‘to create music as if on a canvas’: Intermission 5 (1952)
This chapter discusses regarding Feldman's grid scores, it makes some formal observations, with reference to Intersection 3 as the primary case study, and then discuss some important aspects of the contextual analysis, bearing in mind that these are simply threads in the great web of possible analyses, isolated here for the sake of argument. In a 1983 interview, he described the notation of these early grid scores as 'very primitive', and also noted that one problem with the notation was that it was 'too easy to make wonderful designs on the page'. Intersection 3 has been chosen as the focus for analysis partly because it relates in time-period to the other works. The chapter addresses to uncover some of the formal attributes of the work; to discover how these formal structures compare or contrast with those identified in the other works discussed; and to link this formal analysis to contextual analysis, pointing to potentially fruitful lines of exploration.