John Milton Cage Jr. (September 5, 1912 – August 12, 1992) was an American composer,
music theorist, writer, philosopher and artist. A pioneer of
indeterminacy in music,
electroacoustic music, and
non-standard use of musical instruments, Cage was one of the leading figures of the post-war
avant-garde. Critics have lauded him as one of the most influential American composers of the 20th century. He was also instrumental in the development of
modern dance, mostly through his association with choreographer
Merce Cunningham, who was also Cage's romantic partner for most of their lives.
Cage is perhaps best known for his 1952 composition ''4′33″'', which is performed in the absence of deliberate sound; musicians who present the work do nothing aside from their presence for the duration specified by the title. The content of the composition is not "four minutes and 33 seconds of silence," as is sometimes assumed, but rather the sounds of the environment heard by the audience during performance. The work's challenge to assumed definitions about musicianship and musical experience made it a popular and controversial topic both in musicology and the broader aesthetics of art and performance. Cage was also a pioneer of the prepared piano (a piano with its sound altered by objects placed between or on its strings or hammers), for which he wrote numerous dance-related works and a few concert pieces. The best known of these is ''Sonatas and Interludes'' (1946–48).
His teachers included Henry Cowell (1933) and Arnold Schoenberg (1933–35), both known for their radical innovations in music, but Cage's major influences lay in various East and South Asian cultures. Through his studies of Indian philosophy and Zen Buddhism in the late 1940s, Cage came to the idea of aleatoric or chance-controlled music, which he started composing in 1951. The ''I Ching'', an ancient Chinese classic text on changing events, became Cage's standard composition tool for the rest of his life. In a 1957 lecture, ''Experimental Music'', he described music as "a purposeless play" which is "an affirmation of life – not an attempt to bring order out of chaos nor to suggest improvements in creation, but simply a way of waking up to the very life we're living".
Life
1912–31: Early years
Cage was born in Los Angeles. His father John Milton Cage, Sr. (1886–1964) was an inventor, and his mother Lucretia ("Crete") Harvey (1885–1969) worked intermittently as a journalist for the ''
Los Angeles Times''. The family's roots were deeply American: in a 1976 interview, Cage mentioned "a John Cage who helped
[George] Washington in the surveying of Virginia". Cage described his mother as a woman with "a sense of society" who was "never happy", while his father is perhaps best characterized by his inventions: sometimes idealistic, such as a diesel-fueled
submarine that gave off exhaust bubbles, the senior Cage being uninterested in an undetectable submarine, John Milton Sr. taught his son that "if someone says 'can't' that shows you what to do." In 1944–45 Cage wrote two small
character pieces dedicated to his parents: ''Crete'' and ''Dad''. The latter is a short lively piece that ends abruptly, while "Crete" is a slightly longer, mostly melodic contrapuntal work.
Cage's first experiences with music were from private piano teachers in the Greater Los Angeles area and several relatives, particularly his aunt Phoebe Harvey who introduced him to the piano music of the 19th century. He received first piano lessons when he was in the fourth grade at school, but although he liked music, he expressed more interest in sight reading than in developing virtuoso piano technique, and apparently was not thinking of composition. By 1928 Cage was convinced that he wanted to be a writer. That year he graduated from Los Angeles High School as a valedictorian and enrolled at Pomona College, Claremont. However, in 1930 he dropped out, having come to believe that "college was of no use to a writer" after an incident described in the 1991 autobiographical statement:
I was shocked at college to see one hundred of my classmates in the library all reading copies of the same book. Instead of doing as they did, I went into the stacks and read the first book written by an author whose name began with Z. I received the highest grade in the class. That convinced me that the institution was not being run correctly. I left.
Cage persuaded his parents that a trip to Europe would be more beneficial to a future writer than college studies. He subsequently
hitchhiked to
Galveston and sailed to
Le Havre, where he took a train to Paris. Cage stayed in Europe for some 18 months, trying his hand at various forms of art. First he studied
Gothic and
Greek architecture, but decided he was not interested enough in architecture to dedicate his life to it. Cage started travelling, visited various places in France, Germany and Spain, as well as
Capri and, most importantly,
Majorca, where he started composing. His first compositions were created using dense mathematical formulae, but Cage was displeased with the results and left the finished pieces behind when he left. Cage's association with theatre also started in Europe: during a walk in
Seville he witnessed, in his own words, "the multiplicity of simultaneous visual and audible events all going together in one's experience and producing enjoyment."
1931–36: Apprenticeship
Cage returned to the United States in 1931.) and arts patron
Galka Scheyer. in which Cowell suggested that Cage study with
Arnold Schoenberg—Cage's musical ideas at the time included composition based on a 25-
tone row, somewhat similar to Schoenberg's
twelve-tone technique. Cowell mentioned, however, that before approaching Schoenberg, Cage should take some preliminary lessons, and recommended Adolph Weiss, a former Schoenberg pupil.
Following Cowell's advice, Cage travelled to New York City in 1933 and started studying with Weiss as well as taking lessons from Cowell himself at The New School. Cage's routine during that period was apparently very tiring, with just four hours of sleep on most nights, and four hours of composition every day starting at 4 am. Several months later, still in 1933, Cage became sufficiently good at composition to approach Schoenberg. He could not afford Schoenberg's price, however, and when he mentioned it, the older composer asked whether Cage would devote his life to music. After Cage replied that he would, Schoenberg offered to tutor him free of charge.
