the ability of music

28). After graduating from Los Angeles High School, coop spent two years studying at Pomona College in Claremont, California. In 1930, he accepted an invitation to study delicate with the esteem teacher Lazare Levy at the Paris Conservatorie in France. However, cage quit after only two lessons because, in his talking to: "I could see that his teaching would lead to technical accomplishment, nevertheless I wasn't really interested in that" (Tomkins, 1965, p. 79). It was during that time that cage in decided to abandon the idea of being a pianist and to dedicate his life to the craft of medicamental composition. He returned to Los Angeles and began prying for a composition teacher while supporting himself by giving door-to-door lectures on modern art (Hines, 1994, p. 89).

cage's first base teacher was Richard Buhlig, a modernist composer whose style was somewhat similar to that of Schoenberg. In 1933, hencoop went to New York to study with Adolph Weiss. After that, he took classes at the New School for Social Research under enthalpy Cowell, a composer known for the use of dissonant "tone clusters" on the piano. In the fall of 1934, Cage returned to Los Angeles and began studying composition, counterpoint and music analysis under Arnold Schoenberg. Schoenberg's theory of atonality had a tender influence on the early compositional efforts of sewer Cage. Thus, some of Cage's piano works of the late 1930s, such as Metamporhosis (1938), utilise Schoenberg's twelve-tone te

Cage, John. (1993). An autobiographical statement. John Cage, source: Previously Uncollected Pieces. Richard Kostelanetz, ed. New York: Limelight Editions, pp. 237-247.

Kostelanetz, Richard. (1991) Inferential art. John Cage: An Anthology. Richard Kostelanetz, ed. New York: Da Capo Press, pp. 105-109.

Cage began using these ideas in the composition of his music. Thus, for example, he began to employ chance operations in an attempt to remove his own thoughts and feelings from the composition process. In this way, Cage sought that state of detachment which is the essence of Zen training. He also began to incorporate silence in his work, in sound out to represent the state of stillness which is the goal of Zen meditation.

Cage wanted to create music in which even he did not know what the outcome would be. Thus, for example, in Imaginary adorn No. 4 (1951), he used twelve radios whose controls were switched at random. As a result of this procedure, the music of the ingredient consisted of some(prenominal) sounds happened to be caught on the radios at the time. other example of enigmatical music can be seen in Music of Changes (1951), a piece for piano which was composed by means of tossing coins. The detail method used by Cage in constitute this work was that of the ancient Chinese book of oracles, the I Ching. Another work of the period which took the idea of chance to an extreme was 4'33" (1952), a piece which was supposedly in three parts, but in which the pianist simply sat in front of the piano without moving for four minutes and thirty-three seconds. The only sounds which comprised this piece were those which occurred accidentally, or as a result of noises from the audience.

Cage, John. (1991). The future of music: Credo. John Cage: An Anthology. Richard Kostelanetz, ed. New York: Da Capo Press, pp. 54-57.

Hines, Thomas S. (1994). thence not yet 'cage': The Los Angeles years, 1912-1938. John Cage: Composed in America
Ordercustompaper.com is a professional essay writing service at which you can buy essays on any topics and disciplines! All custom essays are written by professional writers!