for indeterminacies in regard to the pitch.'
- Morton Feldman, excerpt Give My Regards To Eighth Street
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