Index to Daniel Charles/John Cage: For The Birds, Boston/London (Marion Boyars) 1981

Version 1.82 (6/10/2003)
Explanations/Key to index
Usage is free for non-commerical use; © CG 2001-2003
Compiler of index: Clemens Gresser c.gresser@gmx.net

Concepts/terms/other

A
abandoning tonality [D.C.]	73
abstract expressionism	222
abundance	26, 98, 108, 120, 198, 216, 218, 220
aesthetic openness	97
amplification	130-131, 173, 211
anarchy / anarchism
(general)	19, 53, 60, 77, 108 (FN1), 110, 147, 148, 185-187, 203-205
and technology	53, 110
art as life	87, 119
art(s)
general	21, 225
as communication	41, 131
as discipline	80
conceptual art	152-154, 157, 157 (FN1)
dialogue between them / interdisciplinary	162, 164-165, 220
function	80, 81, 119, 131
principles of	90, 131
asceticism	21, 58
attachment / non-attachment	230
audience (listener/spectator)
general	52, 54, 57, 58, 88, 103, 114, 119, 125, 127, 129, 130, 132, 133, 137, 149, 165, 166, 167, 169, 170, 171, 172, 173, 195, 196, 197, 201, 202-203, 221, 229, 234, 235
participation	169-170, 182, 203
authenticity of performance	129
authorship	234-235
B
Black Power	230-231
break away from harmony [D.C.]	71-72
Buddhism	48, 97, 106, 158, 201, 202, 230, 234
bureaucracy	111
C
Cage <-> Duchamp	116
Cage as teacher
general	88, 90
at university	88-89
Cage on his oeuvre	177, 183, 239
Cage's lectures	113-114
Cage's percussion orchestra	162
Cage's writings	55
Capitalism	236
chance
general	18, 90, 93, 94-95, 118, 136, 145, 146, 147-148, 165, 180-181, 214
and life	19, 94, 214
in music	18, 41-42, 45, 46, 142-143, 145, 159, 183, 184, 199, 201, 214
and concept of time	42, 198
irresponsibility (of composer)	42
losing one's will	46, 142, 159, 169
network thereof versus object	79
and mechanical, automatic character thereof [D.C.]	93
and teaching	89
and text	114, 117, 160, 170, 236
typography	114, 117, 236-237
chaos (and nature)	45-46
circus / circus situation / Musicircus¹
general	146, 150, 151, 159, 169, 172, 196-197, {229}
definition	146-147, 148, 196
freeing oneself	172
and visual activities (e.g. film)	193
collaborations	142, 160, 162, 163-165, 194
commissions	178, 179
communication	148, 157, 162, 171, 172, 235
community	61-62, 186, 187, 218
complexity / complex sound situation	50, 128, 143, 170, 181, 195, 220
composer, being a	[24], [25], 104, 116, 159, 170, 182, 196, 197, 203, 230, 232, 233, 234, 235
composing <-> performing	159-160, 170
concert halls / performance space	98, 107, 111, 130-131, 152, 165, 169, 194, 196, 204, 221
conductor, role of	109, 177 (FN1), 179, 181, 182(FN1), 211
Confucianism / Confucian	227 (FN2), 230
contemporary American writers	55
culture	180, 181-181, 196, 203
D
Dada (theater)	165, 222, 222 (FN1)
determined music / [unflexible music]	79, 99, 180
discipline	57-58, 95
dodecaphony/twelve-tone	35, 36, 71, 72, 200
drugs	188-189, 233
E
Earth Art	131
ecology	56, 131, 132, 133, 215, 226, 229, 231, 235
economy	19, 23, 204-205², 209, 216, 229
ego
general	17, 26, 98, 106, 233, 234-235, 237, 238
