John Cage - Knowledge

1448:, they took "an enormous effort on the composer's part–requiring two full-time assistants and two computers humming day and night." These pieces caused quite a stir in the world of opera at the time with their unconventional methods for staging and sequencing. Many standard pieces of operatic repertoire were used, but not in any preset order; rather, they were selected by chance, meaning no two performances were exactly alike. Many of those who were to be a part of these performances refused to participate, citing the impossibility of the requests Cage was making. Days before Europas 1 & 2 were to be premiered, Frankfurt's opera house burned down, setting into motion a series of setbacks leading to a theatrical run met with mixed reactions, including a performance so bad that Cage penned a letter to his musicians criticizing their interpretation of his composition. 2362: 622:. The Cornish School years proved to be a particularly important period in Cage's life. Aside from teaching and working as accompanist, Cage organized a percussion ensemble that toured the West Coast and brought the composer his first fame. His reputation was enhanced further with the invention of the prepared piano—a piano which has had its sound altered by objects placed on, beneath or between the strings—in 1940. This concept was originally intended for a performance staged in a room too small to include a full percussion ensemble. It was also at the Cornish School that Cage met several people who became lifelong friends, such as painter 1145:. As set forth by Cage, happenings were theatrical events that abandon the traditional concept of stage-audience and occur without a sense of definite duration. Instead, they are left to chance. They have a minimal script, with no plot. In fact, a "happening" is so-named because it occurs in the present, attempting to arrest the concept of passing time. Cage believed that theater was the closest route to integrating art and real life. The term "happenings" was coined by Allan Kaprow, one of his students, who defined it as a genre in the late fifties. Cage met Kaprow while on a mushroom hunt with 1452: 696:. Without the percussion instruments, Cage again turned to prepared piano, producing a substantial body of works for performances by various choreographers, including Merce Cunningham, who had moved to New York City several years earlier. Cage and Cunningham eventually became romantically involved, and Cage's marriage, already breaking up during the early 1940s, ended in divorce in 1945. Cunningham remained Cage's partner for the rest of his life. Cage also countered the lack of percussion instruments by writing, on one occasion, for voice and closed piano: the resulting piece, 528:, as well as privately. The older composer became one of the biggest influences on Cage, who "literally worshipped him", particularly as an example of how to live one's life being a composer. The vow Cage gave, to dedicate his life to music, was apparently still important some 40 years later, when Cage "had no need for it ", he continued composing partly because of the promise he gave. Schoenberg's methods and their influence on Cage are well documented by Cage himself in various lectures and writings. Particularly well-known is the conversation mentioned in the 1958 lecture 1568: 1269: 591:, then moved to Hollywood. During 1936–38 Cage changed numerous jobs, including one that started his lifelong association with modern dance: dance accompanist at the University of California, Los Angeles. He produced music for choreographies and at one point taught a course on "Musical Accompaniments for Rhythmic Expression" at UCLA, with his aunt Phoebe. It was during that time that Cage first started experimenting with unorthodox instruments, such as household items, metal sheets, and so on. This was inspired by 542:

him, but against what he had said. I determined then and there, more than ever before, to write music." Although Schoenberg was not impressed with Cage's compositional abilities during these two years, in a later interview, where he initially said that none of his American pupils were interesting, he further stated in reference to Cage: "There was one ... of course he's not a composer, but he's an inventor—of genius." Cage would later adopt the "inventor" moniker and deny that he was in fact a composer.

517:. Cage's routine during that period was apparently very tiring, with just four hours of sleep on most nights, and four hours of composition every day starting at 4 am. Several months later, still in 1933, Cage became sufficiently good at composition to approach Schoenberg. He could not afford Schoenberg's price, and when he mentioned it, the older composer asked whether Cage would devote his life to music. After Cage replied that he would, Schoenberg offered to tutor him free of charge. 1641: 7070: 40: 2379: 1475:. Nevertheless, ever since arthritis started plaguing him, the composer was aware of his age, and, as biographer David Revill observed, "the fire which he began to incorporate in his visual work in 1985 is not only the fire he has set aside for so long—the fire of passion—but also fire as transitoriness and fragility." On August 11, 1992, while preparing evening tea for himself and Cunningham, Cage had another stroke. He was taken to 1595:(1939) expands on the concept: there are five sections of 4, 3, 2, 3, and 4 units respectively. Each unit contains 16 bars, and is divided the same way: 4 bars, 3 bars, 2 bars, etc. Finally, the musical content of the piece is based on sixteen motives. Such "nested proportions", as Cage called them, became a regular feature of his music throughout the 1940s. The technique was elevated to great complexity in later pieces such as 173: 267:, a piece performed in the absence of deliberate sound; musicians who present the work do nothing but be present for the duration specified by the title. The content of the composition is intended to be the sounds of the environment heard by the audience during performance. The work's challenge to assumed definitions about musicianship and musical experience made it a popular and controversial topic both in 2461: 951:. The score instructs the performer not to play the instrument during the entire duration of the piece—four minutes, thirty-three seconds—and is meant to be perceived as consisting of the sounds of the environment that the listeners hear while it is performed. Cage conceived "a silent piece" years earlier, but was reluctant to write it down; and indeed, the premiere (given by Tudor on August 29, 1952, at 1707:(1978). Cage's etudes are all extremely difficult to perform, a characteristic dictated by Cage's social and political views: the difficulty would ensure that "a performance would show that the impossible is not impossible"—this being Cage's answer to the notion that solving the world's political and social problems is impossible. Cage described himself as an anarchist, and was influenced by 6260: 2475: 2489: 486:. By 1933, Cage decided to concentrate on music rather than painting. "The people who heard my music had better things to say about it than the people who looked at my paintings had to say about my paintings", Cage later explained. In 1933 he sent some of his compositions to Henry Cowell; the reply was a "rather vague letter", in which Cowell suggested that Cage study with 2503: 1015:. The composer's financial situation gradually improved: in late 1954 he and Tudor were able to embark on a European tour. From 1956 to 1961 Cage taught classes in experimental composition at The New School, and from 1956 to 1958 he also worked as an art director and designer of typography. Among his works completed during the last years of the decade were 684:, and many others. Guggenheim was very supportive: the Cages could stay with her and Ernst for any length of time, and she offered to organize a concert of Cage's music at the opening of her gallery, which included paying for transportation of Cage's percussion instruments from Chicago. After she learned that Cage secured another concert, at the 602:. According to Cowell, the two composers had a shared interest in percussion and dance and would likely hit it off if introduced to one another. Indeed, the two immediately established a strong bond upon meeting and began a working relationship that continued for several years. Harrison soon helped Cage to secure a faculty member position at 2428:'s Olin Library in Middletown, Connecticut. They contain manuscripts, interviews, fan mail, and ephemera. Other material includes clippings, gallery and exhibition catalogs, a collection of Cage's books and serials, posters, objects, exhibition and literary announcement postcards, and brochures from conferences and other organizations 1903: 1399:(1992, premiered in Munich on October 28, 2011), usually employing a variant of the same technique. The process of composition, in many of the later Number Pieces, was simple selection of pitch range and pitches from that range, using chance procedures; the music has been linked to Cage's anarchic leanings. 1820:

featured multiple performers and groups in a large space who were all to commence and stop playing at two particular time periods, with instructions on when to play individually or in groups within these two periods. The result was a mass superimposition of many different musics on top of one another

1521:

Cage's first completed pieces are currently lost. According to the composer, the earliest works were very short pieces for piano, composed using complex mathematical procedures and lacking in "sensual appeal and expressive power." Cage then started producing pieces by improvising and writing down the

1077:

set up an annual grant for living expenses for Cage, to be issued from 1965 to his death. By the mid-1960s, Cage was receiving so many commissions and requests for appearances that he was unable to fulfill them. This was accompanied by a busy touring schedule; consequently Cage's compositional output

1045:

befriended Cage, an association that proved fruitful to both. In 1960 the composer was appointed a fellow on the faculty of the Center for Advanced Studies (now the Center for Humanities) in the Liberal Arts and Sciences at Wesleyan, where he started teaching classes in experimental music. In October

721:

Like his personal life, Cage's artistic life went through a crisis in mid-1940s. The composer was experiencing a growing disillusionment with the idea of music as means of communication: the public rarely accepted his work, and Cage himself, too, had trouble understanding the music of his colleagues.

400:

I was shocked at college to see one hundred of my classmates in the library all reading copies of the same book. Instead of doing as they did, I went into the stacks and read the first book written by an author whose name began with Z. I received the highest grade in the class. That convinced me that

874:

When I hear what we call music, it seems to me that someone is talking. And talking about his feelings, or about his ideas of relationships. But when I hear traffic, the sound of traffic—here on Sixth Avenue, for instance—I don't have the feeling that anyone is talking. I have the feeling that sound

541:

Cage studied with Schoenberg for two years, but although he admired his teacher, he decided to leave after Schoenberg told the assembled students that he was trying to make it impossible for them to write music. Much later, Cage recounted the incident: "... When he said that, I revolted, not against

536:

After I had been studying with him for two years, Schoenberg said, "In order to write music, you must have a feeling for harmony." I explained to him that I had no feeling for harmony. He then said that I would always encounter an obstacle, that it would be as though I came to a wall through which I

2048:

such as Pierre Boulez and Karlheinz Stockhausen dismissed indeterminate music; Boulez, who was once on friendly terms with Cage, criticized him for "adoption of a philosophy tinged with Orientalism that masks a basic weakness in compositional technique." Prominent critics of serialism, such as the

324:

that gave off exhaust bubbles, the senior Cage being uninterested in an undetectable submarine; others revolutionary and against the scientific norms, such as the "electrostatic field theory" of the universe. John Cage Sr. taught his son that "if someone says 'can't' that shows you what to do." In

257:

and decision-making tool, became Cage's standard composition tool for the rest of his life. In a 1957 lecture, "Experimental Music", he described music as "a purposeless play" which is "an affirmation of life – not an attempt to bring order out of chaos nor to suggest improvements in creation, but

2084:

While much of Cage's work remains controversial, his influence on countless composers, artists, and writers is notable. After Cage introduced chance procedures to his works, Boulez, Stockhausen, and Xenakis remained critical, yet all adopted chance procedures in some of their works (although in a

1872:

Since chance procedures were used by Cage to eliminate the composer's and the performer's likes and dislikes from music, Cage disliked the concept of improvisation, which is inevitably linked to the performer's preferences. In a number of works beginning in the 1970s, he found ways to incorporate

1893:

shells – by carefully tipping the shell several times, it is possible to achieve a bubble forming inside, which produced sound. Yet, as it is impossible to predict when this would happen, the performers had to continue tipping the shells – as a result the performance was dictated by pure chance.

1325:

during the 1970s, before finally having to give up performing. Preparing manuscripts also became difficult: before, published versions of pieces were done in Cage's calligraphic script; now, manuscripts for publication had to be completed by assistants. Matters were complicated further by David

959:

was just a part of the larger picture: on the whole, it was the adoption of chance procedures that had disastrous consequences for Cage's reputation. The press, which used to react favorably to earlier percussion and prepared piano music, ignored his new works, and many valuable friendships and

2064:

The rise of music that is totally without social commitment also increases the separation between composer and public, and represents still another form of departure from tradition. The cynicism with which this particular departure seems to have been made is perfectly symbolized in John Cage's

641:). The composer accepted partly because he hoped to find opportunities in Chicago, that were not available in Seattle, to organize a center for experimental music. These opportunities did not materialize. Cage taught at the Chicago School of Design and worked as accompanist and composer at the 1326:

Tudor's departure from performing, which happened in the early 1970s. Tudor decided to concentrate on composition instead, and so Cage, for the first time in two decades, had to start relying on commissions from other performers, and their respective abilities. Such performers included

454:– he wanted to return immediately, but his parents, with whom he regularly exchanged letters during the entire trip, persuaded him to stay in Europe for a little longer and explore the continent. Cage started traveling, visiting various places in France, Germany, and Spain, as well as 870:; the book would then be used in much the same way as it is used for divination. For Cage, this meant "imitating nature in its manner of operation". His lifelong interest in sound itself culminated in an approach that yielded works in which sounds were free from the composer's will: 986:

From 1953 onward, Cage was busy composing music for modern dance, particularly Cunningham's dances (Cage's partner adopted chance too, out of fascination for the movement of the human body), as well as developing new methods of using chance, in a series of works he referred to as

899:

for piano. The latter work was written for David Tudor, whom Cage met through Feldman—another friendship that lasted until Cage's death. Tudor premiered most of Cage's works until the early 1960s, when he stopped performing on the piano and concentrated on composing music. The

2275:

In 2012, among a wide range of American and international centennial celebrations, an eight-day festival was held in Washington DC, with venues found notably more among the city's art museums and universities than performance spaces. Earlier in the centennial year, conductor

1249:

lies outside of what may seem necessary in my work in general, and that's disturbing. I'm the first to be disturbed by it." Cage's fondness for the piece resulted in a recording—a rare occurrence, since Cage disliked making recordings of his music—made in 1976. Overall,

462:, where he started composing. His first compositions were created using dense mathematical formulas, but Cage was displeased with the results and left the finished pieces behind when he left. Cage's association with theater also started in Europe: during a walk in 2647:

Cage self-identified as an anarchist in a 1985 interview: "I'm an anarchist. I don't know whether the adjective is pure and simple, or philosophical, or what, but I don't like government! And I don't like institutions! And I don't have any confidence in even good

344:

area and several relatives, particularly his aunt Phoebe Harvey James who introduced him to the piano music of the 19th century. He received first piano lessons when he was in the fourth grade at school, but although he liked music, he expressed more interest in

1214:, incorporated the mass superimposition of seven harpsichords playing chance-determined excerpts from the works of Cage, Hiller, and a potted history of canonical classics, with 52 tapes of computer-generated sounds, 6,400 slides of designs, many supplied by 2357:

in July 2012 "performed an engrossing piece called 'Story/Time'. It was modeled on Cage's 1958 work 'Indeterminacy', in which sat alone onstage, reading aloud ... series of one-minute stories 'd written. Dancers from Jones's company performed as read."

595:, who told Cage that "everything in the world has a spirit that can be released through its sound." Although Cage did not share the idea of spirits, these words inspired him to begin exploring the sounds produced by hitting various non-musical objects. 2065:

account of a public lecture he had given: "Later, during the question period, I gave one of six previously prepared answers regardless of the question asked. This was a reflection of my engagement in Zen." While Mr. Cage's famous silent piece , or his

1632:(1950–51) used a system of charts of durations, dynamics, melodies, etc., from which Cage would choose using simple geometric patterns. The last movement of the concerto was a step towards using chance procedures, which Cage adopted soon afterwards. 1092:, completed in 1962, originally comprised a single sentence: "In a situation provided with maximum amplification, perform a disciplined action", and in the first performance the disciplined action was Cage writing that sentence. The score of 2118:

Cage's rhythmic structure experiments and his interest in sound influenced a number of composers, starting at first with his close American associates Earle Brown, Morton Feldman, and Christian Wolff (and other American composers, such as

1730:(1979). In these works, Cage would borrow the rhythmic structure of the originals and fill it with pitches determined through chance procedures, or just replace some of the originals' pitches. Yet another series of works, the so-called 688:, Guggenheim withdrew all support, and, even after the ultimately successful MoMA concert, Cage was left homeless, unemployed and penniless. The commissions he hoped for did not happen. He and Xenia spent the summer of 1942 with dancer 983:, a multi-layered, multi-media performance event staged the same day as Cage conceived it that "that would greatly influence 1950s and 60s artistic practices". In addition to Cage, the participants included Cunningham and Tudor. 1241:, and, as both listeners and Cage himself noted, openly sympathetic to its source. Although Cage's affection for Satie's music was well-known, it was highly unusual for him to compose a personal work, one in which the composer 821:. Cage felt so overwhelmed by Webern's piece that he left before the Rachmaninoff; and in the lobby, he met Feldman, who was leaving for the same reason. The two composers quickly became friends; some time later Cage, Feldman, 924:, he prepared a set of instructions for Tudor as to how to complete the piece in the event of his death. Nevertheless, Cage managed to survive and maintained an active artistic life, giving lectures and performances, etc. 1388:

and Carlo Neri. The title referred to the number of performers needed; the music consisted of short notated fragments to be played at any tempo within the indicated time constraints. Cage went on to write some forty such

1291: 904:

became Cage's standard tool for composition: he used it in practically every work composed after 1951, and eventually settled on a computer algorithm that calculated numbers in a manner similar to throwing coins for the

5429: 960:

connections were lost. Pierre Boulez, who used to promote Cage's work in Europe, was opposed to Cage's particular approach to the use of chance, and so were other composers who came to prominence during the 1950s, e.g.

1544:

to his students, Cage developed another tone row technique, in which the row was split into short motives, which would then be repeated and transposed according to a set of rules. This approach was first used in

5379: 1783:

which of these pitches were to remain single, and which should become parts of aggregates (chords), and the aggregates were selected from a table of some 550 possible aggregates, compiled beforehand.

320:. Cage described his mother as a woman with "a sense of society" who was "never happy", while his father is perhaps best characterized by his inventions: sometimes idealistic, such as a diesel-fueled 1490:, New York, at the same place where he had scattered the ashes of his parents. The composer's death occurred only weeks before a celebration of his 80th birthday organized in Frankfurt by composer 1196:

Cage's work from the sixties features some of his largest and most ambitious, not to mention socially utopian pieces, reflecting the mood of the era yet also his absorption of the writings of both

1790:(1958) presents the performer with six transparent squares, one with points of various sizes, five with five intersecting lines. The performer combines the squares and uses lines and points as a 2290:

at Carnegie Hall in New York. Another celebration came, for instance, in Darmstadt, Germany, which in July 2012 renamed its central station the John Cage Railway Station during the term of its

6387:, website by Cage scholar Paul van Emmerik, in collaboration with performer Herbert Henck and András Wilheim. Includes exhaustive catalogues and bibliography, chronology of Cage's life, etc. 1821:

as determined by chance distribution, producing an event with a specifically theatric feel. Many Musicircuses have subsequently been held, and continue to occur even after Cage's death. The

1986:

consists entirely of images of chance-determined play of electric light. It premiered in Cologne, Germany, on September 19, 1992, accompanied by the live performance of the orchestra piece

6282: 5820: 2049:

Greek composer Iannis Xenakis, were similarly hostile towards Cage: for Xenakis, the adoption of chance in music was "an abuse of language and ... an abrogation of a composer's function."

