John Cage

1912–1931: Early years Cage was born September 5, 1912, at Good Samaritan Hospital in downtown Los Angeles. His father, John Milton Cage Sr. (1886–1964), was an inventor, and his mother, Lucretia ("Crete") Harvey (1881–1968), worked intermittently as a journalist for the Los Angeles Times. The family's roots were deeply American: in a 1976 interview, Cage mentioned that George Washington was assisted by an ancestor named John Cage in the task of surveying the Colony of Virginia. Cage described his mother as a woman with "a sense of society" who was "never happy", while his father is perhaps best characterized by his inventions, which were sometimes idealistic, such as a diesel-fueled submarine that gave off exhaust bubbles. The senior Cage was uninterested in an undetectable submarine. When Cage was 18 months old, he ate two or three strychnine tablets. "At first the baby's life was despaired of," an article stated, but "a stomach pump was administered with success". Cage's first experiences with music were from private piano teachers in the Greater Los Angeles area and several relatives, particularly his aunt Phoebe Harvey James who introduced him to the piano music of the 19th century. He received first piano lessons when he was in the fourth grade at school, but although he liked music, he expressed more interest in sight reading than in developing virtuoso piano technique, and apparently was not thinking of composition. During high school, one of his music teachers was Fannie Charles Dillon. Cage enrolled at Pomona College in Claremont as a theology major in 1928. At Pomona, he encountered the work of the artist Marcel Duchamp via Professor José Pijoan, of the writer James Joyce via Don Sample, of the philosopher Ananda Coomaraswamy and of the composer Henry Cowell. after an incident described in his 1991 autobiographical statement: Cage persuaded his parents that a trip to Europe would be more beneficial to a future writer than college studies. He subsequently hitchhiked to Galveston and sailed to Le Havre, where he took a train to Paris. Cage stayed in Europe for some 18 months, trying his hand at various forms of art. First, he studied Gothic and Greek architecture, but decided he was not interested enough in architecture to dedicate his life to it. he first heard the music of contemporary composers (such as Igor Stravinsky and Paul Hindemith) and finally got to know the music of Johann Sebastian Bach, which he had not experienced before. After several months in Paris, Cage's enthusiasm for America was revived after he read Walt Whitman's Leaves of Grass—he wanted to return immediately, but his parents, with whom he regularly exchanged letters during the entire trip, persuaded him to stay in Europe for a little longer and explore the continent. Cage started traveling, visiting various places in France, Germany, and Spain, as well as Capri and, most importantly, Mallorca, where he started composing. His first compositions were created using dense mathematical formulas, but Cage was displeased with the results and left the finished pieces behind when he left. Cage's association with theater also started in Europe: during a walk in Seville he witnessed, in his own words, "the multiplicity of simultaneous visual and audible events all going together in one's experience and producing enjoyment." 1931–1936: Apprenticeship from 1933 to 1935. Cage returned to the United States in 1931. By 1933, Cage had decided to concentrate on music rather than painting. "The people who heard my music had better things to say about it than the people who looked at my paintings had to say about my paintings", Cage later explained. in which Cowell suggested that Cage study with Arnold Schoenberg—Cage's musical ideas at the time included composition based on a 25-tone row, somewhat similar to Schoenberg's twelve-tone technique. Cowell also advised that, before approaching Schoenberg, Cage should take some preliminary lessons, and recommended Adolph Weiss, a former Schoenberg pupil. Weiss had been asked by Schoenberg to be his assistant and to train students who might not be ready for Schoenberg's teaching. Following Cowell's advice, Cage traveled to New York City in 1933 and started studying with Weiss as well as taking lessons from Cowell himself at The New School. Cage's routine during that period was apparently very tiring, with just four hours of sleep on most nights, and four hours of composition every day starting at 4 am. Several months later, still in 1933, Cage became sufficiently good at composition to approach Schoenberg. He could not afford Schoenberg's price, and when he mentioned it, the older composer asked whether Cage would devote his life to music. After Cage replied that he would, Schoenberg offered to tutor him free of charge. Cage studied with Schoenberg in California: first at University of Southern California and then at University of California, Los Angeles, as well as privately. particularly as an example of how to live one's life being a