#John Cage

[sivavakkiyar]

John Cage, Indeterminacy 6.

he normally followed this with ‘there is nothing to fear for the future of music.’ a pivotal moment for the creation of 4’33

[mysharona1987]

[davidhudson]

John Cage, September 5, 1912 – August 12, 1992.

With the Merce Cunningham Dance Company in 1966.

[doctorcolubra]

"Ten Rules," Sister Corita Kent (lettering by David Mekelburg), 1960s.

[postpunkindustrial]

Experimental Music: Cage and Beyond by Michael Nyman

Michael Nyman is a composer popularly known for his film scores for movies such as The Piano, Gattica and his collaborations with filmmaker Peter Greenway.

(Side note is you have someone who for some reason is still holding on to their Harry Potter fandom and you want to RUIN their thoughts about beloved Dumbledor. Have them watch Peter Greenway's The Cook, the Thief, His Wife & Her Lover.)\

But before he paid the bills with film scores he spent some time in the Conceptual Avant Garde music scene of the 60's. This book is a firsthand account of his time in the conceptual and experimental art scene.

If you interest in music is a more historica, philosphical, conceptual and more academic you might like this book.

You can get it from my Google Drive HERE

[thinkingimages]

John Cage Page 18, Solo for Piano, from Concert for Piano and Orchestra (1958)

[seshgirlie]

“26.’1.1499” by John Cage, performed by Charlotte Moorman and Nam June Paik in 1971

[antronaut]

John Cage at Stony Point, NY, 1965 photographed by William Gedney

[lascitasdelashoras]

10 rules for students and teachers, by John Cage

[engagemythrusters]

for every action there is an equal and opposite reaction, so that means to combat John Cage's 4'33, I propose a piece called 3'44, wherein every single note within range possible is played for three minutes and forty-four seconds

[noosphe-re]

D.C.: Then art as you define it is a discipline of adaptation to the real as it is. It doesn't propose to change the world, it accepts it as it presents itself. By dint of breaking our habits, it habituates us more effectively. J.C.: I don't think so. There is one term of the problem which you are not taking into account: precisely, the world. The real. You say: the real, the world as it is. But it is not, it becomes! It moves, it changes! It doesn't wait for us to change...It is more mobile than you can imagine. You are getting closer to this reality when you say as it "presents itself"; that means that it is not there, existing as an object. The world, the real is not an object. It is a process.

For the Birds: John Cage in Conversation with Daniel Charles

[alesario]

John Cage, Merce Cunningham, and Robert Rauschenberg, New York City, May 2, 1960.

photo: Richard Avedon. © The Richard Avedon Foundation

[sivavakkiyar]

M. C. Richards went to see the Bolshoi Ballet. She was delighted with the dancing. She said, "It’s not what they do; it's the ardor with which they do it." I said, "Yes: composition, performance, and audition or observation are really different things. They have next to nothing to do with each other.” Once, I told her I was at a house on Riverside Drive where people were invited to be present at a Zen service conducted by a Japanese Roshi. He did the ritual, rose petals and all. Afterwards tea was served with rice cookies. And then the hostess and her husband, employing an out-of-tune piano and a cracked voice, gave a wretched performance of an excerpt from a third-rate Italian opera. I was embarrassed and glanced towards the Roshi to see how he was taking it. The expression on his face was absolutely beatific.

John Cage, from Silence

[gregdotorg]

The daily practice of blind drawing on your lap while you ride the subway to play chess with John Cage.

William Anastasi, Subway Drawing (Way to John Cage), 1988, via christie's

[pheere]

“26.’1.1499” by John Cage, performed by Charlotte Moorman and Nam June Paik, 1971

[unaturalhistory]

David Tudor - John Cage (Basel 1972)