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Journal articles on the topic 'John Cage'

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Published: 4 June 2021
Last updated: 31 August 2024

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1

Helms, Hans G. "John Cage." October 82 (1997): 77. http://dx.doi.org/10.2307/779000.

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Shultis, Christopher, Sam Richards, and Joan Retallack. "John Cage as..." Notes 55, no. 2 (December 1998): 406. http://dx.doi.org/10.2307/900203.

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Lazer, Hank. "For John Cage." Chicago Review 44, no. 3/4 (1998): 52. http://dx.doi.org/10.2307/25304302.

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4

Hamm, Charles. "John Cage Revisited*." Journal of Popular Music Studies 5, no. 1 (March 1993): 3–7. http://dx.doi.org/10.1111/j.1533-1598.1993.tb00078.x.

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5

Vigil, Ryan. "John Cage Concert at the Cage Symposium." American Music 27, no. 3 (October 1, 2009): 395–98. http://dx.doi.org/10.2307/25602288.

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6

YANG, SERENA. "Against ‘John Cage Shock’: Rethinking John Cage and the Post-war Avant-garde in Japan." Twentieth-Century Music 18, no. 3 (October 2021): 341–62. http://dx.doi.org/10.1017/s1478572221000165.

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AbstractAfter Cage and Tudor visited Japan in 1962, the term ‘Cage Shock’ circulated widely among the Japanese public. My interviews with Japanese composers suggest that the term ‘Cage Shock’ oversimplifies the reception of Cage's debut in Japan. Composer Yūji Takahashi stated that Cage would have met Japanese audiences well prepared for his visit by musical trends present in Japan as early as the late 1940s. Building on the statement that the Japanese avant-garde was thriving before Cage visited Japan in 1962, this article aims to deconstruct the term ‘Cage Shock’ by restoring the complexity of the reception of Cage in Japan and by analysing the reasons why critics adopted the term ‘Cage Shock’. I argue that ‘Cage Shock’ has functioned more as a media buzzword that sensationalizes the story of Cage's impact on Japan than as an objective description of Japanese reaction to Cage.
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7

Swed, Mark. "John Cage: A Celebration." Musical Times 129, no. 1748 (October 1988): 516. http://dx.doi.org/10.2307/966687.

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8

Tone, Yasunao. "John Cage and Recording." Leonardo Music Journal 13 (December 2003): 11–15. http://dx.doi.org/10.1162/096112104322750728.

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There is general agreement that John Cage's attitude toward records and recording was ambiguous and not necessarily coherent. However, if one closely analyzes his work and his evolution of the concept of the art—that is, from his pieces for prepared piano to his use of the I Ching for Music of Changes to 4′33′′ to his prototype of Happenings at Black Mountain College in 1952—one finds a critique of something that other composers take as self-evident. Cage's critique of recording relates to the representation as re-presentation of music. The author aims in this article to discover/uncover Cage's critique of the metaphysics of presence through his work and utterances.
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9

Lohner, Henning. "John Cage “22708 types”." Interface 18, no. 4 (January 1989): 243–56. http://dx.doi.org/10.1080/09298218908570549.

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10

Morris, Robert, and Bob Morris. "Letters to John Cage." October 81 (1997): 70. http://dx.doi.org/10.2307/779019.

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11

Saavedra, Guillermo. "Attempts at [John] Cage." Review: Literature and Arts of the Americas 40, no. 2 (November 2007): 315–17. http://dx.doi.org/10.1080/08905760701628008.

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12

Federhofer, Hellmut. "John Cage und Karlheinz Stockhausen." Studia Musicologica Academiae Scientiarum Hungaricae 44, no. 3 (July 1, 2003): 411–22. http://dx.doi.org/10.1556/smus.44.2003.3-4.6.

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13

Cardew, Cornelius. "John Cage: Ghost or Monster?" Leonardo Music Journal 8 (1998): 3. http://dx.doi.org/10.2307/1513390.

