Re: RE: Re: RE: Re: RE: Re: non-silent depictions of silence
2011-08-01 04:24:31 GMT
show details Aug 1 (1 day ago)
of course the word itself in the title would no justify it as "depiction of silence".
On the other hand, there are works out there that could be described as such without having the word "silence" in their title (see the "wild life" example I mentioned in my first email).From: rod <at> stasick.org
Date: Thu, 28 Jul 2011 11:55:19 -0500
To: silence <at> virginia.edu
Subject: [silence] Re: RE: Re: non-silent depictions of silenceOn Jul 28, 2011, at 9:32 AM, Dionisis Boukouvalas wrote:This would make for a fascinating compilation
I agree! I did a quick check of my iTunes listand there are over 300 tunes with the word "silence" -much too large for such a compilation.Rod---Now playing: Amon Düül II - Syntelman's March of the Roaring Seventies: Prayer to the Silence
Does anyone happen to have this article, which I found cited in the Cage Compendium:
Beiswanger, George 1944. “Moderns in Review.” Dance News (May).
This is odd, since it doesn't mention Cage. (According to Revill, I think, this article was the one that contained the famous description of sound of The Perilous Night as a woodpecker in a church belfry.) I continue to look . . .
here is a pdf of loc holding, you can actually read article in this format
--- On Fri, 8/12/11, Rob Haskins <rob.haskins <at> gmail.com> wrote:
From: Rob Haskins <rob.haskins <at> gmail.com>
Subject: [silence] Beiswanger 1944
To: "Silence" <silence <at> list.mail.virginia.edu>
Date: Friday, August 12, 2011, 10:25 AMDoes anyone happen to have this article, which I found cited in the Cage Compendium:
Beiswanger, George 1944. “Moderns in Review.” Dance News (May).My library's ILL has exhausted all its possibilities to get it, so I appeal to the wonderful Cage community for help.
Rob Haskins, Ph.D.
Associate Professor and
Coordinator, Graduate Studies
Department of Music, College of Liberal Arts
University of New Hampshire
M-105, Paul Creative Arts Center
30 Academic Way
Durham, NH 03824
I'm working on the bibliography on John Cage for Oxford University Press's amazing Oxford Bibliographies Online Internet resource. I've been charged to make a selection of 100 to 150 entries that will allow the article to be "a selective guide to the best and most useful sources." The OBO entry will have commentary and brief annotations. I ask folks on the Silence list to send me recommendations for the most useful, indispensable entries, as well as citations for sources in obscure journals or monographs.
I'm sure it will be a great resource!
These are my nominations for the most useful/interesting/thought-provoking entries that sometimes get overlooked:
Beal, Amy C. (2007): ‘David Tudor in Darmstadt’. Contemporary Music Review
Brooks, William (1993): ‘John Cage and History: Hymns and Variations’.
Perspectives of New Music 31(2), 74-103.
Brooks, William (2007): ‘Pragmatics of Silence’. In: Nicky Losseff and Jenny Doctor,
eds. (2007): Silence, Music, Silent Music. Aldershot: Ashgate, 97-126.
Cage, John and Jeffrey Barnard (1980): Conversation without Feldman. Darlinghurst:
Black Ram Books.
Cage, John and Morton Feldman (1993): Radio Happenings I-V. Köln: MusicTexte.
Chou Wen-chung (1971): ‘Asian Concepts and Twentieth-Century Western
Composers’. Musical Quarterly 57(2), 211-29.
Corbett, John (2000): ‘Experimental Oriental: New Music and Other Others’. In:
Georgina Born and David Hesmondhalgh, eds. (2000): Western Music and its Others: Difference, Representation, and Appropriation in Music. Berkeley: University of California Press, 163-86.
Jones, Caroline A. (1993): ‘Finishing School: John Cage and the Abstract
Expressionist Ego’. Critical Inquiry 19(4), 628-65.
Kahn, Douglas (1997): ‘John Cage: Silence and Silencing’. Musical Quarterly 81(4),
Leonard, George J. (1994): Into the Light of Things: The Arts of the Commonplace
from Wordsworth to John Cage. Chicago: University of Chicago Press.
Low, Sor-Ching (2006): ‘Romancing Emptiness’. Contemporary Buddhism 7(2), 129-
Pepper, Ian (1997): ‘From the “Aesthetics of Indifference” to “Negative Aesthetics”:
John Cage and Germany 1958-1972’. October, no.82, 30-47.
Rainer, Yvonne (1981): ‘Looking Myself in the Mouth’. October, no.17, 65-76.
Roth, Moira and Jonathan D. Katz (1998): Difference/Indifference: Musings on
Postmodernism, Marcel Duchamp and John Cage. Amsterdam: G + B Arts International.
Said, Edward (1997): ‘From Silence to Sound and Back Again: Music, Literature, and
History’. In: Edward W. Said (2001): Reflections on Exile and Other Literary and Cultural Essays. London: Granta Books, 507-26.
Shultis, Christopher (1998): Silencing the Sounded Self: John Cage and the American
Experimental Tradition. Boston: Northeastern University Press.
University of York
ejc505 <at> york.ac.uk
Does anyone happen to have Cole Gagne and Tracy Caras, "An Interview with John Cage," New York Arts Journal 1, No. 1 (May 1976)? Or perhaps contact info for Cole Gagne?
Hi all, for long time I have been out of this list. Can anyone tell me how the search in the archive is working now? For example I could not find any entry for the words Haiku or Changes, but I am sure there are any. Are there any old editions with Seven Haiku or Music of Changes? I did contact Gene Caprioglio from Peters in New York, but he wrote: "8.5 by 11 inches IS the size intended by Cage. Is your copy 8.5x11? The height of the staff should be a tiny bit over 1/8 inch. If it is, than carry on, you have the correct music. If there are larger copies extant, they are wrong. They should be ignored. They were not produced by C.F. Peters Corporation." But in this size Cages remarks on the space and time make no sense. Besides this Haiku score is in parts not legible (e.g. no. 5), because the handwriting is smeared over by the diminuishing. How do you handle with this? Best, Tim