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It is the first entry in the series that does not make any references to music, musical instruments or sounds. The score consists of two sheets of transparent plastic, one blank, the other marked with 42 identical circles. Cage instructs the performers to cut the sheet with circles so that they end up with 42 small sheets, a full circle on each.
Imaginary Landscape No. 4 (March No. 2) is a composition for 24 performers on 12 radios and conductor by American composer John Cage and the fourth in the series of Imaginary Landscapes. It is the first installment not to include any percussion instrument at all and Cage's first composition to be based fully on chance operations.
The earliest significant use of music indeterminacy features is found in many of the compositions of American composer Charles Ives in the early 20th century. Henry Cowell adopted Ives's ideas during the 1930s, in such works as the Mosaic Quartet (String Quartet No. 3, 1934), which allows the players to arrange the fragments of music in a number of different possible sequences.
Popoff, A. 2010. "John Cage’s Number Pieces: The Meta-Structure of Time-Brackets and the Notion of Time". Perspectives of New Music, pp. 65–84, 48/1. Popoff, A. 2011. Indeterminate music and probability spaces: The case of John Cage's number pieces, Springer Lecture Notes in Computer Science, Volume 6726 LNAI, pp. 220–229; Popoff, A. 2015.
Music of Changes is a piece for solo piano by John Cage.Composed in 1951 for pianist and friend David Tudor, it is a ground-breaking piece of indeterminate music.The process of composition involved applying decisions made using the I Ching, a Chinese classic text that is commonly used as a divination system.
John Milton Cage Jr. (September 5, 1912 – August 12, 1992) was an American composer and music theorist.A pioneer of indeterminacy in music, electroacoustic music, and non-standard use of musical instruments, Cage was one of the leading figures of the post-war avant-garde.
As in the majority of Cage's compositions from the 1940s, the music of The Seasons is based on a predefined proportion. In this case the proportion is 2, 2, 1, 3, 2, 4, 1, 3, 1, and it governs not only the construction of individual movements, but also the proportions of the entire work, roughly defining the relative lengths of the movements. [1]
Sarabhai agreed and through her Cage became acquainted with Indian music and philosophy. The purpose of music, according to Sarabhai's teacher in India, was "to sober and quiet the mind, thus rendering it susceptible to divine influences", [8] [10] and this definition became one of the cornerstones of Cage's view on music and art in general.