ANASTASI BRADSHAW CAGE CUNNINGHAM October 7
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UMI MICROFILMED 1989 INFORMATION to USERS the Most Advanced Technology Has Been Used to Photo Graph and Reproduce This Manuscript from the Microfilm Master
UMI MICROFILMED 1989 INFORMATION TO USERS The most advanced technology has been used to photo graph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are re produced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. These are also available as one exposure on a standard 35mm slide or as a 17" x 23" black and white photographic print for an additional charge. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road. -
4' 33'': John Cage's Utopia of Music
STUDIA HUMANISTYCZNE AGH Tom 15/2 • 2016 http://dx.doi.org/10.7494/human.2016.15.2.17 Michał Palmowski* Jagiellonian University in Krakow 4’ 33’’: JOHN CAGE’S UTOPIA OF MUSIC The present article examines the connection between Cage’s politics and aesthetics, demonstrating how his formal experiments are informed by his political and social views. In 4’33’’, which is probably the best il- lustration of Cage’s radical aesthetics, Cage wanted his listeners to appreciate the beauty of accidental noises, which, as he claims elsewhere, “had been dis-criminated against” (Cage 1961d: 109). His egalitarian stance is also refl ected in his views on the function of the listener. He wants to empower his listeners, thus blurring the distinction between the performer and the audience. In 4’33’’ the composer forbidding the performer to impose any sounds on the audience gives the audience the freedom to rediscover the natural music of the world. I am arguing that in his experiments Cage was motivated not by the desire for formal novelty but by the utopian desire to make the world a better place to live. He described his music as “an affi rmation of life – not an at- tempt to bring order out of chaos nor to suggest improvements in creation, but simply a way of waking up to the very life we’re living, which is so excellent once one gets one’s mind and desires out of its way and lets it act of its own accord” (Cage 1961b: 12). Keywords: John Cage, utopia, poethics, silence, noise The present article is a discussion of the ideas informing the radical aesthetics of John Cage’s musical compositions. -
EMPTY WORDS Other
EMPTY WORDS Other Wesley an University Press books by John Cage Silence: Lectures and Writings A Year from Monday: New Lectures and Writings M: Writings '67-72 X: Writings 79-'82 MUSICAGE: CAGE MUSES on Words *Art*Music l-VI Anarchy p Writings 73-78 bv WESLEYAN UNIVERSITY PRESS Middletown, Connecticut Published by Wesleyan University Press Middletown, CT 06459 Copyright © 1973,1974,1975,1976,1977,1978,1979 by John Cage All rights reserved First paperback edition 1981 Printed in the United States of America 5 Most of the material in this volume has previously appeared elsewhere. "Preface to: 'Lecture on the Weather*" was published and copyright © 1976 by Henmar Press, Inc., 373 Park Avenue South, New York, New York 10016. Reprint pernr~sion granted by the publisher. An earlier version of "How the Piano Came to be Prepared" was originally the Introduction to The Well-Prepared Piano, copyright © 1973 by Richard Bunger. Reprinted by permission of the author. Revised version copyright © 1979 by John Cage. "Empty Words" Part I copyright © 1974 by John Cage. Originally appeared in Active Anthology. Part II copyright © 1974 by John Cage. Originally appeared in Interstate 2. Part III copyright © 1975 by John Cage. Originally appeared in Big Deal Part IV copyright © 1975 by John Cage. Originally appeared in WCH WAY. "Series re Morris Graves" copyright © 1974 by John Cage. See headnote for other information. "Where are We Eating? and What are We Eating? (Thirty-eight Variations on a Theme by Alison Knowles)" from Merce Cunningham, edited and with photographs and an introduction by James Klosty. -
A Performer's Guide to the Prepared Piano of John Cage
