108-566: Angelin Preljocaj ( French pronunciation: [pʁɛlʒokaʒ] ; born 19 January 1957) is a French dancer and choreographer of contemporary dance . Angelin Preljocaj was born in 1957 in Sucy-en-Brie , France . He is of Albanian descent. His father was born in Vermosh but was escaped from Albania because of the communism while his mother was from Ulcinj.They together went to France where Angelin
216-536: A Guggenheim Fellowship . 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 was Cage's chance encounter with Morton Feldman in New York City in early 1950. Both composers attended a New York Philharmonic concert, where
324-489: A European tour. From 1956 to 1961 Cage taught classes in experimental composition at The New School, and from 1956 to 1958 he also worked as an art director and designer of typography. Among his 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). Cage was affiliated with Wesleyan University and collaborated with members of its music department from
432-403: 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 of six but it remains his most widely read and influential. In the early 1960s Cage began his lifelong association with C.F. Peters Corporation . Walter Hinrichsen,
540-406: A composer. The vow Cage gave, to dedicate his life to music, was apparently still important some 40 years later, when Cage "had no need for it [i.e. writing music]", he continued composing partly because of the promise he gave. 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
648-464: A computer algorithm that calculated numbers in a manner similar to throwing coins for the I Ching . 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
756-458: A contemporary dance piece calling attention to the issues surrounding our ever-increasing dependence on technology. John Cage John Milton Cage Jr. (September 5, 1912 – August 12, 1992) was an American composer and music theorist . 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
864-456: 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
972-489: A dance technique called Taylor technique, which is now taught at modern dance schools like The Ailey School in New York City. Additionally, choreographers like William Forsythe developed techniques that deconstructed classical dance vocabulary and expanded both the technical and conceptual possibilities of contemporary dance. According to the International Encyclopedia of Dance, William Forsythe has established
1080-578: A framework for his conceptual ballets which do not conform to a fixed style but instead integrate elements from various trends in contemporary art and thought. His productions utilize language, song, film, video, sculpture, and electronic sounds, as well as amplified noises generated by the dancers. His choreography incorporates academic dance terminology that imparts a classical quality to all of his works, even his most experimental pieces. William Forsythe has cited Rudolf Laban and his Space Harmony movement as an artistic influence, although his ballet technique
1188-487: A job washing walls at a YWCA (World Young Women's Christian Association) in Brooklyn . 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, and when he mentioned it,
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#17330860525451296-486: 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 (ENO) became
1404-603: A living partly by giving small, private lectures on contemporary art. He got to know various important figures of the Southern California art world, such as Richard Buhlig (who became his first composition teacher) and arts patron Galka Scheyer . By 1933, Cage decided to concentrate on music rather than painting. "The people who heard my music had better things to say about it than the people who looked at my paintings had to say about my paintings", Cage later explained. In 1933 he sent some of his compositions to Henry Cowell;
1512-452: 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
1620-433: A part of these performances refused to participate, citing the impossibility of the requests Cage was making. Days before Europas 1 & 2 were to be premiered, Frankfurt's opera house burned down, setting into motion a series of setbacks leading to a theatrical run met with mixed reactions, including a performance so bad that Cage penned a letter to his musicians criticizing their interpretation of his composition. In
1728-444: 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
1836-507: 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. These include Sonatas and Interludes (1946–48). Cage was born September 5, 1912, at Good Samaritan Hospital in downtown Los Angeles. His father, John Milton Cage Sr. (1886–1964),
1944-466: A potted history of canonical classics, with 52 tapes of computer-generated sounds, 6,400 slides of designs, many supplied by NASA , and shown from sixty-four slide projectors, with 40 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
2052-454: 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 and performances, etc. In 1952–1953 he completed another mammoth project—the Williams Mix , a piece of tape music , which Earle Brown and Morton Feldman helped to put together. Also in 1952, Cage composed