975:. Cage taught at the college in the summers of 1948 and 1952 and was in residence the summer of 1953. While at Black Mountain College in 1952, he organized what has been called the first " 1959:(1982). These were the last works in which he used engraving. In 1983 he started using various unconventional materials such as cotton batting, foam, etc., and then used stones and fire ( 1940:, which Cage drew with his eyes closed, but which conformed to a strict structure developed using chance operations. Finally, Thoreau's drawings informed the last works produced in 1978, 726:, an Indian musician who came to the US to study Western music. In return, he asked her to teach him about Indian music and philosophy. Cage also attended, in late 1940s and early 1950s, 2044:

were performed at Carnegie Hall in 1949. Cage's adoption of chance operations in 1951 cost him a number of friendships and led to numerous criticisms from fellow composers. Adherents of

6497: 1289: 5234:

Paul Hegarty, Full With Noise: Theory and Japanese Noise Music, pp. 86–98 in Life in the Wires (2004) eds. Arthur Kroker & Marilouise Kroker, NWP CTheory Books, Victoria, Canada

2732:... when Harvard University Press called him, in a 1990 book advertisement, 'without a doubt the most influential composer of the last half-century', amazingly, that was too modest. 1845:, the ENO Community Choir, ENO Opera Works singers, and a collective of professional and amateur talents performing in the bars and front of house at London's Coliseum Opera House. 425:, but decided he was not interested enough in architecture to dedicate his life to it. He then took up painting, poetry and music. It was in Europe that, encouraged by his teacher 7942: 1583:

Soon after Cage started writing percussion music and music for modern dance, he started using a technique that placed the rhythmic structure of the piece into the foreground. In

279:(a piano with its sound altered by objects placed between or on its strings or hammers), for which he wrote numerous dance-related works and a few concert pieces. These include 6516:: Articles and documents on a project of John Cage, Claus Sterneck and Wolfgang Sterneck in benefit of a squatted culture center in Hanau (Germany) in 1991, (English / German). 5397: 1066:. Walter Hinrichsen, the president of the corporation, offered Cage an exclusive contract and instigated the publication of a catalog of Cage's works, which appeared in 1962. 1290: 1109:", an art form established by Cage and his students in late 1950s. Cage's "Experimental Composition" classes at The New School have become legendary as an American source of 478:, where he made a living partly by giving small, private lectures on contemporary art. He got to know various important figures of the Southern California art world, such as 7947: 2574:, 1–2. Cage mentions a working model of the universe that his father had built, and that the scientists who saw it could not explain how it worked and refused to believe it. 1738:: the score consists of short fragments with indications of when to start and to end them (e.g. from anywhere between 1′15" and 1′45", and to anywhere from 2′00" to 2′30"). 2081:, Kahn acknowledged the influence Cage had on culture, but noted that "one of the central effects of Cage's battery of silencing techniques was a silencing of the social." 2069:

for a dozen radio receivers may be of little interest as music, they are of enormous importance historically as representing the complete abdication of the artist's power.

1779:, the compositional procedure involved placing a transparent strip on the star chart, identifying the pitches from the chart, transferring them to paper, then asking the 1810:) consists of a single sentence: "In a situation provided with maximum amplification, perform a disciplined action." The first performance had Cage write that sentence. 1222:

in 1969, in which the audience arrived after the piece had begun and left before it ended, wandering freely around the auditorium in the time for which they were there.

1794:, in which the lines are axes of various characteristics of the sounds, such as lowest frequency, simplest overtone structure, etc. Some of Cage's graphic scores (e.g. 1184:

was first published by Wesleyan University Press. Cage's parents died during the decade: his father in 1964, and his mother in 1969. Cage had their ashes scattered in

7807: 5878: 1113:, an international network of artists, composers, and designers. The majority of his students had little or no background in music. Most were artists. They included 1679:

hexagram numbers were used to determine the accidentals, clefs, and playing techniques. A whole series of works was created by applying chance operations, i.e. the

2087: 1786:

Finally, some of Cage's works, particularly those completed during the 1960s, feature instructions to the performer, rather than fully notated music. The score of

1589:(1939) there are four large sections of 16, 17, 18, and 19 bars, and each section is divided into four subsections, the first three of which were all 5 bars long. 657:, was received well, and Cage deduced that more important commissions would follow. Hoping to find these, he left Chicago for New York City in the spring of 1942. 2005:(1949), which were composed in rhythmic structures. Subsequent books also featured different types of content, from lectures on music to poetry—Cage's mesostics. 1885:. The structure of the pieces is determined through the chance of their choices, as is the musical output; the performers had no knowledge of the instruments. In 1041:

and collaborated with members of its music department from the 1950s until his death in 1992. At the university, the philosopher, poet, and professor of classics

750:, and others. Cage accepted the goal of music as explained to him by Sarabhai: "to sober and quiet the mind, thus rendering it susceptible to divine influences". 365:

proposing a day of quiet for all Americans. By being "hushed and silent," he said, "we should have the opportunity to hear what other people think," anticipating

1993:

Throughout his adult life, Cage was also active as lecturer and writer. Some of his lectures were included in several books he published, the first of which was

1405:(i.e., the eleventh piece for a single performer), completed in early 1992, was Cage's first and only foray into film. Cage conceived his last musical work with 1254:

marked a major change in Cage's music: he turned again to writing fully notated works for traditional instruments, and tried out several new approaches, such as

916:

earned him, and the connections he cultivated with American and European composers and musicians, Cage was quite poor. Although he still had an apartment at 326

4462: 396:. In 1930 he dropped out, having come to believe that "college was of no use to a writer" after an incident described in his 1991 autobiographical statement: 3339:, 7–8; for details on Cage's homosexual relationship with Don Sample, an American he met in Europe, as well as details on the Cage-Kashevaroff marriage, see 466:

he witnessed, in his own words, "the multiplicity of simultaneous visual and audible events all going together in one's experience and producing enjoyment."

1936:(1978), created from fully notated instructions, and based on various combinations of drawings by Henry David Thoreau. This was followed, the same year, by 2291: 7274: 2194:, composed a piece entitled "CAGE DEAD", using a melody based on the notes contained in the title, in the order they appear: C, A, G, E, D, E, A and D. 1321:

had troubled Cage since 1960, and by the early 1970s his hands were painfully swollen and rendered him unable to perform. Nevertheless, he still played

7937: 7802: 7762: 5461: 1540:. Around the same time, the composer also developed a type of a tone row technique with 25-note rows. After studies with Schoenberg, who never taught 1932:

From 1978 to his death Cage worked at Crown Point Press, producing series of prints every year. The earliest project completed there was the etching

1802:(both 1958)) present the performer with similar difficulties. Still other works from the same period consist just of text instructions. The score of 1628:

was selected only based on whether it contains the note necessary for the melody, and so the rest of the notes do not form any directional harmony.

505:

Following Cowell's advice, Cage travelled to New York City in 1933 and started studying with Weiss as well as taking lessons from Cowell himself at

7957: 4990: 4792:

Mikawa, Makoto (2015). "The theatricalisation of Mauricio Kagel's 'Antithese' (1962) and its development in collaboration with Alfred Feussner".

2418: 1745:

was far from simple randomization. The procedures varied from composition to composition, and were usually complex. For example, in the case of

4759: 1218:, and shown from sixty-four slide projectors, with 40 motion-picture films. The piece was initially rendered in a five-hour performance at the 349:

than in developing virtuoso piano technique, and apparently was not thinking of composition. During high school, one of his music teachers was

2587:, in Grove, imply that Cage met Schoenberg in New York City: "Cage followed Schoenberg to Los Angeles in 1934". In a 1976 interview quoted in 1771:

For this phrase for which this transposition of this mode will apply, which note am I using of the seven to imitate the note that Satie wrote?

1062:

was Cage's first book of six but it remains his most widely read and influential. In the early 1960s Cage began his lifelong association with

7752: 7907: 6494: 1929:

panels. The panels and the lithographs all consist of bits and pieces of words in different typefaces, all governed by chance operations.

7767: 7757: 545:

At some point in 1934–35, during his studies with Schoenberg, Cage was working at his mother's arts and crafts shop, where he met artist

610:. Several famous dance groups were present, and Cage's interest in modern dance grew further. After several months he left and moved to 7997: 7832: 7747: 7119: 761:, who had escaped from Nazi persecution to New York in 1941. They became close, lifelong friends, and Cage later dedicated part of his 598:

In 1938, on Cowell's recommendation, Cage drove to San Francisco to find employment and to seek out fellow Cowell student and composer

417:, where he took a train to Paris. Cage stayed in Europe for some 18 months, trying his hand at various forms of art. First, he studied 204:. Critics have lauded him as one of the most influential composers of the 20th century. He was also instrumental in the development of 1356:

to engage in printmaking, and Cage would go on to produce series of prints every year until his death; these, together with some late

7852: 7777: 5149: 3777: 790: 7812: 7742: 7737: 7732: 866:, but for Cage it became a tool to compose using chance. To compose a piece of music, Cage would come up with questions to ask the 405:

Cage persuaded his parents that a trip to Europe would be more beneficial to a future writer than college studies. He subsequently

3734: 2930: 1471:. He had a stroke that left the movement of his left leg restricted, and, in 1985, broke an arm. During this time, Cage pursued a 7887: 7267: 6768: 6754: 4541: 2444:

The John Cage Materials are held within the Oral History of American Music (OHAM) collection of the Irving S. Gilmore Library at

698: 1982:

who worked with Cage to produce and direct the 90-minute monochrome film. It was completed only weeks before his death in 1992.

7857: 7837: 6520: 5176: 2354: 337:. The latter is a short lively piece that ends abruptly, while "Crete" is a slightly longer, mostly melodic contrapuntal work. 6396: 7847: 6713: 6241: 6233: 6174: 6092: 6078: 6061: 6046: 6028: 6013: 5950: 5942: 5925: 5897: 5860: 5841: 5808: 5789: 5767: 5724: 5689: 5670: 5649: 5622: 5577: 5357: 5331: 5305: 5219: 5028: 5003: 4746: 4719: 4110: 3718: 2753: 2725: 2547: 1913:

Although Cage started painting in his youth, he gave it up to concentrate on music instead. His first mature visual project,

1476: 1278: 582: 525: 299: 3833: 3803: 1073:, led to much higher prominence for the composer than ever before—one of the positive consequences of this was that in 1965 8027: 8012: 7972: 7932: 7927: 7922: 7917: 7912: 7792: 7772: 4409: 2988: 2876: 2135:), and then spreading to Europe. For example, many composers of the English experimental school acknowledge his influence: 2025: 4954: 4683:"Famous For Composing The Most Controversial Music Of The 20th Century, John Cage Was Even More Subversive With Mushrooms" 2386: 945:

helped to put together. Also in 1952, Cage composed the piece that became his best-known and most controversial creation:

7992: 6688: 5132: 1137:, as well as many others Cage invited unofficially. Famous pieces that resulted from the classes include George Brecht's 2421:

contains most of the composer's musical manuscripts, including sketches, worksheets, realizations, and unfinished works.

7967: 7797: 7782: 7260: 6477: 6412: 1858:, and traditional musical and field recordings made around Ireland. The piece was based on James Joyce's famous novel, 2350:. The program was supported by the Foundation for Emerging Technologies and Arts, Laura Kuhn and the John Cage Trust. 498:. Cowell also advised that, before approaching Schoenberg, Cage should take some preliminary lessons, and recommended 8022: 7842: 6708: 6562: 6308: 6217: 5743: 2523: 2517: 1511: 1463:

In the course of the 1980s, Cage's health worsened progressively. He suffered not only from arthritis, but also from

521: 5530: 5491: 5271: 1522:

results, until Richard Buhlig stressed to him the importance of structure. Most works from the early 1930s, such as

1098:(1962) abounds in instructions to the performers, but makes no references to music, musical instruments, or sounds. 7982: 7872: 7827: 7817: 7362: 7055: 5098: 4621: 4466: 2168: 2160: 2053: 1848:

This concept of circus was to remain important to Cage throughout his life and featured strongly in such pieces as

1612:

In late 1940s, Cage started developing further methods of breaking away with traditional harmony. For instance, in

1159:, and the happenings of this period can be viewed as a forerunner to the ensuing Fluxus movement. In October 1960, 380:

as a theology major in 1928. Often crossing disciplines again, though, he encountered at Pomona the work of artist

2634:

Technically, it was his second, for Cage previously collaborated with Kathleen Hoover on a biographical volume on

8017: 7897: 7862: 7590: 7015: 6644: 6322: 6165: 3759: 2536: 2013: 6625:

performed by Margaret Leng Tan at the Other Minds Music Festival in 1999 at the Cowell Theater in San Francisco.

4435: 2020:

with four friends, and his mycology collection is presently housed by the Special Collections department of the

1086:, which was fully notated, Cage gradually shifted to, in his own words, "music (not composition)." The score of 8007: 8002: 7977: 7877: 7787: 7112: 6956: 6390: 5661: 3257: 2311: 2260: 1599:

for prepared piano (1946–48), in which many proportions used non-integer numbers (1¼, ¾, 1¼, ¾, 1½, and 1½ for

588: 5510: 3917: 920:(which he occupied since around 1946), his financial situation in 1951 worsened so much that while working on 7902: 7191: 6066: 5758: 5753: 1864:, which was one of Cage's favorite books, and one from which he derived texts for several more of his works. 562: 6617:

Other Minds Archive: John Cage and David Tudor Concert at The San Francisco Museum of Art (January 16, 1965)

4682: 2103:, and many others. Music in which some of the composition and/or performance is left to chance was labelled 1416:

Another new direction, also taken in 1987, was opera: Cage produced five operas, all sharing the same title

7822: 7659: 7606: 6921: 6809: 2017: 1069:

Edition Peters soon published a large number of scores by Cage, and this, together with the publication of

746: 646: 546: 129: 6607:: computer program by Karlheinz Essl that generates a realtime version of John Cage's "Fontana Mix" (1958) 6465: 6099: 7867: 6785: 5150:"Sonic Youth's Thurston Moore: On punk music, staying fresh, and the strange bridge between art and rock" 4985: 2610: 1791: 619: 223:(1933–35), both known for their radical innovations in music, but Cage's major influences lay in various 5245: 5093: 5041: 4910: 4122: 1971:, etc.) to create his visual works. In 1988–1990 he produced watercolors at the Mountain Lake Workshop. 302:

in downtown Los Angeles. His father, John Milton Cage Sr. (1886–1964), was an inventor, and his mother,

7324: 6647:– An exploration of some of the concepts and ideas behind the music and performance practice of Fluxus. 5883: 5126: 4935: 2136: 1842: 1834: 1524: 1155: 830: 20: 7133: 4866: 3023: 2001:

included not only simple lectures, but also texts executed in experimental layouts, and works such as

7892: 7440: 7105: 6833: 6775: 6761: 6747: 6478:

An interview with John Cage conducted 1974 May 2, by Paul Cummings, for the Archives of American Art.

6360: 6341: 4626: 4595: 4215: 1585: 1047: 972: 917: 566: 6407: 2689: 2361: 7987: 7206: 6462: 6290: 6286: 6270: 5506: 4741:, with a foreword by Karlheinz Stockhausen, 141–144. London and New York: Oxford University Press. 4318: 3829: 3398: 3019: 2339: 2320: 2316: 1494:

and musicologist Stefan Schaedler. The event went ahead as planned, including a performance of the

1149:

and invited him to join his class. In following these developments Cage was strongly influenced by

1054:, a collection of Cage's lectures and writings on a wide variety of subjects, including the famous 1020: 569:

when he met Xenia, he fell in love immediately. Cage and Kashevaroff were married in the desert at

475: 4838:

Piekut, Benjamin (December 2014). "Indeterminacy, Free Improvisation, and the Mixed Avant-Garde".

1675:

were based on paper imperfections: the imperfections themselves provided pitches, coin tosses and

537:

could not pass. I said, "In that case I will devote my life to beating my head against that wall."

7962: 7882: 7495: 6681: 5833: 5825: 5704: 5581: 2432: 1881:(1976) the performers are asked to use certain species of plants as instruments, for example the 1456: 1406: 638: 634: 354: 353:. By 1928, though, Cage was convinced that he wanted to be a writer. He graduated that year from 4566: 4213:

Pritchett, James (Fall 1988). "From Choice to Chance: John Cage's Concerto for Prepared Piano".

879:

Although Cage had used chance on a few earlier occasions, most notably in the third movement of

7390: 6801: 6660: 5375: 2480: 2287: 2236: 2191: 1822: 1667:. All of Cage's music since 1951 was composed using chance procedures, most commonly using the 1609:, a song for voice and closed piano, in which two sets of proportions are used simultaneously. 1219: 968: 851: 763: 740: 281: 189: 7176: 6558: 5211: 1348:

was first published by Wesleyan University Press in 1973. In January 1978 Cage was invited by

7510: 7465: 7283: 7236: 7097: 7045: 6655:, documentary, Germany, 2012, 60 min., director: Allan Miller & Paul Smaczny, written by 6181: 6132: 3464: 2277: 2144: 1765: 1487: 1451: 1201: 1146: 996: 992: 961: 846:

which describes a symbol system used to identify order in chance events. This version of the

806: 774: 642: 495: 438: 377: 350: 193: 5203: 3244: 2670:"He has had a greater impact on music in the 20th century than any other American composer." 2330:

A 2012 project was curated by Juraj Kojs to celebrate the centenary of Cage's birth, titled

2235:. Cage's work as musicologist helped popularize Erik Satie's music, and his friendship with 2096: 1714:

Another series of works applied chance procedures to pre-existing music by other composers:

7727: 7722: 7674: 7355: 6881: 5917: 4995: 4709: 4098: 887:

opened new possibilities in this field for him. The first results of the new approach were

843: 685: 254: 7599: 7445: 6637:– Analytical material and recordings going back to the first rehearsal and performance of 5556: 5153: 3781: 2327:

was the name given to several events held during 2012 to mark the centenary of his birth.

8: 6913: 6740: 6732: 6424: 6402: 5712: 5434: 5384: 5320: 4309: 2529: 2425: 2334:

It consisted of 13 commissioned works created by composers from around the globe such as

2240: 1708: 1591: 1385: 1175:

cut off Cage's tie and then poured a bottle of shampoo over the heads of Cage and Tudor.

1038: 952: 889: 818: 735: 418: 389: 341: 6650: 4289: 1825:(ENO) became the first opera company to hold a Cage Musicircus on March 3, 2012, at the 1258:, which he previously discouraged, but was able to use in works from the 1970s, such as 244: 7717: 7573: 7430: 7304: 7073: 6980: 6964: 6674: 6656: 6149: 4801: 4232: 4069: 3957: 3838: 3263: 2934: 2694: 2225:

released works by Cage. Prepared piano, which Cage popularized, is featured heavily on

2112: 2095:

and David Tudor. Other composers who adopted chance procedures in their works included

2073:

Cage's aesthetic position was criticized by, among others, prominent writer and critic

1644: 1344: 1338:, and many others. Aside from music, Cage continued writing books of prose and poetry ( 1180: 645:. At one point, his reputation as percussion composer landed him a commission from the 630:. The latter was to become Cage's lifelong romantic partner and artistic collaborator. 444:

After several months in Paris, Cage's enthusiasm for America was revived after he read

422: 317: 197: 6634: 4610:

The Man and his Music: A Conversation with the Composer and a Description of his Works

1659:

A chart system was also used (along with nested proportions) for the large piano work

1058:

that was composed using a complex time length scheme, much like some of Cage's music.

