4′33″ - Knowledge

406: 1056: 491: 683:, as part of a recital of contemporary piano music. The audience saw him sit at the piano and, to mark the beginning of the piece, close the keyboard lid. Some time later he opened it briefly, to mark the end of the first movement. This process was repeated for the second and third movements. Although the audience was enthusiastic about contemporary art, the premiere was met with widespread controversy and scandal, such that Calvin Tomkins notes: "The Woodstock audience considered the piece either a joke or an affront, and this has been the general reaction of most people who have heard it, or heard of it, ever since. Some listeners have been unaware they were hearing it at all". 635:), seemingly "blank" canvases (though painted with white house paint) that in fact change according to varying light conditions in the rooms in which they were hung, the shadows of people in the room and so on. This inspired Cage to use a similar idea, as he later stated, "Actually what pushed me into it was not guts but the example of Robert Rauschenberg. His white paintings ... when I saw those, I said, 'Oh yes, I must. Otherwise I'm lagging, otherwise music is lagging'." In an introduction to an article "On Robert Rauschenberg, Artist, and His Works", John Cage writes: "To Whom It May Concern: The white paintings came first; my silent piece came later." 42: 513:, who introduced the field to the Western World. Thereon, he connected sounds in silence to the notions of "unimpededness and interpenetration". In a 1951/1952 lecture, he defined unimpededness as "seeing that in all of space each thing and each human being is at the center", and interpenetration as the view "that each one of the is moving out in all directions penetrating and being penetrated by every other one no matter what the time or what the space", concluding that "each and every thing in all of time and space is related to each and every other thing in all of time and space". 580: 1090:' underneath each. A note by Cage describes the first performance and mentions that "the work may be performed by any instrumentalist or combination of instrumentalists and last any length of time". In doing so, Cage not only regulates the reading of the score, but also determines the identity of the composition. Conversely to the initial two manuscripts, Cage notes that the premiere organized the movements into the following durations: 33", 2'40" and 1'20", and adds that their length "must be found by chance" performance. The 1392: 1151:. The directions originally consisted of one sentence: "In a situation provided with maximum amplification, perform a disciplined action". At the first performance Cage had to write that sentence. The second performance added four new qualifications to the directions: "the performer should allow any interruptions of the action, the action should fulfill an obligation to others, the same action should not be used in more than one performance, and should not be the performance of a musical composition". 889: 127:. It was composed in 1952 for any instrument or combination of instruments; the score instructs performers not to play their instruments throughout the three movements. It is divided into three movements, lasting 30 seconds, two minutes and 23 seconds, and one minute and 40 seconds, respectively, although Cage later stated that the movements' durations can be determined by the musician. As indicated by the title, the composition lasts four minutes and 33 seconds and is marked by a period of 1238: 1198: 938: 8279: 5025: 269: 808:—in fact, more of an experiment than a composition—is intended to question the very notion of music. Cage believed that "silence is a real note" and "will henceforth designate all the sounds not wanted by the composer". He had the ambition to go beyond what is achievable on a piece of paper by leaving the musical process to chance, inviting the audience to closely monitor the ambient noises characterizing the piece. French musicologist 758: 737:. Thus, even before the performance, the reception of the work is already predetermined by the social setup of the concert. Furthermore, the audience's behavior is limited by the rules and regulation of the concert hall; they will quietly sit and listen to 4′33″ of ambient noise. It is not easy to get a large group of people to listen to ambient noise for nearly five minutes, unless they are regulated by the concert hall etiquette. 8303: 525:. He increasingly began to see silence as an integral part of music since it allows for sounds to exist in the first place—to interpenetrate each other. The prevalence of silence in a composition also allowed the opportunity for contemplation on one's psyche and surroundings, reflecting the Zen emphasis on 840:

Indeed, the perceived silence characterizing Cage's composition is not actually 'silence', but the interference of the ambient sounds made by the audience and environment. To him, any auditory experience containing some degree of sound, and hence can be considered music, countering its frequent label

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concerns duration. According to Cage, duration is the essential building block of all of music. This distinction is motivated by the fact that duration is the only element shared by both silence and sound. As a result, the underlying structure of any musical piece consists of an organized sequence of

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Initially, Batt said he would defend himself against these accusations, stating that "A One Minute Silence" was "a much better silent piece" and that he was "able to say in one minute what Cage could only say in four minutes and 33 seconds". He eventually reached an out-of-court settlement with the

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composers have been striving to produce music that could be separated from any social connections, transcending the boundaries of time and space. In automatism, composers and artists strive to eliminate their role in the creation of work, motivated by the belief that self-expression always includes

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While Cage specifies three movements incorporated in the piece, some later performances included a different number of movements. An example is the recording by the Hungarian Amadinda Percussion Group, consisting of a recording of ambient outdoor bird song in one movement; Frank Zappa's recording

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The Woodstock printed program specifies the lengths 30″, 2′23″ and 1′40″, as does the Kremen manuscript, but the latter versions have a distinguished tempo. In the First Tacet Edition, Cage writes that at the premiere the timings were 33″, 2′40″ and 1′20″, and in the Second Tacet Edition, he adds

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They missed the point. There's no such thing as silence. What they thought was silence, because they didn't know how to listen, was full of accidental sounds. You could hear the wind stirring outside during the first movement. During the second, raindrops began pattering the roof, and during the

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Cage divided the composition into three distinct movements, but this is often disregarded; the piece is silence, and a movement is defined as "sections of a work may be distinguished in terms of style, key and tempo". While there is no perceived distinguishment between the three sections, Cage

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silence—the very opposite of music, which is often defined as "sounds organized by humans", at the very least. However, Cage maintains that his piece is not silence, but the combination of ambient noises heard by the audience, which can be deemed 'music'. Therefore, for the sake of consistency,

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challenges, or rather exploits to a radical extent, the social regiments of the modern concert life etiquette, experimenting on unsuspecting concert-goers to prove an important point. First, the choice of a prestigious venue and the social status of the composer and the performers automatically

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Cage believed that sounds existed in a state of unimpededness, as each one is not hindered by the other due to them being isolated by silence, but also that they interpenetrate each other, since they work in tandem with each other and 'interact' with the silence. Hence, he thought that music is

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called the piece "one of the most misunderstood pieces of music ever written and yet, at times, one of the avant-garde’s best understood as well". He dismissed the idea that 4′33″ was a joke or a hoax, wrote that the theory of Dada and theater have some justification, and said that for him the

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The composition is an indispensable contribution to the Modernist movement and formalized noise music as a genre. Noise music is seen as the anathema to the traditional view of harmony in music, exploiting random sound patterns 'noise' in the process of making music—the "detritus of the music

613:". Cage had gone to a place where he expected total silence, and yet heard sound. "Until I die there will be sounds. And they will continue following my death. One need not fear about the future of music". The realization as he saw it of the impossibility of silence led to the composition of 1029:

indication: '60 = 1/2-inch'. At the end of each sentence, there is information about each movement's duration in minutes and seconds; these are: 'I = 30 seconds', 'II = 2 minutes 23 seconds' and 'III = 1 minute 40 seconds'. Tudor commented: "It's important that you read the score as you're

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as one example to show that knowing about the origin of something influences how one formulates an opinion on it. In this case, one can deem the five minutes of silence in Cage's composition as different than five minutes of ordinary silence, as in a library, as they know where this silence

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joked that he was writing a play in which "a string quartet is playing the most advanced music ever written. It's made up entirely of rests ... Suddenly, the viola man jumps up in a rage and shakes his bow at the first violin. 'Lout', he screams, 'you played that last measure wrong'".

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However, at the time of its conception, Cage felt that a fully silent piece would be incomprehensible, and was reluctant to write it down: "I didn't wish it to appear, even to me, as something easy to do or as a joke. I wanted to mean it utterly and be able to live with it." Painter

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The actions of Tudor in the first performance are often misdescribed so that the lid is explained as being open during the movements. Cage's handwritten score (produced after the first performance) states that the lid was closed during the movements, and opened to mark the spaces

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indication is provided (60), and at the end of each movement the time is indicated in minutes and seconds. In page 4, the note '1 PAGE = 7 INCHES = 56″' is included. The same instructions, timing and indications to the reproduced Woodstock manuscript are implemented.

401:. Great performance artists and improvisers know how to use this expressive tool to a greater and more extensive extent. The exciting silence between two movements—in this environment, itself, music—is more suggestive than the more definite, but less flexible, sound. 226:

greatly influenced modernist music, furthering the genres of noise music and silent music, which—whilst still controversial to this day—reverberate among many contemporary musicians. Cage re-explored the idea of silent composition in two later renditions:

1281:, he inserted a one-minute pause in their February 2002 album "Classical Graffiti" under the authorship 'Batt/Cage'— supposedly to honor the composer. He was then sued by the Mechanical Copyright Protection Society for "plagiarizing Cage's silence . 1720:

that after the premiere, a copy had been made for Irwin Kremen, in which the lengths of the movements were 30″, 2′23″ and 1′40″. Some later performances would not abide by this duration, as seen in Frank Zappa's 1993 recording on the 1993 double-CD

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the audience contributed the bulk of the musical material of the piece. Since the piece consists of exclusively ambient noise, the audience's behavior, their whispers and movements, are essential elements that fill the above-mentioned time buckets.

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composer's heirs in September 2002 and paid an undisclosed six-figure compensation. However, in December 2010, Batt admitted that the alleged legal dispute was a publicity stunt and that he had actually only made a donation of £1,000 to the

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took place among 200 performers, amateur and professional musicians, and artists. The global orchestra, conducted live by Bob Dickinson, via video link, performed the piece in support of the 'Cage Against The Machine' campaign to bring

1120:) (1986) is the same as the First, except that it is printed in Cage's calligraphy, and the explanatory note mentions the Kremen manuscript. It is also classified as EP No. 6777 (i.e., it carries the same catalog number as the first 753:

serves as a radical and extreme illustration of this concept, asking that if the time buckets are the only necessary parts of the musical composition, then what stops the composer from filling them with no intentional sounds?

919:, the composer has no impact in his work, as Cage cannot control the ambient sounds detected by the audience. Hence, the composition is automatic since the musician has no involvement in how the listener interprets it. 187:

is labelled as four minutes and thirty-three seconds of silence, Cage maintains that the ambient noises heard during the performance contribute to the composition. Since this counters the conventional involvement of

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Several versions of the score exist; the four below are the main samples that could be identified. Their shared quality is the composition's duration of four minutes and thirty-three seconds—reflected in the title

717:, is made up of incidental sounds that represent perfectly the tension between "desirable" sound (properly played musical notes) and undesirable "noise" that make up all noise music. It is made of three movements. 605:. Cage entered the chamber expecting to hear silence, but he later wrote: "I heard two sounds, one high and one low. When I described them to the engineer in charge, he informed me that the high one was my 174:

premiered in 1952 and was met with shock and widespread controversy; many musicologists revisited the very definition of music and questioned whether Cage's work qualified as such. In fact, Cage intended

2897: 828:, due to the fact that it creates art from objects that do not serve an artistic function, as silence is often associated with the opposite of music. In fact, Cage's composition draws parallels to the 533:

I've thought of music as a means of changing the mind ... In being themselves, open the minds of people who made them or listened to them to other possibilities that they had previously considered.

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can be understood as the traditional silence of the audience so that it can appreciate the music being played. Music itself is sacrificed, sacrificed to the musicality of the world". For Hegarty,

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is performed. Cage insists that no absolute silence can exist; the perceived silence of his composition is, in fact, not absolute, since many ambient sounds can be heard while it is performed.

1482:, as part of a program exploring "sonic responses" to Cage's work. Another of these 'responses' was the rendition named 'You Can Make Your Own Music', recorded by the Swedish electronic band 4187: 1340:

campaign was dubbed 'Cage Against the Machine'. The creators of the Facebook page hoped that reaching number one would promote Cage's composition and "make December 25 'a silent night'."

990:'— but there is some discrepancy between the lengths of individual movements, specified in different versions of the score. The causes of this discrepancy are not currently understood. 529:

as means to soothe the mind. As he began to realize the impossibility of absolute silence, Cage affirmed the psychological significance of 'lack of sound' in a musical composition:

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and dedicated to David Tudor – the first to perform the piece. It is currently lost, but Tudor did attempt to recreate the original score, reproduced in William Fetterman's book

745:"time buckets". They could be filled with either sounds, silence or noise; where neither of these elements is absolutely necessary for completeness. In the spirit of his teacher 445:, but he later wrote that he was not aware of Allais' work at the time. Silent compositions of the twentieth century preceding Cage's include the 'In futurum' movement from the 912:

the infiltration of the social standards—that the individual (including the musician) is subjected to from birth—in artistic truth (the message the musician wishes to convey).

3427: 3005: 1417: 303:. It will open with a single idea which I will attempt to make as seductive as the color and shape and fragrance of a flower. The ending will approach imperceptibility. 3266: 385:

Although he was a pioneer of silent music, Cage was not the first to compose it. Others, especially in the first half of the twentieth century, had already published

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Often pronounced simply as 'four thirty-three', but sometimes alternatively as 'four minutes, thirty-three seconds' or 'four minutes and thirty-three seconds'.

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performing it, so there are these pages you use. So you wait, and then turn the page. I know it sounds very straight, but in the end it makes a difference".

