DAmico, Fedele 1977. Fischi e pugni: Un successone. LEspresso (December 18).
DAmico, Fedele 1978. Fischiatemi, per carit. LEspresso (January 29).
DAmico, Sandro 1954, ed. Cage, John. In Enciclopedia dello spettacolo. Roma: Le
Maschere, vol. 2, cols. 1466-1467.
DHarnoncourt, Anne 1982a, ed. John Cage: Scores & Prints. New York: Whitney Museum of
American Art; Philadelphia, Pennsylvania: Philadelphia Museum of Art
[exhibition September 11-October 31, 1982].
DHarnoncourt, Anne 1982b. John Cage at Seventy:
Toward a Chronology. In DHarnoncourt 1982a; repr. in Diamond and Hicks 1982,
58-61.
DHarnoncourt, Anne 1982c. We Have Eyes as well as
Ears. In DHarnoncourt 1982a; repr. in Kaprow and Solway 1987, 35a-c; repr.
in Kostelanetz 1993f, 319-322; French as Nous avons aussi bien des yeux que
des oreilles. Trans. Carol Richards. In Charles 1987-1988, 233-235.
DHarnoncourt, Anne 1993. Paying Attention. In
Ferguson and Schottlaender 1993; Italian as Prestare attenzione. Trans.
Erminio Corti. In Bonomo and Furghieri 1998, 429-438.
DHarnoncourt,
Anne and Walter Hopps 1969. Etant donns:
1 la chute deau; 2 le gaz dՎclairage: Reflections on a New
Work by Marcel Duchamp. Philadelphia, Pennsylvania: Philadelphia Museum of Art (Philadelphia
Museum of Art Bulletin; 64, no. 299-300 [April-September 1969]); repr. 1973;
repr. 1987.
DHarnoncourt,
Anne and Kynaston McShine 1973, ed. Marcel
Duchamp. New York [etc.]: Museum of Modern Art; repr. Mnchen: Prestel,
1989.
D.D.T. 1970. Le musicircus de John Cage. LHebdo Hara-kiri no. 90 (October 19).
D.S. 1977. Unico concerto europeo di John Cage a Milano. Il Messaggero (November 29), 3.
D.T. 1980. Roaratorio im Schrottparadies. Theater Rundschau [Bonn] (October 18).
Dadelsen, Hans-Christian von 1978.
Neuerscheinungen-Rezensionen. Musik und
Bildung 10, 738.
Dagens Nyheter 1964. Cunningham och ryggraden. Dagens Nyheter [Stockholm] (September 11), 22.
Dahl, Ingolf 1949. Notes on Cartoon Music. Film Music Notes [New York] 8, no. 5
(May-June), 3-13.
Dahlberg, Getrude 1965. Big, Man, Big! County Citizen [Nyack, New York] (October 6), 7.
Dahlhaus, Carl 1969. Pldoyer fr eine romantische
Kategorie: Der Begriff des Kunstwerks in der neuesten Musik. Neue Zeitschrift fr Musik 130, no. 1
(January), 18-22; repr. in Dahlhaus 1978a, 270-278; repr. in Dahlhaus 2005,
216-224; English as Plea for a Romantic Category: The Concept of the Work of
Art in the Newest Music. In Dahlhaus 1987, 210-219.
Dahlhaus, Carl 1971. ҆ber den Zerfall des
musikalischen Werkbegriffs. In Beitrge
1970/1971 der sterreichischen Gesellschaft fr Musik. Kassel [etc.]:
Brenreiter, 9-26; repr. in Dahlhaus 1978a, 279-290; repr. in Dahlhaus 2005,
231-243; English as On the Decline of the Concept of the Musical Work. In
Dahlhaus 1987, 220-233.
Dahlhaus, Carl 1972a, ed. Cage, John. In Riemann Musiklexikon, 12th ed.,
Ergnzungsband [1], Personenteil A-K. Mainz [etc.]: Schott, 179-181.
Dahlhaus, Carl 1972b. ҆ber Sinn und Sinnlosigkeit in
der Musik. In Stephan 1972, 90-99; repr. in Dahlhaus 1978a, 365-373; repr. in
Dahlhaus 2005, 253-262.
Dahlhaus, Carl 1978a. Schnberg und andere: Gesammelte Aufstze zur Neuen Musik. Mainz
[etc.]: Schott.
Dahlhaus, Carl 1978b. ҆ber offene und latente
Traditionen in der neuesten Musik. In Die
neue Musik und die Tradition. Ed. by Reinhold Brinkmann. Mainz [etc.]: Schott, 1983, 9-21
(Verffentlichungen des Instituts fr Neue Musik und Musikerziehung Darmstadt;
19); repr. in Dahlhaus 2005, 112-122.
Dahlhaus, Carl 1984a. Abkehr vom Materialdenken? In Algorithmus, Klang, Natur: Abkehr vom
Materialdenken? Ed. by Friedrich Hommel. Mainz [etc.]: Schott, 45-55
(Darmstdter Beitrge zur Neuen Musik; 19); repr. in Dahlhaus 2005, 482-494;
English as A Rejection of Material Thinking? In Dahlhaus 1987, 274-287.
Dahlhaus, Carl 1984b. John Cage. In Dahlhaus and
Zimmermann 1984, 395-400.
Dahlhaus, Carl 1987. Schoenberg and the New Music: Essays. Trans. Derrick Puffett and
Alfred Clayton. Cambridge [etc.]: Cambridge University Press.
Dahlhaus, Carl 2005. 20. Jahrhundert: Historik – sthetik – Theorie – Oper
– Arnold Schnberg. Ed. by Hermann Danuser. Laaber: Laaber
(Gesammelte Schriften; 8).
Dahlhaus, Carl and Hans Heinrich Eggebrecht 1978, ed.
Cage, John. In Brockhaus-Riemann-Musiklexikon:
In zwei Bnde. Wiesbaden [etc.]: Brockhaus; Schott, vol. 1, A-K, 202-203.
Dahlhaus, Carl and Michael Zimmermann 1984, selection
and commentary. Musik – zur Sprache
gebracht: Musiksthetische Texte aus drei Jahrhunderten. Mnchen: Deutscher
Taschenbuch Verlag; Kassel [etc.]: Brenreiter.
Daily Illini 1967. Musicircus, Panel Today. Daily Illini (November 17).
Daily Journal 1966. Aspen to Host Design Meet Starting Sunday. Daily Journal [Denver, Colorado] (June 17).
Daily Mail 1964. The New Ice-Breakers of Modern Ballet. Daily Mail (July 28).
Daily Reveille 1964.
Cage Speech Is Termed Astounding. Daily
Reveille [Baton Rouge, Louisiana] (January 10).
Daily Sport 1992. Fans Fork Out for a Bit of Hush. Daily Sport [London] (February 6), 3.
Daily Telegraph 1992.
John Cage. Daily Telegraph [London]
(August 14), 17.
Dallas, Karl 1982a. John Cage: Sonatas & Interludes for Prepared Piano. Music News [London], special edition of Jazz Music News and Folk Music News, [7].
Dallas, Karl 1982b. John Cage, the Avant Garde, and the Folk Tradition. Music News [London], special edition of Jazz Music News and Folk Music News, [2].
Dallin, Leon 1974. Techniques
of Twentieth-Century Composition, 3rd ed. Dubuque, Iowa: Wm. C. Brown.
Dalton, Jody 1988. Eareviews. Ear 13, no. 6 (September), 26-27.
Dalton, Jody 1989. Cage Honored. Ear 14, no. 7 (October), 15.
