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John Cage's Entanglement with the Ideas Of
JOHN CAGE’S ENTANGLEMENT WITH THE IDEAS OF COOMARASWAMY Edward James Crooks PhD University of York Music July 2011 John Cage’s Entanglement with the Ideas of Coomaraswamy by Edward Crooks Abstract The American composer John Cage was famous for the expansiveness of his thought. In particular, his borrowings from ‘Oriental philosophy’ have directed the critical and popular reception of his works. But what is the reality of such claims? In the twenty years since his death, Cage scholars have started to discover the significant gap between Cage’s presentation of theories he claimed he borrowed from India, China, and Japan, and the presentation of the same theories in the sources he referenced. The present study delves into the circumstances and contexts of Cage’s Asian influences, specifically as related to Cage’s borrowings from the British-Ceylonese art historian and metaphysician Ananda K. Coomaraswamy. In addition, Cage’s friendship with the Jungian mythologist Joseph Campbell is detailed, as are Cage’s borrowings from the theories of Jung. Particular attention is paid to the conservative ideology integral to the theories of all three thinkers. After a new analysis of the life and work of Coomaraswamy, the investigation focuses on the metaphysics of Coomaraswamy’s philosophy of art. The phrase ‘art is the imitation of nature in her manner of operation’ opens the doors to a wide- ranging exploration of the mimesis of intelligible and sensible forms. Comparing Coomaraswamy’s ‘Traditional’ idealism to Cage’s radical epistemological realism demonstrates the extent of the lack of congruity between the two thinkers. In a second chapter on Coomaraswamy, the extent of the differences between Cage and Coomaraswamy are revealed through investigating their differing approaches to rasa , the Renaissance, tradition, ‘art and life’, and museums. -
Transitions-Review-1.Pdf
ENCORE > ARTS COUNCIL MALTA WHETHER IT’S A BACH FUGUE, A MOZART SONATA OR A CHOPIN NOCTURNE, THE SCORE IS THE ONLY LINK BETWEEN THE PIANIST AND THE COMPOSER. BUT WHAT IF TODAY’S CONCERT PIANIST COULD ACTUALLY CONSULT THE COMPOSER HIMSELF? FOR PIANIST TRICIA DAWN WILLIAMS, CONVERSING WITH THE COMPOSER IS NOT A SÉANCE WITH THE DEPARTED BECAUSE SHE SPECIALISES IN CONTEMPORARY REPERTOIRE AND IN MOST CASES THE COMPOSER IS ALIVE AND KICKING. THANKS TO ARTS COUNCIL MALTA’S CULTURAL EXPORT FUND, WILLIAMS TRAVELLED TO NEW YORK FOR MASTER CLASSES WITH PIANIST MARGARET LENG TAN; A MUSIC JOURNEY THAT TOOK HER FROM THE PRINTED SCORES TO AN ENCOUNTER WITH AMERICAN COMPOSER GEORGE CRUMB ENCORE > ARTS COUNCIL MALTA In 2015, Tricia Dawn Williams decided to tackle the ground-breaking work Makrokosmos by George Crumb which is divided into two volumes: Volume I SHE HAS was composed in 1972 and Volume II in 1973. This monumental work is unlike any other piece ever PROGRESSIVELY written for the piano. In fact Makrokosmos remains the most comprehensive and influential exploration PERFECTED of the new technical resources of the piano from the twentieth century. One of the major challenges of this work is that it requires the pianist to exercise many AN INDIVIDUAL unorthodox playing practices, like plucking strings inside the piano, playing glissandi across strings, STYLE FUSING sliding a scrape along a string, damping the strings with various objects (like paper, a metal chain, glass) SOUND, as well as whistling tones and vocal utterances. This dazzling exploration of musical timbre is probably the CHOREOGRAPHY most famous aspect of Makrokosmos. -
PROBES #23.2 Devoted to Exploring the Complex Map of Sound Art from Different Points of View Organised in Curatorial Series
