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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: 07 April 2020

Cage's Influence

Cage's Influence

A Panel Discussion

Chapter:
(p.167) Eight Cage's Influence
Source:
Writings through John Cage's Music, Poetry, and Art
Author(s):

Gordon Mumma

Allan Kaprow

James Tenney

Christian Wolff

Alvin Curran

Maryanne Amacher

Publisher:
University of Chicago Press
DOI:10.7208/chicago/9780226044873.003.0009

This chapter explains the impact of Cage's work on five of his former colleagues in terms of their own work and as well as that of others. An account of Cage's classes in experimental music at the New School for Social Research in 1950 is given by Allan Kaprow. Cage's historical role is assessed by James Tenney, who claims that by eliminating personal expression from music Cage brought to an end a period in music history that started with the beginnings of opera in the early seventeenth century. Christian Wolff writes that Cage's groundbreaking discoveries helped others pursue their individual and independent creative paths. Maryanne Amacher hopes to remain open to changes of the same magnitude of those that have occurred in future. Lastly, Alvin Curran, discusses his own work with the improvisatory performing group Musica Elettronica Viva, telling us that although Cage disliked improvisation, he was an important source of inspiration for this group.

Keywords:   Cage, James Tenny, music, Christian Wolff, Maryanne Amacher, Allan Kaprow, Alvin Curran, opera

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