composer. Schoenberg's methods and their influence on Cage are well documented by Cage himself in various lectures and writings. Particularly well-known is the conversation mentioned in the 1958 lecture Indeterminacy: Cage studied with Schoenberg for two years, but although he admired his teacher, he decided to leave after Schoenberg told the assembled students that he was trying to make it impossible for them to write music. Much later, Cage recounted the incident: "... When he said that, I revolted, not against him, but against what he had said. I determined then and there, more than ever before, to write music." At some point in 1934–35, during his studies with Schoenberg, Cage was working at his mother's arts and crafts shop, where he met artist Xenia Andreyevna Kashevaroff. She was an Alaskan-born daughter of a Russian priest; her work encompassed fine bookbinding, sculpture and collage. Although Cage was involved in relationships with Don Sample and with architect Rudolph Schindler's wife Pauline, 1937–1949: Modern dance and Eastern influences The newly married couple first lived with Cage's parents in Pacific Palisades, then moved to Hollywood. During 1936–38, Cage changed jobs multiple times, including to one that started his lifelong association with modern dance: dance accompanist at the University of California, Los Angeles. He produced music for choreographies and at one point taught a course on "Musical Accompaniments for Rhythmic Expression" at UCLA with his aunt Phoebe. It was during that time that Cage first started experimenting with unorthodox instruments, such as household items, metal sheets, and so on. This was inspired by Oskar Fischinger, who told Cage that "everything in the world has a spirit that can be released through its sound." Although Cage did not share the idea of spirits, these words inspired him to begin exploring the sounds produced by hitting various non-musical objects. In 1944, he appeared in Maya Deren's At Land, a 15-minute silent experimental film. Like his personal life, Cage's artistic life went through a crisis in the mid-1940s. The composer was experiencing a growing disillusionment with the idea of music as means of communication: the public rarely accepted his work, and Cage himself, too, had trouble understanding the music of his colleagues. In early 1946, Cage agreed to tutor Gita Sarabhai, an Indian musician who came to the US to study Western music. In return, he asked her to teach him about Indian music and philosophy. Cage also attended, in the late 1940s and early 1950s, D. T. Suzuki's lectures on Zen Buddhism, and read further the works of Coomaraswamy. 1950s: Discovering chance in 1976 After a 1949 performance at Carnegie Hall, New York, Cage received a grant from the Guggenheim Foundation, which enabled him to make a trip to Europe, where he met composers such as Olivier Messiaen and Pierre Boulez. More important was Cage's chance encounter with Morton Feldman in New York City in early 1950. Both composers attended a New York Philharmonic concert, where the orchestra performed Anton Webern's Symphony, followed by a piece by Sergei Rachmaninoff. Cage felt so overwhelmed by Webern's piece that he left before the Rachmaninoff; and in the lobby, he met Feldman, who was leaving for the same reason. The two composers quickly became friends; some time later Cage, Feldman, Earle Brown, David Tudor and Cage's pupil Christian Wolff came to be referred to as "the New York school". In early 1951, Wolff presented Cage with a copy of the I Ching—a Chinese classic text which describes a symbol system used to identify order in chance events. This version of the I Ching was the first complete English translation and had been published by Wolff's father, Kurt Wolff of Pantheon Books in 1950. The I Ching is commonly used for divination, but for Cage it became a tool to compose using chance. To compose a piece of music, Cage would come up with questions to ask the I Ching; the book would then be used in much the same way as it is used for divination. For Cage, this meant "imitating nature in its manner of operation". His lifelong interest in sound itself culminated in an approach that yielded works in which sounds were free from the composer's will: Although Cage had used chance on a few earlier occasions, most notably in the third movement of Concerto for Prepared Piano and Chamber Orchestra (1950–51), the I Ching opened new possibilities in this field for him. The first results of the new approach were Imaginary Landscape No. 4 for 12 radio receivers, and Music of Changes for piano. The latter work was written for David Tudor, whom Cage met through Feldman—another friendship that lasted until Cage's death. Tudor premiered most of Cage's works until the early 1960s, when he stopped performing on the piano and concentrated on composing music. The I Ching became Cage's standard tool for composition: he used it in practically every work composed after 1951, and eventually settled on a computer algorithm that calculated numbers in a manner similar to throwing coins for the I Ching. involves obtaining a hexagram by random generation (such as tossing coins), then reading the chapter associated with that hexagram.