page_title: Music for Electric Metronomes
hierarchical_section_title: Music for Electric Metronomes
caption_attribution_description: English: Picture of Toshi Ichiyanagi's score for Music for Electric Metronomes (1960)
context_page_description: Music for Electric Metronomes is an avant-garde aleatoric composition written in 1960 by Japanese composer Toshi Ichiyanagi for any number of performers between three and eight. The piece involves the manipulation of electric metronomes, followed by various unspecified sounds and actions. It is a very theatrical piece, and reflects Ichiyanagi's affiliation with Fluxus, an experimental art movement from the sixties. The only true scored "instrument" is an electric metronome for each individual player, though the varying sounds and/or actions may involve many different instruments and objects at the discretion of the performer. Because the graphic notation of the score—a series of dashes, lines, and numbers in an erratic pattern of connected paths—leaves room for personal interpretation and expression, each performance is unique, and almost certainly cannot be reproduced. There is no conductor for the performance. It has been recorded on the album Toshi Ichiyanagi: 1960's & 1990's. In a review of a performance by the S.E.M.
context_section_description: Music for Electric Metronomes is an avant-garde aleatoric composition written in 1960 by Japanese composer Toshi Ichiyanagi for any number of performers between three and eight. The piece involves the manipulation of electric metronomes, followed by various unspecified sounds and actions. It is a very theatrical piece, and reflects Ichiyanagi's affiliation with Fluxus, an experimental art movement from the sixties. The only true scored "instrument" is an electric metronome for each individual player, though the varying sounds and/or actions may involve many different instruments and objects at the discretion of the performer. Because the graphic notation of the score—a series of dashes, lines, and numbers in an erratic pattern of connected paths—leaves room for personal interpretation and expression, each performance is unique, and almost certainly cannot be reproduced. There is no conductor for the performance. It has been recorded on the album Toshi Ichiyanagi: 1960's & 1990's. In a review of a performance by the S.E.M. Ensemble in 1992 at the Paula Cooper Gallery, the music critic of The New York Times, Alex Ross, described the piece as "merely a timid, spastic prelude to György Ligeti's monumental Poème symphonique" for 100 metronomes".
caption: Score for Music for Electric Metronomes
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