Morton Feldman stated, ”The degrees of stasis, found in a Rothko or Guston, were perhaps the most significant elements I brought to my music from painting. For me, stasis, scale, and patter n have put the whole question of symmetry and asymmetry in abeyance.” … Typically, as is the case in For John Cage, Feldman presents a pattern (or sequence) of notes and/or chords, and may repeat them an unpredictable and asymmetrical number of times, until they are succeeded by the next pattern, but the pattern is never developed, reorganized, or mani pulated in any conventional fashion. Thus successive patterns are linked (or woven) together in an on going fabric of music, and an individual pattern may appear to be static, unchanging, unmoving. This is an illusion, however, since movement may be alternately measured by speed, emphasis (or attack), and (instrumental) color. Art Lange
