Anarchic Societies of Sounds

John Cage (1912--1992) is probably best known for
works that challenge the fundamental definition of
music---for example, his groundbreaking 4'33". In the
last six years of his life, however, Cage wrote 48
compositions now known as the Number Pieces---works,
usually scored for conventional Western instruments,
that often contained precisely defined pitches. Each
performer in one of these pieces performs his or her
music in a strict order, but the actual start- and
stop-times for each musical event vary because of
Cage's notational system called "time brackets."
While the time-bracket system ensured that the total
time for a performance would always remain the same,
it allowed sufficient flexibility to the performers
in the spirit of Cage s indeterminate aesthetic---
the brackets made the music became, in his
words, "earthquake proof." This book offers an
overview of the series, an exploration of
sources and compositional process, an analytical
discussion of selected works, a contextual inquiry
into the works with respect to Cage's interests in
American anarchistic traditions, and a concluding
discussion that considers aspects of reception and
historiography.

Autorentext

Rob Haskins is an assistant professor of music at the Universityof New Hampshire, Durham, New Hampshire, USA. He holds a DMA inharpsichord and PhD in musicology from the University ofRochester Eastman School of Music. He specializes in scholarship and performance of music after 1945, especially Cage and minimalism.

Klappentext

John Cage (1912--1992) is probably best known forworks that challenge the fundamental definition ofmusic---for example, his groundbreaking 4'33". In thelast six years of his life, however, Cage wrote 48compositions now known as the Number Pieces---works,usually scored for conventional Western instruments,that often contained precisely defined pitches. Eachperformer in one of these pieces performs his or hermusic in a strict order, but the actual start- andstop-times for each musical event vary because of Cage's notational system called "time brackets." While the time-bracket system ensured that the total time for a performance would always remain the same, it allowed sufficient flexibility to the performers in the spirit of Cage's indeterminate aesthetic---the brackets made the music became, in his words, "earthquake proof." This book offers anoverview of the series, an exploration ofsources and compositional process, an analyticaldiscussion of selected works, a contextual inquiry into the works with respect to Cage's interests inAmerican anarchistic traditions, and a concludingdiscussion that considers aspects of reception andhistoriography.