Dalton, Jody 1990. [Review of Dufallo 1989 and Kostelanetz 1989e]. Ear 14, no. 10 (February), 58.
Daly, Ann 1986. Viewpoint: Roaratorio: An Irish Circus On Finnegans Wake. High Performance [Los Angeles,
California] 9, no. 4 <no. 36> (Winter), 77.
Damian, Jean-Michel 1970a. John Cage enfin. Politique Hebdo (October 22), 30.
Damian, Jean-Michel 1970b. [Review]. Politique Hebdo (November 12).
Damian, Jean-Michel 1973-1974. Cage et Cunningham
lOpra. Art Press [Paris] no. 8
(December-January), 25.
Dance 1954. Merce Cunningham and Dance Company. Dance 28, no. 2 (February), 69-70, 73.
Dance Observer 1954. Merce Cunningham Receives Guggenheim Award. Dance Observer (August-September).
Dandrel, Louis and Jacques Lonchampt 1970. Une
exposition sonore. Le Monde (October
15), 15.
Daniel, Oliver 1953. New Recordings. Bulletin of American Composers Alliance
3, no. 1, 15-16.
Daniel, Oliver 1959. [Review of Hoover and Cage 1959].
Saturday Review (May 30), 54.
Daniel, Oliver 1964. The Enlivening Avant-Garde. Saturday Review (March 28), 50, 61.
Daniel, Oliver 1966. The Science of Saying Nothing. Saturday Review (April 30), 63, 74.
Daniel, Oliver 1969. Loops and Reels. Saturday Review (April 12), 62-63.
Daniels, Arthur and Laverne Wagner 1975, ed. Music. New York: Holt, Rinehart and
Winston.
Dannenberg, Peter 1972. Musik auf der Suche nach sich
selbst. Die Welt (December 22).
Dannenberg, Peter 1973. Aufgelockerte und sterile
Programme. Neue Musikzeitung 22
(February-March), 4.
Dannenberg, Peter 1975a. Was hat Colin McPhee mit
Cage zu tun? Neue Musikzeitung 24,
no. 5, 21.
Dannenberg, Peter 1975b. Wege zu Cage. Stuttgarter Zeitung (June 23).
Danninger, Helmut 1979. Rituale ums Ich:
Erluterungen zu den Song Books. In Zeller 1979a, 45-59.
Dansk Musiktidsskrift
1982-1983. Vrkliste - tidlig Cage (1932-1958). Dansk Musiktidsskrift 57, no. 2 (1982-1983), 79.
Danuser, Hermann 1984. Die Musik des 20. Jahrhunderts. Laaber: Laaber-Verlag (Neues
Handbuch der Musikwissenschaft; 7).
Danuser, Hermann 1985. Pldoyer fr die amerikanische
Moderne. In Die Musik der fnfziger
Jahre: Versuch einer Revision. Ed. by Carl Dahlhaus. Mainz [etc.]: Schott,
21-38 (Verffentlichungen des Instituts fr Neue Musik und Musikerziehung
Darmstadt; 26).
Danuser, Hermann 1986a. John Cage. In Pipers Enzyklopdie des Musiktheaters: Oper,
Operette, Musical, Ballet. Ed. by Carl Dahlhaus, Sieghart Dhring et al.
Mnchen [etc.]: Piper, vol. 1, 489-491.
Danuser, Hermann 1986b. Vier Kulturen der Musik:
Paradigmen der Musikgeschichte des 20. Jahrhunderts. Neue Zrcher Zeitung, Fernausgabe (July 18), 27-28.
Danuser, Hermann 1987a. Auf der Suche nach einer
nationalen Musiksthetik. In Danuser, Kmper and Terse 1987, 51-59.
Danuser, Hermann 1987b. Gegen-Traditionen der
Avantgarde. In Danuser, Kmper and Terse 1987, 101-112.
Danuser, Hermann 1989. Neue Innerlichkeit in der
zeitgenssischen Musik. Dissonanz =
Dissonance no. 22 (November), 4-6.
Danuser, Hermann 1990a. Innerlichkeit und
uerlichkeit in der Musiksthetik der Gegenwart. In Jost 1990, 17-29.
Danuser, Hermann 1990b. Inspiration, Rationalitt,
Zufall: ber musikalische Poetik im 20. Jahrhundert. Archiv fr Musikwissenschaft 47, 87-102.
Danuser, Hermann 1991. Rationalitt und Zufall: John
Cage und die experimentelle Musik in Europa. In sthetik im Widerstreit: Interventionen zum Werk von Jean-Franois
Lyotard. Ed. by Wolfgang Welsch and Chistine Pries. Weinheim: Acta
Humaniora, 91-105.
Danuser, Hermann 1992. Gibt es eine Darmstdter
Schule? Dissonanz = Dissonance no. 31
(February), 24-27; repr. in Musikkultur
in der Bundesrepublik Deutschland: Symposion Leningrad 1990 = Muzykalnaja
kultura v Federativnoj Respublike Germanija: Simpozium Leningrad 1990.
Kassel: Bosse, 1994, 149-166.
Danuser, Hermann 1993. Die Postmodernitt des John
Cage: Der experimentelle Knstler in der Sicht Jean-Franois Lyotards. In Wiederaneignung und Neubestimmung: Der Fall
Postmoderne in der Musik. Ed. by Otto Kolleritsch. Wien [etc.]: Universal
Edition (Studien zur Wertungsforschung; 26), 142-159.
Danuser, Hermann, Dietrich Kmper, and Paul Terse
1987, ed. Amerikanische Musik seit
Charles Ives: Interpretationen, Quellentexte, Komponistenmonographien.
Laaber: Laaber-Verlag. Includes Briner 1987a; Cage 1959j; Danuser 1987a;
Frst-Heidtmann 1987a; Gronemeyer 1987c; La Motte-Haber 1987.
Danuser, Hermann and Tobias Plebuch 1998, ed. Musik als Text. Kassel [etc.]: Brenreiter, 2 vols.
Darack, Arthur 1957. Disharmony. Cincinnati Enquirer (February 16), 11.
Darack, Arthur 1967. Stone Walls Do Not a Prison Make, Nor Iron Bars, a Cage Cincinnati Pictorial Enquirer (July 9), 20-22.
Darmstdter Beitrge 1959. Kranichsteiner Chronik 1958. Darmstdter Beitrge zur Neuen Musik 2,
69-74.
Darmstdter Echo 1958.
Statt einer Erwiderung. Darmstdter
Echo (September 17).
Darter, Tom 1982. The Piano Music of John Cage. Keyboard 8, no. 9 (September), 23-25.
Darter, Tom 1992. World View: John Cage 1912-1992. Keyboard 18 (November), 42-43.
Daseler, Robert 1970. John Cage Remains a Heretics
Heretic in Heretical Times (He Has I Ching Computerized). Middletown Press (April 10), 6-7.
Dasilva, Fabio B. and Allan M. Hunchuk 1989. Musical
Spaces: A Phenomenological Analysis of John Cages Variations IV. Music Review
50, 281-296.
Dasilva, Fabio B. and Allan M. Hunchuk 1990.
Everywhere and Nowhere: On John Cage and Maurice Merleau-Ponty. Music Review 51, 307-323.
David, Beverly R. 1977. Cages Mureau: Another Revolution. American
Poetry Review 6, no. 4 (July-August), 44-46.
Davidian, Teresa Maria 2000. From Crawford to Cage:
Parallels and Transformations. Musical
Quarterly 84, no. 4 (Winter), 664-695.