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the composition itself, while 'absolute silence' is the complete lack of sounds, both within and outside the composition—so, silence in the hall in which

405: 216:, as the silence is subject to the individual's interpretation; thereby, one is encouraged to explore their surroundings and themselves, as stipulated by 7037: 3203: 1511:, and the station faced a unique problem; its emergency system—automatically switching on and playing separate music in a period of perceived silence ' 1038:

The Kremen manuscript (1953) is written in graphic, space-time notation—which Cage dubbed "proportional notation"—and dedicated to the American artist

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The third point is that the work of music is defined not only by its content but also by the behavior it elicits from the audience. In the case of

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movement due to the involvement of 'anti-art' objects into art (music), its apparent nonsensical nature, and blatant defiance of the status quo.

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composition is a "thought experiment". He concluded that the idea that 4′33″ is a "Zen practice" "may be the most directly fertile suggestion".

1321: 3130: 749:, Cage managed to emancipate the silence and the noise to make it an acceptable or, perhaps, even an integral part of his music composition. 156:

led him to acknowledge the value of silence in providing an opportunity to reflect on one's surroundings and psyche. Recent developments in

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Therefore, the only method by which the listener can realize artistic truth involves the separation of the musician from their work. In

820:', since, during the performance, the musician is more of an actor than a 'musician', per se. He also notes that it resembles a 2183: 4723: 4709: 3013: 349: 1185:, without actually feeding back". The content of the piece is the electronically amplified sound of the hall and the audience. 367:

recalls Cage presenting a "one-minute-of-silence talk" in front of a window during the late 1940s, while visiting Studio 35 at

3256: 7895: 4668: 4444: 4362: 4336: 4310: 4250: 4208: 4056: 3956: 3891: 3864: 3641: 3590: 3374: 299:. It will be three or four-and-a-half minutes long—those being the standard lengths of "canned" music and its title will be 144:

Many prior musical pieces were largely composed of silence, and silence played a notable role in his prior work, including

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for plagiarism for the 'song' "A One Minute Silence": literally, a minute of silence. To support his crossover ensemble

8323: 7097: 4393: 4373: 4288: 4148: 4125: 4083: 3937: 3918: 3749: 3722: 1558: 315:(1934), composed when Cage was 22, opens with silence, and silence was an important structural element in some of the 279:

The first time Cage mentioned the idea of a piece composed entirely of silence was during a 1947 (or 1948) lecture at

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Another cited influence for this piece came from the field of the visual arts. Cage's friend and sometimes colleague

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to be experimental—to test the audience's attitude to silence and prove that any auditory experience may constitute

5010: 4261: 2048: 1324:. The page was inspired by a similar campaign the year prior, in which a Facebook page set up by English radio DJ 4970: 3067: 1306: 3189: 1692:

This article distinguishes between 'silence' and 'absolute silence'. 'Silence' is defined as the lack of sounds

8044: 8037: 7859: 4911: 3768: 359:(1950) Cage directs the pianist to play a closed instrument, which may be understood as a metaphor of silence. 7636: 1562:

uploaded a video of the piece being performed by a cat, showing that its musician is not required to be human.

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insists that there is, as the variation in ambient sounds between each movement is, in itself, a distinction.

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also bolstered Cage's understanding on silence, which he increasingly began to perceive as impossible after

7073: 5187: 4876: 4764: 4329: 3883: 2618: 796:, the audience felt cheated by having to listen to no composed sounds from the performer. Nevertheless, in 590:'s anechoic chamber, by which he discovered that absolute silence does not exist, inspiring him to compose 472:(1928) mentions a musician conducting "performances consisting largely of silence". In 1947, jazz musician 729:

heightens audience's expectations for the piece. As a result, the listener is more focused, giving Cage's

8137: 8065: 7121: 6906: 4740: 3810: 3606: 3572: 3292: 2419: 4523: 4512: 8343: 8293: 8086: 7995: 4408: 4167: 4075: 3910: 3806: 3375:"BBC orchestra silenced at the Barbican and on Radio 3; John Cage Uncaged: A weekend of musical mayhem" 2537: 1178: 734: 579: 6390: 5476: 4788: 4730: 4716: 4702: 4479: 4325: 4163: 4071: 3906: 3701: 3288: 2614: 862: 1590: 7011: 6557: 5949: 5858: 1534: 1329: 5650: 1734:

also includes wildly different time bands: '35", 1'05", 2'21", 1'02", and 50"', but the number of

1177:, 'One' refers to the number of performers required. The score instructs the performer to build a 1124:). Additionally, a facsimile, reduced in size, of the Kremen manuscript, appeared in July 1967 in 1010:

can be performed for any instrument or combination of instruments. Regarding tempo, it includes a

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Lipov, Anatoly. 2015. "4'33" as the Play of Silent Presence. Stillness, or Anarchy of Silence?"

8307: 8271: 8228: 8079: 7157: 6438: 5870: 5774: 5671: 4756: 3852: 2919: 1620:, "to draw attention to the plight of artists following the lockdown of cultural institutions". 1500: 1063:(1960), including the organization of the composition's movements and a personal note typed by 972:, Cage defined it as "the ability of a piece to be performed in substantially different ways". 651:

third the people themselves made all kinds of interesting sounds as they talked or walked out.

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The campaign received support from several celebrities. It first came into prominence after

8264: 8051: 7907: 6767: 5121: 4836: 3582: 7350: 6802: 3948: 792:, this would consist of widespread dissatisfaction leading up to violent riots. In Cage's 307:

Prior to this, silence had played a major role in several of Cage's works composed before

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failed to reach number one, only peaking at number 21 on the charts; the winning song of

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mentioned it on his Twitter profile. Despite many similar campaigns occurring that year,

1333: 680: 628: 368: 180: 161: 7133: 6397: 8328: 8282: 8093: 7988: 7945: 7883: 7871: 7787: 7462: 7420: 7018: 6753: 6571: 6110: 6096: 5991: 5846: 5822: 5706: 5292: 5047: 5028: 4935: 4919: 4629: 4579: 4554: 4502: 4048: 3995: 3225: 3108: 2191: 2053: 1613: 1464: 1365: 1278: 788: 766: 610: 602: 587: 518: 250: 120: 7811: 7719: 7573: 3101:"At time of writing, Cage Against The Machine has almost 16,000 followers on Facebook" 517:

intrinsically an alternation between sound and silence, especially after his visit to

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What comes closest to its original essence in our musical art today are the pause and

8016: 7919: 7656: 7608: 7580: 7487: 7448: 7413: 7243: 6711: 6683: 6543: 6236: 6152: 6054: 6019: 5786: 5566: 5532: 5005: 4820: 4796: 4748: 4535: 4440: 4358: 4332: 4306: 4284: 4246: 4242: 4223: 4204: 4171: 4144: 4121: 4102: 4079: 4052: 4025: 3999: 3972: 3933: 3914: 3887: 3860: 3833: 3814: 3764: 3745: 3718: 3659: 3637: 3610: 3586: 3553: 3162: 2541: 746: 461:(1949), in which the second and fourth movements are bare twenty minutes of silence. 116: 7322: 5413: 3400: 3131:"Campaigners launch bid to make silent track Christmas No1 ahead of X Factor winner" 1336:" in the week before Christmas 2009 to make it the Christmas number one. Hence, the 8338: 8249: 8242: 7981: 7761: 7670: 7663: 7594: 7496: 7406: 7259: 7169: 7061: 6955: 6948: 6781: 6606: 6564: 6383: 6299: 6194: 6103: 5963: 5935: 5550: 5420: 5385: 5378: 5343: 5258: 5151: 4828: 4772: 4466: 4462: 4458: 4454: 4424: 4398: 4378: 4298: 4196: 4013: 3789: 1550: 1372:

journalist Luke Bainbridge also voiced their support. Ultimately, the rendition of

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was created to encourage residents of the United Kingdom to buy a new rendition of

874:, even though it is inherently no different than five minutes of ordinary silence. 598: 554: 526: 522: 390: 323: 157: 7455: 7357: 6201: 6187: 6180: 6005: 5364: 4382: 4185:

Pritchett, James; Kuhn, Laura & Garrett, Charles Hiroshi (2012). "John Cage".

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Art, Money, Parties: New Institutions in the Political Economy of Contemporary Art

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gave the United Kingdom's first orchestral performance of this work, conducted by

1042:. The movements of the piece are rendered as space between long vertical lines; a 857:, as the individual is invited to ponder their surroundings and psyche. In a 2013 8235: 8186: 8172: 8165: 7726: 7629: 7441: 7434: 7336: 7308: 7280: 7232: 7085: 7004: 6976: 6871: 6795: 6746: 6634: 6599: 6487: 6480: 6424: 6376: 6285: 6173: 6026: 5998: 5798: 5720: 5713: 5692: 5629: 5587: 5497: 5490: 5448: 5392: 5283: 4844: 4804: 4409:

Interview With MoMA Curator David Platzker About the New Exhibition on John Cage.

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The Ghosts of the Avant-Garde(s): Exercising Experimental Theater and Performance

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as EP No. 6777. It lists the three movements using Roman numbers, with the word '

999: 783: 550: 450: 433:, consisting of 24 empty measures. Allais was a companion of his fellow composer 430: 410: 255:

ranked the composition eighth in his list of the greatest performance art works.

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by more than 50 artists which had collaborated with the record label, including

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Due to its unique avant-garde style, many musicians and groups have performed

888: 291:. Cage told the audience that he had "several new desires", one of which was: 249:

as Cage's "most famous and controversial creation". In 2013, Dale Eisinger of

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The Humanistic Tradition, Book 6: The Global Village of the Twentieth Century

3568: 1602: 1526: 1298: 1174: 1095: 1026: 1014: 541:, which can be seen as an representation of the concept of interpenetration. 364: 235:(1989). In a 1982 interview, and on numerous other occasions, he stated that 6494: 5399: 5162: 1515:'—interrupted the broadcast, and had to be switched off. On the same day, a 8009: 7847: 7740: 7712: 7647: 7615: 7587: 7552: 7545: 7538: 7503: 7469: 7385: 7343: 7201: 7190: 7180: 6927: 6899: 6837: 6830: 6816: 6788: 6760: 6725: 6718: 6690: 6676: 6662: 6641: 6550: 6508: 6501: 6341: 6313: 6264: 6250: 6124: 6089: 5984: 5970: 5907: 5834: 5727: 5685: 5483: 5308: 4528: 4517: 4419:

Katschthaler, Karl. 2016. "Absence, Presence and Potentiality: John Cage's

4098: 3428:"We're pitching the silence of John Cage against the noise of Simon Cowell" 3261: 3198: 3158: 3009: 1582: 1566: 1352: 1347: 1068: 1039: 998:

The original Woodstock manuscript (August 1952) is written in conventional

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Skinner, David; Gillis, Anna Maria; Lifson, Amy (November–December 2012).

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recorded a version of the composition as part of the collaborative album

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The Legacy of Opera: Reading Music Theatre as Experience and Performance

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was conceived around 1947–48, while Cage was working on the piano cycle

8151: 7705: 7476: 7399: 7378: 7266: 6934: 6920: 6669: 6655: 6592: 6515: 6404: 6271: 6208: 6068: 5898: 5699: 5657: 5594: 5251: 4994: 4988: 4860: 4565: 4482:, a composition by Yves Klein featuring both sound and extended silence 1440: 1325: 1161:

In late 1989, three years before his death, Cage revisited the idea of

631:

had produced, in 1951, a series of white paintings (collectively named

473: 454: 434: 3734:

Composing under the Skin: The Music-making Body at the Composer's Desk

816:

is—resulting from the composer's lack of interference in the piece—a '

8200: 8158: 8023: 7733: 6823: 6578: 6445: 6166: 6117: 6082: 5643: 5070: 4927: 4884: 4652: 4590: 4506: 3991: 3633: 3549: 1594: 1475: 1274: 1064: 817: 775: 692: 656: 583: 272: 124: 33: 29: 757: 6047: 5914: 5272: 5233: 5217: 5203: 5094: 4596: 4018:

Inventing Modern: Growing Up with X-Rays, Skyscrapers, and Tailfins

1512: 858: 427:

Marche funèbre composée pour les funérailles d'un grand homme sourd

355: 344: 268: 2271:"From No Such Thing as Silence: John Cage's 4'33" - New Music USA" 1540:

On December 5, 2010, an international simultaneous performance of

733:

the same amount of attention (or perhaps even more) as if it were

7799: 6844: 6306: 5921: 5210: 5194: 5180: 4608: 3988:

Loading the Silence: Australian Sound Art in the Post-Digital Age

3684: 3459:(YouTube). The Late Show with Stephen Colbert. November 17, 2015. 2623: 2420:"This is what REALLY happened at The Rite of Spring riot in 1913" 1683:

According to a reproduction of the original Woodstock manuscript.

1578: 567: 398: 189: 128: 2888:"Revealed: what really happened when a Womble took on John Cage" 1356:

journalist Tom Ewing considered 'Cage Against the Machine' "the

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in the concert hall, so that "the whole hall is on the edge of

870:

originates; hence, they can feel motivated to pay to listen to

464:

Similar ideas had been envisioned in literature. For instance,

193: 4597:

Interview with Kyle Gann about 4'33" on The Next Track podcast

3470: 3257:"Why I'm backing Cage Against the Machine for Christmas No 1" 1087: 1043: 296: 5039: 4621: 4322:

Musical Terms, Symbols and Theory: An Illustrated Dictionary

3778:

Dickinson, Peter (1991). "Reviews of Three Books on Satie".