|left Despite the fame Sonatas and Interludes earned him, and the connections he cultivated with American and European composers and musicians, Cage was quite poor. Although he still had an apartment at 326 Monroe Street (which he had occupied since around 1946), his financial situation in 1951 worsened so much that while working on Music of Changes, he prepared a set of instructions for Tudor as to how to complete the piece in the event of his death. Nevertheless, Cage managed to survive and maintained an active artistic life with lectures and performances. In 1952–1953, he completed another mammoth project—the Williams Mix, a piece of tape music, which Earle Brown and Morton Feldman helped to put together. Also in 1952, Cage composed the piece that became his best-known and most controversial creation: 4′33″. The score instructs the performer not to play the instrument during the entire duration of the piece—four minutes, thirty-three seconds—and is meant to be perceived as consisting of the sounds of the environment that the listeners hear while it is performed. Cage had conceived of "a silent piece" years earlier, but was reluctant to write it down; indeed, the premiere (given by Tudor on August 29, 1952, at Woodstock, New York) caused an uproar in the audience. The reaction to 4′33″ was just a part of the larger picture: on the whole, it was the adoption of chance procedures that had disastrous consequences for Cage's reputation. The press, which used to react favorably to earlier percussion and prepared piano music, ignored his new works, and many valuable friendships and connections were lost. Pierre Boulez, who used to promote Cage's work in Europe, was opposed to Cage's particular approach to the use of chance, and so were other composers who came to prominence during the 1950s, such as Karlheinz Stockhausen. During this time, Cage was also teaching at the avant-garde Black Mountain College just outside Asheville, North Carolina. Cage taught at the college in the summers of 1948 and 1952 and was in residence the summer of 1953. While at Black Mountain College in 1952, he organized what has been called the first "happening" (see discussion below) in the United States, later titled Theatre Piece No. 1, a multi-layered, multi-media performance event staged the same day as Cage conceived it that "would greatly influence 1950s and 60s artistic practices." In addition to Cage, the participants included Cunningham and Tudor. From 1953 onward, Cage was busy composing music for modern dance, particularly Cunningham's dances (Cage's partner adopted chance too, out of fascination for the movement of the human body), as well as developing new methods of using chance, in a series of works he referred to as The Ten Thousand Things. In the summer of 1954 he moved out of New York and settled in Gate Hill Cooperative, a community in Stony Point, New York, where his neighbors included David Tudor, M. C. Richards, Karen Karnes, Stan VanDerBeek, and Sari Dienes. The composer's financial situation gradually improved: in late 1954 he and Tudor were able to embark on a European tour. From 1956 to 1961 Cage taught classes in experimental composition at The New School, and from 1956 to 1958 he also worked as an art director and designer of typography. Among the works completed during the last years of the decade were Concert for Piano and Orchestra (1957–58), a seminal work in the history of graphic notation, and Variations I (1958). 1960s: Fame 's anechoic chamber, by which he discovered that absolute silence does not exist, inspiring him to compose 4′33″ Cage was affiliated with Wesleyan University and collaborated with members of its music department from the 1950s until his death in 1992. At the university, the philosopher, poet, and professor of classics Norman O. Brown befriended Cage, an association that proved fruitful to both. In 1960 the composer was appointed a fellow on the faculty of the Center for Advanced Studies (now the Center for Humanities) in the Liberal Arts and Sciences at Wesleyan, where he started teaching classes in experimental music. In October 1961, Wesleyan University Press published Silence, a collection of Cage's lectures and writings on a wide variety of subjects, including the famous Lecture on Nothing that was composed using a complex time length scheme, much like some of Cage's music. Silence was Cage's first book of six but it remains his most widely read and influential. By the mid-1960s, Cage was receiving so many commissions and requests for appearances that he was unable to fulfill them. This was accompanied by a busy touring schedule; consequently Cage's compositional output from that decade was scant. As set forth by Cage, "happenings" were theatrical events that abandon the traditional concept of stage-audience and occur without a sense