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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.
It was Cage's first work written on request from professional performers. [35] There are two movements, each divided into several smaller sections (four in the first movement, three in the second). The music makes much use of scales and arpeggios and features much virtuosic writing.
Each contains music written on two staves, but the content of one staff can be played in any relation with that of the other staff. One 2: 1–4 pianos Summer 1989 Margaret Leng Tan: The pianist moves between several pianos (in 1992 Cage advised Margaret Leng Tan to use the I Ching to coordinate her movements). All instruments have their damper ...
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.
Cage began writing the quartet in 1949 in Paris. Prior to beginning to work on the piece, he told his parents that he wanted to compose a work which would praise silence without actually using it; after completing the first movement he was so fascinated with the new way to work that he wrote in a letter: "This piece is like the opening of another door; the possibilities implied are unlimited."
Water Music for pianist using various objects (Spring 1952) For M.C. and D.T., for piano (1952, before August) Music for Carillon No. 1, for carillon (July 10, 1952; 2- and 3-octave transcriptions made in 1958 and 1961, respectively) 4′33″ for any instrument or combination of instruments (August 1952) Music for Piano 1, for piano (December ...
4′33″ [a] is a modernist composition [b] by American experimental composer John Cage.It was composed in 1952 for any instrument or combination of instruments; the score instructs performers not to play their instruments throughout the three movements.
"The Future of Music: Credo" juxtaposes paragraphs of two different texts. The text of the first part of "Composition as Process" is presented in four columns, the text of "Erik Satie" in two. "45' for a Speaker" is similar to Cage's "time length" compositions: it provides detailed instructions for the speaker as to exactly when a particular ...