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14

Goehr, Lydia, Marjorie Perloff, and Charles Junkerman. "John Cage: Composed in America." Journal of Aesthetics and Art Criticism 54, no. 2 (1996): 193. http://dx.doi.org/10.2307/431095.

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15

Gratzer, Wolfgang. "John Cage und Morton Feldman." Archiv für Musikwissenschaft 53, no. 4 (1996): 336. http://dx.doi.org/10.2307/930890.

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16

Patterson, David, Marjorie Perloff, and Charles Junkerman. "John Cage: Composed in America." American Music 17, no. 3 (1999): 355. http://dx.doi.org/10.2307/3052667.

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17

Brooks, William, James Pritchett, and David Revill. "The Music of John Cage." American Music 15, no. 2 (1997): 242. http://dx.doi.org/10.2307/3052735.

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18

Kostelanetz, Richard. "John Cage as a Hörspielmacher." Iowa Review 17, no. 3 (October 1987): 111–17. http://dx.doi.org/10.17077/0021-065x.3573.

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19

Bradshaw, Susan, and James Pritchett. "The Music of John Cage." Musical Times 135, no. 1813 (March 1994): 162. http://dx.doi.org/10.2307/1002908.

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20

Kostelanetz, Richard. "John Cage as a Hörspielmacher." Journal of Musicology 8, no. 2 (1990): 291–99. http://dx.doi.org/10.2307/763572.

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21

Ertan, D. "John Cage. By David Nicholls." Music and Letters 91, no. 1 (January 29, 2010): 136–39. http://dx.doi.org/10.1093/ml/gcp060.

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22

Mark E. Perry. "John Cage (review)." Notes 65, no. 1 (2008): 80–82. http://dx.doi.org/10.1353/not.0.0061.

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23

Kostelanetz, Richard. "John Cage as a Horspielmacher." Journal of Musicology 8, no. 2 (April 1990): 291–99. http://dx.doi.org/10.1525/jm.1990.8.2.03a00060.

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24

Delaere, M. "John Cage. By Rob Haskins." Music and Letters 94, no. 4 (November 1, 2013): 715–17. http://dx.doi.org/10.1093/ml/gct102.

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25

Haefeli, Sara. "John Cage (review)." Notes 68, no. 4 (2012): 795–97. http://dx.doi.org/10.1353/not.2012.0069.

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26

Ivashkin, Alexander. "JOHN CAGE IN SOVIET RUSSIA." Tempo 67, no. 266 (October 2013): 18–27. http://dx.doi.org/10.1017/s0040298213000831.

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AbstractJohn Cage's music was little known in the Soviet Union until the late 1960s, as official communist cultural policy would not allow his music to be performed or researched. This makes it all the more surprising that the only visit by the composer to Soviet Russia had become possible by 1988. The Soviet officials were planning a large festival of contemporary music in St Petersburg in 1988. With the changing climate Tikhon Khrennikov, the secretary of the All Soviet Union League of Composers, appointed by Stalin in 1948, was keen to be seen as a progressive at the time of Gorbachev's perestroika, and he approved the invitation for Cage to be present at the performances of his works in St Petersburg. This article includes interviews with the composer conducted by the author in 1987–1989, as well as recollections of the meetings with Cage at his home in New York City and in Moscow.
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27

Kahn, D. "John Cage: Silence and Silencing." Musical Quarterly 81, no. 4 (January 1, 1997): 556–98. http://dx.doi.org/10.1093/mq/81.4.556.

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28

Barron, Susan, and John Cage. "Susan Barron and John Cage." Art Journal 52, no. 4 (1993): 72. http://dx.doi.org/10.2307/777629.

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29

Fahner, Barbara, and Chester Alper. "Barbara Fahner and John Cage." Art Journal 52, no. 4 (1993): 75. http://dx.doi.org/10.2307/777632.

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30

Metzger, Heinz-Klaus, and Ian Pepper. "John Cage, or Liberated Music." October 82 (1997): 48. http://dx.doi.org/10.2307/778998.