A Performer’s Guide to the Prepared Piano of John Cage: The 1930s to 1950s. A document submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Keyboard Studies Division of the College-Conservatory of Music By Sejeong Jeong B.M., Sookmyung Women’s University, 2011 M.M., Illinois State University, 2014 ________________________________ Committee Chair : Jeongwon Joe, Ph. D. ________________________________ Reader : Awadagin K.A. Pratt ________________________________ Reader : Christopher Segall, Ph. D. ABSTRACT John Cage is one of the most prominent American avant-garde composers of the twentieth century. As the first true pioneer of the “prepared piano,” Cage’s works challenge pianists with unconventional performance practices. In addition, his extended compositional techniques, such as chance operation and graphic notation, can be demanding for performers. The purpose of this study is to provide a performer’s guide for four prepared piano works from different points in the composer’s career: Bacchanale (1938), The Perilous Night (1944), 34'46.776" and 31'57.9864" For a Pianist (1954). This document will detail the concept of the prepared piano as defined by Cage and suggest an approach to these prepared piano works from the perspective of a performer. This document will examine Cage’s musical and philosophical influences from the 1930s to 1950s and identify the relationship between his own musical philosophy and prepared piano works. The study will also cover challenges and performance issues of prepared piano and will provide suggestions and solutions through performance interpretations. -
University of Southampton Research Repository Eprints Soton
University of Southampton Research Repository ePrints Soton Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", University of Southampton, name of the University School or Department, PhD Thesis, pagination http://eprints.soton.ac.uk UNIVERSITY OF SOUTHAMPTON FACULTY OF HUMANITIES Music Department Borrowed Traditions Portfolio of Compositions with Accompanying Commentary by Máté Csaba Szigeti Thesis for the degree of Doctor of Philosophy September 2016 1 2 UNIVERSITY OF SOUTHAMPTON ABSTRACT FACULTY OF HUMANITIES Music Department Thesis for the degree of Doctor of Philosophy BORROWED TRADITIONS Máté Csaba Szigeti The following commentary introduces six pieces written between 2012 and 2015, during the period of my PhD research at the University of Southampton, UK. All of the pieces discussed here are, on some level, concerned with the subject of borrowing, be it the use of pre-existing musical material, or elements of different traditions, compositional practices in a broad historical context. Different approaches are represented in the ways the individual pieces refer to existing music, ranging from literal quotations to stylistic allusions. -
Extremal Overlap-Free and Extremal Β-Free Binary Words Arxiv
Extremal overlap-free and extremal β-free binary words Lucas Mol and Narad Rampersad∗ Department of Mathematics and Statistics, The University of Winnipeg [email protected], [email protected] Jeffrey Shallity School of Computer Science, University of Waterloo [email protected] Abstract An overlap-free (or β-free) word w over a fixed alphabet Σ is extremal if every word obtained from w by inserting a single letter from Σ at any position contains an overlap (or a factor of exponent at least β, respectively). We find all lengths which admit an extremal overlap- free binary word. For every extended real number β such that 2+ ≤ β ≤ 8=3, we show that there are arbitrarily long extremal β-free binary words. MSC 2010: 68R15 Keywords: overlap-free word; extremal overlap-free word; β-free word; extremal β-free word arXiv:2006.10152v1 [math.CO] 17 Jun 2020 1 Introduction Throughout, we use standard definitions and notations from combinatorics on words (see [11]). For every integer n ≥ 2, we let Σn denote the alphabet ∗The work of Narad Rampersad is supported by the Natural Sciences and Engineering Research Council of Canada (NSERC), [funding reference number 2019-04111]. yThe work of Jeffrey Shallit is supported by the Natural Sciences and Engineering Research Council of Canada (NSERC), [funding reference number 2018-04118]. 1 f0; 1;:::; n-1g. The word u is a factor of the word w if we can write w = xuy for some (possibly empty) words x; y.A square is a word of the form xx, where x is nonempty. -
Nicholas Isherwood Performs John Cage
aria nicholas isherwood performs john cage nicholas isherwood BIS-2149 BIS-2149_f-b.indd 1 2014-12-03 11:19 CAGE, John (1912–92) 1 Aria (1958) with Fontana Mix (1958) 5'07 Realization of Fontana Mix by Gianluca Verlingieri (2006–09) Aria is here performed together with a new version of Fontana Mix, a multichannel tape by the Italian composer Gianluca Verlingieri, realized between 2006 and 2009 for the 50th anniversary of the original tape (1958–2008), and composed according to Cage’s indications published by Edition Peters in 1960. Verlingieri’s version, already widely performed as tape-alone piece or together with Cage’s Aria or Solo for trombone, has been revised specifically for the purpose of the present recording. 