Misplaced Pages

#729270

151-551: The site of the temple was an estate of the Fujiwara clan in the 11th century. The first temple, the Daiju-in , and the still existing large pond were built in that century by Fujiwara Saneyoshi. In 1450, Hosokawa Katsumoto , another powerful warlord, acquired the land where the temple stood. He built his residence there, and founded a Zen temple, Ryōan-ji. During the Ōnin War between the clans,

302-536: 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

453-569: A random perturbation of the locations of individual rock features destroyed the special characteristics. Centuries after its creation, the influences of the dry elements at Ryōan-ji continue to be reflected and re-examined in garden design—for example, in the Japangarten at the Kunstmuseum Wolfsburg in Germany. While the rock garden is the best-known garden of Ryōan-ji, the temple also has

604-480: A "monopoly" to the offices of sesshō and kampaku , and served in turn. The political power had shifted away from the court nobility in Kyoto to the new warrior class in the countryside. However, Fujiwara remained close advisers, regents and ministers to the emperors for centuries; the family retained political reputation and influence even until the 20th century (such as Fumimaro Konoe and Morihiro Hosokawa , who became

755-489: 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

906-451: A Fujiwara). Indigenous art also flourished under the Fujiwara after centuries of imitating Chinese forms. Vividly colored yamato-e (Japanese style) paintings of court life and stories about temples and shrines became common in the mid and late Heian periods, setting patterns for Japanese art to this day. Decline in food production, growth of the population, and competition for resources among

1057-403: 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,

1208-451: A combination of the two. One stone in the garden has the name of two kawaramono carved into it, Hirokojirō and Kotarō. The conclusive history, though, based on documentary sources, is as follows: Hosokawa Katsumoto (1430–1473), deputy to the shōgun , founded in 1450 the Ryōan-ji temple, but the complex was burnt down during the Ōnin War. His son Masamoto rebuilt the temple at the very end of

1359-406: 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

1510-464: 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

1661-456: 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

SECTION 10

#1732852267730

1812-808: A cursive form of kanji writing and an art form in itself. Hiragana gave written expression to the spoken word and, with it, to the rise in Japan's famous vernacular literature, much of it written by court women who had not been trained in Chinese as had their male counterparts. Three late tenth century and early eleventh century women presented their views of life and romance at the Heian court in Kagerō Nikki ("The Gossamer Years") by "the mother of Michitsuna", Makura no Sōshi ( The Pillow Book ) by Sei Shōnagon , and Genji Monogatari ( Tale of Genji ) by Murasaki Shikibu (herself

1963-563: A de facto return to conditions before the Taika Reform. Within decades of Emperor Daigo's death, the Fujiwara had absolute control over the court. By the year 1000, Fujiwara no Michinaga was able to enthrone and dethrone emperors at will. Little authority was left for traditional officialdom, and government affairs were handled through the Fujiwara family's private administration. The Fujiwara had become what historian George B. Sansom has called "hereditary dictators". The Fujiwara presided over

2114-487: 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,

2265-486: 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

2416-603: 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;

2567-452: 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

2718-407: A model of shape analysis ( medial axis ) in early visual processing. Using this model, they show that the empty space of the garden is implicitly structured, and is aligned with the temple's architecture . According to the researchers, one critical axis of symmetry passes close to the centre of the main hall, which is the traditionally preferred viewing point. In essence, viewing the placement of

2869-433: 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

3020-400: A period of cultural and artistic flowering at the imperial court and among the aristocracy. There was great interest in graceful poetry and vernacular literature. Japanese writing had long depended on Chinese ideograms ( kanji ), but these were now supplemented by kana , two types of phonetic Japanese script: katakana , a mnemonic device using parts of Chinese ideograms; and hiragana ,

3171-444: 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

SECTION 20

#1732852267730

3322-507: 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),

3473-466: 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

3624-454: 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

3775-650: 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

3926-994: 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

4077-512: 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

4228-478: 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:

4379-405: A subtle form of Zen teaching using ironic juxtaposition : while the shape mimics an ancient Chinese coin , the sentiment is the opposite of materialism . Thus, over many centuries, the tsukubai has also served as a humorous visual koan for countless monks residing at the temple, gently reminding them daily of their vow of poverty . Notwithstanding the exquisite kare sansui rock garden on

