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Schäffler, Philipp. "Die Idee der Bildung im Schaffen von John Cage." Mainz London Berlin Madrid New York, NY Paris Prague Tokyo Toronto Schott, 2009. http://d-nb.info/99236518X/04.
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Ketteler, Rolf. "John Cage und die Musik." Bärenreiter Verlag, 1998. https://slub.qucosa.de/id/qucosa%3A37155.
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Niemi, Alexandra. "Reperforming The John Cage experiences." Thesis, University of Iowa, 2014. https://ir.uiowa.edu/etd/4707.
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Simões, Gustavo Ferreira. "O desconcerto anarquista de John Cage." Pontifícia Universidade Católica de São Paulo, 2017. https://tede2.pucsp.br/handle/handle/20153.
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Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq
In 1988, John Cage invented Anarchy, an experimental-writing book in which he praised the lives of anarchist women and men who had influence his anarchist ethicalaesthetical trajectory from mid-1940s to the 1990s. This influence was explicit until the last of his works, entitled “number pieces” (1987-1990), in which he presented what he called the “anarchical harmony”. During the 1940s, John Cage, by then an already famous artist after his “prepared piano”, started experiencing anarchism as a life practice in contact with artists and militants in the Black Mountain College and with The Living Theatre troupe in New York. In 1952, his piece 4’33” appeared as an anarchist-oriented direct action against the musical representations of sounds and in favour of the incorporation of noises excluded from the concert rooms. The following decades, living alongside artists and anarchists in the country side location of Stonypoint, Cage started publishing ‘how to improve the world (you only make matters worse), a diary kept from 1965 to 1982 in which he engaged with Henry David Thoreau’s writings, and antimilitary and ecological concerns. Although absent of almost all biographies and studies on Cage’s work, the artist experimented the anarchism in a fashion Edson Passetti calls “pathway heterotopies”. Beyond the book Anarchy and other explicit antiauthoritarian works, Cage lively experienced anarchy in the singular way he faced his existence, making out of the everyday life an invention in which he affirmed an otherwise path. According to Foucault, the cynical philosophers valued that notion to distinguish their scandalous lives from the other ones that reify regular values and conventions. This dissertation followed this path by establishing the reverberations between John Cage and the contemporary anarchist attitudes
Em 1988, John Cage inventou Anarchy, livro em que, a partir de escritos experimentais, valorizou as vidas de mulheres e homens anarquistas que marcaram seu percurso ético-estético libertário desde meados dos anos 1940 até a década de 1990, quando em seus últimos trabalhos, “number pieces” (1987-1992), apresentou o que denominou “harmonia anárquica”. Foi a partir da coexistência com artistas e militantes na Black Mountain College, no final da década de 1940, assim como em Nova York com o The Living Theatre (TLT), que o artista já conhecido por seu corajoso “piano preparado” passou a elaborar o anarquismo como prática de vida. “4’33” (1952), ação direta contra a representação musical dos sons e em favor da incorporação dos ruídos excluídos pelas salas de concerto, irrompeu empolgada por essa aproximação libertária. Nas décadas seguintes, vivendo ao lado de artistas e anarquistas, afastado da cidade, em Stonypoint, iniciou a publicação de how to improve the world (you only make matters worse) (1965-1982), diário mantido por mais de quinze anos e no qual apresentou a lida com os escritos de Henry David Thoreau, preocupações antimilitares e ecológicas. Apesar de quase ausente das biografias e estudos sobre o trabalho do artista, John Cage experimentou o anarquismo como o que Edson Passetti definiu heterotopias de percurso. Assim, para além de Anarchy e de obras nitidamente antiautoritárias, o artista realizou a anarquia na maneira própria de levar adiante a existência, fazendo da vida também uma invenção, afirmando um caminho outro, noção valorizada pelos filósofos cínicos, segundo Michel Foucault, para diferenciar o traço de vidas escandalosas daquelas que reiteram convenções e valores usuais. Foi este o caminho que esta tese acompanhou, estabelecendo reverberações de John Cage em atitudes anarquistas contemporâneas
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Schäffler, Philipp. "Die Meister Eckhart-Rezeption bei John Cage." Bärenreiter Verlag, 2012. https://slub.qucosa.de/id/qucosa%3A72005.
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Kim, Yea Gyung. "Le temps et l'oeuvre chez John Cage." Paris 1, 2008. http://www.theses.fr/2008PA010534.
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Le temps a une dimension fondamentale pour John Cage. Et son livre, « Silence », exprime une conception du temps. Quelle interprétation du temps, le « Silence» permettra-t-il ? Comment le temps est-il conçu par Cage en rapport au fait de « silence» ? Le temps auquel le «silence» de Cage tend, se rapporte à l'instant qui trouve sa source dans le bouddhisme. L'instant-point est un pur surgissement de « rien », qui ne comporte ni passe, ni futur. II est un présent comme île, qu'un esprit subtil connaît dans le silence du soi. Cet instant, surgissement spontané, discontinu, est ce temps voué au procès, celui de l'instauration d'un « esprit vertical ».
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Heller, Alberto Andrés. "John Cage e a poética do silêncio." Florianópolis, SC, 2008. http://repositorio.ufsc.br/xmlui/handle/123456789/91918.
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Tese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-graduação em LiteraturaMade available in DSpace on 2012-10-24T03:53:02Z (GMT). No. of bitstreams: 1 257998.pdf: 6692523 bytes, checksum: a10ab55284a867b4c5b89753d7b78170 (MD5)
Esta tese se propõe a analisar o silêncio a partir da obra de John Cage (especialmente a literária e a musical). Esse silêncio, inicialmente compreendido por Cage como um empírico (a pausa em música), revela-se gradualmente um transcendente: não mais uma substância nem a simples ausência de som, mas um modo da ação (modo de silêncio), aparecendo como estilo, profundidade, aura, dimensão, verticalidade, densidade. Esse silêncio implica modos de percepção e temporalidade próprios, descritos aqui a partir das noções de Gelassenheit (Heidegger) e Awareness (Gestalt) e estabelecendo conexões com as noções de Invisível em Merleau-Ponty e de Nada no Zen-budismo.
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Rigaud, Antonia. "Pratiques utopiques : étude sur l'art de John Cage." Paris 3, 2000. http://www.theses.fr/2000PA030012.
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Souvent qualifie d'artiste inclassable, john cage propose une oeuvre multiple constituee de compositions musicales, de poemes, de peintures, de gravures et de mises en scenes. Ce travail s'attache essentiellement a sa production ecrite qui est analysee a la lumiere de ses autres oeuvres. En effet, a partir de ses oeuvres ecrites, nous cherchons a voir quelle est la particularite de cage mais aussi ce qui fait son americanite. En partant de la maniere dont cage repense la question du temps sous le signe du synchronisme, il est question dans ce travail de considerer comment la poesie de john cage se pratique essentiellement comme un debut, comme une ouverture vers sa realisation future mais jamais definitive. L'art de cage semble se dire au futur car il ne devient oeuvre que dans l'instant de sa pratique - un instant qui inclut ses spectateurs et ses lecteurs. L'oeuvre devient de ce fait une pratique de l'instant et ne peut etre consideree comme oeuvre que lorsqu'elle est pratiquee. Lieu de reunion entre des poles opposes, elle participe d'un double mouvement d'inscription et d'effacement : la pratique artistique de cage cherche a reunir la prophetie (l'oeuvre a venir) et la presence de l'oeuvre elle-meme, elle en devient des lors une pratique utopique. Mais l'utopie de john cage est en derniere instance symbolisee par l'amerique, comme si cet art inclassable etait en fin de compte un art de la decouverte d'un nouvel espace pour l'homme.
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Low, Sor Ching. "Religion and the invention(s) of John Cage." Related electronic resource:, 2007. http://proquest.umi.com/pqdweb?did=1375506251&sid=1&Fmt=2&clientId=3739&RQT=309&VName=PQD.
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Lewallen, Walter E. "The signature poetics of Sharon Olds and John Cage." [Tampa, Fla] : University of South Florida, 2006. http://purl.fcla.edu/usf/dc/et/SFE0001495.