5601: 5135: 4561: 3932:. New York City: Continuum International Publishing Group. 1805: 1783: 1781: 1598: 1011: 829: 771: 295:

to compose a piece of uninterrupted silence and sell it to

205: 2695: 2693: 2691: 2676: 1273:

In July 2002, Cage's heirs sued British singer-songwriter

4573: 2955: 2951:"Wombles composer Mike Batt's silence legal row 'a scam'" 2924: 2210: 1361: 506: 498: 131:, although ambient sounds contribute to the performance. 1778: 1766: 1021:, and the beginning of each sentence is identified with 993: 853:

approach implies a profound psychological connection to

339:(1952), a piano piece composed just a few months before 3763:(in French). Paris, France: Union générale d'éditions. 3711:

The Brideshead Generation: Evelyn Waugh and His Friends

2705: 2688: 2571: 2559: 1829: 1612:

closed their last concert before a government-mandated

1082:) (1960) is a typewritten score, originally printed in 4357:. Hartware MedienKunstVerein. Leipzig: Spector Books. 3803:

John Cage's Theatre Pieces: Notations and Performances

3630:

Secretive Silence: John Cage's Performative Aesthetics

3626:

Verschwiegene Stille: John Cages performative Ästhetik

3327:"Various – A Chance Operation – The John Cage Tribute" 2542:"John Cage and the Avant-Garde: The Sounds of Silence" 2383: 1793: 1383: 1305:, in the hope that it would prevent the winner of the 1004:

John Cage's Theatre Pieces: Notations and Performances

287:. At this time, he was working on the cycle for piano 183:, seeing that absolute silence cannot exist. Although 8291: 1817: 1756: 1754: 1724:, amounting to five minutes and fifty-three seconds. 4184: 2373: 2371: 2297: 2241: 2239: 2237: 1888: 553:—a composition without melodic structure or regular 389:, which possibly influenced Cage. As early as 1907, 343:, consists of long silences framing a single, short 7038:

A Sunday Afternoon on the Island of La Grande Jatte

4137:

Experimental Music: Audio Explorations in Australia

3946: 3603:

