John Cage
Real Name:
John Milton Cage, Jr.
Profile:
John Cage (born September 5, 1912, Los Angeles, California, USA - died August 12, 1992, New York City, New York, USA) was an American composer, music theorist, writer, philosopher, and artist. He is best known and lauded as a pioneer of post-war avant-garde composition.
He left Pomona College early to travel in Europe (1930-31), then studied with Henry Cowell in New York (1933-4) and Arnold Schoenberg in Los Angeles (1934): his first published compositions, in a rigorous atonal system of his own, date from this period. In 1937 he moved to Seattle to work as a dance accompanist, and there in 1938 he founded a percussion orchestra; his music now concerned with filling units of time with ostinatos (First Construction in Metal, 1939). He also began to use electronic devices (variable-speed turntables in Imaginary Landscape n.1, 1939) and invented the 'prepared piano', which involves placing a variety of objects between the strings of a grand piano in order to create an effective percussion orchestra under the control of two hands.
He moved to San Francisco in 1939, to Chicago in 1941 and back to New York in 1942, all the time writing music for dance companies (notably for Merce Cunningham with whom he formed a lifelong relationship), nearly always for prepared piano or percussion ensemble. There were also major concert works for the new instrument: A Book of Music (1944) and Three Dances (1945) for two prepared pianos, and the Sonatas and Interludes (1948) for one. During this period Cage became interested in Eastern philosophies, especially in Zen.
Working to remove creative choice from composition, he used coin tosses to determine events (Music of Changes for piano, 1951), wrote for 12 radios (Imaginary Landscape n.4, also 1951) and introduced other indeterminate techniques. His 4'33" (1952) has no composed sound -- only that of the environment in which it is performed; the Concert for Piano and Orchestra (1958) is an encyclopedia of indeterminate notations. Yet other works show his growing interest in the theatre of musical performance (Water Music, 1952, for pianist with a variety of non-standard equipment) and in electronics (Imaginary Landscape n.5 for randomly mixed recordings, 1952; Cartridge Music for small sounds amplified in live performance, 1960), culminating in various large-scale events staged as jamborees of haphazardness (HPSCHD for harpsichords, tapes etc, 1969). The later output is various, including indeterminate works, others fully notated within a very limited range of material, and pieces for natural resources (plants, shells).
Cage appeared widely in Europe and the USA as a lecturer and performer, having an enormous influence on younger musicians and artists.
He was married to Xenia Cage from 1935 until their divorce in 1945.
He left Pomona College early to travel in Europe (1930-31), then studied with Henry Cowell in New York (1933-4) and Arnold Schoenberg in Los Angeles (1934): his first published compositions, in a rigorous atonal system of his own, date from this period. In 1937 he moved to Seattle to work as a dance accompanist, and there in 1938 he founded a percussion orchestra; his music now concerned with filling units of time with ostinatos (First Construction in Metal, 1939). He also began to use electronic devices (variable-speed turntables in Imaginary Landscape n.1, 1939) and invented the 'prepared piano', which involves placing a variety of objects between the strings of a grand piano in order to create an effective percussion orchestra under the control of two hands.
He moved to San Francisco in 1939, to Chicago in 1941 and back to New York in 1942, all the time writing music for dance companies (notably for Merce Cunningham with whom he formed a lifelong relationship), nearly always for prepared piano or percussion ensemble. There were also major concert works for the new instrument: A Book of Music (1944) and Three Dances (1945) for two prepared pianos, and the Sonatas and Interludes (1948) for one. During this period Cage became interested in Eastern philosophies, especially in Zen.