[avoiding to let it influence things]	26, 55, 56, 57, 142, 183
and discipline	58
versus self	234-235
electronic music
general	98, 99, 126, 137, 160, 222, 232
and notation	160
live electronic music	137, 141
emotions
general	56-57, 146, 148
in Indian theory of art	103-104, 237
rejection thereof	56, 147
[but avoiding them ¹ indifference]	56
employment	205, 209
Europe and America	105, 131
experimental
center of experimental music	75
music	25, 50, 75, 77, 119, 129
musician	49
situation	119, 129
F
failure	117
famous, becoming	125, 235
fatalism	95
feedback / distortions	137, 219
Flower Power / hippies	22
Fluxus (group)	166, 167
form
general	36, 229
form and content	117
Foundation for Contemporary Performing Arts	161
Free Jazz	171
freeing oneself	21
function of audience, composer and performer	(24), 127, 170, 172, 182, 203
furniture music [D.C./Satie]	74
G
Gerber Variable Scale	109
global village	216, 227
government
general	60, 77, 89, 109-110, 147, 148, 149, 196, 205, 216
Cage's broad definition thereof	111
Great Depression	69
H
happenings
general	19, 90, 166-167, 232
invention of	52-53, 164-165
heroic/heroism	56, 103, 146, 237
hierarchy / hierarchical	127-128, 164, 202, 216, 220
Hindu / Hinduism	21, 103, 237
I
I-Ching / Book of Changes	18, 43-44, 57, 77, 80, 94-95, 114, 142, 143, 144, 160, 213, 214, 236
imperfections	44, 146
improvisation / improvising
general	113, 159
and communication	171
indeterminacy/indeterminate	25, 48, 51, 59, 79, 99, 106, 119, 126, 129, 145, 147-148, 170, 171, 177, 178, 181, 183, 198, 199, 201
Indian philosophy / aesthetics	56, 94, 99, 103-105, 182, 203, 227, 237
indifference	95, 152, 203
individual / individualist
general	16, 56, 99, 148, 148, 171-172, 177, 179, 180, 182, 216, 220, 22 (FN1), 229-230, 234, 237
versus social	99, 179, 180, 184 (FN1), 229-230
instant	26
intensity
tranquility	57-58
austerity [D.C.]	58
intention / non-intention	15, 16, 1886-87, 88, 89, 95-96, 116, 130, 136, 146, 167, 215, 222 (FN1), 233, 235
interpenetration	22, 41, 47, 51, 78, 91, 109, 127, 134, 220, 235
inventor/inventing	15³, 69³, 99, 159, 210
J
jazz	21, 172, 173
L
language
general	182, 226, 230, 234
impossibility of	113
as music / musicate language [D.C.]	151
lettrists / lettrism	114-115
life
general	25, 95-96, 112, 116, 187, 216
daily / everyday	24, 90, 164, 189, 201, 204
idea of	91
and chance	94
life as art	87
list of most important books for Cage	225, 225 (FN1)
listening to music	21, 150, 151, 172, 203, 237
logic	79-80, 149, 152, 153, 228
M
macrobiotic diet	233 (FN1)
magic square	43
making objects versus letting everything happen	167
Marxist	19, 229, 230, 235
material	35, 36, 37
meaning, impossibility of	114-115, 172
media	117
mushrooms / Mycological Society	184, 186, 187, 188, 225, 226
music
general	15, 23, 39, 98, 115, 149, 171-172, 177, 219, 22, 229, 231, 234, 237
and conversing/conversation/communication	171-172
and dance	17, 37-38, 41, 51, 162-163, 172
ecological music	215-216, 229
equivalence of music and theater	234
and game	16, 210
"getting rid of the old music/concert halls"	98-99