4530-486: 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

4681-468: A water garden; the Kyoyochi Pond, built in the 12th century as part of the Fujiwara estate. Cherry trees have recently been planted northwest of the pond. Ryōan-ji also has a teahouse and tea garden, dating to the 17th century. Near the teahouse is a famous stone water basin, with water continually flowing for ritual purification. This is the Ryōan-ji tsukubai , which translates as "crouch"; because of

Ryōan-ji - Misplaced Pages Continue

4832-480: 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

4983-404: Is a rectangle of 248 square meters (2,670 square feet), twenty-five meters by ten meters. Placed within it are fifteen stones of different sizes, carefully composed in five groups; one group of five stones, two groups of three, and two groups of two stones. The stones are surrounded by white gravel, which is carefully raked each day by the monks. The only vegetation in the garden is some moss around

5134-614: 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

5285-484: 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 ,

5436-460: 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

5587-588: 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

5738-471: The Hokke managed to establish a hereditary claim to the position of regent , either for an underage emperor ( sesshō ) or for an adult one ( kampaku ). Some prominent Fujiwaras occupied these positions more than once, and for more than one emperor. Lesser members of the Fujiwara were court nobles , provincial governors and vice governors, members of the provincial aristocracy , and samurai . The Fujiwara

5889-408: 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

6040-466: 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,

6191-513: The In no chō and of the rise of the military class throughout the country. Military might rather than civil authority dominated the government. A struggle for succession in the mid-twelfth century gave the Fujiwara an opportunity to regain their former power. Fujiwara no Yorinaga sided with the retired emperor in a violent battle in 1158 against the heir apparent, who was supported by the Taira and Minamoto. In

Ryōan-ji - Misplaced Pages Continue

6342-548: The Kantō region , southwest of modern Tokyo) to defeat the Taira, and with them the child emperor Emperor Antoku they controlled, in the Genpei War (1180–85). After this downfall, the younger branches of the Fujiwara clan turned their focus from politics to the arts, producing literary scholars including Fujiwara no Shunzei and Fujiwara no Teika . Only forty years after Michinaga 's death, his Fujiwara heirs were not able to prevent

6493-448: 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

6644-753: 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

6795-558: The Taika Reform . In 668 Emperor Tenji (reigned 668–671), bestowed the kabane Fujiwara no Ason ( 藤原朝臣 ) on Kamatari. The surname passed to the descendants of Fujiwara no Fuhito (659–720), the second son and heir of Kamatari, who was prominent at the court of several emperors and empresses during the early Nara period . He made his daughter Miyako a concubine of Emperor Monmu . Her son, Prince Obito became Emperor Shōmu . Fuhito succeeded in making another of his daughters, Kōmyōshi ,

6946-496: 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,

7097-584: 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 ,

7248-560: 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

7399-584: 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

7550-462: The Fujiwara by the ninth century had intermarried with the imperial family, and one of their members was the first head of the Emperor's Private Office. While the earliest parts of the Heian period was marked by unusually strong emperors governing themselves (in particular from Emperor Kanmu to Emperor Saga (781–823)), the Fujiwara started to rebuild their influence first under Fujiwara no Fuyutsugu in

7701-543: The Fujiwara, felt threatened with the loss of their lands. Emperor Go-Sanjō also established the In no chō , or Office of the Cloistered Emperor, which was held by a succession of emperors who abdicated to devote themselves to behind-the-scenes governance, or insei ( Cloistered rule ). The In no chō filled the void left by the decline of Fujiwara power. Rather than being banished, the Fujiwara were mostly retained in their old positions of civil dictator and minister of

SECTION 50

#1732852267730

7852-459: The Fujiwara. Family administrations now became public institutions. As the most powerful family, the Fujiwara governed Japan and determined the general affairs of state, such as succession to the throne. Family and state affairs were thoroughly intermixed, a pattern followed among other families, monasteries, and even the imperial family. As the Soga had taken control of the throne in the sixth century,

