Iddon, Martin, Tudor, David, Cage, John, Iddon, Martin, Tudor, David, and Cage, John
Composers--Correspondence and Pianists--Correspondence
John Cage is best known for his indeterminate music, which leaves a significant level of creative decision-making in the hands of the performer. But how much licence did Cage allow? Martin Iddon's book is the first volume to collect the complete extant correspondence between the composer and pianist David Tudor, one of Cage's most provocative and significant musical collaborators. The book presents their partnership from working together in New York in the early 1950s, through periods on tour in Europe, until the late stages of their work from the 1960s onwards, carried out almost exclusively within the frame of the Merce Cunningham Dance Company. Tackling the question of how much creative flexibility Tudor was granted, Iddon includes detailed examples of the ways in which Tudor realised Cage's work, especially focusing on Music of Changes to Variations II, to show how composer and pianist influenced one another's methods and styles.
Notes. Mar2020, Vol. 76 Issue 3, p406-415. 10p. 1 Black and White Photograph.
MUSEUM exhibits and COLLECTIONS
The John Cage Collection at Northwestern University is an extensive archive of manuscripts, correspondence, and other original materials documenting Cage's music, life, and ideas. Established in the early 1970s through an agreement between Cage and music librarian Don L. Roberts, the collection grew considerably over the following two decades as Cage placed more and more materials at Northwestern until his death in 1992. Since then, the archive has been expanded further with new acquisitions obtained through donation and purchase. As a resource for scholars, musicians, and cultural institutions worldwide, the collection has inspired and informed many books, articles, dissertations, performances, and museum exhibitions. This article traces the origins and growth of the archive over time and highlights acquisitions made in recent years that have expanded the scope and context of the collection. [ABSTRACT FROM AUTHOR]
Contemporary Music Review. Feb-Apr2019, Vol. 38 Issue 1/2, p44-75. 32p.
The influence of John Cage's music and ideas on Spanish experimental music is far-reaching and extends from the 1950s to the present day. In order to analyse this influence, we have divided it into three important periods. In the first one, which began during the Franco dictatorship, we find Juan Hidalgo and the Zaj group that he co-founded with Ramón Barce and Walter Marchetti, in 1964. The second period, from the last breaths of Francoism to the political transition toward democracy, was marked by the arrival of the Merce Cunningham Company with Cage in 1966, and by the Pamplona Encounters in 1972. Carles Santos and Llorenç Barber are prominent during this period. In the third one, with democracy restored, Cage's influence has been more diffuse and involves musicians bridging the gap between Santos and Barber's generation, and younger composers born in the 1970s and 1980s. [ABSTRACT FROM AUTHOR]
TDR: The Drama Review (MIT Press). Winter2019, Vol. 63 Issue 4, p33-56. 19p.
PERFORMANCE, MUSIC, PROBABILITY theory, THEORY of knowledge, and AESTHETICS
In one of his most influential lectures on indeterminacy, "Composition as Process," John Cage compared musical composition to a camera, implying that performance can be thought of as an act of making photos. The idea of composition-as-camera suggests a certain understanding of the materiality of sound. Cage's theory of composition and indeterminate performance responded to the emergence of a new epistemology of information and conveyed a probabilistic agenda: a way of apprehending reality that only became possible after the first computers were up and running. [ABSTRACT FROM AUTHOR]