John Cage (ex)plain(ed)Schirmer Books, 1996 - 194 Seiten No composer was more controversial, prolific, or more misunderstood than John Cage (1912-1992). No critic has spent more years defending Cage and his work than Richard Kostelanetz. This work summarizes a lifetime's study of Cage's music, literary works, art, and philosophy. It both introduces Cage to the neophyte and offers valuable insights for the seasoned listener. |
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Seite 11
... audience made this a situation from which musical sound was expected , the dramatized inference was that the piece's " music " consisted of all the sounds that happened to be audible in the performance hall during the time period of 4 ...
... audience made this a situation from which musical sound was expected , the dramatized inference was that the piece's " music " consisted of all the sounds that happened to be audible in the performance hall during the time period of 4 ...
Seite 31
... audience to true Cun- ningham aficionados . It was a sight . Days later , the New York Times critic suggested , not unreasonably , that Cunningham might hence succeed with the Philharmonic audience if he dumped Cage . In The Village ...
... audience to true Cun- ningham aficionados . It was a sight . Days later , the New York Times critic suggested , not unreasonably , that Cunningham might hence succeed with the Philharmonic audience if he dumped Cage . In The Village ...
Seite 129
... audience was there ? Three thousand people , and they went into a state of disen- chantment - complete disenchantment . How many stayed until the end ? I would say at least three - quarters of the audience . And it went on for two hours ...
... audience was there ? Three thousand people , and they went into a state of disen- chantment - complete disenchantment . How many stayed until the end ? I would say at least three - quarters of the audience . And it went on for two hours ...
Inhalt
Fomenter of Radical Consciousness | 7 |
CunninghamCage | 25 |
John Cage Polyartist | 34 |
Urheberrecht | |
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Häufige Begriffe und Wortgruppen
abundance acoustic American arias Arnold Schoenberg artistic audience audiotape aural avant-garde Cage wrote Cage's Cage's music Cagean chance operations choreography composed composition critic dance David Tudor devotion discipline Earle Brown electronic Empty Words Erik Satie essays esthetic Europera experience film Finnegans Wake hear Henry Cowell HPSCHD ideas Imaginary Landscape imaginative imitation indeterminacy indeterminate innovation instruments intention interpenetration Jasper Johns John Cage language lecture listening Marcel Duchamp Merce Cunningham mesostic Millrose Games Monday Morton Feldman Mozart multitrack Mureau musicians nonetheless nonhierarchical notation once opera original percussion performance pianist piece play poetry politics polyartist possible premiered prepared piano produced prose radical radio record Roaratorio Robert Rauschenberg Rolyholyover score Silence singers Solo for Voice Sonatas and Interludes Song Books sounds space stanzas stories structure tape theater theatrical theme things Thoreau thought tion told tones traditional twelve University visual art wanted Writings Through Finnegans York