scholarly journals Análise musical de Six Melodies (1950), de John Cage: contexto e procedimentos composicionais

Opus ◽  
2018 ◽  
Vol 24 (1) ◽  
pp. 32
Author(s):  
Ana Leticia Crozetta Zomer ◽  
Guilherme Antonio Sauerbronn De Barros
Keyword(s):  
John Cage ◽  
Merce Cunningham

Neste trabalho apresentamos uma análise da obra Six Melodies, do compositor norte-americano John Cage (1912-1992). Criada em 1950, a obra pertence ao seu segundo período composicional, denominado Período Romântico (1938-1950) por Solomon (1998, 2002). A análise musical se deu a partir da investigação dos processos composicionais (micro-macrocosmic form e gamut technique), abordando aspectos formais e estruturais da obra. Dessa forma, procuramos revelar detalhes a respeito da estética de Cage durante seus primeiros anos como compositor e da influência que seu companheiro, Merce Cunningham, exerceu sobre as obras deste período. O estudo das técnicas composicionais desenvolvidas durante o Período Romântico reflete a mudança no pensamento estético-filosófico do compositor.

Black Mountain College

2018 ◽  
Author(s):  
Jeffrey Saletnik
Keyword(s):  
John Cage ◽  
Black Mountain College ◽  
Curricular Integration ◽  
Ernst Krenek ◽  
The Arts ◽  
Merce Cunningham ◽  
Willem De Kooning ◽  
Clement Greenberg ◽  
Buckminster Fuller ◽  
Black Mountain

Between 1933 and 1957, Black Mountain College served as an unlikely crucible of modernism. Despite its isolated location near Asheville, North Carolina, at various times its permanent and summer faculty included the likes of Anni Albers, Josef Albers, Ilya Bolotowsky, Jean Charlot, Lyonel Feininger, Joseph Fiore, Buckminster Fuller, Walter Gropius, Karen Karnes, Franz Kline, Willem de Kooning, Jacob Lawrence, Robert Motherwell, Beaumont Newhall, Amédée Ozenfant, Xanati Schawinsky, Ben Shahn, and Jack Tworkov. These artists and architects were joined by composers John Cage, Lou Harrison, Ernst Krenek, David Tudor, and Stefan Wolpe; writers and poets Robert Creeley, Charles Olsen, and M.C. Richards; as well as critic Clement Greenberg, musicologist Heinrich Jalowetz, and choreographer Merce Cunningham. There are few evident commonalities among the practices of this mix of European émigrés and Americans, yet the educationally progressive ethos of the College appealed to each of them. Its founding program was predicated upon a belief that the arts were central to higher education and that the practice of democracy would benefit from their curricular integration. Participation was prioritized in all activities, particularly in learning.

Introduction

2018 ◽  
Author(s):  
Carrie Rohman
Keyword(s):  
Virginia Woolf ◽  
John Cage ◽  
Art Making ◽  
Art Practices ◽  
Merce Cunningham ◽  
Isadora Duncan ◽  
The Aesthetic

Rather than looking primarily “beyond” ourselves to understand animals and aesthetics, I suggest we must also look “within” to identify a deep coincidence of the human and animal elaboration of life forces in bioaesthetic practices. A “bio-impulse” at the root of the aesthetic itself connects human artistic propensities to animality through strategies of excess, display, and intensification. Re-envisioning the aesthetic domain itself as trans-species in scope is ethically charged because our species must acknowledge the shared status of art-making, one of our most hallowed and formerly “exceptional” activities. In examining the work, theories, and art practices of Isadora Duncan, D. H. Lawrence, Virginia Woolf, Rachel Rosenthal, Merce Cunningham, and John Cage, I articulate ways to recognize and assess the entanglement of human and nonhuman aesthetic forces.

Cunningham, Merce (1919 – 2009)

2018 ◽  
Author(s):  
Roger F. Copeland
Keyword(s):  
Modern Dance ◽  
John Cage ◽  
Visual Artists ◽  
Martha Graham ◽  
Beliefs And Practices ◽  
Professional Career ◽  
Merce Cunningham ◽  
Classical Ballet ◽  
The Relationship ◽  
Classical Shape

