( MUSIC FOR INSTRUMENTS AND TAPEJacob Druckman: Animus 1, for trom-bone and tape. New York: MCA Music,1967. [2 scores, 11 p. each, and tape,$15.00]Animus I was premiered by mastertrombonist André Smith during the TownHall �?oMusic of Our Time�?� program ofMarch 1967 and will soon appear recordedon Turnabout, TV 34177. The tromboneis the most versatile of all brass instru-ments and one of the most ancient of allmetal horns. Its durable qualities willprobably outlast even the tape recorder,which has finally met its equal here. Thereis something noble about the trombone�?Tsability to stand and dish it out in thispiece�?"a dramatic situation which is ex-ploited by facing the speakers diagonallyacross the hall, according to the per-formance instructions, and having theperformer sit, stand, exit, and re-enterfrom a position in front of the speakeron stage right.But the trombone part approaches theimpossible. The skips that leap beyondthe octave and occur in fast successioncombine with the wide range of specialeffects and the difficulty of constantlyadjusting the part against the tape nota-tion to present formidable obstacles. Be-sides muting, flutter-tonguing and glis-sando�?"all normal equipment�?"some ef-fects are entirely unorthodox: singingwhile playing, whispering, clicking thetongue, and raising the back of thethroat to change the timbre. Some arecompounded, such as opening and closingthe plunger on the mute while beginningto flutter-tongue gradually. In this respect,readers familiar with recent music will bereminded of Luciano Berio�?Ts Sequenzafor solo trombone.No tonal or metric qualities in theconventional sense are intended. Asidefrom six measured bars, this work (12 min.40 sec.) is performed without the aid ofbarlines and usually without rests. Onlythe twentieth-century tactus, the second(which is inscribed above the tape part),and the partially notated electronic soundsguide the relative placement of the gener-ally sharp, detached, and accented notesof the trombone. The traits of not re-peating a pitch until at least six or moreothers have been used and avoiding theoctave and perfect intervals are: alreadyfamiliar. The form is through-composed,but vaguely sectional, with recurring hintsof the initial motive.The tape part is available in two orfour channels and is notated on twostaves in the score. Although the stereodistribution of the channels is not shownand no indication of timbre or sonorityappears (two definite drawbacks), thetexture and rhythm are sketched accurate-ly enough and the graphic illustrationsthat replace these where conventional no-tation breaks down are well chosen. Twopauses have to be cued by the tape opera-tor�?"everything else depends on the per-former. The first and second cues beginwith recorded trombone sounds that dis-appear into the electronic fabric which issometimes marred by clichés�?"the �?okey-board glissando,�?� the �?oascending burst ofwhite noise,�?� and the �?oreverberatedclick�?��?"and by a little too much empha-sis on reverberation and violent, speed-modulated sounds.The score is carefully prepared butmight have been provided with moreannotation in the tape part and clef signsat the beginning of the trombone staves,which are hand-drawn and sometimes notevenly spaced.Webster�?Ts dictionary defines �?oanimus�?�as a disposition to do something or afeeling of hatred or animosity. In any case,Druckman has created an active andangry piece which succeeds in matchingan instrument against an electronic score,combining them in an interesting if high-ly difficult composition.Morton Subotnik: Prelude No. 4, forpiano and electronic sounds (1966).New York: MCA Music, 1967. [Pianopart, 12 p., and tape, $7.50]Most outstanding from a technical view-point are those portions of the score thatare not strictly measured, and yet are notimprovisational. The beginning and cen-tral sections are without barlines and restsbut provide vertical strokes above thestaff which mark off the duration of asecond. The performer must align hisgiven figures according to these and syn-125chronize his part with certain infrequentcues of the tape, which is only partiallynotated on an extra staff; otherwise, nostrict relationship exists. In the final sec-tion, the pianist is even freer and is askedto fit his simple figures into longer time-spans of 10- and 15-seconds in length.Several metered sections employ conven-tional if asymmetrical rhythms.The piano part is almost monophonic,but both hands are required to executethe wide intervals which follow one an-other rapidly. No obvious tonal or serialrelationships can be detected. The com-poser seems to have declared a pox onboth houses and concentrated on creatinghis own sound-world that for the mostpart avoids scales or tonal centers, usingskips that are so wide that the intervaldistance is lost and the pitches becomecolors. On the other hand, the repetitionof pitches as well as the persistence of atremolo figure and a few melodic cellscreate small patches of tonal relationsthat give a delicate impression of a con-tinuous train of related thought.The tape runs continuously and re-quires no manipulation. The soundsources are entirely electronic but unusual-ly varied and resourceful. Bombastic tex-tures are avoided. While the repertory ofbell sounds, rushes of white noise, clicks,and sustained tones are familiar enough,all of these are used in tasteful sequence.Some of the piano�?Ts material seems to beanticipated, and the part is occasionallymetric enough to guide the pianist�?Tstempo. The ending is particularly wellmanaged and fades off mysteriously inwind-chime ostinatos.The composer allows an uncommonamount of freedom in the execution of thepiano part without shirking his responsi-bility in the areas of pitch, rhythm, andtempo. Although the wide intervals andextremes of range will not be hard for acompetent pianist, a major difficulty willbe the counting and adjustment of thispart against the activity of the tape.Subotnik has created a sensitive and prac-tical piece well adapted to its medium andthought provoking for both performer andlistener.Lejaren Hiller: Machine Music, forpiano, percussion, and_ two-channeltape recorder. Bryn Mawr, Pa.: Theo-dore Presser Co., 1967. [Score, 28 p.,$2.50. Three scores needed for perf.Tape recorder part available on rentalfrom publisher.]Lejaren Hiller, director of the Experi-mental Music Studio of the University ofIllinois, is, like Borodin, both a chemistand a composer. But Machine Music dis-plays a wealth of organization and insightseldom achieved by his Russian counter-part. This piece is scored for piano, per-cussion, and tape, and is recorded onHeliodor (H 25047, HS 25047). The sonori-ty will be too strange for conservativemusicians, and the strict metric qualitieswill seem old-fashioned to the avant-garde�?"an unenviable stylistic position,perhaps, but one which Hiller makes themost of in any case.The annotation and design of the scoreis intelligible and attractive. The pianopart is conventional in notation and de-pends heavily on percussive and rhythmicfigures. The vertical organization usesthick, non-triadic chords and tone-clusters;the horizontal aspect has a twelve-toneformat, or at least a tendency to cyclearound various orders of the chromaticscale without pitch repetition. Wide in-tervals are characteristic, but do not ruleout suggestions of tonal relations.The part for a single percussionist is,like the piano part, difficult and virtuosticin places. No standard notation for per-cussion exists in this area of contemporarypractice; Hiller�?Ts scheme, however, is ex-emplary. Two staves for the four tunedinstruments and a single line for theeighteen untuned instruments preservethe basic rhythmic line by utilizing ex-plicit graphic symbols to show the se-quence of alternation. A preliminary listexplains these symbols and indicates dif-ferent grades of percussion sticks as well.A stage plan is also included.The two-channel tape is used in alter-nate movements of this eleven-movementwork, and it is provided with one measureof clicks, inaudible except to the opera-tor who uses earphones at this point andwho indicates the tempo visually to theother players before switching on thespeakers. The two staffs provided for thispart in the score are detailed withoutbeing cluttered. Timbres are described126