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Robertson, Casey. "Illuminating postmodern elements in the music of John Cage." Thesis, California State University, Dominguez Hills, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10020172.
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While the American composer John Cage is often classified as an influential figure in the realm of modernist music, the controversial nature of Cage's work has proven to be more far-reaching than many had initially contended. Through a process of re-examining the work of Cage through a postmodern lens, this thesis rejects the notion that Cage was confined to the realm of modernism, and demonstrates that the composer not only exhibited postmodern tendencies through his ideas and concepts, but also aesthetically in his compositions. By illuminating these postmodern compositional practices and postmodern-influenced belief systems expressed by Cage as an artist, a reinterpretation of the composer and his work is carried out, while also addressing criticisms leveled toward Cage as a postmodernist. Through this contemporary reanalysis, the thesis demonstrates that Cage was a composer that transcended genres and classifications to ultimately resonate as a viable figure of postmodern music.
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Bock, Jannika. "Concord in Massachusetts, discord in the world : the writings of Henry Thoreau and John Cage /." Frankfurt, M. ; Berlin Bern Bruxelles New York, NY Oxford Wien : Lang, 2008. http://d-nb.info/990258556/04.
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Bernal, Jorge. "Architecture as a Translation of Noise." Thesis, Virginia Tech, 2002. http://hdl.handle.net/10919/9649.
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Utz, Christian. "Neue Musik und Interkulturalität : von John Cage bis Tan Dun /." Stuttgart : F. Steiner, 2002. http://catalogue.bnf.fr/ark:/12148/cb388853534.
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Gillott, Brendan Charles. "The indeterminacy of longform poetics in John Cage and Charles Olson." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/271190.
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This thesis is concerned with the longform poetics of Charles Olson and of John Cage, and with the role indeterminacy plays in their constitution and reception. The work of these authors poses unusual and particular challenges to readers, and it is towards readers and reading that this thesis is primarily oriented. Each chapter describes a problem or difficulty which these texts create for readers, and attempts to model that difficulty as clearly as possible in order to demonstrate how it forces readers to reassess received readerly protocols. As such, the thesis is also concerned with the limits of traditional critical methodologies in the face of such works. Though the concrete examples presented are mostly taken from a relatively circumscribed time and culture – the USA post-World War Two – I claim that the problematics of indeterminacy herein discussed are generally prevalent in long poetic forms, and in a certain sense constitutive of them. The thesis maps how ‘indeterminacy’ as a concept within literary criticism conflicts with that model of criticism concerned primarily with the ‘close reading’ of texts and the hermeneutic elucidation of ‘meaning’ thereby. Between historicism and close reading, it argues that this indeterminacy is most pervasive and yet most critically overlooked within traditions of what I call ‘longform’ poetics. The Introduction, discusses the unfitness of Cage’s early text ‘Indeterminacy’ to traditional modes of close-reading as exemplified in I.A. Richards and William Empson. It then recounts the developing discourse around poetic indeterminacy as it emerged through Roman Ingarden, Wolfgang Iser, Marjorie Perloff and Charles Altieri, and how that discourse increasingly configures the question of indeterminacy less around meaning and more around reading as an activity in itself. Chapter One provides a critical redescription of Olson’s hugely influential manifesto-essay ‘Projective Verse’ via comparison to Muriel Rukeyser’s The Life of Poetry. Chapter Two addresses the problem of reading speed with reference to Olson’s interest in the cinema. Chapter Three describes the poetics of heterogeneity and surprise exemplified by Cage’s Mushroom Book. Chapter Four investigates the arrangement and disarray of Olson’s ‘archive poetics’ and his insistent habit of listing. Chapter Five considers how Cage’s cavilling over the idea of ‘ideas’ informs and deforms his huge mesostic lectures I-VI. Chapter Six uses Olson’s interest in models to tease out the constitution of his longform poetics on a set of indeterminate part-whole relations. Chapter Seven traces the effects of typos in two editions of Cage’s Anarchy, and in the thought and editorial practices of Olson. Throughout, the thesis delineates various protocols for reading, models for how to engage the longform texts of Olson and Cage, aiming to demonstrate how for these poetries one needs to select and ‘read through’ a poetics as a sort of optic, one through which such reticent texts can be made legible.
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Yang, Serena. "John Cage and Van Meter Ames: Zen Buddhism, Friendship, and Cincinnati." University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1378195094.
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Cardoso, Caron Jean-Pierre. "L'indétermination à l’oeuvre : John Cage et l´identité de l'oeuvre musicale." Thesis, Paris 8, 2015. http://www.theses.fr/2015PA080134/document.
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Nous nous proposons dans la présente thèse d’examiner quelques conséquences de l´indétermination de l’œuvre musicale telle qu’elle a été proposée par John Cage dans ses propres œuvres. Nous discutons, dans le chapitre 1, plusieurs manières d'aborder l'ontologie de l'œuvre d'art dans la philosophie analytique. On constate une pression intrinsèque à l'exercice philosophique dans la direction d'une purification de la catégorie investiguée, menant à son tour à une hypostasie des catégories esthétiques historiques comme constituant l'œuvre d'art en général. L´oeuvre de Cage fonctionne comme un court-circuit dans la pratique préthéorique de composition et de manutention des œuvres en tant qu'identités reconnaissables, contrariant toute tentative d'ontologie qui présuppose ces identités pour la compréhension et la définition de l'œuvre. Dans les chapitres II e III nous tentons d'expliciter cette duplicité de l'œuvre de Cage - d'un coté, elle rompt radicalement avec les compréhensions philosophiques et pré-philosophiques des œuvres ; de l'autre, elle utilise la propre normativité de l'action présente dans la pratique sociale des concerts pour la constitution de cette rupture- à partir des apports d´une morphologie musicale inspirée de la philosophie de Wittgenstein. Enfin, nous offrons quelques réflexions sur la notion de nominalisme esthétique qui se dessine tout au long de la thèse. Ce nominalisme propose que chaque oeuvre soit responsable de ses propres conditions d´identification- ce qui pourrait ouvir la voie à une compréhension de l´indétermination comme une forme de composition critique. Cette hypothése est examinée par rapport à quelques idées d´AdornoWe propose in the present thesis to identify some consequences of indeterminacy in musical works as it appears in the works of John Cage. The first chapter discusses various approaches to musical ontology in analytic philosophy. We detect a pressure that is intrinsic to the philosophical endeavor in the sense of a greater purification of concepts pertaining to the concerned category, which in turn lead to a hypostasis of historical aesthetic categories as constituents of the musical work as such. The work of Cage functions here as a short circuit in the common practice of maintaining recognizable identities in individual works, defying every model of ontology that presupposes these stable identities for the understanding and the definition of a work. In the chapters II and III we try to make clear this duplicity of the work of Cage- on one side, it breaks radically with pre- and philosophical concepts of the work of art; on the other side, it uses the normativity of action that is present in the social practices characterizing concert music in order to constitute itself as a rupture- through our engagement with a musical morphology inspired by the philosophy of Wittgenstein. In the end, we strive to offer some reflections on an aesthetic nominalism that is being outlined throughout the thesis. This nominalism proposes basically that each work is responsible for its own conditions of identification- an hypothesis that holds a possibility for the understanding of indeterminacy as a form of critical composition. This idea is then examined in relation to some ideas by Theodor Adorno
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Pacheco, Durán Leonardo A. "Organización del ruido en el tiempo : a John Cage (1912-1992)." Tesis, Universidad de Chile, 2016. http://repositorio.uchile.cl/handle/2250/145096.
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Magíster en artes medialesNo sirve la ciencia si no puede aplicarse, tanto como la creación no avanza si no intenta al menos cuestionarse los tiempos y los medios en los cuales estamos insertos en nuestra vida cotidiana, ya sea como creadores o como consumidores de cultura. Como una guía introductoria a la electrónica desde la vereda de un músico semi-autodidacta, esta tesina en su método, pretende ser el desarrollo de un análisis historiográfico a partir del concepto de práctica musical popular contemporánea desde las primeras máquinas de ruido hasta nuestros días. De manera simple, pretende reflexionar un poco acerca de “cómo hacer” y del “con qué hacer” la música. Quise hacer una breve revisión del “porqué hacer”, esto permite tomar cierta distancia de la propia obra y tratar de enfocar ésta de manera práctica en el tópico del uso de los instrumentos electrónicos desde el siglo pasado hasta nuestros días. Para fines de ordenar linealmente las etapas del “cómo hacer”, escogí seguir un orden cronológico que de modo general, se clasifica en tres partes cuyos límites he clasificado en función de su impacto en los modos de escucha tanto como en su materialidad inherente: mecánica, electroquímica, electromagnética: la música y el cine como manifestación de la ciencia aplicada.