Davidson, Audrey 1972. The Games John Cage Plays. Michigan Academician 4, no. 3 (Winter),
269-280; repr. in Audrey Davidson, Substance
and Manner: Studies in Music and the Other Arts. Saint Paul, Minnesota:
Hiawatha Press, 1977.
Davies, Hugh 1968. Rpertoire
international des musiques lectroacoustiques = International Electronic Music
Catalog. Cambridge,
Massachusetts [etc.]: M.I.T. Press.
Davies, Hugh 1974. Electronic Music: History and
Development. In Vinton 1974, 212-216.
Davies, Laurence 1971. Paths to Modern Music: Aspects of Music from Wagner to the Present Day.
New York: Charles Scribners Sons.
Davies, Peter Maxwell 1964. The Young Composer in
America. American Scholar 33, no. 4
(Fall), 620, 622, 624, 626, 628; repr. Tempo
no. 72 (Spring 1965), 2-6.
Davies, Stephen 1999. [Review of Cage/Retallack 1996].
Journal of Aesthetics and Art Criticism 57, no. 1 (Winter), 93-94.
Davis, Bob and Randy Lyman 1988. The Hub: Where
Computers Jam. Ear 13, no. 1
(March), 14-15.
Davis, Douglas M. 1969. The Expanding Arts: Why Armchair Critics Must Go. National Observer (1969).
Davis, Peter 1977. How to Improve the World (John Cage). The Bucknellian [Lewisburg, Pennsylvania] (March 11), unpag.
Davis, Peter G. 1978. Y New Music for Voice. New York Times (February 1).
Davis, Peter G. 1982. Uncaged Spirits. New York 15, no. 13 (March 29), 80-81.
De Antonio, Emile F. 1956. Pianist Cage Coming But No
Dolls Arm. Boston Herald (April
18), 15.
De Gramont, Sanche 1963. Breaking the Sound Barrier: Music to Have Nightmares By. New York Herald Tribune (July 21), 1, 4.
De Gregori, Paolo 1974. John Cage. Super Sound [Rome] (July 1), 10.
De la Vega, A(urelio) 1967. Avant Garde Music at the
American Art Biennal of Cordoba. Inter-American
Institute for Musical Research: Yearbook = Instituto Interamericano de Investigacin
Musical: Anuario 3, 99-100.
De Mey, Thierry 1997. How to know the
dancer from the dance. In De la diffrence des arts. Ed. Jean Lauxerois and Peter
Szendy. Paris: LHarmattan; Centre Georges Pompidou, 173-184.
De Pirro, Carlo 1993. Nono-Cage in crescendo. La Nuova Venezia (June 22), 41.
De Roeck, Jef 1987. Dansen is bewegen. De Standaard (September 16), 7.
De Schauensee, Max 1959. New Books: Virgil Thomson
[Review of Hoover and Cage 1959]. Opera
News 24, no. 5 (December), 30.
De Visscher, Eric 1984. Le son et lՎcrit chez John
Cage: Propositions pour une smiotique musicale. Licentiate thesis [thse de
licencie], Universit Catholique de Louvain-la-Neuve.
De Visscher, Eric 1987. Continuing the Experimental
Tradition... Perspectives of New Music
25, no. 1-2 (Winter-Summer), 490-492.
De Visscher, Eric 1987-1988. I welcome whatever
happens next: La musique rcente de John Cage. In Charles 1987-1988, 177-185.
De Visscher, Eric 1989a. Par hasard, par Henri
Pousseur. Revue belge de musicologie =
Belgisch tijdschrift voor muziekwetenschap 43, 123-133.
De Visscher, Eric 1989b. Theres no such thing as
silence: John Cages Poetics of Silence. Interface
18, 257-268; repr. in Kostelanetz 1993f, 117-133; German as So etwas wie
Stille gibt es nicht: John Cages Poetik der Stille. MusikTexte no. 40-41 (August 1991), 48-54; corrections MusikTexte no. 42 (November 1991), 71;
repr. in Blomann and Sielecki 1997, 191-201.
De Visscher, Eric 1990a. John Cages Europeras 3 & 4 at the Almeida
Festival, London. Musicworks no. 48
(Fall), 53-54.
De Visscher, Eric 1990b. Very Special Records from
Germany. Musicworks no. 47 (Summer),
44-45.
De Visscher, Eric 1991a. Anstze zum Dialog
Europa-USA: Das belgische Festival Ars Musica. MusikTexte no. 39 (April), 57.
De Visscher, Eric 1991b. Duchamp the Composer. Musicworks no. 50 (Summer), 58.
De Visscher, Eric 1991c. John Cage und die Idee der
Harmonik. Positionen no. 6-7 (1991),
23-28; English as John Cage and the Idea of Harmony. Musicworks no. 52 (Spring 1992), 50-56.
De Visscher, Eric 1991d. Times and Silences: Some
Speculative Remarks. Musicworks no.
50 (Summer), 37-39.
De Visscher, Eric 1992a. Adieu John Cage. Le Soir (August 17), 2.
De Visscher, Eric 1992b. Die Knstlergruppe Les
incohrents und die Vorgeschichte zu 4'33". In Schdler and Zimmermann
1992b, 71-76.
De Visscher, Eric 1992c. No fixed relations: A
propos du film Cage-Cunningham
dElliot Caplan. Revue desthtique
new series no. 22 (1992), 105, 108-110.
De Visscher, Eric
1992d. A Special Hommage to John Cage. Musicworks
no. 52 (Spring), 4.
De Visscher, Eric 1994. A Few Short Anecdotes about John Cage. Musicworks no. 58 (Spring), 47.
De Visscher, Eric
1995. James Pritchett: The Music of John Cage. Musicworks no. 61 (Spring), 83-84.
De Vree, Freddy 1982. John Cage zeventig jaar. Muziek en Woord [Zaventem] 8, no. 88
(January), 21.
Deane, Patrick 1992. Justified Radicalism: A. R.
Ammons with a Glance at John Cage. Papers
on Language & Literature 28 (1992), 206-222.
Deane, Raymond 1982. Founding Father: Raymond Deane
Reflects on John Cage at 70. Sound Post
10 (October-November).
Dearborn, P.A. 1946. Prepared Piano [photograph with
caption text]. PM [New York]
(December 10).
Dearling, Robert, Celia Dearling and Brian Rust 1976. The Guinness Book of Music: Facts and Feats.
Enfield, Middlesex: Guinness Superlatives.
DeBell, Jeff 1988. Chance Operation. Roanoke Times & World-News (April
11), Extra, 1, 3.
DeBell, Jeff 1989. Chance Encounters. Roanoke Times & World News (June 5),
Extra 1, 3.
DeCamp, Carol 1948. DeCamp Discusses Cage, Shahn; Their Approach to Art. Vassar Chronicle 5, no. 20 (March 6), 3-4.
Decatur Sunday Herald and Review 1969. Avant Garde Music Concert Set for U of I. Decatur Sunday Herald and Review (May 11).
Deckenbrock, Nikolaus 1985a. Satie-Workshop in Bonn.
Fono-Forum (June).
Deckenbrock, Nikolaus 1985b. Von der zuflligen Langeweile.
General-Anzeiger (April 2), 15.
Decker, Annie de 1989. Baudouin Oosterlynck. Artefactum no. 31 (November-December),
16-18.
Decker, Edith 1993. Die visuelle Musik Nam June
Paiks. In Film und Musik. Ed. by
Helga de la Motte-Haber. Mainz: Schott, 37-42 (Verffentlichungen des Instituts
fr neue Musik und Musikerziehung Darmstadt; 34).