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31

Haskins, R. "John Cage and Buddhist Ecopoetics." Interdisciplinary Studies in Literature and Environment 21, no. 4 (December 1, 2014): 939–41. http://dx.doi.org/10.1093/isle/isu137.

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32

Fox, Christopher. "John Cage - John Cage, Choral Works. Latvian Radio Choir (Sigvards Kļava). Ondine, 1402-2." Tempo 77, no. 303 (January 2023): 94–95. http://dx.doi.org/10.1017/s0040298222000936.

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33

Clausius, Katharina. "JOHN CAGE'S ‘WHITENESS’: ‘CHEAP IMITATION’." Tempo 65, no. 258 (October 2011): 11–19. http://dx.doi.org/10.1017/s0040298211000350.

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‘To be interested in Satie one must be disinterested to begin with,’ declares John Cage of his contradictory relationship with the older composer. If paradox summarizes this particular discourse between an interested pupil and his predecessor, however, it is both a compositional and musicological discourse exploring the juxtaposition of explicit historicism and aesthetic distance, or ‘disinterest’. The project, or rather the problem, of musical ‘neutrality’ is one that Cage inherited from his idol and subsequently adopted with enthusiasm, as his stubborn pre-occupation with Erik Satie's 1918 symphonic drama, Socrate, evinces. Cage's initial encounter with Satie's work seems quickly to have inspired a commitment to interrogating modernism's engagement with history. Having been introduced to Socrate by Virgil Thomson in a performance that, in Anthony Tommasini's words, ‘profoundly changed Cage, [who] grew to revere Satie’, Cage immediately set out to adapt the score for Merce Cunningham's ballet Idyllic Song in 1947. Denied copyright permission for his two-piano arrangement, Cage resourcefully set out to re-write the musical accompaniment for the ballet (and appease the disobliging publishers) more than two decades later in 1969, retaining Satie's original phrasing in order to preserve Cunningham's choreography and sardonically re-titling the piece Cheap Imitation.
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34

Statham, Sabra. "John Cage Unbound: A Living Archive. http://exhibitions.nypl.org/johncage/./John Cage: Official Website. http://johncage.org/." Journal of the Society for American Music 9, no. 1 (February 2015): 159–61. http://dx.doi.org/10.1017/s1752196314000650.

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35

Sarriugarte Gómez, Íñigo. "John Cage y su influencia en la obra del video artista Nam June Paik." Anuario Musical, no. 64 (December 30, 2009): 237. http://dx.doi.org/10.3989/anuariomusical.2009.64.45.

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En 1958, el artista coreano Nam June Paik (*1932; †2006) conoce en Alemania a John Cage (*1912; †1992), músico vanguardista, quien estaba profundamente interesado en el budismo zen. Su encuentro con Cage fue vital, ya que el compositor norteamericano convencerá a éste para que oriente su carrera hacia la vanguardia artística, dejando su faceta de pianista clásico. La filosofía de Cage queda reflejada en composiciones como 4’33’’, de 1952, donde el espectador no escucha el sonido del piano, ya que este no es tocado, sino un silencio que es entrecortado por el sonido ambiental. Hay varias versiones de esta pieza, marcándose los silencios mediante procesos al azar con el sistema del “I Ching”. En este sentido, el silencio empleado por John Cage se relaciona con la vacuidad del budismo zen. Igualmente, Paik hace uso del silencio en numerosos trabajos, como en “TV Clock” de 1963, donde se observan 24 televisiones manipuladas a color, a la vez que se siente el silencio, nuevamente entrecortado por las propias circunstancias momentáneas del espectador. Esta infl uencia del budismo zen en la música de Cage se observa cuando argumenta que la música compuesta de melodías tiene el mismo valor que el sonido dedicado por nosotros como ruidos. Este aspecto, entre otros, influyeron a Paik, cuyas video imágenes se definen como atributos de trabajos tradicionales que no impresionan a la audiencia, sino que sugieren condiciones variables. Algunas de sus obras relacionadas con la filosofía de Cage han sido “Hommage à John Cage” en 1959; “Estudio para pianoforte” de 1960; y “Global Grove” de 1973, donde Paik trabaja a modo de collage las imágenes de sus colaboradores vanguardistas John Cage, Allen Ginsberg y Merce Cunningham.
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36

Montague, Stephen. "John Cage at Seventy: An Interview." American Music 3, no. 2 (1985): 205. http://dx.doi.org/10.2307/3051637.

