The Music Of John Cage
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📒The Music Of John Cage ✍ James Pritchett
✏The Music of John Cage Book Summary : The first book to examine fully the work of John Cage, leading figure of the post-war musical avant-garde.
📒Writings Through John Cage S Music Poetry And Art ✍ David W. Bernstein
✏Writings through John Cage s Music Poetry and Art Book Summary : This volume looks at the creative work of the great avant-gardist John Cage from an exciting interdisciplinary perspective, exploring his activities as a composer, performer, thinker, and artist. The essays in this collection grew out of a pivotal gathering during which a spectrum of participants including composers, music scholars, and visual artists, literary critics, poets, and filmmakers convened to examine Cage's extraordinary artistic legacy. Beginning with David Bernstein's introductory essay on the reception of Cage's music, the volume addresses topics ranging from Cage's reluctance to discuss his homosexuality, to his work as a performer and musician, and his forward-looking, provocative experimentation with electronic and other media. Several of the essays draw upon previously unseen sketches and other source materials. Also included are transcripts of lively panel discussions among some of Cage's former colleagues. Taken together, this collection is a much-needed contribution to the study of one of the most significant American artists of the twentieth century.
📒Talking Music ✍ William Duckworth
✏Talking Music Book Summary : William Duckworth, a cutting-edge composer and musicologist himself, spent more than a decade visiting the leading lights of new American music, beginning with the music's spiritual godfather, John Cage, and progressing through the latest innovators. His goal was to let the composers talk about their work in their own words; to show how their personal lives and struggles to create their art colored their output; to discuss seriously their aesthetic goals; and to analyze their influences. The discussions that result are free-ranging but always focused, revealing the many radically new approaches pioneered by these artists. The life of the composer is one of struggle, often against incredible odds, in pursuit of an individual vision that is often misunderstood if not openly maligned by mainstream culture. It is rare that a sympathetic ear is given to the composer's concerns; rarer still that the composer gets a chance to discuss craft with another craftsperson. These enlightening interviews, filled with personal revelations and the unique voice of each composer, will delight fans of twentieth-century music and the avant-garde, as well as anyone interested in the life of the arts.
📒John Cage S Theatre Pieces ✍ William Fetterman
✏John Cage s Theatre Pieces Book Summary : The experimental composer John Cage (1912-1992) is best known for his works in percussion, prepared piano, and electronic music, but he is also acknowledged to be one of the most significant figures in 20th century theatre. In Cage's work in theatre composition there is a blurring of the distinctions between music, dance, literature, art and everyday life. Here, William Fetterman examines the majority of those compositions by Cage which are audial as well as visual in content, beginning with his first work in this genre in 1952, and continuing through 1992. Much of the information in this study comes from previously undocumented material discovered among the unpublished scores and notes of Cage and his frequent collaborator David Tudor, as well as author's interviews with Cage and with individuals closely associated with his work, including David Tudor, Merce Cunningham, Bonnie Bird, Mary Caroline Richards, and Ellsworth Snyder.
📒Silence Lectures And Writings ✍ John Cage
✏Silence Lectures and Writings Book Summary : John Cage is the outstanding composer of avant-garde music today. The Saturday Review said of him: “Cage possesses one of the rarest qualities of the true creator- that of an original mind- and whether that originality pleases, irritates, amuses or outrages is irrelevant.” “He refuses to sermonize or pontificate. What John Cage offers is more refreshing, more spirited, much more fun-a kind of carefree skinny-dipping in the infinite. It’s what’s happening now.” –The American Record Guide “There is no such thing as an empty space or an empty time. There is always something to see, something to hear. In fact, try as we may to make a silence, we cannot. Sounds occur whether intended or not; the psychological turning in direction of those not intended seems at first to be a giving up of everything that belongs to humanity. But one must see that humanity and nature, not separate, are in this world together, that nothing was lost when everything was given away.”
