John Cage Influences
2004-12-05 15:39:49 GMT
借過、一拍兩散、奇洛李維斯回信...
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Studies and Montage-Pieces (2004)
2004-12-05 20:15:22 GMT
dear all, please check out my new CD at: http://www.lichtensteiger.de/studies04_CD.html Ralph Lichtensteiger | Studies and Montage-Pieces (2004) 1 Study #1 "homicide" 8:14 2 Study #2 7:00 3 Study #3 "optimism is continuous" for John Cage 5:24 4 Study #4 "directed me before" 3:02 | listen mp3 5 Study #5 "unconsciously calculating" 3:20 | listen mp3 6 Study #6 "millions of artists create" for Marcel Duchamp 3:49 | listen mp3 7 Study #7 for Allen Ginsberg 8:14 | listen mp3 8 Study #8 for Jack Kerouac 3:05 9 Study #8a 2:42 10 Study #9 "the divorce of State & industry" for John Cage 6:16 | listen mp3 11 Study #10 2:16 12 Study #11 3:53 13 Study #12 "do fish run out of patience" 1:14 14 Study #12a 2:59 Recorded: October, November and December 2004 All compositions by Ralph Lichtensteiger Limited release, Edition of 50 CD's © 2004 by musique trouvé Frankfurt Ralph Lichtensteiger: piano, digital piano, electronics, percussion, digital percussion, claves, double bass, violin, pedal harmonium, flute, cymbals, radio, homemade instruments, toys, cardboard horns, gurgle shells and sampler External material: Track 1: Samples from soundtrack "SE7EN" by David Fincher Track 3 & 10: J. Cage voice-samples, "Diary" (part VIII) by John Cage Track 4: Laura Elena Harring voice-sample Track 6: Marcel Duchamp voice-sample Track 7: Allen Ginsberg voice-samples Track 8 & 8a: Jack Kerouac voice-samples "Art's not empty if it shows its own emptiness." — Allen Ginsberg, Mind Breaths, Manifesto, 1974 "I played the wrong wrong notes." — Thelonious Monk "A concept is about how to look at the earth from the moon without ever getting there..." — Allen Ginsberg, 'Is About', Death & Fame, Last Poems 1993-1997 "Schoenberg said that music was repetition—repetition and variation. And he said variation is also repetition with some things changed and others not." — John Cage remembering Schoenberg's teaching "Montage (Film) - The art and technique of motion-picture editing in which contrasting shots or sequences are used to effect emotional or intellectual responses. It was developed creatively after 1925 by the Russian Sergei Eisenstein; since that time montage has become an increasingly complex and inventive way of extending the imaginative possibilities of film art. In still photography a composite picture, made by combining several prints, or parts of prints, and then rephotographing them as a whole, is often called a montage or a photomontage." — The Columbia Electronic Encyclopedia, Copyright © 2003 Ralph Lichtensteiger | Studies and Montage-Pieces (2004) € 12,90 | order incl. shipping (Germany) plus € 4 (Europe) plus € 6 (international) ALL CDs AND DVDs ARE UNIQUE (with No.) AND ISSUED IN LIMETED EDITION WITH ORIGINAL PHOTOGRAPHS AND DESIGN ELEMENTS. ALL CDs MIXED AND RECORDED VIA HIGH RESOLUTION DIGITAL AUDIO TECHNIQUE AND EQUIPMENT. All Compositions by Ralph Lichtensteiger. Copyright 2004 by RALPH LICHTENSTEIGER | musique trouvé Frankfurt You can order all CDs via email lichtconlon <at> t-online.de | subject: CD order If you order outside Germany there are additional costs. Shipping costs for Europe: 4,00 € Shipping costs for USA/Canada/Asia: normal mail 6,00 € | air mail 8,00 € Please let me know if you have any further questions. Kind regards, Ralph Lichtensteiger
Re: John Cage Influences
2004-12-05 22:10:11 GMT
In a message dated 12/5/04 10:40:15 AM, rwmk_110385 <at> yahoo.com.hk writes: << Obviously Erik Satie played a heavy role in Cage's influences and some non-music artists(i.e. Marcel Duchamp), also his fellows, mentors, contmeporaries. Other than these have he mentioned others? >> The question of influences on Cage is an interesting one. Offhand I cant think of another composer who writes and talks so extensively about artists, writers, and philosophies--rather than other composers--as influences. Overall he is quite stinting in his praise and finds practically nothing of interest in traditional Western music, the major sticking points being repetition (especially melodic), rhythmic regularity, and harmony (although his attitudes softened with age). He does approve of Mozart, Schoenberg, and (for a while at least) Webern, but in terms of specific aspects (respectively, multiplicity of ideas, continual development, silence and discontinuity) rather than in terms of technique, style, or anything else for that matter. Similarly, when he speaks positively of Ives it is often in personal rather than musical terms, and he chooses those ideas in Ives's philosophy that jibe with his own beliefs. Even Satie, a composer for whom Cage's admiration is unconditional, is pressed into service to justify Cage's own aesthetics and compositional practices. This pattern can be seen in passages from Conversing with Cage (edited by Richard Kostelanetz) and in his writings in Silence, for instance, when discussing Feldman, Cowell, and others. "fellows, mentors, contemporaries" certainly covers a lot. Perhaps if you could list the main suspects among this crew others could fill in.
