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How did john cage challenge definitions of music
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John Cage’s Music and Improvisation
Introduction
Many scholars believe that there are connections between Cage’s music and the practice of improvisation because of the sense of unpredictability, and freedom in his music, and also both of them are related to pre-compositional strategy and liberation of the composition and performance. Consequently, scholars might tend to consider that Cage had close connection with improvisation and had only a one single view of improvisation, actually his idea of improvisation changed over the course of his career.
Cage’s attitude towards improvisation
Cage played an important role of twentieth century music history, and he was the pioneer of indeterminacy music since he applied indeterminate and unpredictable elements of a musical process which are all the elements of improvisation. However, his attitude towards the practice of improvisation was changing throughout his lifetime as Sabine Feisst demonstrates in her article John Cage and Improvisation-An Unresolved
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John Cage and Improvisation-An Unresolved Relationship. Arizona State University.
Auner, Joseph. Chapter Ten “Trajectories of Order and Chance” of Music in the twentieth and twenty-first centuries. W.W. Norton & Company, Inc. 2013. pp.199-208
Levin, Robert. Text and the Volatility of Spontaneous performance. Common Knowledge, Volume 17, Issue 2, spring 2011, Duke University Press. (Article)
Moore, Robin. The Decline of Improvisation in Western Art Music: An Interpretation of Change. Source: International Review of the Aesthetics and Sociology of Music, Vol. 23, No. 1 (Jun. 1992), pp.61-84
Edited by Solis, Gabriel, and Nettl, Bruno. Musical Improvisation: Art, Education, and Society. University of Illinois Press. August 2009.
Piekut, Benjamin. Chapter one “When Orchestra Attacks!” of Experimentalism Otherwise: The New York Avant-Garde and Its Limits. University of California Press.
In his Creating Minds, Howard Gardner states the purpose of his book as an examination of the "...often peculiar intellectual capacities, personality configurations, social arrangements, and creative agendas, struggles, and accomplishments" (6). In this paper I will examine the life and creativity of John Jerome Garcia from the framework and theories provided by Gardner, from the perspective of aptness in the musical intelligence.
Daniel Felsenfeld reveals a positive, impactful significance — one that has completely changed his life — in his literacy narrative “Rebel Music” by drawing upon what his early adolescent years of music were like before his shift into a new taste for music, how this new taste of music precisely, yet strangely appealed to him, and what this new music inspired him to ultimately become. Near the beginning of his narrative, Felsenfeld described his primal time with music in Orange County, Calif. He had developed his musical skills enough to jumpstart a career around music — working in piano bars and in community theater orchestra pits. However, Felsenfeld stated that the music he worked with “... was dull, or at least had a dulling effect on me — it didn’t sparkle, or ask questions,” and that “I [he] took a lot of gigs, but at 17 I was already pretty detached” (pg. 625). Felsenfeld easily
Kenrick, John. Musical Theatre A History. New York: The Continuum International Publishing Group, 2008. Print.
...frican American Musicians as Artists, Critics, and Activists. Berkeley, CA: University of California, 2002. 54-100. EBSCOhost. Web. 8 May 2015.
Zorn, J (1989, Nov.). The changing role of instrumental music. Music Educators Journal. 76(3), 21-24.
Taruskin, R., & Taruskin, R. (2010). Music in the seventeenth and eighteenth centuries. Oxford: Oxford University Press.
Ostlere, Hilary. “Taming The Musical.” Dance Magazine 73.12 (1999): 84. Expanded Academic ASAP. Westfield State College Library, MA. 15 April 2005.
Teachout, Terry. "John Hammond's jazz." Commentary 122.3 (2006): 55+. Academic OneFile. Web. 16 Nov. 2011.
During the 1950s music academies all over America were prominently concerned with a form of composition known as serialism. Serialism in it’s most basic and initial form can be characterized by twelve-tone rows, but is a much broader term that covers “series” that can be devised for other musical aspects such as dynamics and rhythmic duration. The alternative to this cerebral music was indeterminate music, which was being pioneered by John Cage during the 50s. Minimalist music throughout the late 50s and 60s developed largely as a reaction against the complexities of both serialism and indeterminate music.
John Cage is a modern American composer who is probably the most controversial musician to ever live. Born in 1912 in Los Angeles, California, no one, not even Cage himself, thought he would become a composer. But he did have desires to create at a young age. He used these desires to later make some of the most revolutionary music of the century. But how did Cage begin writing music at all? What is so revolutionary about his music?
...al idiosyncrasies perhaps as well as written prose can”(Pici). Morrison took on “new tasks and new risks” but it was worth doing so, as ”the result is a writing style that has a unique mix of the musical, the magical, and the historical.”(www.enotes.com/jazz/)
Salome, Frank. (2205). Jazz and its Impact on European Classical Music. Journal of Popular Culture, 38(4), pg. 732. Retrieved from
Thom, P (1992), For an Audience: A Philosophy of the Performing Arts (Arts and Their Philosophies), Temple University Press
To Conclude, for the third prompt I have chosen to be rid of school and anything to do with it, to change my income to something higher than a few bucks here and there and to keep
...er new wave in the 1880’s, it didn’t reach the United States until the 40’s. The first American avant-garde performance was in 1948 at Black Mountain College in North Carolina. According to writer and art historian and professor, Arnold Aronson: “In the roughly thirty-year period from the mid-1950’s to the mid 1980’s there was an eruption of theatrical activity in the United States that would ultimately reshape every aspect of performance and have significant influences both at home and abroad” (Qtd in DiLorenzo). The modern avant-garde theatre performance emerged when theatre decided to liberate itself from drama. This began with the new dynamic concept of the naturalistic "milieu" and its consequences in the art of stage direction. It matured with the poetic theatre of symbolist suggestiveness and imagination and the work of such visionaries as Appia (Glytzouris).