Declercq, Joost
1985. In het park van de eenentwintigste eeuw. Muziek & Woord 11, no. 127 (April), 29.
Decoust, Michel/Anonymous 1972. Interview de Michel
Decoust. In Bosseur, J.-Y. et al. 1971-1972, 8-14.
Decroupet, Pascal 1992. Via Varse. In La
Motte-Haber 1992, 28-40.
Decroupet, Pascal 1995. Renverser la vapeur...: Zu
Musikdenken und Kompositionen von Boulez in den fnfziger Jahren. In Pierre Boulez. Ed. by Heinz-Klaus
Metzger and Rainer Riehn. Mnchen: text + kritik, 112-131 (Musik-Konzepte;
89-90).
Decroupet, Pascal 1997. Aleatorik und
Indetermination: Die Ferienkurse als Forum der europischen Cage-Rezeption. In
Borio and Danuser 1997, vol. 2, 189+.
Decroupet, Pascal 1999. First Sketches of
Reality: Fragmente zu Stockhausen (Klavierstck VI). In Die
Anfnge der seriellen Musik. Ed. by Orm Finnendahl. Hofheim: Wolke, 97-133
(Kontexte; 1).
Deecke,
Thomas 1975, ed. 10 Jahre Berliner Knstlerprogramm.
Berlin: Deutscher Akademischer Austauschdienst/Berliner Knstlerprogramm.
Defendorf, Richard 1995. Mills Hosts Celebration of
John Cages Artistry. Oakland Tribune
(November 13), C-2.
Defibaugh, Duffy 1953. Magnetic Music Not Ready. Daily Illini (March 24), 1.
Degens, Ralph N. 1970a. Grammofoonrubriek. Mens en Melodie 25, 61-62.
Degens, Ralph N. 1970b. Grammofoonrubriek. Mens en Melodie 25, 125-126.
Degens, Ralph N. 1970c. Grammofoonrubriek. Mens en Melodie 25, 317.
Degens, Ralph N. 1971a. Grammofoonrubriek. Mens en Melodie 26, 58-59.
Degens, Ralph N. 1971b. Grammofoonrubriek. Mens en Melodie 26, 220-221.
Degens, Ralph N. 1971c. Grammofoonrubriek. Mens en Melodie 26, 381-382.
Degens, Ralph N. 1984. Festival Nieuwe Muziek:
Dubbele belangstelling. Trouw (June
25).
Degens, Ralph N. 1985. Vergrijsde avant-gardisten. Trouw (March 25).
Degens, Ralph N. 1988a. John Cage: onvoorspelbaar. Trouw (November 21), 9.
Degens, Ralph N. 1988b. Wijze lessen in on-zin. Trouw (November 18), 18.
Degens, Ralph N. 1995a. Cd-besprekingen alfabetisch.
Luister 43, no. 508 (January), 33.
Degens, Ralph N. 1995b. Cd-besprekingen alfabetisch.
Luister 43, no. 515 (August), 30.
Dehoux, Vincent 1975. Chroniques. Musique en jeu no. 20 (September),
112-113.
Deitz, Roger 2003. The Sounds of Silence. Sing Out! 47 (Summer), 224.
Dekker, Menno 1998. Boeken. Tijdschrift voor muziektheorie 3, 77-83.
Del 1981. Die ganze Spannweite des Schlagzeugs. Main-Post (November 10).
Delaigue, Olivier 1997. Earle Brown et la France. In
Sillages musicologiques: Hommage Yves
Grard. Ed. Raphalle Legrand and Philippe Blay. Paris: Conservatoire
National Suprieur de Musique et de Danse, Association du Bureau des Etudiants,
289-308.
Delcker-Wirth, Barbara 1987. John Cage (1912-): Ein
Bestandsverzeichnis der ffentlichen Musikbibliotheken in der Bundesrepublik
Deutschland. Forum Musikbibliothek
no. 4 (1987), 275-288.
Delden, Lex [Alexander] van 1953. Overal werpt men
zich op experimentele muziek. Het
Parool (June 27).
Delden, Lex van 1960. Dansen met John Cage. Het Parool (October 1).
Delden, Lex van 1964. Grappen van John Cage en
organisme van Berio. Het Parool
(February 24).
Delden, Lex van 1974. Vervelende geluiden. Het Parool (February 5).
Delden, Lex van 1976. Cage-avond een ramp. Het Parool (June 16).
Delden, Lex van 1978a. Concert boeide niet. Het Parool (February 13).
Delden, Lex van 1978b. John Cage en de klank van
cactussen. Het Parool (June 10).
Delige, Clestin 1971. Indtermination et
improvisation. International Review of
the Aesthetics and Sociology of Music 2, 155-191.
Delige, Clestin 1988. Laprs Webern. In Centre
1988, 342-347.
Delige, Clestin 1995. En exil dun Jardin dEden: Essai
sur la relation entre linvention musicale et ses thories. Revue de musicologie 81, 87-119.
DeLio, Thomas (Jerome) 1979. Structural Pluralism.
Ph.D. dissertation, Brown University, Providence, Rhode Island.
DeLio, Thomas 1980-1981. John Cages Variations II:
The Morphology of a Global Structure. Perspectives
of New Music 19, no. 1-2 (Fall-Summer), 351-371; repr. as The Morphology
of a Global Structure: John Cage, Variations II. In DeLio 1984, 9-27; French
as La morphologie dune structure globale: Les Variations II de John Cage.
Trans. Daniel Charles. In Charles 1987-1988, 169-176; Italian as Le
Variations II di John Cage: La morfologia di una struttura globale. Trans.
Elio Grazioli. In Bonomo and Furghieri 1998, 323-337.
DeLio, Thomas 1981a. Sound, Gesture and Symbol: The
Relation between Notation and Structure in American Experimental Music. Interface 10, 199-219; repr. in DeLio
1985, 111-141.
DeLio, Thomas 1981b. Structure as Context. Sonus 1, no. 2 (Spring), 14-27; repr. Interface 17 (1988), 65-77; repr. in
Kostelanetz 1993f, 163-175.
DeLio, Thomas 1984. Circumscribing the Open Universe. Lanham, Maryland [etc.]:
University Press of America (Dickinson 1985; Jones, P. 1984; Kearns 1986).
DeLio, Thomas 1985, ed. Contiguous Lines: Issues and Ideas in the Music of the 60s and 70s.
Lanham, Maryland [etc.]: University Press of America, 1985.
DeLio, Thomas 1993. Reviews. Computer Music Journal 17, no. 3 (Fall), 72-73.
DeLio, Thomas 2002. A Question of Order: Cage, Wolpe,
and Pluralism. In Johnson, S. 2002, 135-158.
DeLio, Thomas 2009. The Amores of John Cage. Hillsdale, New York: Pendragon Press (CMS
Sourcebooks in American Music; 7) (review: Cox, P. 2011).
Deloche, Aime-Catherine 1986. Cage non-stop au
Blanc-Mesnil. Diapason/Harmonie no.
314 (March), 26.
DeLong, Kenneth
2005. Nach seinem Tod: Cage-Konferenz im kanadischen Calgary. Trans. Gisela
Gronemeyer. MusikTexte no. 106
(August), 77-78.
Dempe, Peter 1960. War es wirklich das Ende der
Kunst? Der Tag [Berlin] (September
30), 5.
Dempster, Stuart 1979. John Cage and Frank Rehak. In
Stuart Dempster, The Modern Trombone: A
Definition of Its Idioms. Berkeley, California [etc.]: University of
California Press, 96-97.
Denby, Edwin 1944. Elegance in Isolation. New York Herald Tribune (April 6); repr.
in Edwin Denby, Looking at the Dance,
2nd ed. New York: Horizon, 1968, 342-343; French as Elegante solitude. Trans.
