When John Cage composed Williams Mix
for eight tracks (yielding potentially 16 simultaneous layers) of magnetic tape in 1952, he wrote a score detailing graphically the precise orders and shapes of the thousands of segments of tapes that were to be spliced together from libraries of material categorized as city, country, electronic, manually produced, wind, and "small" sounds. Cage and his colleagues in the Project for Magnetic Tape took most of a year to assemble the complete piece. Although the score existed in published form the composer did not anticipate further realizations. However, with the benefit of digital technology, it has been realized via detailed reading and analysis by Tom Erbe, in multiple (and, potentially, indefinitely many) versions, which you can hear here
Although there is obviously considerable variation possible in the material content of Williams Mix
, I'm going to go out on a limb and assert that there is definitely a shared and distinctive sound quality common to Cage's electronic and tape music. It is direct in character, sharp edged, with something of the flavor of documentary film. It is edited, mediated, and shaped, but not made directional, effective, or smoothed out. The continuity from moment to moment is jumpy but not urgent, and over longer stretches of time, much more coherent than one would expect. And these qualities persist whether the sound sources are conventionally musical (as in Imaginary Landscape Nr. 5)
, predominantly speech (as in Rozart Mix
), or representing an environmental diversity as here in Williams Mix
* There is also a cleaned-up version of Cage's original realization of Williams Mix
by Larry Austin, to which Austin has appended his own variations, each using more restricted sets of sound categories, generated by his own program Williams [re]Mix[er].