7649: 7613: 7563: 7050: 6865: 6841: 6793: 6453: 6393:, a complete catalogue of Cage's music and a filmography, as well as other materials. 6237: 6229: 6197: 6189: 6170: 6160: 6115: 6107: 6088: 6074: 6057: 6042: 6024: 6009: 5946: 5938: 5921: 5893: 5856: 5837: 5804: 5785: 5763: 5739: 5720: 5685: 5666: 5645: 5618: 5466: 5353: 5301: 5215: 5204: 5067: 5024: 4999: 4940: 4767: 4742: 4715: 4106: 4061: 3714: 3656: 2993: 2880: 2760:... John Cage is probably the most influential ... of all American composers to date. 2749: 2721: 2282: 2159:

has also cited Cage's influence. In 1986, he received an honorary doctorate from the

2140: 2108: 1648: 1491: 1353: 1335: 1160: 1094: 1025: 850:

was the first complete English translation and had been published by Wolff's father,

487: 313: 308: 232: 220: 6601:, Cage's short stories taken from various publications and accessed in random order. 5180: 2424:

The John Cage Papers are held in the Special Collections and Archives department of

2217:. The development of electronic music was also influenced by Cage: in the mid-1970s 2156: 312:. The family's roots were deeply American: in a 1976 interview, Cage mentioned that 7558: 7385: 7221: 7196: 7128: 6873: 6817: 6622: 6616: 6553: 6549: 6545: 6541: 6537: 6420: 6278: 6141: 5969: 5829: 5777: 4847: 4313: 4224: 4053: 3975: 3949: 2508: 2390: 2243:

helped introduce his ideas into visual art. Cage's ideas also found their way into

2180: 2012:. In the fall of 1969, he gave a lecture on the subject of edible mushrooms at the 1882: 1838: 1483: 1472: 1468: 1197: 1185: 895: 794: 769: 665: 627: 592: 209: 159: 7319: 7151: 6628: 6521:"Interview With MoMA Curator David Platzker About the New Exhibition on John Cage" 6438: 5328: 1567: 1297:

Performed by the composer in 1976, shortly before he had to retire from performing

7952: 7515: 7460: 7348: 7216: 7186: 7146: 6889: 6849: 6610: 6566: 6501: 5596: 5495: 5335: 5136: 4884: 4824: 3807: 3657:"The Other Fab Four: Collaboration and Neo-dada: a plan for an exhibition weblog" 2718:

Into the Light of Things: The Art of the Commonplace from Wordsworth to John Cage

2445: 2299: 2222: 2213:

artists and bands: musicologist Paul Hegarty traced the origin of noise music to

2152: 2021: 1826: 1761:

beginning on white notes and remaining on white notes, which of those am I using?

1703: 1516: 1499: 1482:

According to his wishes, Cage's body was cremated and his ashes scattered in the

1441: 1245:

present. When asked about this apparent contradiction, Cage replied: "Obviously,

1227: 1210:(1969), a gargantuan and long-running multimedia work made in collaboration with 1114: 1042: 1008: 875:

is acting. And I love the activity of sound ... I don't need sound to talk to me.

703: 693: 677: 650: 607: 561:. Although Cage was involved in relationships with Don Sample and with architect 450: 430: 326: 240: 6631:– the work of John Cage and his special relationship to radio at Ràdio Web MACBA 6584: 6355: 6336: 3922: 2346:, each being 4 minutes and 33 seconds long in honor of Cage's famous 1952 opus, 673: 614:, Washington, where he found work as composer and accompanist for choreographer 7690: 7654: 7520: 7455: 7450: 7415: 7309: 7241: 7231: 7201: 6897: 6598: 6416: 5909: 5515: 5293: 4958: 4851: 4656: 4590: 4297: 4200: 3953: 3093: 3028: 2635: 2541: 2335: 2120: 2100: 1979: 1902: 1860: 1734:, all completed during the last five years of the composer's life, make use of 1723: 1697: 1211: 1150: 1063: 1000: 942: 855: 802: 754: 681: 506: 479: 434: 381: 373: 362: 276: 185: 108: 92: 6604: 6054:

Where the Heart Beats – John Cage, Zen Buddhism, and the Inner Life of Artists

5998: 5818:

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

5120: 1816:(1967) simply invites the performers to assemble and play together. The first 1188:, near Stony Point, and asked for the same to be done to him after his death. 426: 7711: 7480: 7475: 7410: 7405: 7211: 7181: 7161: 7156: 6996: 6937: 6825: 6495:

Photographs of John Cage from the UC Santa Cruz Library's Digital Collections

6458: 6193: 6111: 5425: 4981: 4771: 4734: 4065: 2324: 2295: 2252: 2248: 2176: 2172: 2164: 1758: 1652: 1391: 1375: 1331: 1255: 1168: 1130: 1126: 1074: 947: 798: 793:, which enabled him to make a trip to Europe, where he met composers such as 786: 723: 707: 669: 606:, teaching the same program as at UCLA, and collaborating with choreographer 603: 570: 483: 358: 346: 263: 224: 19:

This article is about the composer. For other people with the same name, see

7252: 7084: 6201: 6169:. Vol. 5. Oxford: Oxford University Press. "Indeterminacy" pp. 55–101. 6119: 5592: 2417:

The John Cage Music Manuscript Collection held by the Music Division of the

738:. The first fruits of these studies were works inspired by Indian concepts: 637:

invited him to teach at the Chicago School of Design (what later became the

340:

Cage's first experiences with music were from private piano teachers in the

7505: 7490: 7485: 7435: 7420: 7400: 7329: 7314: 6432: 6428: 5930: 5641: 5635: 5557:"John Cage Trust Becomes a Permanent Resident Organization of Bard College" 4639: 4440: 2685: 2494: 2466: 2411: 2244: 2187: 2148: 2132: 2085:

much more restricted manner); and Stockhausen's piano writing in his later

2074: 1830: 1537: 1533: 1349: 1327: 1134: 1118: 1004: 929: 810: 758: 731: 727: 599: 499: 445: 393: 236: 216: 205: 6663:. "Czech Crystal Award" (Best Documentary) at Golden Prague Festival 2012. 6145: 4057: 1663:(1951), only here material would be selected from the charts by using the 1360:, constitute the largest portion of his extant visual art. In 1979 Cage's 1088: 702:(1942), quickly became popular and was performed by the celebrated duo of 7627: 7568: 7553: 7548: 7500: 7294: 7166: 6988: 5992: 5983: 5974: 5957: 2807: 2601: 2210: 2206: 2198: 2128: 2124: 2036:

Cage's pre-chance works, particularly pieces from the late 1940s such as

1541: 1362: 1012: 938: 826: 822: 689: 615: 554: 509:. He supported himself financially by taking up a job washing walls at a 385: 316:

was assisted by an ancestor named John Cage in the task of surveying the

201: 5534: 4885:"John Cage | American Composer & Avant-Garde Innovator | Britannica" 4805: 3459: 1947:

Between 1979 and 1982 Cage produced a number of large series of prints:

7664: 7226: 7039: 7033: 6905: 6471: 6449: 5430:"John Cage Centennial Festival: Will it silence critics in Washington?" 5413: 3961: 3937: 2343: 2264: 2226: 2009: 1918: 1850: 1684: 1444:

to celebrate his seventy-fifth birthday, and according to music critic

1410: 1357: 1306: 1232: 1083: 934: 863: 711: 623: 406: 303: 272: 268: 228: 6153: 4236: 4073: 4041: 2435:

in Illinois contains the composer's correspondence, ephemera, and the

7543: 7425: 6972: 6929: 6588: 6415:

related texts and poems by, among others, Lowell Cross, AP Crumlish,

6127: 5487: 5327:. Part of the PhD at the University of California at San Diego, USA. 2606: 2437: 2309:

in a 36,000 sq ft converted factory and commissioned a production of

2304: 2256: 2218: 2202: 2045: 1926: 1640: 1445: 1318: 1122: 1106: 976: 661: 490:—Cage's musical ideas at the time included composition based on a 25- 410: 321: 6592: 6513: 3573:, documentary by Miroslav Sebestik. ARTE France Développement, 2003. 2205:(who named a song after Cage), composer and rock and jazz guitarist 2163:. Cage is a 1989 Kyoto Prize Laureate; the prize was established by 1479:

in Manhattan, where he died on the morning of August 12. He was 79.

1171:(Cage's friend and mentee), who in the course of his performance of 7669: 7644: 7620: 7470: 6489: 6289:

external links, and converting useful links where appropriate into

4228: 1620:: chords with fixed instrumentation. The piece progresses from one 1605: 1464: 1339: 1225:

Also in 1969, Cage produced the first fully notated work in years:

514: 491: 414: 184:(September 5, 1912 – August 12, 1992) was an American composer and 39: 6384: 3687: 6130:(Spring 1993). "John Cage: September 5, 1912 – August 12, 1992". 2583:

Different sources give different details of their first meeting.

1237: 1164: 838: 715: 611: 576: 558: 463: 459: 249: 172: 6228:, Berlin: Beginner Press in cooperation with Mode Records, 2020 4760:"Witold Lutoslawski, 81, Is Dead; Modern, Yet Melodic, Composer" 3255:

This conversation was recounted many times by Cage himself: see

991:. In the summer of 1954 he moved out of New York and settled in 361:, having also in the spring given a prize-winning speech at the 212:, who was also Cage's romantic partner for most of their lives. 7371: 6857: 6580: 5701:"An Anarchic Society of Sounds": The Number Pieces of John Cage 4657:"4′33" | Experimental Music, Avant-Garde, Silence | Britannica" 4542:"Why Experimental Artist John Cage Was Obsessed with Mushrooms" 4323: 4270: 3569:

John Cage, in an interview with Miroslav Sebestik, 1991. From:

2231: 1206: 1110: 550: 7127: 5447: 5246:""I Want to be a Magnet for Tapes" (interview with Brian Eno)" 3804:"The Many Views of Betty Freeman: Betty Freeman's Commissions" 3346: 3099: 3074: 2777: 2016:

as part of his "Music in Dialogue" course. He co-founded the

1517:

Early works, rhythmic structure, and new approaches to harmony

1440:, which are on a chamber scale. They were commissioned by the 553:-born daughter of a Russian priest; her work encompassed fine 429:, he first heard the music of contemporary composers (such as 6442: 5380:"John Cage, with Merce Cunningham, revolutionized dance, too" 4473: 4389: 3778:"Guide to the Center for Advanced Studies Records, 1958–1969" 2765: 2591:, 5, Cage mentions that he "went to see him in Los Angeles." 2167:. The John Cage Award was endowed and established in 1992 by 1897: 1890: 1400: 455: 6666: 5920:, translated by Robert Samuels. Cambridge University Press. 5416:, John Cage Foundation webpage. Retrieved September 2, 2012. 4521: 4509: 4497: 4485: 3128: 3126: 2866:(1946–48) is the finest composition of Cage's early period." 2828: 2460: 2197:

Cage's influence was also acknowledged by rock acts such as

979:" (see discussion below) in the United States, later titled 587:

The newly married couple first lived with Cage's parents in

7395: 6611:

Other Minds Archive: John Cage interviewed by Jonathan Cott

6213: 1215: 1167:

studio hosted a joint concert by Cage and the video artist

967:

During this time Cage was also teaching at the avant-garde

510: 482:(who became his first composition teacher) and arts patron 306:(1881–1968), worked intermittently as a journalist for the 247:-controlled music, which he started composing in 1951. The 6408:

John Cage oral histories at Oral History of American Music

4365: 4353: 4177: 4042:"Synergetic Dynamics in John Cage's "Europeras 1 & 2"" 3326:, Yale University Press, New Haven & London, (p. 177). 2789: 1974:

The only film Cage produced was one of the Number Pieces,

1854:(1979), a many-tiered rendering in sound of both his text 1655:), then reading the chapter associated with that hexagram. 805:

in New York City in early 1950. Both composers attended a

633:

Cage left Seattle in the summer of 1941 after the painter

258:

simply a way of waking up to the very life we're living".

7340: 4377: 4341: 4329: 4165: 3612: 3515: 3375: 3192: 3123: 2957:

John Cage – Complete Piano Music Vol. 7: Pieces 1933–1950

2171:

in honor of the late composer, with recipients including

1556:), and then, with modifications, in larger works such as 1413:

and three loudspeakers, which was published years later.

1231:

for piano. The piece is a chance-controlled reworking of

6226:

Desert Plants – Conversations with 23 American Musicians

4006: 3491: 2962: 2690:"John Cage, 79, a Minimalist Enchanted With Sound, Dies" 2259:

undertook a composing and performing collaboration with

1757:

Which of the seven modes, if we take as modes the seven

1502:. Merce Cunningham died of natural causes in July 2009. 7943:

Experiments in Art and Technology collaborating artists

6182:"The Rest Is Silence: An Appreciation | John Cage" 4243: 3588: 3576: 3539: 3503: 2912:, 1. For details on Cage's ancestry, see, for example, 2604:

almost a decade earlier, in 1942, through Jean Erdman:

1317:

became the last work Cage performed in public himself.

1204:, on the power of technology to promote social change. 836:

In early 1951, Wolff presented Cage with a copy of the

474:

Cage returned to the United States in 1931. He went to

275:

of art and performance. Cage was also a pioneer of the

6377: 6085:

John Cage: Music, Philosophy, and Intention, 1933–1950

5682:

John Cage's Theatre Pieces: Notations and Performances

5613:

Bernstein, David W.; Hatch, Christopher, eds. (2001).

4153: 4141: 3460:"John Simon Guggenheim Memorial Foundation: John Cage" 3204: 3111: 3092:

John Cage, National Inter-Collegiate Arts Conference,

3000: 927:

In 1952–1953 he completed another mammoth project—the

200:, Cage was one of the leading figures of the post-war 6021:

Every Day is a Good Day – The Visual Art of John Cage

5994:

The Quivering of Propriation: A Parallel Way to Music

5350:

Sound-on-Film: Interviews With Creators of Film Sound

4260: 4258: 4080: 3994: 3868: 3624: 3600: 3479: 3416: 3395:

John Cage's "The Wonderful Widow of Eighteen Springs"

3062: 520:

Cage studied with Schoenberg in California: first at

7948:

Fellows of the American Academy of Arts and Sciences

6461:

and a list of video works by and about John Cage at

5817: 5042:"CalArts to Honor Composer John Cage With Doctorate" 3551: 3335:

For details on Cage's first meeting with Xenia, see

3281: 3279: 3277: 3221: 3219: 3174: 3052: 3050: 3048: 3046: 2667: 2584: 2456: 955:) caused an uproar in the audience. The reaction to 401:

the institution was not being run correctly. I left.

208:, mostly through his association with choreographer 6659:; production: Accentus Music in co-production with 6236:(originally published in 1976 by A.R.C., Vancouver 5615:

