To celebrate the 40th anniversary of Fluxus, I composed eighty short musical pieces for eighty Fluxus people using the following methods:
1) For each person, I used only the pitches available from the letter spelling his / her name. If an s, e+s or i+s was included in the name, b or # would be added to certain notes. For instance, Giuseppe Chiari gets eleven pitches, c, cis (c#), es (e b ), e, eis (e#), ges (g b ), g, as (a b ), a, ais (a#) and h. A few people, such as Allan Kaprow and Peter Moore have just one note, a or e, and a few groups of people have very similar or exactly the same combination of pitches. But it caused no problem, because
2) A different timbre was applied to each person. Some of the timbres in my synthesizer are sampled sounds or noises with complex or sliding pitches. These timbres were mainly used for the people who have a fewer number of pitches.
3) Regarding how to describe each person, I took a few different approaches. The first is a realization of one of his / her works. Secondly, I imitated some of their methods or techniques. For instance, the order of John Cage's notes was determined by chance operation. The piece for Jean Dupuy consists of musical anagrams. In the case of Yasunao Tone, his name in Chinese characters was written on the blank score and the points where the characters crossed the musical staffs corresponding to his pitches of es, e, as, a in 6 octaves were traced to form musical phrases. Or, as Emmett Williams lined up the alphabet to determine the points of pasting corresponding images and objects on a board, I lined up his pitches (es, e, eis, as, a, ais in 5 octaves) under the 26 letters of the alphabet and got a tone series by linking the 14 letters e, m, m, e, t, t, w, i, l, l, i, a, m, s to his pitches.
Thirdly, I chose key words related to their jobs, the instruments or materials they use, the fragments they contributed for my past projects, or something which seems to characterize them. For the rest of the people, I followed my personal impressions or dogmatic understandings of them.
4) Since eighty people should be included on the CD, approx. 50 seconds, on the average, was allowed for each person. At the recording, while the most of the pieces were played automatically through the computer-synthesizer unit, some I played myself on the keyboard.
( ) pitches available, " " title of the piece being realized, - key words