8003-606: The Hōgen Disturbance ( Hōgen no Ran ) led to the Taira emerging as the most powerful clan in 1156. During the Heiji Disturbance ( Heiji no Ran ) in 1160 the Taira defeated the coalition of Fujiwara and Minamoto forces. This defeat marked the end of the Fujiwara's dominance. During the 13th century, the Fujiwara Hok-ke was split into five regent houses : Konoe , Takatsukasa , Kujō , Nijō and Ichijō . They had

8154-690: The Japanese politics of the Heian period (794–1185) through the monopoly of regent positions, Sesshō and Kampaku . The family's primary strategy for central influence was through the marrying of Fujiwara daughters to the Emperors . Through this, the Fujiwara would gain influence over the next emperor who would, according to family tradition of that time, be raised in the household of his mother's side and owe loyalty to his grandfather. As abdicated emperors took over power by exercising insei ( 院政 , cloistered rule) at

8305-522: The Prime Ministers). As such, they had a certain political power and much influence, as often the rival warriors and later bakufu sought their alliance. Oda Nobunaga and his sister Oichi claimed to have descent from the Taira and Fujiwara clans; regent Toyotomi Hideyoshi and shogun Tokugawa Ieyasu were related by marriage to various families from Fujiwara clan. Empress Shōken , wife of Emperor Meiji ,

8456-512: The Takechi district of Yamato Province. His forebears descended from Ame no Koyane no Mikoto; for generations they had administered the rites for Heaven and Earth, harmonizing the space between men and the gods. Therefore, it was ordered their clan was to be called Ōnakatomi" The clan originated when the founder, Nakatomi no Kamatari (614–669) of the Nakatomi clan , was rewarded by Emperor Tenji with

8607-465: 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

8758-403: The abundance within one's soul, the meaning is simple and clear: "one already has all one needs". Meanwhile, the positioning of the tsukubai , lower than the veranda on which one stands to view it, compels one to bow respectfully (while listening to the endless trickle of replenishing water from the bamboo pipe) to fully appreciate its deeper philosophical significance. The tsukubai also embodies

8909-471: The accession of Emperor Go-Sanjō (reigned 1068–73), the first emperor since Emperor Uda whose mother was not a Fujiwara. The system of government by retired emperor ( daijō tennō ) ( cloistered rule ) beginning from 1087 further weakened the Fujiwara's control over the Imperial Court. The Fujiwara-dominated Heian period approached its end along disturbances of 12th century. The dynastic struggle known as

9060-420: 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:

9211-523: The ancient times and dominated the imperial court until the Meiji Restoration in 1868. They held the title of Ason . The abbreviated form is Tōshi ( 藤氏 ) . The 8th century clan history Tōshi Kaden ( 藤氏家伝 ) states the following at the biography of the clan's patriarch, Fujiwara no Kamatari (614–669): "Kamatari, the Inner Palace Minister who was also called ‘Chūrō , ’ was a man of

SECTION 60

#1732852267730

9362-519: The artistic garden of Ryōan-ji is also open to interpretation or research into possible meanings. Many different theories have been put forward inside and outside Japan about what the garden is supposed to represent, from islands in a stream, a tiger family crossing a river , mountain peaks, to theories about secrets of geometry or the rules of equilibrium of odd numbers. Garden historian Gunter Nitschke wrote: "The garden at Ryōan-ji does not symbolize anything, or more precisely, to avoid any misunderstanding,

9513-524: 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

9664-410: 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

9815-421: The back was buried partly; it has two first names carved in it, probably names of untouchable stone workers, so called kawaramono . There is no evidence of Zen monks having worked on the garden, apart from the raking of the sand. The temple's name is synonymous with the temple's famous Zen garden, the karesansui (dry landscape) rock garden , thought to have been built in the late 15th century. The garden

9966-464: The beginning of the reign of his son Emperor Suzaku , the Fujiwara again re-established their dominance of the court with the leadership of Fujiwara no Tadahira . Nevertheless, the Fujiwara were not demoted by Emperor Daigo but in many ways became stronger during his reign. Central control of Japan had continued to decline, and the Fujiwara, along with other great families and religious foundations, acquired ever larger shōen and greater wealth during

10117-404: The buildings in 1779, and rubble of the burnt buildings was dumped in the garden. Garden writer and specialist Akisato Rito (died c. 1830) redid the garden completely on top of the rubble at the end of the eighteenth century and published a picture of his garden in his Celebrated Gardens and Sights of Kyoto ( Miyako rinsen meisho zue ) of 1799, showing the garden as it looks today. One big stone at