One of the twentieth century’s most influential dancers and choreographers, Merce Cunningham re-defined the genre of modern dance. He began his professional career as a member of the Martha Graham Company in 1939. However, by 1953, when he founded his own company, he had repudiated many of the prevailing beliefs and practices of previous modern dance pioneers. Prior to Cunningham, most modern dance choreographers (including Graham) vehemently rejected the fundamentals of classical ballet. Cunningham, by contrast, re-incorporated ballet’s emphasis on classical shape, line, elevation and intricate footwork. He offset these balletic elements with eccentric tilts and twists of the torso, back and arms. In the early 1950s, in collaboration with the composer John Cage, Cunningham also pioneered the use of ‘chance methodologies’ as a choreographic tool. Together, Cunningham and Cage fundamentally re-conceived the relationship between movement and music which had characterised virtually all earlier genres of choreography. In Cunningham’s dances, movement, sound and décor all remained independent of one another. Yet the underlying concept of collaboration remained fundamental to Cunningham’s dances, with celebrated composers and visual artists creating sound scores and designs for the company. Over the course of a career that spanned more than 60 years, Cunningham choreographed over 200 dances including Root of an Unfocus (1944), Sixteen Dances For Soloist and Company of Three (1951) Septet (1953), Suite for Five in Space and Time (1956), Summerspace (1958), Rune (1959), Winterbranch (1964), Variations V (1965) Walkaround Time (1968), Rainforest (1968), Sounddance (1975), Torse (1976), Quartet (1982), Fabrications (1987), CRWDSPCR (l993) and BIPED (1999).

The Shiraz Arts Festival: Western Avant-Garde Arts in 1970s Iran

Leonardo ◽  
2007 ◽  
Vol 40 (1) ◽  
pp. 20-28 ◽  
Author(s):  
Robert Gluck
Keyword(s):  
Electronic Music ◽  
John Cage ◽  
Islamic Revolution ◽  
Karlheinz Stockhausen ◽  
Iannis Xenakis ◽  
Avant Garde ◽  
Peter Brook ◽  
Merce Cunningham ◽  
Arts Festival ◽  
Theater Directors

Iran in the 1970s was host to an array of electronic music and avant-garde arts. In the decade prior to the Islamic revolution, the Shiraz Arts Festival provided a showcase for composers, performers, dancers and theater directors from Iran and abroad, among them Iannis Xenakis, Peter Brook, John Cage, Gordon Mumma, David Tudor, Karlheinz Stockhausen and Merce Cunningham. A significant arts center, which was to include electronic music and recording studios, was planned as an outgrowth of the festival. While the complex politics of the Shah's regime and the approaching revolution brought these developments to an end, a younger generation of artists continued the festival's legacy.

scholarly journals Marcel Duchamp og postmoderne improvisasjonsdanstradisjoner, brudd og kontinuitet

2019 ◽  
Vol 10 (1-2) ◽  
pp. 4-15
Author(s):  
Hilde Rustad
Keyword(s):  
John Cage ◽  
Marcel Duchamp ◽  
Robert Rauschenberg ◽  
Merce Cunningham

Abstract Artikkelen drøfter sammenhenger mellom Marcel Duchamp (1887–1968) sin tenkning og danseimprovisasjon og kontaktimprovisasjon som tradisjoner. Forskningsprosjektet er tuftet på erfaring utøvere av danseimprovisasjon og kontaktimprovisasjon har gjort, og undersøker forbindelser mellom Duchamp og post-moderne improvisasjonsdanstradisjoner, og på hvilke måter bevissthet om slike forbindelser kan ha betydning for tradisjonenes utøvere. Forfatteren anvender Lindholm og Gadamers (1900–2002) tradisjonsbegrep som analytisk blikk og fortolkningsperspektiv, og får fram hvordan deler av Duchamps tankegods som kan forstås som overlevert via John Cage, Merce Cunningham og Robert Rauschenberg til dansekunstnere som var ansvarlig for oppstarten av postmoderne dans, og som i dag kan forstås som inkorporert i danseimprovisasjon og kontaktimprovisasjon. Tradisjonsperspektivet bidrar videre til å belyse hvordan utøvere kan få en økt forståelse av hva det innebærer å tilhøre en tradisjon, og hvilken betydningen det har å kjenne tradisjonen man tilhører best mulig. I tillegg synliggjøres hvordan postmoderne improvisasjonsdanstradisjoner ved Duchamp har europeiske røtter i tillegg til de amerikanske, og dette gir et utvidet perspektiv og bidrar til et mer komplekst bilde av tradisjonene både innholdsmessig og geografisk.