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

5490:, Jacaranda webpage. Retrieved September 5, 2012. 5147: 4018: 3428: 3404: 3304: 3170: 3168: 3166: 3164: 3162: 3160: 3158: 3156: 3154: 1369: 668:. Through them, Cage met important artists such as 4644:Noise, Water, Meat: A History of Sound in the Arts 4255: 3527: 3440: 3365: 3363: 3361: 3236: 3234: 2267:considered Cage one of his "all-time art heroes". 2079:Noise, Water, Meat: A History of Sound in the Arts 1856:Writing for the Second Time Through Finnegans Wake 1829:. The ENO's Musicircus featured artists including 1395:, as they came to be known, one of the last being 1366:was first published by Wesleyan University Press. 801:. More important was Cage's chance encounter with 6538:In Conversation with Morton Feldman, 1966, Part 1 6273:may not follow Knowledge's policies or guidelines 5935:John Cage Visual Art: To Sober and Quiet the Mind 5519:, September 4, 2012. Retrieved September 5, 2012. 5404:, September 2, 2012. Retrieved September 2, 2012. 5272:"Richard Aphex, John Cage and the Prepared Piano" 4957:. Gavin Bryars' Official Web-site. Archived from 4828:, New Series, no. 210. (October 1999), pp. 20–24. 3685: 3274: 3216: 3043: 3024:"Searching for Silence: John Cage's art of noise" 2959:. Steffen Schleiermacher (piano). MDG 613 0789-2. 2892: 2890: 2816: 2600:Recent research has shown that Cage may have met 1078:from that decade was scant. After the orchestral 881:Concerto for Prepared Piano and Chamber Orchestra 833:came to be referred to as "the New York school". 660:In New York, the Cages first stayed with painter 7808:American contemporary classical music performers 7709: 5999:Section II.3 New Music is the Other Music (Cage) 5776: 5352:. Greenwood Publishing Group. pp. 241–242. 4276: 3352: 3340: 3324:Mavericks and Other Traditions in American Music 3151: 3145: 3132: 3105: 3080: 2924: 2922: 2771: 511:YWCA (World Young Women's Christian Association) 5438:, August 31, 2012. Retrieved September 2, 2012. 5388:, August 30, 2012. Retrieved September 2, 2012. 5148:Lopez, Antonio (December 1999 – January 2000). 4991:The New Grove Dictionary of Music and Musicians 4646:, 165. Cambridge, Massachusetts: The MIT Press. 4567:"Source: Program No. 7: John Cage on Mushrooms" 3358: 3231: 2997:, August 31, 2012. Retrieved September 2, 2012. 2746:Greene's Biographical Encyclopedia of Composers 2419:New York Public Library for the Performing Arts 2319:. Jacaranda Music had four concerts planned in 1384:, for flute and piano, dedicated to performers 261:Cage's best known work is the 1952 composition 6629:Notes towards a re-reading of the "Roaratorio" 5612: 5559:(Press release). Bard College. August 12, 1992 4300:, violin), Mode 32. (Accessed August 14, 2008) 2887: 2783: 2410:The archive of the John Cage Trust is held at 2201:(who performed some of the Number Pieces) and 1889:(1977) the performers play large water-filled 757:arranged for Cage to meet Berlin-born pianist 577:1937–1949: modern dance and Eastern influences 7356: 7282: 7268: 7113: 7089: 6682: 6397:Edition Peters: John Cage Biography and Works 5736:The Radical Use of Chance in 20th Century Art 5269: 5174: 5122:Cage Dead, The Penguin Café Orchestra (audio) 4980:Potter, Keith (2001). "Skempton, Howard". In 4944:, vol. 17, no. 1604. (October 1976), 815–818. 4840:Journal of the American Musicological Society 3885: 3883: 3681: 3679: 3677: 3096:, Poughkeepsie (New York), February 28, 1948. 2919: 2553: 1978:, commissioned by composer and film director 1851:Roaratorio, an Irish circus on Finnegans Wake 5243: 4714:. Chicago: University of Chicago Press. 14. 4706: 2748:. Reproducing Piano Roll Fnd. p. 1407. 2720:. University of Chicago Press. p. 120. 2532:) project, the longest concert ever created. 1191: 1019:(1957–58), a seminal work in the history of 999:, where his neighbors included David Tudor, 780: 649:to compose a soundtrack for a radio play by 469: 239:in the late 1940s, Cage came to the idea of 6635:The Rest isn't Silence... it doesn't exist! 5711: 5300:. Cambridge University Press. p. 259. 4599:, vol. 3, no. 1 (Autumn–Winter 1964), 42–53 4479: 4371: 4359: 3926:. (Online resource. Retrieved June 5, 2008) 3711:John Cage's Concert for Piano and Orchestra 3708: 3654: 3521: 3381: 3336: 3298: 3285: 3268: 3225: 3198: 3056: 2968: 2909: 2834: 2588: 2571: 2111:'s work was influenced by Cage's work with 2060:, criticized avant-garde music in general: 789:, New York, Cage received a grant from the 7363: 7349: 7275: 7261: 7120: 7106: 6689: 6675: 6403:Guide to the John Cage Mycology Collection 6098:Smith, Geoff; Nicola Walker (April 1993). 5834:10.1093/gmo/9781561592630.article.A2223954 4105:, xvii. Cooper Square Press, 2nd edition. 3880: 3674: 2928: 2270: 2031: 1917:, dates from 1969. The work comprises two 1909:, a 1992 print by Cage from a series of 57 1898:Visual art, writings, and other activities 1775:In another example of late music by Cage, 38: 7938:Designers at National Institute of Design 7803:American contemporary classical composers 7763:20th-century American non-fiction writers 6514:"Silence and Change / Five Hanau Silence" 6439:"John Cage (biography, works, resources)" 6309:Learn how and when to remove this message 5973: 5955: 5798: 5679: 4539: 4395: 4383: 4347: 4335: 4249: 4212: 4183: 4159: 4147: 4012: 3901: 3859: 3594: 3582: 3545: 3497: 3240: 2847: 2263:in 2003 because the music-group's leader 293: 16:American avant-garde composer (1912–1992) 6399:, Cage's principal publisher since 1961. 6019:Cage, John (2010). Jeremy Miller (ed.). 6008:. Chicago: University of Chicago Press. 5752: 5733: 5371: 5369: 5347: 4911:"John Cage's Music of Chance and Change" 4624:. 1962. "Tradition and Responsibility". 4608:Bois, Mario, and Xenakis, Iannis. 1980. 4527: 4515: 4503: 4491: 4264: 4171: 3509: 3210: 3186: 3117: 3068: 3006: 2983: 2981: 2979: 2977: 2913: 2896: 2859: 2795: 2360: 2255:cited Cage's work as a major influence. 1915:Not Wanting to Say Anything About Marcel 1901: 1639: 1566: 1450: 718:, a 15-minute silent experimental film. 5853:The Roaring Silence: John Cage – a Life 5698: 5292: 4024: 3316: 2715: 1764:Which of the twelve possible chromatic 1616:(1950) Cage first composed a number of 1380:In 1987, Cage completed a piece called 809:concert, where the orchestra performed 699:The Wonderful Widow of Eighteen Springs 441:, which he had not experienced before. 437:) and finally got to know the music of 198:non-standard use of musical instruments 7958:Kyoto laureates in Arts and Philosophy 7710: 5850: 5631: 5325:Cage's Place in the Reception of Satie 5152:. Thirsty Ear Magazine. Archived from 4979: 4837: 4791: 4757: 4086: 4000: 3889: 3874: 3709:Iddon, Martin; Thomas, Philip (2020). 3642: 3630: 3618: 3606: 3557: 3485: 3446: 3422: 3369: 2743: 2684: 2680: 2678: 2676: 2355:Bill T. Jones/Arnie Zane Dance Company 2353:In a homage to Cage's dance work, the 2151:, who studied under Cage briefly, and 2107:—a term popularized by Pierre Boulez. 7344: 7256: 7101: 7088: 6670: 6208:Woodward, Roger (2014). "John Cage". 5634:Rebellische Pianistin. Das Leben der 5366: 4433: 4407: 4035: 4033: 3918:John Cage: Imitations/Transformations 3904:Begin Again: A Biography of John Cage 3862:Begin Again: A Biography of John Cage 3780:. Wesleyan University. Archived from 2974: 2548:Works for prepared piano by John Cage 1105:and other 1960s pieces were in fact " 583:Works for prepared piano by John Cage 526:University of California, Los Angeles 384:via Professor José Pijoan, of writer 7753:20th-century American male musicians 6253: 5956:Davidović, Dalibor (June 17, 2015). 5759:The Cambridge Companion to John Cage 5658: 5459: 5201: 5177:"Hold The Ketchup On That Stereolab" 4938:. 1976. "Systems in Art and Music". 4864: 4540:Gottesman, Sarah (January 3, 2017). 4310:"John Cage at Seventy: An Interview" 4039: 3935: 3906:. Alfred A. Knopf. pp. 242–243. 3834:"S.E.M. Evokes John Cage as Teacher" 3828: 3533: 3434: 3410: 3310: 3018: 2822: 2605: 2373: 2026:University of California, Santa Cruz 298:Cage was born September 5, 1912, at 7908:Cornish College of the Arts faculty 6623:27, 2002 Suite for Toy Piano (1948) 6423:, August Highland, George Koehler, 6212:. HarperCollins. pp. 313–321. 6100:"20th Century Americans: John Cage" 5985:Heidegger's Hölderlin and John Cage 4410:"ENO presents John Cage Musicircus" 4408:Tchil, Doundou (January 20, 2012). 4123:"Dance great Cunningham dies at 90" 3806:. NewMusicBox. 2000. Archived from 3735:"John Cage Remembers Alan Chadwick" 3267:, p. 44; interviews quoted in 2673: 2540:, a 1993 documentary about Cage by 1749:, the exact questions asked to the 1691:(1961–62), and a series of etudes: 1200:, on the effects of new media, and 722:In early 1946 Cage agreed to tutor 494:, somewhat similar to Schoenberg's 13: 7768:20th-century American philosophers 7758:20th-century American male writers 6370:General information and catalogues 5871: 5398:"Events honoring John Cage at 100" 5270:Worby, Robert (October 23, 2002). 5206:The Words and Music of Frank Zappa 5023:, 94. Cambridge University Press. 4758:Kozinn, Allan (February 9, 1994). 4739:The Works of Karlheinz Stockhausen 4030: 3923:Writings on John Cage (and others) 3175:Pritchett, Kuhn & Garrett 2012 2989:"John Cage's genius an L.A. story" 2933:. Southwest Review. Archived from 2668:Pritchett, Kuhn & Garrett 2012 2585:Pritchett, Kuhn & Garrett 2012 1267: 753:Early in 1946, his former teacher 14: 8039: 7998:People from Stony Point, New York 7833:American male non-fiction writers 7748:20th-century American LGBT people 6922:But What About the Noise ... 6249: 5462:"In Germany, John Cage rings out" 5175:Morris, Chris (August 17, 1997). 4865:Ross, Alex (September 27, 2010). 4680: 4436:"John Cage's Musicircus – review" 4414:Classical-iconoclast.blogspot.com 4292:", CD liner notes to: John Cage, 4103:John Cage: Writer: Selected Texts 2524:List of compositions by John Cage 2518:An Anthology of Chance Operations 2052:An article by teacher and critic 1647:involves obtaining a hexagram by 1624:to another. In each instance the 1512:List of compositions by John Cage 817:, op. 21, followed by a piece by 522:University of Southern California 7853:American philosophers of culture 7778:20th-century classical composers 7069: 7068: 7056:Foundation for Contemporary Arts 6258: 6073:. University of Illinois Press. 5902:Arena, Leonardo Vittorio. 2014. 5703:(PhD dissertation, Musicology). 5586: 5571: 5549: 5528: 5522: 5500: 5481: 5460:Swed, Mark (September 3, 2012). 5453: 5441: 5419: 5407: 5391: 5341: 5314: 5286: 5263: 5237: 5228: 5195: 5168: 5141: 5114: 5099:Foundation for Contemporary Arts 5086: 5060: 5034: 5013: 4973: 4947: 4929: 4903: 4877: 4858: 4831: 4820:Interview with Helmut Lachenmann 4812: 4785: 4751: 4728: 4700: 4674: 4649: 4633: 4615: 4602: 4584: 4559: 4533: 4455: 4427: 4401: 4303: 4282: 2877:John Cage's genius an L.A. story 2641: 2501: 2487: 2473: 2459: 2377: 2169:Foundation for Contemporary Arts 2161:California Institute of the Arts 1921:and a group of what Cage called 1867: 1409:: "ONE13" for violoncello with 1370:1987–1992: final years and death 1305:Problems playing this file? See 1287: 734:, and read further the works of 171: 145: 7813:American experimental composers 7743:20th-century American essayists 7738:20th-century American composers 7733:20th-century American Buddhists 7592:Topographie Anécdotée du Hasard 7016:The Revenge of the Dead Indians 6391:Larry Solomon's John Cage Pages 6166:Oxford History of Western Music 5916:. Edited by Robert Samuels and 5890:L'infinita durata del non-suono 5784:. University of Chicago Press. 5617:. University of Chicago Press. 5593:The John Cage Materials at Yale 4206: 4189: 4115: 4092: 3968: 3929: 3910: 3895: 3864:. Alfred A. Knopf. p. 198. 3853: 3822: 3796: 3770: 3752: 3727: 3702: 3648: 3636: 3563: 3452: 3387: 3329: 3291: 3249: 3179: 3138: 3086: 3012: 2949: 2931:"An Autobiographical Statement" 2902: 2869: 2862:, 80: "Most critics agree that 2853: 2840: 2628: 2594: 2577: 2564: 2537:The Revenge of the Dead Indians 2040:, earned critical acclaim: the 2014:University of California, Davis 1796:Concert for Piano and Orchestra 1496:Concert for Piano and Orchestra 1017:Concert for Piano and Orchestra 773:to her. In 1949, he received a 767:and his monumental piano cycle 388:via Don Sample, of philosopher 141: 7888:Black Mountain College faculty 5914:The Boulez-Cage Correspondence 5803:. Cambridge University Press. 5782:John Cage: Composed in America 5762:. Cambridge University Press. 5662:Silence: Lectures and Writings 5450:. Retrieved September 2, 2012. 5210:. Praeger Publishers. p. 5179:. Yahoo! Music. Archived from 4612:, 12. Greenwood Press Reprint. 4294:Freeman Etudes (Books 1 and 2) 2801: 2737: 2709: 2661: 2008:Cage was also an avid amateur 1995:Silence: Lectures and Writings 1720:Some of "The Harmony of Maine" 1536:and betray Cage's interest in 1032: 1: 7858:American scholars of Buddhism 7838:American male opera composers 6696: 6652:John Cage – Journeys in Sound 6431:, Dan Waber, Sigi Waters and 6041:. Wesleyan University Press. 6039:Selected Letters of John Cage 5780:; Junkerman, Charles (1994). 5665:. Wesleyan University Press. 5531:"On Silence: Hommage to Cage" 5130:Retrieved March 15, 2022. 4434:Lewis, John (March 4, 2012). 2875:Mark Swed (August 31, 2012), 1841:alongside ENO music director 1718:(1969; based on Erik Satie), 1592:First Construction (in Metal) 1550: 502:, a former Schoenberg pupil. 325:1944–45 Cage wrote two small 7848:American philosophers of art 7660:Fluxus at Rutgers University 6810:String Quartet in Four Parts 6361:Resources in other libraries 6342:Resources in other libraries 5982:Eldred, Michael. 1995/2006. 