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Campbell, Iain. "Experimental practices of music and philosophy in John Cage and Gilles Deleuze." Thesis, Kingston University, 2015. http://eprints.kingston.ac.uk/35061/.
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In this thesis we construct a critical encounter between the composer John Cage and the philosopher Gilles Deleuze. This encounter circulates through a constellation of problems found across and between mid-twentieth century musical, artistic, and philosophical practices, the central focus for our line of enquiry being the concept of experimentation. We emphasize the production of a method of experimentation through a practice historically situated with regards to the traditions of the respective fields of music and philosophy. However, we argue that these experimental practices are not reducible to their historical traditions, but rather, by adopting what we term a problematic reading, or transcendental critique, with regards to historical givens, they take their historical situation as the site of an experimental departure. We follow Cage through his relation to the history of Western classical music, his contemporaries in the musical avant-garde, and artistic movements surrounding and in some respects stemming from Cage’s work, and Deleuze through his relation to Kant, phenomenology, and structuralism, in order to map the production of a practice of experimentation spanning music, art, and philosophy. Some specific figures we engage with in these respective traditions include Jean-Phillipe Rameau, Pierre Schaeffer, Marcel Duchamp, Pierre Boulez, Robert Morris, Yoko Ono, La Monte Young, Edmund Husserl, Maurice-Merleau-Ponty, Alain Badiou, and Félix Guattari. In so doing we seek to find between these practices points of both conjunction and disjunction which enrich our understanding of Cage’s and Deleuze’s work, and, more widely speaking, of the passage of twentieth century music and philosophy in general. Here we hope to make contributions to the fields of continental philosophy and music theory especially, and to open a point of engagement with the nascent field of sound studies.
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PINEL, D. J. "DE JOHN CAGE A JANET CARDIFF, A SOUND ART EM PERSPECTIVA HISTÓRICA." Universidade Federal do Espírito Santo, 2016. http://repositorio.ufes.br/handle/10/8476.
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Previous issue date: 2016-08-10Esta pesquisa discute sobre questões do embate entre o moderno e o contemporâneo, e tentará mostrar como o surgimento da instalação artística tornouse um gênero essencial para as realizações dos artistas que trabalharam o conceito da sound art. Nesse sentido, esta dissertação terá como recorte os movimentos que tiveram grande dimensão nas décadas de 1950 até 1970, como o minimalismo, a pop art, e particularmente, a música experimental. Portanto, nosso ponto de partida começa com o surgimento da instalação artística, passando pelos pioneiros da música experimental até chegar aos artistas contemporâneos que utilizam o som como linguagem. Tratamos sobretudo do caráter histórico e panorâmico, visando mostrar não apenas o processo de criação da sound art, mas o caminho no qual ela percorreu, sua repercussão e sua relevância para arte contemporânea. Palavras-chave: Música Experimental, Instalação, Arte contemporânea e sound art
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Waterhouse, Brent Alton. "Strates, plan, rhizome. John Cage et la philosophie de Gilles Deleuze et Félix Guattari." Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040272.
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Une recension exhaustive des références à la musique et au sonore montre l’importance de cet art dans la production philosophique de Gilles Deleuze et Félix Guattari. La présente recherche se concentre sur la position occupée par la pensée musicale de John Cage dans certains de ces textes. La période créative de Cage située entre 1939 et 1952, se focalise sur deux aspects principaux : la structure micro-macrocosmique caractéristique de ces premiers travaux, et les quatre éléments qui synthétisent alors pour Cage la composition musicale. Ces derniers sont considérés en rapport avec la théorie de la double articulation que Deleuze et Guattari reprennent de Hjelmslev ; les deux aspects renvoient au système des strates et de la stratification exposé dans Mille plateaux. La musique des décennies centrales de la production cagienne, à la lumière du passage de Mille plateaux où l’œuvre de Cage est mise en rapport avec le concept de « plan fixe sonore ». Une attention particulière est donnée à la manière dont Cage conçoit le rapport entre la durée et les matériaux sonores, et au degré variable de présence du hasard et de l’indétermination. Les compositions de cette période sont en outre vues en référence au concept deleuzo-guattarien de cartographie. Les derniers quinze ans de la production de Cage sont analysés à travers le concept de rhizome entendu comme théorie des multiplicités. La partition de Sylvano Bussotti qui figure au début de Mille plateaux ainsi que les travaux textuels et musicaux de Cage, les procédures compositionnelles des mésostiches, des parenthèses de temps qui créent une structure variable, et l’harmonie anarchique du dernier Cage sont également explicitésOn the basis of a exhaustive identification of the references to music and sound in the philosophical production of Gilles Deleuze and Félix Guattari, the present research concentrates on the position occupied by John Cage’s musical thought in a number of deleuzian texts. The first chapter analyses the works composed by Cage between 1939 and 1952, focusing on two principal aspects: the micro-macrocosmic structure that characterises his first works, and the four elements that resume Cage’s approach to composition in the period in question. The latter are considered in relation to Hjelmslev’s theory of double articulation as elaborated by Deleuze and Guattari; both aspects are referred to the system of strata and stratification found in A Thousand Plateaus. The second chapter is dedicated to the compositions of the central decades of Cage’s production, in the light of the passage of A Thousand Plateaus in which Cage is considered in relation to the concept of a “fixed sonorous plane”. Particular attention is given to the way in which Cage conceives the relation between duration and sound materials, and to the variable degree to which chance and indeterminacy are present. The compositions of this period are furthermore seen in reference to the deleuzo-guattarian concept of cartography. The last fifteen years of Cage’s production are studied through the theory of multiplicity and the concept of rhizome. The score composed by Sylvano Bussotti that appears at the beginning of A Thousand Plateaus is therefore considered, followed by an examination of Cage’s late textual and musical works, giving particular attention to mesostics, time brackets and variable structure, and anarchic harmony
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Boutwell, Brett N. ""Marvelous Accidents": The Concerto for Prepared Piano and Chamber Orchestra of John Cage." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc2260/.
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John Cages Concerto for Prepared Piano and Chamber Orchestra (1950-51) holds a unique position within the composers oeuvre as the first work based in part on chance-derived compositional procedures. Cage entered into such practice gradually, incrementally abandoning subjective taste and personal expression through the course of the work. Drawing from the philosophical framework provided by Cages "Lecture on Nothing" (1950) and "Lecture on Something" (c. 1951-52), this thesis explores the aesthetic foundations of the concerto and examines Cages compositional methodology throughout its three movements. Special attention is paid to the procedure underlying the first movement, whose analysis is based largely on the composers manuscript materials for the work.
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Jeong, Sejeong. "A Performer's Guide to the Prepared Piano of John Cage: The 1930s to 1950s." University of Cincinnati / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ucin155239910934567.
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Carrasco, Díaz Nicolás. "Examen de indeterminación en obras de John Cage, George Brecht y Manfred Werder." Tesis, Universidad de Chile, 2018. http://repositorio.uchile.cl/handle/2250/168335.
