John Cage (1912--1992) is probably best known forworks that challenge the fundamental definition ofmusic---for example, his groundbreaking 4'33". In thelast six years of his life, however, Cage wrote 48compositions now known as the Number Pieces---works,usually scored for conventional Western instruments,that often contained precisely defined pitches. Eachperformer in one of these pieces performs his or hermusic in a strict order, but the actual start- andstop-times for each musical event vary because of Cage's notational system called "time brackets." While the time-bracket system ensured that the total time for a performance would always remain the same, it allowed sufficient flexibility to the performers in the spirit of Cage's indeterminate aesthetic---the brackets made the music became, in his words, "earthquake proof." This book offers anoverview of the series, an exploration ofsources and compositional process, an analyticaldiscussion of selected works, a contextual inquiry into the works with respect to Cage's interests inAmerican anarchistic traditions, and a concludingdiscussion that considers aspects of reception andhistoriography.
John Cage (1912--1992) is probably best known forworks that challenge the fundamental definition ofmusic---for example, his groundbreaking 4'33". In thelast six years of his life, however, Cage wrote 48compositions now known as the Number Pieces---works,usually scored for conventional Western instruments,that often contained precisely defined pitches. Eachperformer in one of these pieces performs his or hermusic in a strict order, but the actual start- andstop-times for each musical event vary because of Cage's notational system called "time brackets." While the time-bracket system ensured that the total time for a performance would always remain the same, it allowed sufficient flexibility to the performers in the spirit of Cage's indeterminate aesthetic---the brackets made the music became, in his words, "earthquake proof." This book offers anoverview of the series, an exploration ofsources and compositional process, an analyticaldiscussion of selected works, a contextual inquiry into the works with respect to Cage's interests inAmerican anarchistic traditions, and a concludingdiscussion that considers aspects of reception andhistoriography.
This book takes up one of the key theoretical challenges in the English School's conceptual framework, namely the nature of the institutions of international society. It theorizes their nature...
In this introduction to the social analysis of music, the author argues that musical meaning must be understood as socially constructed, rather than inherent, and that the notion of a correspondance...
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