By David W. Bernstein, Christopher Hatch
The essays during this assortment grew out of a pivotal accumulating in which a spectrum of members together with composers, track students, and visible artists, literary critics, poets, and filmmakers convened to envision Cage's outstanding creative legacy. starting with David Bernstein's introductory essay at the reception of Cage's track, the amount addresses themes starting from Cage's reluctance to debate his homosexuality, to his paintings as a performer and musician, and his forward-looking, provocative experimentation with digital and different media. numerous of the essays draw upon formerly unseen sketches and different resource fabrics. additionally integrated are transcripts of full of life panel discussions between a few of Cage's former colleagues. Taken jointly, this assortment is a much-needed contribution to the research of 1 of the main major American artists of the 20 th century.
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Additional resources for Writings through John Cage's Music, Poetry, and Art
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Yet the failure of the marriage came to have an unexpected corollary effect, for it troubled his creative life as well. ” 9 In Perilous Night he seems, paradoxically, to have discovered the impossibility of communication only while working to express some very specific, highly charged emotions, and his subsequent abandonment of an expressive musicality was thus intimately interwoven with the changes in his private life that followed the start of his relationship with Cunningham. If Perilous Night maps the culmination of the dissolution of Cage’s marriage, then its theme of unhappy love is of the heterosexual and marital variety, the result of his return to a fully homosexual existence after his failed attempt at normative heterosexuality.
It was not only a symptom of oppression but also a chosen mode of resistance. This silence was not the passive stratagem of someone unwilling and unable to declare his identity in a hostile culture. On the contrary, in contrast to the codes of the closet, if the point of Cage’s silence was to escape notice, its effect was surely the opposite. III. On Nothing In his infamous “Lecture on Nothing,” delivered at the Artists’ Club in New York City (c. 1949), Cage denigrated the authorial “I” in favor of the spectatorial “you,” emblematizing the too-perfect symmetry between his vaunted musical silences and the less noted silences of his closet.
There are many examples of his compositional intervention in the Music of Changes. Its composition was not an entirely mechanical process; when necessary, Cage shortened, lengthened, and segmented the duration of his sounds according to his own musical judgment. 57 This system ensured a varied contrapuntal texture, from single lines to dense polyphonic events. The nature of the materials used in making the Music of Changes had an obvious effect upon the end product. The duration charts consisted of rhythms built incrementally from as small as a thirty-second of a beat to a whole note and included sixteenths, eighths, and quarters as well as units based on thirds, fifths, and sevenths (ex.