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Tesis para optar al grado de doctor en filosofía con mención en estética y teoría del arteLa investigación de esta tesis busca demostrar que las prácticas conocidas por las nociones de indeterminación y música experimental propuestas por John Cage a mediados de la década de 1950 tienen como propósito la suspensión de las categorías, medios y particiones que se han acumulado para formar el régimen de lo musical occidental fijado en el siglo XIX. Para sostener esta tesis, en el primer capítulo se expondrán las principales categorías en medio de las cuales se ejercen tales operaciones suspensivas o interruptivas: las categorías de composición y Forma, el concepto de obra musical autónoma, sede y expresión de todas las demás categorías, y, por último, el régimen musical del siglo XIX entendido como un régimen de disponibilidad. La disponibilidad de lo musical será analizada desde la comprensión de la autoría como propiedad legal, la obra como patente o imagen de sus versiones, la Música como un Museo Imaginario de Obras Musicales, lo propiamente musical en tanto imagen o fetiche sonoro y la escucha como audición, un intercambio entre la obra y el auditor, en que aquella es imagen y aquel una faena de auto-consumo o auto-explotación dispuesta o reproducida por el régimen musical. Lo suspensivo de las operaciones será expuesto investigando en el trabajo de tres compositores. Con la obra de John Cage fueron propuestos los primeros rendimientos de tales operaciones, sin que fuera explícita su ocurrencia, la que quedaba opacada por los medios a través de los cuales eran alcanzadas o su efecto, ocasionalmente espectacular y usualmente tildado de destructivo. La labor de George Brecht, que tuvo como referencia directa a Cage, se concentró casi exclusivamente en la eficacia de cesura de las operaciones, la que lo llevó a un nuevo tipo de obra y formato de partitura: el evento y la partitura en tarjeta, o “partituraevento”. Finalmente, el trabajo reciente del compositor suizo Manfred Werder, que toma como referencia la obra 4’33’’ de Cage y las tarjetas de G. Brecht, viene a explicar la indeterminación como un suceso de indisponibilidad y reubicar lo singular de aquella como una práctica que operaciones de suspensión, que tienen como principal situación o escena, la obra musical y sus categorías
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McMullen, Tracy. "Presencing absence." Thesis, connect to online resource, 2003. http://www.library.unt.edu/theses/open/20032/mcmullen%5Fterry/index.htm.
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Fornel, Anne de. "L’art sans intention. Le rôle du hasard dans l’œuvre musicale, plastique et muséologique de John Cage (1951-1992)." Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040030.
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Dès 1951, le compositeur américain John Cage (1912-1992) s’engage dans la recherche de stratégies nouvelles de création. Son objectif principal consiste à éviter de laisser la subjectivité gouverner son univers artistique. L’œuvre doit être exempte de tout geste expressif, ainsi que d’éléments issus de la mémoire. Commence alors l’invention de multiples procédés impersonnels de composition permettant au hasard d’être à l’origine de la conception de l’œuvre et de jouer un rôle à différents stades de l’élaboration. Il s’ensuit une exploration artistique où le créateur se trouve confronté à l’imprévisible. À partir de 1969, la recherche de moyens non-intentionnels de création s’élargit du domaine musical au domaine plastique. Les trois parties de notre thèse portent sur le processus d’élaboration, la performance et l’exposition. Pour une part importante de la production musicale et visuelle de Cage, si le hasard intervient dans la phase d’élaboration, les œuvres engendrées restent néanmoins fixes dans leur état final. Cependant, notamment dans les années soixante, la plupart des œuvres musicales prennent une forme indéterminée, le hasard intervenant également au moment de la performance, d’où l’imprévisibilité du résultat. Enfin, cette dialectique entre un hasard fixe et une indétermination mobile est mise en œuvre à la fin de sa vie dans la conception d’installations et d’expositions. D’un point de vue théorique, il est important de comprendre si la position de Cage est alors celle d’un simple transcripteur des résultats fournis par le hasard ou si des choix tiennent néanmoins une place dans sa création. Notre recherche montre que la position de l’artiste est double. Si Cage est à l’écoute du hasard, ses préoccupations thématiques dans les domaines musical, plastique et muséologique n’en ont pas moins laissé une forte empreinte sur sa production sous forme de différents invariantsStarting in 1951 the American composer John Cage (1912-1992) relentlessly searched for new creative strategies. His main goal was to ensure that no form of subjectivity ruled his artistic universe. A work had to be free of any and all expressive gestures, as well as traces of memory. This stipulation led to his inventing multiple impersonal procedures of composition in that chance operations both initiated the conception of a work and played a role at different stages of its elaboration. The outcome of this artistic exploration meant that the creator had to come to terms with the unpredictable. From 1969 on, Cage carried over non-intentional modes of creation from his musical production to his visual works. The three main sections of our thesis focus on their process of elaboration, musical performance, and exhibitions. If chance operations came into play in the elaborative stage of a large number of these works, the latter nonetheless remained fixed in their final state. Yet, particularly in the 1960’s, most of the composer’s musical works had an indeterminate form, given that chance intervened during the performance, leading to unforeseen results. Finally, at the end of his life Cage put into play this dialectic relationship between fixed chance and mobile indetermination in his conception of installations and exhibitions. From a theoretical point of view, it is important to understand if his role is that of a simple transcriber of chance operation results or if choice still remains operative in his production. Our research shows that the position of the artist is dual: if Cage remains open to chance, his thematic interests in the fields of music, visual arts, and museology have just as strongly left their mark on his production in the form of different invariants
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Kang, Eun Young. "Late Twentieth-Century Piano Concert Etudes: A Style Study." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1282169360.
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Costa, Valerio Fiel da. "O piano expandido no seculo XX nas obras para piano preparado de John Cage." [s.n.], 2004. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284830.
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Orientador: Denise Hortensia Lopes GarciaDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-04T00:43:18Z (GMT). No. of bitstreams: 1 Costa_ValerioFielda_M.pdf: 24512864 bytes, checksum: 59ca8f314d301ff0c51f333fab0e42d6 (MD5) Previous issue date: 2004
Resumo: Na presente pesquisa foi estudada a obra para piano preparado do compositor norte-americano John Cage (1912-1992), composta durante a década de 40 até 1952, com o intuito de desvendar as implicações sonoras da fixação de objetos entre as cordas do piano no processo de transformação dos sons do instrumento. Para tal foi realizado estudo biográfico do compositor referente ao período de composição das obras estudadas, preparação dessas obras em pianos diversos, realização de comentários sobre resultados sonoros das preparações caso a caso, desenvolvimento de método de preparação de pianos não danoso ao instrumento, além da composição de duas peças para piano preparado ilustrativas dos processos estudados
Mestrado
Musica
Mestre em Música
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Delaigue, Olivier. "Les Nouvelles musiques américaines et la France : 1945-1985 /." Paris : [O. Delaigue], 1988. http://catalogue.bnf.fr/ark:/12148/cb36955179j.
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Vales, Ivete Maria Antónia Cândido. "John Cage e a notação gráfica: música e artes visuais nos anos 1950-60." Master's thesis, Universidade de Aveiro, 2016. http://hdl.handle.net/10773/17521.
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Mestrado em Criação Artística ContemporâneaA presente dissertação propõe-se analisar as partituras de notação gráfica de Cage, desenvolvidas nas décadas de 1950-60 e sua relação com o movimento Fluxus. As inovações revolucionárias então desenvolvidas, especialmente no campo da música, contribuíram para um novo entendimento da relação entre compositor e intérprete, enquadrando o conceito de obra aberta. O Fluxus privilegiava os happenings e as performances interactivas, procurando eliminar a tradicional barreira entre artista e público e proclamando que “todo o ser humano é um artista”. As partituras de notação gráfica inserem-se num contexto que podemos classificar de pósmoderno e experimental preocupado em valorizar e relevar o “conceito”, mais do que os aspectos técnicoformais da obra musical.
This thesis proposes to analyse Cage’s graphical notation scores, developed in the 1950-60s and its relationship with the Fluxus movement. The revolutionary innovations then developed, especially in music, contributed to a new understanding of the relationship between composer and performer, and the concept of open work. Fluxus favoured the happenings and interactive performances, seeking to eliminate the traditional barrier between artist and audience and proclaiming "every human being is an artist". Graphical notation is part of an experimental and already postmodern context, more concerned with the "concept", than with the technical and formal aspects of the musical work.
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Rivest, Johanne. "Le Concert for Piano and Orchestra de John Cage, ou, Les limites de l'indétermination." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1996. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq21507.pdf.
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Rodrigues, Carlos Miguel Fernandes. "A Cidade dos Sífragos: tentativa de reescrita da sinfonia 4 33 de John Cage." Doctoral thesis, [s.n.], 2015. http://hdl.handle.net/10284/5084.