Cage studied with Schoenberg in California: first at USC and then at UCLA, as well as privately. particularly as an example of how to live one's life being a composer. Schoenberg's methods and their influence on Cage are well documented by Cage himself in various lectures and writings. Particularly well-known is the conversation mentioned in the 1958 lecture ''Indeterminacy'':
After I had been studying with him for two years, Schoenberg said, "In order to write
music, you must have a feeling for harmony." I explained to him that I had no feeling for
harmony. He then said that I would always encounter an obstacle, that it would be as though I
came to a wall through which I could not pass. I said, "In that case I will devote my life to
beating my head against that wall."
Cage studied with Schoenberg for two years, but although he admired his teacher, he decided to leave after Schoenberg told the assembled students that he was trying to make it impossible for them to write music. Much later, Cage recounted the incident: "[...] When he said that, I revolted, not against him, but against what he had said. I determined then and there, more than ever before, to write music."
1937–49: Modern dance and Eastern influences
The newly married couple first lived with Cage's parents in
Pacific Palisades, then moved to Hollywood. During 1936–38 Cage changed numerous jobs, including one that started his lifelong association with modern dance: dance accompanist at
UCLA. He produced music for choreographies and at one point taught a course on "Musical Accompaniments for Rhythmic Expression" at UCLA, with his aunt Phoebe. It was during that time that Cage first started experimenting with unorthodox instruments, such as household items, metal sheets, and so on. This was inspired by
Oskar Fischinger, who told Cage that "everything in the world has a spirit that can be released through its sound." Although Cage did not share the idea of spirits, these words inspired him to begin exploring the sounds produced by hitting various non-musical objects.
In 1938, with help from a fellow Cowell student Lou Harrison, Cage became a faculty member at Mills College, teaching the same program as at UCLA, and collaborating with choreographer Marian van Tuyl. Several famous dance groups were present, and Cage's interest in modern dance grew further.
Like his personal life, Cage's artistic life went through a crisis in mid-1940s. The composer was experiencing a growing disillusionment with the idea of music as means of communication: the public rarely accepted his work, and Cage himself, too, had trouble understanding the music of his colleagues. In early 1946 Cage agreed to tutor Gita Sarabhai, an Indian musician who came to the US to study Western music. In return, he asked her to teach him about Indian music and philosophy. Cage also attended, in late 1940s and early 1950s, D. T. Suzuki's lectures on Zen Buddhism, and read the works of Ananda K. Coomaraswamy.
Early in 1946, his former teacher Richard Buhlig arranged for Cage to meet Berlin-born pianist Grete Sultan, who had escaped from Nazi persecution to New York in 1941. They became close, lifelong friends, and Cage later dedicated part of his Music for Piano (Cage) and his monumental piano cycle Etudes Australes to her.
1950s: Discovering chance
''Sonatas and Interludes'' were received well by the public. After a 1949 performance at
Carnegie Hall, New York, Cage received a grant from the
Guggenheim Foundation, which enabled him to make a trip to Europe, where he met composers such as
Olivier Messiaen and
Pierre Boulez. More important, however, was Cage's chance encounter with
Morton Feldman in New York City in early 1950. Both composers attended a New York Philharmonic Orchestra concert, where the orchestra performed
Anton Webern's ''Symphony'', op. 21, followed by a piece by
Sergei Rachmaninoff. Cage felt so overwhelmed by Webern's piece that he left before the Rachmaninoff; and in the lobby, he met Feldman, who was leaving for the same reason. The two composers quickly became friends; some time later Cage, Feldman, Earle Brown, David Tudor and Cage's pupil
Christian Wolff came to be referred to as "the New York school."
In early 1951, Wolff presented Cage with a copy of the ''I Ching''—a Chinese classic text which describes a symbol system used to identify order in chance events. This version of the ''I Ching'' was the first complete English translation and had been published by Wolff's father, Kurt Wolff of Pantheon Books in 1950. The ''I Ching'' is commonly used for divination, but for Cage it became a tool to compose using chance. To compose a piece of music, Cage would come up with questions to ask the ''I Ching''; the book would then be used in much the same way as it is used for divination. For Cage, this meant "imitating nature in its manner of operation": his lifelong interest in sound itself culminated in an approach that yielded works in which sounds were free from the composer's will:
When I hear what we call music, it seems to me that someone is talking. And talking about his feelings, or about his ideas of relationships. But when I hear traffic, the sound of traffic—here on Sixth Avenue, for instance—I don't have the feeling that anyone is talking. I have the feeling that sound is acting. And I love the activity of sound [...] I don't need sound to talk to me.
Although Cage had used chance on a few earlier occasions, most notably in the third movement of ''Concerto for Prepared Piano and Chamber Orchestra'' (1950–51), the ''I Ching'' opened new possibilities in this field for him. The first results of the new approach were ''Imaginary Landscape No. 4'' for 12 radio receivers, and ''Music of Changes'' for piano. The latter work was written for David Tudor, whom Cage met through Feldman—another friendship that lasted until Cage's death. Tudor premiered most of Cage's works until the early 1960s, when he stopped performing on the piano and concentrated on electronic music. The ''I Ching'' became Cage's standard tool for composition: he used it in practically every work composed after 1951.