Mireille Davidovici. In Lartigue 1982b, 70-71.
Denby, Edwin 1945. [Review of Cunninghams January 29
solo recital]. New York Herald Tribune
(January 31); repr. in Klosty 1975, 213.
Denizeau, Grard 1998. John Cage (1912). LEducation Musicale 44, no. 348 (1988),
5-12.
Dennis, Brian 1966. Metamorphosis in Modern Culture:
The Parallel Evolution of Music and Painting in the Twentieth Century. Tempo no. 78 (Fall), 12-21.
Dennis, Brian 1968-1969. Book Reviews. Tempo no. 87 (Winter), 37, 39-40.
Dennis, Brian 1970. The Gentle Fire. Musical Times 111, 409-410.
Denton, David 1978. [Review]. Records and Recording (June).
Denver Post 1951. Pioneers without Covered Wagons. Denver Post (April 8).
DeRhen, Andrew 1970. Whitney Avant-Garde. High Fidelity/Musical America 20 (June),
Musical America, 25.
Deri, Otto 1968. Exploring
Twentieth-Century Music. New York: Holt, Rinehart and Winston.
Dernires Nouvelles
dAlsace 1986. Un hommage musical avec les Percussions. Dernires Nouvelles dAlsace (November
7).
Deschamps, Madeleine 1982. John Cage. In John 1982PARIS, encl. leaf, 3 pages.
Deufert, Kattrin 1999. Physische Prsenz der Klnge:
John Cages Theaterkonzeption. Positionen
nr. 40 (August), 24-27.
Deufert, Kattrin 2001. John Cages Theater der Prsenz. Frankfurt am Main:
FK-Medien (FK-Medien-Materiaal.txt;
1) (Ph.D. dissertation, Freie Universitt Berlin).
Detoni, Dubravko 1999. From Atlas života:
Sjećanja. X. Cantus [Zagreb]
no. 100 (March), 12-14.
DeVal, Dorothy 1978. The Enfant Terrible Is Now a
Senior Citizen. Music Magazine
[Toronto, Ontario] 1, no. 1 (January-February), 12-13.
Development Reports 1967. Patrons of Music Underwrite Composer. Development Reports University of Cincinnati 3, no. 7 (May), [4].
Devereaux, Kent 1990a. [Review of Hungaroton HCD 12991 and New World Records 80382-2 (recordings)]. Ear 14, no. 10 (February), 52.
Devereaux, Kent 1990b. [Review of Mode 17 (recording)].
Ear 15, no. 1 (March), 48.
Di Forti, Massimo 1990a. Ballando con Einstein. Il Messaggero (November 6), 17.
Di Forti, Massimo 1990b. Una musica infinita. Il Messaggero (November 1), 16.
Di Maggio, Gino, Achille Bonito Oliva, Daniele
Lombardi 2009, ed. John Cage. Milano:
Fondazione Mudima.
Di Scipio, Agostino 1999a. [Review of Chadabe 1997]. Rivista Italiana di Musicologia 34, no.
1 (1999), 188-192.
Di Scipio, Agostino 1999b. Una macchina organizzativa
indifferente: Imaginary Landscape n.5 di John Cage. Sonus [Potenza] 11, no. 1-2 <no. 19> (August), 75-89.
Diamond,
Beverley 2001. [Review of Born and Hesmondhalgh 2000]. Topia
[Montreal, Qubec]
no. 6 (Fall-Winter), 105-109.
Diamond, Wendy and Carol Hicks 1982, ed. John Cage: Etchings 1978-1982. Oakland,
California: Point Publications.
Dianova, Tzenka 2008. John Cages Prepared Piano: The Nuts and Bolts. Victoria, British Columbia: Mutasis Books.
Diapason 1974. [Review of Angel S-36059 (recording)]. Diapason [US] (June).
Diari de Barcelona 1991. John Cage: El mercat de lart no minteressa, no s el meu problema. Diari de Barcelona (January 17).
Dibelius, Ulrich 1966. Moderne Musik 1945-1965. Mnchen [etc.]: Piper; repr. 1972; repr.
1979; repr. as Moderne Musik I: 1945-1965.
Mnchen [etc.]: Piper, 1984 (Serie Piper; 363).
Dibelius, Ulrich 1968. John Cage oder Gibt es
kritische Musik? Melos 35, 377-383.
Dibelius, Ulrich 1972. Loeuvre desoeuvre: A propos
de la notion doeuvre dans lart contemporain. Musique en jeu no. 6 (March), 3-12.
Dibelius, Ulrich 1978. Historisches Bewutsein und
Irrationalitt. In Die neue Musik und
die Tradition. Ed. by Reinhold Brinkmann. Mainz: Schott, 69-79
(Verffentlichungen des Instituts fr neue Musik und Musikerziehung Darmstadt;
19).
Dibelius, Ulrich 1981. Man hat sich zu betten, wie
andere liegen: der Komponist als sein eigener PR-Manager. Hifi-Stereophonie 20, 694.
Dibelius, Ulrich 1986. Lob der Einzelgnger. Neue Zeitschrift fr Musik 147, no. 7-8
(July-August), 6-9.
Dibelius, Ulrich 1988. Moderne Musik II: 1965-1985. Mnchen [etc.]: Piper (Serie Piper;
629).
Dibelius, Ulrich 1994. Musik geschehen lassen: John
Cage. Merkur 48, no. 4, 351-58.
Dibelius, Ulrich 1999. [Review of Borio and Danuser
1997]. sterreichische Musikzeitschrift
54, no. 10-11 (October-November), 98-99.
Dick, Robert 1975. The Other Flute: A Performance Manual of
Contemporary Techniques. London [etc.]: Oxford University Press.
Dickinson, Peter 1960. The Avant-Garde in New York:
Spring 1960. Musical Times 101,
377-78.
Dickinson, Peter 1965. Way Out with John Cage. Music and Musicians 14, no. 3
(November), 32-34, 54, 56.
Dickinson, Peter 1966. Book Reviews. Musical Times 107, 314-315.
Dickinson, Peter 1967. Erik Satie (1866-1925). Music Review 28, 139-146; German as
Anmerkungen zu einigen Stcken Erik Saties. Trans. Rainer Riehn. In Metzger,
H.-K. and Riehn 1980, 38-46.
Dickinson, Peter 1968. Noise and Silence. Musical Times 109, 1026-1027.
Dickinson, Peter 1969. John Cage. Music in Education [London] 33, no. 335,
19-20.
Dickinson, Peter 1971. Uncaged? Musical Times 112, 967.
Dickinson, Peter 1972. Cage String Quartet. Music and Musicians 20, no. 5
<233> (January), 28-29; repr. in Kostelanetz 1993f, 77-81.
Dickinson, Peter 1974. A New Perspective for Ives. Musical Times 115, 836-838.
Dickinson, Peter 1975. A Friendly Anarchist. Musical Times 116, 143-144.
Dickinson, Peter 1982. Birdcage. Musical Times 123, 333.
Dickinson, Peter 1985. Americana. Musical Times 126, 349. On DeLio 1984.
Dickinson, Peter 1986. Stein, Satie, Cummings,
Thomson, Berners, Cage: Toward a Context for the Music of Virgil Thomson. Musical Quarterly 72, no. 3 (July),
394-409.
Dickinson, Peter 1988. [Review]. Gramophone (September).
Dickinson, Peter
1991. Book Reviews. Musical Quarterly
75, 404-409.
Dickinson, Peter 1992. Instrumental. Gramophone (July), 77.
Dickinson, Peter 1994. [Review]. Gramophone no. 10 (October).