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Tese apresentada à Universidade Fernando Pessoa como parte dos requisitos para obtenção do grau de Doutor em Ciências Sociais, especialidade em AntropologiaNo âmbito deste trabalho de investigação sobre o som na cidade do Porto, elegemos a Antropologia Visual como quadro de referências metodológicas para etnografar a cidade na atitude própria de quem quer realizar documentos audiovisuais sobre ela e para analisar um conjunto de filmes de ficção e documentário rodados, no Porto, durante o século XX. No entanto, a observação ou pesquisa de sonoridade e de estados acústicos urbanos não se socorreu apenas do audiovisual, mas também da teoria antropológica, da acústica, da literatura, da monografia, da ensaística, da imprensa. Para além disso, elaboramos um método de observação acústica voltado para a realização de filmes através da utilização de uma investigação etnosonográfica dos lugares adequada à formulação audiovisual de documentos e também para a caracterização sonora das cidades. Foi com este quadro teórico e metodológico que nos interrogamos acerca das características da sonoridade urbana da cidade do Porto, levantamos a questão de se poder admitir que os efeitos sonoros exerçam influências, provocando alterações sobre o viver e a saúde dos cidadãos e sobretudo sobre o crescimento das crianças que nela habitam, perguntando se será possível que numa sociedade com origem em crianças sífragas resulte alteração nas tipologias de cidadão e de cidadania. Com esta investigação depreendemos que os sons da cidade se integram na história sonora do planeta, e avançamos organizando um quadro em que, através do conceito metáfora Oceano Universal Pansonoro, enumeramos e explicamos as possíveis idades sonoras da terra. Correlacionando as idades sonoras da terra com a história da evolução tecnológica e considerando outras variáveis como a densificação demográfica e a tipologia da arquitetura urbana, enumeramos e classificamos as sonoridades e sociofonias em quinto janelas virtuais de escuta histórica. O estudo revelou ainda a existência de uma cultura de não escuta e a inexistência de discriminação sonora urbana, ficando as etnografias reduzidas a dialogias com pouco discriminação e aos fatalismos acústicos omnipresentes. Por este motivo, foram apontados, sob formato de propostas e sugestões, o que chamamos de Convenção Cívica para a Sonoridade Urbana e uma arquitetura urbana virada para construção de monumentalidades não só visuais mas também acústicas, a partir da arquitetura de Cister.
In the scope of this research work about the sound in Porto town, we elected the Visual Anthropology as a methodological references framework aiming to ethno graph the city in an adequate attitude of the one who wants to produce audiovisual documents about it and analyze a set of fiction and documentary films shot in Porto, during the twentieth century. However, the observation or sonority research and urban acoustic states did not recur only to the audiovisual, but also to the anthropological theory, acoustics, literature, monographs, essays, press. Furthermore, we developed a focused acoustic observation method directed towards films making/producing by using ethnosoundgraphyc investigation of places adequate to audiovisual formulation of documents and also to the sound characterization of cities. It was within this theoretical and methodological framework that we asked ourselves about the characteristics of the urban sound of Porto, we raised the question of whether to accept that the sound effects eventually exercise influences, provoking changes on the living and health of citizens and especially on the growth of the children who live there, wondering whether it is possible that in a society originating from sífragas children may result in a change in citizen and citizenship typologies. With this research we inferred that the sounds of the city are integrated in the sound history of the planet, and we moved forward/advanced organizing a framework in which, through the metaphorical concept of Oceano Universal Pansonoro, we listed and explained the possible sound ages of the earth. Correlating sound ages of the earth with the history of technological evolution and considering other variables such as demographic densification and the typology of urban architecture, we enumerate and classified the sounds and socio phonies according to virtual windows of historical listening. The study also revealed the existence of a non-listening culture and the inexistence of urban sound discrimination, staying the ethnographies reduced to dialogizes with slight discrimination and to ubiquitous acoustic remaining fatalisms. Therefore, they have been appointed, under proposals and suggestions format, what we call the Civic Convention for the Urban Sonority and also, an urban architecture turned to the building of monumentalities not only visual but also acoustic, according Cistercian’s basics of architecture.
Dans le cadre de ce travail de recherche sur le son dans la ville de Porto, nous avons adopté l'Anthropologie Visuelle en tant que cadre de références méthodologiques pour faire l'ethnographie de la ville dans une attitude de celui qui en veut réaliser des documents audiovisuelles et pour analyser un ensemble de films et documentaires tournés, à Porto, pendant le XXe siècle. Cependant, l'observation ou la recherche de sonorité et d'états acoustiques urbains ont été faites grâce à l'audiovisuel mais aussi à la théorie anthropologique, à l'acoustique, à la littérature, à la monographie, à l'essai, à la presse. En plus, nous avons créé une méthode d'observation acoustique orientée vers la réalisation de films à travers l'utilisation d'une recherche ethnosonographique des lieux appropriée à la formulation audiovisuelle de documents et aussi vers la caractérisation sonore des villes. C'est avec ce cadre théorique et méthodologique que nous nous sommes questionnés sur les caractéristiques de la sonorité urbaine dans la ville de Porto, sur la possibilité d'admettre que les effets sonores aient des influences, qui provoquent des changements au niveau de la vie et de la santé des citoyens et notamment sur la croissance des enfants qui y habitent, en nous demandant s'il sera possible que dans une société ayant origine dans des enfants sífragas, il y ait du changement dans les typologies de citoyen et de citoyenneté. Avec cette recherche nous avons compris que les sons de la ville s'intègrent dans l'histoire sonore de la planète et nous avons avancé en organisant un cadre où, via le concept métaphore Océan Universel Pansonore, nous avons inventorié et expliqué les possibles âges sonores de la terre. En mettant en corrélation les âges sonores de la terre avec l'histoire de l'évolution technologique et en considérant d'autres variables telles que la densification démographique et la typologie de l'architecture urbaine, nous avons énuméré et classé les sonorités et les sociophonies selon des fenêtres virtuelles d'écoute historique. L'étude a révélé aussi l'existence d'une culture de la non-écoute et l'inexistence de discrimination sonore urbaine, en demeurant les ethnographies réduites à des dialogies ayant peu de discrimination et aux fatalismes acoustiques omniprésents. C'est pourquoi, nous avons nommé, sous un format de propositions et de suggestions, la Convention Civique pour la Sonorité Urbaine et une architecture urbaine orientée vers la construction de monumentalités tant visuelles qu’acoustiques, à partir de l'architecture de Cister.
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Morse, Barry Ray. "Indeterminacy, the I Ching, and John Cage: A New Design Method for Landscape Architecture." Thesis, The University of Arizona, 2007. http://hdl.handle.net/10150/190216.
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The creative use of indeterminacy (i.e. "chance") is an often overlooked design opportunity despite the universality of chance in art, nature, science and life. How can "chance", a seemingly capricious phenomenon be made to work for someone? One controlled use of chance is through the Chinese I Ching "chance operations" method of composer and artist John Cage (1912-1992). This thesis addresses the questions of how one might approach using this method in landscape architectural design, what would be the outcome of such an indeterminate design and whether or not it could lead to a constructed landscape. In addition, this thesis will answer the question: what is the relationship between the I Ching, John Cage and the constructed landscape, anyway? The final product of this thesis will be a new redesign of an existing plaza using Cage's techniques and a comparative evaluation among the new indeterminate concept and two preexisting designs using the original plaza program objectives as a guide against which the three designs can be judged for effectiveness.
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Waterhouse, Brent Alton <1971>. "Strati, piano, rizoma. John Cage e la filosofia di Gilles Deleuze e Félix Guattari." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2012. http://amsdottorato.unibo.it/5096/2/waterhouse_brent_tesi.pdf.
