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Writings through John Cage's Music, Poetry, and Art$
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David W. Bernstein and Christopher Hatch

Print publication date: 2001

Print ISBN-13: 9780226044071

Published to Chicago Scholarship Online: March 2013

DOI: 10.7208/chicago/9780226044873.001.0001

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PRINTED FROM CHICAGO SCHOLARSHIP ONLINE (www.chicago.universitypressscholarship.com). (c) Copyright University of Chicago Press, 2020. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in CHSO for personal use.date: 31 March 2020

As Time Passes

As Time Passes

(p.120) Five As Time Passes
Writings through John Cage's Music, Poetry, and Art

Deborah Campana

University of Chicago Press

This chapter elaborates the sequential design on how Cage approached ideas and channeled them through a variety of temporal structures. His Imaginary Landscape No. 1, composed in 1939, is scored for what he called muted piano, sizzle cymbal, and sound-effects recordings. He composed music for dancers and made the acquaintance of others in the arts community during 1940. Cage composed the Solo for Piano for the Concert by selecting events from either Winter Music or Music for Piano and using them exactly as they appear, or by varying them, or, a fourth possibility, by composing a completely new event. One of Cage's last large-scale works, 108, is scored for orchestra and constructed as a series of time brackets or durational ranges Cage was fascinated with the social relationships that arise between a score and the performers' parts that must interpret them.

Keywords:   Cage, temporal structures, Imaginary Landscape No. 1, music, dancers, Solo for Piano for the Concert, social relationships

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