|
|
|
|
|
|
|
|
|
1. |
Record Nr. |
UNINA9910778837903321 |
|
|
Autore |
Cage John |
|
|
Titolo |
Musicage : Cage muses on words art music / / John Cage ; Joan Retallack, editor |
|
|
|
|
|
|
|
Pubbl/distr/stampa |
|
|
Middletown, Connecticut : , : Wesleyan University Press, , [1996] |
|
©1996 |
|
|
|
|
|
|
|
|
|
ISBN |
|
0-8195-7186-5 |
0-585-37883-5 |
|
|
|
|
|
|
|
|
Edizione |
[1st ed.] |
|
|
|
|
|
Descrizione fisica |
|
1 online resource (411 p.) |
|
|
|
|
|
|
Disciplina |
|
|
|
|
|
|
Soggetti |
|
Composers - United States |
|
|
|
|
|
|
Lingua di pubblicazione |
|
|
|
|
|
|
Formato |
Materiale a stampa |
|
|
|
|
|
Livello bibliografico |
Monografia |
|
|
|
|
|
Note generali |
|
|
|
|
|
|
Nota di bibliografia |
|
|
|
|
|
|
Nota di contenuto |
|
Cover; Contents; List of Illustrations; Acknowledgments; Introduction: Conversations in Retrospect; I. WORDS; Art Is Either a Complaint or Do Something Else; Cage's Loft, New York City: September 6-7, 1990; II. VISUAL ART; Cage's Loft, New York City: October 21-23, 1991; III. MUSIC; Cage's Loft, New York City: July 15-17, 1992; July 18, 1992; July 30, 1992; Appendixes; A. Selected Cage Computer Programs; B. Mesostic Introduction to The First Meeting of the Satie Society; C. Writing through Ulysses (Muoyce II). Typescript Page from Part 17 based on the ""Nighttown"" section of Ulysses |
D. Excerpts from Manuscript and Score of Two[sup(6)] (1992)E. Notated Time Bracket Sheets for Thirteen (1992), Pages 14, 15, 16; F. Writing through Ulysses (Muoyce II), Part 5; G. IC Supply Sheet Marked by Cage with Red, Blue, and Black Pencils; H. Excerpts from Score for Europera 5; I. Europera 5 at MOMA; J. Letter Outlining Plans for Noh-opera; K. Notated Time Bracket Sheets for 58 (1992), Pages 2 and 4; L. Project for Hanau Squatters; M. First Page of One[sup(8)] (1991); N. First Page of Ten (1991), Violin 1; Index; A; B; C; D; E; F; G; H; I; J; K; L; M; N; O; P; Q; R; S; T; U; V; W; X; Y |
Z |
|
|
|
|
|
|
|
|
Sommario/riassunto |
|
The entire range of John Cage's work and thought, explored in three wide-ranging dialogues, which constitute his last unified statement on |
|
|
|
|
| |