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John Cage


julio de luis

on 3 May 2010

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Transcript of John Cage

"A piece of string, a sunset, each acts." Originally devised as a radio play, An Alphabet was commissioned in 1982 by Cologne's West German Radio. The piece postulates an imaginary encounter between the narrator, ostensibly John Cage, and sixteen creative personalities, who represent "an alphabet by means of which we spell our lives." John Cage's mesostic on the name "Raphael Mostel"

Song for the Tibetan Singing Bowl Ensemble: New Music for Old Instruments 0'00" (4'33" No.2) (1962)
1O1 (1988)
103 (1991)
108 (1991)
26'1.1499" For a String Player (1955)
27'10.554" For a Percussionist (1956)
31'57.9864" for a Pianist (1954)
34'46.776" For a Pianist (1954)
4'33" (1952)
45' for a Speaker (1954)
59½" For a String Player (1953)
Ad Lib (1943)
Alla ricerca del silenzio perduto (1973/77)
Amores (1943)
And The Earth Shall Bear Again (1942)
Apartment House 1776 (1976)
Aria (1958)
Art is Either a Complaint or Do Something Else (1988)
ASLSP (1985)
Atlas Eclipticalis (1961-62)
Bacchanale (1938? 1940?)
The Beatles 1962-1970 (1990)
Birdcage (1972)
A Book Of Music (1944)
Branches (1976)
But What About the Noise of Crumpling Paper (1985)
Cartridge Music (1960)
A Chant With Claps (1947?)
Cheap Imitation (1969) piano
Cheap Imitation (1977) violin
Chess Pieces (1944)
Child of Tree (1975)
Chorals (1978)
The City Wears a Slouch Hat (1942)
Three Composed Improvisations (1990)
Composition for Three Voices (1933/34)
Composition in Retrospect (1981)
Concert for Piano and Orchestra (1957-58)
Concerto for Prepared Piano and Chamber Orchestra (1951)
Credo in Us (1942)
Crete (1945)
Dad (1945)
Dance Music (for Elfrid Ide) (1941)
Sixteen Dances (1951)
Three Dances (1945)
Daughters of the Lonesome Isle (1945)
Diary: How to Improve the World (You will Only Make Matters Worse) (1965-82)
A Dip in the Lake (1978)
Double Music (1941)
Dream (1948)
ear for EAR (Antiphonies) (1983)
Three Easy Pieces (1933)
Eight (1991)
Eighty (1992)
Electronic Music for Piano (1964)
Empty Words (1973-78)
Empty Words (part III) (1973-78)
Empty Words (part IV) (1973-78)
Essay (1986)
Etcetera (1973)
Etcetera 2/4 Orchestras (1986)
Etudes Australes (1974)
Etudes Boreales I-IV (1978)
Europera 1 & 2 (1985-7)
Europera 3 & 4 (1989)
Europera 5 (1991)
Experiences I (1945)
Experiences II (1948)
Fads and Fancies in the Academy (1940)
Fifty-Eight (1992)
First Construction (in Metal) (1939)
the First Meeting of the Satie Society (1985)
Five (1988)
Five Stone Wind (1988)
Five2 (1991)
Five3 (1991)
Five4 (1991)
Five5 (1991)
A Flower (1950)
Fontana Mix (1958)
For M.C. and D.T. (1952)
For Paul Taylor and Anita Dencks (1957)
Forever and Sunsmell (1942)
Four (1989)
Four2 (1990)
Four3 (1991)
Four4 (1991)
Four5 (1991)
Four6 (1992)
Fourteen (1990)
Freeman Etudes (1977-80/1989-90)
Furniture Music Etcetera (1980)
Haikai (1990)
Haiku (1951)
Seven Haiku (1951-52)
Five Hanau Silence (1991)
HPSCHD (1969)
Hymnkus (1986)
Hymns and Variations (1979)
Imaginary Landscape No.1 (1939)
Imaginary Landscape No.2 (March No.1) (1942)
Imaginary Landscape No.3 (1942)
Imaginary Landscape No.4 (March No.2) (1951)
Imaginary Landscape No.5 (1952)
Imitations II (1976)
In a Landscape (1948)
In the Name of the Holocaust (1942)
Indeterminacy (1959)
Inlets (1977)
I-VI (1988-89)
James Joyce. Marcel Duchamp. Erik Satie: An Alphabet (1979/82)
Jazz Study (1942)
Klangexperimente (1963)
Laughtears (1979)
Lecture on Nothing(1950)
Lecture on the Weather (1975)
Litany for the Whale (1980)
Living Room Music (1940)
Lullaby (1991)
Six Melodies for Violin and Keyboard (1950)
Sixty-Two Mesostics Re Merce Cunningham (1971)
36 Mesostics Re and not Re Marcel Duchamp (1970)
Mesostic re Roberto Fabbriciani (1989)
Mesostics (1972?)
Metamorphosis (1938)
Mirakus2 (1984)
Muoyce (1983)
Mureau (1972)
Mushroom Haiku (1974)
Music For ________ (1984-87)
Music for Amplified Toy Pianos (1960)
