Scope and Contents

Review of Cage's book, "I-IV." -- Source of annotation: Marvin or Ruth Sackner.

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This piece deals with body sounds Cage heard during a stay in Harvard University's anechoic chamber. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Modesti FReviews: Blocks of Consciousness and The Unbroken Continuum explores the work and aesthetic of various cutting edge musicians, environmental/sound artists and noise-makers. As well as profiles of Richard Chartier, The Necks, John Wall and Sachiko M, the book contains explorations of the history and changing nature of free improvisation, of Cage?s iconoclastic 4?33"³, and of where to draw the line (somewhat tentatively, to be sure) between improvisation and composition. There is, in addition, a series of personal statements by almost two dozen musicians, composers and sound artists, collected by Rhodri Davies; and in Out in the Field Bertrand Denzler and Jean-Luc Guionnet interview improvisers about their music and group the anonymised answers thematically. The authors of the principal chapters ? David Toop, Clive Bell, Brian Marley, Dan Warburton, Andy Hamilton and Will Montgomery ? are well-known and respected writers on music/sound.Machines, noise and improvisation are...

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This is a reprint of a book first published in 1970, supplemented with a new chronology and catalogues. -- Source of annotation: Marvin or Ruth Sackner.

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Houedard writes next to the title," really to be played on 4 foghorns - one each of 4 islands." Other instructions are for playing with variations of the letters cage and two long bars of notes also based on the name cage. -- Source of annotation: Marvin or Ruth Sackner.

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All items in this catalogue are 12" vinyl recordings issued in an album jacket -- Source of annotation: Marvin or Ruth Sackner.

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The prints are photographic reproductions of some of the works in this exhibition. -- Source of annotation: Marvin or Ruth Sackner.

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The section on Tom Phillips begins by stating that his work "defies all restrictive notions of style and all bids to establish fixed aesthtic categories...The musical output of Tom Phillips is much more than a side aspect of his activity as a painter in that is lends an original dimension, along experimental lines, to the relation between musician and score...Whenever TP makes artistic use of a notation of a musical instrument, he insinuates an interpretation of both temporal and spacial characte -- Source of annotation: Marvin or Ruth Sackner.

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This is the "Italian version" of John Cage's book on experimental music scores entitled "Notations." It is international in scope but features works by Italian composers and is complementary to "Notations." -- Source of annotation: Marvin or Ruth Sackner.

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This exhibition was drawn from the Archive of Paolo Della Grazia. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This book is a compilation of the texts, scores, and ideas of seven American composers who use words as an integral part of their compositions. The following are excerpts from the seven interviews . . . John Cage: We should study the ways of industry. In order to, ourselves, behave globally, as industry behaves. They do it out of greed. We should do it out of the desire to make the house we live in, which is the whole place, in good working order. Robert Ashley: Its okay to sit in your room and listen to a record over and over again when you're fifteen, but if you do that when you are forty, people think you are crazy. But the funny thing is that we have actually allowed ourselves that free time for television. Yoko Ono: Somehow all the things that come out of me like words or music or whatever seem to be not my doing. It just comes in and I immediately write it down. I don't think of it as talent necessarily. I think of it like a good radio. Laurie Anderson: As these two life...

Scope and Contents

Besides the score, there is an image reminiscent of Ying/Yang at the top. -- Source of annotation: Marvin or Ruth Sackner.