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37

Gervais, Raymond. "Où êtes-vous donc, John Cage?" Circuit 8, no. 2 (March 5, 2010): 33–38. http://dx.doi.org/10.7202/902203ar.

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Faisant référence à son installation de 1976, 12 + 1 =, qui réunissait treize tourne-disques automatiques en opération continue, l’artiste explique comment la pensée de John Cage a orienté son intérêt pour le disque-objet, tout en soulignant la spécificité de sa démarche.
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38

Marranca, Bonnie. "The Mus/ecology of John Cage." PAJ: A Journal of Performance and Art 34, no. 3 (September 2012): 27–34. http://dx.doi.org/10.1162/pajj_a_00108.

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39

Pearlman, Ellen. "The Selected Letters of John Cage." Leonardo 50, no. 5 (October 2017): 540–41. http://dx.doi.org/10.1162/leon_r_01504.

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40

Özkul, Mustafa Kemal. "Geleneğe Bağlı Bir Devrimci: John Cage." Art-e Sanat Dergisi 12, no. 24 (December 31, 2019): 359–71. http://dx.doi.org/10.21602/sduarte.627572.

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41

small, sabrina. "Harmony of the Spores: John Cage and Mycology." Gastronomica 11, no. 2 (2011): 19–23. http://dx.doi.org/10.1525/gfc.2011.11.2.19.

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John Cage, in addition to being a prolific writer, composer and artist, was an avid mycologist. His mycological pursuits included: frequent and intensive foraging expeditions, teaching the subject at New York's New School of Social Research, heading multiple official mycology based societies, and of course, cooking mushrooms. In 1959, Cage won five million lire on an Italian TV quiz show with mushrooms as his specialty subject. Artistically, Cage composed numerous poetic and sound-based projects about mushrooms, as well as numerous sketches and watercolors of mushrooms. Cage amassed an impressive collection of books and mycological related ephemera, which he donated to the University of California at Santa Cruz with the express instruction that they be used rather than preserved. The theme and presence of mycology was never far from Cage's mind or heart. They were an artistic muse as well as a Zen teacher for Cage, paradoxically meaningful and meaningless as symbols. This article seeks to explore mushrooms as a possible unifying thread in the often-inscrutable life of one of America's most beguiling artists.
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42

Terra, Vera. "Entre categorias: rádio música de John Cage." POIÉSIS 16, no. 25 (September 29, 2018): 155. http://dx.doi.org/10.22409/poiesis.1625.155-166.

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O texto aborda as peças compostas por John Cage na década de 50,nas quais utilizou o rádio como material sonoro, fundamentando sua análise nos escritos e entrevistas do compositor. A utilização do rádio nessas obras é apresentada como um meio de redefinição das categorias convencionais da música e convite a uma invenção permanente. As peças radiofônicas de Cage propõem processos originais de pensar e fazer música, inaugurando a radioarte e uma forma inovadora de performance: o happening. Através delas, Cage vai construindo aquelas que constituirão as categorias fundamentais de sua poética: o silêncio concebido como os sons do ambiente, a indeterminação e a interpenetração.
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43

Dick, André. "A poesia escrita/cantada: um diálogo entre Augusto de Campos, Caetano Veloso e música de vanguarda// The written/sung poetry: a dialogue between Augusto de Campos, Caetano Veloso and vanguard music." O Eixo e a Roda: Revista de Literatura Brasileira 31, no. 4 (August 14, 2023): 38. http://dx.doi.org/10.17851/2358-9787.31.4.38-65.