Dickinson, Peter 1995. Reviews of Books [review of
Gertrude Stein, Selected Operas and Plays.
Ed. by John Malcolm Brinnin. Pittsburgh, Pennsylvania [etc.]: University of
Pittsburgh Press, 1993; repr. of 1970]. Music
& Letters 76, 314-315.
Dickinson, Peter 1997. Instrumental [review of Mode
50 (recording)]. Gramophone (February),
79.
Dickinson, Peter
1998a. Choral and Song [Review of Harmonia Mundi USA HMU 907187 (recordings)]. Gramophone 76, no. 904 (August), 72.
Dickinson, Peter
1998b. Instrumental [Review of Musikproduktion Dabringhaus und Grimm MDG 613
0781-2; Musikproduktion Dabringhaus und Grimm MDG 613 0782-2; Musikproduktion
Dabringhaus und Grimm MDG 613 0783-2 (recordings)]. Gramophone
75, no. 899 (March), 89.
Dickinson, Peter 2006a, ed. CageTalk: Dialogues with and about John Cage. Rochester, New York
[etc.]: University of Rochester Press (Eastman Studies in Music) (reviews: Beal
2008; Boutwell 2008; Dutch Journal of Music Theory 2006; Fox, C. 2007; Gramophone 2006; Gresser 2007a; Hamilton,
A. 2006; Madsen 2008; Thomas, Roger 2006).
Dickinson, Peter 2006b. Reviews of Books [Review of
Broyles 2004]. Music & Letters
87, no. 1 (January), 120-123.
Dickinson, Peter 2010. [Review of Musikproduktion
Dabringhaus und Grimm MDG 613 1607-2 (recording)]. Gramophone 88, no. 1060 (August), 65.
Diederichs, Joachim 1979. [CHECK title]. In Audio Scene 79: Symposium [congress
report; in English and German]. London: Audio Arts.
Diederichs, Joachim 1988. Frankfurt. Die Bhne [Wien] no. 353 (February),
41-42.
Diederichs-Lafite, Marion 1975. Zur Bewertung von
John Cage. sterreichische
Musikzeitschrift 30, 409-415.
Diederichs-Lafite, Marion 1978. Begegnungen mit
Traditionen in Bonn. sterreichische
Musikzeitschrift 33, 47-48.
Diehl, Ruth 1996. Mit Feuer und Rauch. General-Anzeiger (June 28), 14.
Dierks, Donald 1980. Cage Concert Takes Fans to
Circus. San Diego Union (February
10), B-24.
Dierks, Donald 1987. Festival Slates Musical Salute
to John Cage. San Diego Union
(August 30).
Diggory, Terence 1993. [Review of Perloff,
M. 1991]. College English 55, no. 3
(March), 328-331.
Diliberto, John 1986. Uncaged Melodies. Down Beat 53, no. 5 (May), 34-35.
Dillon, James
1987. Books [Review of Sumner, Burch, and Sumner 1986]. Nit
& Wit 8, no. 3 (June).
Dimas de Melo Pimenta, Emanuel 2003. John Cage: The Silence of Music. Milano
: Silvana Editoriale (Collection Il clavicembalo; no. 16). Includes texts by
Cage, Daniel Charles and Lucrezia De Damizio Durini.
Dinwiddie, John 1970. Mewantemooseicday: John Cage in
Davis, 1969. Source [Sacramento, California]
4, no. 1 <no. 7> (January), 21-26.
Diricq, Jean-Marie 1983. Merce Cunningham Roubaix. Libert (October 26).
Diroll, Patt 1993. Its a Circus at the Museum of
Modern Art. Whittier Daily News
[Whittier, California] (September 18).
Discus 1966. Does Anybody Need the Avant-Garde? Harpers Magazine (June), 108-110.
Distler, Jed 1999.
CD Reviews. International Piano
Quarterly 2 (Winter), 83-84.
Distler, Jed 2000
ca. [Review of Mode 84-85]. Gramophone
(ca. 2000).
Dixon, Martin 2002.
Art & Life: John Cage, Avant-Gardism & Technology. Frankfurter
Zeitschrift fr Musikwissenschaft 5, 86-93. http://www.fzmw.de/2002/2002_7.htm (accessed March 21,
2008); http://www.fzmw.de/2002/2002_7.pdf (accessed March 21, 2008).
Dobbels, Daniel 1987. Cage-Cunningham. Marsyas no. 3-4 (December), 19-21.
Dobnik, Verena 1992a. John Cage; Composed Avant-Garde
Music. Philadelphia Inquirer (August
13).
Dobnik, Verena 1992b. Music Innovator John Cage
Dies. Boston Globe (August 13), 1,
63.
Doederlein, Arthur Paul 1972. Rhetoric, Society and
Avant-Garde Arts. Ph.D. dissertation, Northwestern University, Evanston,
Illinois.
Doerschuk, Bob 1987a. The History of an Obsession:
Selected Landmarks in a Century of Experimentalism. Keyboard 13 (January), 58-59+.
Doerschuk, Bob 1987b. John Cage: Sitting on a
Hilltop. Keyboard 13 (January), 60.
Dhl, Friedhelm 1965. Wege der neuen Musik: zur
Entwicklung der seriellen, elektronischen und experimentellen Musik. Neue Zeitschrift fr Musik 126, 105;
repr. Das Orchester 13, 124.
Dhl, Reinhard 1988. Das neue Hrspiel. Darmstadt [etc.]: Wissenschafliche
Buchgesellschaft; Westdeutscher Rundfunk (Geschichte und
Typologie des Hrspiels; 5); repr. 1992 (WB-Forum; 69).
Dohoney, Ryan W. FORTHCOMING. Anxieties of Art:
Abstract Representations and the Music of Morton Feldman. Ph.D. dissertation,
Musicology, Columbia University.
Dominick, Lisa R. 1985. Darmstadt 1984. Perspectives of New Music 23, no. 2
(Spring-Summer), 274-291.
Donat, F. W. 1982. Ein Hoch auf John Cage! Neue Ruhr-Zeitung (April 27).
Donatoni, Franco 1970. Questo. Milano: Adelphi.
Donatoni, Franco 1978. Comporre lesistenza/vivere
lopera. In Mogni 1978, 95-97.
Donau-Kurier 1992. Der geniale Musik-Anarchist Amerikas. Donau-Kurier (August 14).
Donohue, Marlena 1993. MOCAs Tribute to Cage:
Circus of Ideas. Daily Breeze
(September 14), C1, C4.
Dpke, Doris 1987. Von Bingen und von Bll. Hannoversche Allgemeine Zeitung
(December 10).
Dorfmller, Joachim 1975. [Review of Festschrift 1974]. Der Kirchenmusiker 26, no. 4 (1975), 106.
Dorian, Frederick 1959. The Many-Sided Life of a Man
Whose Life Is Music [Review of Hoover and Cage 1959]. New York Herald Tribune (April 26), 6.
Dorner, Leo 1998. Musikvideo: Thesen zu Film, Kunst
und Unterhaltung. In Abschied in die
Gegenwart: Teleologie und Zustndlichkeit in der Musik. Ed. Otto
Kolleritsch. Wien: Universal, 236-251 (Studien zur Wertungsforschung; 35).
Drstel, Wilfried 1993a. Kommentierte Chronik der
Veranstaltungen des Atelier Mary Bauermeister (1960-1962). In Historisches Archiv 1993, 12-81.
Drstel, Wilfried
1993b. Situation, Moment, Labyr, Fluxus oder: Das verbrannte Original: Das
Musiktheater Originale von Karlheinz Stockhausen. In Historisches Archiv
1993, 186-205.