of definite duration. Instead, they are left to chance. They have a minimal script, with no plot. In fact, a "happening" is so-named because it occurs in the present, attempting to arrest the concept of passing time. Cage believed that theater was the closest route to integrating art and real life. The term "happenings" was coined by Allan Kaprow, one of his students, who defined it as a genre in the late fifties. Cage met Kaprow while on a mushroom hunt with George Segal and invited him to join his class. In following these developments Cage was strongly influenced by Antonin Artaud's seminal treatise The Theatre and Its Double, and the happenings of this period can be viewed as a forerunner to the ensuing Fluxus movement. In October 1960, Mary Bauermeister's Cologne studio hosted a joint concert by Cage and the video artist Nam June Paik (Cage's friend and mentee), who in the course of his performance of Etude for Piano cut off Cage's tie and then poured a bottle of shampoo over the heads of Cage and Tudor. In 1967, Cage's book A Year from Monday was first published by Wesleyan University Press. Cage's parents died during the decade: his father in 1964, and his mother in 1969. Cage had their ashes scattered in Ramapo Mountains, near Stony Point, and asked for the same to be done to him after his death. 1969–1987: New departures During the 1960s, Cage produced some of his largest and most ambitious works, many of which reflected the era's utopian social ideals as well as his engagement with contemporary theories of media and technology. His reading of Marshall McLuhan on the cultural effects of new media, and R. Buckminster Fuller on the transformative potential of technology, informed several projects from this period. HPSCHD (1969), a large-scale multimedia work created in collaboration with Lejaren Hiller, combined seven harpsichords performing chance-determined excerpts from works by Cage, Hiller, and selections from the Western classical canon with 52 tapes of computer-generated sound. These were accompanied by 6,400 slides—many supplied by NASA—projected simultaneously from sixty-four slide projectors, as well as forty motion-picture films. The work was first presented in a five-hour performance at the University of Illinois in 1969, where audience members were free to enter and leave at any time, moving throughout the space rather than remaining seated for the duration. Also in 1969, Cage produced the first fully notated work in years: Cheap Imitation for piano. The piece is a chance-controlled reworking of Erik Satie's Socrate, and, as both listeners and Cage himself noted, openly sympathetic to its source. Although Cage's affection for Satie's music was well-known, it was highly unusual for him to compose a personal work, one in which the composer is present. When asked about this apparent contradiction, Cage replied: "Obviously, Cheap Imitation lies outside of what may seem necessary in my work in general, and that's disturbing. I'm the first to be disturbed by it." Cage's fondness for the piece resulted in a recording—a rare occurrence, since Cage disliked making recordings of his music—made in 1976. Overall, Cheap Imitation marked a major change in Cage's music: he turned again to writing fully notated works for traditional instruments, and tried out several new approaches, such as improvisation, which he previously discouraged, but was able to use in works from the 1970s, such as Child of Tree (1975). Cheap Imitation became the last work Cage performed in public himself. Arthritis had troubled Cage since 1960, and by the early 1970s his hands were painfully swollen and rendered him unable to perform. Nevertheless, he still played Cheap Imitation during the 1970s, before finally having to give up performing. Preparing manuscripts also became difficult: before, published versions of pieces were done in Cage's calligraphic script; now, manuscripts for publication had to be completed by assistants. Matters were complicated further by David Tudor's departure from performing in the early 1970s. Tudor decided to concentrate on composition instead, and so Cage, for the first time in two decades, had to rely on other performers and their respective abilities. Such performers included Grete Sultan, Paul Zukofsky, Margaret Leng Tan, and many others. Aside from music, Cage continued writing books of prose and poetry (mesostics). M was first published by Wesleyan University Press in 1973. In January 1978 Cage was invited by Kathan Brown of Crown Point Press to engage in printmaking, and Cage would go on to produce series of prints every year until his death; these, together with some late watercolors, constitute the largest portion of his extant visual art. In 1979 Cage's Empty Words was first published by Wesleyan University Press. 