Music for Carillon No.1 (1952)
Music for Carillon No.2 (1954)
Music for Carillon No.3 (1954)
Music For Carillon No.5 (1967)
Music for Marcel Duchamp (1947)
Music for Piano
Music for Piano 1 (1952)
Music for Piano 2 (1953)
Music for Piano 20 (1953)
Music for Piano 21-36; 37-52 (1955)
Music for Piano 3 (1953)
Music for Piano 4-19 (1953)
Music For Piano 53-68 (1956)
Music For Piano 69-84 (1956)
Music For Piano 85 (1962)
Music for Wind Instruments (1938)
Music of Changes (1951)
Music Walk (1958)
Mysterious Adventure (1945)
Nocturne for Violin and Piano (1947)
Nowth Upon Nacht (1984)
One (1988)
One10 (1992)
One12 (1992)
One13 (unfinished - 1992)
One2 (1989)
One4 (1990)
One5 (1990)
One6 (1990)
One7 (1990)
One8 (1991)
One9 (1991)
One11 (1992)
Opening Dance (1942?)
Ophelia (1946)
Organ2/ASLSP (1987)
Our Spring Will Come (1943)
Overpopulation and Art (1991)
Party Pieces (1945)
Two Pastorales (1951)
The Perilous Night (1944)
Perpetual Tango (1984)
Thirty Pieces for Five Orchestras (1981)
Thirty Pieces for String Quartet (1983)
Three Pieces for Flute Duet (1935)
Two Pieces for Piano (1935/74)
Two Pieces for Piano (1946)
Postcard from Heaven (1982)
Prelude for Meditation (1944)
Prelude for Six Instruments in A minor (1946)
Primitive (1942)
Quartet (1935)
Quartets I-VIII (1976)
Quest (1935)
Radio Music (1956)
Renga (1975-76)
Reunion (1968)
Roaratorio: An Irish Circus on Finnegans Wake (1979)
A Room (1943)
Root of an Unfocus (1944)
Rozart Mix (1965)
Ryoanji (1983-85)
Sculpture Musicale (1985)
Sculptures Musicales (1989)
The Seasons, a Ballet in One Act (1947)
Second Construction (1940)
Series re Morris Graves (1973)
Seven (1988)
Seven2 (1990)
Seventy-Four (1992)
She Is Asleep (1943)
Six Short Inventions (1934)
Silence (parts) (1962)
Six (1991)
Sixty-Eight (1992)
Socrate (1944/68)
Soliloquy (1945)
Solo for Voice 1 (1958)
Solo for Voice 2 (1960)
Four Solos for Voices (1988)
Solo with Obbligato Accompaniment of Two Voices in Canon, and Six Short Inventions on the Subjects of the Solo (1934)
Some of "The Harmony of Maine" (1978)
Sonata For Clarinet (1933)
Sonata For Two Voices (1933)
Sonatas and Interludes (1948)
Song Books (Solos for Voice 3-92) (1970)
Song, Derived from the Journal of H.D.Thoreau(1976)
Five Songs for Contralto (1938)
Three Songs for Voice and Piano (1933)
Sonnekus2 (1985)
So That Each Person Is In Charge Of Himself (1982)
Sounds of Venice (1959)
Souvenir (1983)
Spontaneous Earth (1944)
Stories in the style of Indeterminacy (1979)
String Quartet in Four Parts (1950)
Suite for Toy Piano (1948)
Swinging (1989)
Telephones and Birds (1977)
Ten (1991)
Themes and Variations (1980)
Third Construction (1941)
Thirteen (1992)
Thirteen Harmonies (1986)
Three (1989)
Three2 (1991)
Tossed As It Is Untroubled (1943)
Totem Ancestor (1942)
Trio (1936)
Triple-Paced No.1 (1943)
Triple-Paced No.2 (1944)
TV Koeln (1958)
Twenty-Eight (1991)
Twenty-Nine (1991)
Twenty-Six (1991)
Twenty-Three (1988)
Two (1987)
Two2 (1989)
Two3 (1991)
Two4 (1991)
Two5 (1991)
Two6 (1992)
The Unavailable Memory of (1944)
A Valentine Out of Season (1944)
Variations I (1958)
Variations II (1961)
Variations III (1962-63)
Variations IV (1963)
Variations VII (1966)
Voiceless Essay (1985-87)
Waiting (1952)
Four Walls (1944)
49 Waltzes for the Five Boroughs (1977)
49 Waltzes for Tokyo (1977/..)
Water Music (1952)
What You Say(1979)
Where Are We Going? And What Are We Doing?(1960)
Eight Whiskus (1984) violin
Eight Whiskus (1984) voice
Williams Mix (1952)
Winter Music (1957)
The Wonderful Widow of Eighteen Springs (1942)
Works of Calder (1949-50)
Writing through Finnegan's Wake (1977)
Writing for the Second Time Through Finnegan's Wake (1977)
Writings through the essay: On the duty of civil disobedience (Essay) (1987)
A Year From Monday (parts) (1967)
El 5 de marzo de 1968, Duchamp -gran jugador de ajedrez- se reunía con el norteamericano John Cage -el gran músico del azar- en el Ryerson Theatre de Toronto para disputar una singular partida de ajedrez. Henry cowell