Curatorial > PROBES With this section, RWM continues a line of programmes PROBES #23.2 devoted to exploring the complex map of sound art from different points of view organised in curatorial series. Auxiliaries PROBES takes Marshall McLuhan’s conceptual The PROBES Auxiliaries collect materials related to each episode that try to give contrapositions as a starting point to analyse and expose the a broader – and more immediate – impression of the field. They are a scan, not a search for a new sonic language made urgent after the deep listening vehicle; an indication of what further investigation might uncover collapse of tonality in the twentieth century. The series looks and, for that reason, most are edited snapshots of longer pieces. We have tried to at the many probes and experiments that were launched in light the corners as well as the central arena, and to not privilege so-called the last century in search of new musical resources, and a serious over so-called popular genres. This auxilliary digs deeper into the many new aesthetic; for ways to make music adequate to a world faces of the toy piano and introduces the fiendish dactylion. transformed by disorientating technologies. Curated by Chris Cutler 01. Playlist 00:00 Gregorio Paniagua, ‘Anakrousis’, 1978 PDF Contents: 01. Playlist 00:04 Margaret Leng Tan, ‘Ladies First Interview’ (excerpt), date unknown 02. Notes Pianist Margaret Leng Tan was born in Singapore, where as a gifted student she 03. Links won a scholarship to study at the Julliard School in New York. In 1981 she met 04. Credits and acknowledgments John Cage and worked with him then until his death in 1992. -
Wolfson Long Composer
David Wolfson is a composer, music director, arranger, and pianist who lives in New York City, currently a PhD candidate in composition at Rutgers University. He holds an MA in composition from Hunter College, where he studied with Shafer Mahoney and Richard Burke, and a BM from the Cleveland Institute of Music, where he studied with Eugene O'Brien and John Rinehart, graduating in 1985. In that same year he was awarded the first annual Darius Milhaud Award by the Darius Milhaud Society and won the Bascom Little Musical Theatre Composition Competition for his short opera, Rainwait. Mr Wolfson’s music has been called “brilliant” by the Cleveland Plain Dealer; the New York Times referred to it as “musically inventive” and “theatrically forceful.” His concert works have been performed by such notable performers as Margaret Leng Tan, Jenny Lin, and the cello quartet Cello. Recent premieres include Ruck, for saxophone quartet, at Marble Collegiate Church in New York City; Twinkle, Dammit!, for toy piano and toys by Margaret Leng Tan at the 1st International Toy Piano Festival; and Rapture, a short opera, on the Pocket Opera series at Hunter College in New York City. A film version of another short opera, Maya’s Ark (produced by Grethe Holby’s Ardea Arts), recently had its premiere screening. Mr. Wolfson is the composer of Story Salad, a series of stage revues for children, which toured nationally for fourteen seasons beginning in 1988, and was seen by well over a million children, teachers and parents. He has supplied incidental music for several off-off-Broadway plays, created sound designs for a set of Macy’s window displays, and written songs for an amusement park big-headed-costumed-character show, Riverside Park’s Country Critter Jamboree. -
Vivianfung|Composer
vivianfung|Composer “Her music ... summons images of dusk and reaches for hidden places and states of mind.” San Jose Mercury News Vivian Fung Phone: (917) 535-0050 Email: [email protected] Website: www.vivianfung.net Vivian Fung has distinguished herself as a composer with a unique and powerful compositional voice. Since earning her doctorate from The Juilliard School in 2002, she has forged her own approach often merging western forms with non-western vivianfung|Composer influences such as Balinese and Javanese gamelan and folk songs from minority regions of China. The New “…as vital as encountering Steve Reich or the York Times has described her work as ―evocative,‖ Kronos for the first time.” and The Strad hails her Uighur-influenced music to be The Strad ―as vital as encountering Steve Reich or the Kronos for the first time.