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