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In base ad una recensione esaustiva dei riferimenti alla musica e al sonoro nella produzione filosofica di Gilles Deleuze e Félix Guattari, la presente ricerca s’incentra sulla posizione che il pensiero musicale di John Cage occupa in alcuni testi deleuziani. Il primo capitolo tratta del periodo creativo di Cage fra il 1939 e il 1952, focalizzandosi su due aspetti principali: la struttura micro-macrocosmica che contraddistingue i suoi primi lavori, e i quattro elementi che in questo momento sintetizzano per Cage la composizione musicale. Questi ultimi sono considerati in riferimento alla teoria della doppia articolazione che Deleuze e Guattari riprendono da Hjelmslev; entrambi gli aspetti rimandano al sistema degli strati e della stratificazione esposta su Mille piani. Il secondo capitolo analizza la musica dei decenni centrali della produzione cagiana alla luce del luogo in Mille piani dove Cage è messo in rapporto al concetto di “piano fisso sonoro”. Un’attenzione particolare è posta al modo in cui Cage concepisce il rapporto fra durata e materiali sonori, e al grado variabile in cui sono presenti il caso e l’indeterminazione. Le composizioni del periodo in questione sono inoltre viste in riferimento al concetto deleuzo-guattariano di cartografia, e nelle loro implicazioni per il tempo musicale. L’ultimo quindicennio della produzione di Cage è considerata attraverso il concetto di rizoma inteso come teoria delle molteplicità. In primo luogo è esaminata la partitura di Sylvano Bussotti che figura all’inizio di Mille piani; in seguito, i lavori testuali e musicali di Cage sono considerati secondo le procedure compositive cagiane del mesostico, delle parentesi di tempo che concorrono a formare una struttura variabile, e dell’armonia anarchica dell’ultimo Cage.On the basis of a exhaustive identification of the references to music and sound in the philosophical production of Gilles Deleuze and Félix Guattari, the present research concentrates on the position occupied by John Cage’s musical thought in a number of deleuzian texts. The first chapter analyses the works composed by Cage between 1939 and 1952, focusing on two principal aspects: the micro-macrocosmic structure that characterises his first works, and the four elements that resume Cage’s approach to composition in the period in question. The latter are considered in relation to Hjelmslev’s theory of double articulation as elaborated by Deleuze and Guattari; both aspects are referred to the system of strata and stratification found in A Thousand Plateaus. The second chapter is dedicated to the compositions of the central decades of Cage’s production, in the light of the passage of A Thousand Plateaus in which Cage is considered in relation to the concept of a “fixed sonorous plane”. Particular attention is given to the way in which Cage conceives the relation between duration and sound materials, and to the variable degree to which chance and indeterminacy are present. The compositions of this period are furthermore seen in reference to the deleuzo-guattarian concept of cartography, and in their implications for musical time. The last fifteen years of Cage’s production are studied through the theory of multiplicity and the concept of rhizome. The score composed by Sylvano Bussotti that appears at the beginning of A Thousand Plateaus is therefore considered, followed by an examination of Cage’s late textual and musical works, giving particular attention to mesostics, time brackets and variable structure, and anarchic harmony.
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Waterhouse, Brent Alton <1971>. "Strati, piano, rizoma. John Cage e la filosofia di Gilles Deleuze e Félix Guattari." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2012. http://amsdottorato.unibo.it/5096/.
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In base ad una recensione esaustiva dei riferimenti alla musica e al sonoro nella produzione filosofica di Gilles Deleuze e Félix Guattari, la presente ricerca s’incentra sulla posizione che il pensiero musicale di John Cage occupa in alcuni testi deleuziani. Il primo capitolo tratta del periodo creativo di Cage fra il 1939 e il 1952, focalizzandosi su due aspetti principali: la struttura micro-macrocosmica che contraddistingue i suoi primi lavori, e i quattro elementi che in questo momento sintetizzano per Cage la composizione musicale. Questi ultimi sono considerati in riferimento alla teoria della doppia articolazione che Deleuze e Guattari riprendono da Hjelmslev; entrambi gli aspetti rimandano al sistema degli strati e della stratificazione esposta su Mille piani. Il secondo capitolo analizza la musica dei decenni centrali della produzione cagiana alla luce del luogo in Mille piani dove Cage è messo in rapporto al concetto di “piano fisso sonoro”. Un’attenzione particolare è posta al modo in cui Cage concepisce il rapporto fra durata e materiali sonori, e al grado variabile in cui sono presenti il caso e l’indeterminazione. Le composizioni del periodo in questione sono inoltre viste in riferimento al concetto deleuzo-guattariano di cartografia, e nelle loro implicazioni per il tempo musicale. L’ultimo quindicennio della produzione di Cage è considerata attraverso il concetto di rizoma inteso come teoria delle molteplicità. In primo luogo è esaminata la partitura di Sylvano Bussotti che figura all’inizio di Mille piani; in seguito, i lavori testuali e musicali di Cage sono considerati secondo le procedure compositive cagiane del mesostico, delle parentesi di tempo che concorrono a formare una struttura variabile, e dell’armonia anarchica dell’ultimo Cage.On the basis of a exhaustive identification of the references to music and sound in the philosophical production of Gilles Deleuze and Félix Guattari, the present research concentrates on the position occupied by John Cage’s musical thought in a number of deleuzian texts. The first chapter analyses the works composed by Cage between 1939 and 1952, focusing on two principal aspects: the micro-macrocosmic structure that characterises his first works, and the four elements that resume Cage’s approach to composition in the period in question. The latter are considered in relation to Hjelmslev’s theory of double articulation as elaborated by Deleuze and Guattari; both aspects are referred to the system of strata and stratification found in A Thousand Plateaus. The second chapter is dedicated to the compositions of the central decades of Cage’s production, in the light of the passage of A Thousand Plateaus in which Cage is considered in relation to the concept of a “fixed sonorous plane”. Particular attention is given to the way in which Cage conceives the relation between duration and sound materials, and to the variable degree to which chance and indeterminacy are present. The compositions of this period are furthermore seen in reference to the deleuzo-guattarian concept of cartography, and in their implications for musical time. The last fifteen years of Cage’s production are studied through the theory of multiplicity and the concept of rhizome. The score composed by Sylvano Bussotti that appears at the beginning of A Thousand Plateaus is therefore considered, followed by an examination of Cage’s late textual and musical works, giving particular attention to mesostics, time brackets and variable structure, and anarchic harmony.
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Cox, Gerald Paul. "Collaged Codes: John Cage's Credo in Us." Case Western Reserve University School of Graduate Studies / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=case1301716791.
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Kasper, Ulrike. "Écrire sur l'eau : le passage de l'ordre au désordre dans l'art visuel de John Cage." Paris 1, 1999. http://www.theses.fr/1999PA010655.
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Pendant trente ans de sa vie, le compositeur américain, John Cage, a realisé toute une série d'oeuvres visuelles : dessins, aquarelles et gravures. Ces oeuvres conçues à l'aide des opérations de hasard du yi-king, évoluent en parallèle avec sa musique. Elles s'inspirent de la philosophie orientale comme par exemple du bouddhisme zen et du taoïsme, mais aussi de la religion judéo-chrétienne. Ainsi, sa démarche unifie l'experimentation et la spiritualité. Son art visuel et sa musique se ressemblent dans leur aspiration à l'infini, embrassant le plein et le vide, le ying et le yang, comme les oppositions de la vie même. En effet, Cage transcende les ordres culturels en se servant du hasard et de l'indétermination pour accéder à une forme de langage universel. Ce dernier le mène au plus proche de la nature et de ses origines, c'est-à-dire au silence et au vide et, peut-être, au spirituel.
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Colaruotolo, John. "RevealingReveilingReveling." Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc4782/.
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This thesis explores the possibilities of communication in the context of a sound composition. In RevealingReveilingReveling, a series of questions concerning communication posed by John Cage, coupled with an extension of those questions posed by myself, are set to recorded sounds-in-the-world. The intention is to create a greater awareness of that which there is to listen in our world. The first part of this essay discusses influences of philosophical thought during the process of composing RevealingReveilingReveling. Two distinct twentieth-century thinkers that have impacted the creation of this piece and their areas of thought are Martin Heidegger: language and Being; and John Cage: sound, silence, and awareness. The second part of the essay is a structural analysis of the piece, discussing the recording of Cage's questions, sounds-in-the-world, sound-manipulation techniques and thought-processes, as well as periodic mention the aesthetic decisions made.