5892:. Mimesis Publishing, Milan 5638:zwischen Berlin und New York 4955:"Gavin Bryars biography etc" 4277:Perloff & Junkerman 1994 3353:Perloff & Junkerman 1994 3341:Perloff & Junkerman 1994 3146:Perloff & Junkerman 1994 3133:Perloff & Junkerman 1994 3106:Perloff & Junkerman 1994 3081:Perloff & Junkerman 1994 2808:John Cage – Music of Changes 2772:Perloff & Junkerman 1994 2744:Greene, David Mason (2007). 2654: 2638:which was published in 1959. 2431:The John Cage Collection at 2058:Tradition and Responsibility 2018:New York Mycological Society 1614:String Quartet in Four Parts 1428:require greater forces than 893:for 12 radio receivers, and 785:After a 1949 performance at 747:String Quartet in Four Parts 647:Columbia Broadcasting System 547:Xenia Andreyevna Kashevaroff 130:Xenia Andreyevna Kashevaroff 7: 8028:Wesleyan University faculty 8013:Pupils of Arnold Schoenberg 7973:LGBT people from California 7933:Counterculture of the 1990s 7928:Counterculture of the 1980s 7923:Counterculture of the 1970s 7918:Counterculture of the 1960s 7913:Counterculture of the 1950s 7793:American bisexual musicians 7773:20th-century American poets 6786:Music for an Aquatic Ballet 6180:Ward, Phil (October 1992). 6083:Patterson, David W. (ed.). 5738:. Amsterdam: Rodopi Press. 5680:Fetterman, William (1996). 5632:Bredow, Moritz von (2012). 5494:September 10, 2012, at the 5202:Lowe, Kelly Fisher (2006). 5068:"1989 Kyoto Prize Laureate" 5021:The Music of Toru Takemitsu 3902:Silverman, Kenneth (2010). 3860:Silverman, Kenneth (2010). 3713:. Oxford University Press. 2716:Leonard, George J. (1995). 2452: 2369: 2332:On Silence: Homage to Cage. 2323:, for the centennial week. 1741:Cage's method of using the 1630:Concerto for prepared piano 1082:(1961–62), a work based on 686:Museum of Modern Art (MoMA) 655:The City Wears a Slouch Hat 620:Cornish College of the Arts 369:by more than thirty years. 10: 8044: 7993:Musicians from Los Angeles 7370: 5707:, University of Rochester. 5605: 5533:. kojs.net. Archived from 5448:Official Festival web site 5348:LoBrutto, Vincent (1994). 4867:"John Cage's Art of Noise" 4852:10.1525/jams.2014.67.3.769 3954:10.1162/096112104322750728 3686:Emmerik, Paul van (2009). 2784:Bernstein & Hatch 2001 2554:Notes, references, sources 1949:Changes and Disappearances 1925:: silk screen printing on 1671:. For example, works from 1509: 1373: 1156:The Theatre and Its Double 1143:Alice Denham in 48 Seconds 710:. In 1944, he appeared in 580: 329:dedicated to his parents: 21:John Cage (disambiguation) 18: 7968:LGBTQ classical composers 7798:American bisexual writers 7783:American ballet composers 7683: 7637: 7582: 7529: 7378: 7290: 7284:New York School composers 7142: 7095: 7090:Links to related articles 7064: 7026: 7007: 6948: 6724: 6704: 6639:Imaginary Landscape No. 4 6441:(in French and English). 6356:Resources in your library 6337:Resources in your library 5799:Pritchett, James (1993). 5717:Conversing with John Cage 4627:Perspectives of New Music 4596:Perspectives of New Music 4326:. Retrieved May 24, 2007. 4290:John Cage: Freeman Etudes 4288:Pritchett, James. 1994. " 4216:Perspectives of New Music 3938:"John Cage and Recording" 3916:Pritchett, James. 2004. " 3297:Cage interview quoted in 2315:created and performed by 2261:Cunningham's dance troupe 2091:was influenced by Cage's 1635: 1586:Imaginary Landscape No. 1 1192:1969–1987: new departures 1048:Wesleyan University Press 1037:Cage was affiliated with 973:Asheville, North Carolina 890:Imaginary Landscape No. 4 781:1950s: discovering chance 470:1931–1936: apprenticeship 304:Lucretia ("Crete") Harvey 231:. Through his studies of 215:Cage's teachers included 170: 165: 155: 123: 98: 88: 72: 49: 37: 30: 8023:Sub Rosa Records artists 7983:Music & Arts artists 7843:American opera composers 7207:Gottfried Michael Koenig 6714:Works for prepared piano 6472:Interview with John Cage 6463:Electronic Arts Intermix 6037:Kuhn, Laura (ed). 2016. 5912:, and Cage, John. 1995. 5879:Arena, Leonardo Vittorio 5734:Lejeunne, Denis (2012). 5578:The John Cage Collection 4994:(2nd ed.). London: 3760:"Norman O. Brown papers" 3688:"A John Cage Compendium" 2558: 2528:The Organ/ASLSP (a.k.a. 2321:Santa Monica, California 2292:annual new-music courses 2251:-winning sound designer 2155:. The Japanese composer 1571:Rhythmic proportions in 1530:Composition for 3 Voices 1505: 476:Santa Monica, California 7873:Bisexual male musicians 7828:American male essayists 7818:American LGBT composers 7134:Darmstädter Ferienkurse 6500:April 30, 2019, at the 5991:Eldred, Michael. 2010. 5826:Oxford University Press 5705:Eastman School of Music 5582:Northwestern University 5511:"The John Cage Century" 5334:April 12, 2011, at the 4889:Encyclopædia Britannica 4661:Encyclopædia Britannica 4040:Kuhn, Laura D. (1994). 3920:". In James Pritchett, 3393:Reinhardt, Lauriejean. 2433:Northwestern University 2302:staged a production of 2271:Centenary commemoration 2186:Following Cage's death 2032:Reception and influence 1407:Michael Bach Bachtischa 1064:C.F. Peters Corporation 989:The Ten Thousand Things 639:IIT Institute of Design 458:and, most importantly, 355:Los Angeles High School 300:Good Samaritan Hospital 288: 67:Los Angeles, California 8018:Pupils of Henry Cowell 7898:Composers for carillon 7863:American Zen Buddhists 7684:Critics and historians 7046:Indeterminacy in music 6802:Sonatas and Interludes 6661:Westdeutscher Rundfunk 6385:A John Cage Compendium 6210:Beyond Black and White 6023:. Hayward Publishing. 5851:Revill, David (1993). 5801:The Music of John Cage 3942:Leonardo Music Journal 3936:Tone, Yasunao (2003). 3022:(September 27, 2010). 2864:Sonatas and Interludes 2481:Classical music portal 2366: 2288:San Francisco Symphony 2237:Abstract expressionist 2192:Penguin Cafe Orchestra 2071: 2038:Sonatas and Interludes 1910: 1907:Variations III, No. 14 1823:English National Opera 1656: 1597:Sonatas and Interludes 1580: 1577:Sonatas and Interludes 1477:St. Vincent's Hospital 1460: 1459:in Assisi, Italy, 1992 1272: 1220:University of Illinois 969:Black Mountain College 914:Sonatas and Interludes 877: 741:Sonatas and Interludes 539: 403: 294:1912–1931: early years 282:Sonatas and Interludes 190:indeterminacy in music 8008:Pomona College alumni 8003:Philosophers of music 7978:Mills College faculty 7878:Bisexual male writers 7788:American bisexual men 7237:Karlheinz Stockhausen 6133:The Musical Quarterly 6056:. Penguin Books USA. 5937:. Crown Point Press. 5855:. Arcade Publishing. 5699:Haskins, Rob (2004). 5244:Jack, Adrian (1975). 4707:Larry Shiner (2001). 4046:The Musical Quarterly 3465:Guggenheim Fellowship 2955:Recording and notes: 2364: 2278:Michael Tilson Thomas 2062: 1905: 1806:(1962; also known as 1643: 1570: 1455:John Cage (left) and 1454: 1271: 1202:R. Buckminster Fuller 1178:In 1967, Cage's book 997:Stony Point, New York 993:Gate Hill Cooperative 962:Karlheinz Stockhausen 872: 862:is commonly used for 807:New York Philharmonic 791:Guggenheim Foundation 775:Guggenheim Fellowship 643:University of Chicago 534: 496:twelve-tone technique 439:Johann Sebastian Bach 398: 351:Fannie Charles Dillon 194:electroacoustic music 7903:Converts to Buddhism 7675:Something Else Press 6882:Apartment House 1776 6741:Imaginary Landscapes 6709:List of compositions 6559:1989 radio interview 6527:, February 20, 2014. 6427:, Ian S. Macdonald, 6279:improve this article 6004:Haskins, Rob. 2012. 5975:10.4312/mz.51.2.9-25 5962:Musicological Annual 5918:Jean-Jacques Nattiez 5904:Il Tao del non-suono 5713:Kostelanetz, Richard 5659:Cage, John (1973) . 4996:Macmillan Publishers 4712:: A Cultural History 4710:The Invention of Art 4571:Other Minds Archives 4195:Notes in the score: 4099:Kostelanetz, Richard 3832:(December 4, 1992). 3655:Welch, J.D. (2008). 2937:on February 26, 2007 2611:"Cleaning Up a Life" 2414:in upstate New York. 2391:adding missing items 1728:Hymns and Variations 1547:Two Pieces for Piano 1153:'s seminal treatise 844:Chinese classic text 744:for prepared piano, 255:Chinese classic text 229:South Asian cultures 182:John Milton Cage Jr. 144: 1935; 54:John Milton Cage Jr. 7823:American LGBT poets 7177:Niccolò Castiglioni 6914:As Slow as Possible 6645:Fluxradio (podcast) 6525:The Huffington Post 6425:Richard Kostelanetz 6291:footnote references 6224:Zimmerman, Walter. 6146:10.1093/mq/77.1.132 6087:. Routledge, 2002. 6052:Larson, Kay. 2012. 5988:, www.arte-fact.org 5488:"Cage 100 Festival" 5435:The Washington Post 5385:The Washington Post 5321:Shlomowitz, Matthew 5102:. November 12, 1992 5074:. November 12, 1989 5019:Burt, Peter. 2001. 4917:. September 4, 2022 4891:. December 21, 2023 4818:Ryan, David. 1999. 4322:, Summer 1985. Via 4058:10.1093/mq/78.1.131 3982:. February 20, 2024 3764:Wesleyan University 2929:Cage, John (1991). 2688:(August 13, 1992). 2530:As Slow as Possible 2426:Wesleyan University 2241:Robert Rauschenberg 2113:extended techniques 2077:. In his 1999 book 1934:Score Without Parts 1709:Henry David Thoreau 1603:, for example), or 1532:(1934), are highly 1525:Sonata for Clarinet 1498:by David Tudor and 1386:Roberto Fabbriciani 1039:Wesleyan University 981:Theatre Piece No. 1 953:Woodstock, New York 819:Sergei Rachmaninoff 573:, on June 7, 1935. 390:Ananda Coomaraswamy 342:Greater Los Angeles 83:New York City, U.S. 7868:Bisexual composers 7650:Art & Language 7574:Carolee Schneemann 7431:Geoffrey Hendricks 7305:Lucia Dlugoszewski 7192:Franco Evangelisti 6965:A Year from Monday 6657:Anne-Kathrin Peitz 5821:Grove Music Online 5640:. Mainz, Germany: 5537:on August 16, 2013 5298:Satie the Composer 5135:2017-06-23 at the 5072:Inamori Foundation 4764:The New York Times 4622:Steinberg, Michael 3964:– via JSTOR. 3839:The New York Times 3690:. Paul van Emmerik 3322:Broyles M. (2004). 3264:A Year from Monday 2695:The New York Times 2389:; you can help by 2367: 2312:Lecture on Nothing 2097:Witold Lutosławski 2003:Lecture on Nothing 1911: 1873:improvisation. In 1689:Atlas Eclipticalis 1657: 1645:I Ching divination 1581: 1579:for prepared piano 1461: 1273: 1181:A Year from Monday 1080:Atlas Eclipticalis 1056:Lecture on Nothing 635:László Moholy-Nagy 423:Greek architecture 318:Colony of Virginia 7705: 7704: 7699: 7698: 7600:Poème symphonique 7564:Charlotte Moorman 7338: 7337: 7250: 7249: 7082: 7081: 7051:West Coast School 6794:Living Room Music 6619:, streaming audio 6613:, streaming audio 6323:Library resources 6319: 6318: 6311: 6242:978-0-88985-009-5 6234:978-3-9813319-6-7 6175:978-0-19-516979-9 6161:Taruskin, Richard 6093:978-0-8153-2995-4 6079:978-0-252-03215-8 6062:978-1-594-20340-4 6047:978-0-819-57591-3 6030:978-1-85332-283-9 6014:978-1-86189-905-7 6001:www.arte-fact.org 5951:978-1-891300-16-5 5943:978-1-891300-16-5 5926:978-0-521-48558-6 5898:978-88-5751-138-2 5862:978-1-55970-220-1 5843:978-1-56159-263-0 5810:978-0-521-56544-8 5791:978-0-226-66057-8 5778:Perloff, Marjorie 5769:978-0-521-78968-4 5726:978-0-415-93792-4 5691:978-3-7186-5643-1 5672:978-0-8195-6028-5 5651:978-3-7957-0800-9 5624:978-0-226-04407-1 5467:Los Angeles Times 5402:Los Angeles Times 5359:978-0-275-94443-8 5307:978-0-521-35037-2 5221:978-0-275-98779-4 5094:"John Cage Award" 5046:Los Angeles Times 5029:978-0-521-78220-3 5005:978-1-56159-239-5 4941:The Musical Times 4794:The Musical Times 4747:978-0-19-315429-2 4721:978-0-226-75342-3 4681:Keats, Jonathon. 4111:978-0-8154-1034-8 3784:on March 14, 2017 3739:alan-chadwick.org 3720:978-0-19-093847-5 2994:Los Angeles Times 2881:Los Angeles Times 2846:Reviews cited in 2810:. By David Ryan, 2755:978-0-385-14278-6 2727:978-0-226-47253-9 2407: 2406: 2280:presented Cage's 2190:, founder of the 2141:Christopher Hobbs 2109:Helmut Lachenmann 2054:Michael Steinberg 1792:coordinate system 1649:random generation 1492:Walter Zimmermann 1354:Crown Point Press 1336:Margaret Leng Tan 1292: 1161:Mary Bauermeister 995:, a community in 912:Despite the fame 829:and Cage's pupil 589:Pacific Palisades 563:Rudolph Schindler 488:Arnold Schoenberg 372:Cage enrolled at 314:George Washington 309:Los Angeles Times 233:Indian philosophy 221:Arnold Schoenberg 179: 178: 64:September 5, 1912 8035: 7893:Buddhist artists 7638:Related articles 7559:Richard Maxfield 7530:Related artists 7386:Genpei Akasegawa 7365: 7358: 7351: 7342: 7341: 7277: 7270: 7263: 7254: 7253: 7222:Olivier Messiaen 7197:Karel Goeyvaerts 7129:Darmstadt School 7122: 7115: 7108: 7099: 7098: 7086: 7085: 7072: 7071: 6874:Etudes Australes 6818:Music of Changes 6691: 6684: 6677: 6668: 6667: 6490:John Cage Online 6484:Link collections 6459:Artist Biography 6446: 6421:Raymond Federman 6413:Silence/Stories: 6381: 6380: 6378:Official website 6314: 6307: 6303: 6300: 6294: 6262: 6261: 6254: 6205: 6186:Music Technology 6157: 6123: 6104:Music Technology 6034: 5979: 5977: 5887: 5866: 5847: 5824:(8th ed.). 5814: 5795: 5773: 5749: 5730: 5708: 5695: 5676: 5655: 5628: 5599: 5590: 5584: 5575: 5569: 5568: 5566: 5564: 5553: 5547: 5546: 5544: 5542: 5526: 5520: 5504: 5498: 5485: 5479: 5478: 5476: 5474: 5457: 5451: 5445: 5439: 5423: 5417: 5411: 5405: 5395: 5389: 5373: 5364: 5363: 5345: 5339: 5329:Available online 5318: 5312: 5311: 5290: 5284: 5283: 5281: 5279: 5267: 5261: 5260: 5258: 5256: 5241: 5235: 5232: 5226: 5225: 5209: 5199: 5193: 5192: 5190: 5188: 5172: 5166: 5165: 5163: 5161: 5156:on July 17, 2011 5145: 5139: 5131: 5123: 5118: 5112: 5111: 5109: 5107: 5090: 5084: 5083: 5081: 5079: 5064: 5058: 5057: 5055: 5053: 5048:. April 11, 1986 5038: 5032: 5017: 5011: 5009: 4977: 4971: 4970: 4968: 4966: 4951: 4945: 4933: 4927: 4926: 4924: 4922: 4907: 4901: 4900: 4898: 4896: 4881: 4875: 4874: 4862: 4856: 4855: 4835: 4829: 4816: 4810: 4809: 4789: 4783: 4782: 4780: 4778: 4755: 4749: 4732: 4726: 4725: 4704: 4698: 4697: 4695: 4693: 4678: 4672: 4671: 4669: 4667: 4653: 4647: 4637: 4631: 4619: 4613: 4606: 4600: 4593:. 1964. "Alea". 4588: 4582: 4581: 4579: 4577: 4563: 4557: 4556: 4554: 4552: 4537: 4531: 4525: 4519: 4513: 4507: 4501: 4495: 4489: 4483: 4480:Kostelanetz 2003 4477: 4471: 4470: 4469:on May 10, 2013. 