10268-401: The center while being bypassed in decision making. In time, many of the Fujiwara were replaced, mostly by members of the rising Minamoto family. While the Fujiwara fell into disputes among themselves and formed northern and southern factions, the insei system allowed the paternal line of the imperial family to gain influence over the throne. The period from 1086 to 1156 was the age of supremacy of

10419-462: 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

10570-426: 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

10721-425: 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

10872-501: 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

11023-510: 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

11174-498: 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

11325-565: 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

11476-483: 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

11627-471: 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

11778-447: The early tenth century. By the early Heian period, the shōen had obtained legal status, and the large religious establishments sought clear titles in perpetuity, waiver of taxes, and immunity from government inspection of the shōen they held. Those people who worked the land found it advantageous to transfer title to shōen holders in return for a share of the harvest. People and lands were increasingly beyond central control and taxation,

11929-434: The emperor. The family reached the peak of its power under Fujiwara no Michinaga (966–1027). He was the grandfather of three emperors, the father of six empresses or imperial consorts, and the grandfather of seven additional imperial consorts; it is no exaggeration to say that it was Michinaga who ruled Japan during this period, not the titular Emperors. As a result of these unusually strong familial links, Michinaga never took

12080-482: The empress consort of Emperor Shōmu. She was the first empress consort of Japan who was not a daughter of the imperial family itself. Fuhito had four sons; and each of them became the progenitor of a cadet branch of the clan: Among them, the Hokke came to be considered as the leaders of the entire clan. All four brothers died in 737 during a major smallpox epidemic in Japan . During the Heian period of Japanese history,

12231-451: The end of the 11th century, then followed by the rise of the warrior class , the Fujiwara gradually lost its control over mainstream politics. The Northern Fujiwara (Ōshū Fujiwara) ruled the Tōhoku region (northeast Honshū ) of Japan during the 12th century. Beyond the 12th century, they continued to monopolize the titles of Sesshō and Kampaku for much of the time until the system

12382-463: The end, the Fujiwara were destroyed, the old system of government supplanted, and the insei system left powerless as bushi took control of court affairs, marking a turning point in Japanese history. Within a year, the Taira and Minamoto clashed, and a twenty-year period of Taira ascendancy began. The Taira were seduced by court life and ignored problems in the provinces. Finally, Minamoto no Yoritomo (1147–99) rose from his headquarters at Kamakura (in

12533-427: 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

12684-548: 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

12835-436: The first half of the ninth century. Fuyutsugu's son Fujiwara no Yoshifusa was the first person not from the imperial family to become regent for a minor emperor when he gained that position when his grandson was enthroned as Emperor Seiwa in 858. His adopted son, Fujiwara no Mototsune , had himself further appointed kampaku (regent for an adult emperor, a newly invented position). After Mototsune's death Emperor Uda (who

12986-488: The former Princess Kazuko and Prince Mikasa's elder daughter, the former Princess Yasuko , married into Takatsukasa and Konoe families, respectively. Likewise a daughter of the last shōgun married a second cousin of Emperor Shōwa. 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

13137-413: The garden of Ryōan-ji does not symbolize, nor does it have the value of reproducing a natural beauty that one can find in the real or mythical world. I consider it to be an abstract composition of 'natural' objects in space, a composition whose function is to incite meditation." In an article published by the science journal Nature , Gert van Tonder and Michael Lyons analyze the rock garden by generating

13288-411: The government of Japan 794–1160. There is no clear starting point of their dominance. However, their domination of civil administration was lost by the establishment of the first shogunate (i.e., Kamakura shogunate ) under Minamoto no Yoritomo in 1192. Fujiwara princes initially served as highest ministers of the imperial Court ( kampaku ) and regents ( sesshō ) for underage monarchs. The Fujiwara were

13439-406: The great families all led to the gradual decline of Fujiwara power and gave rise to military disturbances in the mid-tenth and eleventh centuries. Members of the Fujiwara, Taira , and Minamoto families – all of whom had descended from the imperial family – attacked one another, claimed control over vast tracts of conquered land, set up rival regimes, and generally broke