📒Solo For Piano By John Cage Second Realization Part 1 ✍ David Tudor
✏Solo for Piano by John Cage Second Realization Part 1 Book Summary : “When I think of music, I think of you and vice-versa,” John Cage told David Tudor in the summer of 1951. Looking back years later, Cage said that every work he composed in the ensuing two decades was composed for Tudor—even if it was not written for the piano, Tudor’s nominal instrument. The collaboration of Cage and Tudor reached an apex in the Solo for Piano from Cage’s Concert for Piano and Orchestra (1957–58). None of Cage’s previous works had employed more than a single type of notation. In contrast, the Solo for Piano consists of eighty-four notational types, ranging from standard line-and-staff notation to extravagant musical graphics. The notational complexity of the Solo for Piano led Tudor to write out—or realize—a performance score, from which he played at the premiere of the Concert for Piano and Orchestra in May 1958. The next spring, when Cage requested music to complement his ninety-minute lecture “Indeterminacy,” Tudor created a second realization, for which he devised a new temporal structure to implement Cage’s notations. This edition of Tudor’s second realization of the Solo for Piano presents Tudor’s performance score in the spatial-temporal layout of its proportional notation. An introductory essay discusses the early collaborations of Cage and Tudor, as well as the genesis, creative process, and performance history of the Solo for Piano. The critical commentary examines each of Tudor’s methods of realization; which notations from Cage’s score Tudor selected and why; how Tudor interpreted Cage’s often ambiguous performance instructions; how Tudor distributed the resulting sounds temporally; and the ways in which Tudor’s realization fulfills, transcends, and sometimes contravenes the instructions of Cage’s score.
📒John Cage Writer ✍ John Cage
✏John Cage Writer Book Summary : In August 1992, John Cage died suddenly, just a month before he would have celebrated his eightieth birthday. The passing of one of the greatest avant garde figures of the century was mourned around the world and brought a new recognition of his achievements, in music and art, and a reconsideration of the Cage legacy that will long continue. An essential part of this legacy are the writings gathered here, which span more than fifty years of Cagean thought and creativity. Generally unfamiliar, they demonstrate that Cage was highly skilled in using language not only to provide insight into his own work but also to convey his response to the music of others; his ideas about art, film, and dance; and, in "An Autobiographical Statement," his reflections on his own life, career, and self-fulfillment. Written between the late '30's and the early '90's, these pieces here acquire the permanence they deserve. Some have never been published before. Many appeared only in magazines, journals, and catalogues; others in concert programs and on record covers. Also included are the texts of lectures and - of crucial importance to an appreciation of his music - Cage's notes on the performance of his compositions, courtesy of his music publisher, C. F. Peters. Taken together, these writings, from their diverse sources and in their rich variety, reveal a lessknown but central aspect of the genius of a mild-mannered, deeply courageous pioneer in the arts. Dance critic Nancy Dalva has written, "John Cage taught us to listen to the world." In this book we can learn what he heard.
📒Through The Looking Glass ✍ Richard H. Brown
✏Through the Looking Glass Book Summary : Through the Looking Glass examines John Cage's interactions and collaborations with avant-garde and experimental filmmakers, and in turn seeks out the implications of the audiovisual experience for the overall aesthetic surrounding Cage's career. As the commercially dominant media form in the twentieth century, cinema transformed the way listeners were introduced to and consumed music. Cage's quest to redefine music, intentionality, and expression reflect the similar transformation of music within the larger audiovisual experience of sound film. This volume examines key moments in Cage's career where cinema either informed or transformed his position on the nature of sound, music, expression, and the ontology of the musical artwork. The examples point to moments of rupture within Cage's own consideration of the musical artwork, pointing to newfound collision points that have a significant and heretofore unacknowledged role in Cage's notions of the audiovisual experience and the medium-specific ontology of a work of art.
📒Musicage ✍ John Cage
✏MUSICAGE Book Summary : "I was obliged to find a radical way to work -- to get at the real, at the root of the matter," John Cage says in this trio of dialogues, completed just days before his death. His quest for the root of the matter led him beyond the bounds of the conventional in all his musical, written, and visual pieces. The resulting expansion of the definition of art -- with its concomitant emphasis on innovation and invention--earned him a reputation as one of America's most influential contemporary artists. Joan Retallack's conversations with Cage represent the first consideration of his artistic production in its entirety, across genres. Informed by the perspective of age, Cage's comments range freely from his theories of chance and indeterminate composition to his long-time collaboration with Merce Cunningham to the aesthetics of his multimedia works. A composer for whom the whole world -- with its brimming silences and anarchic harmonies -- was a source of music, Cage once claimed, "There is no noise, only sounds." As these interviews attest, that penchant for testing traditions reached far beyond his music. His lifelong project, Retallack writes in her comprehensive introduction, was "dislodging cultural authoritarianism and gridlock by inviting surprising conjunctions within carefully delimited frameworks and processes." Consummate performer to the end, Cage delivers here just such a conjunction -- a tour de force that provides new insights into the man and a clearer view of the status of art in the 20th century.
📒John Cage Ex Plain Ed ✍ Richard Kostelanetz
✏John Cage ex plain ed Book Summary : John Cage's long and productive life (1912-1992) is presented here, with an analysis of his impact and influence on other artists and on culture in general. This book covers all his major works, from his early piano music and environmental pieces to his writings, audio works, visual art and radical belief that all sound is music.