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David Nicholls (ed.) - The Cambridge Companion to John Cage

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The Cambridge Companion to John Cage
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David Nicholls ed
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Cambridge University Press
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2002
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American composer John Cage (1912-1992) was without doubt one of the most important and influential figures in twentieth-century music. He spent much of his career in pursuit of an unusual goal--giving up control so that sounds can be sounds, as he put it. As well as composing around 300 works, he was also a prolific performer, writer, poet, and visual artist. This Companion celebrates the richness and diversity of Cages achievements and provides readers with a fully rounded portrait of a fascinating figure.

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The Cambridge Companion to John Cage

John Cage (19121992) was without doubt one of the most important and influential figures in twentieth-century music. Pupil of Schoenberg, Henry Cowell, Marcel Duchamp, and Daisetz Teitaro Suzuki among others, he spent much of his career in pursuit of an unusual goal: giving up control so that sounds can be sounds, as he put it.

This book celebrates the richness and diversity of Cages achievements the development of the prepared piano and of the percussion orchestra, the adoption of chance and of indeterminacy, the employment of electronic resources and of graphic notation, and the questioning of the most fundamental tenets of western art music. Besides composing around 300 works, he was also a prolific performer, writer, poet, and visual artist. Written by a team of experts, this Companion discusses Cages background, his work, and its performance and reception, providing in sum a fully rounded portrait of a fascinating figure.

Cambridge Companions to Music

For a list of titles published in the series, please see .

The Cambridge Companion to John Cage

Edited by

David Nicholls

CAMBRIDGE UNIVERSITY PRESS

Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, So Paulo

Cambridge University Press

The Edinburgh Building, Cambridge CB2 2RU, UK

Published in the United States of America by Cambridge University Press, New York

www.cambridge.org

Information on this title: www.cambridge.org/9780521783484

Cambridge University Press 2002

This publication is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press.

First published 2002

A catalogue record for this publication is available from the British Library

Library of Congress Cataloguing in Publication data

The Cambridge companion to John Cage / edited by David Nicholls.

p. cm. (Cambridge companions to music)

Includes bibliographical references (p. ) and index.

ISBN 0 521 78348 8 (hb.) ISBN 0 521 78968 0 (pb.)

1. Cage, John Criticism and interpretation. I. Nicholls, David, 1955 II. Series.

ML410.C24 C36 2002

780.92dc21

[B] 2001052401

ISBN-13 978-0-521-78348-4 hardback

ISBN-10 0-521-78348-8 hardback

ISBN-13 978-0-521-78968-4 paperback

ISBN-10 0-521-78968-0 paperback

Transferred to digital printing 2006

Contents

David Nicholls

Christopher Shultis

David W. Patterson

David W. Bernstein

David W. Patterson

David Nicholls

Kathan Brown

William Brooks

Leta E. Miller

John Holzaepfel

David W. Bernstein

William Brooks

Alastair Williams

Kyle Gann

Illustrations

Contributors

David W. Bernstein is Professor of Music at Mills College and head of the music department. His publications and lectures are on Arnold Schoenbergs tonal theories; the history of music theory; John Cage; and Fluxus. He organized a conference/festival entitled Here Comes Everybody: The Music, Poetry, and Art of John Cage which took place at Mills College in November 1995. He coedited (with Christopher Hatch) and contributed to a book of essays stemming from this event entitled Writings through John Cages Music, Poetry, and Art .

William Brooks presently holds faculty positions at the Universities of Illinois and York (England). He has written extensively on various aspects of American music from eighteenth-century music theatre to experimental music of the present. A composer as well as a scholar, he likes to think that each domain informs the other. Future projects include an episodic overview of American music for the University of Illinois Press and an extended work for spatially distributed forces on the poetry of Emily Dickinson.

Kathan Brown is the founder and director of Crown Point Press, an etching workshop that will celebrate its fortieth anniversary in 2002. The Press invites artists to travel to San Francisco to produce etchings in its studio. Browns memoir, ink, paper, metal, wood: Painters and Sculptors at Crown Point Press , was published in 1996, and the following year the National Gallery of Art, Washington, D.C. and the Fine Arts Museums of San Francisco showed the Presss work and published a catalog. Brown lives and works in San Francisco.

Kyle Gann, a composer, has been new-music critic for the Village Voice since 1986 and Assistant Professor of Music at Bard College since 1997. His books include The Music of Conlon Nancarrow (Cambridge University Press), American Music in the 20th Century , and Its Only As Good As It Sounds: Village Voice Articles on American Music after Minimalism . Gann studied composition with Ben Johnston, Morton Feldman, and Peter Gena. His major works include a one-man microtonal opera Custer and Sitting Bull , a ten-movement suite The Planets , and Transcendental Sonnets for chorus and orchestra. CDs of his music are available on the Lovely Music, New Tone, and Monroe Street labels.

John Holzaepfel received his Ph.D. in historical musicology from the City University of New York, where he wrote his dissertation David Tudor and the Performance of American Experimental Music, 19501959. He is currently preparing a biography of David Tudor.

Leta E. Miller, Professor of Music at the University of California, Santa Cruz, is coauthor, with Fredric Lieberman, of Lou Harrison: Composing a World and editor of Lou Harrison: Selected Keyboard and Chamber Music, 19371994 (MUSA, vol. 8). She has written articles on Harrison, Cage, and Henry Cowell; those on Cage appear in Perspectives on American Music, 19001950, John Cage: Music , Philosophy, and Intention, 193350 , and Musical Quarterly . Miller is also an active flutist who has been featured on over a dozen compact disc recordings.

David Nicholls is Professor of Music at the University of Southampton. Author of American Experimental Music, 18901940 (Cambridge University Press) and numerous articles on topics in American music, he has also acted as contributing editor for the reissue of Henry Cowells New Musical Resources (Cambridge University Press), The Whole World of Music: A Henry Cowell Symposium , and The Cambridge History of American Music (Cambridge University Press). He is editor of the journal American Music , and is currently preparing a monograph on Cage for Illinoiss American Composers series.

David W. Patterson is an Assistant Professor of Musicology at the University of Illinois at Urbana-Champaign. His 1996 dissertation on John Cages aesthetic evolution during the 1940s and 1950s received the Sonneck Society Dissertation Prize, and his work since then continues to focus on the work and thought of Cage and the New York School, appearing in American Music, Perspectives of New Music, repercussions , and other journals. Patterson is the contributing editor of John Cage: Music, Philosophy, and Intention, 19331950 .

Christopher Shultis is Regents Professor of Music at the University of New Mexico. In 199394 he was a Fulbright guest professor in American Studies at the Institut fr Anglistik, RWTH Aachen and in 19992000 at the Anglistisches Seminar, Universitt Heidelberg. Shultis has written a book on John Cage Silencing the Sounded Self: John Cage and the American Experimental Tradition as well as several articles. His Cage in Retrospect: A Review Essay ( Journal of Musicology , 1995) won an ASCAP Deems Taylor Award. Shultis is presently an associate editor for Perspectives of New Music .

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