13590-435: 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

13741-459: The honorific "Fujiwara" – after the wisteria ( 藤 , fuji ) field on Mount Tōno (in present-day Sakurai City ) where Kamatari and the then-Prince Naka, who he befriended in a game of kemari , and conspired to eliminate the Soga clan  – which evolved as a surname for Kamatari and his descendants. In time, Fujiwara became known as a clan name. The Fujiwara dominated

13892-505: 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

14043-473: 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

14194-477: 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

14345-457: The low height of the basin, the user must bend over to use it, in a sign of reverence and humility. The kanji written on the surface of the stone basin, 五, 隹, 止, 矢, are without significance when read alone. Though the water basin's frame is circular, the opening in the circular face is itself a square (口). If each of the four kanji is read in combination with 口 (the square-shaped radical is pronounced kuchi , meaning "mouth" or "aperture"), which

14496-482: 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

14647-517: The most prominent families supported by the new military class. In the ninth and tenth centuries, much authority was lost to the great families, who disregarded the Chinese-style land and tax systems imposed by the government in Kyoto. Stability came to Heian Japan, but, even though succession was ensured for the Imperial family through heredity, power again concentrated in the hands of one noble family,

14798-610: 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

14949-519: 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

15100-471: 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,

15251-529: 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

15402-521: 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

15553-408: The opposite side of the building, the less-photographed Ryōan-ji tea garden is another cultural treasure of the temple. Fujiwara clan The Fujiwara clan ( 藤原氏 , Fujiwara-shi or Fujiwara- uji ) was a powerful family of imperial regents in Japan, descending from the Nakatomi clan and, as legend held, through them their ancestral god Ame-no-Koyane . The Fujiwara prospered since

15704-586: 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

15855-501: The peace of Japan. The Fujiwara controlled the throne until the reign of Emperor Go-Sanjō (1068–73), the first emperor not born of a Fujiwara mother since the ninth century. Emperor Go-Sanjō, determined to restore imperial control through strong personal rule, implemented reforms to curb Fujiwara influence. He also established an office to compile and validate estate records with the aim of reasserting central control. Many shōen were not properly certified, and large landholders, like

16006-488: 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

16157-436: 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

16308-461: The period after their deaths. These tombs reached their present state as a result of the 19th century restoration of imperial sepulchers ( misasagi ) which were ordered by Emperor Meiji . There is controversy over who built the garden and when. Most sources date it to the second half of the 15th century. According to some sources, it was built by Hosokawa Katsumoto, the creator of the first temple of Ryōan-ji, between 1450 and 1473. Other sources say it

16459-434: 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,

16610-510: 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,

16761-506: 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

16912-424: The proverbial "power behind the throne" for centuries. Apparently they never aspired to supplant the imperial dynasty. Instead, the clan's influence stemmed from its matrimonial alliances with the imperial family. Because consorts of crown princes, younger sons, and emperors were generally Fujiwara women, the male heads of the Fujiwara house were often the father-in-law, brother-in-law, uncle, or maternal grandfather of

17063-620: 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

17214-462: 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

17365-502: 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

17516-487: The same century. It is not clear whether any garden was constructed at that time facing the main hall. First descriptions of a garden, clearly describing one in front of the main hall, date from 1680–1682. It is described as a composition of nine big stones laid out to represent Tiger Cubs Crossing the Water. As the garden has fifteen stones at present, it was clearly different from the garden that we see today. A great fire destroyed

17667-661: 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

17818-461: 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

17969-421: The square opening is meant to represent, then the characters become 吾, 唯, 足, 知. This is read as "ware, tada taru (wo) shiru", which translates literally as "I only sufficiency know" (吾 = ware = I, 唯 = tada = merely, only, 足 = taru = be sufficient, suffice, be enough, be worth, deserve, 知 = shiru = know) or, more poetically, as "I know only satisfaction". Intended to reinforce Buddhist teachings regarding humility and

18120-442: The stones from a sightline along this point brings a shape from nature (a dichotomously branched tree with a mean branch length decreasing monotonically from the trunk to the tertiary level) in relief. The researchers propose that the implicit structure of the garden is designed to appeal to the viewer's unconscious visual sensitivity to axial-symmetry skeletons of stimulus shapes. In support of their findings, they found that imposing