1987–1992: Final years and death In 1987, Cage completed a piece called Two, for flute and piano, dedicated to performers Roberto Fabbriciani and Carlo Neri. The title referred to the number of performers needed; the music consisted of short notated fragments to be played at any tempo within the indicated time constraints. Cage went on to write some forty such Number Pieces, as they came to be known, usually employing a variant of the same technique; one of the last was Eighty (1992, premiered in Munich on October 28, 2011). The process of composition in many of the later Number Pieces, was simple selection of pitch range and pitches from that range, using chance procedures; In the course of the 1980s, Cage's health worsened progressively. He suffered not only from arthritis, but also from sciatica and arteriosclerosis. He had a stroke that left the movement of his left leg restricted, and, in 1985, broke an arm. During this time, Cage pursued a macrobiotic diet. Nevertheless, ever since arthritis started plaguing him, the composer was aware of his age, and, as biographer David Revill observed, "the fire which he began to incorporate in his visual work in 1985 is not only the fire he has set aside for so long—the fire of passion—but also fire as transitoriness and fragility." On August 11, 1992, while preparing evening tea for himself and Cunningham, Cage had another stroke. He was taken to St. Vincent's Hospital in Manhattan, where he died on the morning of August 12. He was 79. According to his wishes, Cage's body was cremated and his ashes scattered in the Ramapo Mountains, near Stony Point, New York, at the same place where he had scattered the ashes of his parents. ==Music==

Early works, rhythmic structure, and new approaches to harmony Cage's first completed pieces have been lost. According to the composer, the earliest works were very short pieces for piano, composed using complex mathematical procedures and lacking in "sensual appeal and expressive power." Cage then started producing pieces by improvising and writing down the results, until Richard Buhlig stressed to him the importance of structure. Most works from the early 1930s, such as Sonata for Clarinet (1933) and Composition for 3 Voices (1934), are highly chromatic and betray Cage's interest in counterpoint. Around the same time, the composer also developed a type of a tone row technique with 25-note rows. After studies with Schoenberg, who never taught dodecaphony to his students, Cage developed another tone row technique, in which the row was split into short motives, which would then be repeated and transposed according to a set of rules. This approach was first used in Two Pieces for Piano (), and then, with modifications, in larger works such as Metamorphosis and Five Songs (both 1938). Soon after Cage started writing percussion music and music for modern dance, he started using a technique that placed the rhythmic structure of the piece into the foreground. In Imaginary Landscape No. 1 (1939) there are four large sections of 16, 17, 18, and 19 bars, and each section is divided into four subsections, the first three of which were all 5 bars long. First Construction (in Metal) (1939) expands on the concept: there are five sections of 4, 3, 2, 3, and 4 units respectively. Each unit contains 16 bars, and is divided the same way: 4 bars, 3 bars, 2 bars, etc. Finally, the musical content of the piece is based on sixteen motives. Such "nested proportions", as Cage called them, became a regular feature of his music throughout the 1940s. The technique was elevated to great complexity in later pieces such as Sonatas and Interludes for prepared piano (1946–48), in which many proportions used non-integer numbers (1¼, ¾, 1¼, ¾, 1½, and 1½ for Sonata I, for example), or A Flower, a song for voice and closed piano, in which two sets of proportions are used simultaneously. In late 1940s, Cage started developing further methods of breaking away with traditional harmony. For instance, in String Quartet in Four Parts (1950) Cage first composed a number of gamuts: chords with fixed instrumentation. The piece progresses from one gamut to another. In each instance the gamut was selected only based on whether it contains the note necessary for the melody, and so the rest of the notes do not form any directional harmony. Chance A chart system was also used (along with nested proportions) for the large piano work Music of Changes (1951), only here material would be selected from the charts by using the I Ching. All of Cage's music since 1951 was composed using chance procedures, most commonly using the I Ching. For example, works from Music for Piano were based on paper imperfections: the imperfections themselves provided pitches, coin tosses and I Ching hexagram numbers were used to determine the accidentals, clefs, and playing techniques. A whole series of works was created by applying chance operations, i.e. the I Ching, to star charts: Atlas Eclipticalis (1961–62), and a series of etudes: Etudes Australes (1974–75), Freeman Etudes (1977–90), and Etudes Boreales (1978). Cage's etudes are all extremely difficult to perform, a characteristic dictated by Cage's social and political views: the difficulty would ensure that "a