2160-650: A shared interest in percussion and dance and would likely hit it off if introduced to one another. Indeed, the two immediately established a strong bond upon meeting and began a working relationship that continued for several years. Harrison soon helped Cage to secure a faculty member position 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. After several months he left and moved to Seattle , Washington, where he found work as composer and accompanist for choreographer Bonnie Bird at
2268-583: A shift from spontaneous and experimental methods to choreographies grounded in intellectual concepts, such as mathematical structures and repetitive patterns. Contemporary dance sometimes incorporates elements of non-western dance cultures, such as elements from African dance including bent knees, or movements from the Japanese contemporary dance, Butoh . Contemporary dance continues to explore natural movement while embracing diverse influences and unconventional staging. Additionally, contemporary dance also examines
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#17330860525452376-994: A single sentence: "In a situation provided with maximum amplification, perform a disciplined action", and in the first performance the disciplined action was Cage writing that sentence. The score of Variations III (1962) abounds in instructions to the performers, but makes no references to music, musical instruments, or sounds. Many of the Variations and other 1960s pieces were in fact " happenings ", an art form established by Cage and his students in late 1950s. Cage's "Experimental Composition" classes at The New School have become legendary as an American source of Fluxus , an international network of artists, composers, and designers. The majority of his students had little or no background in music. Most were artists. They included Jackson Mac Low , Allan Kaprow , Al Hansen , George Brecht , Ben Patterson , and Dick Higgins , as well as many others Cage invited unofficially. Famous pieces that resulted from
2484-512: 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
2592-629: A structured linguistic system, to the subsequent "performative turn" which critiques representational practices and introduces new themes central to contemporary choreography. These themes include liveness, immediacy, authenticity, identity, and the interplay between presence and absence. As a result, contemporary dance works have become platforms for exploring complex themes, such as the unrepresentable and intangible aspects of human existence, which are difficult to represent using traditional and classical movement forms. Contemporary dance draws on both classical ballet and modern dance, whereas postmodern dance
2700-478: A substantial body of works for performances by various choreographers, including Merce Cunningham, who had moved to New York City several years earlier. Cage and Cunningham eventually became romantically involved, and Cage's marriage, already breaking up during the early 1940s, ended in divorce in 1945. Cunningham remained Cage's partner for the rest of his life. Cage also countered the lack of percussion instruments by writing, on one occasion, for voice and closed piano:
2808-486: 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
2916-480: A way of waking up to the very life we're living". Cage's best known work is the 1952 composition 4′33″ , a piece performed in the absence of deliberate sound; musicians who perform the work do nothing but be present for the duration specified by the title. The content of the composition is intended to be 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
3024-419: Is a genre of dance performance that developed during the mid-twentieth century and has since grown to become one of the dominant genres for formally trained dancers throughout the world, with particularly strong popularity in the U.S. and Europe. Although originally informed by and borrowing from classical , modern , and jazz styles, it has come to incorporate elements from many styles of dance. According to
3132-614: 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 James 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
3240-497: Is assumed that an element (a movement, a sound , a change of light) is in and of itself expressive; what it communicates is in large part determined by the observer themselves." Cunningham formed the Merce Cunningham Dance Company in 1953 and went on to create more than one hundred and fifty works for the company, many of which have been performed internationally by ballet and modern dance companies . Additionally,
3348-484: 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 ,
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3456-460: 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 had another stroke. He was taken to St. Vincent's Hospital in Manhattan, where he died on the morning of August 12. He was 79. According to his wishes, Cage's body was cremated and his ashes scattered in
3564-542: Is significantly shaped by George Balanchine . Through the combination of these influences, William Forsythe has developed a technique of dance characterized by its fragmented nature, which further expounds the subtle differences and interconnectedness of modern, postmodern, and contemporary dance. Reflecting the situation in society at large, contemporary dance is increasingly incorporating overtly technological elements, and, in particular, robots. Robotics engineer/dancer Amy LaViers, for example, has incorporated cell phones in