Dosogne, Ludo 1988. Nacht van Cage laat chaotische
indruk na. De Standaard (June 28).
Doucelin, Jacques 1977. John Cage: Degr zro de
lՎcriture... Le Figaro (November
9).
Doucelin, Jacques 1978. John Cage et son orchestre de plantes. Le Figaro (May 17).
Doucelin, Jacques 1981. Victoire des clowns
musiciens. Le Figaro (November 23);
repr. LAurore (November 23).
Doucelin, Jacques 1990. Dans le labyrinthe de la
cration. Le Figaro (October 1);
repr. LAurore (October 1).
Doucelin, Jacques 1992. Le poil gratter de
lavant-garde. Le Figaro (August
14), 17.
Dougill, David 1985. Cunningham: High Priest Comes Home. Sunday Times (May 19).
Dougill, David 1987. Merce the Leprechaun. Sunday Times (July 26), 47.
Douglas, John R. 1967. The Composer and His Music on
Record. Library Journal 92,
1117-1121.
Down Beat 1954.
Composing at Loose Ends. Down Beat
21, no. 10 (May 19), 8.
Down Beat 1977.
Record Reviews. Down Beat 44
(December 15), 28.
Down Beat 1979.
Record Reviews: John Cage. Down Beat
46 (May 17), 30.
Down Beat 1980.
Record Reviews. Down Beat 47
(October), 44.
Down Beat 1992. [Review]. Down Beat (January).
Downes, Olin (= Edward) 1947. Modern Music, Voice of Composers, to Quit. New York Times (January 12).
Downes, Edward 1956. Twenty-one Years of Composers Forums. New York Times (October 7).
Downes, Edward 1957. 4 Pianists Play Tense Silences.
New York Times (May 1), 42.
Downes, Edward 1970. Atlas Eclipticalis with
Winter Music (Electronic Version) – John Cage. In Kostelanetz 1970d,
142-144; German as Atlas Eclipticalis mit Winter Music (Elektronische Fassung)
– John Cage. In Kostelanetz 1970d/1973, 198-199.
Downey, Roger 1977a. The Lessons of the Master. The Weekly of Metropolitan Seattle 2, no. 24 (September 7-13), 10+.
Downey, Roger 1977b. Of Cunningham and Cunning Ham: A Tale of Two Cities. The Weekly of Metropolitan Seattle 2, no. 25 (September 14-20).
Downham, Paul 1977. Cabrillo Music Festival Offers
Good Balance. Santa Cruz Sentinel
(August 21), 28.
Drapeau Rouge 1979.
[Title unknown]. Le Drapeau Rouge
[Bruxelles] (June 11).
Drees, Stefan 1999. CD-Rundschau. Positionen no. 40 (August), 53-55.
Drees, Stefan 2002a. CD-Rundschau. Positionen no. 51 (May), 54-55.
Drees, Stefan 2002b. Kritik konzis. Positionen no. 53 (November), 51-52.
Drees, Stefan 2005. CD-Rundschau. Positionen no. 63 (May), 57-59.
Dreher, Thomas 1991a. Aprs John Cage: Zeit in der
Kunst der sechziger Jahre - von Fluxus-Events zu interaktiven
Multi-Monitor-Installationen. In Bischoff 1991b, 57-74.
Dreher, Thomas 1991b. John Cage: kommentierte
Chronologie. In Bischoff 1991b, 223-250.
Dreskell, Nadine 1973. Some Highlights of the April
1-5 National Convention. American Music
Teacher 22, no. 3 (January), 16-22.
Drillon, Jacques 1982. Les champignons du
commandeur. Le Nouvel Observateur
(September 25).
Driver, Paul 1987. Job and the Mermaid. Sunday Times (July 26), 47.
Driver, Paul 1989. Hidden Beauty in the Cage of
Chaos. Sunday Times (November 26).
Driver, Paul 1990a. Europeras 3 & 4: Almeida Festival at the Almeida Theatre. Opera 41, 994-995.
Driver, Paul 1990b. Glass Moves a Little Darkly. Sunday Times (June 24).
Driver, Paul 1992. Artist of the Arbitrary. Sunday Times (August 16), section 7, p.
4.
Driver, Paul 1993. Chancer. London Review of Books (January 7), 3, 5.
Driver, Paul et al. 1992 [David Revill, Eric Mottram, Tom Phillips]. John
Cage. Independent (August 14), 17.
Drummond, Dean 1982-1983. Zoomoozophone Primer. Ear 7, no. 5 (November-January), 20-21.
Drury, Stephen 1989. A Pianist Reflects on a Year
with Composer John Cage. Boston Sunday
Globe (August 13), 81.
Drury, Stephen 1994. A View from the Piano Bench, or,
Playing John Zorns Carny for Fun and Profit. Perspectives of New Music 32, no. 1 (Winter), 194-201.
Dubal, David 1989. Art of the Piano: Its Performers, Literature, and Recordings. New York [etc.]: Summit Books.
Duberman, Martin 1972. Black Mountain: An Exploration in Community. New York: E.P. Dutton
and Co.; repr. Garden City, New York: Anchor Press; New York: Doubleday, 1973;
repr. New York: W.W. Norton, 1993; repr. Evanston, Illinois: Northwestern University
Press, 2009.
Dubin, Joel 1982. Cage & the Venus De Milo
Principle. Varsity [Toronto,
Ontario] (January 29), 5, 9.
Dubinets, Elena (Aleksandrovna) 1997. Tvorchestvo
skvoz prizmu notacii. Muzykalnaya
Akademiya no. 2 (1997), 191-201.
Dubinets, Elena 1999. Znaki zvukov: O sovremennoy muzykalnoy notatsii. Kiev: Gamayun.
Duchamp, Marcel/Hahn, Otto 1966. Passport No. G
2553000. Art and Artists [London] 1,
no. 4 (July), 7-11.
Duckworth, William Ervin 1972. Expanding Notational
Parameters in the Music of John Cage. Ed.D. dissertation, Music Education,
University of Illinois, Urbana-Champaign.
Duckworth, William 1973. You Must Meet Our Wizard. The Composer [Hamilton, Ohio] 5, no. 1
(Fall-Winter), 9.
Duckworth, William 1995. Talking Music: Conversations with John Cage, Philip Glass, Laurie
Anderson, and Five Generations of American Experimental Composers. New York
[etc.]: Schirmer Books [etc.]; repr. New York: Da Capo Press, 1999 (review:
Welch 1997).
Duckworth, William and Edward Brown 1978. Theoretical Foundations of Music.
Belmont, California: Wadsworth Publishing Company.
Dufallo, Richard 1989. Trackings: Composers Speak with Richard Dufallo. New York [etc.]:
Oxford University Press (Dalton 1990; Dufallo/Cornelissen 1990; Oja 1990-1991).
Dufallo, Richard/Cornellisen, Niels 1990. Op
Schnberg kun je niet verliefd worden. NRC
Handelsblad (April 6), Cultureel Supplement, 6.
Dufourcq, Norbert
1965, ed. La musique: Les hommes, les instruments, les oeuvres. Paris: Larousse (Librairie Larousse), 2
vols.
Duke, Vernon 1963. Listen
Here! A Critical Essay on Music Appreciation. New York: Ivan Obolensky.
Dullea, Georgia 1992. At the Meals on Reels Film Festival, Chicken Soup and a Tasty Frenchman. New York Times (March 18), C8.
Dmling, Albrecht 1991. First Lady zeitgenssischer
Musik: Ein Portrt der kalifornischen Mzenin Betty Freeman. Neue Zeitschrift fr Musik 152, no. 2
(February), 6-12.