Black Mountain, Provincetown, and the Woman Paintings

2017 ◽  
Author(s):  
Cathy Curtis
Keyword(s):  
North Carolina ◽  
Real Life ◽  
John Cage ◽  
Black Mountain College ◽  
Merce Cunningham ◽  
Willem De Kooning ◽  
Female Figures ◽  
Summer Session ◽  
Erik Satie ◽  
Black Mountain

In 1948, Willem de Kooning taught at the Black Mountain College summer session in Asheville, North Carolina. Elaine thrived in this experimental ambience. She worked on Buckminster Fuller’s first geodesic dome, studied with Josef Albers, and played the ingénue in The Ruse of Medusa, choreographed by Merce Cunningham, with music by Erik Satie played by John Cage. While Bill labored over his breakthrough painting Asheville, Elaine produced rhythmic abstractions on wrapping paper. That fall, he painted Woman, the first of his grotesque female figures. It is impossible to fully parse the real-life and artistic influences that led to these paintings, but his deepening rift with Elaine was surely among them. The following summer, in Provincetown, Massachusetts, she studied with Hans Hofmann and socialized with friends. One of her self-portraits was included in a group exhibition at the Sidney Janis Gallery that fall; portraiture would change the course of her creative

scholarly journals John Cage y su influencia en la obra del video artista Nam June Paik

2009 ◽  
pp. 237
Author(s):  
Íñigo Sarriugarte Gómez
Keyword(s):  
John Cage ◽  
Allen Ginsberg ◽  
I Ching ◽  
Merce Cunningham ◽  
El Sistema ◽  
Nam June Paik

En 1958, el artista coreano Nam June Paik (*1932; †2006) conoce en Alemania a John Cage (*1912; †1992), músico vanguardista, quien estaba profundamente interesado en el budismo zen. Su encuentro con Cage fue vital, ya que el compositor norteamericano convencerá a éste para que oriente su carrera hacia la vanguardia artística, dejando su faceta de pianista clásico. La filosofía de Cage queda reflejada en composiciones como 4’33’’, de 1952, donde el espectador no escucha el sonido del piano, ya que este no es tocado, sino un silencio que es entrecortado por el sonido ambiental. Hay varias versiones de esta pieza, marcándose los silencios mediante procesos al azar con el sistema del “I Ching”. En este sentido, el silencio empleado por John Cage se relaciona con la vacuidad del budismo zen. Igualmente, Paik hace uso del silencio en numerosos trabajos, como en “TV Clock” de 1963, donde se observan 24 televisiones manipuladas a color, a la vez que se siente el silencio, nuevamente entrecortado por las propias circunstancias momentáneas del espectador. Esta infl uencia del budismo zen en la música de Cage se observa cuando argumenta que la música compuesta de melodías tiene el mismo valor que el sonido dedicado por nosotros como ruidos. Este aspecto, entre otros, influyeron a Paik, cuyas video imágenes se definen como atributos de trabajos tradicionales que no impresionan a la audiencia, sino que sugieren condiciones variables. Algunas de sus obras relacionadas con la filosofía de Cage han sido “Hommage à John Cage” en 1959; “Estudio para pianoforte” de 1960; y “Global Grove” de 1973, donde Paik trabaja a modo de collage las imágenes de sus colaboradores vanguardistas John Cage, Allen Ginsberg y Merce Cunningham.

The Gay Divorce of Music and Dance: Choreomusicality and the Early Works of Cage-Cunningham

2018 ◽  
Vol 71 (2) ◽  
pp. 439-525 ◽  
Author(s):  
Daniel M. Callahan
Keyword(s):  
Sexual Desire ◽  
John Cage ◽  
Social Conformity ◽  
Thematic Content ◽  
Avant Garde ◽  
Artistic Collaboration ◽  
Merce Cunningham ◽  
History Of

This article explores the early collaborations of John Cage and Merce Cunningham, in which music and dance were united structurally and in expressive intent. Drawing on unexamined archival materials, I begin by highlighting the thematic content of the earliest Cage-Cunningham collaborations, Credo in Us (1942) and Four Walls (1944), of Cunningham's (rather than Martha Graham's) choreography for the Revivalist's solo in Appalachian Spring (1944), and of Cage's The Perilous Night (1943–44), premiered at the couple's debut concert. These works all portray a conflict between sexual desire and social conformity through marriage, a theme of pressing import as Cage left his wife to become Cunningham's partner. I then elucidate the programmatic nature of the first and last works that Cunningham choreographed to the music of Satie, Idyllic Song (1944) and Second Hand (1970), both of which use Cage's arrangements for piano of Satie's Socrate. Placing Cunningham's personal choreographic notes in dialogue with my own observation of rehearsals and performances, I suggest that Second Hand dramatizes not only the Socratic texts set in Satie's score but also the couple's relationship and their earlier dependence on and subsequent rejection of personal expression, a rejection that heightened their status within the postwar avant-garde. Instead of dismissing the collaborations of the 1940s as “early” or “anomalous,” I suggest that they are fundamental to understanding how Cage and Cunningham's relationship prior to their de facto marriage led to one of the most productive divorces in the history of artistic collaboration.

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