Working to remove creative choice from composition, he used coin tosses to determine events (Music of Changes for piano, 1951), wrote for 12 radios (Imaginary Landscape n.4, also 1951) and introduced other indeterminate techniques. His 4'33" (1952) has no composed sound -- only that of the environment in which it is performed; the Concert for Piano and Orchestra (1958) is an encyclopedia of indeterminate notations. Yet other works show his growing interest in the theatre of musical performance (Water Music, 1952, for pianist with a variety of non-standard equipment) and in electronics (Imaginary Landscape n.5 for randomly mixed recordings, 1952; Cartridge Music for small sounds amplified in live performance, 1960), culminating in various large-scale events staged as jamborees of haphazardness (HPSCHD for harpsichords, tapes etc, 1969). The later output is various, including indeterminate works, others fully notated within a very limited range of material, and pieces for natural resources (plants, shells).
Cage appeared widely in Europe and the USA as a lecturer and performer, having an enormous influence on younger musicians and artists.
He was married to Xenia Cage from 1935 until their divorce in 1945.
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John Cage
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10,974 For SaleImage | Title | Label | Catalog Number | Year | In Your Collection, Wantlist, or Inventory | Actions | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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875 |
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Alan Hovhaness, John Cage | Alan Hovhaness, John Cage - Piano Compositions By Alan Hovhaness And John Cage (2xShellac, 12", Album) | Disc Records | 875 | US | 1947 | Sell This Version | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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877 |
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John Cage, Maro Ajemian, William Masselos | John Cage, Maro Ajemian, William Masselos - Three Dances for Two Pianos (3xShellac, 12", Album) | Disc Records | 877 | US | 1947 | Sell This Version | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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19, 20 |
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John Cage | Sonatas And Interludes For Prepared Piano (Album) | Dial Records (3), Dial Records (3) | 19, 20 | US | 1951 | Sell This Version | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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19 |
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John Cage | Sonatas And Interludes For Prepared Piano Volume One (LP) | Dial Records (3) | 19 | US | 1951 | Sell This Version | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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20 |
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John Cage | Sonatas And Interludes For Prepared Piano Volume Two (LP) | Dial Records (3) | 20 | US | 1951 | Sell This Version | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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ML 4495 |
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Walter Piston / John Cage | Walter Piston / John Cage - Sonatina For Violin And Piano / String Quartet In Four Parts | Columbia Masterworks | ML 4495 | US | 1953 | Sell This Version | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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none |
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John Cage | The 25-Year Retrospective Concert Of The Music Of John Cage (Album) | Not On Label | none | US | 1959 | Sell This Version | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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FT 3704 |
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John Cage, David Tudor | John Cage, David Tudor - Indeterminacy: New Aspect Of Form In Instrumental And Electronic Music (Album) | Folkways Records, Folkways Records | FT 3704 | US | 1959 | Sell This Version | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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58000 |
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John Cage, Henry Cowell, Lou Harrison, Amadeo Roldán, William Russell – Paul Price | John Cage, Henry Cowell, Lou Harrison, Amadeo Roldán, William Russell – Paul Price - Concert Percussion For Orchestra (Album) | Time Records (3) | 58000 | US | 1961 | Sell This Version | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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58003 |
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Luciano Berio - E. E. Cummings / Sylvano Bussotti / John Cage | Luciano Berio - E. E. Cummings / Sylvano Bussotti / John Cage - Circles / Frammento / Aria With Fontana Mix (Album) | Time Records (3), Time Records (3) | 58003 | US | 1962 | Sell This Version | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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S/8009 |
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John Cage • Christian Wolff | John Cage • Christian Wolff - John Cage • Christian Wolff (Album) | Time Records (3) | S/8009 | US | 1963 | Sell This Version | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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3230, SDBR 3230 |
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John Cage Assisted By David Tudor | John Cage Assisted By David Tudor - Variations IV Volume II (Album) | Everest | 3230, SDBR 3230 | US | 1965 | Sell This Version | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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M-133 |
