Download Silencing the Sounded Self: John Cage and the American by Christopher Shultis PDF
By Christopher Shultis
Christopher Shultis has saw an exciting distinction among John Cage’s affinity for Thoreau and fellow composer Charles Ives’s reference to Emerson. even if either Thoreau and Emerson were referred to as transcendentalists, they held assorted perspectives concerning the dating among nature and humanity and in regards to the artist’s position in creativity. Shultis explores the artist’s “sounded” or “silenced” selves—the self that takes regulate of the inventive adventure as opposed to the one who seeks to coexist with it—and indicates how spotting this contrast permits a greater figuring out of Cage. He then extends the contrasts among Emerson and Thoreau to differences among goal and projective verse. Having positioned Cage during this experimental culture of song, poetry, and literature, Shultis bargains provocative interpretations of Cage’s aesthetic perspectives, specifically as they challenge the difficulty of non-intention, and addresses a few of his so much path-breaking track in addition to numerous experimentally leading edge written works.
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From the Preface :
This publication illustrates a set of track manuscripts which was once made lately to profit the root for modern functionality Arts. the gathering was resolute by way of conditions instead of any means of choice. therefore it indicates the numerous instructions within which tune notation is now going. The manuscripts will not be prepared based on varieties of track, yet alphabetically in line with the composer's identify. No explanatory info is given.
The textual content for the booklet is the results of a method utilising I-Ching probability operations. those made up our minds what percentage phrases relating to his paintings have been to be written through or approximately which of 2 hundred and sixty-nine composers. the place those passages (never greater than sixty-four phrases, occasionally just one) were in particular written for this publication, they're preceded by way of a paragraph signal and by means of the author's identify. different feedback have been selected or written through the editors - John Cage and Alison Knowles. not just the variety of phrases and the writer, however the typography too - letter dimension, depth, and typeface - have been all made up our minds by accident operations. This procedure was once in an effort to decrease the adaptation among textual content and illustrations. The composition of the pages is the paintings of Alison Knowles.
A precedent for the textual content is the Questionnaire. (The composers have been requested to put in writing approximately notation or some· factor correct to it. ) A precedent for the absence of data which characterizes this booklet is the modern aquarium (no longer a gloomy hallway with every one species in its personal illuminated tank separated from the others and named in Latin): a wide glass residence with all of the fish in it swimming as in an ocean. the gathering of manuscripts constitutes an archive, the contents of that are indexed on the finish of this booklet. The editors are thankful to the various composers and tune publishers who've made this presentation of mid-twentieth century song notation attainable.
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Extra info for Silencing the Sounded Self: John Cage and the American Experimental Tradition
Sample text
67, no. 3 (May–June 2012), pp. 45–52. 6. ” 7. Most useful to me were the writings of J. Peter Burkholder (see “Works Cited”). 8. Jannika Bock, Concord in Massachusetts, Discord in the World: The Writings of Henry Thoreau and John Cage (Frankfurt am Main: Peter Lang Internationaler Verlag der Wissenschaften, 2008). 9. : Northwestern University Press, 2008). 10. Christopher Shultis, Experimental Music and Writings, 1988– 1994 (New York: American Composers Edition, 2012).
The Writings of Henry D. : Princeton University Press, 1986). 3. Christopher Shultis, “Saying Nothing: John Cage and Henry David Thoreau’s Aesthetics of Co-Existence,” in Tijdschrift voor Muziektheorie, vol. 3, no. 3 (November 1998), pp. , in Neue Zeitschrift für Musik, vol. 168, no. –Feb. 2007), pp. 54–58. 4. “Silencing the Sounded Self: John Cage and the Intentionality of Nonintention,” in Musical Quarterly, vol. 79, no. 2 (Summer 1995), pp. 312–350. 5. The best source, referencing much of the important Cage scholarship written between the time of my book’s publication and the present, is Rob Haskins’s critical biography John Cage (London: Reaktion Books, 2012).
Most useful to me were the writings of J. Peter Burkholder (see “Works Cited”). 8. Jannika Bock, Concord in Massachusetts, Discord in the World: The Writings of Henry Thoreau and John Cage (Frankfurt am Main: Peter Lang Internationaler Verlag der Wissenschaften, 2008). 9. : Northwestern University Press, 2008). 10. Christopher Shultis, Experimental Music and Writings, 1988– 1994 (New York: American Composers Edition, 2012).