Despite the fame ''Sonatas and Interludes'' earned him, and the connections he cultivated with American and European composers and musicians, Cage was quite poor. Although he still had an apartment, at 326 Monroe Street (which he occupied since around 1946) his financial situation in 1951 worsened so much that, while working on ''Music of Changes'', he prepared a set of instructions for Tudor as to how to complete the piece in the event of his death. Nevertheless, Cage managed to survive and maintained an active artistic life, giving lectures, performances, etc. In 1952–53 he completed another mammoth project—the ''Williams Mix'', a piece of tape music, which Earle Brown helped to put together. Also in 1952, Cage wrote down the piece that became his most well-known and most controversial creation: ''4′33″''. The score instructs the performer not to play the instrument during the entire duration of the piece—four minutes, thirty-three seconds—and is meant to be perceived as consisting of the sounds of the environment that the listeners hear while it is performed. Cage conceived "a silent piece" years earlier, but was reluctant to write it down; and indeed, the premiere (given by Tudor on August 29, 1952 at Woodstock, New York) caused an uproar in the audience. The reaction to ''4′33″'' was just a part of the larger picture, however: on the whole, it was the adoption of chance procedures that had disastrous consequences for Cage's reputation. The press, which used to react favorably to earlier percussion and prepared piano music, ignored his new works, and many valuable friendships and connections were lost. Pierre Boulez, who used to promote Cage's work in Europe, was opposed to Cage's use of chance, and so were other composers who came to prominence during the 1950s, i.e. Karlheinz Stockhausen and Iannis Xenakis.
From 1953 onwards, Cage was busy composing music for modern dance, particularly Cunningham's dances (Cage's partner adopted chance too, out of fascination for the movement of the human body), as well as developing new methods of using chance, in a series of works he referred to as ''The Ten Thousand Things''. In Summer 1954 he moved out from New York and settled in a cooperative community in Stony Point, New York. The composer's financial situation gradually improved: in late 1954 he and Tudor were able to embark on a European tour. From 1956 to 1961 Cage taught classes in experimental composition at The New School, and during 1956–58 he also worked as an art director of a typography. Among the works completed during the last years of the decade were ''Concert for Piano and Orchestra'' (1957–58), a seminal work in the history of graphic notation, and ''Variations I'' (1958).
1960s: Fame
Cage was affiliated with
Wesleyan University and collaborated with members of its Music Department from the 1950s until his death in 1992. At the University, the philosopher, poet, and professor of classics
Norman O. Brown befriended Cage, an association that proved fruitful to both. In 1960 the composer was appointed a Fellow on the faculty of the Center for Advanced Studies (now the Center for Humanities) in the Liberal Arts and Sciences at Wesleyan, where he started teaching classes in experimental music. In October 1961,
Wesleyan University Press published ''
Silence'', a collection of Cage's lectures and writings on a wide variety of subjects, including the famous ''Lecture on Nothing'' that was composed using a complex time length scheme, much like some of Cage's music. ''Silence'' was Cage's first book. He went on to publish five more. ''Silence'', however, remained his most widely read and influential book. But by mid-1960s Cage was receiving so many commissions and requests for appearances, that he was not able to fulfill them. This was accompanied by a busy touring schedule; Subsequently Cage's compositional output from that decade was scant. As set forth by Cage, happenings were theatrical events that abandon the traditional concept of stage-audience and occur without a sense of definite duration. Instead, they are left to chance. They have a minimal script, with no plot. In fact, a "happening" is so-named because it occurs in the present, attempting to arrest the concept of passing time. Cage believed that theater was the closest route to integrating art and real life. The term "happenings" was coined by
Allan Kaprow, one of his students, who defined it as a genre in the late fifties. Cage met Kaprow while on a mushroom hunt with
George Segal and invited him to join his class. In following these developments Cage was strongly influenced by
Antonin Artaud's seminal treatise ''The Theatre and Its Double'', and the happenings of this period can be viewed as a forerunner to the ensuing
Fluxus movement. In October 1960,
Mary Bauermeister's
Cologne studio hosted a joint concert by Cage and the video artist
Nam June Paik, who in the course of his ''Etude for Piano'' cut off Cage's tie and then washed his co-performer’s hair with shampoo.
In 1967, Cage's ''A Year from Monday'' was first published by Wesleyan University Press. Cage's parents died during the decade: his father in 1964, and his mother in 1969. Cage had their ashes scattered in Ramapo Mountains, near Stony Point, and asked for the same to be done to him after his death.
1969–87: New departures
Cage's work from the sixties features some of his largest and most ambitious, not to mention socially utopian pieces, reflecting the mood of the era yet also his absorption of the writings of both
Marshall McLuhan, on the effects of new media, and
R. Buckminster Fuller, on the power of technology to promote social change. ''
HPSCHD'' (1969), a gargantuan and long-running multimedia work made in collaboration with Lejaren Hiller, incorporated the mass superimposition of seven harpsichords playing chance-determined excerpts from the works of Cage, Hiller, and a potted history of canonical classics, with fifty-two tapes of computer-generated sounds, 6,400 slides of designs many supplied by
NASA, and shown from sixty-four slide projectors, with forty motion-picture films. The piece was initially rendered in a five-hour performance at the
University of Illinois in 1969, in which the audience arrived after the piece had begun and left before it ended, wandering freely around the auditorium in the time for which they were there.