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Resumo: Este artigo pretende abordar o diálogo entre Augusto de Campos e Caetano Veloso, por meio de alguns poemas e determinadas canções, estendendo laços entre os campos da música e da literatura, também sob a influência do acaso de Stéphane Mallarmé, John Cage e Pierre Boulez. Com isso, é possível perceber a importância de estabelecer um elo entre poema e canção para a discussão de como diferentes meios podem se completar, atingindo os objetivos propostos não apenas pela poesia concreta, como também pela poesia contemporânea.Palavras-chave: Augusto de Campos; Caetano Veloso; poesia concreta; música popular brasileira; acaso de John Cage; Stéphane Mallarmé e Pierre Boulez.Abstract: This essay aims to aproach the dialogue between Augusto de Campos and Caetano Veloso, through some poems and certain songs, strengthening connections between the fields of music and literature, also under the influence of the chance of Stéphane Mallarmé, John Cage and Pierre Boulez. Therewith, it is possible to notice the importance of establishing a bond between poem and song to discuss how different areas might complete each other, reaching the intended purpose not only through concrete poetry, but also through contemporary poetry. Keywords: Augusto de Campos; Caetano Veloso; concrete poetry; brazilian popular music; chance of John Cage; Stéphane Mallarmé and Pierre Boulez.
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44

GAGLIARDO, VINICIUS CRANEK. "Aspectos vanguardistas na música de John Cage * Vanguard aspects in John Cage’s music." História e Cultura 2, no. 1 (August 19, 2013): 120. http://dx.doi.org/10.18223/hiscult.v2i1.942.

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<p><strong>Resumo:</strong> Este artigo tem por objetivo estabelecer algumas relações entre as vanguardas artísticas europeias, como o surrealismo e o dadaísmo, e as peças musicais de John Cage. De modo mais específico, procurarei apresentar algumas das características destes movimentos de vanguarda que ainda persistiram na obra do compositor norte-americano. Para isso, a partir do livro Teoria da Vanguarda, de Peter Bürger, e do estudo de Jorge de Almeida, Crítica dialética em Theodor Adorno, retomarei os ideais do Expressionismo – momento auge do esteticismo –, refletindo sobre sua relação com as manifestações vanguardistas subsequentes, no intuito de proporcionar uma melhor compreensão das características comuns aos movimentos de vanguarda da primeira metade do século XX. Nesta análise, discutirei os conceitos de vanguarda, instituição arte e obra de arte. Em seguida, mapearei alguns aspectos da obra de John Cage, relacionando-a com os ideais vanguardistas apresentados anteriormente. Em suma, pretendo evidenciar, ao final dessas reflexões, o projeto vanguardista para a arte no século XX e a manifestação de elementos deste projeto na poética de John Cage.</p><p><strong>Palavras-chave:</strong> John Cage – Vanguarda – Arte.</p><p> </p><p><strong>Abstract:</strong> This paper aims to establish some relations between the European artistic vanguards, such as Surrealism and Dadaism, and John Cage’s musical pieces. More specifically, I will try to present some of the characteristics of these vanguard movements that persisted in the work of the American composer. To do this, I will consider the ideals of Expressionism – height moment of aestheticism –, from the book Theory of Vanguard, by Peter Bürger, and the study of Jorge de Almeida, Crítica dialética em Theodor Adorno, reflecting on its relationship with subsequent vanguard manifestations in order to provide a better understanding of the common characteristics of the vanguard movements in the first half of the Twentieth Century. In this analysis, I will discuss the concepts of vanguard, art institution and work of art. Then, I will map some aspects of the John Cage’s work, relating it to the avant-garde ideas presented earlier. In short, I intend to demonstrate, at the end of these reflections, the avant-garde project for the art in the Twentieth Century and the manifestation of the elements of this project in the John Cage’s poetic.</p><p><strong>Keywords:</strong> John Cage – Vanguard – Art.</p>
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45

Bórquez, Gustavo Celedón. "Políticas del espectro de John Cage: su obra musical a través de Jacques Derrida." Per Musi, no. 32 (December 2015): 114–36. http://dx.doi.org/10.1590/permusi2015b3204.