Writings through John Cage's Music, Poetry, and Art

2524: 1922: 1920: 1478:project were broadcast on Australian radio station 841:as "four minutes thirty-three seconds of silence". 4220:Assimilate: A Critical History of Industrial Music 3036:"Sound of silence vies to be Christmas number one" 1751: 1431:(four minutes and thirty-three seconds of silence) 1328:and his then-wife Tracey, prompting people to buy 4274: 3313: 2368: 2234: 2198: 643: 539:Concerto for Prepared Piano and Chamber Orchestra 8315: 3601:Bernstein, David W.; Hatch, Christopher (2001). 3544:Arnold, Allison E.; Kramer, Jonathan C. (2023). 2222: 1917: 1865:"The 25 Best Performance Art Pieces of All Time" 1686: 1292: 574: 46:Original Woodstock manuscript of the composition 3578:The New Grove Dictionary of Music and Musicians 3254: 3194:: the festive sound of a defeated Simon Cowell" 393:delineated the importance of silence in music: 242:The New Grove Dictionary of Music and Musicians 4275:Symonds, Dominica; Karantonis, Pamela (2013). 3600: 1655:as a 'composition' is controversial, as it is 1616:with a performance of the piece, conducted by 5055: 4637: 4493:What John Cage's silent symphony really means 3224: 1556:On November 17, 2015, the television program 1452:, featuring in several works such as albums. 1380:instead became Christmas number one of 2010. 505:Since the late 1940s, Cage had been studying 423:Funeral March for the Obsequies of a Deaf Man 7970: 7959: 5160: 5149: 5103: 5092: 4618:app, published by the John Cage Trust (2014) 3543: 1772: 1297:In the week leading up to Christmas 2010, a 1131: 335:(1951) closes with an extended silence, and 5231: 4437:Silence and Absence in Literature and Music 4115: 3963: 3832:(2nd ed.). Brown & Benchmark Pub. 2601: 2589: 2311: 2216: 2146: 2140: 1850: 1811: 1787: 1727: 709:notes that: "The silence of the pianist in 5062: 5048: 4644: 4630: 4305:. New York City: Oxford University Press. 4222:. New York City: Oxford University Press. 4201:10.1093/gmo/9781561592630.article.A2223954 3849:No Such Thing as Silence: John Cage's 4′33 3567:Bek, Joseph (2001). "Erwin Schulhoff". In 2613: 1645: 437:, and, since Cage admired the latter, the 4303:Oxford History of Western Music: Volume 5 4263:The Sounds of Silence: John Cage and 4′33 4157: 3800: 3777: 3708: 3676:Entwurf einer neuen Ästhetik der Tonkunst 2885: 2870: 2858: 2810: 2798: 2759: 2747: 2723: 2711: 2699: 2682: 2652: 2565: 2184:"A few notes about silence and John Cage" 2119: 2104: 2092: 2035: 2012: 1899: 1893: 1835: 1722:A Chance Operation: The John Cage Tribute 1461:A Chance Operation: The John Cage Tribute 333:Concerto for prepared piano and orchestra 4319: 4297: 4065: 4012: 3985: 3425: 3350: 3230:"Once more unto the breach dear friends" 3157: 2971: 2577: 2389: 2377: 2314:, pp. 69–71, 86, 105, 198, 218, 231 2293: 2291: 2170: 2158: 1862: 1799: 1569:released a compilation box set entitled 1507:. The performance was broadcast live on 1067:describing their duration, dedicated to 1054: 887: 877: 756: 578: 489: 404: 267: 4259: 4239:The Roaring Silence: John Cage – A Life 3927: 3873: 3758: 3731: 3623: 3456:NOLA The Cat Performs John Cage's 4'33" 3068:"Silence bids for Christmas number one" 3003: 2846: 2834: 2786: 2771: 2735: 2536: 2488: 2473: 2461: 2446: 2362: 2323: 2256: 2245: 1823: 1760: 1667: 1624: 1105: 844: 350:The Wonderful Widow of Eighteen Springs 16:1952 modernist composition by John Cage 8316: 4353:Arns, Inke and Daniels, Dieter. 2012. 4236: 4134: 3900: 3672: 3650: 3636:, Germany: Fink Wilhelm GmbH + Co.KG. 3532: 3426:Lebrecht, Norman (December 11, 2010). 3006:"Cowell's second festive humiliation?" 2900:from the original on December 10, 2010 2881: 2879: 2640: 2484: 2482: 2347: 2335: 2134: 2130: 2128: 2115: 2113: 1985: 1974: 1968: 1926: 1911: 1713: 1050: 609:in operation, the low one my blood in 509:, especially through Japanese scholar 196:in music, many musicologists consider 7896:Six Characters in Search of an Author 5043: 4625: 4118:On Silence: Holding the Voice Hostage 4092: 3957:National Endowment for the Humanities 3827: 3269:from the original on January 10, 2011 3255:Luke Bainbridge (December 13, 2010). 3187: 3098: 3080:from the original on October 27, 2010 3048:from the original on October 19, 2010 2945: 2943: 2822: 2782: 2780: 2665: 2663: 2661: 2636: 2634: 2457: 2455: 2406: 2402: 2400: 2398: 2358: 2356: 2307: 2305: 2288: 2076:"New Jazz: 'All or Nothing at All'". 1996: 1994: 1938: 1846: 1844: 1519:version was recorded by the staff of 994:Woodstock manuscript and reproduction 4377:, vol. 75, no. 4, pp. 448–462. 4367:Davies, Stephen. 1997. "John Cage's 4217: 4068:The Cambridge Companion to John Cage 3846: 3691: 3361: 3206:from the original on October 7, 2010 2920:"Composer pays for piece of silence" 2886:McCormick, Neil (December 9, 2010). 2512: 2500: 2228: 2204: 1629: 1232: 1192: 1033: 932: 899:Some musicologists have argued that 686: 561:employs the concepts posited in the 480: 4538:further commentary by Peter Gutmann 4141:University of New South Wales Press 4095:Experimental Music: Cage and Beyond 4038: 3566: 2876: 2518: 2494: 2479: 2190:. November 24, 2004. Archived from 2125: 2110: 2024: 2000: 1636: 1384:Notable performances and recordings 1360:effort this year with a hope of ". 1100:Experimental Music: Cage and Beyond 667:The premiere of the three-movement 381:List of silent musical compositions 347:pattern. Furthermore, in his songs 13: 7098:Nude Descending a Staircase, No. 2 4394:Australasian Journal of Philosophy 4374:Australasian Journal of Philosophy 4347: 4266:(revised ed.). Archived from 3955:. Washington D.C., United States: 3681:Sketch of a New Aesthetic of Music 3506:. November 2, 2020. Archived from 3289:"Top 40 UK Official Singles Chart" 2940: 2777: 2658: 2631: 2452: 2395: 2353: 2302: 2298:Pritchett, Kuhn & Garrett 2012 1991: 1889:Pritchett, Kuhn & Garrett 2012 1841: 1664:can be considered a 'composition'. 1559:The Late Show with Stephen Colbert 1549:to 2010 Christmas Number 1 in the 1474:including a 'techno remix' of the 1390: 638: 549:Cage also explored the concept of 441:may have motivated him to compose 14: 8355: 4877:But What About the Noise ... 4486: 4407:Garten, Joel. February 20, 2014. 4116:Pluth, Ed; Zeiher, Cindy (2019). 3496:"Video: Kirill Petrenko conducts 3188:Ewing, Tom (September 30, 2010). 3099:Eaton, Andrew (October 5, 2010). 2525:Skinner, Gillis & Lifson 2012 620: 8301: 8278: 8277: 5024: 5023: 5011:Foundation for Contemporary Arts 4544:of a 2004 orchestral performance 3624:Bormann, Hans-Friedrich (2005). 3488: 3463: 3447: 3419: 3393: 3367: 3355: 3344: 3319: 3307: 3281: 3004:Gilbert, Ben (October 4, 2010). 1863:Eisinger, Dale (April 9, 2013). 1439:Problems playing this file? See 1415: 1236: 1228: 1196: 936: 922: 40: 4971:The Revenge of the Dead Indians 4503:Radio 3 plays 'silent symphony' 4041:Music and the Generosity of God 3986:Kouvaras, Linda Ioanna (2013). 3949:"Humanities Volume 33, Issue 6" 3548:(2nd ed.). United States: 3525: 3248: 3218: 3181: 3151: 3123: 3092: 3060: 3028: 2997: 2912: 2864: 2852: 2840: 2828: 2816: 2804: 2792: 2765: 2753: 2741: 2729: 2717: 2646: 2607: 2595: 2583: 2530: 2506: 2467: 2440: 2412: 2341: 2329: 2317: 2262: 2250: 2176: 2164: 2152: 2098: 2086: 2069: 2041: 2029: 2018: 2006: 1979: 1932: 1905: 1882: 1856: 1703: 1677: 1147:, which is also referred to as 980: 544: 485: 8045:Grosvenor School of Modern Art 8038:Fourth dimension in literature 4467:10.7256/2222-1956.2015.6.16411 4459:10.7256/2222-1956.2015.4.15062 4423:Revisited", pp. 166–179. 3874:Harding, James Martin (2013). 3694:Silence: Lectures and Writings 3539:, Paris, France: P. Ollendorff 2983:for Christmas Number One 2010" 2082:. March 16, 1947. pp. S7. 1136: 1006:. The reproduction notes that 644:Premiere and initial reception 453:—solely comprising rests— and 263: 204:, and some have likened it to 1: 5069: 4651: 4435:and Bernhart, Walter (eds.). 4383:10.1080/00048402.2017.1408664 4330:McFarland & Company, Inc. 4320:Thomsett, Michael C. (2012). 3314:Symonds & Karantonis 2013 1573:featuring interpretations of 1533:in 2009 as a hidden track on 1293:Christmas number one campaign 1268: 1169:, the full title of which is 720: 575:Visit to the anechoic chamber 417:, containing no musical notes 374: 258: 239:was his most important work. 4765:String Quartet in Four Parts 3971:. New York City: Routledge. 3884:University of Michigan Press 3828:Fiero, Gloria Konig (1995). 3709:Carpenter, Humphrey (2009). 3044:. London. October 16, 2010. 2269:Gann, Kyle (April 1, 2010). 2049:"JOHN CAGE; Similar Silence" 1952:. p. 92. Archived from 1745: 1495:On January 16, 2004, at the 1486:as part of their 2000 album 778:'s composition is associated 152:during the late 1940s about 7: 8138:List of avant-garde artists 7122:The Cabinet of Dr. Caligari 4741:Music for an Aquatic Ballet 4513:A quiet night out with Cage 4473: 4260:Solomon, Larry J. (2002) . 4218:Reed, S. Alexander (2013). 3811:Harwood Academic Publishers 3801:Fetterman, William (1996). 3607:University of Chicago Press 3546:What in the World is Music? 1165:one last time. He composed 975: 812:proposes a related theory; 699: 559:Concerto for Prepared Piano 537:In 1951, Cage composed the 10: 8360: 7996:Classical Hollywood cinema 4453:, numbers 4, pp. 436–454, 4387:Dodd, Julian. 2017. "What 4168:Cambridge University Press 4076:Cambridge University Press 3911:Liverpool University Press 3807:Amsterdam, the Netherlands 3673:Busoni, Ferruccio (1916). 1944:"Interview: Alfred Leslie" 1118:Calligraphic Tacet Edition 926: 881: 835: 770:(1917): a hallmark of the 735:Beethoven's Ninth Symphony 597:In 1951, Cage visited the 378: 212:also embodies the idea of 8324:Compositions by John Cage 8259: 7937: 7778: 7646: 7486: 7242: 7231: 7074:Les Demoiselles d'Avignon 7028: 6854: 6414: 5897: 5888: 5765: 5549: 5291: 5282: 5077: 5019: 4981: 4962: 4903: 4679: 4659: 4505:", BBC Online. (includes 4480:Monotone-Silence Symphony 4429:10.1163/9789004314863_011 4403:10.1080/00048409712348031 4326:Jefferson, North Carolina 4164:Cambridge, United Kingdom 4158:Pritchett, James (1993). 4072:Cambridge, United Kingdom 3969:Conversing with John Cage 3907:Liverpool, United Kingdom 3901:Harris, Jonathan (2005). 3702:Wesleyan University Press 3653:Buddhist Faith in America 3533:Allais, Alphonse (1897), 2985:. Facebook. December 2009 2619:"The origins of pleasure" 1614:COVID-19 related lockdown 1608:On October 31, 2020, the 1188: 1132:Of the composition itself 1102:, but is not reproduced. 740:The second point made by 659:, on the premiere of 459:Monotone–Silence Symphony 98: 90: 85: 77: 69: 59: 51: 39: 28: 23: 5859:The Master and Margarita 4669:Works for prepared piano 4066:Nicholls, David (2002). 3759:Charles, Daniel (1978). 3687:, Germany: Insel-Verlag. 3651:Burgan, Michael (2003). 