2 A Chant with Claps (?1942–43) 1'07 2 3 Sonnekus (1985) 3'42 4 Eight Whiskus (1984) 3'50 Three songs for voice and closed piano 5 A Flower (1950) 2'58 6 The Wonderful Widow of Eighteen Springs (1942) 3'02 7 Nowth Upon Nacht (1984) 0'59 8 Experiences No. 2 (1945–48) 2'38 9 Ryoanji – version for voice and percussion (1983–85) 19'36 TT: 44'53 Nicholas Isherwood bass baritone All works published by C.F. Peters Corporation, New York; an Edition Peters Group company ere comes Cage – under his left arm, a paper bag full of recycled chance operations – in his right hand, a copy of The Book of Bosons – the new- Hfound perhaps key to matter. On his way home he stops off at his favourite natural food store and buys some dried bulgur to make a refreshing supper of tabouleh. -
A.Pe.Ri.Od.Ic Presents a JOHN CAGE FESTIVAL April 13-15, 2012 CHICAGO 5 Concerts Celebrating the Centennial of John Cage’S Birth
a.pe.ri.od.ic presents A JOHN CAGE FESTIVAL April 13-15, 2012 CHICAGO 5 concerts celebrating the centennial of John Cage’s birth (1) (2) April 13, 7:30 PM April 14, 1:30 PM PianoForte Chicago Chicago History Museum Rubloff Auditorium 410 S. Michigan Ave 1601 N. Clark St (3) (5) April 14, 7:00 PM Collaboraction April 15, 4:00 PM (4) Curtiss Hall April 14, 9:00 PM 410 S. Michigan Ave Collaboraction 1579 N. Milwaukee Ave Room 300 a.pe.ri.od.ic presents: A John Cage Festival April 13-15, 2012 Chicago 2012 marking the centennial of John Cage's birth will host hundreds of Cage festivals, memorial concerts, conferences, exhibits and lectures, held all over the world demonstrating not only Cage’s contributions to music, art, poetry, politics and aesthetics, but also his relevance and influence on the development of each of these fields. Wanting to appropriately celebrate and honor his life's work a.pe.ri.od.ic presents a three-day festival featuring repertoire spanning over 50 years of the composer’s output. The festival includes five concerts of John Cage’s repertoire for toy piano, percussion ensemble, vocal ensemble, string quartet, piano, duos, and multimedia arts. These works exhibit Cage’s micro-macroscopic rhythmic structure, a smattering of indeterminacy, his collaborative endeavors, three of his late Number Pieces, and a lecture on the John Cage Collection examining pieces presented on the festival. John Cage lived in Chicago early on in his career, teaching at the Chicago Institute of Design and accompanying dance classes at the University of Chicago. -
A Performance Guide to the Music for Flute and Piano by Philippe Gaubert Tammara K
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2006 A Performance Guide to the Music for Flute and Piano by Philippe Gaubert Tammara K. Phillips Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC A PERFORMANCE GUIDE TO THE MUSIC FOR FLUTE AND PIANO BY PHILIPPE GAUBERT By TAMMARA K. PHILLIPS A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Fall Semester, 2006 The members of the Committee approve the treatise of Tammara K. Phillips defended on October 16, 2006. __________________________________________ Eric Ohlsson Professor Directing Treatise __________________________________________ Patrick Dunnigan Outside Committee Member __________________________________________ Eva Amsler Committee Member __________________________________________ Deborah Bish Committee Member __________________________________________ Frank Kowalsky Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii This treatise is dedicated to my father. iii ACKNOWLEDGEMENTS I gratefully acknowledge my treatise advisor, Dr. Eric Ohlsson, for his generous help in editing and completing this project. I would also like to thank the members of my committee: Professor Eva Amsler, Professor Deborah Bish, Dr. Patrick Dunnigan, and Dr. Frank Kowalsky. My thanks and appreciation to all my committee members for being so flexible and accommodating with their time, and allowing me to complete this project in such a short amount of time. For the indispensable advice and support of my flute professor, Eva Amsler, I am deeply appreciative. I am especially indebted to my family. -
John Cage's "The Wonderful Widow of Eighteen Springs"