4465:. Archived from 4459: 4453: 4452: 4450: 4448: 4431: 4425: 4424: 4422: 4420: 4405: 4399: 4393: 4387: 4381: 4375: 4372:Kostelanetz 2003 4369: 4363: 4360:Kostelanetz 2003 4357: 4351: 4345: 4339: 4333: 4327: 4314:Stephen Montague 4307: 4301: 4286: 4280: 4274: 4268: 4262: 4253: 4247: 4241: 4240: 4210: 4204: 4193: 4187: 4181: 4175: 4169: 4163: 4157: 4151: 4145: 4139: 4138: 4136: 4134: 4119: 4113: 4096: 4090: 4084: 4078: 4077: 4037: 4028: 4022: 4016: 4010: 4004: 3998: 3992: 3991: 3989: 3987: 3972: 3966: 3965: 3933: 3927: 3914: 3908: 3907: 3899: 3893: 3887: 3878: 3872: 3866: 3865: 3857: 3851: 3850: 3848: 3846: 3826: 3820: 3819: 3817: 3815: 3800: 3794: 3793: 3791: 3789: 3774: 3768: 3767: 3756: 3750: 3749: 3747: 3745: 3731: 3725: 3724: 3706: 3700: 3699: 3697: 3695: 3683: 3672: 3671: 3669: 3667: 3661: 3652: 3646: 3640: 3634: 3628: 3622: 3616: 3610: 3604: 3598: 3592: 3586: 3580: 3574: 3567: 3561: 3555: 3549: 3543: 3537: 3531: 3525: 3522:Kostelanetz 2003 3519: 3513: 3507: 3501: 3495: 3489: 3483: 3477: 3476: 3474: 3472: 3456: 3450: 3444: 3438: 3432: 3426: 3420: 3414: 3408: 3402: 3399:Available online 3391: 3385: 3382:Kostelanetz 2003 3379: 3373: 3367: 3356: 3350: 3344: 3337:Kostelanetz 2003 3333: 3327: 3320: 3314: 3308: 3302: 3299:Kostelanetz 2003 3295: 3289: 3286:Kostelanetz 2003 3283: 3272: 3269:Kostelanetz 2003 3253: 3247: 3238: 3229: 3226:Kostelanetz 2003 3223: 3214: 3208: 3202: 3199:Kostelanetz 2003 3196: 3190: 3183: 3177: 3172: 3149: 3142: 3136: 3130: 3121: 3115: 3109: 3103: 3097: 3090: 3084: 3078: 3072: 3066: 3060: 3057:Kostelanetz 2003 3054: 3041: 3040: 3038: 3036: 3016: 3010: 3004: 2998: 2985: 2972: 2969:Kostelanetz 2003 2966: 2960: 2953: 2947: 2946: 2944: 2942: 2926: 2917: 2910:Kostelanetz 2003 2906: 2900: 2894: 2885: 2873: 2867: 2857: 2851: 2844: 2838: 2835:Kostelanetz 2003 2832: 2826: 2820: 2814: 2805: 2799: 2793: 2787: 2781: 2775: 2769: 2763: 2762: 2741: 2735: 2734: 2713: 2707: 2706: 2704: 2702: 2682: 2671: 2665: 2649: 2645: 2639: 2632: 2626: 2625: 2623: 2621: 2598: 2592: 2589:Kostelanetz 2003 2581: 2575: 2572:Kostelanetz 2003 2568: 2511: 2509:Biography portal 2506: 2505: 2504: 2497: 2492: 2491: 2490: 2483: 2478: 2477: 2476: 2469: 2464: 2463: 2402: 2399: 2381: 2380: 2374: 2239:artists such as 2181:Toshi Ichiyanagi 2093:Music of Changes 1839:Michael Finnissy 1777:Etudes Australes 1722:(1978; based on 1693:Etudes Australes 1661:Music of Changes 1555: 1552: 1484:Ramapo Mountains 1473:macrobiotic diet 1469:arteriosclerosis 1294: 1293: 1279:Opening bars of 1270: 1198:Marshall McLuhan 1186:Ramapo Mountains 1141:and Al Hansen's 1139:Time Table Music 1021:graphic notation 922:Music of Changes 896:Music of Changes 795:Olivier Messiaen 770:Etudes Australes 692:and her husband 666:Peggy Guggenheim 628:Merce Cunningham 593:Oskar Fischinger 557:, sculpture and 327:character pieces 271:and the broader 210:Merce Cunningham 175: 160:Merce Cunningham 149: 147: 143: 79: 63: 61: 42: 28: 27: 8043: 8042: 8038: 8037: 8036: 8034: 8033: 8032: 7988:Music theorists 7708: 7707: 7706: 7701: 7700: 7695: 7679: 7633: 7578: 7531: 7525: 7516:Emmett Williams 7461:George Maciunas 7374: 7369: 7339: 7334: 7325:Christian Wolff 7286: 7281: 7251: 7246: 7217:Giacomo Manzoni 7187:Franco Donatoni 7147:Hans Abrahamsen 7138: 7126: 7091: 7083: 7078: 7060: 7022: 7003: 6944: 6890:Etudes Boreales 6850:Cheap Imitation 6720: 6700: 6695: 6567:Brave New Waves 6508:Specific topics 6502:Wayback Machine 6474:, June 21, 1987 6437: 6376: 6375: 6367: 6366: 6365: 6347: 6346: 6331: 6330: 6326: 6315: 6304: 6298: 6295: 6276: 6267:This section's 6263: 6259: 6252: 6247: 6220: 6179: 6126: 6097: 6067:Nicholls, David 6031: 6018: 5881: 5874: 5872:Further reading 5869: 5863: 5844: 5811: 5792: 5770: 5754:Nicholls, David 5746: 5727: 5692: 5673: 5652: 5625: 5608: 5603: 5602: 5597:Yale University 5591: 5587: 5576: 5572: 5562: 5560: 5555: 5554: 5550: 5540: 5538: 5527: 5523: 5505: 5501: 5496:Wayback Machine 5486: 5482: 5472: 5470: 5458: 5454: 5446: 5442: 5424: 5420: 5412: 5408: 5396: 5392: 5374: 5367: 5360: 5346: 5342: 5336:Wayback Machine 5319: 5315: 5308: 5294:Orledge, Robert 5291: 5287: 5277: 5275: 5268: 5264: 5254: 5252: 5242: 5238: 5233: 5229: 5222: 5200: 5196: 5186: 5184: 5183:on July 6, 2011 5173: 5169: 5159: 5157: 5146: 5142: 5137:Wayback Machine 5129: 5121: 5119: 5115: 5105: 5103: 5092: 5091: 5087: 5077: 5075: 5066: 5065: 5061: 5051: 5049: 5040: 5039: 5035: 5018: 5014: 5006: 4978: 4974: 4964: 4962: 4961:on May 31, 2009 4953: 4952: 4948: 4936:Michael Parsons 4934: 4930: 4920: 4918: 4909: 4908: 4904: 4894: 4892: 4883: 4882: 4878: 4863: 4859: 4836: 4832: 4817: 4813: 4800:(1932): 81–90. 4790: 4786: 4776: 4774: 4756: 4752: 4733: 4729: 4722: 4705: 4701: 4691: 4689: 4679: 4675: 4665: 4663: 4655: 4654: 4650: 4638: 4634: 4620: 4616: 4607: 4603: 4589: 4585: 4575: 4573: 4565: 4564: 4560: 4550: 4548: 4538: 4534: 4526: 4522: 4514: 4510: 4502: 4498: 4490: 4486: 4478: 4474: 4461: 4460: 4456: 4446: 4444: 4432: 4428: 4418: 4416: 4406: 4402: 4394: 4390: 4382: 4378: 4370: 4366: 4358: 4354: 4346: 4342: 4334: 4330: 4308: 4304: 4287: 4283: 4275: 4271: 4263: 4256: 4248: 4244: 4211: 4207: 4194: 4190: 4182: 4178: 4170: 4166: 4158: 4154: 4146: 4142: 4132: 4130: 4129:. July 28, 2009 4121: 4120: 4116: 4097: 4093: 4085: 4081: 4038: 4031: 4023: 4019: 4011: 4007: 3999: 3995: 3985: 3983: 3974: 3973: 3969: 3934: 3930: 3915: 3911: 3900: 3896: 3888: 3881: 3873: 3869: 3858: 3854: 3844: 3842: 3827: 3823: 3813: 3811: 3810:on June 4, 2011 3802: 3801: 3797: 3787: 3785: 3776: 3775: 3771: 3758: 3757: 3753: 3743: 3741: 3733: 3732: 3728: 3721: 3707: 3703: 3693: 3691: 3684: 3675: 3665: 3663: 3659: 3653: 3649: 3641: 3637: 3629: 3625: 3617: 3613: 3605: 3601: 3593: 3589: 3581: 3577: 3568: 3564: 3556: 3552: 3544: 3540: 3532: 3528: 3520: 3516: 3508: 3504: 3496: 3492: 3484: 3480: 3470: 3468: 3458: 3457: 3453: 3445: 3441: 3433: 3429: 3421: 3417: 3409: 3405: 3392: 3388: 3380: 3376: 3368: 3359: 3351: 3347: 3334: 3330: 3321: 3317: 3309: 3305: 3296: 3292: 3284: 3275: 3271:, 5, 105; etc.. 3261:, p. 261; 3254: 3250: 3239: 3232: 3224: 3217: 3209: 3205: 3197: 3193: 3185:Cage quoted in 3184: 3180: 3173: 3152: 3144:Cage quoted in 3143: 3139: 3131: 3124: 3116: 3112: 3104: 3100: 3091: 3087: 3079: 3075: 3067: 3063: 3055: 3044: 3034: 3032: 3017: 3013: 3005: 3001: 2986: 2975: 2967: 2963: 2954: 2950: 2940: 2938: 2927: 2920: 2908:Cage quoted in 2907: 2903: 2895: 2888: 2874: 2870: 2858: 2854: 2845: 2841: 2833: 2829: 2821: 2817: 2806: 2802: 2794: 2790: 2782: 2778: 2770: 2766: 2756: 2742: 2738: 2728: 2714: 2710: 2700: 2698: 2683: 2674: 2666: 2662: 2657: 2652: 2646: 2642: 2633: 2629: 2619: 2617: 2615:artsjournal.com 2599: 2595: 2582: 2578: 2570:Cage quoted in 2569: 2565: 2561: 2556: 2507: 2502: 2500: 2493: 2488: 2486: 2479: 2474: 2472: 2465: 2458: 2455: 2446:Yale University 2403: 2397: 2394: 2378: 2372: 2300:Heiner Goebbels 2273: 2247:: for example, 2223:Obscure Records 2153:Howard Skempton 2137:Michael Parsons 2105:aleatoric music 2034: 2022:McHenry Library 1955:(1980–82), and 1938:Seven Day Diary 1900: 1870: 1835:John Paul Jones 1827:London Coliseum 1747:Cheap Imitation 1716:Cheap Imitation 1704:Etudes Boreales 1701:(1977–90), and 1673:Music for Piano 1638: 1553: 1519: 1514: 1508: 1500:Ensemble Modern 1442:Frankfurt Opera 1378: 1372: 1323:Cheap Imitation 1315:Cheap Imitation 1312: 1311: 1303: 1301: 1300: 1299: 1298: 1295: 1288: 1285: 1281:Cheap Imitation 1274: 1268: 1252:Cheap Imitation 1247:Cheap Imitation 1228:Cheap Imitation 1194: 1173:Etude for Piano 1115:Jackson Mac Low 1043:Norman O. Brown 1035: 1009:Stan VanDerBeek 883:(1950–51), the 831:Christian Wolff 783: 764:Music for Piano 730:'s lectures on 704:Cathy Berberian 694:Joseph Campbell 678:Jackson Pollock 651:Kenneth Patchen 608:Marian van Tuyl 585: 579: 472: 451:Leaves of Grass 431:Igor Stravinsky 296: 291: 188:. A pioneer of 151: 148: 1945) 139: 135: 132: 119: 89:Alma mater 84: 81: 77: 76:August 12, 1992 68: 65: 59: 57: 56: 55: 45: 33: 24: 17: 12: 11: 5: 8041: 8031: 8030: 8025: 8020: 8015: 8010: 8005: 8000: 7995: 7990: 7985: 7980: 7975: 7970: 7965: 7963:LGBT Buddhists 7960: 7955: 7950: 7945: 7940: 7935: 7930: 7925: 7920: 7915: 7910: 7905: 7900: 7895: 7890: 7885: 7883:Bisexual poets 7880: 7875: 7870: 7865: 7860: 7855: 7850: 7845: 7840: 7835: 7830: 7825: 7820: 7815: 7810: 7805: 7800: 7795: 7790: 7785: 7780: 7775: 7770: 7765: 7760: 7755: 7750: 7745: 7740: 7735: 7730: 7725: 7720: 7703: 7702: 7697: 7696: 7694: 7693: 7691:Hannah Higgins 7687: 7685: 7681: 7680: 7678: 7677: 7672: 7667: 7662: 7657: 7655:Conceptual art 7652: 7647: 7641: 7639: 7635: 7634: 7632: 7631: 7624: 7617: 7610: 7603: 7596: 7586: 7584: 7580: 7579: 7577: 7576: 7571: 7566: 7561: 7556: 7551: 7546: 7541: 7535: 7533: 7527: 7526: 7524: 7523: 7521:La Monte Young 7518: 7513: 7508: 7503: 7498: 7493: 7488: 7483: 7478: 7473: 7468: 7463: 7458: 7456:Shigeko Kubota 7453: 7451:Alison Knowles 7448: 7443: 7438: 7433: 7428: 7423: 7418: 7416:Robert Filliou 7413: 7408: 7403: 7398: 7393: 7388: 7382: 7380: 7379:Fluxus artists 7376: 7375: 7368: 7367: 7360: 7353: 7345: 7336: 7335: 7333: 7332: 7327: 7322: 7317: 7312: 7310:Morton Feldman 7307: 7302: 7297: 7291: 7288: 7287: 7280: 7279: 7272: 7265: 7257: 7248: 7247: 7245: 7244: 7242:Iannis Xenakis 7239: 7234: 7232:Henri Pousseur 7229: 7224: 7219: 7214: 7209: 7204: 7202:Mauricio Kagel 7199: 7194: 7189: 7184: 7179: 7174: 7169: 7164: 7159: 7154: 7149: 7143: 7140: 7139: 7125: 7124: 7117: 7110: 7102: 7096: 7093: 7092: 7080: 7079: 7077: 7076: 7065: 7062: 7061: 7059: 7058: 7053: 7048: 7043: 7037: 7030: 7028: 7024: 7023: 7021: 7020: 7011: 7009: 7005: 7004: 7002: 7001: 6993: 6985: 6977: 6969: 6961: 6952: 6950: 6946: 6945: 6943: 6942: 6934: 6926: 6918: 6910: 6902: 6898:Freeman Etudes 6894: 6886: 6878: 6870: 6862: 6854: 6846: 6838: 6830: 6822: 6814: 6806: 6798: 6790: 6782: 6781: 6780: 6772: 6765: 6758: 6751: 6737: 6728: 6726: 6722: 6721: 6719: 6718: 6717: 6716: 6705: 6702: 6701: 6694: 6693: 6686: 6679: 6671: 6665: 6664: 6648: 6642: 6632: 6626: 6620: 6614: 6608: 6602: 6596: 6571: 6570: 6556: 6529: 6528: 6519:Garten, Joel, 6517: 6505: 6504: 6492: 6481: 6480: 6475: 6469: 6456: 6447: 6435: 6417:Karlheinz Essl 6410: 6405: 6400: 6394: 6388: 6382: 6364: 6363: 6358: 6352: 6348: 6345: 6344: 6339: 6333: 6332: 6321: 6320: 6317: 6316: 6271:external links 6266: 6264: 6257: 6251: 6250:External links 6248: 6246: 6245: 6222: 6218: 6206: 6188:. p. 42. 6177: 6158: 6140:(1): 132–144. 6124: 6106:. p. 62. 6095: 6081: 6064: 6050: 6035: 6029: 6016: 6002: 5989: 5980: 5953: 5928: 5910:Boulez, Pierre 5907: 5900: 5875: 5873: 5870: 5868: 5867: 5861: 5848: 5842: 5815: 5809: 5796: 5790: 5774: 5768: 5756:, ed. (2002). 5750: 5744: 5731: 5725: 5709: 5696: 5690: 5677: 5671: 5656: 5650: 5629: 5623: 5609: 5607: 5604: 5601: 5600: 5585: 5570: 5548: 5521: 5516:The New Yorker 5499: 5480: 5452: 5440: 5426:Midgette, Anne 5418: 5406: 5390: 5376:Kaufman, Sarah 5365: 5358: 5340: 5313: 5306: 5285: 5274:. Warp Records 5262: 5236: 5227: 5220: 5194: 5167: 5140: 5113: 5085: 5059: 5033: 5012: 5004: 4982:Sadie, Stanley 4972: 4946: 4928: 4902: 4876: 4871:The New Yorker 4857: 4846:(3): 769–824. 4830: 4811: 4784: 4750: 4735:Maconie, Robin 4727: 4720: 4699: 4673: 4648: 4632: 4614: 4601: 4591:Boulez, Pierre 4583: 4558: 4532: 4520: 4508: 4496: 4484: 4472: 4454: 4426: 4400: 4396:Pritchett 1993 4388: 4384:Pritchett 1993 4376: 4364: 4352: 4348:Pritchett 1993 4340: 4336:Pritchett 1993 4328: 4319:American Music 4302: 4298:Irvine Arditti 4281: 4269: 4254: 4250:Pritchett 1993 4242: 4229:10.2307/833316 4205: 4201:Edition Peters 4188: 4184:Pritchett 1993 4176: 4164: 4160:Pritchett 1993 4152: 4148:Pritchett 1993 4140: 4114: 4091: 4079: 4052:(1): 131–148. 4029: 4017: 4013:Fetterman 1996 4005: 3993: 3967: 3928: 3909: 3894: 3879: 3867: 3852: 3821: 3795: 3769: 3751: 3726: 3719: 3701: 3673: 3662:. pp. 5–8 3647: 3635: 3623: 3611: 3599: 3595:Pritchett 1993 3587: 3583:Pritchett 1993 3575: 3562: 3550: 3546:Pritchett 1993 3538: 3526: 3514: 3502: 3498:Pritchett 1993 3490: 3478: 3451: 3439: 3427: 3415: 3403: 3386: 3374: 3357: 3345: 3328: 3315: 3303: 3290: 3273: 3248: 3241:Pritchett 1993 3230: 3215: 3203: 3191: 3178: 3150: 3137: 3122: 3110: 3098: 3094:Vassar College 3085: 3073: 3061: 3042: 3029:The New Yorker 3011: 2999: 2973: 2961: 2948: 2918: 2901: 2886: 2868: 2852: 2848:Fetterman 1996 2839: 2827: 2815: 2800: 2788: 2776: 2764: 2754: 2736: 2726: 2708: 2672: 2659: 2658: 2656: 2653: 2651: 2650: 2648:institutions." 2640: 2636:Virgil Thomson 2627: 2593: 2576: 2562: 2560: 2557: 2555: 2552: 2551: 2550: 2545: 2542:Henning Lohner 2533: 2526: 2521: 2513: 2512: 2498: 2484: 2470: 2454: 2451: 2450: 2449: 2442: 2429: 2422: 2415: 2405: 2404: 2384: 2382: 2371: 2368: 2336:Kasia Glowicka 2272: 2269: 2229:'s 2001 album 2209:, and various 2157:Tōru Takemitsu 2121:La Monte Young 2101:Mauricio Kagel 2033: 2030: 1980:Henning Lohner 1953:On the Surface 1899: 1896: 1869: 1866: 1861:Finnegans Wake 1843:Edward Gardner 1773: 1772: 1769: 1766:transpositions 1762: 1698:Freeman Etudes 1637: 1634: 1518: 1515: 1507: 1504: 1420:, in 1987–91. 