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Scott, Bradley Adam. "Timbre-based adaptation: Rewriting John Cage's Sonatas and Interludes for solo multiple percussion." Thesis, Griffith University, 2018. http://hdl.handle.net/10072/382689.
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This research project documents the adaptation of John Cage’s Sonatas and Interludes, a prepared piano composition, for solo multiple percussion. As the prepared piano and multiple percussion are instruments reliant on the interplay between distinct timbres, as well as pitches, traditional methods of adaptation used on purely pitch-based instruments do not apply.
My research is presented in two parts. The first is an exegesis detailing the evolution of my ideas regarding the adaptation process. Three chapters are dedicated to the translation of dynamics, pitches, and notation from Cage’s prepared piano score to my own multiple percussion score, with musical examples highlighting the main points. The second is an appendix containing the entire performable score of Sonatas and Interludes, adapted for solo multiple percussion, containing the results of my research.Thesis (Professional Doctorate)
Doctor of Musical Arts (DMA)
Queensland Conservatorium
Arts, Education and Law
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Zullo, Douglas Richard. "Getting off the ground : Wassily Kandinsky, John Cage, and the otherworldly qualities of the everyday world." Connect to resource, 1997. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1261325517.
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Kovács, Inge. "Wege zum musikalischen Strukturalismus : René Leibowitz, Pierrre Boulez, John Cage und die Webern-Rezeption in Paris um 1950 /." Schliengen : Edition Argus, 2004. http://catalogue.bnf.fr/ark:/12148/cb401933420.
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Lewis, Kevin D. "“The Miracle of Unintelligibility”: The Music and Invented Instruments of Lucia Dlugoszewski." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1321641867.
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Keast, Lindsay. "The Indeterminacy of Abstraction: Philip Guston 1947-1951." Thesis, University of Oregon, 2014. http://hdl.handle.net/1794/18403.
Full textAbstract:
Many scholars exclude New York painter Philip Guston (1913-80) from the artistic tradition of Abstract Expressionism due to his absence from New York City during the group's early formative years. This thesis asserts, however, that Guston's role in Abstract Expressionism can be firmly established through his unique interpretation of the formative influence of surrealist automatism. Though never engaging with the surrealists directly, Guston explored automatist ideas upon meeting New York School experimental music composers John Cage and Morton Feldman. This trio's engagement with the Zen Buddhist concepts of unimpededness and interpenetration influenced Guston to create compositions through chance operations, a process Cage would call "indeterminacy." My aim is to enrich an understanding of Guston's idiosyncratic relationship to Abstract Expressionism and, ultimately, to offer a more expansive definition of Abstract Expressionism in general, allowing for a broader understanding of the formation of American modernism.
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Gresser, Clemens. "(Re-)Defining the relationships between composer, performer and listener : Earle Brown, John Cage, Morton Feldman and Christian Wolff." Thesis, University of Southampton, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.414650.
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This thesis examines works by Earle Brown (1926-2002), John Cage (1912-1992), Morton Feldman (1926-1987) and Christian Wolff (b. 1934), some of whose compositions avoid a fixed and determinate sequence of sounds in performance. This can lead to a redefinition of the relationships between composer, performer and listener, thus changing the role of the musicians and asking for a different attitude on the part of listeners. Such an alteration of the traditional, hierarchical model of music production was motivated, to differing degrees, by aesthetic, political and sociological considerations. Drawing on diverse music, mostly written between 1950 and 1971, such as Feldman's Projection 1 (1950), Cage's 4'33" (1952) and 0'00" (1962), Brown's Folio (1952-53) and Wolff's Prose Collection (1968-1971, ca. 1986, 1997), this study explores the compositional and notational ideas which have changed the status of the 'work'. Such music aims neither for a reified work, where all parameters are totally fixed, nor for a completely 'free' improvisation. Instead of trying to establish a historical perspective on this repertoire, the thesis compares the composers' works by focusing on overarching issues. It is shown that the four composers are less homogenous in their aesthetic, their compositional approaches, and in their attempts to redefine the relationships between themselves and the performers of their work, than previously assumed. This research illustrates that, in spite of a common understanding that Brown, Cage, Feldman and Wolff experimented with traditional conceptions of art music, this does not mean that many works negate the traditional functions of composer, performer and listener. However, a number of compositions redefine the idea of a musical 'work', and alter the functions of, and relationships between composer, performer and listener.
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Inoguchi, Ikuko. "Concepts of time in the works of John Cage, George Crumb, and Toru Takemitsu and implications for performance." Thesis, City University London, 2016. http://openaccess.city.ac.uk/15041/.
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This study explores concepts of time and temporality in the music of three twentiethcentury composers, John Cage (1912-1922), George Crumb (born 1929), and Tōru Takemitsu (1930-1996). This thesis also examines the role that the performer plays in conveying temporal aspects of body of work. These three composers were interested in nonlinear conceptions of time, which they sought to express in musical terms. I have chosen a selection of works by each composer, which epitomize these conceptions, for in-depth study. I also discuss cultural influences upon conceptions of time, and the meanings of nonlinearity in different contexts. All three composers were interested in and influenced by Eastern Asian music and philosophy; I investigate the manifestation of this in their music. The expression of temporal nonlinearity presents equal challenges to both composers and performers. With this in mind, I focus on the relationship of the performer to the specific notational practices of each composer. I investigate how this has been realized by earlier performers through a comparative study of recordings. Where possible, I have consulted primary sources (i.e., sketches and manuscripts) and also articles and programme notes written by the composers in question. Furthermore, I have investigated recorded interviews with composers and expert performers, the latter of which provided valuable insights into composers’ intentions. I also draw upon my experience as a performer. Following the introduction (Chapter 1) in which Jonathan Kramer’s definition of linearity and nonlinearity is introduced, Chapter 2 considers issues related to musical time and temporality, and to the notation and interpretation of twentieth-century music. Three central chapters 3, 4, and 5 apply these in consideration of the works of Cage, Crumb, and Takemitsu, respectively. Chapter 6 focuses more specifically to the performance of these works, drawing upon the result of earlier chapters. Chapter 7 discusses wider implications of this study through examining Edward Cone’s approach to structure and proportion in performance, Stephan Davies’ view of the proper interpretation of a score, and responding to a question regarding performance ideal addressed by Lydia Goehr. This research aims to contribute to the knowledge of the analysts of twentieth-century music, and also provides valuable information which can inform future performances of such music.
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Rhodes, Carol Shirley. "The dance of time: The evolution of the structural aesthetics of the prepared piano works of John Cage." Diss., The University of Arizona, 1995. http://hdl.handle.net/10150/187153.
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John Cage, (1912-1992) pioneer in new music, innovator, inventor of the happening and philosopher, writer and artist was one of the most creative forces of the twentieth century. His earliest works were 25-tone contrapuntal compositions. He later developed a strong interest in writing for percussion ensembles and collected instruments that were both found and made. He conducted his own percussion orchestras and discovered that they were the answer to his philosophy of the sounds of the future. He considered percussion music the transition from keyboard-influenced music to music which allowed for all sounds and silences. From 1939-1951 John Cage composed several works for prepared piano that used time as a structural device. Many of these works were written for the dance in collaboration with Merce Cunningham. This document addresses the historical significance of these works and relates Time to other areas that influenced Cage--including Zen and the Dance. This document provides descriptive analyses of Bacchanale, Music for Marcel Duchamp and selected Sonatas from the Sonatas and Interludes. To this writer's knowledge there have not yet been any analyses of Bacchanale or Music for Marcel Duchamp. The analyses reveal Cage's primary structural techniques in which he uses duration of spaces of time. Time lengths and the square root method appear to be the most important. These techniques first appeared in Imaginary Landscape #1 and First Construction in Metal--both dating from 1939. A brief description of all his prepared piano works is included to demonstrate Cage's commitment to rhythmic structuring. All of these works have been studied by this writer and several have been performed in concert by this writer. These include: Music for Marcel Duchamp, Primitive, For a Valentine Out of Season, A Room, Prelude for Meditation, Amores (Movements I and IV), and selected Sonatas from Sonatas and Interludes. A section has been included which explains the nature of materials used for preparations and their timbral effects. A Conclusion is provided demonstrating that Cage chose rhythm over harmony to structure his music. This information is drawn from the influences on Cage, his early percussion works, procedures employed in the percussion works and transferred to the prepared piano and the influence of dancers and Oriental philosophy. An Appendix is included with charts of the Sonatas. A Bibliography which shows the references consulted is included.