informal music [Adorno; D.C.]	25
language as music / musicate language [D.C]	151
and life	24, 61, 137, 152, 166, 179, 184 (FN1)
and money	217-218
and �nobility�	201-202
and [teleology]	86, 88
music-objects	148-150, 151
musique concrète	164, 222
Muzak	137
N
nature	16, 23, 26, 53, 56, 61-62, 89, 94, 187, 215, 225, 229, 231-232, 237
Neo-classicism	200
Neo-Dadaism	222, 222 (FN1)
nobility
general	201-203
definition	202
absence of	201-202
noise	24, 39, 73, 76, 77, 90, 95, 96, 107, 117, 193, 210, 230, 231
non-dualistic thinking / non-dualism	77, 199
non-intention / intention	86-87, 88, 89, 90, 152, 169, 232
non-linearity	120, 198, 219
non-obstruction	40, 41, 46, 78, 90, 232
non-ownership	217
non-violence	110, 236, 237
non-western music and influence	75, 200
notation
general	129, 145, 159-160, 170, 171, 184-185
why being ambiguous	59
nothing / nothingness	92-93, 95, 104, 228, 229, 234
O
objectification of processes [D.C.]	136
open music / open form	125, 126, 134,-135, 168, 197-198
order / disorder	90, 108, 130, 196, 197, 198, 211, 213, 215, 232, 236
organization of sound	76
oriental-philosophy / -thought	41, 74-75, 90, 91, 92, 94, 99, 106, 203, 215, 231
P
painting	69-70, 106, 161, 222
pantheism (see also nature)	91
passive resistance	110
percussion music (as genre/idea)	73-75, 177
performance
authenticity of	129
[judging]	58-59, 60, 120, 129, 130, 132, 170-171, 180, 184 (FN1), 202
enlarging its conditions	88
performer	16, 58, 127, 129, 131-132, 133, 160, 165, 168, 169, 179, 180, 183 (FN1), 201-202, 203, 221
piano music (as genre/idea)	75
plural existence/plurality of performers	59
pluralism	228, 234, 235
poetry	116
politics	19, 55, 60-62, 108 (FN1), 108-112, 130, 199 (FN1). 205⁴, 211, 215, 216, 229, 235-236
prepared piano
"invention"	37-38, 162
[as point in oeuvre]	49, 104, 160
process
general	19, 25, 147, 148, 150-151, 169, 182, 236
versus object	57, 78-79, 80, 135-136, 146, 150, 153, 177 (FN1), 221
psychoanalysis	116, 117, 230
purposeful purposelessness	168, 172
purposeless writing	59, 151
Q
quantitative versus qualitative 5	236-237
quiet mind	20
R
radio(s)	21, 168
reactionary tendencies	229, 230
records/recordings	50, 76, 79, 126, 133-134, 169, 195
repetition	48-49, 72, 77, 79-80, 90, 145, 146, 148, 182
repetition/variation duality	45, 48, 75, 78-79, 148, 159
representation / representational	222
responsibility of everyone [D.C.]	96, 172
retrospective concert (25 years activity as a composer; 1958, NY)	125
revolution	235-237, 238
rhythm, definition of	222
Rock and Roll / Rock 6	173
S
Self	234-235
separation of mind and body	107, 226
Serialism	21
silence
general	20, 24, 26, 38-40, 41, 44-45, 80, 90, 93, 99, 104, 107, 115-116, 117, 133, 136, 151, 152, 166, 200, 210
[experiencing non-silence (sound proof room, Harvard)]	115-116, 220
simultaneity
general	46, 166, 198, 199, 215, 238
of dance and music	164
simultaneous performance of pieces/ superimposed pieces	42, 42 (FN1)7, 54 (FN1), 58, 59, 98-99, 118-119, 120 (FN1), 127, 131-132, 134-135, 171-172, 198, 238