performance would show that the impossible is not impossible"—this being Cage's answer to the notion that solving the world's political and social problems is impossible. Cage described himself as an anarchist, and was influenced by Henry David Thoreau. '' Another series of works applied chance procedures to pre-existing music by other composers: Cheap Imitation (1969; based on Erik Satie), Some of "The Harmony of Maine" (1978; based on Belcher), and Hymns and Variations (1979). In these works, Cage would borrow the rhythmic structure of the originals and fill it with pitches determined through chance procedures, or just replace some of the originals' pitches. Yet another series of works, the so-called Number Pieces, all completed during the last five years of the composer's life, make use of time brackets: the score consists of short fragments with indications of when to start and to end them (e.g. from anywhere between 1′15" and 1′45", and to anywhere from 2′00" to 2′30"). Cage's method of using the I Ching was far from simple randomization. The procedures varied from composition to composition, and were usually complex. For example, in the case of Cheap Imitation, the exact questions asked to the I Ching were these: • Which of the seven modes, if we take as modes the seven scales beginning on white notes and remaining on white notes, which of those am I using? • Which of the twelve possible chromatic transpositions am I using? • For this phrase for which this transposition of this mode will apply, which note am I using of the seven to imitate the note that Satie wrote? In another example of late music by Cage, Etudes Australes, the compositional procedure involved placing a transparent strip on the star chart, identifying the pitches from the chart, transferring them to paper, then asking the I Ching which of these pitches were to remain single, and which should become parts of aggregates (chords), and the aggregates were selected from a table of some 550 possible aggregates, compiled beforehand. The ENO's Musicircus featured artists including Led Zeppelin bassist John Paul Jones and composer Michael Finnissy alongside ENO music director Edward Gardner, the ENO Community Choir, ENO Opera Works singers, and a collective of professional and amateur talents performing in the bars and front of house at London's Coliseum Opera House. This concept of circus was to remain important to Cage throughout his life and featured strongly in such pieces as Roaratorio, an Irish circus on Finnegans Wake (1979), a many-tiered rendering in sound of both his text Writing for the Second Time Through Finnegans Wake, and traditional musical and field recordings made around Ireland. The piece was based on James Joyce's famous novel, Finnegans Wake, which was one of Cage's favorite books, and one from which he derived texts for several more of his works. Improvisation Since chance procedures were used by Cage to eliminate the composer's and the performer's likes and dislikes from music, Cage disliked the concept of improvisation, which is inevitably linked to the performer's preferences. In a number of works beginning in the 1970s, he found ways to incorporate improvisation. In Child of Tree (1975) and Branches (1976) the performers are asked to use certain species of plants as instruments, for example the cactus. The structure of the pieces is determined through the chance of their choices, as is the musical output; the performers had no knowledge of the instruments. In Inlets (1977) the performers play large water-filled conch shells – by carefully tipping the shell several times, it is possible to achieve a bubble forming inside, which produced sound. Yet, as it is impossible to predict when this would happen, the performers had to continue tipping the shells – as a result the performance was dictated by pure chance. ==Visual art, writings, and other activities==

Although Cage started painting in his youth, he gave it up to concentrate on music instead. His first mature visual project, Not Wanting to Say Anything About Marcel, dates from 1969. The work comprises two lithographs and a group of what Cage called plexigrams: silk screen printing on plexiglas panels. The panels and the lithographs all consist of bits and pieces of words in different typefaces, all governed by chance operations. From 1978 to his death, Cage worked at Crown Point Press, producing series of prints every year. The earliest project completed there was the etching Score Without Parts (1978), created from fully notated instructions, and based on various combinations of drawings by Henry David Thoreau. This was followed, the same year, by Seven Day Diary, which Cage drew with his eyes closed, but which conformed to a strict structure developed using chance operations. Finally, Thoreau's drawings informed the last works produced in 1978, Signals. Between 1979 and 1982, Cage produced a number of large series of prints: Changes and Disappearances (1979–80), On the Surface (1980–82), and Déreau (1982). These were