However, also in 1969, Cage produced the first fully notated work in years: ''Cheap Imitation'' for piano. The piece is a chance-controlled reworking of Erik Satie's ''Socrate'', and, as both listeners and Cage himself noted, openly sympathetic to its source. Although Cage's affection for Satie's music was well-known, it was highly unusual for him to compose a personal work, one in which the composer ''is'' present. When asked about this apparent contradiction, Cage replied: "Obviously, ''Cheap Imitation'' lies outside of what may seem necessary in my work in general, and that's disturbing. I'm the first to be disturbed by it." Cage's fondness for the piece resulted in a recording—a rare occurrence, since Cage disliked making recordings of his music—made in 1976. Overall, ''Cheap Imitation'' marked a major change in Cage's music: he turned again to writing fully notated works for traditional instruments, and tried out several new approaches, such as improvisation, which he previously discouraged, but was able to use in works from the 1970s, such as ''Child of Tree'' (1975).
''Cheap Imitation'' became the last work Cage performed in public himself. Arthritis had troubled Cage since 1960, and by early 1970s his hands were painfully swollen and rendered him unable to perform. Nevertheless, he still played ''Cheap Imitation'' during the 1970s, before finally having to give up performing. Preparing manuscripts also became difficult: before, published versions of pieces were done in Cage's calligraphic script; now, manuscripts for publication had to be completed by assistants. Matters were complicated further by David Tudor's departure from performing, which happened in early 1970s. Tudor decided to concentrate on composition instead, and so Cage, for the first time in two decades, had to start relying on commissions from other performers, and their respective abilities. Such performers included Grete Sultan, Paul Zukofsky, Margaret Leng Tan, and many others. Aside from music, Cage continued writing books of prose and poetry (mesostics). ''M'' was first published by Wesleyan University Press in 1973. In January 1978 Cage was invited by Kathan Brown of Crown Point Press to engage in printmaking, and Cage would go on to produce series of prints every year until his death; these, together with some late watercolors, constitute the largest portion of his extant visual art. In 1979 Cage's ''Empty Words'' was first published by Wesleyan University Press.
1987–92: Final years and death
In 1987, Cage completed a piece called ''Two'', for flute and piano, dedicated to performers Roberto Fabbriciani and Carlo Neri. The title referred to the number of performers needed; the music consisted of short notated fragments to be played at any tempo within the indicated time constraints. Cage went on to write some forty such pieces, one of the last being ''Eighty'' (1992, premiered in Munich on 28 October 2011), usually employing a variant of the same technique; together, these works are known as ''
Number Pieces''. The process of composition, in many of the later Number Pieces, was simple selection of pitch range and pitches from that range, using chance procedures; ''One
11'' (i.e. the eleventh piece for a single performer), completed in early 1992, was Cage's first and only foray into film.
Another new direction, also taken in 1987, was opera: Cage produced five operas, all sharing the same title ''Europera'', in 1987–91. Europeras I and II require greater forces than III, IV and V, which are on a chamber scale.
Already in the course of the eighties, Cage's health worsened progressively: he suffered not only from arthritis, but also from sciatica and arteriosclerosis. He suffered a stroke that left the movement of his left leg restricted, and, in 1985, broke an arm. During this time, Cage pursued a macrobiotic diet. Nevertheless, ever since arthritis started plaguing him, the composer was aware of his age, and, as biographer David Revill observed, "the fire which he began to incorporate in his visual work in 1985 is not only the fire he has set aside for so long—the fire of passion—but also fire as transitoriness and fragility." On August 11, 1992, while preparing evening tea for himself and Cunningham, Cage suffered another stroke. He was taken to the nearest hospital, where he died on the morning of August 12.
According to his wishes, Cage's body was cremated, and the ashes scattered in the Ramapo Mountains, near Stony Point, New York, the same place where Cage scattered the ashes of his parents, years before. The composer's death occurred only weeks before a celebration of his 80th birthday organized in Frankfurt by the composer Walter Zimmermann and the musicologist Stefan Schaedler was due to take place. However, the event went ahead as planned, including a performance of the ''Concert for Piano and Orchestra'' by David Tudor and Ensemble Modern. Merce Cunningham lived another 17 years, dying of natural causes in July 2009.
Music
Early works, rhythmic structure, and new approaches to harmony
Cage's first completed pieces are currently lost. According to the composer, the earliest works were very short pieces for piano, composed using complex mathematical procedures and lacking in "sensual appeal and expressive power." Cage then started producing pieces by improvising and writing down the results, until
Richard Buhlig stressed to him the importance of structure. Most works from the early 1930s, such as ''
Sonata for Clarinet'' (1933) and ''Composition for 3 Voices'' (1934), are highly
chromatic and betray Cage's interest in
counterpoint. Around the same time, the composer also developed a type of a
tone row technique with 25-note rows. After studies with Schoenberg, who never taught
dodecaphony to his students, Cage developed another tone row technique, in which the row was split into short motives, which would then be repeated and transposed according to a set of rules. This approach was first used in ''Two Pieces for Piano'' (c. 1935), and then, with modifications, in larger works such as ''Metamorphosis'' and ''Five Songs'' (both 1938).
Soon after Cage started writing percussion music and music for modern dance, he started using a technique that placed the rhythmic structure of the piece into the foreground. In ''Imaginary Landscape No. 1'' (1939) there are four large sections of 16, 17, 18, and 19 bars, and each section is divided into four subsections, the first three of which were all 5 bars long. ''First Construction (in Metal)'' (1939) expands on the concept: there are five sections of 4, 3, 2, 3, and 4 units respectively. Each unit contains 16 bars, and is divided the same way: 4 bars, 3 bars, 2 bars, etc. Finally, the musical content of the piece is based on sixteen motives. Such "nested proportions", as Cage called them, became a regular feature of his music throughout the 1940s. The technique was elevated to great complexity in later pieces such as ''Sonatas and Interludes'' for prepared piano (1946–48), in which many proportions used non-integer numbers (1¼, ¾, 1¼, ¾, 1½, and 1½ for ''Sonata I'', for example), or ''A Flower'', a song for voice and closed piano, in which two sets of proportions are used simultaneously.