social needs	179, 216, 222 (FN1)
society	16, 55, 90, 99, 111-112, 130, 148, 161, 184 (FN1), 196, 218, 226, 229-230, 234
sounds
general	20, 97, 98, 104, 127, 128, 137, 231, 232, 235
accepting all sounds as they are	77, 86, 88, 90, 95, 96, 150, 232
all sounds being musically	25, 61, 74, 193, 194, 232
distribution of	137, 168
environmental sounds	24, {107}, 133, 152, 193, 194, 221
and music-objects	150
seperation of sounds from their environment	107
and silence	20, 93, 115
and space	37, 95, 107, 115, 130-133
being themselves / on their own / letting them be themselves	16, 18, 25, 51, 74, 78, 86, 96, 98, 99, 104, 107, 130, 150, 152, 172, 199, 201, 203, 219, 222, 233, 235
live sounds versus electronic sounds (from studios of 'experimental music)	137
relationships between sounds	76-78, 91, 137-138, 151, 170-171, 199
sound synthesis	143-144
spatial objects	51
spirit of sounds / soul of sounds inside objects	73, 90-91, 138, 220-221
tonal success [D.C.]	59
and words	113
space	15, 17, 51, 130, 131-133, 165, 169, 194, 201
spatialization / spatiality
general	51, 130-133, 137, 221
[how it came about]	51⁸
non-spatialization	51, {107}
spirit of sounds / soul of sounds inside objects	73
static age	215
structure
general	35, 47 ,51, 135
musical	35, 42-43, 71, 73, 135
subjectivity versus objectivity	233, 234, 237
Surrealists	222-223, 222 (FN1)
T
Taoism / Tao	95, 96, 228, 229, 230, 231
tastes / dislikes / [judging music]	18, 104, 120, 171-172, 201-202, 220, 233
technology
general	23, 108, 137, 181-182, 196, 205, 212, 214, 219, 220, 228, 232, 238
amplified versus unamplified	130-131, 173
achieving something which is impossible to perform live	50, 132, 134-135, 195-196, 238
[as solution to problems of humanity]	97, 108-109, 181-182, 238
electro-acoustic music	75
electronics versus discourse	172-173
relationship to	49, 238
first "electronic" work	49
and anarchy	53, 109, 112-113, 173, 205
tape music/recordings	49, 50, 76, 132, 141, 170, 195-196
loudness versus tranquillity	57, 95
use of computers	18, 19, 21, 141-143, 197
teleology / non-teleology	[86], [88], [90], 151, 153
theater / theatricalize
general	50, 52, 55, 158, 165, 166, 169, 181, 195, 209, 234
and life	165, 166
time
general	23, 26, 47-48, 71, 73, 86-87, 88, 95, 109, 128-129, 131, 135, 198, 201, 209, 211, 234, 237
finite temporal object	51, 88
zero time⁹	209
time brackets	166
tonality	35, 99
touring
with Cunningham	127, 157, 164, 167
with Tudor	120 (FN1), 124-125, 126
tranquillity
general	56, 57, 103, 133, 146, 149, 151, 182-183, 185, 237
decibel versus tranquillity [D. C.]	57, 95
U
utilities
general	19, 25, 98, 99, 107-108, 109, 196, 197, 205, 211, 218, 219
definition	60-62, 198
utopia / utopian	26, 109
V
violence	19, 20
visual effects and Cage�s music	24, 193, 194-195
W
West and East	47, 56, 92, 94, 105, 231
Whole Earth Catalogue	218
writing-performing-listing of/to music	59-60, 77, 129, 149, 150, 160, 172
Z
Zen	18, 40, 46, 91, 92, 97, 105, 106-107, 158, 188, 201, 215, 220, 227 (FN2), 227-228, 230, 233, 234