18271-401: The stones. The garden is meant to be viewed from a seated position on the veranda of the hōjō , the residence of the abbot of the monastery. The stones are placed so that the entire composition cannot be seen at once from the veranda. The wall behind the garden is an important element of the garden. It is made of clay, which has been stained by age with subtle brown and orange tones. In 1977,

18422-458: 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

18573-661: 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

18724-430: The temple was destroyed. Hosokawa Katsumoto died in 1473, and in 1488 his son, Hosokawa Masamoto, rebuilt the temple. The temple served as a mausoleum for several emperors. Their tombs are grouped together in what are today known as the "Seven Imperial Tombs" at Ryōan-ji. The burial places of these emperors— Uda , Kazan , Ichijō , Go-Suzaku , Go-Reizei , Go-Sanjō , and Horikawa —would have been comparatively humble in

18875-423: The tile roof of the wall was restored with tree bark to its original appearance. When the garden was rebuilt in 1799, it came up higher than before and a view over the wall to the mountain scenery behind came about. At present this view is blocked by trees. The garden had particular significance for the composer John Cage , who composed a series of works and made visual art works based on it. Like any work of art,

19026-457: The title of Kampaku—he held more than the power that the position would bring, and had no need of the title. The Fujiwara clan is featured prominently in The Pillow Book , by Sei Shōnagon , and the character of Genji is partially based on Michinaga in the eponymous Tale of Genji . The Fujiwara Regency was the main feature of government during most of the Heian era. Kyoto ( Heian-kyō )

19177-695: 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

19328-414: 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

19479-548: 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

19630-618: Was a descendant of the Fujiwara clan. Until the marriage of the Crown Prince Hirohito (Emperor Shōwa) to Princess Nagako of Kuni (posthumously Empress Kōjun ) in January 1924, the principal consorts of emperors and crown princes had often been recruited from one of the Sekke Fujiwara. Imperial princesses were often married to Fujiwara lords – throughout a millennium at least. As recently as Emperor Shōwa's third daughter,

19781-493: Was abolished in the Meiji era . Though their influence declined, the clan remained close advisors to the succeeding Emperors. The Fujiwara clan's political influence was initiated during the Asuka period . Nakatomi no Kamatari, a member of the lower-nobility Nakatomi family led a coup against the Soga in 645 and initiated a series of sweeping government reforms that would be known as

19932-468: 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

20083-514: 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

20234-511: Was built by his son, Hosokawa Masamoto, in or around 1488. Some say that the garden was built by the famous landscape painter and monk, Sōami (died 1525), but this is disputed by other authors. Some sources say the garden was built in the first half of the 16th century, others reckon later, during the Edo period , between 1618 and 1680. There is also controversy over whether the garden was built by monks, or by professional gardeners, called kawaramono , or

20385-521: 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

20536-407: 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

20687-463: Was geopolitically a better seat of government; with good river access to the sea, it could be reached by land routes from the eastern provinces. Just before the move to the Heian-kyō, the Emperor had abolished universal conscription in the eighth century and soon local, private militaries came into being. The Fujiwara and the clans of Taira and Minamoto created later during the ninth century were among

20838-492: 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

20989-539: 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

21140-489: 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

21291-456: Was not the son of a Fujiwara daughter) managed to regain control of much of government. However, after abdicating in favour of his son, Emperor Daigo (897–930), while apparently intending to control government from retirement, Mototsune's son Fujiwara no Tokihira managed to maneuver himself back to very prominent position until his early death in 909. The remaining period of Daigo's reign was again relatively free from Fujiwara dominance, but from

21442-487: 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

21593-399: 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

21744-471: 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

21895-582: Was one of the four great families that dominated Japanese politics during the Heian Period (794 AC–1185 AC), and the most important of them at that time. The others were the Tachibana , the Taira and the Minamoto . The Fujiwara exercised tremendous power, especially during the period of regency governments in the 10th and 11th centuries, having many emperors as practically puppet monarchs . The Fujiwara dominated

22046-626: Was one of the leading figures of the post-war avant-garde . Critics have lauded him as one of 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

22197-516: 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

22348-484: 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

22499-549: 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

22650-447: 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

22801-416: 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

#729270