In late 1940s, Cage started developing further methods of breaking away with traditional harmony. For instance, in ''String Quartet in Four Parts'' (1950) Cage first composed a number of ''gamuts'': chords with fixed instrumentation. The piece progresses from one ''gamut'' to another. In each instance the ''gamut'' was selected only based on whether it contains the note necessary for the melody, and so the rest of the notes do not form any directional harmony.
Chance
Chart system was also used (along with nested proportions) for the large piano work ''
Music of Changes'' (1951), only here material would be selected from the charts by using the ''
I Ching''. All of Cage's music since 1951 was composed using chance procedures, most commonly using the ''I Ching''. For example, works from ''
Music for Piano'' were based on paper imperfections: the imperfections themselves provided pitches, and the ''I Ching'' was used to determine the methods of sound production, or the rhythms, etc. A whole series of works was created by applying chance operations, i.e. the ''I Ching'', to
star charts: ''Atlas Eclipticalis'' (1961–62), and a series of etudes: ''
Etudes Australes'' (1974–75), ''
Freeman Etudes'' (1977–90), and ''
Etudes Boreales'' (1978). Cage's etudes are all extremely difficult to perform, a characteristic dictated by Cage's social and political views: the difficulty would ensure that "a performance would show that the impossible is not impossible"—this being Cage's answer to the notion that solving the world's political and social problems is impossible. Cage described himself as an anarchist, and was influenced by
Henry David Thoreau.
Another series of works applied chance procedures to pre-existing music by other composers: ''Cheap Imitation'' (1969; based on Erik Satie), ''Some of "The Harmony of Maine"'' (1978; based on Belcher), and ''Hymns and Variations'' (1979). In these works, Cage would borrow the rhythmic structure of the originals and fill it with pitches determined through chance procedures, or just replace some of the originals' pitches. Yet another series of works, the so-called ''Number Pieces'', all completed during the last five years of the composer's life, make use of ''time brackets'': the score consists of short fragments with indications of when to start and to end them (e.g. from anywhere between 1′15″ and 1′45″, and to anywhere from 2′00″ to 2′30″).
Cage's method of using the ''I Ching'' was far from simple randomization, however. The procedures varied from composition to composition, and were usually complex. For example, in the case of ''Cheap Imitation'', the exact questions asked to the ''I Ching'' were these:
# Which of the seven modes, if we take as modes the seven scales beginning on white notes and remaining on white notes, which of those am I using?
# Which of the twelve possible chromatic transpositions am I using?
# For this phrase for which this transposition of this mode will apply, which note am I using of the seven to imitate the note that Satie wrote?
In another example of late music by Cage, ''Etudes Australes'', the compositional procedure involved placing a transparent strip on the star chart, identifying the pitches from the chart, transferring them to paper, then asking the ''I Ching'' which of these pitches were to remain single, and which should become parts of aggregates (chords), and the aggregates were selected from a table of some 550 possible aggregates, compiled beforehand.
Finally, some of Cage's works, particularly those completed during the 1960s, feature instructions to the performer, rather than fully notated music. The score of ''Variations I'' (1958) presents the performer with six transparent squares, one with points of various sizes, five with five intersecting lines. The performer combines the squares and uses lines and points as a coordinate system, in which the lines are axes of various characteristics of the sounds, such as lowest frequency, simplest overtone structure, etc. Some of Cage's graphic scores (e.g. ''Concert for Piano and Orchestra'', ''Fontana Mix'' (both 1958)) present the performer with similar difficulties. Still other works from the same period consist just of text instructions. The score of ''0'00"'' (1962; also known as ''4'33" No. 2'') consists of a single sentence: "In a situation provided with maximum amplification, perform a disciplined action." The first performance had Cage write that sentence.
''Musicircus'' (1967) simply invites the performers to assemble and play together. The first ''Musicircus'' featured multiple performers and groups in a large space who were all to commence and stop playing at two particular time periods, with instructions on when to play individually or in groups within these two periods. The result was a mass superimposition of many different musics on top of one another as determined by chance distribution, producing an event with a specifically theatric feel. Many Musicircuses have subsequently been held, and continue to occur even after Cage's death. The English National Opera became the first opera company to hold a Cage Musicircus on 3 March 2012 at the London Colliseum.. The ENO's Musicircus featured artists including Led Zeppelin bassist John Paul Jones and composer Michael Finnissy alongside ENO Music Director Edward Gardner, the ENO Community Choir, ENO Opera Works singers, and a collective of professional and amateur talents performing in the bars and front of house at London's Coliseum Opera House.
This concept of circus was to remain important to Cage throughout his life and featured strongly in such pieces as ''Roaratorio, an Irish circus on Finnegans Wake'' (1979), a many-tiered rendering in sound of both his text ''Writing for the Second Time Through Finnegans Wake'', and traditional musical and field recordings made around Ireland. The piece was based on James Joyce's famous novel, ''Finnegans Wake'', which was one of Cage's favorite books, and one from which he derived texts for several more of his works.
