Begin Again: A Biography of John CageKnopf Doubleday Publishing Group, 19 paź 2010 - 496 John Cage was a man of extraordinary and seemingly limitless talents: musician, inventor, composer, poet. He became a central figure of the avant-garde early in his life and remained at that pinnacle until his death in 1992 at the age of eighty. Now award-winning biographer Kenneth Silverman gives us the first comprehensive life of this remarkable artist. We follow Cage from his Los Angeles childhood—his father was a successful inventor—through his stay in Paris from 1930 to 1931, where immersion in the burgeoning new musical and artistic movements triggered an explosion of creativity in him and, after his return to the States, into his studies with the seminal modern composer Arnold Schoenberg. We see Cage’s early experiments with sound and percussion instruments, and watch as he develops his signature work with prepared piano, radio static, random noise, and silence. We learn of his many friendships over the years with other composers, artists, philosophers, and writers; of his early marriage and several lovers, both female and male; and of his long relationship with choreographer Merce Cunningham, with whom he would collaborate on radically unusual dances that continue to influence the worlds of both music and dance. Drawing on interviews with Cage’s contemporaries and friends and on the enormous archive of his letters and writings, and including photographs, facsimiles of musical scores, and Web links to illustrative sections of his compositions, Silverman gives us a biography of major significance: a revelatory portrait of one of the most important cultural figures of the twentieth century. |
Z wnętrza książki
Wyniki 1 - 5 z 77
Strona 11
... audiences . Cage asked Buhlig if he would be willing to play Schoenberg piano pieces for his lecture audience . Buhlig declined , but they became friendly . Cage gave him a painting he had made , and began taking piano lessons from him ...
... audiences . Cage asked Buhlig if he would be willing to play Schoenberg piano pieces for his lecture audience . Buhlig declined , but they became friendly . Cage gave him a painting he had made , and began taking piano lessons from him ...
Strona 12
... audience , saying it was too difficult for him to perform . So Cage played it himself as a piano piece , " finger by finger , note by note , " he said ; " There was nothing else to do . " According to one listener , the work- shop ...
... audience , saying it was too difficult for him to perform . So Cage played it himself as a piano piece , " finger by finger , note by note , " he said ; " There was nothing else to do . " According to one listener , the work- shop ...
Strona 33
... audience would hear : " Percussion music is like an arrow pointing to the whole unexplored field of sound . It will be thought of in the future as a transition from the limited music of the Nineteenth century to the unlimited freedom of ...
... audience would hear : " Percussion music is like an arrow pointing to the whole unexplored field of sound . It will be thought of in the future as a transition from the limited music of the Nineteenth century to the unlimited freedom of ...
Strona 39
... audience in 250 - seat Lisser Hall heard an excitingly unfamiliar variety of sounds . The concert began with Cowell's Pulse , for such noisemakers as rice bowls , pipe lengths , and brake drums . Cage's Cuban scores provided Rítmicas V ...
... audience in 250 - seat Lisser Hall heard an excitingly unfamiliar variety of sounds . The concert began with Cowell's Pulse , for such noisemakers as rice bowls , pipe lengths , and brake drums . Cage's Cuban scores provided Rítmicas V ...
Strona 42
... audience to choose it for them . As the work they liked best , the audience voted for Harrison's percussion quartet , Simfony # 13 . For Cage this finale to the concert had a bruising aftereffect . He and Harrison recorded Simfony # 13 ...
... audience to choose it for them . As the work they liked best , the audience voted for Harrison's percussion quartet , Simfony # 13 . For Cage this finale to the concert had a bruising aftereffect . He and Harrison recorded Simfony # 13 ...
Spis treści
3 | |
26 | |
51 | |
MUSIC OF CHANGES | 79 |
THE TEN THOUSAND THINGS | 121 |
INDETERMINACY | 152 |
FRACTURES | 182 |
HPSCHD | 210 |
EMPTY WORDS | 244 |
APARTMENT HOUSE | 275 |
CHANGES AND DISAPPEARANCES | 302 |
TIME BRACKETS | 324 |
EUROPERAS | 351 |
ANARCHIC HARMONY | 382 |
Inne wydania - Wyświetl wszystko
Kluczowe wyrazy i wyrażenia
American Arnold Schoenberg artists asked audience birthday Black Mountain Boulez Cage began Cage felt Cage found Cage Trust Archives Cage wrote Cage's Cage's music called Carolyn Brown Center chess Ching Christian Wolff College composition concert Cornish dance dancers David Tudor dollars Duchamp electronic essay Etudes Europeras festival Fluxus Fuller gave Getty hear Henry Cowell ideas Illus instruments Jasper Johns JC to Peter John Cage Kostelanetz later lecture letters Library living Lou Harrison M. C. Richards McLuhan Merce Cunningham mesostic months Morton Feldman moved Museum mushrooms musicians opera orchestra Paik painting percussion performance Peter Yates pianist piano piece played Press radio recalled recorded Robert Rauschenberg Satie School score sent silence solo Sonatas sonic sound string studied tape Teeny theater Thoreau thought tion told tour UCSD undated but beginning University Virgil Thomson visited Weiss Wesleyan writing Xenia York