3672-435: Is usually a choreographer who makes the creative decisions and decides whether the piece is an abstract or a narrative one. Dancers are selected based on their skill and training. The choreography is determined based on its relation to the music or sounds that is danced to. The role of music in contemporary dance is different from in other genres because it can serve as a backdrop to the piece. The choreographer has control over
3780-588: The Cornish College of the Arts . The Cornish School years proved to be a particularly important period in Cage's life. Aside from teaching and working as accompanist, Cage organized a percussion ensemble that toured the West Coast and brought the composer his first fame. His reputation was enhanced further with the invention of the prepared piano—a piano which has had its sound altered by objects placed on, beneath or between
3888-408: The I Ching was far from simple randomization. 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: 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
3996-466: 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,
4104-448: The Museum of Modern Art (MoMA) , Guggenheim withdrew all support, and, even after the ultimately successful MoMA concert, Cage was left homeless, unemployed and penniless. The commissions he hoped for did not happen. He and Xenia spent the summer of 1942 with dancer Jean Erdman and her husband Joseph Campbell . Without the percussion instruments, Cage again turned to prepared piano, producing
4212-753: The Ramapo Mountains , near Stony Point , New York, at the same place where he had scattered the ashes of his parents. The composer's death occurred only weeks before a celebration of his 80th birthday organized in Frankfurt by composer Walter Zimmermann and musicologist Stefan Schaedler. The event went ahead as planned, including a performance of the Concert for Piano and Orchestra by David Tudor and Ensemble Modern . Merce Cunningham died of natural causes in July 2009. Cage's first completed pieces have been lost. According to
4320-496: The University of Chicago . At one point, his reputation as percussion composer landed him a commission from the Columbia Broadcasting System to compose a soundtrack for a radio play by Kenneth Patchen . The result, The City Wears a Slouch Hat , was received well, and Cage deduced that more important commissions would follow. Hoping to find these, he left Chicago for New York City in the spring of 1942. In New York,
4428-584: 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 ,
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4536-560: 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
4644-584: The Cages first stayed with painter Max Ernst and Peggy Guggenheim . Through them, Cage met important artists such as Piet Mondrian , André Breton , Jackson Pollock , and Marcel Duchamp , and many others. Guggenheim was very supportive: the Cages could stay with her and Ernst for any length of time, and she offered to organize a concert of Cage's music at the opening of her gallery, which included paying for transportation of Cage's percussion instruments from Chicago. After she learned that Cage secured another concert, at
4752-537: The New Grove Musical Dictionary, contemporary dance evolved from the foundations of modern and postmodern dance, emphasizing innovation and a break from traditional forms. Due to its technical similarities, it is often perceived to be closely related to modern dance, ballet, and other classical concert dance styles. It is characterized by a blend of styles that often integrate elements of ballet, modern dance, and cultural or social dance forms. In terms of
4860-465: The University of California, Los Angeles. 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
4968-420: The accidentals, clefs, and playing techniques. 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:
5076-524: 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." Although Schoenberg was not impressed with Cage's compositional abilities during these two years, in a later interview, where he initially said that none of his American pupils were interesting, he further stated in reference to Cage: "There
5184-410: The auditorium in the time for which they were there. 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
5292-462: 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
5400-426: The classes include George Brecht's Time Table Music and Al Hansen's Alice Denham in 48 Seconds . 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
5508-425: The composer's part–requiring two full-time assistants and two computers humming day and night." These pieces caused quite a stir in the world of opera at the time with their unconventional methods for staging and sequencing. Many standard pieces of operatic repertoire were used, but not in any preset order; rather, they were selected by chance, meaning no two performances were exactly alike. Many of those who were to be
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#17330860525455616-501: 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
5724-510: 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
5832-415: The concepts of choreography and dramaturgy. The distinction between composition and improvisation, as well as between finished works and ongoing processes, is collapsed in the style of contemporary dance. This dissolution between previously rigid distinctions parallels broader cultural shifts from what scholar Gabrielle Klein calls the "linguistic turn," which treated dance as a form of text and choreography as