Improvisation
Since chance procedures were used by Cage to eliminate the composer's and the performer's likes and dislikes from music, Cage disliked the concept of improvisation, which is inevitably linked to the performer's preferences. However, in a number of works beginning in the 1970s, he found ways to incorporate improvisation. In ''Child of Tree'' (1975) and ''Branches'' (1976) the performers are asked to use certain species of plants as instruments, for example the
cactus. The structure of the pieces is determined through the chance of their choices, as is the musical output; the performers had no knowledge of the instruments. In ''Inlets'' (1977) the performers play large water-filled
conch shells – by carefully tipping the shell several times, it is possible to achieve a bubble forming inside, which produced sound. Yet, as it is impossible to predict when this would happen, the performers had to continue tipping the shells – as a result the performance was dictated by pure chance.
Visual art, writings, and other activities
Although Cage started painting in his youth, he gave it up in order to concentrate on music instead. His first mature visual project, ''Not Wanting to Say Anything About Marcel'', dates from 1969. The work comprises two
lithographs and a group of what Cage called ''plexigrams'': silk screen printing on
plexiglas panels. The panels and the lithographs all consist of bits and pieces of words in different typefaces, all governed by chance operations.
From 1978 to his death Cage worked at Crown Point Press, producing series of prints every year. The earliest project completed there was the etching ''Score Without Parts'' (1978), created from fully notated instructions, and based on various combinations of drawings by Henry David Thoreau. This was followed, the same year, by ''Seven Day Diary'', which Cage drew with his eyes closed, but which conformed to a strict structure developed using chance operations. Finally, Thoreau's drawings informed the last works produced in 1978, ''Signals''.
Between 1979 and 1982 Cage produced a number of large series of prints: ''Changes and Disappearances'' (1979–80), ''On the Surface'' (1980–82), and ''Déreau'' (1982). These were the last works in which he used engraving. In 1983 he started using various unconventional materials such as cotton batting, foam, etc., and then used stones and fire (''Eninka'', ''Variations'', ''Ryoanji'', etc.) to create his visual works. In 1988–1990 he produced watercolors at the Mountain Lake Workshop. The only film Cage produced was one of the Number Pieces, ''One11'', commissioned by composer and film director Henning Lohner who worked with Cage to produce and direct the 90-minute monochrome film. It was completed only weeks before his death in 1992. ''One11'' consists entirely of images of chance-determined play of electric light. It premiered in Cologne, Germany, on September 19, 1992, accompanied by the live performance of the orchestra piece ''103''.
Throughout his adult life, Cage was also active as lecturer and writer. Some of his lectures were included in several books he published, the first of which was ''Silence: Lectures and Writings'' (1961). ''Silence'' included not only simple lectures, but also texts executed in experimental layouts, and works such as ''Lecture on Nothing'' (1959), which were composed in rhythmic structures. Subsequent books also featured different types of content, from lectures on music to poetry—Cage's mesostics.
Cage was also an avid amateur mycologist: he co-founded the New York Mycological Society with four friends, and his mycology collection is presently housed by the Special Collections department of the McHenry Library at the University of California, Santa Cruz.
Reception and influence
Cage's pre-chance works, particularly pieces from the late 1940s such as ''Sonatas and Interludes'', earned him a considerable measure of critical acclaim: the ''Sonatas'' were performed at
Carnegie Hall in 1949. However, Cage's adoption of chance operations in 1951 cost him a number of friendships and led to numerous criticisms from fellow composers. Adherents of
serialism such as
Pierre Boulez and
Karlheinz Stockhausen dismissed indeterminate music; Boulez, who was once on friendly terms with Cage, criticized him for "adoption of a philosophy tinged with Orientalism that masks a basic weakness in compositional technique." Prominent critics of serialism, such as the Greek composer
Iannis Xenakis, were similarly hostile towards Cage: for Xenakis, the adoption of chance in music was "an abuse of language and [...] an abrogation of a composer's function."
An article by teacher and critic Michael Steinberg, ''Tradition and Responsibility'', criticized avant-garde music in general:
The rise of music that is totally without social commitment also increases the separation between composer and public, and represents still another form of departure from tradition. The cynicism with which this particular departure seems to have been made is perfectly symbolized in John Cage's account of a public lecture he had given: "Later, during the question period, I gave one of six previously prepared answers regardless of the question asked. This was a reflection of my engagement in Zen." While Mr. Cage's famous silent piece [i.e. 4′33″], or his ''Landscapes'' for a dozen radio receivers may be of little interest as music, they are of enormous importance historically as representing the complete abdication of the artist's power.
Cage's aesthetic position was criticized by, among others, prominent writer and critic
Douglas Kahn. In his 1999 book ''Noise, Water, Meat: A History of Sound in the Arts'', Kahn acknowledged the influence Cage had on culture, but noted that "one of the central effects of Cage's battery of silencing techniques was a silencing of the social."
While much of Cage's work remains controversial, his influence on countless composers, artists, and writers is undeniable. After Cage introduced chance, Boulez, Stockhausen, and Xenakis remained critical, yet all adopted chance procedures in some of their works (although in a much more restricted manner); and Stockhausen's piano writing in his later Klavierstücke was influenced by Cage's ''Music of Changes'' and David Tudor. Other composers who adopted chance procedures in their works included Witold Lutosławski, Mauricio Kagel, and many others. Music in which some of the composition and/or performance is left to chance was labelled ''aleatoric music''—a term popularized by Pierre Boulez. Helmut Lachenmann's work was influenced by Cage's work with extended techniques.
