Tokyo Lecture and Three Mesostics

Cage, John

doi:10.2307/833314

Cited by 3 publications

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“…They apparently take place in relation to a predetermined planning of time-lengths. This is a special instance of structural rhythm (Cage [1946(Cage [ ] 1993.…”

Section: Solo For Voice 30mentioning

confidence: 99%

“…This is what he meant by "poetry" (Pritchett 1993, 175-176;Mac Low 2001, 216-217). A few years later Cage would use the Journal (both its words and the simple drawings that Thoreau included therein) as the source material for the lengthy poem Empty Words (Cage 1979). As with Cage's use of Thoreau's texts in Song Books, the four parts of Empty Words apply different granularities to the texts, selected through the I Ching.…”

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confidence: 99%

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Cage’s Imitation Game: Cheap Imitation and Song Books through the sketches

Perry

2021

MTO

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The theme of John Cage’s Song Books (1970), according to Cage, is contained in the statement “We connect Satie with Thoreau” (".fn_cite($cage_1970).", 1). Previous studies of Cage’s Song Books have not asked what I feel to be obvious questions: how, precisely, does Cage connect Satie with Thoreau? To what end? And how does Cage connect to Satie and Thoreau (and to the other sources from which he borrows)? I make use of Cage’s sketch materials to seek answers. I examine three of the Solos for Voice from Song Books that make use of the cheap-imitation procedure that Cage had devised for his work of that name in 1969. Because Song Books is a work for vocalists while Cheap Imitation is a work for solo piano, Cage needed to apply analogous processes of textual “imitation” and mixture to the words of Thoreau to accompany the cheap imitations of the music of Satie. This article explores the persistence of compositional choice in Song Books as revealed by the sketches, in so doing exploring themes of duality in Cage’s pursuit of “poetry as I need it” in the music of Erik Satie, the words of Henry David Thoreau, and in the imitation game that he devises to connect them with one another.

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“…They apparently take place in relation to a predetermined planning of time-lengths. This is a special instance of structural rhythm (Cage [1946(Cage [ ] 1993.…”

Section: Solo For Voice 30mentioning

confidence: 99%

mentioning

confidence: 99%

Cage’s Imitation Game: Cheap Imitation and Song Books through the sketches

Perry

2021

MTO

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Exploring Temporality in Horacio Vaggione’s Compositional Thought

Görgün

2020

Org. Sound

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This article aims to elaborate Horacio Vaggione’s theoretical approach towards electronic music composition and his understanding of the musical structure, and to discuss how some of his key concepts come into presence during the compositional experience of temporality. Following the introduction of object-oriented composition and musical networks, I will discuss the concept of morphology alongside an investigation of how these ideas relate to temporality. In addition to this inquiry, I will briefly explore the possibilities of an ontological discussion on Vaggione’s compositional mindset and how his temporal perspective differs from some of his colleagues.

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John Cage and George Herbert Mead: The Unknown Influence of Van Meter Ames

Yang¹

2017

J Soc American Mus

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As John Cage wrote in his bookA Year from Monday, the “current use for art [is] giving instances of society suitable for social imitation—suitable because they show ways . . . people can do things without being told or telling others what to do.” Cage's ideal anarchic music emphasizes not only renouncing compositional control, but also the process of self-discovery happening to everyone, a process that leads participants to discover their creative abilities. This paper argues that Cage's penchant for self-discovery came from his understanding of George Herbert Mead's theories of the process of individuation (the “me” and the “I”). Cage discovered Mead through readingZen and American Thought(1962) by his friend Van Meter Ames, a professor of philosophy at the University of Cincinnati, who saw the compatibility between Zen and Mead's concept of self in the capacity of the “I,” a phase of self whose unpredictable steps contribute to human innovation. Cage found the possibility of overthrowing the thought of the world through triggering a self-discovery of the “I” in everyone. He realized this idea in his happenings, such as0’00”, by requiring performers to respond to the simple descriptions without specifying sound or duration.

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Tokyo Lecture and Three Mesostics

Cited by 3 publications

References 0 publications

Cage’s Imitation Game: Cheap Imitation and Song Books through the sketches

Cage’s Imitation Game: Cheap Imitation and Song Books through the sketches

Exploring Temporality in Horacio Vaggione’s Compositional Thought

John Cage and George Herbert Mead: The Unknown Influence of Van Meter Ames

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