Arnold Schönberg
"Cage no posee ningún sentido de la armonía, no es músico, es un inventor".California 1934 Los Angeles California EU 5 de Septiembre de 1912; New York, 12 Agosto 1992 No tengo nada que decir, y lo estoy diciendo y esto es poesía” “La música que prefiero más que la mía o la de cualquier otro, es aquella que escuchamos si guardamos silencio”. "Lo que es importante es insertar al individuo en el flujo de todo lo que sucede. Para hacer
esto, el muro del ego debe de ser demolido; gustos, memoria y emociones deben ser
debilitados. Se puede tener una emocion, simplemente no debemos pensar que es tan
importante. Tómala de una manera en que luego la puedas dejar caer. No la reelabores!". "Nuestra intención debe ser afirmar esta vida, no traer el orden fuera del caos, o sugerir
mejoras en la manera de hacer una composición, sino simplemente despertarnos a la vida
misma que estamos viviendo. Esto es muy placentero una vez que nuestra mente y nuestros
deseos estan fuera del camino, y dejan actuar a la vida libremente". Silence 1961 Until I die there will be sounds. And they will continue following my death. One
need not fear about the future of music. "Ellos existen, y yo estoy interesado en que ellos estan ahí, y no en la voluntad del compositor.
En un proceso musical no existe un "entendimiento correcto" y consecuentemente no puede
haber ningun malentendido con respecto a la comprensión de este proceso. Entonces, un
objeto musical (es decir una obra musical) por si mismo es un mal entendido, y los sonidos no
controlados por el compositor en cambio, no se preocupan si hacen sentido o si van en la
direccion correcta. Ellos no necesitan esa direccion o no direccion para "ser" ellos mismos.
Ellos simplemente "son", y eso es suficientemente bueno para ellos y para mi tambien". «Dondequiera que estemos, lo que oímos es ruido. Cuando lo ignoramos, nos incomoda. Cuando lo escuchamos descubrimos que es fascinante. Nosotros queremos capturar estos sonidos, utilizarlos, no como efectos sonoros, sino como instrumentos musicales».1937
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