the last works in which he used engraving. In 1983 he started using various unconventional materials such as cotton batting, foam, etc., and then used stones and fire (Eninka, Variations, Ryoanji, etc.) to create his visual works. In 1988–1990, he produced watercolors at the Mountain Lake Workshop. In the 1980s, Cage participated in the Mountain Lake Workshop, an experimental art symposium directed by Virginia Tech professor Ray Kass in southwestern Virginia. There, he produced a series of collaborative visual works that extended his interest in chance operations, including large-scale watercolor and print projects. Beginning in 1983, he worked with watercolors using methods such as controlled pours, chance-derived grids, and painting around stones with brushes made from feathers, techniques that emphasized indeterminacy within a structured process. The workshops allowed Cage to apply his musical concepts to visual art, and this period became a notable part of his late visual art practice. It is documented in The Mountain Lake Symposium and Workshop: Art in Locale (2018). The only film Cage produced was one of the Number Pieces, One11, commissioned by composer and film director Henning Lohner who worked with Cage to produce and direct the 90-minute monochrome film. It was completed only weeks before his death in 1992. One11 consists entirely of images of chance-determined play of electric light. It premiered in Cologne, Germany, on September 19, 1992, accompanied by the live performance of the orchestra piece 103. Throughout his adult life, Cage was also active as lecturer and writer. Some of his lectures were included in several books he published, the first of which was Silence: Lectures and Writings (1961). Silence included not only simple lectures, but also texts executed in experimental layouts, and works such as Lecture on Nothing (1949), which were composed in rhythmic structures. Subsequent books also featured different types of content, from lectures on music to poetry—Cage's mesostics. Cage was also an avid amateur mycologist. In the fall of 1969, he gave a lecture on the subject of edible mushrooms at the University of California, Davis as part of his "Music in Dialogue" course. He co-founded the New York Mycological Society with four friends, and his mycology collection is presently housed by the Special Collections department of the McHenry Library at the University of California, Santa Cruz. ==Reception and influence==

, Julia Wolfe, and Michael Gordon in 1982 Cage's pre-chance works, particularly pieces from the late 1940s such as Sonatas and Interludes, earned critical acclaim: the Sonatas were performed at Carnegie Hall in 1949. Cage's adoption of chance operations in 1951 cost him a number of friendships and led to numerous criticisms from fellow composers. Adherents of serialism such as Pierre Boulez and Karlheinz Stockhausen dismissed indeterminate music; Boulez, who was once on friendly terms with Cage, criticized him for "adoption of a philosophy tinged with Orientalism that masks a basic weakness in compositional technique." Prominent critics of serialism, such as the Greek composer Iannis Xenakis, were similarly hostile towards Cage: for Xenakis, the adoption of chance in music was "an abuse of language and ... an abrogation of a composer's function." An article by teacher and critic Michael Steinberg, Tradition and Responsibility, criticized avant-garde music in general: Cage's aesthetic position was criticized by, among others, prominent writer and critic Douglas Kahn. In his 1999 book Noise, Water, Meat: A History of Sound in the Arts, Kahn acknowledged the influence Cage had on culture, but noted that "one of the central effects of Cage's battery of silencing techniques was a silencing of the social." While much of Cage's work remains controversial, his influence on countless composers, artists, and writers is notable. After Cage introduced chance procedures to his works, Boulez, Stockhausen, and Xenakis remained critical, yet all adopted chance procedures in some of their works (although in a much more restricted manner); and Stockhausen's piano writing in his later Klavierstücke was influenced by Cage's Music of Changes and David Tudor. Other composers who adopted chance procedures in their works included Witold Lutosławski, Mauricio Kagel, and many others. Music in which some of the composition and/or performance is left to chance was labelled aleatoric music—a term popularized by Pierre Boulez. Helmut Lachenmann's work was influenced by Cage's work with extended techniques. Cage's rhythmic structure experiments and his interest in sound influenced a number of composers, starting at first with his close American associates Earle Brown, Morton Feldman, and Christian Wolff (and other American composers, such as La Monte Young, Terry Riley, Steve Reich, and Philip Glass), and then spreading to Europe. For example, many composers of the English experimental school acknowledge his influence: Michael Parsons, Christopher Hobbs, John