5940-749: The costumes and their aesthetic value for the overall composition of the performance and also in regards to how they influence dancers’ movements. Post-structuralist thought has significantly influenced contemporary dance. This influence has led to a deeper exploration of the dancer’s primary medium, the body, which sparked the development and integration of innovative movement techniques. Dance techniques and movement philosophies employed in contemporary dance may include Contemporary ballet , Dance improvisation , Interpretive dance , Lyrical dance , Modern dance styles from United States such as Graham technique , Humphrey-Weidman technique and Horton technique, Modern dance of Europe Bartenieff Fundamentals and
6048-498: The course of the 1980s, Cage's health worsened progressively. He suffered not only from arthritis, but also from sciatica and arteriosclerosis . He had 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
6156-730: The dance technique of Isadora Duncan (also see Free dance ). Contemporary dancers train using contemporary dance techniques as well as non-dance related practices such as Pilates , Yoga , the acting practice of Corporeal mime - Étienne Decroux technique and somatic practices such as Alexander technique , Feldenkrais Method , Sullivan Technique and Franklin-Methode , American contemporary techniques such as José Limón technique and Hawkins technique and Postmodern dance techniques such as Contact improvisation and Cunningham technique, and Release technique . Some well-known choreographers and creators of contemporary dance created schools and techniques of their own. Paul Taylor developed
6264-565: 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
6372-483: The 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
6480-471: The 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
6588-779: The emergence of Tanztheater , German for “dance theater,” pushed contemporary dance beyond traditional performance boundaries. This genre incorporated everyday movements and blurred the distinction between art and daily life. Tanztheater steered contemporary dance away from linear narratives toward fragmented and montage-like choreography, giving rise to a style marked by disjointed "dance pieces" rather than narrative styles. Cunningham's key ideas include- Other pioneers of contemporary dance (the offspring of modern and postmodern) include Ruth St. Denis , Doris Humphrey , Mary Wigman , Pina Bausch , Francois Delsarte , Émile Jaques-Dalcroze , Paul Taylor , Rudolph von Laban , Loie Fuller , José Limón , Marie Rambert , and Trisha Brown . There
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#17330860525456696-427: 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
6804-548: The first " happening " (see discussion below) in the United States, later titled Theatre Piece No. 1 , a multi-layered, multi-media performance event staged the same day as Cage conceived it that "that would greatly influence 1950s and 60s artistic practices". In addition to Cage, the participants included Cunningham and Tudor. From 1953 onward, Cage was busy composing music for modern dance, particularly Cunningham's dances (Cage's partner adopted chance too, out of fascination for
6912-520: The focus of its technique, contemporary dance tends to combine the strong but controlled legwork of ballet with modern that stresses on torso. It also employs contract-release, floor work , fall and recovery, and improvisation characteristics of modern dance. Unpredictable changes in rhythm, speed, and direction are often used, as well. In the 1980s, the approach to contemporary dance became more intentional and academically focused, often described as “interdisciplinary” and “collaborative.” This period marked
7020-435: 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 (Cage's friend and mentee), who in the course of his performance of Etude for Piano cut off Cage's tie and then poured a bottle of shampoo over the heads of Cage and Tudor. In 1967, Cage's book A Year from Monday
7128-505: 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 further
7236-473: 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
7344-477: 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 and decision-making tool, 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
7452-482: The mid-1960s, Cage was receiving so many commissions and requests for appearances that he was unable to fulfill them. This was accompanied by a busy touring schedule; consequently Cage's compositional output from that decade was scant. After the orchestral Atlas Eclipticalis (1961–62), a work based on star charts , which was fully notated, Cage gradually shifted to, in his own words, "music (not composition)." The score of 0′00″ , completed in 1962, originally comprised
7560-530: The most influential 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's 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
7668-610: 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 the summer of 1954 he moved out of New York and settled in Gate Hill Cooperative , a community in Stony Point, New York , where his neighbors included David Tudor, M. C. Richards , Karen Karnes , Stan VanDerBeek , and Sari Dienes . The composer's financial situation gradually improved: in late 1954 he and Tudor were able to embark on