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Max Neuhaus & John Cage | Max Neuhaus & John Cage - Fontana Mix-Feed | Mass Art Inc. | M-133 | US | 1966 | Sell This Version | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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Everest LPBR 6132 |
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John Cage With David Tudor | John Cage With David Tudor - Variations IV (Album) | Everest | Everest LPBR 6132 | US | 1966 | Sell This Version | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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TV 4046 |
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John Cage, Luciano Berio, Ilhan Mimaroglu | John Cage, Luciano Berio, Ilhan Mimaroglu - Electronic Music (Album) | Turnabout | TV 4046 | US | 1966 | Sell This Version | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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FYLP-X102 |
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Yuji Takahashi Plays John Cage | Yuji Takahashi Plays John Cage - Sonatas And Interludes Vol. 2 (LP) | Fylkingen Records | FYLP-X102 | Sweden | 1966 | Sell This Version | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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FYLP-X101 |
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Yuji Takahashi Plays John Cage | Yuji Takahashi Plays John Cage - Sonatas And Interludes Vol. 1 (LP) | Fylkingen Records | FYLP-X101 | Sweden | 1966 | Sell This Version | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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32 16 0156 |
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The Brandeis University Chamber Chorus, Alvin Lucier, Pauline Oliveros, John Cage, Robert Ashley, Toshi Ichiyanagi, Morton Feldman | The Brandeis University Chamber Chorus, Alvin Lucier, Pauline Oliveros, John Cage, Robert Ashley, Toshi Ichiyanagi, Morton Feldman - Extended Voices (LP, Album) | Odyssey | 32 16 0156 | US | 1967 | Sell This Version | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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MS 7051 |
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John Cage / Henri Pousseur / Milton Babbitt | John Cage / Henri Pousseur / Milton Babbitt - New Electronic Music From Leaders Of The Avant-Garde (Album) | Columbia Masterworks | MS 7051 | Canada | 1967 | Sell This Version | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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H-71202 |
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John Cage, Lukas Foss | John Cage, Lukas Foss - Concerto For Prepared Piano & Orchestra / Baroque Variations (Album) | Nonesuch | H-71202 | UK | 1968 | Sell This Version | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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643 543 |
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John Cage / Dieter Schnebel - Ensemble Musica Negativa, Rainer Riehn | John Cage / Dieter Schnebel - Ensemble Musica Negativa, Rainer Riehn - Atlas Eclipticalis • Winter Music • Cartridge Music / Glossolalie | Deutsche Grammophon | 643 543 | Germany | 1969 | Sell This Version | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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M2S 819 |
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John Cage | Music For Keyboard 1935 - 1948 (Album) | Columbia Masterworks | M2S 819 | US | 1970 | Sell This Version | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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H-71237 |
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Bertram Turetzky - John Cage, Pauline Oliveros, Ben Johnston | Bertram Turetzky - John Cage, Pauline Oliveros, Ben Johnston - The Contemporary Contrabass (Album) | Nonesuch | H-71237 | US | 1970 | Sell This Version | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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139 442 |
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Gerd Zacher - Giuseppe Giorgio Englert, Morton Feldman, Gerd Zacher, John Cage | Gerd Zacher - Giuseppe Giorgio Englert, Morton Feldman, Gerd Zacher, John Cage - Gerd Zacher, Orgel (Album) | Deutsche Grammophon | 139 442 | Germany | 1970 | Sell This Version | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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S-34-61225 |
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John Cage - Jeanne Kirstein | John Cage - Jeanne Kirstein - Musique Pour Piano Vol. II (LP) | CBS | S-34-61225 | France | 1970 | Sell This Version |
Reviews Show All 2 Reviews
jaxxalude
November 26, 2003
He may not be exclusively "electronic". But the daring and truly groundbreaking work John Cage started to develop in the 1930's set the stage for many things to come. Including his (in)famous piece "4:33", which consisted in 4 minutes and 33 seconds of... silence! Which goes to show that the silences are as important as the sound itself in music. A true visionary!
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slow_d
October 25, 2005As Cage himself commented, “There is no such thing as silence. Something is always happening that makes a sound.” To the extent that we use Brian Eno's original definition of "ambient" music as low-volume audio to enhance someone's perception of their surroundings, 4'33" could be seen as an ultimately 'ambient' composition.