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Silva, David Alexandre Madureira Rocha da. "O desenvolvimento da notação musical e das técnicas da prática instrumental do trombone no séc. XX - Luciano Berio, John Cage e Iannis Xenakis." Doctoral thesis, Universidade de Évora, 2018. http://hdl.handle.net/10174/23211.
Full textAbstract:
Considerando os efeitos da notação musical enquanto elemento decisivo no
desenvolvimento das técnicas da prática instrumental do trombone no séc. XX, o objetivo
principal deste projeto em estudos de Performance em Música é elaborar um catálogo de
técnicas instrumentais específicas para este instrumento. Pretende-se dar um importante
contributo para tornar este repertório mais acessível aos intérpretes, oferecendo diferentes
abordagens técnicas e interpretativas que partem experiências práticas variadas e
relevantes. Assim, optou-se por eleger as incontornáveis obras para trombone dos
compositores L. Berio, J. Cage e I. Xenakis, como referência para o corpus analítico deste
trabalho.
A metodologia adotada baseia-se numa abordagem qualitativa de análise de conteúdo
da estrutura e estudo comparativo da notação das obras dos autores citados. Será salientado
o impacto das novas técnicas do trombone no século vinte, realçando os aspetos técnicos
do instrumento, sonoridades e efeitos mais vanguardistas e expandidos que ela nos
apresenta.
Tendo como objetivo a compreensão da música moderna na sua contemporaneidade,
procurou-se apontar diferentes caminhos na interpretação visando destacar o papel do
compositor na relação interativa com o intérprete; Abstract:
Considering that musical notation was an essential element of the trombone‟s
evolution in 20th century, the main goal of this project is to catalogue specific instrumental
techniques of this instrument.
Based on relevant practical experiences and exhaustive studies on this matter, this thesis
aims to provide ways for the 20th century trombone repertoire to be more approachable to
the interpreter. John Cage, Luciano Berio and Iannis Xenakis are undoubtably three
reference composers of this period. Therefore, their pieces for trombone are the core
analyzed of this thesis.
The method here adopted is based on qualitative and comparative analysis of the
content and musical notation of the trombone masterpieces composed by the previously
mentioned composers. The new interpretation techniques have a predominant role on this
analysis.
This thesis aims to understand the contemporaneity of the modern music, searching
for common points shared by these three bright composers and demonstrating different
ways to interpretate their masterpieces for trombone. Although the role of the composer is
certainly emphasized here, the interpreter‟s relevance is also clearly highlighted.
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Follett, Danielle. "La Harpe éolienne et le hasard : Coleridge, Emerson, Thoreau, Cage." Paris 8, 2010. http://www.theses.fr/2010PA083355.
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La harpe éolienne est un instrument musical qui se compose d’une caisse de résonnance en bois et de cordes au travers desquelles le vent s’engouffre et produit ainsi des sons. Cet objet élémentaire devient une figure poétique, d’abord au XVIIIe siècle en Angleterre, puis à l’époque romantique dans les autres pays européens et aux Etats-Unis. Au cours de son développement, la harpe éolienne apparaît à la fois comme un instrument réel, un topos littéraire et philosophique, le modèle d’une activité cognitive et le modèle d’une pratique artistique. Nous retraçons l’histoire de ce dispositif à travers les œuvres de Samuel Taylor Coleridge, de Ralph Waldo Emerson, de Henry David Thoreau et de John Cage. L’esthétique propre à la harpe éolienne est celle de l’automatisme, où l’artiste cède une partie de l’initiative de la création à un autre agent que lui-même. Nous examinons donc les origines romantiques de l’utilisation contemporaine des méthodes aléatoires en esthétique, et avançons l’hypothèse qu’il existe une filiation majeure bien que souterraine entre les expérimentations d’avant-garde menées après-guerre et certaines formes du romantisme. Nous étudions donc en détail un type de relation qui se noue entre l’artiste et la nature ou l’environnement, avec ses enjeux métaphysiques et épistémologiques. L’ouverture de l’œuvre d’art à la vie, à la nature, et à l’imprévu que l’on peut constater au XXe siècle semble trouver un précédent dans la figure romantique de la harpe éolienne. C’est à l’histoire de cette ouverture esthétique que ce travail est consacréThe aeolian harp is an instrument that consists in a wooden sound box with strings, and that emits a sound when exposed to the wind. This simple object became a poetic figure first in eighteenth-century England and then during the romantic era in Europe and the United States. The wind harp has taken the form of a literal instrument, a literary and philosophical topos, a model of cognitive activity and a model of artistic practice. This thesis traces the history of this device through the works of Samuel Taylor Coleridge, Ralph Waldo Emerson, Henry David Thoreau and John Cage. The aesthetics that corresponds with the wind harp is that of automatic spontaneity, in which the artist yields a part of his or her creative agency to another entity. The thesis examines the romantic origins of the contemporary aesthetic use of aleatory methods, and argues that there exists a strong though underground relation between post-war avant-garde experiments and certain forms of romanticism. It thus studies in detail a certain relation between the artist and nature or the environment, alongside the metaphysical and epistemological issues this relation implies. The twentieth-century opening of the artwork to life, nature and chance appears to have a precedent in the romantic figure of the wind harp. The history of this aesthetic opening is the subject of this thesis
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Baker, Jason. "The snare drum as a solo concert instrument an in-depth study of works by Milton Babbitt, John Cage, Dan Senn and Stuart Saunders Smith : together with three recitals of selects works by Keiko Abe, Daniel Levitan, Askell Masson, Karlheinz Stockhausen and others /." connect to online resource, 2004. http://www.library.unt.edu/theses/all/Dec2004/baker%5Fjason%5Fcolby/index.htm.
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Thesis (D.M.A.)--University of North Texas, 2004.System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Mar. 25, 2002, Mar. 10, 2003, Oct. 6, 2003, and Oct. 18, 2004. Includes bibliographical references (p. 54-55).
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Maluli, Cesar Marina. "Sens et signification musicale dans les partitions graphiques : aspects visuels de l'invention musicale." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040231.
Full textAbstract:
Ce travail est dédié à l’analyse des partitions graphiques et de l’interaction son-image qui en résulte. Notre corpus de recherche comprend aussi bien des partitions qui utilisent une notation plus plastique que le sous-type textuel ou verbal et quelques partitions mixtes lesquelles permettent un regard sur la relation établie entre le texte et l'image; comme la musique instrumentale est un art performatif, nous examinerons également les aspects énonciatifs présents dans l’écriture de l’œuvre menée par le compositeur et dans son interprétation, au moment de sa lecture et de son exécution par l’instrumentiste. La méthodologie consiste à élaborer et appliquer les concepts d’intersémioticité, en insistant sur leurs base linguistique, et ceux de linéarité et tabularité dans l’énoncé visuel. Nous voulons aussi rapporter ces concepts à la façon dont l’énoncé se produit dans les différentes instances du texte musical. En outre, cette thèse aura également un biais diachronique, dans le sens que nous voulons aborder certains types de notation utilisés tout au long de l’histoire de la musique et la façon dont s'est passée la transition d’un système à l’autreThe purpose of this research is to analyse graphic scores and the sound-image interaction arising thereform. The research corpus includes both scores that use a notation of a more plastic caracter like the subtype textual or verbal, and some mixed scores, which allow a glimpse into the text-image relationship established. Once the instrumental music is a performative art, we will also deal with some enunciative aspects presents both in writing the work, carried out by the composer, as in his interpretation, during reading and performance of the work for the interpreter. The methodology consist in developing and applying the concepts of intersemioticity, emphasizing its linguistic basis, and linearity and tabularity in visual enunciated. We also intend to relate these concepts to the way occurs the enunciation in different instances of the musical text. Moreover, this research will also have a diachronic bias, in the sense that we intend to address some types of notation used throughout music history and how the transition between systems of notation occurred