1371: 1368: 1302: 1296: 1286: 1277: 1276: 1275: 1266: 1265: 1264: 1212:Lejaren Hiller 1193: 1190: 1151:Antonin Artaud 1095:Variations III 1034: 1031: 1001:M. C. Richards 943:Morton Feldman 856:Pantheon Books 803:Morton Feldman 782: 779: 755:Richard Buhlig 682:Marcel Duchamp 653:. The result, 578: 575: 507:The New School 480:Richard Buhlig 471: 468: 435:Paul Hindemith 413:and sailed to 382:Marcel Duchamp 374:Pomona College 363:Hollywood Bowl 295: 292: 290: 287: 277:prepared piano 186:music theorist 177: 176: 168: 167: 163: 162: 157: 153: 152: 137: 133: 128: 127: 125: 121: 120: 118: 117: 114: 111: 109:music theorist 106: 102: 100: 96: 95: 93:Pomona College 90: 86: 85: 82: 80:(aged 79) 74: 70: 69: 66: 53: 51: 47: 46: 43: 35: 34: 31: 15: 9: 6: 4: 3: 2: 8040: 8029: 8026: 8024: 8021: 8019: 8016: 8014: 8011: 8009: 8006: 8004: 8001: 7999: 7996: 7994: 7991: 7989: 7986: 7984: 7981: 7979: 7976: 7974: 7971: 7969: 7966: 7964: 7961: 7959: 7956: 7954: 7951: 7949: 7946: 7944: 7941: 7939: 7936: 7934: 7931: 7929: 7926: 7924: 7921: 7919: 7916: 7914: 7911: 7909: 7906: 7904: 7901: 7899: 7896: 7894: 7891: 7889: 7886: 7884: 7881: 7879: 7876: 7874: 7871: 7869: 7866: 7864: 7861: 7859: 7856: 7854: 7851: 7849: 7846: 7844: 7841: 7839: 7836: 7834: 7831: 7829: 7826: 7824: 7821: 7819: 7816: 7814: 7811: 7809: 7806: 7804: 7801: 7799: 7796: 7794: 7791: 7789: 7786: 7784: 7781: 7779: 7776: 7774: 7771: 7769: 7766: 7764: 7761: 7759: 7756: 7754: 7751: 7749: 7746: 7744: 7741: 7739: 7736: 7734: 7731: 7729: 7726: 7724: 7721: 7719: 7716: 7715: 7713: 7692: 7689: 7688: 7686: 7682: 7676: 7673: 7671: 7668: 7666: 7663: 7661: 7658: 7656: 7653: 7651: 7648: 7646: 7643: 7642: 7640: 7636: 7630: 7629: 7625: 7623: 7622: 7618: 7616: 7615: 7611: 7609: 7608: 7604: 7602: 7601: 7597: 7595: 7594: 7593: 7588: 7587: 7585: 7581: 7575: 7572: 7570: 7567: 7565: 7562: 7560: 7557: 7555: 7552: 7550: 7547: 7545: 7542: 7540: 7537: 7536: 7534: 7532:and musicians 7528: 7522: 7519: 7517: 7514: 7512: 7509: 7507: 7504: 7502: 7499: 7497: 7494: 7492: 7489: 7487: 7484: 7482: 7481:Ben Patterson 7479: 7477: 7476:Nam June Paik 7474: 7472: 7469: 7467: 7464: 7462: 7459: 7457: 7454: 7452: 7449: 7447: 7444: 7442: 7439: 7437: 7434: 7432: 7429: 7427: 7424: 7422: 7419: 7417: 7414: 7412: 7411:Philip Corner 7409: 7407: 7406:George Brecht 7404: 7402: 7399: 7397: 7394: 7392: 7391:Eric Andersen 7389: 7387: 7384: 7383: 7381: 7377: 7373: 7366: 7361: 7359: 7354: 7352: 7347: 7346: 7343: 7331: 7328: 7326: 7323: 7321: 7320:Edgard Varèse 7318: 7316: 7313: 7311: 7308: 7306: 7303: 7301: 7298: 7296: 7293: 7292: 7289: 7285: 7278: 7273: 7271: 7266: 7264: 7259: 7258: 7255: 7243: 7240: 7238: 7235: 7233: 7230: 7228: 7225: 7223: 7220: 7218: 7215: 7213: 7212:Bruno Maderna 7210: 7208: 7205: 7203: 7200: 7198: 7195: 7193: 7190: 7188: 7185: 7183: 7182:Aldo Clementi 7180: 7178: 7175: 7173: 7170: 7168: 7165: 7163: 7162:Pierre Boulez 7160: 7158: 7157:Luciano Berio 7155: 7153: 7152:Jean Barraqué 7150: 7148: 7145: 7144: 7141: 7136: 7135: 7130: 7123: 7118: 7116: 7111: 7109: 7104: 7103: 7100: 7094: 7087: 7075: 7067: 7066: 7063: 7057: 7054: 7052: 7049: 7047: 7044: 7041: 7038: 7035: 7032: 7031: 7029: 7025: 7018: 7017: 7013: 7012: 7010: 7006: 6999: 6998: 6994: 6991: 6990: 6986: 6983: 6982: 6978: 6975: 6974: 6970: 6967: 6966: 6962: 6959: 6958: 6954: 6953: 6951: 6947: 6940: 6939: 6938:Number Pieces 6935: 6932: 6931: 6927: 6924: 6923: 6919: 6916: 6915: 6911: 6908: 6907: 6903: 6900: 6899: 6895: 6892: 6891: 6887: 6884: 6883: 6879: 6876: 6875: 6871: 6868: 6867: 6863: 6860: 6859: 6855: 6852: 6851: 6847: 6844: 6843: 6839: 6836: 6835: 6831: 6828: 6827: 6823: 6820: 6819: 6815: 6812: 6811: 6807: 6804: 6803: 6799: 6796: 6795: 6791: 6788: 6787: 6783: 6778: 6777: 6773: 6771: 6770: 6766: 6764: 6763: 6759: 6757: 6756: 6752: 6750: 6749: 6745: 6744: 6743: 6742: 6738: 6735: 6734: 6733:Constructions 6730: 6729: 6727: 6723: 6715: 6712: 6711: 6710: 6707: 6706: 6703: 6699: 6692: 6687: 6685: 6680: 6678: 6673: 6672: 6669: 6662: 6658: 6654: 6653: 6649: 6646: 6643: 6640: 6636: 6633: 6630: 6627: 6624: 6621: 6618: 6615: 6612: 6609: 6606: 6603: 6600: 6599:Indeterminacy 6597: 6594: 6590: 6586: 6582: 6579:John Cage at 6578: 6577: 6576: 6575: 6568: 6564: 6560: 6557: 6555: 6551: 6547: 6543: 6539: 6536: 6535: 6534: 6533: 6526: 6522: 6518: 6515: 6512: 6511: 6510: 6509: 6503: 6499: 6496: 6493: 6491: 6488: 6487: 6486: 6485: 6479: 6476: 6473: 6470: 6467: 6464: 6460: 6457: 6455: 6451: 6448: 6444: 6440: 6436: 6434: 6430: 6426: 6422: 6418: 6414: 6411: 6409: 6406: 6404: 6401: 6398: 6395: 6392: 6389: 6386: 6383: 6379: 6374: 6373: 6372: 6371: 6362: 6359: 6357: 6354: 6353: 6351: 6343: 6340: 6338: 6335: 6334: 6329: 6324: 6313: 6310: 6302: 6292: 6288: 6287:inappropriate 6284: 6280: 6274: 6272: 6265: 6256: 6255: 6243: 6239: 6235: 6231: 6227: 6223: 6221: 6219:9780733323034 6215: 6211: 6207: 6203: 6199: 6195: 6191: 6187: 6183: 6178: 6176: 6172: 6168: 6167: 6162: 6159: 6155: 6151: 6147: 6143: 6139: 6135: 6134: 6129: 6125: 6121: 6117: 6113: 6109: 6105: 6101: 6096: 6094: 6090: 6086: 6082: 6080: 6076: 6072: 6068: 6065: 6063: 6059: 6055: 6051: 6048: 6044: 6040: 6036: 6032: 6026: 6022: 6017: 6015: 6011: 6007: 6003: 6000: 5996: 5995: 5990: 5987: 5986: 5981: 5976: 5971: 5967: 5963: 5959: 5954: 5952: 5948: 5944: 5940: 5936: 5932: 5931:Brown, Kathan 5929: 5927: 5923: 5919: 5915: 5911: 5908: 5905: 5901: 5899: 5895: 5891: 5885: 5880: 5877: 5876: 5864: 5858: 5854: 5849: 5845: 5839: 5835: 5831: 5827: 5823: 5822: 5816: 5812: 5806: 5802: 5797: 5793: 5787: 5783: 5779: 5775: 5771: 5765: 5761: 5760: 5755: 5751: 5747: 5745:9789401207263 5741: 5737: 5732: 5728: 5722: 5719:. Routledge. 5718: 5714: 5710: 5706: 5702: 5697: 5693: 5687: 5684:. Routledge. 5683: 5678: 5674: 5668: 5664: 5663: 5657: 5653: 5647: 5643: 5639: 5637: 5630: 5626: 5620: 5616: 5611: 5610: 5598: 5594: 5589: 5583: 5579: 5574: 5558: 5552: 5536: 5532: 5529:Kojs, Juraj. 5525: 5518: 5517: 5512: 5508: 5503: 5497: 5493: 5489: 5484: 5469: 5468: 5463: 5456: 5449: 5444: 5437: 5436: 5431: 5427: 5422: 5415: 5410: 5403: 5399: 5394: 5387: 5386: 5381: 5377: 5372: 5370: 5361: 5355: 5351: 5344: 5337: 5333: 5330: 5326: 5322: 5317: 5309: 5303: 5299: 5295: 5289: 5273: 5266: 5251: 5247: 5240: 5231: 5223: 5217: 5213: 5208: 5207: 5198: 5182: 5178: 5171: 5155: 5151: 5144: 5138: 5134: 5128: 5124: 5117: 5101: 5100: 5095: 5089: 5073: 5069: 5063: 5047: 5043: 5037: 5030: 5026: 5022: 5016: 5007: 5001: 4997: 4993: 4992: 4987: 4986:Tyrrell, John 4983: 4976: 4965:September 12, 4960: 4956: 4950: 4943: 4942: 4937: 4932: 4916: 4912: 4906: 4890: 4886: 4880: 4872: 4868: 4861: 4853: 4849: 4845: 4841: 4834: 4827: 4826: 4821: 4815: 4807: 4803: 4799: 4795: 4788: 4773: 4769: 4765: 4761: 4754: 4748: 4744: 4740: 4736: 4731: 4723: 4717: 4713: 4711: 4703: 4688: 4684: 4677: 4662: 4658: 4652: 4645: 4641: 4640:Kahn, Douglas 4636: 4629: 4628: 4623: 4618: 4611: 4605: 4598: 4597: 4592: 4587: 4572: 4568: 4562: 4547: 4543: 4536: 4529: 4528:Nicholls 2002 4524: 4517: 4516:Nicholls 2002 4512: 4505: 4504:Nicholls 2002 4500: 4493: 4492:Nicholls 2002 4488: 4481: 4476: 4468: 4464: 4458: 4443: 4442: 4437: 4430: 4415: 4411: 4404: 4397: 4392: 4385: 4380: 4373: 4368: 4361: 4356: 4349: 4344: 4337: 4332: 4325: 4321: 4320: 4315: 4311: 4306: 4299: 4295: 4291: 4285: 4278: 4273: 4266: 4265:Nicholls 2002 4261: 4259: 4251: 4246: 4238: 4234: 4230: 4226: 4222: 4218: 4217: 4209: 4202: 4198: 4192: 4185: 4180: 4173: 4172:Nicholls 2002 4168: 4161: 4156: 4149: 4144: 4128: 4124: 4118: 4112: 4108: 4104: 4100: 4095: 4088: 4083: 4075: 4071: 4067: 4063: 4059: 4055: 4051: 4047: 4043: 4036: 4034: 4026: 4021: 4014: 4009: 4002: 3997: 3981: 3977: 3971: 3963: 3959: 3955: 3951: 3947: 3943: 3939: 3932: 3925: 3924: 3919: 3913: 3905: 3898: 3891: 3886: 3884: 3876: 3871: 3863: 3856: 3841: 3840: 3835: 3831: 3825: 3809: 3805: 3799: 3783: 3779: 3773: 3765: 3761: 3755: 3740: 3736: 3730: 3722: 3716: 3712: 3705: 3689: 3682: 3680: 3678: 3658: 3651: 3644: 3639: 3632: 3627: 3620: 3615: 3608: 3603: 3596: 3591: 3584: 3579: 3572: 3566: 3559: 3554: 3547: 3542: 3535: 3530: 3523: 3518: 3511: 3510:Nicholls 2002 3506: 3499: 3494: 3487: 3482: 3467: 3466: 3461: 3455: 3448: 3443: 3436: 3431: 3424: 3419: 3412: 3407: 3400: 3396: 3390: 3383: 3378: 3371: 3366: 3364: 3362: 3354: 3349: 3342: 3338: 3332: 3325: 3319: 3312: 3307: 3300: 3294: 3287: 3282: 3280: 3278: 3270: 3266: 3265: 3260: 3259: 3252: 3246: 3242: 3237: 3235: 3227: 3222: 3220: 3212: 3211:Nicholls 2002 3207: 3200: 3195: 3188: 3187:Nicholls 2002 3182: 3176: 3171: 3169: 3167: 3165: 3163: 3161: 3159: 3157: 3155: 3147: 3141: 3134: 3129: 3127: 3119: 3118:Nicholls 2002 3114: 3107: 3102: 3095: 3089: 3082: 3077: 3070: 3069:Nicholls 2002 3065: 3058: 3053: 3051: 3049: 3047: 3031: 3030: 3025: 3021: 3015: 3008: 3007:Nicholls 2002 3003: 2996: 2995: 2990: 2984: 2982: 2980: 2978: 2970: 2965: 2958: 2952: 2936: 2932: 2925: 2923: 2915: 2914:Nicholls 2002 2911: 2905: 2898: 2897:Nicholls 2002 2893: 2891: 2883: 2882: 2878: 2872: 2865: 2861: 2860:Nicholls 2002 2856: 2849: 2843: 2836: 2831: 2824: 2819: 2813: 2812:taniachen.com 2809: 2804: 2797: 2796:Lejeunne 2012 2792: 2785: 2780: 2773: 2768: 2761: 2757: 2751: 2747: 2740: 2733: 2729: 2723: 2719: 2712: 2697: 2696: 2691: 2687: 2686:Kozinn, Allan 2681: 2679: 2677: 2669: 2664: 2660: 2644: 2637: 2631: 2616: 2612: 2608: 2603: 2597: 2590: 2586: 2580: 2573: 2567: 2563: 2549: 2546: 2543: 2539: 2538: 2534: 2531: 2527: 2525: 2522: 2520: 2519: 2515: 2514: 2510: 2499: 2496: 2485: 2482: 2471: 2468: 2462: 2457: 2447: 2443: 2440: 2439: 2434: 2430: 2427: 2423: 2420: 2416: 2413: 2409: 2408: 2401: 2392: 2388: 2385:This list is 2383: 2376: 2375: 2363: 2359: 2356: 2351: 2349: 2345: 2341: 2340:Adrian Knight 2337: 2333: 2328: 2326: 2325:John Cage Day 2322: 2318: 2317:Robert Wilson 2314: 2313: 2308: 2306: 2301: 2297: 2296:Ruhrtriennale 2293: 2289: 2285: 2284: 2279: 2268: 2266: 2262: 2258: 2254: 2253:Gary Rydstrom 2250: 2249:Academy Award 2246: 2242: 2238: 2234: 2233: 2228: 2224: 2220: 2216: 2212: 2208: 2204: 2200: 2195: 2193: 2189: 2184: 2182: 2178: 2177:Robert Ashley 2174: 2173:Meredith Monk 2170: 2166: 2165:Kazuo Inamori 2162: 2158: 2154: 2150: 2146: 2142: 2138: 2134: 2130: 2126: 2122: 2116: 2114: 2110: 2106: 2102: 2098: 2094: 2090: 2089: 2088:Klavierstücke 2082: 2080: 2076: 2070: 2068: 2061: 2059: 2055: 2050: 2047: 2043: 2039: 2029: 2027: 2023: 2019: 2015: 2011: 2006: 2004: 2000: 1996: 1991: 1989: 1985: 1981: 1977: 1972: 1970: 1966: 1962: 1958: 1954: 1950: 1945: 1943: 1939: 1935: 1930: 1928: 1924: 1920: 1916: 1908: 1904: 1895: 1892: 1888: 1884: 1880: 1876: 1875:Child of Tree 1868:Improvisation 1865: 1863: 1862: 1857: 1853: 1852: 1846: 1844: 1840: 1837:and composer 1836: 1832: 1828: 1824: 1819: 1815: 1811: 1809: 1805: 1801: 1797: 1793: 1789: 1784: 1782: 1778: 1770: 1767: 1763: 1760: 1756: 1755: 1754: 1752: 1748: 1744: 1739: 1737: 1736:time brackets 1733: 1732:Number Pieces 1729: 1725: 1721: 1717: 1712: 1710: 1706: 1705: 1700: 1699: 1694: 1690: 1686: 1682: 1678: 1674: 1670: 1666: 1662: 1654: 1653:tossing coins 1650: 1646: 1642: 1633: 1631: 1627: 1623: 1619: 1615: 1610: 1608: 1607: 1602: 1598: 1594: 1593: 1588: 1587: 1578: 1574: 1569: 1565: 1564:(both 1938). 1563: 1559: 1558:Metamorphosis 1548: 1543: 1539: 1535: 1531: 1527: 1526: 1513: 1503: 1501: 1497: 1493: 1489: 1485: 1480: 1478: 1474: 1470: 1466: 1458: 1453: 1449: 1447: 1443: 1439: 1435: 1431: 1427: 1423: 1419: 1414: 1412: 1408: 1404: 1403: 1398: 1394: 1393: 1392:Number Pieces 1387: 1383: 1377: 1376:Number Pieces 1367: 1365: 1364: 1359: 1355: 1351: 1347: 1346: 1341: 1337: 1333: 1332:Paul Zukofsky 1329: 1324: 1320: 1316: 1310: 1308: 1284: 1282: 1263: 1261: 1260:Child of Tree 1257: 1256:improvisation 1253: 1248: 1244: 1240: 1239: 1234: 1230: 1229: 1223: 1221: 1217: 1213: 1209: 1208: 1203: 1199: 1189: 1187: 1183: 1182: 1176: 1174: 1170: 1169:Nam June Paik 1166: 1162: 1158: 1157: 1152: 1148: 1144: 1140: 1136: 1132: 1131:Ben Patterson 1128: 1127:George Brecht 1124: 1120: 1116: 1112: 1108: 1104: 1099: 1097: 1096: 1091: 1090: 1085: 1081: 1076: 1075:Betty Freeman 1072: 1067: 1065: 1061: 1057: 1053: 1049: 1044: 1040: 1030: 1028: 1027: 1022: 1018: 1014: 1010: 1006: 1002: 998: 994: 990: 984: 982: 978: 974: 971:just outside 970: 965: 963: 958: 954: 950: 949: 944: 940: 936: 933:, a piece of 932: 931: 925: 923: 919: 918:Monroe Street 915: 910: 908: 903: 898: 897: 892: 891: 886: 882: 876: 871: 869: 865: 861: 858:in 1950. The 857: 853: 849: 845: 841: 840: 834: 832: 828: 824: 820: 816: 812: 808: 804: 800: 799:Pierre Boulez 796: 792: 788: 787:Carnegie Hall 778: 776: 772: 771: 766: 765: 760: 756: 751: 749: 748: 743: 742: 737: 733: 729: 725: 724:Gita Sarabhai 719: 717: 713: 709: 708:Luciano Berio 705: 701: 700: 695: 691: 687: 683: 679: 675: 671: 670:Piet Mondrian 667: 663: 658: 656: 652: 648: 644: 640: 636: 631: 629: 625: 621: 617: 613: 609: 605: 604:Mills College 601: 596: 594: 590: 584: 574: 572: 571:Yuma, Arizona 568: 564: 560: 556: 552: 549:. She was an 548: 543: 538: 533: 531: 530:Indeterminacy 527: 523: 518: 516: 512: 508: 503: 501: 497: 493: 489: 485: 484:Galka Scheyer 481: 477: 467: 465: 461: 457: 453: 452: 447: 442: 440: 436: 432: 428: 424: 420: 416: 412: 408: 402: 397: 395: 391: 387: 383: 379: 375: 370: 368: 364: 360: 359:valedictorian 356: 352: 348: 347:sight reading 343: 338: 336: 332: 328: 323: 319: 315: 311: 310: 305: 301: 286: 284: 283: 278: 274: 270: 266: 265: 259: 256: 253:, an ancient 252: 251: 246: 242: 238: 234: 230: 226: 222: 218: 213: 211: 207: 203: 199: 195: 191: 187: 183: 174: 169: 164: 161: 158: 154: 131: 126: 122: 115: 112: 110: 107: 104: 103: 101: 97: 94: 91: 87: 75: 71: 52: 48: 41: 36: 29: 26: 22: 7626: 7619: 7612: 7605: 7598: 7591: 7589: 7538: 7511:Robert Watts 7506:Wolf Vostell 7496:Mieko Shiomi 7491:Tomas Schmit 7486:Takako Saito 7466:Larry Miller 7446:Milan Knížák 7436:Dick Higgins 7421:Ken Friedman 7401:Joseph Beuys 7330:Stefan Wolpe 7315:Ralph Shapey 7299: 7171: 7132: 7014: 6995: 6987: 6979: 6971: 6963: 6955: 6936: 6928: 6920: 6912: 6904: 6896: 6888: 6880: 6872: 6864: 6856: 6848: 6840: 6832: 6824: 6816: 6808: 6800: 6792: 6784: 6774: 6767: 6760: 6753: 6746: 6739: 6731: 6697: 6651: 6638: 6605:FontanaMixer 6573: 6572: 6531: 6530: 6524: 6507: 6506: 6483: 6482: 6433:John Whiting 6429:Beat Streuli 6369: 6368: 6350:By John Cage 6349: 6327: 6305: 6296: 6281:by removing 6268: 6225: 6209: 6185: 6164: 6137: 6131: 6103: 6084: 6070: 6053: 6038: 6020: 6005: 5993: 5984: 5965: 5961: 5934: 5913: 5903: 5889: 5852: 5819: 5800: 5781: 5757: 5735: 5716: 5700: 5681: 5660: 5642:Schott Music 5636:Grete Sultan 5633: 5614: 5588: 5573: 5561:. Retrieved 5551: 5539:. Retrieved 5535:the original 5524: 5514: 5502: 5483: 5471:. Retrieved 5465: 5455: 5443: 5433: 5421: 5409: 5401: 5393: 5383: 5349: 5343: 5324: 5316: 5297: 5288: 5276:. Retrieved 5265: 5253:. Retrieved 5249: 5239: 5230: 5205: 5197: 5185:. Retrieved 5181:the original 5170: 5158:. Retrieved 5154:the original 5143: 5116: 5104:. Retrieved 5097: 5088: 5076:. Retrieved 5071: 5062: 5050:. Retrieved 5045: 5036: 5020: 5015: 4989: 4975: 4963:. Retrieved 4959:the original 4949: 4939: 4931: 4921:December 30, 4919:. Retrieved 4914: 4905: 4895:December 30, 4893:. Retrieved 4888: 4879: 4870: 4860: 4843: 4839: 4833: 4823: 4819: 4814: 4797: 4793: 4787: 4777:December 30, 4775:. Retrieved 4763: 4753: 4738: 4730: 4708: 4702: 4692:December 30, 4690:. Retrieved 4686: 4676: 4666:December 30, 4664:. Retrieved 4660: 4651: 4643: 4635: 4625: 4617: 4609: 4604: 4594: 4586: 4576:February 12, 4574:. Retrieved 4570: 4561: 4549:. Retrieved 4545: 4535: 4523: 4511: 4499: 4487: 4475: 4467:the original 4457: 4447:September 5, 4445:. Retrieved 4441:The Guardian 4439: 4429: 4417:. Retrieved 4413: 4403: 4391: 4379: 4367: 4355: 4343: 4331: 4317: 4305: 4293: 4284: 4272: 4245: 4223:(1): 50–81. 