7776-519: 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 composing music. The I Ching became Cage's standard tool for composition: he used it in practically every work composed after 1951, and eventually settled on
7884-471: 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 Number Pieces , as they came to be known, one of the last being Eighty (1992, premiered in Munich on October 28, 2011), usually employing a variant of the same technique. The process of composition, in many of the later Number Pieces,
7992-529: 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 University of Southern California and then at University of California, Los Angeles , as well as privately. The older composer became one of the biggest influences on Cage, who "literally worshipped him", particularly as an example of how to live one's life being
8100-521: The opportunity to hear what other people think," anticipating 4′33″ by more than thirty years. Cage enrolled at Pomona College in Claremont as a theology major in 1928. Often crossing disciplines again, though, he encountered at Pomona the work of artist Marcel Duchamp via Professor José Pijoan, of writer James Joyce via Don Sample, of philosopher Ananda Coomaraswamy and of Henry Cowell . In 1930 he dropped out, having come to believe that "college
8208-586: The orchestra performed Anton Webern's Symphony , 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
8316-488: 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
8424-436: 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
8532-434: The piece that became his best-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,
8640-510: 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: 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,
8748-506: The president of the corporation, offered Cage an exclusive contract and instigated the publication of a catalog of Cage's works, which appeared in 1962. Edition Peters soon published a large number of scores by Cage, and this, together with the publication of Silence , led to much higher prominence for the composer than ever before—one of the positive consequences of this was that in 1965 Betty Freeman set up an annual grant for living expenses for Cage, to be issued from 1965 to his death. By
8856-620: The reply was a "rather vague letter", 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 also advised 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 . He supported himself financially by taking up
8964-462: The resulting piece, The Wonderful Widow of Eighteen Springs (1942), quickly became popular and was performed by the celebrated duo of Cathy Berberian and Luciano Berio . In 1944, he appeared in Maya Deren 's At Land , a 15-minute silent experimental film. Like his personal life, Cage's artistic life went through a crisis in mid-1940s. The composer was experiencing a growing disillusionment with
9072-502: 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
9180-661: 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
9288-461: 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
9396-458: The strings—in 1940. This concept was originally intended for a performance staged in a room too small to include a full percussion ensemble. It was also at the Cornish School that Cage met several people who became lifelong friends, such as painter Mark Tobey and dancer Merce Cunningham . The latter was to become Cage's lifelong romantic partner and artistic collaborator. Cage left Seattle in
9504-661: The summer of 1941 after the painter László Moholy-Nagy invited him to teach at the Chicago School of Design (what later became the IIT Institute of Design ). The composer accepted partly because he hoped to find opportunities in Chicago, that were not available in Seattle, to organize a center for experimental music. These opportunities did not materialize. Cage taught at the Chicago School of Design and worked as accompanist and composer at
9612-695: The works of Coomaraswamy . The first fruits of these studies were works inspired by Indian concepts: Sonatas and Interludes for prepared piano, String Quartet in Four Parts , and others. Cage accepted the goal of music as explained to him by Sarabhai: "to sober and quiet the mind, thus rendering it susceptible to divine influences". 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 and his monumental piano cycle Etudes Australes to her. In 1949, he received
9720-414: 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, on Cowell's recommendation, Cage drove to San Francisco to find employment and to seek out fellow Cowell student and composer Lou Harrison . According to Cowell, the two composers had
9828-548: 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; others revolutionary and against the scientific norms, such as the "electrostatic field theory" of the universe. John Cage 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
9936-461: Was a direct and opposite response to modern dance. Merce Cunningham is considered to be the first choreographer to "develop an independent attitude towards modern dance" and defy the ideas that were established by it. In 1944 Cunningham accompanied his dance with music by John Cage , who observed that Cunningham's dance "no longer relies on linear elements (...) nor does it rely on a movement towards and away from climax. As in abstract painting , it