‖ Chicago Tribune described Fung‘s Yunnan Folk Songs as conveying ―a winning rawness that went beyond exoticism.‖ Fung has traveled extensively for her work. In 2004, she traveled to Bali, Indonesia Highlights of Fung's recent world as part of the Asia Pacific Performance Exchange premieres include: her Violin Concerto for Kristin Program, sponsored by the UCLA Center for Lee and Grammy nominated Metropolis Ensemble, Intercultural Performance. In summer 2010, as an Dust Devils commissioned by the Eastern Music ensemble member of Gamelan Dharma Swara, she Festival celebrating their 50th anniversary, Yunnan completed a performance tour of Bali including Folk Songs by Fulcrum Point New Music Project in competing in the Bali Arts Festival. Chicago; new choral works by the acclaimed Suwon Civic Chorale in South Korea; Chant by pianist Fung‘s works have increasingly Margaret Leng Tan at the Museum of Modern Art in become part of the core repertoire. -
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1114 IEIT liVE FESTIVIL 1994 NEXT WAVE COVEll AND POSTER AR11ST ROBERT MOS1tOwrrz •••I_lil , .1, lllE! II I E 1.lnII ImlEI 14. IS BAMBILL BROOKLYN ACADEMY OF MUSIC Harvey Lichtenstein, President & Executive Producer THE BROOKLYN PHILHARMONIC ORCHESTRA Dennis Russell Davies, Principal Conductor Lukas Foss, Conductor Laureate 41st Season, 1994/95 MIRROR IMAGES in the BAM Opera House October 14, 15, 1994 PRE-CONCERT RECITAL at 7pm PHILIP GLASS Six Etudes Dennis Russell Davies, Piano (American premiere) BROOKLYN PHILHARMONIC ORCHESTRA DENNIS RUSSELL DAVIES, Conductor MARGARET LENG TAN, Piano 8pm JOHN ZORN For Your Eyes Only (BPO Commission) CHEN YI Piano Concerto Margaret Leng Tan, Piano (BPO commission; premiere performance) - Intermission - PHILIP GLASS Symphony No.2 (BPO commission; premiere performance) Allegro Andante Allegro POST-CONCERT DIALOGUE with Chen Yi, Philip Glass, Dennis Russell Davies, and Joseph Horowitz Philip Glass' Symphony No.2 is commissioned by BPO with partial funding provided by the Mary Flagler Cary Charitable Trust. Symphony No.2 composed by Philip Glass. Copyright 1994 Dunvagen Music Publishers, Inc. THE STANLEY H. KAPLAN EDUCATIONAL CENTER ACOUSTICAL SHELL The Brooklyn Philharmonic and the Brooklyn Academy of Music gratefully acknowledge the generosity of Mr. and Mrs. Stanley H. Kaplan, whose assistance made possible the Stanley H. Kaplan Educational Center Acoustic Shell. THE BROOKLYN PHILHARMONIC ORCHESTRA IS THE RESIDENT ORCHESTRA OF BAM. _ MIRROR IMAGES _ mainly associate£! with opera; ballet. film. and experimentaltheatet~ the opportuni f,r to "think a\Jour tne tradition of &Ythphonic musk;/' Glass haSstateu. openeu "a new world ofmusic--and I am very much looking forward to what I will discover." Glass's Symphony No. -
Canada's National Arts Centre Orchestra Has Commissioned a New
Canada’s National Arts Centre Orchestra has commissioned a new orchestral work, Earworms, from internationally renowned, JUNO Award-winning composer Vivian Fung. Earworms receives its world premiere performances by the National Arts Centre Orchestra under the baton of Music Director Alexander Shelley on Thursday, March 22 and Friday, March 23, 2018 at 8:00PM at National Arts Centre’s Southam Hall. The program also features Brahms’ Symphony No. 2, and Shostakovich’s Piano Concerto No. 2 with Russian-born Israeli pianist Boris Giltburg. On Saturday, March 24, 2018 at 8:00PM, the program travels to Toronto’s Roy Thomson Hall, presented by the Toronto Symphony Orchestra. Of her new piece, Vivian Fung explains, “Earworms" is a feisty and whimsical orchestral piece that provides a commentary on the world we live in today – it musically depicts our diverted attention spans, our constant barrage of music and other media, and our multi-tasking lives. Since having my son almost three years ago, I have found my life to be more complicated and chaotic, but also all the richer and more meaningful. I find myself at the end of the day humming tunes that have gotten into my head and that I cannot seem to escape no matter how hard I try – hence the title Earworms.” Earworms features snippets of some of the best, most insistent, and most annoying of these tunes and combines them into a playful and quirky arrangement. These include phrases of Ravel’s La Valse and Fung’s son’s favorite, “Wheels on the Bus,” to which he has listened every day ad nauseam for the past six months. -