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Resumo:En una aproximación filosófica al trabajo del compositor estadounidense John Cage, se aplican las nociones derrideanas de espectro y fantasma para comprender su concepción del sonido y revelar la condición política de su arte. Esta condición está absolutamente ligada a un deseo de justicia que nace en las raíces de una América devastada por el dominio europeo. Su manifestación, en la obra de Cage, es la intervención y el desarme de la música occidental. De esta manera, el trabajo artístico, según John Cage, está siempre arraigado a un trabajo político cuyo horizonte es la justicia, horizonte que, en efecto, Jacques Derrida ha puesto como condición de todo hacer.
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46

Mădălina Dana, Rucsanda, and Noémi Karácsony. "Compositional particularities and asian influences in the musical conception and works of john cage." Studia Universitatis Babeş-Bolyai Musica 67, no. 1 (June 30, 2022): 139–54. http://dx.doi.org/10.24193/subbmusica.2022.1.09.

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"One of the most important figures of the 20th century, avant-garde composer, artist, writer, and theorist John Cage was deeply influenced by various philosophical orientations from South and East Asia, such as Hinduism, Buddhism, Taoism, Zen, and I-Ching. He studied various doctrines and the works of several Asian philosophers, which resulted in the reorientation of his philosophical and aesthetic ideas. At the same time, this influenced his musical style, the conception of his compositions, as well as his thoughts on the functions of art – discernible in his music. Cage identified himself with certain ideas he encountered in the philosophical texts he studied, but he refrained from describing himself as representative of any of these orientations. Unlike other Western composers inspired by oriental art and music, Cage was rather influenced by the philosophical dimension of Asia. He avoided the use of Asian music sources in his works and was not interested in using new sounds for the sake of creating a novel musical discourse but aimed to evoke or emphasize certain philosophical ideas through his composition. The aim of the present paper is to present the Asian philosophical influences that marked the figure of John Cage, his perspective on life and art, and influenced his rhetoric, as well as the ideas that he employed within his compositional process. Keywords: John Cage, Asia, Avant-garde, Hinduism, Buddhism, Zen, I-Ching, indeterminacy "
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47

Montoya Campuzano, Pablo. "Notas sobre John Cage y la literatura." Ricercare, no. 11 (2019): 96–110. http://dx.doi.org/10.17230/ricercare.2019.11.5.

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El presente texto sobre John Cage y la literatura está construido a partir de diez y seis pequeñas secciones. En ellas se realiza una travesía por diferentes momentos del proceso creativo de Cage y se relaciona con obras de la literatura y autores de la segunda mitad del siglo XIX y del XX. Finalmente se aborda la libertad en la creación de la composición musical y de la obra literaria y los diferentes sentidos que puede tomar.
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48

Pereira, Rosângela, Jean-Jacques Nattiez, Françoise Davoine, Hans Oesch, Robert Piencikowski, John Cage, Pierre Boulez, Rosangela Pereira, and Francoise Davoine. "Pierre Boulez/John Cage: correspondance et documents." Revue de musicologie 77, no. 2 (1991): 359. http://dx.doi.org/10.2307/947440.

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49

Riethmuller, Albrecht, and Hans Zender. "Wie uber den Komponisten John Cage reden?" Archiv für Musikwissenschaft 52, no. 2 (1995): 103. http://dx.doi.org/10.2307/930915.

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50

Frobenius, Wolf. "John Cage und sein Orchesterstuck "103" (1991)." Archiv für Musikwissenschaft 56, no. 2 (1999): 146. http://dx.doi.org/10.2307/930966.

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