¹ Cage uses these terms more than less as synonyms; even though Musicircus is also the title of a specific performance idea. Back

² Cage means 'money' (see p. 205 (FN1)). Back

³ That this labelling is not completely unproblematic has been pointed out by Michael Hicks, John Cage's studies with Schoenberg, in: American Music, 8/1990 (summer), 125-140; especially p. 125 and 133-135. Back

⁴ Cage means 'power' (see p. 205 (FN1)). Back

⁵ See also abundance. Back

⁶ They seem to be synonymous for Cage. Back

⁷ It seems that 34'46.776" for A Pianist has been omitted, even though on p. 51 there is a hint that it was performed in the same concert ("two pieces for piano"). See also footnote 14. Back
⁸ The two mentioned pieces are 31'57.9864" for a Pianist and 34'46.776" for a Pianist; for more details see Pritchett 1993, p. 100. Back

⁹ Cage acknowledges in a footnote (p. 209, FN1) that this term was first used by Christian Wolff. Back

Names

A
Adorno, Theodor Wiesengrund	25
Ajemian, Maro	177
Anastasi, Bill	157 (FN1)
Antonio, de Emile	125
Artaud, Antonin	52, 123, 165, 166, 188
Ashley, Robert	209, 234
Avaikan, George	125
B
Bach, Johann Sebastian	106, 237
Barron, Louis and Bebe	124
Bauermeister, Mary	167
Beckett, L. C.	232
Beethoven, van Ludwig	21, 23, 98, 136, 143, 184, 214
Behrman, David	52 (FN1), 168
Belfond, Pierre	98
Berberian, Cathy	118, 118, 120, 120 (FN1), 130, 132, 178-179
Bernstein, Leonard	164, 202
Bialey, Harvey	214
Boulez, Pierre	123, 124, 126, 180-181, 184 (FN1), 199
Bradshaw, Dove [sic!]	157 (FN1)
Breton, André	222 (FN1)
Brown, Earle	43, 124, 136
Brown, Norman O.	112, 226, 228, 230
Buddha, The	16, 18, 106
Buhling, Richard
general	70
teaching Cage	69, 70, 71
Bunger, David	60 (FN1)
Burchfield, Ritty	186 (FN1)
Busoni, Ferruccio	143
Bussotti, Sylvano	124
C
Cage, Xenia ¹⁰	217 (FN1)
Casella, Alfredo	225, 225 (FN1)
Char, René	48, 123, 166
Chopin, Frederic	143
Chuange-tze	94, 96, 183, 225 (FN1), 227, 227 (FN2), 228
Chu-Jen, Wnag	230
Conolly, Cyril	228
Coolidge, Clark	55 (FN2)
Coomaraswamy, Ananda K.^10a	104-105, 225 (FN1), 227
Cowell, Henry
general	70-71, 72, 74
influence on Cage	70-71, 75
Critchlow, Keith^10b	213, 214
Cross, Lowell	52 (FN1), 168
Cummings, Edward Estlin	181
Cunningham, Merce¹¹	17, 41, 55, 95, 104,109, 125, 127, 134, 143, 157, 158, 162-165, 166, 167, 172, 178-179, 179 (FN1), 183, 218, 236
D
Debussy, Claude	214
Descarte, René	231
Dickson, Emily	162
Duchamp, Marcel	22, 52 (FN1), 55, 80, 114, 116, 152, 161, 168, 193, 222 (FN1), 233
Duchamp, Teeny	52 (FN1), 161, 168
E
Eckart, Meister	26, 92, 105, 202, 227, 234
Einhorn, Ira	226
Erdman, Jean	162
F
Feldman, Morton	24, 43, 88, 90, 118, 123, 124
Fischinger, Oscar	73, 74-75, 90, 91
Fizdale, Arthur + Gold, Robert	177, 178
Fort, Syvilla	37, 38
Freedman, Hal	99 (FN1)
Frémy, Gérard	41
Fullemann, John	118 (FN1), 181 (FN2)
Fuller, Buckminster	16, 23, 24, 53, 60-61, 93, 97, 99, 108 (FN1), 109, 131, 203, 210-211, 212-213, 214, 215, 218-219, 225, 225 (FN1), 227, 236
G
Gandhi, Mahatma	21, 110
Gaudeamus Foundation	183 (FN1)
Ginsberg, Alan	55
Godman, Nelson	129
Gottschalk, Louis	143
Graham, Martha (+company)	162
Grenier, Jean	87, 116
H
Hansen, Al	20
Heidegger, Martin	150, 202
Henry, Pierre	164, 221
Herrigel, Eugen	231
Higgins, Dick	27, 166-167
Hiller, Lejaren	141, 142, 143
Hoover (O'Donell), Kathleen	85, 86 (FN1)
Houang, Father	94
I
Ichiyanagi, Toshi	126 (FN1), 200
Ives, Charles	16, 51, 131, 237
J
Jagodic, Davorin	59
James, William	18, 78
Jefferson, Thomas	77
