Chapter

As Time Passes

Deborah Campana

in Writings through John Cage's Music, Poetry, and Art

Published by University of Chicago Press

Published in print July 2001 | ISBN: 9780226044071
Published online March 2013 | e-ISBN: 9780226044873 | DOI: http://dx.doi.org/10.7208/chicago/9780226044873.003.0006
As Time Passes

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This chapter elaborates the sequential design on how Cage approached ideas and channeled them through a variety of temporal structures. His Imaginary Landscape No. 1, composed in 1939, is scored for what he called muted piano, sizzle cymbal, and sound-effects recordings. He composed music for dancers and made the acquaintance of others in the arts community during 1940. Cage composed the Solo for Piano for the Concert by selecting events from either Winter Music or Music for Piano and using them exactly as they appear, or by varying them, or, a fourth possibility, by composing a completely new event. One of Cage's last large-scale works, 108, is scored for orchestra and constructed as a series of time brackets or durational ranges Cage was fascinated with the social relationships that arise between a score and the performers' parts that must interpret them.

Keywords: Cage; temporal structures; Imaginary Landscape No. 1; music; dancers; Solo for Piano for the Concert; social relationships

Chapter.  4787 words.  Illustrated.

Subjects: Music Theory and Analysis

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