3581:(2nd ed.). London: 1773:Arnold & Kramer 2023 1535:The Chair in the Doorway 1529:released a recording of 1470:Several performances of 1330:Rage Against the Machine 285:A Composer's Confessions 119:composition by American 73:4 minutes and 33 seconds 8145:List of modernist poets 8031:Fourth dimension in art 7214:Meshes of the Afternoon 4193:Oxford University Press 4093:Nyman, Michael (1974). 4039:Liu, Gerard C. (2017). 4022:Oxford University Press 3742:Leuven University Press 3698:Middletown, Connecticut 3504:Berliner Philharmoniker 2602:Pluth & Zeiher 2019 2590:Pluth & Zeiher 2019 1154: 863:psychologist Paul Bloom 675:on August 29, 1952, in 8229:Second Viennese School 7971: 7960: 5871:The Sound and the Fury 5775:In Search of Lost Time 5232: 5161: 5150: 5104: 5093: 5001:Indeterminacy in music 4757:Sonatas and Interludes 4283:: Brill Academic Pub. 4237:Revill, David (1993). 4160:The Music of John Cage 3930:Noise/Music: A History 3928:Hegarty, Paul (2007). 3853:New Haven, Connecticut 3732:Craenen, Paul (2014). 3536:Album primo–avrilesque 3401:"The sound of silence" 1591:Einstürzende Neubauten 1501:BBC Symphony Orchestra 1395: 1171:One = 4′33″ (0′00″) + 1071: 896: 779: 653: 594: 535: 502: 418: 403: 318:Sonatas and Interludes 305: 289:Sonatas and Interludes 276: 146:Sonatas and Interludes 140:Sonatas and Interludes 8208:Reactionary modernism 8131:List of art movements 4587:National Public Radio 4536:The Sounds of Silence 4135:Priest, Gail (2008). 4045:Princeton, New Jersey 3857:Yale University Press 3781:The Musical Quarterly 3605:. Chicago, Illinois: 2194:on February 12, 2006. 1738:cannot be identified. 1489:United States of Mind 1394: 1058: 970:musical indeterminacy 929:Indeterminacy (music) 927:Further information: 905:surrealist automatism 891: 884:Surrealist automatism 882:Further information: 878:Surrealist automatism 774:movement, with which 760: 677:Maverick Concert Hall 648: 582: 557:. The aforementioned 531: 493: 408: 395: 379:Further information: 293: 271: 214:musical indeterminacy 168:was first displayed. 8052:Hanshinkan Modernism 7908:The Threepenny Opera 7824:Pelléas et Mélisande 4837:Apartment House 1776 4696:Imaginary Landscapes 4664:List of compositions 4461:and 6, pp. 669–686, 3965:Kostelanetz, Richard 3761:Gloses sur John Cage 3583:Macmillan Publishers 3236:on November 12, 2010 3228:(October 27, 2010). 3076:. October 15, 2010. 2928:. September 23, 2002 2515:, pp. 16–17, 74 2057:. September 13, 1992 1625:Notes and references 1322:Christmas number one 1287:John Cage Foundation 1143:In 1962, Cage wrote 1114:Second Tacet Edition 1107:Second Tacet Edition 1059:An excerpt from the 845:Psychological impact 497:, whose approach to 8110:International Style 7860:Afternoon of a Faun 7146:Battleship Potemkin 7050:Mont Sainte-Victoir 4869:As Slow as Possible 4524:The Music of Chance 4413:The Huffington Post 4355:Sounds Like Silence 4270:on January 9, 2018. 4166:and New York City: 4097:. London, England: 3880:Ann Arbor, Michigan 3847:Gann, Kyle (2010). 3794:10.1093/mq/75.3.404 3692:Cage, John (1961). 3683:] (in German). 3657:Facts on File, Inc. 3632:] (in German). 3510:on November 2, 2020 3433:The Daily Telegraph 3295:. December 25, 2010 3226:Temple-Morris, Eddy 3041:The Daily Telegraph 3016:on October 18, 2010 2079:The Washington Post 1956:on December 4, 2010 1942:(January 1, 2009). 1610:Berlin Philharmonic 1334:Killing in the Name 1316:, from topping the 1173:. As in all of the 1092:First Tacet Edition 1080:Typed Tacet Edition 1076:First Tacet Edition 1061:First Tacet Edition 1051:First Tacet Edition 681:Woodstock, New York 629:Robert Rauschenberg 369:New York University 313:Duet for Two Flutes 200:to be the birth of 7989:Buddhist modernism 7946:American modernism 7872:The Rite of Spring 5847:The Sun Also Rises 5823:The Magic Mountain 4920:A Year from Monday 4188:Grove Music Online 4120:. Palgrave Pivot. 4049:Palgrave Macmillan 3996:Ashgate Publishing 3407:. January 16, 2004 3381:. January 12, 2004 3139:. October 15, 2010 3109:Scotland on Sunday 2959:. December 9, 2010 2837:, pp. 225–227 2789:, pp. 222–223 2428:. October 15, 2018 2173:, pp. 201–202 2054:The New York Times 1902:, pp. 59, 138 1465:Koch Entertainment 1396: 1366:Eddy Temple-Morris 1307:seventh series of 1248:. You can help by 1208:. You can help by 1072: 948:. You can help by 897: 894:automatic painting 780: 603:Harvard University 595: 588:Harvard University 519:Harvard University 503: 421:An example is the 419: 277: 8344:1952 compositions 8289: 8288: 8017:Experimental film 7933: 7932: 7920:Waiting for Godot 7227: 7226: 5884: 5883: 5787:The Metamorphosis 5037: 5036: 5006:West Coast School 4749:Living Room Music 4445:978-90-04-31485-6 4439:. Leiden: Brill. 4363:978-3-940064-41-7 4338:978-0-7864-6757-0 4312:978-0-19-538630-1 4299:Taruskin, Richard 4252:978-1-55970-220-1 4243:Arcade Publishing 4241:. New York City: 4210:978-1-56159-263-0 4058:978-3-319-69492-4 4020:. New York City: 4014:Lienhard, John H. 3893:978-0-4720-3610-3 3866:978-0-300-13699-9 3713:. United States: 3655:. New York City: 3643:978-3-7705-4147-8 3592:978-1-56159-239-5 3161:(July 19, 2010). 2669:Published score, 2617:(July 27, 2011). 1651:The labelling of 1630:Explanatory notes 1427:A performance of 1422: 1320:and becoming the 1266: 1265: 1226: 1225: 1034:Kremen manuscript 966: 965: 903:is an example of 892:An example of an 687:General reception 481:Direct influences 148:. His studies on 108: 107: 8351: 8306: 8305: 8304: 8297: 8281: 8280: 8252: 8250:Vulgar modernism 8245: 8243:Underground film 8238: 8231: 8224: 8217: 8210: 8203: 8196: 8189: 8182: 8175: 8168: 8161: 8154: 8147: 8140: 8133: 8126: 8119: 8112: 8105: 8096: 8089: 8082: 8075: 8068: 8066:Hippie modernism 8061: 8054: 8047: 8040: 8033: 8026: 8019: 8012: 8005: 7998: 7991: 7984: 7982:Bloomsbury Group 7977: 7976: 7966: 7965: 7955: 7948: 7926: 7925: 7914: 7913: 7902: 7901: 7890: 7889: 7878: 7877: 7866: 7865: 7854: 7853: 7842: 7841: 7830: 7829: 7818: 7817: 7806: 7805: 7794: 7793: 7771: 7764: 7757: 7750: 7743: 7736: 7729: 7722: 7715: 7708: 7701: 7694: 7687: 7680: 7673: 7666: 7659: 7639: 7632: 7625: 7618: 7611: 7604: 7597: 7590: 7583: 7576: 7569: 7562: 7555: 7548: 7541: 7534: 7527: 7520: 7513: 7506: 7499: 7479: 7472: 7465: 7458: 7451: 7444: 7437: 7430: 7423: 7416: 7409: 7402: 7395: 7388: 7381: 7374: 7367: 7360: 7353: 7346: 7339: 7332: 7325: 7318: 7311: 7304: 7297: 7290: 7283: 7276: 7269: 7262: 7255: 7240: 7239: 7220: 7219: 7208: 7207: 7196: 7195: 7186: 7185: 7176: 7175: 7170:Un Chien Andalou 7164: 7163: 7152: 7151: 7140: 7139: 7134:Ballet Mécanique 7128: 7127: 7116: 7115: 7104: 7103: 7092: 7091: 7080: 7079: 7068: 7067: 7062:The Starry Night 7056: 7055: 7044: 7043: 7021: 7014: 7007: 7000: 6993: 6986: 6979: 6972: 6965: 6958: 6951: 6944: 6937: 6930: 6923: 6916: 6909: 6902: 6895: 6888: 6881: 6874: 6867: 6847: 6840: 6833: 6826: 6819: 6812: 6805: 6798: 6791: 6784: 6777: 6770: 6763: 6756: 6749: 6742: 6735: 6728: 6721: 6714: 6707: 6700: 6693: 6686: 6679: 6672: 6665: 6658: 6651: 6644: 6637: 6630: 6623: 6616: 6609: 6602: 6595: 6588: 6581: 6574: 6567: 6560: 6553: 6546: 6539: 6532: 6525: 6518: 6511: 6504: 6497: 6490: 6483: 6476: 6469: 6462: 6455: 6448: 6441: 6434: 6427: 6407: 6400: 6393: 6391:Toulouse-Lautrec 6386: 6379: 6372: 6365: 6358: 6351: 6344: 6337: 6330: 6323: 6316: 6309: 6302: 6295: 6288: 6281: 6274: 6267: 6260: 6253: 6246: 6239: 6232: 6225: 6218: 6211: 6204: 6197: 6190: 6183: 6176: 6169: 6162: 6155: 6148: 6141: 6134: 6127: 6120: 6113: 6106: 6099: 6092: 6085: 6078: 6071: 6064: 6057: 6050: 6043: 6036: 6029: 6022: 6015: 6008: 6001: 5994: 5987: 5980: 5973: 5966: 5959: 5952: 5945: 5938: 5931: 5924: 5917: 5910: 5895: 5894: 5877: 5876: 5865: 5864: 5853: 5852: 5841: 5840: 5829: 5828: 5817: 5816: 5805: 5804: 5793: 5792: 5781: 5780: 5758: 5751: 5744: 5737: 5730: 5723: 5716: 5709: 5702: 5695: 5688: 5681: 5674: 5667: 5660: 5653: 5646: 5639: 5632: 5625: 5618: 5611: 5604: 5597: 5590: 5583: 5576: 5569: 5562: 5542: 5535: 5528: 5521: 5514: 5507: 5500: 5493: 5486: 5479: 5472: 5465: 5458: 5451: 5444: 5437: 5430: 5423: 5416: 5409: 5402: 5395: 5388: 5381: 5374: 5367: 5360: 5353: 5346: 5339: 5332: 5325: 5318: 5311: 5304: 5289: 5288: 5275: 5268: 5261: 5254: 5247: 5238: 5237: 5227: 5220: 5213: 5206: 5197: 5190: 5183: 5174: 5167: 5166: 5156: 5155: 5152:Der Blaue Reiter 5145: 5138: 5131: 5124: 5117: 5110: 5109: 5099: 5098: 5088: 5064: 5057: 5050: 5041: 5040: 5027: 5026: 4829:Etudes Australes 4773:Music of Changes 4646: 4639: 4632: 4623: 4622: 4371:: Is it music?" 4342: 4316: 4294: 4271: 4256: 4233: 4214: 4191:(8th ed.). 4181: 4154: 4131: 4112: 4089: 4062: 4035: 4009: 3982: 3960: 3943: 3924: 3897: 3870: 3843: 3824: 3797: 3774: 3755: 3728: 3705: 3688: 3669: 3647: 3620: 3596: 3563: 3540: 3520: 3519: 3517: 3515: 3492: 3486: 3485: 3483: 3481: 3467: 3461: 3460: 3451: 3445: 3444: 3442: 3440: 3423: 3417: 3416: 3414: 3412: 3397: 3391: 3390: 3388: 3386: 3371: 3365: 3359: 3353: 3348: 3342: 3341: 3339: 3337: 3323: 3317: 3311: 3305: 3304: 3302: 3300: 3285: 3279: 3278: 3276: 3274: 3252: 3246: 3245: 3243: 3241: 3232:. Archived from 3222: 3216: 3215: 3213: 3211: 3185: 3179: 3178: 3176: 3174: 3155: 3149: 3148: 3146: 3144: 3127: 3121: 3120: 3118: 3116: 3105: 3096: 3090: 3089: 3087: 3085: 3064: 3058: 3057: 3055: 3053: 3032: 3026: 3025: 3023: 3021: 3012:. Archived from 3001: 2995: 2994: 2992: 2990: 2975: 2969: 2968: 2966: 2964: 2947: 2938: 2937: 2935: 2933: 2916: 2910: 2909: 2907: 2905: 2883: 2874: 2873:, pp. 94–95 2868: 2862: 2861:, pp. 84–89 2856: 2850: 2844: 2838: 2832: 2826: 2820: 2814: 2808: 2802: 2796: 2790: 2784: 2775: 2769: 2763: 2762:, pp. 76–78 2757: 2751: 2745: 2739: 2733: 2727: 2721: 2715: 2709: 2703: 2697: 2686: 2685:, p. 69–80. 2680: 2674: 2667: 2656: 2650: 2644: 2643:, pp. 66–67 2638: 2629: 2628: 2611: 2605: 2604:, pp. 75–76 2599: 2593: 2592:, pp. 75–78 2587: 2581: 2575: 2569: 2563: 2557: 2556: 2554: 2552: 2534: 2528: 2522: 2516: 2510: 2504: 2498: 2492: 2486: 2477: 2471: 2465: 2459: 2450: 2449:, pp. 78–79 2444: 2438: 2437: 2435: 2433: 2416: 2410: 2409:, pp. 97–99 2404: 2393: 2387: 2381: 2375: 2366: 2360: 2351: 2350:, pp. 57–58 2345: 2339: 2333: 2327: 2326:, pp. 11–12 2321: 2315: 2312:Kostelanetz 2003 2309: 2300: 2295: 2286: 2285: 2283: 2281: 2266: 2260: 2254: 2248: 2243: 2232: 2226: 2220: 2217:Kostelanetz 2003 2214: 2208: 2202: 2196: 2195: 2180: 2174: 2168: 2162: 2156: 2150: 2147:Kostelanetz 2003 2144: 2138: 2132: 2123: 2117: 2108: 2107:, pp. 74–75 2102: 2096: 2090: 2084: 2083: 2073: 2067: 2066: 2064: 2062: 2045: 2039: 2033: 2027: 2022: 2016: 2010: 2004: 1998: 1989: 1988:, pp. 23–26 1983: 1977: 1972: 1966: 1965: 1963: 1961: 1936: 1930: 1924: 1915: 1909: 1903: 1897: 1891: 1886: 1880: 1879: 1877: 1875: 1860: 1854: 1853:, pp. 69–70 1851:Kostelanetz 2003 1848: 1839: 1833: 1827: 1821: 1815: 1814:, p. 69–70. 1812:Kostelanetz 2003 1809: 1803: 1797: 1791: 1788:Kostelanetz 2003 1785: 1776: 1770: 1764: 1758: 1739: 1731: 1725: 1717: 1711: 1707: 1701: 1690: 1684: 1681: 1675: 1671: 1665: 1649: 1643: 1640: 1587:Cabaret Voltaire 1551:UK Singles Chart 1424: 1423: 1393: 1318:UK Singles Chart 1261: 1258: 1240: 1233: 1221: 1218: 1200: 1193: 1128:1, no. 2:46–54. 