Johns, Jasper	55, 125, 222, 222 (FN1)
Johnson, Mimi	186 (FN1)
Joyce, James	118, 181, 225, 226
K
Kagel, Mauricio	98
Kalve, Martin	162
Kaprow, Alan	90, 166-167
Karshan, Donald	152
Kauffman, C.H.	225, 225 (FN1)
Ketoff, Paul	137
King, Martin Luther	110
Knowles, Alison	160
Kostelanetz, Richard	153, 170, 225 (FN1)
Kosugi, Takehisa	162, 178
Kosuth, Joseph	152, 153-154
Kotik, Peter	135
Koussevitsky Foundation	179
L
League of Composers	123
Lucier, Alvin	170, 221
M
Mac Low, Jackson	55 (FN2)
Mallarmé, Stéphane	44-45, 123, 166, 180, 181
Marcuse, Herbert	112, 150, 230
Marietan, Pierre	135
Marioni, Tom	157 (FN1)
Masselos, William	123
Matthews, Max	142, 143
McLuhan, Marshall	23, 53, 89, 117, 161, 166, 181, 211, 212, 220, 227, 228, 230
Mead, Margret	227
Messerli, Douglas	213 (FN1)
Messiaen, Olivier	106, 124, 124 (FN1), 203, 219
Metzger, Heinz-Klaus	39, 109
Meyer, Leonard	16, 88, 219
Milhaud, Darius	185
Mobile Ensemble	183 (FN1)
Mozart, Wolfgang Amadeus	143
Mumma, Gordon	52 (FN1), 118, 162, 209, 217, 219
N
Nameth, Ronald	194
Needham, Joseph	213
Neuhaus, Max	127, 134, 137
New York Philharmonic Orchestra	202*
Nietzsche, Friedrich	47, 105, 201, 233
Nixon, Richard	56
O
Oldenburg, Claes	186
Oliveros, Pauline	172, 173
Olson, Charles	165
Orchestra of The Hague	183 (FN1), 202 (FN1)
Ornstein, Leo	124 (FN1)
P
Paik, June Nam	20, 167-168, 232
Patchen, Kenneth	160
Paulhan, Jean	231
Pesle, Bénédicte	186 (FN1)
Pfeiffer, Franz	225 (FN1)
Picard, Max	18
Picasso, Pablo	158
Pollock, Jackson	159
Pound, Ezra	181
Pousseur, Henri	232, 233
R
Ramakrishna, Sri	41, 87, 225 (FN1), 227
Rauschenberg, Robert	22, 125, 157-158, 222, 222 (FN1)
Reynolds, Roger	209, 234
Richard, Jean	130
Richards, Mary Caroline	165, 166
Richter, Hans	193
Riley, Terry	49, 151-152
Rist, Simone	130, 178-179
Russolo, Luigi	115, 225 (FN1), 227
S
Salabert, Mme.	184
Satie, Eric	23, 24, 39, 54, 57, 59, 118, 120, 144, 153, 177, 179, 183-185, 222, 237
Schaeffer, Pierre	75, 76-78, 164, 230
Schoenberg, Arnold
general	15, 35, 36, 69-75, 74, 75, 78, 134, 143, 145, 157-158, 160, 171
teaching Cage¹²	71-73, 159
Schumann, Robert	133, 143
Schwitters, Kurt	164
Scriabian, Alexander	219
Siang, Kouo	228
Sieou, Hiang	228
Silesius, Angelus	27
Stein, Gertrude	181, 213 (FN1), 225 (FN1), 227
Steinbeck, John	217
Stent, Gunther	213, 214, 219
Stockhausen, Karlheinz	98, 125, 146, 168, 197-198, 199, 222
Stulen, Jan	183 (FN1)
Sultan, Grete	178 (FN1)
Sumsion, Calvin	194, 195
Suzuki, Daisetz Teitaro	18, 40-41, 55, 91, 93, 94, 105, 106, 188, 199, 234
T
Takahasi, Yuji	199-200
Tchaikovsky, Peter Ilyich	133
Teshigahara, Sofu	200
Thomson, Virgil	22, 85-86, 88, 137
Thoreau, Henry David	20, 23, 53-54, 57, 59, 69, 77, 107, 108 (FN1), 110, 112-113, 118, 147, 185-186, 187, 225, 228, 233-234
Tobey, Mark	158
Tomkins, Calvin	200
Tsujimura, Koichi	97
Tudor, David	50, 51, 52 (FN1), 118, 118 (FN1), 123-127, 128-129, 130, 132, 134, 135, 137, 157, 162, 162 (FN1), 165, 166, 168, 178- 180, 195, 200, 219, 220
U
U'llah, Baha	158
V
Varèse, Edgard	73, 74
Vischer, Antoinette	141 (FN1)
W
Wahl, Jean	214
Warhol, Andy	80
Watts, Alan	107-108
Webern, Anton	23, 39
Weiss, Adolph	70
Williams, Paul	62, 187
Wittgenstein, Ludwig	109, 153-154, 185
Wolff, Christian	43, 124, 131, 135, 136, 151-152, 199, 200-201, 209 (FN1)
Wolpe, Stefan	123
Wordsworth, William	20
X
Xenakis, Iannis	17, 79, 147, 199
Y
Yates, Peter	153
Yoshida, Hidekazu	211, 232, 232
Young, La Monte	47, 87, 149-150, 151-152
Z
Zedong, Mao	108 (FN1), 203, 227 (FN2), 231 (FN1), 234 (FN1)
Zukofsky, Paul	178