Information to Users
The dance of time: The evolution of the structural aesthetics of the prepared piano works of John Cage. Item Type text; Dissertation-Reproduction (electronic) Authors Rhodes, Carol Shirley. Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 28/09/2021 16:54:06 Link to Item http://hdl.handle.net/10150/187153 INFORMATION TO USERS This mam1script )las been reproduced 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. 'Ibe quality of this reproduction is dependeat upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photograpbs, print bleedthrougb, substandard margins, and improper aJjgmnent can adversely affect reproduction. In the unlikely. event that the author did not send UMI a complete mam1script and there are mjssjng pages, these will be noted. Also, if UDaUthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and con';""i"g from left to right in equal sectiODS with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. -
VIVIAN FUNG, COMPOSER 37 Kerr Avenue, Kensington, CA 94707 Website: E-Mail: [email protected]
VIVIAN FUNG, COMPOSER 37 Kerr Avenue, Kensington, CA 94707 website: www.vivianfung.net e-mail: [email protected] EDUCATION 1997–2002 The Juilliard School DMA in Music Composition ⋅ Doctoral Thesis Composition: Three Love Songs in Chinese for soprano and orchestra ⋅ Columbia University (Cross-Registration – Courses in Analysis and Set Theory) 1996–1997 The Juilliard School MM in Music Composition 1992–1996 The Juilliard School BM in Music Composition ⋅ Peter Mennin Prize for “Outstanding Achievement and Leadership in Music” Teachers in Applied Music: Composition: Robert Beaser, David Diamond, Narcis Bonet, Violet Archer Piano: Gyorgy Sandor, Ernesto Lejano Conducting: Miguel Harth-Bedoya TEACHING EXPERIENCE 2017–present Santa Clara University, Music Composition Faculty Member (Santa Clara, CA) 2022 Featured Faculty at Alba Music Festival Composition Program, Alba, Italy 2021 Composer Faculty at Mostly Modern Festival, Upstate NY 2016–20 Guest lecturer at UPenn, Curtis Institute, University of Manitoba, University of Ottawa, Banff Centre, Sacramento State University, Winnipeg New Music Institute/Festival, Association of California Symphony Orchestras, San Diego State University, Young Women Composers Camp 2005–20 Private studio, teaching composition, theory, and piano 2002–10 The Juilliard School, Faculty Member (New York, NY) • Taught courses in undergraduate and graduate theory: harmony, counterpoint, and form and analysis; studying repertoire from early music to music of the 21st Century • Taught liberal arts course in innovative arts -
Piano 1 El Piano
Piano 11 Piano Piano Tesitura Caracter€sticas Clasificaci•n Instrumento de cuerda percutida Instrumento de teclado Instrumentos relacionados Clavec€n, clavicordio, dulc•mele, espineta, ‚rgano Hammond, pianola, piano con pedales Inventor Bartolomeo Cristofori Desarrollado Hacia 1700 M‚sicos ƒƒ PPiiaanniissttaass Fabricantes ƒƒ FaFabrbricicanantetes de pipiananosos Art€culos relacionados ƒƒ CCoommppoossiicciioonneesppaa rrappii aannoo ƒƒ AAcc„„ssttiiccaddeel ppiiaa nnoo ƒƒ AAffiinnaaccii……nddeel ppiiaa nnoo ƒƒ FFrreeccuueenncciiaasdd eaa ffiinnaaccii……ndd eelpp iiaannoo ElEl piano (palabra que en italiano significa †suave‡, y en este caso es ap…cope del t•rmino original, †pianoforte‡, que hac€a referencia a sus matices suave y fuerte) es un instrumento musical clasificado como instrumento de teclado de cuerdas percutidas