1094:is described in 961: 958: 940: 933: 663: 599:anechoic chamber 527:meditation music 523:anechoic chamber 447:Fünf Pittoresken 409:Sheet music for 391:Ferruccio Busoni 324:Music of Changes 158:contemporary art 44: 21: 20: 8359: 8358: 8354: 8353: 8352: 8350: 8349: 8348: 8314: 8313: 8312: 8308:Classical music 8302: 8300: 8292: 8290: 8285: 8276: 8268: 8255: 8248: 8241: 8236:Structural film 8234: 8227: 8220: 8213: 8206: 8199: 8192: 8187:New Objectivity 8185: 8178: 8173:Neo-romanticism 8171: 8166:Neo-primitivism 8164: 8157: 8150: 8143: 8136: 8129: 8122: 8115: 8108: 8101: 8092: 8085: 8078: 8071: 8064: 8057: 8050: 8043: 8036: 8029: 8022: 8015: 8008: 8001: 7994: 7987: 7980: 7969: 7958: 7951: 7944: 7929: 7923: 7917: 7911: 7905: 7899: 7893: 7887: 7881: 7875: 7869: 7863: 7857: 7851: 7845: 7839: 7833: 7827: 7821: 7815: 7812:Verklärte Nacht 7809: 7803: 7797: 7791: 7785: 7774: 7767: 7760: 7753: 7746: 7739: 7732: 7725: 7718: 7711: 7704: 7697: 7690: 7683: 7676: 7669: 7662: 7655: 7642: 7635: 7628: 7621: 7614: 7607: 7600: 7593: 7586: 7579: 7572: 7565: 7558: 7551: 7544: 7537: 7530: 7523: 7516: 7509: 7502: 7495: 7482: 7475: 7468: 7461: 7454: 7447: 7440: 7433: 7426: 7419: 7412: 7405: 7398: 7391: 7384: 7377: 7370: 7363: 7356: 7349: 7342: 7335: 7328: 7321: 7314: 7307: 7300: 7293: 7286: 7279: 7272: 7265: 7258: 7251: 7234: 7223: 7217: 7211: 7205: 7199: 7193: 7189: 7183: 7179: 7173: 7167: 7161: 7155: 7149: 7143: 7137: 7131: 7125: 7119: 7113: 7107: 7101: 7095: 7089: 7083: 7077: 7071: 7065: 7059: 7053: 7047: 7041: 7035: 7024: 7017: 7010: 7003: 6996: 6989: 6982: 6975: 6968: 6961: 6954: 6947: 6940: 6933: 6926: 6919: 6912: 6905: 6898: 6891: 6884: 6877: 6870: 6863: 6850: 6843: 6836: 6829: 6822: 6815: 6808: 6801: 6794: 6787: 6780: 6773: 6766: 6759: 6752: 6745: 6738: 6731: 6724: 6717: 6710: 6703: 6696: 6689: 6682: 6675: 6668: 6661: 6654: 6647: 6640: 6633: 6626: 6619: 6612: 6605: 6598: 6591: 6584: 6577: 6570: 6563: 6556: 6549: 6542: 6535: 6528: 6521: 6514: 6507: 6500: 6493: 6486: 6479: 6472: 6465: 6458: 6451: 6444: 6437: 6430: 6423: 6410: 6403: 6396: 6389: 6382: 6375: 6368: 6361: 6354: 6347: 6340: 6333: 6326: 6319: 6312: 6305: 6298: 6291: 6284: 6277: 6270: 6263: 6256: 6249: 6242: 6235: 6228: 6221: 6214: 6207: 6200: 6193: 6186: 6179: 6172: 6165: 6158: 6151: 6144: 6137: 6130: 6123: 6116: 6109: 6102: 6095: 6088: 6081: 6074: 6067: 6060: 6053: 6046: 6039: 6032: 6025: 6018: 6011: 6004: 5997: 5990: 5983: 5976: 5969: 5962: 5955: 5948: 5941: 5934: 5927: 5920: 5913: 5906: 5880: 5874: 5868: 5862: 5856: 5850: 5844: 5838: 5832: 5826: 5820: 5814: 5808: 5802: 5796: 5790: 5784: 5778: 5772: 5761: 5754: 5747: 5740: 5733: 5726: 5719: 5712: 5705: 5698: 5691: 5684: 5677: 5670: 5665:Lowell (Robert) 5663: 5656: 5649: 5642: 5635: 5628: 5621: 5614: 5607: 5600: 5593: 5586: 5579: 5572: 5565: 5558: 5545: 5538: 5531: 5524: 5517: 5510: 5503: 5496: 5489: 5482: 5475: 5468: 5461: 5454: 5447: 5440: 5433: 5426: 5419: 5412: 5405: 5398: 5391: 5384: 5377: 5370: 5363: 5356: 5349: 5342: 5335: 5328: 5321: 5314: 5307: 5300: 5278: 5271: 5264: 5257: 5250: 5243: 5230: 5223: 5216: 5209: 5202: 5193: 5186: 5179: 5170: 5159: 5148: 5141: 5134: 5127: 5120: 5113: 5102: 5091: 5084: 5073: 5068: 5038: 5033: 5015: 4977: 4958: 4899: 4845:Etudes Boreales 4805:Cheap Imitation 4675: 4655: 4650: 4489: 4476: 4451:Culture and Art 4350: 4348:Further reading 4345: 4339: 4313: 4291: 4281:The Netherlands 4253: 4230: 4211: 4178: 4151: 4128: 4109: 4086: 4059: 4032: 4006: 3979: 3940: 3921: 3894: 3867: 3840: 3821: 3771: 3752: 3738:Leuven, Belgium 3725: 3715:Faber and Faber 3666: 3644: 3617: 3593: 3560: 3528: 3523: 3513: 3511: 3494: 3493: 3489: 3479: 3477: 3469: 3468: 3464: 3453: 3452: 3448: 3438: 3436: 3424: 3420: 3410: 3408: 3399: 3398: 3394: 3384: 3382: 3373: 3372: 3368: 3360: 3356: 3349: 3345: 3335: 3333: 3325: 3324: 3320: 3312: 3308: 3298: 3296: 3293:Official Charts 3287: 3286: 3282: 3272: 3270: 3253: 3249: 3239: 3237: 3223: 3219: 3209: 3207: 3186: 3182: 3172: 3170: 3156: 3152: 3142: 3140: 3129: 3128: 3124: 3114: 3112: 3103: 3097: 3093: 3083: 3081: 3073:The Irish Times 3066: 3065: 3061: 3051: 3049: 3034: 3033: 3029: 3019: 3017: 3002: 2998: 2988: 2986: 2977: 2976: 2972: 2962: 2960: 2949: 2948: 2941: 2931: 2929: 2918: 2917: 2913: 2903: 2901: 2884: 2877: 2869: 2865: 2857: 2853: 2845: 2841: 2833: 2829: 2821: 2817: 2809: 2805: 2797: 2793: 2785: 2778: 2770: 2766: 2758: 2754: 2746: 2742: 2734: 2730: 2722: 2718: 2710: 2706: 2698: 2689: 2681: 2677: 2668: 2659: 2651: 2647: 2639: 2632: 2612: 2608: 2600: 2596: 2588: 2584: 2576: 2572: 2564: 2560: 2550: 2548: 2546:Classical Notes 2535: 2531: 2523: 2519: 2511: 2507: 2499: 2495: 2487: 2480: 2472: 2468: 2460: 2453: 2445: 2441: 2431: 2429: 2418: 2417: 2413: 2405: 2396: 2388: 2384: 2376: 2369: 2361: 2354: 2346: 2342: 2334: 2330: 2322: 2318: 2310: 2303: 2296: 2289: 2279: 2277: 2275:newmusicusa.org 2268: 2267: 2263: 2255: 2251: 2244: 2235: 2227: 2223: 2215: 2211: 2203: 2199: 2182: 2181: 2177: 2169: 2165: 2157: 2153: 2145: 2141: 2133: 2126: 2118: 2111: 2103: 2099: 2091: 2087: 2075: 2074: 2070: 2060: 2058: 2047: 2046: 2042: 2034: 2030: 2023: 2019: 2011: 2007: 1999: 1992: 1984: 1980: 1973: 1969: 1959: 1957: 1937: 1933: 1925: 1918: 1910: 1906: 1898: 1894: 1887: 1883: 1873: 1871: 1861: 1857: 1849: 1842: 1834: 1830: 1822: 1818: 1810: 1806: 1798: 1794: 1786: 1779: 1771: 1767: 1759: 1752: 1748: 1743: 1742: 1732: 1728: 1718: 1714: 1708: 1704: 1691: 1687: 1682: 1678: 1672: 1668: 1650: 1646: 1641: 1637: 1632: 1627: 1618:Kirill Petrenko 1517:tongue-in-cheek 1505:Lawrence Foster 1499:in London, the 1497:Barbican Centre 1446: 1445: 1437: 1435: 1434: 1433: 1432: 1425: 1416: 1413: 1407: 1397: 1391: 1386: 1295: 1271: 1262: 1256: 1253: 1246:needs expansion 1231: 1222: 1216: 1213: 1206:needs expansion 1191: 1159: 1141: 1134: 1110: 1053: 1036: 996: 983: 978: 962: 956: 953: 946:needs expansion 931: 925: 886: 880: 847: 838: 784:Igor Stravinsky 723: 702: 689: 665: 655: 646: 641: 639:The composition 625: 577: 563:Ancient Chinese 547: 501:influenced Cage 488: 483: 468:'s prose fable 451:Erwin Schulhoff 431:Alphonse Allais 383: 377: 266: 261: 94:August 29, 1952 64:Modernist music 47: 32:composition by 17: 12: 11: 5: 8357: 8347: 8346: 8341: 8336: 8334:Postmodern art 8331: 8326: 8311: 8310: 8287: 8286: 8269: 8261: 8260: 8257: 8256: 8254: 8253: 8246: 8239: 8232: 8225: 8218: 8211: 8204: 8197: 8194:Poetic realism 8190: 8183: 8176: 8169: 8162: 8155: 8148: 8141: 8134: 8127: 8124:Late modernity 8120: 8117:Late modernism 8113: 8106: 8099: 8098: 8097: 8090: 8083: 8069: 8062: 8059:High modernism 8055: 8048: 8041: 8034: 8027: 8020: 8013: 8006: 8003:Degenerate art 7999: 7992: 7985: 7978: 7973:Ballets Russes 7967: 7956: 7949: 7941: 7939: 7935: 7934: 7931: 7930: 7928: 7927: 7915: 7903: 7891: 7879: 7867: 7855: 7843: 7831: 7819: 7807: 7795: 7782: 7780: 7776: 7775: 7773: 7772: 7765: 7758: 7751: 7744: 7737: 7730: 7723: 7716: 7709: 7702: 7695: 7688: 7681: 7674: 7667: 7660: 7652: 7650: 7644: 7643: 7641: 7640: 7633: 7626: 7619: 7612: 7605: 7598: 7591: 7584: 7577: 7570: 7563: 7556: 7549: 7542: 7535: 7528: 7521: 7514: 7507: 7500: 7492: 7490: 7484: 7483: 7481: 7480: 7473: 7466: 7459: 7452: 7445: 7438: 7431: 7424: 7417: 7410: 7403: 7396: 7389: 7382: 7375: 7368: 7361: 7354: 7347: 7340: 7333: 7326: 7319: 7312: 7305: 7298: 7291: 7284: 7277: 7270: 7263: 7256: 7248: 7246: 7237: 7229: 7228: 7225: 7224: 7222: 7221: 7209: 7197: 7187: 7177: 7165: 7153: 7141: 7129: 7117: 7105: 7093: 7081: 7069: 7057: 7045: 7032: 7030: 7026: 7025: 7023: 7022: 7015: 7008: 7001: 6994: 6987: 6980: 6973: 6966: 6959: 6952: 6945: 6938: 6931: 6924: 6917: 6910: 6903: 6896: 6889: 6882: 6875: 6868: 6860: 6858: 6852: 6851: 6849: 6848: 6841: 6834: 6827: 6820: 6813: 6806: 6799: 6792: 6785: 6778: 6771: 6764: 6757: 6750: 6743: 6736: 6729: 6726:Ray (Satyajit) 6722: 6719:Ray (Nicholas) 6715: 6708: 6701: 6694: 6687: 6680: 6673: 6666: 6659: 6652: 6645: 6638: 6631: 6624: 6617: 6610: 6603: 6596: 6589: 6582: 6575: 6568: 6561: 6554: 6547: 6540: 6533: 6526: 6519: 6512: 6505: 6498: 6491: 6484: 6477: 6470: 6463: 6456: 6449: 6442: 6435: 6428: 6420: 6418: 6412: 6411: 6409: 6408: 6401: 6394: 6387: 6380: 6373: 6366: 6359: 6352: 6345: 6338: 6331: 6324: 6317: 6310: 6303: 6296: 6289: 6282: 6275: 6268: 6261: 6254: 6247: 6240: 6233: 6226: 6219: 6212: 6205: 6198: 6191: 6184: 6177: 6170: 6163: 6156: 6149: 6142: 6135: 6128: 6121: 6114: 6107: 6100: 6093: 6086: 6079: 6072: 6065: 6058: 6051: 6044: 6037: 6030: 6023: 6016: 6009: 6002: 5995: 5988: 5981: 5974: 5967: 5960: 5953: 5946: 5939: 5932: 5925: 5918: 5911: 5903: 5901: 5892: 5886: 5885: 5882: 5881: 5879: 5878: 5866: 5854: 5842: 5830: 5818: 5811:The Waste Land 5806: 5794: 5782: 5769: 5767: 5763: 5762: 5760: 5759: 5752: 5745: 5738: 5731: 5724: 5717: 5710: 5703: 5696: 5689: 5682: 5675: 5668: 5661: 5654: 5647: 5640: 5633: 5626: 5619: 5612: 5605: 5598: 5591: 5584: 5577: 5570: 5563: 5555: 5553: 5547: 5546: 5544: 5543: 5536: 5529: 5522: 5515: 5508: 5501: 5494: 5487: 5480: 5473: 5466: 5459: 5452: 5445: 5438: 5431: 5424: 5417: 5410: 5403: 5396: 5389: 5382: 5375: 5368: 5361: 5354: 5347: 5340: 5333: 5326: 5319: 5312: 5305: 5297: 5295: 5286: 5280: 5279: 5277: 5276: 5269: 5262: 5255: 5248: 5241: 5240: 5239: 5221: 5214: 5207: 5200: 5199: 5198: 5184: 5177: 5176: 5175: 5168: 5157: 5139: 5132: 5125: 5122:Constructivism 5118: 5111: 5100: 5089: 5081: 5079: 5075: 5074: 5067: 5066: 5059: 5052: 5044: 5035: 5034: 5032: 5031: 5020: 5017: 5016: 5014: 5013: 5008: 5003: 4998: 4992: 4985: 4983: 4979: 4978: 4976: 4975: 4966: 4964: 4960: 4959: 4957: 4956: 4948: 4940: 4932: 4924: 4916: 4907: 4905: 4901: 4900: 4898: 4897: 4889: 4881: 4873: 4865: 4857: 4853:Freeman Etudes 4849: 4841: 4833: 4825: 4817: 4809: 4801: 4793: 4785: 4777: 4769: 4761: 4753: 4745: 4737: 4736: 4735: 4727: 4720: 4713: 4706: 4692: 4683: 4681: 4677: 4676: 4674: 4673: 4672: 4671: 4660: 4657: 4656: 4649: 4648: 4641: 4634: 4626: 4620: 4619: 4600: 4599: 4594: 4577: 4546: 4545: 4539: 4533: 4521: 4510: 4499: 4488: 4487:External links 4485: 4484: 4483: 4475: 4472: 4471: 4470: 4447: 4417: 4405: 4385: 4365: 4349: 4346: 4344: 4343: 4337: 4317: 4311: 4295: 4290:978-9042036918 4289: 4272: 4257: 4251: 4234: 4228: 4215: 4209: 4182: 4176: 4155: 4150:978-1921410079 4149: 4132: 4127:978-3030281465 4126: 4113: 4107: 4090: 4085:978-0521789684 4084: 4063: 4057: 4036: 4030: 4010: 4004: 3983: 3977: 3961: 3944: 3939:978-0826417275 3938: 3925: 3920:978-0853237198 3919: 3898: 3892: 3871: 3865: 3844: 3838: 3825: 3819: 3798: 3788:(3): 404–409. 