White, Gavin Bryars, who studied under Cage briefly, and Howard Skempton. The Japanese composer Tōru Takemitsu has also cited Cage's influence. In 1986, he received an honorary doctorate from the California Institute of the Arts. Cage is a 1989 Kyoto Prize Laureate; the prize was established by Kazuo Inamori. The John Cage Award was endowed and established in 1992 by Foundation for Contemporary Arts in honor of the late composer, with recipients including Meredith Monk, Robert Ashley, and Toshi Ichiyanagi. Following Cage's death Simon Jeffes, founder of the Penguin Cafe Orchestra, composed a piece entitled "CAGE DEAD", using a melody based on the notes contained in the title, in the order they appear: C, A, G, E, D, E, A and D. Cage's influence was also acknowledged by rock acts such as Sonic Youth (who performed some of the Number Pieces) and Stereolab (who named a song after Cage), composer and rock and jazz guitarist Frank Zappa, and various noise music artists and bands: musicologist Paul Hegarty traced the origin of noise music to 4′33″. The development of electronic music was also influenced by Cage: in the mid-1970s Brian Eno's label Obscure Records released works by Cage. Prepared piano, which Cage popularized, is featured heavily on Aphex Twin's 2001 album Drukqs. Cage's work as musicologist helped popularize Erik Satie's music, and his friendship with Abstract expressionist artists such as Robert Rauschenberg helped introduce his ideas into visual art. Cage's ideas also found their way into sound design: for example, Academy Award-winning sound designer Gary Rydstrom cited Cage's work as a major influence. Radiohead undertook a composing and performing collaboration with Cunningham's dance troupe in 2003 because the music-group's leader Thom Yorke considered Cage one of his "all-time art heroes". In The Tragically Hip's 2000 song Tiger the Lion from their album Music @ Work, lyricist Gord Downie refers to Cage and his theories. Centenary commemoration brass band at the Borealis festival in Bergen, March 2012 In 2012, among a wide range of American and international centennial celebrations, an eight-day festival was held in Washington DC, with venues found notably more among the city's art museums and universities than performance spaces. Earlier in the centennial year, conductor Michael Tilson Thomas presented Cage's Song Books with the San Francisco Symphony at Carnegie Hall in New York. Another celebration came, for instance, in Darmstadt, Germany, which in July 2012 renamed its central station the John Cage Railway Station during the term of its annual new-music courses. At the Ruhrtriennale in Germany, Heiner Goebbels staged a production of Europeras 1 & 2 in a 36,000 sq ft converted factory and commissioned a production of Lecture on Nothing created and performed by Robert Wilson. Jacaranda Music had four concerts planned in Santa Monica, California, for the centennial week. John Cage Day was the name given to several events held during 2012 to mark the centenary of his birth. A 2012 project was curated by Juraj Kojs to celebrate the centenary of Cage's birth, titled On Silence: Homage to Cage. It consisted of 13 commissioned works created by composers from around the globe such as Kasia Glowicka, Adrian Knight and Henry Vega, each being 4 minutes and 33 seconds long in honor of Cage's famous 1952 opus, 4′33″. The program was supported by the Foundation for Emerging Technologies and Arts, Laura Kuhn and the John Cage Trust. In a homage to Cage's dance work, the Bill T. Jones/Arnie Zane Dance Company in July 2012 "performed an engrossing piece called 'Story/Time'. It was modeled on Cage's 1958 work 'Indeterminacy', in which [Cage and then Jones, respectively,] sat alone onstage, reading aloud ... series of one-minute stories [they]'d written. Dancers from Jones's company performed as [Jones] read." ==Archives==

• The archive of the John Cage Trust is held at Bard College in upstate New York. • The John Cage Music Manuscript Collection held by the Music Division of the New York Public Library for the Performing Arts contains most of the composer's musical manuscripts, including sketches, worksheets, realizations, and unfinished works. • The John Cage Papers are held in the Special Collections and Archives department of Wesleyan University's Olin Library in Middletown, Connecticut. They contain manuscripts, interviews, fan mail, and ephemera. Other material includes clippings, gallery and exhibition catalogs, a collection of Cage's books and serials, posters, objects, exhibition and literary announcement postcards, and brochures from conferences and other organizations • The John Cage Collection at Northwestern University in Illinois contains the composer's correspondence, ephemera, and the Notations collection. • The John Cage Materials are held within the Oral History of American Music (OHAM) collection of the Irving S. Gilmore Library at Yale University. ==See also==

Notes Citations Sources • • • • • • • • • • • • ==Further reading==