¹⁰ Richard Kostelanetz mentions her birth name: Xenia Andreyevna Kashevaroff (Richard Kostelanetz, John Cage, New York (Praeger Press) 1970, p. 4). Does anybody know whether she has kept the surname Cage after John and Xenia got divorced? I would be grateful if you could e-mail me about this. Back

^10a In 1945 'Cage encountered the works of Ananda K. Coomaraswamy, the Anglo-Indian curator of the Indian Collection at the Boston Museum of Fine Arts. Coomaraswamy lectured at the Brooklyn Academy of Music and Cage listened to everything he said. Coomaraswamy also wrote a number of books in which he repeatedly suggested the idea the proper function of art to "imitate nature in her manner of operation."'
(Joan Peyser, Boulez: Composer, Conductor, Enigma., New York (Schirmer Books) 1976, p. 59. Back

^10b Cage also mentions this English architect in Richard Kostelanetz, John Cage, New York (Praeger Press) 1970, p. 9-10, when Cage is talking about the fact that order and chaos are not opposed:

'I met in London an architect named Keith Critchlow, who has integrated Oriental philsophy (in terms of the I Ching and the sixty-four hexgrams) with Bucky's structrual principles by constructing a geodesic dome and identifying its units with individual hexamgrams. He has made, in other words, a model if the nonopposition of chaos and order.' [the words in italics are in the original] Back

¹¹ Including Merce Cunningham Company. Back

¹² For a critical assessment of this see Michael Hicks, John Cage's studies with Schoenberg, in: American Music, 8/1990 (summer), 125-140. Back

Cage's works (music)

***, * Circus on **********	181
0'00"	209, 210, 211
26'1.1499" for a String Player	42, 58 *
27'10.554" for a Percussionist	42, 58*
31'57.9864" for a Pianist	42, 51¹³, 58*
33 1/3	169
34'46.776" for a Pianist	51¹⁴, 58*
4'33" / silent piece	153, {(170)}, (209), 210, (229)
45' for a Speaker	42, 58*
A
Aria	178
Atlas Borealis and Ten Thunderclaps¹⁵ [not completed]	118, 141, 173, 211-212, 212 (FN1)
Atlas Eclipticalis	24, 59, 79¹⁶, 135, 143, 146, 202, 211, 212
B
Bacchanale	37, 38, 49
C
Cartridge Music	49-50, 59, 135, 195-196
Cheap Imitation	141 (FN1), 144, 145, 177, 179, 182, 182 (FN2), 183, 183 (FN1), 184, 193
Concert for Piano and Orchestra (1958)	44¹⁷, 45, 46, 48¹⁸, 54(FN1), 54, 90, 109, 118, 125-126, 129, 132, 145, 159, 160, 211
Concerto for Prepared Piano and Chamber Orchestra	41, 43, 104, 146
E
early works	103
Etude Australes	178 (FN1)
F
Fontana Mix	134
Freeman Etudes	178 (FN1)
G
graphic works	109 (FN1)
H
HPSCHD	131, 141-144, 173, 180, 194-195, 197, 198, 235
I
Imaginary Landscape No. 4	168-169
Imaginary Landscapes	160
M
Mesotics re Merce Cunningham	120 (FN1), 126 (FN1), 212 (FN1)
Metamorphosis	36-37, 72
Mureau [Music of Thoreau]	113 (FN2), 120 (FN1), 126 (FN1)
Music for Carillon No. 1	145-146
Music for Carillon No. 4	146
music for Film on Calder�s Mobiles	193
Music for Marcel Duchamp (for film: Dreams That Money Can Buy, Hans Richter)	193-194
Music for Piano	44
Music of Changes	80, 124, 146, 178, 217, 218
Musicircus	51-52, 130, 169, 172, 180, 193, 196-197, 198, 235
N
Newport Mix	169-170, 180
P
percussion music	160
R
Reunion	52, 168, 169
Roaratorio. An Irish Circus on Finnegans Wake	118 (FN1), 181 (FN2)
Rozart Mix	54 (FN1), 59, 118, 130, 132, 137, 170, 221
S
Signals [dance by the MC Dance Company], untitledaccompaniment for¹⁹	127
Sixteen Dances	41, 43, 104
Sonatas and Interludes	41, 104, 177, 200
Song Books	54 (FN1), 54, 58-59, 113, 118-120, 130, 132, 135, 145, 146, 147, 173, 178-179, 184, 185, 226
String Quartet	41, 104
T
Ten Thunderclaps	See Atlas Borealis and Ten Thunderclaps
The City Wears a Slouch Hat, accompaniment of	160, 193, 194
The Perilous Night	38, 60²⁰
The Seasons (ballet)	104
The Wonderful Widow of Eighteen Springs	118
Theater Piece	165
Thirty Pieces for Orchestra	109 (FN1)
Thoreau Mix	113, 120 (FN1)
U
untitled Happening at Black Mountain College	52, 164-166
V
Variations	44
Variations II	128-129, 178
Variations IV	15, 98, 133-134, 211
Variations V	20, 170, 173
Variations VII	221
W
WGBH-TV	193 (FN1)
Williams Mix	44, 62, 124
Winter Music	135, 136