John Cage's "The Wonderful Widow of Eighteen Springs" Lauriejean Reinhardt John Cage's setting of "The Wonderful Widow of Eighteen Springs" signals the beginning of what would become a profound and enduring fascination with the writings of James Joyce. Subsequent to this setting, composed in the fall of 1942, Cage would return to Joyce repeatedly throughout his career, using Joyce's words as the basis not only for a variety of musical compositions,1 but also a series of literary projects including the mesostichic2 and chance-inspired "writings" through Finnegans Wake and Ulysses.3 It is Finnegans Wake, however, a novel Cage once described as "endless and attractive,"4 that exerted the greatest influence on his work, and it is Finnegans Wake on which this early setting is based. The centrality of Joyce's novel to Cage's aesthetic outlook is captured in the composer's observation some forty years after his first encounter with the work that "we live, in a very deep sense, in the time of Finnegans Wake."5 Cage composed "The Wonderful Widow" in response to a commission from the soprano Janet Fairbank (1903-1947), whom he had met during his brief appointment at the Chicago Institute of Design in 1941-1942. Fairbank was an ambitious amateur singer from a wealthy family with close ties to the Chicago arts community. Her grandfather, the turn-of-the-century industrialist Nathaniel K. Fairbank, had been a trustee and major benefactor of the Art Institute of Chicago, the Chicago Symphony Orchestra and the Chicago Club. Her mother was the novelist and political activist Janet Ayer Fairbank; and her aunt, Margaret Ayer Barnes, was a popular, Pulitzer prize-winning author. -
David Tudor Papers, 1800-1998, Bulk 1940-1996
http://oac.cdlib.org/findaid/ark:/13030/tf2j49n5h3 Online items available Finding aid for the David Tudor papers, 1800-1998, bulk 1940-1996 Lynda Bunting and Mary K Woods Finding aid for the David Tudor 980039 1 papers, 1800-1998, bulk 1940-1996 Descriptive Summary Title: David Tudor papers Date (inclusive): 1800-1998, bulk 1940-1996 Number: 980039 Creator/Collector: Tudor, David, 1926-1996 Physical Description: 177.5 Linear Feet Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles 90049-1688 [email protected] URL: http://hdl.handle.net/10020/askref (310) 440-7390 Abstract: Papers of the avant-garde pianist and electronic music composer, David Tudor, comprehensively document his participation in post-World War II experimental music. Scores by other composers, notably John Cage, Earle Brown, Morton Feldman, Christian Wolff, Sylvano Bussotti, and Karlheinz Stockhausen, Tudor's realizations of their scores, and his own electronic compositional materials form the bulk of the collection. Archive includes correspondence, financial papers, programs and announcements, specifications and documentation for electronic equipment, and audio and video recordings. Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . Language: Collection material is in English Biographical/Historical Note Born in Philadelphia, Pa. in 1926, David Tudor studied composition and analysis with Stefan Wolpe, organ and theory with H. William Hawke, and piano with Irma Wolpe Rademacher. He began his professional work at 17 as an organist, and in 1950 established himself as a formidable talent in avant-garde music when he gave the American premiere of the Second Piano Sonata by Pierre Boulez. -
6.5 X 11 Double Line.P65
Cambridge University Press 978-0-521-78968-4 - The Cambridge Companion to John Cage Edited by David Nicholls Index More information Index Abstract Expressionism, 110 Barron, Bebe, 209 Adams, John, 245 Barron, Louis, 209 John’s Book of Alleged Dances, 245 Basho, 52 Adams, John Luther, 244, 247, 258 Baudelaire, Charles, 19 Clouds of Forgetting. Clouds of Unknowing, Bauhaus, 22, 23, 24, 25, 26, 261 247 Bayer, Herbert, 23 Dream in White on White, 247 Beauvais cathedral, 21 Earth and the Great Weather, 247 Beckett, Samuel, 266 In the White Silence, 247 Beethoven, Ludwig van, 21, 22, 26, 28, 46, 52, Strange and Sacred Noise, 247 70, 76, 107, 108, 164, 187, 210, 215, 237, Aeschylus, 262 249 Africa, 78 Piano Sonata in f minor, op. 57 Alaska, 96 “Appassionata”, 164 Albers, Anni, 25 Symphony No. 3 “Eroica”, 107 Albers, Josef, 22, 25 Symphony No. 7, 249 America, United States of, ix, 3, 4, 5, 8, 9, 13, Behrman, David, 162, 265 15, 17, 18, 19, 20, 21, 23, 24, 26, 33, 39, Bell Laboratories, 160, 161, 164 40, 42, 66, 90, 92, 106, 128, 134, 137, Bennington School, VT, 44, 267 146, 162, 184, 215, 216, 217, 218, 228, Benton, Thomas Hart, 21 239, 243, 252, 258 Berg, Alban, 34 Bicentennial, 137 Berio, Luciano, 106, 249 Civil War, 5 Sinfonia, 249 NASA, 164 Berlin, Germany, 22 National Institute of Arts and Letters, 26, Bernstein, David, 262 101 Beyer, Johanna, 69 U. S. Navy, 11 Bird, Bonnie, 152, 153, 157, 265 Amirkhanian, Charles, 215 Black Mountain College, NC, 25, 26, 55, 105, Amsterdam, Holland, 40 151, 161, 174, 208, 265 Anderson, Beth, 249, 254–255