Crippled symmetry and proportion in Feldman’s Projection 2

Abstract

Morton Feldman began producing graphic scores by the early 1950s, at the dawn of indeterminacy-based compositional practices. Although his experiences in the field partly fell in the shade of John Cage’s, his contribution is vital and profoundly different. According to a widespread belief, no systematic method lies at the foundation of Feldman’s music, hence analysis can unearth no general compositional principle. Yet recent research has shown that recurring structural relationships emerge out of a systematic comparison of his scores, while also highlighting the importance of the graphic element and the presence of ratio and symmetry relationships. Crippled symmetry — the use of formal patterns connected by symmetry relationships, with some imperfection and irregularity — proved to be a key concept in much of Feldman’s music. This essay applies such methods to Projection 2, one of Feldman’s earliest works displaying the experimental use of a graphic score and of indeterminate pitches.

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