¹³ See footnote 14. Back

¹⁴ The text does not mention the title of the piece, but refers to 'two pieces for piano'; before it is mentioned that these pieces were commissions for Donaueschingen and that they were performed simultaneously. Back

¹⁵ According to Daniel Wolff this is the intended title for the pieces, which are seemingly (if you read For The Birds) two separate pieces. Daniel Wolff, e-mail correspondence with the author, "Daniel Wolf" , Tue, 3 Apr 2001 21:14:31.
The following paragraph from a text by Cage on Marshall McLuhan (1989), published in Richard Kostelanetz (ed.), John Cage, Writer: previously uncollected pieces. New York (Limelight Edition) 1993, p. 227:

'At one of our meetings in the sixties, Marshall McLuhan suggested that I write some music using the ten thunderclaps of Finnegans Wake. They were a history, he said, of technology and they were the subject of a book by his son. I received a typescript of the book from Eric McLuhan and fully intended to make Atlas Borealis with The Ten Thunderclaps. It would have been for orchestra and chorus transformed electronically so that the singing would fill the envelopes of actual thunderclaps, and the playing of the strings those of actual raindrops, falling first on earth, successively on different materials down through history, and finally remaining in the air. Going to the concert would have been like going to a storm. I never started it. At the University of Illinois, where I was invited to work with a computer facility, the composition HPSCHD took two years rather than one.' Back

¹⁶ Also read previous page (78) for Cage's lines on stars. Back

¹⁷ On page 44 it says Concerto. I suspect that this is a misprint for Concert. Back

¹⁸ On page 48 it says Concert for Piano; as I am being unaware of such a piece, I assume that this must be a short reference to Concert for Piano and Orchestra. Back

¹⁹ This accompaniment is strictly speaking no work of John Cage, as it consists of whatever John Cage, David Tudor and Gordon Mumma play. In the programme notes/concerts the title of the accompaniment is given by the "relative time of performance": e.g. 'the second week of April'. Cage acknowledged the cooperation: 'And on the program we change the order of the composers.' (p. 127) Back

²⁰ Cage says that around 1940 a musician contacted him about The Perilous Night; N.B.: this piece is supposed to have been written in 1943-44. Back

Cage's non-musical Works

A
A Year from Monday
general	114, 116-117, 213, 218, 229
Diaries	54
Juilliard Lecture	166
Preface	55, 97, 213, 227
H
How to Improve the World (You Will Only Make Matters Worse)	54
L
Lecture on Indeterminacy	106, 131
Lecture on Nothing	166
N
Not wanting to Say Anything about Marcel	114, 194, 236
Notations [with Alison Knowles]	160-161
S
Silence
general	97, 114, 116, 117, 229
book (history)	85-86, 107, 115
forward	227
reception of	115
[how it was put together]	115
The Future of Music: Credo	75-76²¹
W
Writing Through Finnegans Wake	181 A

²¹ There is evidence by Leta Miller that Credo was not written in 1937 (as mentioned in this interview and elsewhere), but later. See "Cultural Intersections: John Cage in Seattle (1938-40)." John Cage: Music, Philosophy, and Intention, 1933-50. (Garland: forthcoming). Back