Re: John Cage Influences
2004-12-06 05:19:56 GMT
Marcthor97 <at> aol.com wrote:
In a message dated 12/5/04 10:40:15 AM, rwmk_110385 <at> yahoo.com.hk writes:
<< Obviously Erik Satie played a heavy role in Cage's influences and some
non-music artists(i.e. Marcel Duchamp), also his fellows, mentors,
contmeporaries. Other than these have he mentioned others? >>
The question of influences on Cage is an interesting one. Offhand I cant
think of another composer who writes and talks so extensively about artists,
writers, and philosophies--rather than other composers--as influences. Overall he
is quite stinting in his praise and finds practically nothing of interest in
traditional Western music, the major sticking points being repetition
(especially melodic), rhythmic regularity, and harmony (although his attitudes softened
with age). He does approve of Mozart, Schoenberg, and (for a while at least)
Webern, but in terms of specific aspects (respectively, multiplicity of
ideas, continual development, silence and discontinuity) rather than in terms of
technique, style, or anything else for that matter. Similarly, when he speaks
positively of Ives it is often in personal rather than musical terms, and he
chooses those ideas in Ives's philosophy that jibe with his own beliefs. Even
Satie, a composer for whom Cage's admiration is unconditional, is pressed into
service to justify Cage's own aesthetics and compositional practices. This
pattern can be seen in passages from Conversing with Cage (edited by Richard
Kostelanetz) and in his writings in Silence, for instance, when discussing Feldman,
Cowell, and others.
"fellows, mentors, contemporaries" certainly covers a lot. Perhaps if you
could list the main suspects among this crew others could fill in.
Acutally I'm most curious that if Cage have any "non - western music" influences, like Chinese classical msuic for example, and maybe also some ancient music from Greek or other countries.
借過、一拍兩散、奇洛李維斯回信...
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Re: John Cage Influences
2004-12-06 16:57:36 GMT
In a message dated 12/6/04 12:20:30 AM, rwmk_110385 <at> yahoo.com.hk writes: << Acutally I'm most curious that if Cage have any "non - western music" influences, like Chinese classical msuic for example, and maybe also some ancient music from Greek or other countries. >> Important Eastern influences are philosophical and aesthetic rather than theoretical or practical. I suggest David Patterson's chapter in John Cage: Music, Philosophy , and Intention (edited by Patterson) and Tan's chapter in John Cage at Seventy-Five (ed. Fleming & Duckworth). A few other specifics come to mind but I wouldn't call them influences--Cage's admiration for shakuhachi and (later) sho, the simulated Korean heterophonic entrances in Ryoanji, use of Greek modes (following Satie) in Cheap Imitation.
Cage Influences
2004-12-07 04:38:39 GMT
Hi everyone, I'm new to the list. My name is Katherine Setar and my friend, Joe Zitt, recommended this list to me. I've done some reading on Cage (and a performed few of his pieces.) In the trivia department, my childhood piano teacher went to the Cornish School and performed in some of Cage's early percussion pieces. (Her name was Brabazon Lindsay, and she's mentioned on p. 61 of Richard Kostelanetz's anthology JOHN CAGE.) To answer Ryan's questions on Cage influences: Off the top of my head: I remember reading the name Daisetz T. (D.T.)Suzuki--a Zen scholar--mentioned numerous times by Cage as a major influence. Cage also was a mycologist (mushroom hunter) and ate macrobiotic food when his health declined in mid-life. Incidentally, I think it was Yoko Ono who turned Cage onto macrobiotic cooking. Katherine Setar silence-request <at> list.mail.virginia.edu wrote: > > Hi all, I have a general question that I think all "new to Cage" people will ask, maybe you guys have answered many times, but please kindly do it again!:0 > > Obviously Erik Satie played a heavy role in Cage's influences and some non-music artists(i.e. Marcel Duchamp), also his fellows, mentors, contmeporaries. Other than these have he mentioned others? Cage is very into the "Zen" thing and Chinese herbs, I wonder if Chinese (ancient) music have an influence on him, and also Greek (ancient) music, he used to study Greek in high school, dosen't he? > > Please discuss > > regards, > Ryan -- -- If you found this message as fascinating as I did, you may find even more excitement at my website at http://home.pacbell.net/setar/
bbc.co.uk: JOHN CAGE IN ONE MINUTE
2004-12-08 17:00:57 GMT
bbc.co.uk: JOHN CAGE IN ONE MINUTE http://www.bbc.co.uk/music/profiles/cage.shtml kind regards, ralph lichtensteiger http://www.lichtensteiger.de/CD_finder.html
Re: bbc.co.uk: JOHN CAGE IN ONE MINUTE
2004-12-08 17:16:21 GMT
I encourage all members of Silence to inform the BBC that their discography for John Cage is very incomplete ... http://www.bbc.co.uk/cgi-perl/music/muze/index.pl?site=music&action=discography&artist_id=4851 Visit ... http://news.bbc.co.uk/1/hi/help/3281777.stm ... and refer the BBC to http://johncage.info for a full and accurate discography, not just a corporate discography.
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