3775: 3769: 3756: 3751:978-9058679741 3750: 3729: 3724:978-0571248339 3723: 3706: 3689: 3670: 3664: 3648: 3642: 3621: 3615: 3598: 3591: 3569:Sadie, Stanley 3564: 3558: 3541: 3529: 3527: 3524: 3522: 3521: 3487: 3462: 3446: 3418: 3392: 3366: 3354: 3343: 3318: 3306: 3280: 3247: 3217: 3180: 3150: 3122: 3091: 3059: 3027: 2996: 2970: 2939: 2911: 2875: 2871:Fetterman 1996 2863: 2859:Fetterman 1996 2851: 2839: 2827: 2815: 2811:Fetterman 1996 2803: 2799:Fetterman 1996 2791: 2776: 2764: 2760:Fetterman 1996 2752: 2748:Fetterman 1996 2740: 2728: 2724:Fetterman 1996 2716: 2712:Fetterman 1996 2704: 2700:Fetterman 1996 2687: 2683:Fetterman 1996 2675: 2671:Edition Peters 2657: 2653:Pritchett 1993 2645: 2630: 2606: 2594: 2582: 2580:, p. 254. 2570: 2566:Fetterman 1996 2558: 2538:Gutmann, Peter 2529: 2517: 2505: 2493: 2478: 2466: 2451: 2439: 2411: 2394: 2382: 2367: 2352: 2340: 2328: 2316: 2301: 2287: 2261: 2249: 2233: 2221: 2209: 2197: 2175: 2163: 2151: 2139: 2124: 2120:Pritchett 1993 2109: 2105:Pritchett 1993 2097: 2093:Pritchett 1993 2085: 2068: 2040: 2036:Carpenter 2009 2028: 2017: 2013:Dickinson 1991 2005: 1990: 1978: 1967: 1949:Art in America 1931: 1916: 1904: 1900:Pritchett 1993 1892: 1881: 1855: 1840: 1836:Fetterman 1996 1828: 1826:, p. 194. 1816: 1804: 1802:, p. 135. 1792: 1777: 1765: 1749: 1747: 1744: 1741: 1740: 1726: 1712: 1702: 1685: 1676: 1666: 1644: 1634: 1633: 1631: 1628: 1626: 1623: 1622: 1621: 1606: 1563: 1554: 1538: 1524: 1493: 1480:ABC Classic FM 1468: 1463:, released by 1436: 1426: 1414: 1409: 1408: 1399: 1398: 1389: 1388: 1387: 1385: 1382: 1345:science writer 1294: 1291: 1270: 1267: 1264: 1263: 1243: 1241: 1230: 1227: 1224: 1223: 1203: 1201: 1190: 1187: 1158: 1153: 1140: 1135: 1133: 1130: 1112:The so-called 1109: 1104: 1084:Edition Peters 1074:The so-called 1052: 1049: 1035: 1032: 1023:Roman numerals 1019:time signature 995: 992: 982: 979: 977: 974: 964: 963: 943: 941: 924: 921: 879: 876: 846: 843: 837: 834: 810:Daniel Charles 789:Rite of Spring 762:Marcel Duchamp 722: 719: 701: 698: 688: 685: 647: 645: 642: 640: 637: 633:White Painting 624: 622:White Painting 619: 607:nervous system 576: 573: 546: 543: 511:Daisetz Suzuki 495:Daisetz Suzuki 487: 484: 482: 479: 376: 373: 329:Two Pastorales 281:Vassar College 265: 262: 260: 257: 166:White Painting 106: 105: 100: 96: 95: 92: 88: 87: 83: 82: 79: 75: 74: 71: 67: 66: 61: 57: 56: 53: 49: 48: 45: 37: 36: 26: 25: 15: 9: 6: 4: 3: 2: 8356: 8345: 8342: 8340: 8337: 8335: 8332: 8330: 8327: 8325: 8322: 8321: 8319: 8309: 8299: 8298: 8295: 8284: 8274: 8273: 8272:Postmodernism 8267: 8266: 8258: 8251: 8247: 8244: 8240: 8237: 8233: 8230: 8226: 8223: 8219: 8216: 8215:Metamodernism 8212: 8209: 8205: 8202: 8198: 8195: 8191: 8188: 8184: 8181: 8180:New Hollywood 8177: 8174: 8170: 8167: 8163: 8160: 8156: 8153: 8149: 8146: 8142: 8139: 8135: 8132: 8128: 8125: 8121: 8118: 8114: 8111: 8107: 8104: 8100: 8095: 8091: 8088: 8084: 8081: 8077: 8076: 8074: 8073:Impressionism 8070: 8067: 8063: 8060: 8056: 8053: 8049: 8046: 8042: 8039: 8035: 8032: 8028: 8025: 8021: 8018: 8014: 8011: 8007: 8004: 8000: 7997: 7993: 7990: 7986: 7983: 7979: 7975: 7974: 7968: 7964: 7963: 7957: 7954: 7950: 7947: 7943: 7942: 7940: 7936: 7922: 7921: 7916: 7910: 7909: 7904: 7898: 7897: 7892: 7886: 7885: 7880: 7874: 7873: 7868: 7862: 7861: 7856: 7850: 7849: 7844: 7838: 7837: 7832: 7826: 7825: 7820: 7814: 7813: 7808: 7802: 7801: 7796: 7790: 7789: 7784: 7783: 7781: 7777: 7770: 7766: 7763: 7759: 7756: 7752: 7749: 7745: 7742: 7738: 7735: 7731: 7728: 7724: 7721: 7717: 7714: 7710: 7707: 7703: 7700: 7696: 7693: 7689: 7686: 7682: 7679: 7675: 7672: 7668: 7665: 7661: 7658: 7654: 7653: 7651: 7649: 7645: 7638: 7634: 7631: 7627: 7624: 7620: 7617: 7613: 7610: 7606: 7603: 7599: 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5825: 5824: 5819: 5813: 5812: 5807: 5801: 5800: 5795: 5789: 5788: 5783: 5777: 5776: 5771: 5770: 5768: 5764: 5757: 5753: 5750: 5746: 5743: 5739: 5736: 5732: 5729: 5725: 5722: 5718: 5715: 5711: 5708: 5704: 5701: 5697: 5694: 5690: 5687: 5683: 5680: 5676: 5673: 5669: 5666: 5662: 5659: 5655: 5652: 5648: 5645: 5641: 5638: 5634: 5631: 5627: 5624: 5620: 5617: 5613: 5610: 5606: 5603: 5599: 5596: 5592: 5589: 5585: 5582: 5578: 5575: 5571: 5568: 5564: 5561: 5557: 5556: 5554: 5552: 5548: 5541: 5537: 5534: 5530: 5527: 5523: 5520: 5516: 5513: 5509: 5506: 5502: 5499: 5495: 5492: 5488: 5485: 5481: 5478: 5474: 5471: 5467: 5464: 5460: 5457: 5453: 5450: 5446: 5443: 5439: 5436: 5432: 5429: 5425: 5422: 5418: 5415: 5411: 5408: 5404: 5401: 5397: 5394: 5390: 5387: 5383: 5380: 5376: 5373: 5369: 5366: 5362: 5359: 5355: 5352: 5348: 5345: 5341: 5338: 5334: 5331: 5327: 5324: 5320: 5317: 5313: 5310: 5306: 5303: 5299: 5298: 5296: 5294: 5290: 5287: 5285: 5284:Literary arts 5281: 5274: 5270: 5267: 5263: 5260: 5256: 5253: 5249: 5246: 5242: 5236: 5235: 5229: 5228: 5226: 5225:Neoplasticism 5222: 5219: 5215: 5212: 5208: 5205: 5201: 5196: 5192: 5191: 5189: 5188:Functionalism 5185: 5182: 5178: 5173: 5169: 5165: 5164: 5158: 5154: 5153: 5147: 5146: 5144: 5143:Expressionism 5140: 5137: 5133: 5130: 5126: 5123: 5119: 5116: 5115:Ashcan School 5112: 5108: 5107: 5101: 5097: 5096: 5090: 5087: 5083: 5082: 5080: 5076: 5072: 5065: 5060: 5058: 5053: 5051: 5046: 5045: 5042: 5030: 5022: 5021: 5018: 5012: 5009: 5007: 5004: 5002: 4999: 4996: 4993: 4990: 4987: 4986: 4984: 4980: 4973: 4972: 4968: 4967: 4965: 4961: 4954: 4953: 4949: 4946: 4945: 4941: 4938: 4937: 4933: 4930: 4929: 4925: 4922: 4921: 4917: 4914: 4913: 4909: 4908: 4906: 4902: 4895: 4894: 4893:Number Pieces 4890: 4887: 4886: 4882: 4879: 4878: 4874: 4871: 4870: 4866: 4863: 4862: 4858: 4855: 4854: 4850: 4847: 4846: 4842: 4839: 4838: 4834: 4831: 4830: 4826: 4823: 4822: 4818: 4815: 4814: 4810: 4807: 4806: 4802: 4799: 4798: 4794: 4791: 4790: 4786: 4783: 4782: 4778: 4775: 4774: 4770: 4767: 4766: 4762: 4759: 4758: 4754: 4751: 4750: 4746: 4743: 4742: 4738: 4733: 4732: 4728: 4726: 4725: 4721: 4719: 4718: 4714: 4712: 4711: 4707: 4705: 4704: 4700: 4699: 4698: 4697: 4693: 4690: 4689: 4688:Constructions 4685: 4684: 4682: 4678: 4670: 4667: 4666: 4665: 4662: 4661: 4658: 4654: 4647: 4642: 4640: 4635: 4633: 4628: 4627: 4624: 4617: 4613: 4612: 4607: 4606: 4605: 4604: 4598: 4595: 4592: 4588: 4584: 4583: 4578: 4575: 4571: 4567: 4563: 4559: 4558: 4553: 4552: 4551: 4550: 4543: 4540: 4537: 4534: 4531: 4530: 4525: 4522: 4520: 4519: 4514: 4511: 4508: 4504: 4500: 4498: 4494: 4491: 4490: 4481: 4478: 4477: 4468: 4464: 4460: 4456: 4452: 4448: 4446: 4442: 4438: 4434: 4430: 4426: 4422: 4418: 4415: 4414: 4410: 4406: 4404: 4400: 4396: 4395: 4390: 4386: 4384: 4380: 4376: 4375: 4370: 4366: 4364: 4360: 4356: 4352: 4351: 4340: 4334: 4331: 4327: 4323: 4318: 4314: 4308: 4304: 4300: 4296: 4292: 4286: 4282: 4278: 4273: 4269: 4265: 4264: 4258: 4254: 4248: 4244: 4240: 4235: 4231: 4229:9780199832606 4225: 4221: 4216: 4212: 4206: 4202: 4198: 4194: 4190: 4189: 4183: 4179: 4177:0-521-56544-8 4173: 4169: 4165: 4161: 4156: 4152: 4146: 4142: 4138: 4133: 4129: 4123: 4119: 4114: 4110: 4108:0-289-70182-1 4104: 4100: 4096: 4091: 4087: 4081: 4077: 4073: 4069: 4064: 4060: 4054: 4050: 4046: 4042: 4037: 4033: 4031:0-19-516032-0 4027: 4023: 4019: 4015: 4011: 4007: 4005:9781315592831 4001: 3997: 3993: 3989: 3984: 3980: 3978:0-415-93792-2 3974: 3970: 3966: 3962: 3958: 3954: 3950: 3945: 3941: 3935: 3931: 3926: 3922: 3916: 3912: 3908: 3904: 3899: 3895: 3889: 3885: 3881: 3877: 3872: 3868: 3862: 3858: 3854: 3850: 3845: 3841: 3839:0-6972-4222-6 3835: 3831: 3826: 3822: 3820:3-7186-5642-6 3816: 3812: 3808: 3804: 3799: 3795: 3791: 3787: 3783: 3782: 3776: 3772: 3766: 3762: 3757: 3753: 3747: 3743: 3739: 3735: 3730: 3726: 3720: 3716: 3712: 3707: 3703: 3699: 3695: 3690: 3686: 3682: 3678: 3677: 3671: 3667: 3665:0-8160-4988-2 3661: 3658: 3654: 3649: 3645: 3639: 3635: 3631: 3627: 3622: 3618: 3616:0-226-04408-4 3612: 3608: 3604: 3599: 3594: 3588: 3584: 3580: 3579: 3574: 3573:Tyrrell, John 3570: 3565: 3561: 3559:9781032341491 3555: 3551: 3547: 3542: 3538: 3537: 3531: 3530: 3509: 3505: 3501: 3500:by John Cage" 3499: 3491: 3476: 3472: 3466: 3458: 3457: 3450: 3435: 3434: 3429: 3422: 3406: 3402: 3396: 3380: 3376: 3370: 3363: 3358: 3352: 3351:Kouvaras 2013 3347: 3332: 3328: 3322: 3316:, p. 227 3315: 3310: 3294: 3290: 3284: 3268: 3264: 3263: 3258: 3251: 3235: 3231: 3227: 3221: 3205: 3201: 3200: 3195: 3193: 3190:"John Cage's 3184: 3168: 3167:for Xmas ..." 3166: 3163:"John Cage's 3160: 3159:Goldacre, Ben 3154: 3138: 3137: 3132: 3126: 3111: 3110: 3102: 3095: 3079: 3075: 3074: 3069: 3063: 3047: 3043: 3042: 3037: 3031: 3015: 3011: 3007: 3000: 2984: 2982: 2979:"John Cage's 2974: 2958: 2957: 2952: 2946: 2944: 2927: 2926: 2921: 2915: 2899: 2895: 2894: 2893:The Telegraph 2889: 2882: 2880: 2872: 2867: 2860: 2855: 2848: 2843: 2836: 2831: 2824: 2819: 2812: 2807: 2800: 2795: 2788: 2783: 2781: 2774:, p. 210 2773: 2768: 2761: 2756: 2749: 2744: 2738:, p. 194 2737: 2732: 2725: 2720: 2714:, p. 80. 2713: 2708: 2702:, p. 83. 2701: 2696: 2694: 2692: 2684: 2679: 2672: 2666: 2664: 2662: 2655:, p. 108 2654: 2649: 2642: 2637: 2635: 2626: 2625: 2620: 2616: 2610: 2603: 2598: 2591: 2586: 2579: 2578:Lienhard 2003 2574: 2568:, p. 69. 2567: 2562: 2547: 2543: 2539: 2533: 2526: 2521: 2514: 2509: 2502: 2497: 2491:, p. 262 2490: 2485: 2483: 2475: 2470: 2464:, p. 261 2463: 2458: 2456: 2448: 2443: 2427: 2426: 2421: 2415: 2408: 2403: 2401: 2399: 2392:, p. 56. 2391: 2390:Taruskin 2009 2386: 2379: 2378:Taruskin 2009 2374: 2372: 2364: 2359: 2357: 2349: 2344: 2337: 2332: 2325: 2320: 2313: 2308: 2306: 2299: 2294: 2292: 2276: 2272: 2265: 2259:, p. 200 2258: 2253: 2247: 2242: 2240: 2238: 2230: 2225: 2219:, p. 71. 2218: 2213: 2206: 2201: 2193: 2189: 2185: 2179: 2172: 2171:Nicholls 2002 2167: 2161:, p. 220 2160: 2159:Nicholls 2002 2155: 2148: 2143: 2136: 2131: 2129: 2121: 2116: 2114: 2106: 2101: 2094: 2089: 2081: 2080: 2072: 2056: 2055: 2050: 2044: 2037: 2032: 2026: 2021: 2015:, p. 406 2014: 2009: 2002: 1997: 1995: 1987: 1982: 1976: 1971: 1955: 1951: 1950: 1945: 1941: 1940:Stein, Judith 1935: 1929:, p. 164 1928: 1923: 1921: 1914:, p. 162 1913: 1908: 1901: 1896: 1890: 1885: 1870: 1866: 1859: 1852: 1847: 1845: 1838:, p. 71. 1837: 1832: 1825: 1820: 1813: 1808: 1801: 1800:Thomsett 2012 1796: 1790:, p. 70. 