por el sistema de clasificaci…n tradicional, y seg„n la clasificaci…n de Hornbostel-Sachs es un cord…fono simple. El m„sico que toca el piano recibe el nombre de pianista. Piano 22 Estˆ compuesto por una caja de resonancia, a la que se ha agregado un teclado mediante el cual se percuten las cuerdas de acero con macillos forrados de fieltro, produciendo el sonido. Las vibraciones se transmiten a trav•s de los puentes a la tabla arm…nica, que los amplifica. Estˆ formado por un arpa cromˆtica de cuerdas m„ltiples, accionada por un mecanismo de percusi…n indirecta, a la que se le han a‰adido apagadores. Fue inventado en torno al a‰o 1700 por el paduano Bartolomeo Cristofori. Entre sus antecesores se encuentran instrumentos como la c€tara, el monocordio, el dulc•mele, el clavicordio y el clavec€n. A lo largo de la historia han existido diferentes tipos de pianos, pero los mˆs comunes son el piano de cola y el piano vertical o de pared. -
No Ear for Music the Scary Purity of John Cage
34 No Ear for Music The Scary Purity of John Cage David Revill, The Roaring Silence (New York: Arcade, 1992; 375 pp.) Richard Kostelanetz, ed., Conversing with Cage (New York: Limelight, 1988; 300 pp.) Pierre Boulez and John Cage, Correspondance et documents, edited by Jean-Jacques Nattiez (Winterthur: Amadeus, 1990; 234 pp.); trans. Robert Samuels, The Boulez- Cage Correspondence (Cambridge: Cambridge University Press, 1993; 168 pp.) John Cage, The Complete Quartets; Arditti Quartet (Mode 17 & 27, 2 CDs) John Cage, The Perilous Night; Four Walls; Margaret Leng Tan (New Albion 37) John Cage, Lecture on Nothing; Works for Cello; Frances-Marie Uitti (Etcetera 2016) Lenny Bruce had a routine in which he sent audiences into paroxysms by classifying any artifact of contemporary culture to which they referred him as Jewish or goyish. The high point, on the recording that I heard, came when someone shouted, I think, “instant scrambled eggs,” and Bruce went, “ooh . scary goyish.” There is no better way of understanding what John Cage has meant to us, why he was so notorious and then so famous, and why his name will long remain an emblem. For half a century he stalked the world of music as its scariest goy. This had nothing to do with religion, or with the ethnic complexion of modern America. It wasn’t even a question of Us and Them. What made the classification funny was that all the mundane items classified belonged to Us. The classification showed up the contradictions in the shared culture, and in its values. What was “Jewish” confirmed our cherished notions of ourselves; what was “goyish” disconfirmed them. -
Sinophone Cinemas This Page Intentionally Left Blank Sinophone Cinemas
Sinophone Cinemas This page intentionally left blank Sinophone Cinemas Edited by Audrey Yue The University of Melbourne, Australia and Olivia Khoo Monash University, Australia Introduction, selection and editorial matter © Audrey Yue and Olivia Khoo 2014 Individual chapters © Contributors 2014 Foreword © Shu-mei Shih 2014 Softcover reprint of the hardcover 1st edition 2014 978-1-137-31119-1 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No portion of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, Saffron House, 6–10 Kirby Street, London EC1N 8TS. Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The authors have asserted their rights to be identified as the authors of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2014 by PALGRAVE MACMILLAN Palgrave Macmillan in the UK is an imprint of Macmillan Publishers Limited, registered in England, company number 785998, of Houndmills, Basingstoke, Hampshire RG21 6XS. Palgrave Macmillan in the US is a division of St Martin’s Press LLC, 175 Fifth Avenue, New York, NY 10010. Palgrave Macmillan is the global academic imprint of the above companies and has companies and representatives throughout the world. Palgrave® and Macmillan® are registered trademarks in the United States, the United Kingdom, Europe and other countries.