4220: 4214: 4208: 4196: 4191: 4179: 4167: 4155: 4143: 4133:September 3, 4131:. Retrieved 4126: 4117: 4102: 4094: 4082: 4049: 4045: 4025:Haskins 2004 4020: 4008: 3996: 3984:. Retrieved 3979: 3970: 3945: 3941: 3931: 3921: 3912: 3903: 3897: 3870: 3861: 3855: 3843:. Retrieved 3837: 3824: 3812:. Retrieved 3808:the original 3798: 3788:September 4, 3786:. Retrieved 3782:the original 3772: 3763: 3754: 3742:. Retrieved 3738: 3729: 3710: 3704: 3692:. Retrieved 3664:. Retrieved 3650: 3638: 3626: 3614: 3602: 3590: 3578: 3570: 3565: 3553: 3541: 3529: 3517: 3505: 3493: 3481: 3469:. Retrieved 3463: 3454: 3442: 3430: 3418: 3406: 3394: 3389: 3377: 3348: 3331: 3323: 3318: 3306: 3293: 3262: 3256: 3251: 3206: 3194: 3181: 3140: 3113: 3101: 3088: 3076: 3064: 3033:. Retrieved 3027: 3014: 3002: 2992: 2987:Swed, Mark, 2964: 2956: 2951: 2939:. Retrieved 2935:the original 2904: 2879: 2871: 2863: 2855: 2842: 2830: 2818: 2811: 2803: 2791: 2779: 2767: 2759: 2745: 2739: 2731: 2717: 2711: 2699:. Retrieved 2693: 2663: 2643: 2630: 2618:. Retrieved 2614: 2596: 2579: 2566: 2535: 2516: 2495:Music portal 2467:Opera portal 2436: 2412:Bard College 2395: 2352: 2347: 2331: 2329: 2310: 2303: 2298:in Germany, 2281: 2274: 2245:sound design 2230: 2214: 2196: 2188:Simon Jeffes 2185: 2149:Gavin Bryars 2133:Philip Glass 2117: 2104: 2092: 2086: 2083: 2078: 2075:Douglas Kahn 2072: 2066: 2063: 2057: 2051: 2041: 2037: 2035: 2007: 2002: 1998: 1994: 1992: 1987: 1983: 1975: 1973: 1968: 1964: 1960: 1956: 1952: 1948: 1946: 1941: 1937: 1933: 1931: 1922: 1914: 1912: 1906: 1886: 1878: 1874: 1871: 1859: 1855: 1849: 1847: 1831:Led Zeppelin 1817: 1813: 1812: 1807: 1803: 1799: 1795: 1788:Variations I 1787: 1785: 1780: 1776: 1774: 1753:were these: 1750: 1746: 1742: 1740: 1735: 1731: 1727: 1719: 1715: 1713: 1702: 1696: 1692: 1688: 1680: 1676: 1672: 1668: 1664: 1660: 1658: 1629: 1625: 1621: 1617: 1613: 1611: 1604: 1600: 1596: 1590: 1584: 1582: 1576: 1572: 1561: 1557: 1546: 1538:counterpoint 1529: 1523: 1520: 1495: 1481: 1462: 1457:Michael Bach 1437: 1433: 1429: 1425: 1421: 1417: 1415: 1401: 1396: 1390: 1381: 1379: 1361: 1350:Kathan Brown 1343: 1328:Grete Sultan 1322: 1314: 1313: 1304: 1280: 1259: 1251: 1246: 1242: 1236: 1226: 1224: 1205: 1195: 1179: 1177: 1172: 1154: 1147:George Segal 1142: 1138: 1135:Dick Higgins 1119:Allan Kaprow 1102: 1101:Many of the 1100: 1093: 1087: 1079: 1070: 1068: 1059: 1055: 1051: 1036: 1026:Variations I 1024: 1016: 1005:Karen Karnes 988: 985: 980: 966: 956: 946: 930:Williams Mix 928: 926: 921: 913: 911: 906: 901: 894: 888: 884: 880: 878: 873: 867: 859: 847: 837: 835: 814: 811:Anton Webern 784: 768: 762: 759:Grete Sultan 752: 745: 739: 736:Coomaraswamy 732:Zen Buddhism 728:D. T. Suzuki 720: 697: 674:André Breton 659: 654: 632: 600:Lou Harrison 597: 586: 544: 540: 535: 529: 524:and then at 519: 504: 500:Adolph Weiss 473: 449: 446:Walt Whitman 443: 404: 399: 394:Henry Cowell 371: 366: 339: 334: 330: 307: 297: 280: 262: 260: 248: 237:Zen Buddhism 217:Henry Cowell 214: 206:modern dance 181: 180: 78:(1992-08-12) 44:Cage in 1988 25: 7728:1992 deaths 7723:1912 births 7628:Spice Chess 7569:Dieter Roth 7554:Ray Johnson 7549:Henry Flynt 7501:Ben Vautier 7295:Earle Brown 7167:Earle Brown 6989:Empty Words 6917:(1985/1987) 6834:27' 10.554" 5968:(2): 9–25. 5882: [ 5563:December 5, 4915:A R T L▼R K 4630:1, 154–159. 4419:December 5, 4203:6711 (1960) 4087:Revill 1993 4001:Revill 1993 3976:"John Cage" 3890:Revill 1993 3875:Revill 1993 3643:Revill 1993 3631:Revill 1993 3619:Revill 1993 3607:Revill 1993 3558:Revill 1993 3486:Revill 1993 3447:Bredow 2012 3423:Revill 1993 3370:Revill 1993 2441:collection. 2398:August 2020 2211:noise music 2207:Frank Zappa 2199:Sonic Youth 2129:Steve Reich 2125:Terry Riley 1951:(1979–80), 1919:lithographs 1877:(1975) and 1808:4′33″ No. 2 1800:Fontana Mix 1768:am I using? 1695:(1974–75), 1685:star charts 1554: 1935 1542:dodecaphony 1528:(1933) and 1488:Stony Point 1422:Europeras I 1363:Empty Words 1358:watercolors 1084:star charts 1033:1960s: fame 1013:Sari Dienes 939:Earle Brown 827:David Tudor 823:Earle Brown 690:Jean Erdman 626:and dancer 616:Bonnie Bird 555:bookbinding 427:Lazare Lévy 386:James Joyce 285:(1946–48). 219:(1933) and 202:avant-garde 116:philosopher 99:Occupations 7712:Categories 7665:Intermedia 7614:Grapefruit 7583:Flux-works 7227:Luigi Nono 7040:Xenia Cage 7034:Crete Cage 7008:Depictions 6906:Roaratorio 6866:Song Books 6842:Variations 6585:historical 6554:and Part 5 6299:March 2020 6128:Swed, Mark 5958:"Branches" 5541:January 8, 5507:Ross, Alex 5473:October 8, 5278:August 26, 5255:August 26, 5187:August 26, 5160:August 26, 4530:, 118–122. 4518:, 115–118. 4506:, 113–115. 4494:, 112–113. 4398:, 144–146. 3845:October 6, 3830:Ross, Alex 3621:, 143–149. 3020:Ross, Alex 2798:, 185–189. 2607:Gann, Kyle 2387:incomplete 2344:Henry Vega 2283:Song Books 2265:Thom Yorke 2227:Aphex Twin 2145:John White 2067:Landscapes 2010:mycologist 1965:Variations 1923:plexigrams 1818:Musicircus 1814:Musicircus 1573:Sonata III 1562:Five Songs 1510:See also: 1411:curved bow 1374:See also: 1307:media help 1233:Erik Satie 1107:happenings 1103:Variations 1050:published 935:tape music 864:divination 852:Kurt Wolff 712:Maya Deren 624:Mark Tobey 581:See also: 407:hitchhiked 273:aesthetics 269:musicology 60:1912-09-05 7718:John Cage 7607:Water Yam 7544:John Cale 7539:John Cage 7441:Joe Jones 7426:Al Hansen 7300:John Cage 7172:John Cage 6973:Notations 6941:(1987–92) 6933:(1987–91) 6930:Europeras 6901:(1977–90) 6877:(1974–75) 6845:(1958–67) 6805:(1946–48) 6779:(1939–52) 6736:(1939–41) 6698:John Cage 6532:Listening 6450:John Cage 6328:John Cage 6283:excessive 6194:0957-6606 6112:0957-6606 6071:John Cage 6006:John Cage 5106:March 21, 5078:March 21, 5052:March 21, 4822:, p. 21. 4772:0362-4331 4551:March 10, 4546:Artsy.net 4463:"eno.org" 4066:0027-4631 3986:April 20, 3948:: 11–15. 3814:August 8, 3694:August 6, 3534:Cage 1973 3471:March 21, 3435:Cage 1973 3411:Cage 1973 3343:, 81, 86. 3311:Cage 1973 2941:March 14, 2823:Cage 1973 2655:Citations 2620:August 4, 2438:Notations 2365:John Cage 2307:1 & 2 2305:Europeras 2294:. At the 2286:with the 2257:Radiohead 2221:'s label 2219:Brian Eno 2203:Stereolab 2046:serialism 1927:plexiglas 1651:(such as 1534:chromatic 1446:Mark Swed 1340:mesostics 1319:Arthritis 1123:Al Hansen 977:happening 662:Max Ernst 411:Galveston 378:Claremont 322:submarine 241:aleatoric 166:Signature 32:John Cage 7670:Neo-Dada 7645:Anti-art 7621:Fluxus 1 7471:Yoko Ono 7074:Category 7036:(mother) 6641:in 1951. 6565:program 6498:Archived 6202:24835173 6163:. 2005. 6120:24835173 6069:. 2007. 5933:. 2001. 5906:, ebook. 5888:. 2013. 5715:(2003). 5492:Archived 5332:Archived 5323:. 1999. 5296:(1990). 5250:Time Out 5133:Archived 4988:(eds.). 4806:24615812 4737:. 1976. 4642:. 1999. 4482:, 92–96. 4197:A Flower 4186:, 29–33. 4174:, 71–74. 4127:BBC News 4101:. 2000. 3744:June 19, 3035:July 21, 2837:, 69–70. 2786:, 43–45. 2701:July 21, 2609:(2008). 2453:See also 2370:Archives 1997:(1961). 1879:Branches 1833:bassist 1606:A Flower 1601:Sonata I 1465:sciatica 1418:Europera 1262:(1975). 1029:(1958). 937:, which 815:Symphony 565:'s wife 515:Brooklyn 492:tone row 415:Le Havre 105:Composer 7027:Related 6957:Silence 6561:on the 6466:eai.org 6277:Please 6269:use of 5606:Sources 5127:YouTube 3980:pas.org 3962:1513443 3666:May 31, 3258:Silence 2042:Sonatas 2024:at the 1999:Silence 1969:Ryoanji 1942:Signals 1781:I Ching 1751:I Ching 1743:I Ching 1726:), and 1724:Belcher 1681:I Ching 1677:I Ching 1669:I Ching 1665:I Ching 1486:, near 1238:Socrate 1165:Cologne 1071:Silence 1060:Silence 1052:Silence 907:I Ching 902:I Ching 885:I Ching 868:I Ching 860:I Ching 848:I Ching 839:I Ching 716:At Land 618:at the 612:Seattle 567:Pauline 559:collage 551:Alaskan 464:Seville 460:Majorca 392:and of 250:I Ching 156:Partner 150: 138: 134: 7953:Fluxus 7372:Fluxus 7042:(wife) 7019:(1993) 7000:(1983) 6992:(1979) 6984:(1973) 6976:(1969) 6968:(1968) 6960:(1961) 6925:(1986) 6909:(1979) 6893:(1978) 6885:(1976) 6869:(1970) 6861:(1969) 6858:HPSCHD 6853:(1969) 6837:(1956) 6829:(1952) 6821:(1951) 6813:(1950) 6797:(1940) 6789:(1938) 6581:UbuWeb 6550:Part 4 6546:Part 3 6542:Part 2 6325:about 6240: 6232: 6216: 6200: 6192: 6173: 6154:742432 6152: 6118: 6110: 6091: 6077: 6060: 6045: 6027: 6012: 5949: 5941: 5924: 5896: 5859: 5840: 5807: 5788: 5766: 5742: 5723: 5688: 5669: 5648: 5621: 5414:Events 5356: 5304: 5218: 5027: 5002: 4804: 4770: 4745: 4718: 4687:Forbes 4386:, 136. 4350:, 200. 4338:, 197. 4324:UbuWeb 4279:, 140. 4237:833316 4235: 4109: 4089:, 295. 4074:742497 4072: 4064: 4015:, 191. 4003:, 247. 3960: 3877:, 208. 3717: 3633:, 166. 3609:, 142. 3571:Listen 3512:, 101. 3500:, 105. 3488:, 101. 3437:, 158. 3425:, 108. 3413:, 127. 3313:, 260. 3301:, 105. 2916:, 4–6. 2752: 2724: 2232:Drukqs 2179:, and 2131:, and 1961:Eninka 1957:Déreau 1887:Inlets 1883:cactus 1759:scales 1636:Chance 1618:gamuts 1397:Eighty 1283:(1969) 1207:HPSCHD 1133:, and 1111:Fluxus 1046:1961, 1023:, and 1011:, and 680:, and 419:Gothic 245:chance 196:, and 124:Spouse 113:artist 6949:Books 6826:4′33″ 6776:No. 5 6769:No. 4 6762:No. 3 6755:No. 2 6748:No. 1 6725:Music 6589:sound 6574:Media 6443:IRCAM 6150:JSTOR 5886:] 4825:Tempo 4802:JSTOR 4374:, 92. 4362:, 84. 4267:, 139 4252:, 94. 4233:JSTOR 4070:JSTOR 3958:JSTOR 3892:, 228 3660:(PDF) 3645:, 174 3597:, 78. 3585:, 71. 3560:, 91. 3548:, 97. 3536:, 60. 3524:, 68. 3397:, 7. 3384:, 43. 3355:, 86. 3213:, 24. 3201:, 61. 3189:, 24. 3148:, 81. 3120:, 22. 3108:, 80. 3083:, 79. 3009:, 21. 2825:, 12. 2774:, 93. 2602:Tudor 2559:Notes 2348:4′33″ 2215:4′33″ 1891:conch 1804:0′00″ 1683:, to 1626:gamut 1622:gamut 1506:Music 1089:0′00″ 957:4′33″ 948:4′33″ 456:Capri 367:4′33″ 357:as a 331:Crete 264:4′33″ 140:( 136: 7396:Ay-O 6593:film 6454:IMDb 6238:ISBN 6230:ISBN 6214:ISBN 6198:OCLC 6190:ISSN 6171:ISBN 6116:OCLC 6108:ISSN 6089:ISBN 6075:ISBN 6058:ISBN 6043:ISBN 6025:ISBN 6010:ISBN 5947:ISBN 5939:ISBN 5922:ISBN 5894:ISBN 5857:ISBN 5838:ISBN 5805:ISBN 5786:ISBN 5764:ISBN 5740:ISBN 5721:ISBN 5686:ISBN 5667:ISBN 5646:ISBN 5619:ISBN 5565:2013 5543:2013 5475:2017 5354:ISBN 5302:ISBN 5280:2010 5257:2010 5216:ISBN 5189:2010 5162:2010 5108:2024 5080:2024 5054:2024 5025:ISBN 5000:ISBN 4967:2009 4923:2023 4897:2023 4779:2023 4768:ISSN 4743:ISBN 4716:ISBN 4694:2023 4668:2023 4578:2024 4553:2020 4449:2014 4421:2013 4162:, 7. 4150:, 6. 4135:2009 4107:ISBN 4062:ISSN 3988:2024 3847:2010 3816:2009 3790:2010 3746:2024 3715:ISBN 3696:2009 3668:2014 3473:2024 3372:, 55 3135:, 81 3071:, 8. 3037:2020 2971:, 2. 2943:2007 2850:, 69 2750:ISBN 2722:ISBN 2703:2007 2622:2009 2342:and 1560:and 1467:and 1436:and 1424:and 1216:NASA 941:and 797:and 706:and 664:and 433:and 421:and 333:and 289:Life 235:and 227:and 225:East 146:div. 73:Died 50:Born 6563:CBC 6452:at 6285:or 6142:doi 5970:doi 5830:doi 5125:on 4848:doi 4798:156 4312:by 4225:doi 4054:doi 3950:doi 3288:, 6 3228:, 7 3059:, 4 2899:, 4 2393:. 1988:103 1984:One 1976:One 1575:of 1430:III 1402:One 1382:Two 1352:of 1342:). 1235:'s 1163:'s 854:of 842:—a 813:'s 714:'s 513:in 448:'s 409:to 376:in 335:Dad 243:or 7714:: 6591:, 6587:, 6583:: 6552:, 6548:, 6544:, 6540:, 6523:, 6419:, 6244:). 6196:. 6184:. 6148:. 6138:77 6136:. 6114:. 6102:. 5997:, 5966:51 5964:. 5960:. 5945:, 5884:it 5836:. 5828:. 5644:. 5595:, 5580:, 5513:, 5509:, 5464:. 5432:, 5428:, 5400:, 5382:, 5378:, 5368:^ 5248:. 5214:. 5212:57 5096:. 5070:. 5044:. 4998:. 4984:; 4913:. 4887:. 4869:. 4844:67 4842:. 4796:. 4766:. 4762:. 4685:. 4659:. 4569:. 4544:. 4438:. 4412:. 4316:. 4257:^ 4231:. 4221:26 4219:. 4199:. 4125:. 4068:. 4060:. 4050:78 4048:. 4044:. 4032:^ 3978:. 3956:. 3946:13 3944:. 3940:. 3882:^ 3836:. 3762:. 3737:. 3676:^ 3462:. 3360:^ 3276:^ 3243:, 3233:^ 3218:^ 3153:^ 3125:^ 3045:^ 3026:. 2991:, 2976:^ 2921:^ 2889:^ 2758:. 2730:. 2692:. 2675:^ 2613:. 2338:, 2183:. 2175:, 2147:, 2143:, 2139:, 2127:, 2123:, 2115:. 2099:, 2056:, 2028:. 1990:. 1967:, 1963:, 1944:. 1798:, 1711:. 1687:: 1551:c. 1434:IV 1432:, 1426:II 1334:, 1330:, 1243:is 1129:, 1125:, 1121:, 1117:, 1007:, 1003:, 964:. 909:. 825:, 777:. 676:, 672:, 532:: 192:, 142:m. 7364:e 7357:t 7350:v 7276:e 7269:t 7262:v 7137:) 7131:( 7121:e 7114:t 7107:v 6997:X 6981:M 6690:e 6683:t 6676:v 6595:. 6569:. 6468:. 6445:. 6312:) 6306:( 6301:) 6297:( 6293:. 6275:. 6204:. 6156:. 6144:: 6122:. 6049:. 6033:. 5978:. 5972:: 5865:. 5846:. 5832:: 5813:. 5794:. 5772:. 5748:. 5729:. 5694:. 5675:. 5654:. 5627:. 5567:. 5545:. 5477:. 5362:. 5338:. 5310:. 5282:. 5259:. 5224:. 5191:. 5164:. 5110:. 5082:. 5056:. 5031:. 5010:‎ 5008:. 4969:. 4925:. 4899:. 4873:. 4854:. 4850:: 4808:. 4781:. 4724:. 4696:. 4670:. 4580:. 4555:. 4451:. 4423:. 4296:( 4239:. 4227:: 4137:. 4076:. 4056:: 4027:. 3990:. 3952:: 3849:. 3818:. 3792:. 3766:. 3748:. 3723:. 3698:. 3670:. 3475:. 3449:. 3401:. 3245:9 3039:. 2945:. 2884:. 2705:. 2624:. 2544:. 2448:. 2400:) 2396:( 1549:( 1438:V 1345:M 1309:. 62:) 58:( 23:.

Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.

Index