Cage's rhythmic structure experiments and his interest in sound influenced an even greater number of composers, starting at first with his close American associates Morton Feldman and Christian Wolff (and other American composers, such as La Monte Young), and then spreading to Europe. For example, almost all composers of the English experimental school acknowledge his influence: Michael Parsons, Christopher Hobbs, John White, Gavin Bryars, who studied under Cage briefly, and even Howard Skempton, a composer seemingly very different from Cage, and one whose work has been described as "the emancipation of consonance." Cage's influence is also evident in the Far East: one of Japan's most prominent classical composers of the 20th century, Tōru Takemitsu, was influenced by his music.
Cage's influence was also acknowledged by rock bands, such as Sonic Youth (who performed some of the Number Pieces) and Stereolab (who named a song after Cage), composer and rock and jazz guitarist Frank Zappa, and various noise music artists and bands: indeed, one writer traced the origin of noise music to ''4′33″''. The development of electronic music was also influenced by Cage: in the mid-1970s Brian Eno's label Obscure Records released works by Cage. Prepared piano, which Cage popularized, is featured heavily on Aphex Twin's 2001 album ''Drukqs''. Cage's work as musicologist helped popularize Erik Satie's music, and his friendship with Abstract expressionist artists such as Robert Rauschenberg helped introduce his ideas into visual art. Cage's ideas also found their way into sound design: for example, Academy Award-winning sound designer Gary Rydstrom cited Cage's work as a major influence.
Osho mentions John Cage as a great musician, one of the greatest of this century.
==Archives==
The archive of the John Cage Trust is held at Bard College in upstate New York..
The John Cage Music Manuscript Collection held by the Music Division of The New York Public Library for the Performing Arts contains most of the composer's musical manuscripts, including sketches, worksheets, realizations, and unfinished works.
The John Cage Papers are held in Special Collections and Archives department of Wesleyan University's Olin Library in Middletown, Connecticut. They contain manuscripts, interviews, fan mail, and ephemera. Other material, including clippings, gallery and exhibition catalogs, a collection of Cage's books and serials, posters, objects, exhibition and literary announcement postcards, and brochures from conferences and other organizations
The John Cage Collection at Northwestern University in Illinois contains the composer's correspondence, ephemera, and the ''Notations'' collection.
Cultural references
Sonic Youth on their ''SYR4'' album perform two realizations of Cage's piece ''Six'' and one of ''Four8''.
"John Cage Is Dead" is a track on Mickey Hart's ''Mystery Box'' album.
''Who Put John Cage on the Guestlist?'' is the name of an album by Norwegian electronic research group Hemmelig Tempo.
"Jaune d'Oeuf en Cage" ("Yolk in a Cage") is a track by David Fenech on his first album ''Grand Huit''. It is a joke based on the John Cage / Jaune Cage homophone in French.
In the musical ''Rent'', Cage's name is mentioned during the song "La Vie Bohème" among other artists.
Footnotes
Notes
References
Bernstein, David W., and Hatch, Christopher, eds. 2001. ''Writings through John Cage's Music, Poetry, and Art''. University of Chicago Press. ISBN 0-226-04407-6
Boulez, Pierre, and Cage, John. 1995. ''The Boulez-Cage Correspondence''. Edited by Robert Samuels and Jean-Jacques Nattiez, translated by Robert Samuels. Cambridge University Press. ISBN 0-521-48558-4
Bredow, Moritz von. 2012. "Rebellische Pianistin. Das Leben der Grete Sultan zwischen Berlin und New York." (Biography). Schott Music, Mainz, Germany. ISBN 978-3-7957-0800-9
Brown, Kathan. 2001. ''John Cage Visual Art: To Sober and Quiet the Mind''. Crown Point Press. ISBN 1-891300-16-4, ISBN 978-1-891300-16-5
Cage, John. 1973. ''Silence: Lectures and Writings'', Wesleyan University Press Paperback (first edition 1961). ISBN 0-8195-6028-6
Eldred, Michael 1995/2006 Hölderlin and John Cage'' www.arte-fact.org
Eldred, Michael 2010 Quivering of Propriation: A Parallel Way to Music'', Section II.3 New Music is the Other Music (Cage) www.arte-fact.org
Fetterman, William. 1996. ''John Cage's Theatre Pieces: Notations and Performances''. Routledge. ISBN 3-7186-5643-4
Haskins, Rob. 2004. ''"An Anarchic Society of Sounds": The Number Pieces of John Cage''. PhD dissertation, Musicology, Eastman School of Music, University of Rochester.
Kostelanetz, Richard. 2003. ''Conversing with John Cage'', Routledge. ISBN 0-415-93792-2
Nicholls, David (ed.). 2002. ''The Cambridge Companion to John Cage''. Cambridge University Press, 2002. ISBN 0-521-78968-0
Nicholls, David. 2007. ''John Cage''. University of Illinois Press. ISBN 0-252-03215-2
Patterson, David W. (ed.). ''John Cage: Music, Philosophy, and Intention, 1933–1950''. Routledge, 2002. ISBN 0-8153-2995-4
Perloff, Marjorie, and Junkerman, Charles. 1994. ''John Cage: Composed in America''. University of Chicago Press, 1994. ISBN 0-226-66057-5
Pritchett, James. 1993. ''The Music of John Cage''. Cambridge University Press. ISBN 0-521-56544-8
Revill, David. 1993. ''The Roaring Silence: John Cage – a Life''. Arcade Publishing. ISBN 1-55970-220-6, ISBN 978-1-55970-220-1
Taruskin, Richard. 2005. ''Oxford History of Western Music, The''. Vol. 5. Oxford: Oxford UP, Inc. ''Indeterminacy'' pp. 55–101.