10044-468: 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, coin tosses and I Ching hexagram numbers were used to determine
10152-514: Was an inventor, and his mother, Lucretia ("Crete") Harvey (1881–1968), worked intermittently as a journalist for the Los Angeles Times . The family's roots were deeply American: in a 1976 interview, Cage mentioned that George Washington was assisted by an ancestor named John Cage in the task of surveying the Colony of Virginia . Cage described his mother as a woman with "a sense of society" who
10260-640: Was born. His choreographic work is steeped in his writing of the history of classical ballet, but is resolutely contemporary. He joined the repertoire of the Ballet de l'Opéra national de Paris in the early 1990s. In 1995, he received the Prix Benois de la Danse as choreographer. In December 1984 he founded the ballet company that in 1996 that was subsequently renamed Ballet Preljocaj when it moved into its current home of residence at Pavillon Noir of Aix-en-Provence . Contemporary dance Contemporary dance
10368-521: Was displeased with the results and left the finished pieces behind when he left. Cage's association with theater 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." Cage returned to the United States in 1931. He went to Santa Monica, California , where he made
10476-407: 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. Cage's work from the sixties features some of his largest and most ambitious, not to mention socially utopian pieces, reflecting the mood of
10584-492: 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. In 1987, Cage completed a piece called Two , for flute and piano, dedicated to performers Roberto Fabbriciani and Carlo Neri. The title referred to
10692-539: Was involved in relationships with Don Sample and with architect Rudolph Schindler 's wife Pauline when he met Xenia, he fell in love immediately. Cage and Kashevaroff were married in the desert at Yuma, Arizona , on June 7, 1935. 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
10800-489: Was not interested enough in architecture to dedicate his life to it. He then took up painting, poetry and music. It was in Europe that, encouraged by his teacher Lazare Lévy , he first heard the music of contemporary composers (such as Igor Stravinsky and Paul Hindemith ) and finally got to know the music of Johann Sebastian Bach , which he had not experienced before. After several months in Paris, Cage's enthusiasm for America
10908-487: Was not thinking of composition. During high school, one of his music teachers was Fannie Charles Dillon . By 1928, though, Cage was convinced that he wanted to be a writer. He graduated that year from Los Angeles High School as a valedictorian , having also in the spring given a prize-winning speech at the Hollywood Bowl proposing a day of quiet for all Americans. By being "hushed and silent," he said, "we should have
11016-399: Was of no use to a writer" after an incident described in his 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
11124-471: Was one ... of course he's not a composer, but he's an inventor—of genius." Cage would later adopt the "inventor" moniker and deny that he was in fact a composer. At some point in 1934–35, during his studies with Schoenberg, Cage was working at his mother's arts and crafts shop, where he met artist Xenia Andreyevna Kashevaroff . She was an Alaskan -born daughter of a Russian priest; her work encompassed fine bookbinding , sculpture and collage . Although Cage
11232-516: Was opposed to Cage's particular approach to the use of chance, and so were other composers who came to prominence during the 1950s, e.g. Karlheinz Stockhausen . During this time Cage was also teaching at the avant-garde Black Mountain College just outside Asheville, North Carolina . Cage taught at the college in the summers of 1948 and 1952 and was in residence the summer of 1953. While at Black Mountain College in 1952, he organized what has been called
11340-484: Was published years later. 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. They were commissioned by the Frankfurt Opera to celebrate his seventy-fifth birthday, and according to music critic Mark Swed , they took "an enormous effort on
11448-549: Was revived after he read Walt Whitman 's Leaves of Grass – he wanted to return immediately, but his parents, with whom he regularly exchanged letters during the entire trip, persuaded him to stay in Europe for a little longer and explore the continent. Cage started traveling, visiting 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 formulas, but Cage
11556-447: 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. Concerto for prepared piano (1950–51) used a system of charts of durations, dynamics, melodies, etc., from which Cage would choose using simple geometric patterns. The last movement of the concerto was a step towards using chance procedures, which Cage adopted soon afterwards. A chart system
11664-416: Was simple selection of pitch range and pitches from that range, using chance procedures; the music has been linked to Cage's anarchic leanings. One (i.e., the eleventh piece for a single performer), completed in early 1992, was Cage's first and only foray into film. Cage conceived his last musical work with Michael Bach Bachtischa : "ONE13" for violoncello with curved bow and three loudspeakers, which
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