1789: 1784: 1782: 1774: 1769: 1762: 1757: 1755: 1750: 1737: 1730: 1723: 1716: 1706: 1699: 1695: 1689: 1680: 1670: 1663: 1658: 1657:intrinsically 1654: 1648: 1639: 1635: 1619: 1615: 1611: 1607: 1604: 1600: 1596: 1592: 1588: 1584: 1580: 1576: 1572: 1568: 1565:In May 2019, 1564: 1561: 1560: 1555: 1552: 1548: 1543: 1539: 1536: 1532: 1528: 1527:Living Colour 1525: 1522: 1518: 1514: 1510: 1506: 1502: 1498: 1494: 1491: 1490: 1485: 1481: 1477: 1473: 1469: 1466: 1462: 1458: 1455: 1454: 1453: 1451: 1444: 1442: 1430: 1412: 1406: 1404: 1381: 1379: 1375: 1371: 1367: 1363: 1359: 1355: 1354: 1349: 1346: 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691:Music critic 684: 682: 678: 674: 671:was given by 670: 664: 662: 658: 652: 636: 634: 630: 623: 618: 616: 612: 608: 604: 600: 593: 589: 585: 581: 572: 570: 569: 564: 560: 556: 552: 542: 540: 534: 530: 528: 524: 520: 514: 512: 508: 500: 496: 492: 478: 475: 471: 467: 462: 460: 456: 452: 448: 444: 440: 439:Funeral March 436: 432: 428: 424: 416: 415:Funeral March 412: 407: 402: 400: 394: 392: 388: 382: 372: 370: 366: 365:Alfred Leslie 360: 358: 357: 352: 351: 346: 342: 338: 334: 330: 326: 325: 320: 319: 314: 310: 304: 302: 301:Silent Prayer 298: 292: 290: 286: 282: 274: 270: 256: 254: 253: 248: 244: 243: 238: 234: 230: 225: 221: 219: 215: 211: 207: 203: 199: 195: 191: 186: 182: 178: 173: 169: 167: 163: 159: 155: 151: 147: 143: 141: 136: 132: 130: 126: 122: 118: 114: 113: 104: 101: 97: 93: 89: 84: 80: 76: 72: 68: 65: 62: 58: 54: 50: 43: 38: 35: 31: 27: 22: 19: 8270: 8263: 8010:Ecomodernism 7918: 7906: 7894: 7882: 7870: 7858: 7848:The Firebird 7846: 7834: 7822: 7810: 7798: 7786: 7212: 7202:Citizen Kane 7200: 7191:Fallingwater 7181:Villa Savoye 7168: 7156: 7144: 7132: 7120: 7110:Black Square 7108: 7096: 7084: 7072: 7060: 7048: 7036: 6928:Le Corbusier 6856:Architecture 5869: 5857: 5845: 5835:Mrs Dalloway 5833: 5821: 5809: 5797: 5785: 5773: 5658:Lowell (Amy) 4969: 4950: 4942: 4934: 4926: 4918: 4910: 4891: 4883: 4875: 4867: 4859: 4851: 4843: 4835: 4827: 4819: 4811: 4803: 4795: 4787: 4780: 4779: 4771: 4763: 4755: 4747: 4739: 4729: 4722: 4715: 4708: 4701: 4694: 4686: 4610: 4609:John Cage's 4602: 4601: 4593:file format) 4581: 4580:John Cage's 4556: 4555:John Cage's 4548: 4547: 4527: 4526:from the UK 4516: 4515:from the UK 4496: 4450: 4436: 4433:Wolf, Werner 4420: 4411: 4392: 4388: 4372: 4368: 4354: 4321: 4302: 4276: 4268:the original 4262: 4238: 4219: 4186: 4159: 4136: 4117: 4099:Studio Vista 4094: 4067: 4040: 4017: 3987: 3968: 3952: 3929: 3902: 3875: 3848: 3829: 3802: 3785: 3779: 3760: 3733: 3710: 3693: 3680: 3675: 3652: 3629: 3625: 3602: 3576: 3545: 3535: 3526:Bibliography 3514:February 10, 3512:. Retrieved 3508:the original 3503: 3497: 3490: 3480:February 12, 3478:. Retrieved 3475:Mute Records 3474: 3465: 3455: 3449: 3439:December 17, 3437:. Retrieved 3431: 3421: 3411:February 12, 3409:. Retrieved 3405:The Guardian 3404: 3395: 3385:February 12, 3383:. Retrieved 3378: 3369: 3364:, p. 43 3357: 3346: 3336:February 10, 3334:. Retrieved 3330: 3321: 3309: 3299:December 19, 3297:. Retrieved 3283: 3273:December 13, 3271:. Retrieved 3262:The Guardian 3260: 3250: 3238:. Retrieved 3234:the original 3220: 3208:. Retrieved 3199:The Guardian 3197: 3191: 3183: 3171:. Retrieved 3164: 3153: 3141:. Retrieved 3136:Daily Record 3134: 3125: 3113:. Retrieved 3107: 3094: 3082:. Retrieved 3071: 3062: 3050:. Retrieved 3039: 3030: 3018:. Retrieved 3014:the original 3010:Yahoo! Music 2999: 2987:. Retrieved 2980: 2973: 2963:February 12, 2961:. Retrieved 2954: 2932:February 12, 2930:. Retrieved 2923: 2914: 2904:February 14, 2902:. Retrieved 2891: 2866: 2854: 2849:, p. 58 2847:Craenen 2014 2842: 2835:Bormann 2005 2830: 2818: 2813:, p. 80 2806: 2801:, p. 79 2794: 2787:Bormann 2005 2772:Bormann 2005 2767: 2755: 2750:, p. 75 2743: 2736:Bormann 2005 2731: 2726:, p. 74 2719: 2707: 2678: 2648: 2622: 2609: 2597: 2585: 2573: 2561: 2549:. Retrieved 2545: 2532: 2520: 2508: 2503:, p. 17 2496: 2489:Charles 1978 2476:, p. 69 2474:Charles 1978 2469: 2462:Charles 1978 2447:Harding 2013 2442: 2430:. Retrieved 2423: 2414: 2385: 2380:, p. 71 2365:, p. 17 2363:Hegarty 2007 2343: 2338:, p. 59 2331: 2324:Hegarty 2007 2319: 2278:. Retrieved 2274: 2264: 2257:Bormann 2005 2252: 2246:Solomon 2002 2224: 2212: 2207:, p. 8. 2200: 2192:the original 2178: 2166: 2154: 2149:, p. 42 2142: 2137:, p. 52 2122:, p. 75 2100: 2095:, p. 74 2088: 2077: 2071: 2061:February 11, 2059:. Retrieved 2052: 2043: 2038:, p. 60 2031: 2020: 2008: 2003:, p. 54 1981: 1970: 1958:. Retrieved 1954:the original 1947: 1934: 1907: 1895: 1884: 1874:February 28, 1872:. Retrieved 1868: 1858: 1831: 1824:Bormann 2005 1819: 1807: 1795: 1775:, p. 5. 1768: 1761:Solomon 2002 1735: 1729: 1721: 1715: 1705: 1697: 1693: 1688: 1679: 1669: 1661: 1656: 1652: 1647: 1638: 1583:Depeche Mode 1574: 1570: 1567:Mute Records 1557: 1546: 1541: 1530: 1521:The Guardian 1520: 1487: 1471: 1460: 1449: 1447: 1438: 1428: 1402: 1401:John Cage's 1400: 1377: 1373: 1370:The Guardian 1369: 1357: 1353:The Guardian 1351: 1348:Ben Goldacre 1342: 1337: 1309:The X Factor 1308: 1302: 1296: 1286: 1283: 1272: 1254: 1250:adding to it 1245: 1214: 1210:adding to it 1205: 1179:sound system 1170: 1166: 1162: 1160: 1155: 1148: 1144: 1142: 1137: 1125: 1121: 1117: 1113: 1111: 1106: 1099: 1091: 1079: 1075: 1073: 1069:Irwin Kremen 1060: 1040:Irwin Kremen 1037: 1007: 1003: 997: 987: 984: 981:Of the score 967: 954: 950:adding to it 945: 916: 914: 909:Romantic Era 907:. Since the 900: 898: 871: 866: 865:put forward 854: 848: 839: 826:found object 813: 805: 803: 797: 793: 787: 781: 765: 750: 741: 739: 730: 725: 724: 714: 710: 707:Paul Hegarty 703: 690: 668: 666: 660: 654: 649: 632: 626: 621: 614: 596: 591: 566: 558: 551:chance music 548: 545:Chance music 538: 536: 532: 515: 507:Zen Buddhism 504: 499:Zen Buddhism 486:Zen Buddhism 469: 466:Harold Acton 463: 458: 446: 442: 438: 429:) (1897) by 426: 425:(in French: 422: 420: 414: 396: 387:related work 384: 361: 354: 348: 340: 336: 332: 331:(1951). The 328: 322: 316: 312: 308: 306: 300: 294: 288: 284: 278: 251: 246: 240: 236: 232: 228: 223: 222: 209: 197: 184: 176: 171: 170: 165: 162:Rauschenberg 154:chance music 150:Zen Buddhism 145: 138: 134: 133: 121:experimental 111: 110: 109: 18: 8265:Romanticism 8222:Remodernism 8103:Incoherents 7962:Avant-garde 7953:Armory Show 7560:Maeterlinck 7463:Villa-Lobos 7449:Szymanowski 7428:Stockhausen 7365:Lutosławski 7090:(1909–1910) 5890:Visual arts 5863:(1928–1940) 5779:(1913–1927) 5302:Apollinaire 5266:Synchromism 5106:Art Nouveau 4944:Empty Words 4872:(1985/1987) 4789:27' 10.554" 4509:sound file) 3240:October 28, 3210:October 28, 3173:October 28, 3143:November 7, 3115:October 28, 3084:October 28, 3052:October 28, 3020:October 28, 2825:, p. 3 2641:Harris 2005 2527:, p. 4 2432:February 9, 2348:Priest 2008 2336:Priest 2008 2135:Burgan 2003 1986:Allais 1897 1975:Busoni 1916 1927:Revill 1993 1912:Revill 1993 1509:BBC Radio 3 1457:Frank Zappa 1314:Matt Cradle 1279:The Planets 1149:4′33″ No. 2 1138:4′33″ No. 2 1017:with a 4/4 1012:treble clef 804:Above all, 673:David Tudor 611:circulation 586:sitting in 353:(1942) and 327:(1951) and 321:(1946–48), 264:The concept 231:(1962) and 218:Lacanianism 202:noise music 103:David Tudor 8318:Categories 8152:Maximalism 8087:Literature 7762:Wiesenthal 7664:Cunningham 7657:Balanchine 7637:Witkiewicz 7609:Strindberg 7595:Pirandello 7567:Mayakovsky 7442:Stravinsky 7414:Schoenberg 7233:Performing 7158:Metropolis 6949:Mendelsohn 6754:Rossellini 6747:Richardson 6558:Fassbinder 6544:Eisenstein 6481:Cassavetes 6237:Modigliani 6111:Goncharova 6097:Giacometti 5491:Dos Passos 5293:Literature 5252:Surrealism 5163:Die Brücke 4995:Xenia Cage 4989:Crete Cage 4963:Depictions 4861:Roaratorio 4821:Song Books 4797:Variations 4139:. Sydney: 3953:Humanities 3770:2264008555 3471:"STUMM433" 3265:. London. 3202:. London. 2823:Nyman 1974 2615:Paul Bloom 2425:Classic FM 2407:Fiero 1995 1960:October 8, 1441:media help 1326:Jon Morter 1269:Plagiarism 747:Schoenberg 721:Intentions 705:process". 474:Dave Tough 455:Yves Klein 449:(1919) by 435:Erik Satie 375:Precursors 259:Background 245:describes 99:Performers 8329:Durations 8201:Pulp noir 8159:Modernity 8024:Film noir 7748:St. Denis 7671:Diaghilev 7407:Schaeffer 7330:Hindemith 7309:Dutilleux 7281:Boulanger 7086:The Dance 6782:Tarkovsky 6775:Sternberg 6607:Hitchcock 6523:Dovzhenko 6439:Antonioni 6384:Stieglitz 6223:Metzinger 6174:Kokoschka 6153:Kandinsky 5567:Aldington 5560:Akhmatova 5477:Marinetti 5470:Mansfield 5421:Hemingway 5259:Symbolism 5078:Movements 5071:Modernism 4928:Notations 4896:(1987–92) 4888:(1987–91) 4885:Europeras 4856:(1977–90) 4832:(1974–75) 4800:(1958–67) 4760:(1946–48) 4734:(1939–52) 4691:(1939–41) 4653:John Cage 4591:RealAudio 4532:newspaper 4507:RealAudio 3992:Melbourne 3634:Paderborn 3550:Routledge 3362:Reed 2013 2513:Gann 2010 2501:Gann 2010 2229:Cage 1961 2205:Cage 1961 1746:Citations 1736:movements 1595:Goldfrapp 1476:New Waver 1275:Mike Batt 818:happening 693:Kyle Gann 657:John Cage 470:Cornelian 273:John Cage 125:John Cage 123:composer 117:modernist 78:Movements 34:John Cage 30:Modernist 8283:Category 7884:Fountain 7788:Don Juan 7727:Nijinsky 7623:Wedekind 7602:Piscator 7497:Anderson 7421:Scriabin 7337:Honegger 6998:Sullivan 6984:Saarinen 6977:Rietveld 6970:Niemeyer 6942:Melnikov 6872:Bunshaft 6803:Truffaut 6768:Sjöström 6712:Pudovkin 6684:Minnelli 6649:Kurosawa 6642:Kuleshov 6572:Flaherty 6398:Vuillard 6377:Steichen 6335:Rousseau 6300:Pissarro 6279:O'Keeffe 6244:Mondrian 6195:Malevich 6188:Magritte 6160:Kirchner 6104:van Gogh 6055:Doesburg 6034:Delaunay 6027:Delaunay 5950:Brâncuși 5936:Boccioni 5899:Painting 5749:Williams 5672:Mallarmé 5588:Cendrars 5498:Platonov 5456:Lawrence 5449:Koestler 5386:Flaubert 5379:Faulkner 5344:Bulgakov 5273:Tonalism 5234:De Stijl 5218:Lettrism 5204:Futurism 5095:Art Deco 5029:Category 4991:(mother) 4576:formats. 4529:Guardian 4518:Observer 4497:BBC News 4474:See also 4301:(2009). 4016:(2003). 3967:(2003). 3575:(eds.). 3267:Archived 3204:Archived 3078:Archived 3046:Archived 2989:March 1, 2898:Archived 2551:April 4, 2540:(1999). 2280:April 3, 2025:Bek 2001 2001:Liu 2017 1710:between. 1571:STUMM433 1513:dead air 1484:Covenant 1467:in 1993. 1378:X Factor 1183:feedback 1098:'s book 1000:notation 976:Versions 859:TED talk 851:Lacanian 767:Fountain 700:Analysis 555:notation 356:A Flower 345:ostinato 297:Muzak Co 86:Premiere 70:Duration 8339:Silence 7938:Related 7800:Ubu Roi 7755:Tamiris 7741:Sokolow 7720:Massine 7588:Osborne 7581:O'Neill 7574:O'Casey 7532:Chekhov 7518:Beckett 7504:Anouilh 7488:Theatre 7435:Strauss 7393:Russolo 7372:Milhaud 7351:Janáček 7323:Górecki 7316:Feldman 7302:Debussy 7295:Copland 7253:Antheil 6991:Steiner 6914:Johnson 6893:Guimard 6886:Gropius 6733:Resnais 6635:Kubrick 6565:Fellini 6551:Epstein 6537:Edwards 6502:Cocteau 6488:Chaplin 6460:Bresson 6453:Bergman 6432:Aldrich 6425:Akerman 6370:Soutine 6342:Schiele 6293:Picasso 6286:Picabia 6216:Matisse 6090:Gauguin 6062:Duchamp 6020:Kooning 5999:Claudel 5992:Chirico 5985:Chagall 5978:Cézanne 5971:Cassatt 5943:Bonnard 5929:Bellows 5922:Balthus 5799:Ulysses 5721:Stevens 5714:Seferis 5533:Unamuno 5372:Forster 5351:Chekhov 5316:Beckett 5245:Orphism 5211:Imagism 5195:Bauhaus 5181:Fauvism 5086:Acmeism 4982:Related 4912:Silence 3685:Leipzig 3331:Discogs 3169:Twitter 2624:ted.com 1869:Complex 1603:Erasure 1579:Laibach 836:Silence 830:Dadaist 824:-style 822:Duchamp 772:Dadaist 568:I Ching 399:fermata 337:Waiting 275:in 1988 252:Complex 206:Dadaist 190:harmony 129:silence 8294:Portal 7924:(1953) 7912:(1928) 7900:(1921) 7888:(1917) 7876:(1913) 7864:(1912) 7852:(1910) 7840:(1905) 7836:Salome 7828:(1902) 7816:(1899) 7804:(1896) 7792:(1888) 7769:Wigman 7699:Graham 7692:Fuller 7685:Fokine 7678:Duncan 7630:Wilder 7616:Toller 7553:Kaiser 7525:Brecht 7511:Artaud 7470:Webern 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