External links
General information and catalogues
Official Website
John Cage Database, includes a complete catalogue of Cage's music with details on individual compositions, as well as a discography, a bibliography and a list of forthcoming performances of Cage's work.
A John Cage Compendium, website by Cage scholar Paul van Emmerik, in collaboration with performer Herbert Henck and András Wilheim. Includes exhaustive catalogues and bibliography, chronology of Cage's life, etc.
Larry Solomon's John Cage Pages, a complete catalogue of Cage's music and a filmography, as well as other materials.
James Pritchett: Writings, articles on Cage's music in HTML and PDF form by Cage scholar James Pritchett.
Edition Peters: John Cage Biography and Works, Cage's principal publisher since 1961.
Guide to the John Cage Mycology Collection
Silence/Stories: related texts and poems by, among others, Lowell Cross, AP Crumlish, Karlheinz Essl, Raymond Federman, August Highland, George Koehler, Richard Kostelanetz, Ian S. Macdonald, Beat Streuli, Dan Waber, Sigi Waters and John Whiting
A Project by John Cage called ORGAN2/ASLSP is the longest concert ever created.
Artist Biography and a list of video works by and about John Cage at Electronic Arts Intermix eai.org.
Link collections
John Cage Online
Specific topics
Kasper, Ulrike. "Sounds Visions, The Work of Jacques Pourcher, Perspectives on John Cage", essay on the exhibition "John Cage and Jacques Pourcher, Works on Paper", Virginia Tech, Blacksburg, USA.
The Music of Chance, article from the UK ''Guardian'' newspaper, quotes from various people who knew Cage.
ORGAN2/ASLSP: As Slow as Possible – John-Cage-Orgelprojekt Halberstadt, Web site about a current ongoing performance of As Slow As Possible, which began in 2001 and is scheduled to have a duration of 639 years
'Silence and Change / Five Hanau Silence': Articles and documents on a project of John Cage, Claus Sterneck and Wolfgang Sterneck in benefit of a squated culture center in Hanau (Germany) in 1991, (English / German).
Listening
In Conversation with Morton Feldman, 1966, Part 1
In Conversation with Morton Feldman, 1966, Part 2
In Conversation with Morton Feldman, 1966, Part 3
In Conversation with Morton Feldman, 1966, Part 4
In Conversation with Morton Feldman, 1966, Part 5
Media
John Cage at UbuWeb: historical, sound, film.
John Cage's etchings at the Crown Point Press website
Art of the States: John Cage, six works by the composer
Indeterminacy, Cage's short stories taken from various publications and accessed in random order.
FontanaMixer: computer program by Karlheinz Essl which generates a realtime version of John Cage's "Fontana Mix" (1958)
Other Minds Archive: John Cage interviewed by Jonathan Cott, streaming audio
Other Minds Archive: John Cage and David Tudor Concert at The San Francisco Museum of Art (January 16, 1965), streaming audio
27, 2002 Suite for Toy Piano (1948) performed by Margaret Leng Tan at the Other Minds Music Festival in 1999 at the Cowell Theater in San Francisco.
1982 performance of ''Speech'' for 5 radios and reel (1955) on YouTube
''Water Walk'' on YouTube from Cage's appearance on the game show ''I've Got a Secret'' in January 1960.
The Anarchy of Silence. John Cage and Experimental Art (2009) a lecture by Julia E. Robinson on occasion of Cage's exhibition at the MACBA, Barcelona
Notes towards a re-reading of the “Roaratorio” the work of John Cage and his special relationship to radio at Ràdio Web MACBA
The Rest isn't Silence... it doesn't exist! Analytical material and recordings going back to the first rehearsal and performance of Imaginary Landscape No 4 in 1951.
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![Diagram of the flooding near Salem in 1996. In the 1940s the Willamette once again flooded its valley. It destroyed five bridges in Lane County in December 1942,[98] caused seven deaths in Portland and forced people in Eugene to evacuate in January 1943,[99][100] caused minor flooding in Corvallis in November 1946,[101] and nearly flooded parts of Salem in December 1948](http://web.archive.org./web/20120607074055/http://cdn6.wn.com/pd/db/18/3dca9614dbf75ca31405445f0db4_medium.jpg "Diagram of the flooding near Salem in 1996. In the 1940s the Willamette once again flooded its valley. It destroyed five bridges in Lane County in December 1942,[98] caused seven deaths in Portland and forced people in Eugene to evacuate in January 1943,[99][100] caused minor flooding in Corvallis in November 1946,[101] and nearly flooded parts of Salem in December 1948")
![Crusader/Ottoman Fortress, the upper part was used as a school from the early 1900s until 1948.[20] Note doorway constructed under Zahir al-Umar.](http://web.archive.org./web/20120607074055/http://cdn8.wn.com/pd/17/d7/6c2fb3268df9a33c382c622f67b7_medium.jpg "Crusader/Ottoman Fortress, the upper part was used as a school from the early 1900s until 1948.[20] Note doorway constructed under Zahir al-Umar.")
