John Cage S Theatre Pieces

The experimental composer John Cage (1912-1992) is best known for his works in percussion, prepared piano, and electronic music, but he is also acknowledged to be one of the most significant figures in 20th century theatre. In Cage's work in theatre composition there is a blurring of the distinctions between music, dance, literature, art and everyday life. Here, William Fetterman examines the majority of those compositions by Cage which are audial as well as visual in content, beginning with his first work in this genre in 1952, and continuing through 1992. Much of the information in this study comes from previously undocumented material discovered among the unpublished scores and notes of Cage and his frequent collaborator David Tudor, as well as author's interviews with Cage and with individuals closely associated with his work, including David Tudor, Merce Cunningham, Bonnie Bird, Mary Caroline Richards, and Ellsworth Snyder.

John Cage is the outstanding composer of avant-garde music today. The Saturday Review said of him: “Cage possesses one of the rarest qualities of the true creator- that of an original mind- and whether that originality pleases, irritates, amuses or outrages is irrelevant.” “He refuses to sermonize or pontificate. What John Cage offers is more refreshing, more spirited, much more fun-a kind of carefree skinny-dipping in the infinite. It’s what’s happening now.” –The American Record Guide “There is no such thing as an empty space or an empty time. There is always something to see, something to hear. In fact, try as we may to make a silence, we cannot. Sounds occur whether intended or not; the psychological turning in direction of those not intended seems at first to be a giving up of everything that belongs to humanity. But one must see that humanity and nature, not separate, are in this world together, that nothing was lost when everything was given away.”

First performed at the midpoint of the twentieth century, John Cage’s 4'33", a composition conceived of without a single musical note, is among the most celebrated and ballyhooed cultural gestures in the history of modern music. A meditation on the act of listening and the nature of performance, Cage’s controversial piece became the iconic statement of the meaning of silence in art and is a landmark work of American music. In this book, Kyle Gann, one of the nation’s leading music critics, explains 4'33" as a unique moment in American culture and musical composition. Finding resemblances and resonances of 4'33" in artworks as wide-ranging as the paintings of the Hudson River School and the music of John Lennon and Yoko Ono, he provides much-needed cultural context for this fundamentally challenging and often misunderstood piece. Gann also explores Cage’s craft, describing in illuminating detail the musical, philosophical, and even environmental influences that informed this groundbreaking piece of music. Having performed 4'33" himself and as a composer in his own right, Gann offers the reader both an expert’s analysis and a highly personal interpretation of Cage’s most divisive work.

The first book to examine fully the work of John Cage, leading figure of the post-war musical avant-garde.

A “heroic” and “fascinating” biography of John Cage showing how his work, and that of countless American artists, was transformed by Zen Buddhism (The New York Times) Where the Heart Beats is the story of the tremendous changes sweeping through American culture following the Second World War, a time when the arts in America broke away from centuries of tradition and reinvented themselves. Painters converted their canvases into arenas for action and gesture, dancers embraced pure movement over narrative, performance artists staged “happenings” in which anything could happen, poets wrote words determined by chance. In this tumultuous period, a composer of experimental music began a spiritual quest to know himself better. His earnest inquiry touched thousands of lives and created controversies that are ongoing. He devised unique concerts—consisting of notes chosen by chance, randomly tuned radios, and silence—in the service of his absolute conviction that art and life are one inseparable truth, a seamless web of creation divided only by illusory thoughts. What empowered John Cage to compose his incredible music—and what allowed him to inspire tremendous transformations in the lives of his fellow artists—was Cage’s improbable conversion to Zen Buddhism. This is the story of how Zen saved Cage from himself. Where the Heart Beats is the first book to address the phenomenal importance of Zen Buddhism to John Cage’s life and to the artistic avant-garde of the 1950s and 1960s. Zen’s power to transform Cage’s troubled mind—by showing him his own enlightened nature—liberated Cage from an acute personal crisis that threatened everything he most deeply cared abouthis life, his music, and his relationship with his life partner, Merce Cunningham. Caught in a society that rejected his art, his politics, and his sexual orientation, Cage was transformed by Zen from an overlooked and marginal musician into the absolute epicenter of the avant-garde. Using Cage’s life as a starting point, Where the Heart Beats looks beyond to the individuals Cage influenced and the art he inspired. His creative genius touched Robert Rauschenberg, Jasper Johns, Andy Warhol, Yoko Ono, Alan Kaprow, Morton Feldman, and Leo Castelli, who all went on to revolutionize their respective disciplines. As Cage’s story progresses, as his collaborators’ trajectories unfurl, Where the Heart Beats shows the blossoming of Zen in the very heart of American culture.

This volume looks at the creative work of the great avant-gardist John Cage from an exciting interdisciplinary perspective, exploring his activities as a composer, performer, thinker, and artist. The essays in this collection grew out of a pivotal gathering during which a spectrum of participants including composers, music scholars, and visual artists, literary critics, poets, and filmmakers convened to examine Cage's extraordinary artistic legacy. Beginning with David Bernstein's introductory essay on the reception of Cage's music, the volume addresses topics ranging from Cage's reluctance to discuss his homosexuality, to his work as a performer and musician, and his forward-looking, provocative experimentation with electronic and other media. Several of the essays draw upon previously unseen sketches and other source materials. Also included are transcripts of lively panel discussions among some of Cage's former colleagues. Taken together, this collection is a much-needed contribution to the study of one of the most significant American artists of the twentieth century.

Martin Iddon discusses one of the twentieth century's most provocative musical collaborations: between composer John Cage and pianist David Tudor.