Dumm, Robert 1954. Sound Stuff. Newsweek (January 11), 76.
Duncan, Kathy 1973. Avant-Garde Fest Off the Track. SoHo Weekly News 1, no. 10 (December
13), 1.
Dnki, Jean-Jacques and Anton Haefeli 1998, ed. Der Grad der Bewegung: Tempovorstellungen
und -konzepte in Komposition und Interpretation 1900-1950. Bern: Peter Lang
(Basler Studien zur Musik in Theorie und Praxis; 1) (review: Stephan 2000).
Dunn, Robert 1962, ed. John Cage. New York: Henmar Press; [also? German trans.?]: New York
[etc.]: C.F. Peters.
Dunn, Robert/McDonagh, Don 1970. Robert Dunn:
Educating for the Future. In McDonagh 1970b, 77-94.
Dunn, Robert Ellis 1989. Judson Days. Contact Quarterly 14, no. 1 (Winter), 9-13.
Dunning, Jennifer 1981. Fund-Raising the Innovative Way: Chain Letter. New York Times (December 17).
Dunning, Jennifer 1984. Merce Cunningham. Horizon 27, no. 2 (March), 12-18.
Dunning, Jennifer 1989. Light! Cameras! On Your Toes! New York Times (September 10), 40.
Dunning, Jennifer 1990. For Cunningham, Dance Is As
Mysterious As It Ever Was. New York
Times (March 11).
Dunning, Jennifer 2000. Library Gets Dance
Collection. New York Times (June 7).
DuPree, Mary 1987a. Pulse [review of New World
Records NW 319 (recording)]. Sonneck
Society Bulletin 13, no. 2 (Summer), 81-82.
DuPree, Mary 1987b. [Review]. Sonneck Society Bulletin 13, no. 2 (Summer), 82-83.
Dupuis, Simone 1983. Roaratorio: La fin dun rgne. LExpress (November 11).
Dura, Marian T. 1994. Through the Night: An Homage to
John Cage. Sonneck Society for American
Music Bulletin 20, no. 1 (Spring), 1-11.
Durand, Rgis 1977. The Disposition of the Voice. In
Benamou and Caramello 1977, 99-110.
Durand, Rgis 1981. La performance et les limites de
la thtralit. In Pontbriand 1981, 48-53; repr. Performance (1981), 48-54.
Durant, Alan 1995. [Review of Corbett 1994]. Popular Music
[Cambridge] 14, no. 3 (October), 381-383.
Durkee, King 1981. Strictly Classical. Copley News (February 25). On Composers
Recordings CRI SD 410 (recording).
Durland, Steve 1987. The Guests Go in to Supper. High Performance [Los Angeles, California] 10, no. 1 <no. 37> (Spring), 100.
Durner, Leah 1988. John Cage: Past & Future in
Europeras 1 & 2. Ear 13, no. 2
(April), 10-11, 13; repr. in Pepsico
Summerfare: the International Performing Arts Festival of the State University
of New York at Purchase, July 8-31, 1988 (program book). Purchase, New
York: State University of New York; Pepsico, 1988, 46-47.
Dutch Journal of Music Theory 2006. [Review of Dickinson 2006a]. Dutch
Journal of Music Theory = Tijdschrift voor Muziektheorie 11, no. 3 (November), 256-257.
Duvenbeck, Gunter 1973. Komponist im Kfig. Bonner Rundschau (May 5).
Duvenbeck, Gunter 1989. Wer hat die Nase vorn? General-Anzeiger (May 30), 12.
Dy 1989. Perspektiven eines Musikers. Die Welt (September 30).
Dyer, Richard 1976. [Untitled]. Boston Evening Globe (October 1).
Dyer, Richard 1988a. BSO Announces New Season. Boston Globe (April 6).
Dyer, Richard 1988b. Confident, Polished Night of New
Music. Boston Globe (November 22),
67.
Dyer, Richard 1988c. Taking a Chance on Chance. Boston Globe (July 16), 6, 11.
Dyer, Richard 1989a. Cage: No Maestro, Please! Boston Sunday Globe (April 2), Section
B, 1-2.
Dyer, Richard 1989b. Cage Works Present a Challenge. Boston Globe (April 11), 30.
Dyer, Richard 1989c. Cages Challenging Environmental Works. Boston Globe (March 2), 80.
Dyer, Richard 1989d. An Enchanted Evening at Symphony Hall. Boston Globe (April 7), 36.
Dyer, Richard 1989e. John Cage: A Night to Remember. Boston Globe (February 9), 76.
Dyer, Richard 1989f. Outstanding Performances, Happy Memories. Boston Sunday Globe (December 24).
Dyer, Richard 1992. John Cage Knew How to Listen to
the World. Boston Globe (August 14),
51, 54.
Dyson, Frances 1992. The Ear that Would Hear Sounds
in Themselves: John Cage 1935-1965. In Wireless
Imagination: Sound, Radio and the Avant-Garde. Ed. by Douglas Kahn and
Gregory Whitehead. Cambridge, Massachusetts [etc.]: MIT Press, 373-407
(Perloff, M. 1994b).
e.b. 1981. Zwischen Barock und Elektronik. Erlanger Nachrichten/Erlanger Tagblatt (October 2).
E.B. 1984. A Torino e dintorni 15 giorni con John Cage (e 800 bambini canteranno mentre lui suona). Corriere della Sera (April 28).
E.D. 1989. [Untitled]. Tipp 12, no. 10 (October).
Ear 1974. [Untitled]. Ear
[Oakland, California] 8, no. 20 (October 1974), [1].
Ear 1982.
Wall-to-Wall Cage and Friends. Ear
7, no. 3-4 (April-October), 12.
Ear 1987. New Music America 87 Philadephia. Ear 12, no. 6 (September), 29.
Ear 1988.
Record Reviews. Ear [New York] 13,
no. 6, 28.
Ear 1988. Record Reviews [of Hungaroton SLPD 12893 (recording)]. Ear [New
York] 13, no. 6, 28.
Earl,
Linda 1986. Banff Art Centre. High
Performance [Los Angeles, California] 9, no. 1 <no. 33> (Spring), 51+.
Eastern Daily Press 1979. Flies from US to Hear Singer in City Pub. Eastern Daily Press [Norwich] (May 1), 16.
Eaton, John 1976. Neue Musik seit 1950 in den
Vereinigten Staaten: Ein berblick. sterreichische
Musikzeitschrift 31, 476-481.
Ebbeke, Klaus 1992a. John Cage Mozart Mix. Katalog gelbe Musik no. 11 (August),
56-57.
Ebbeke, Klaus 1992b. Nicht-relationale Musik –
und Varse (und Cage). In La Motte-Haber 1992, 134-142.
Ebeling, Christiane 1984. Funktionen der Stille in
der Musik ab 1950. Zulassungarbeit Hochschule fr Musik und Theater Hannover.
Eberle, Gottfried 1972. John Cage und die Folgen. Der Tagesspiegel (May 11).
Eberle, Gottfried 1980. Fr Augen und Ohren: Ausstellung
und Konzerte in der Berliner Akademie der Knste. Neue Zeitschrift fr Musik 141, 133-135.
Eberle, Gottfried 1982. A Tribute to John Cage. Der Tagesspiegel (March 19).
Eberle, Gottfried 1984. Synthese der Musik-Kulturen.
Frankfurter Allgemeine (March 27), B
4.
Eco, Umberto 1960.
Loeuvre ouverte ou la potique de lindtermination. Nouvelle Nouvelle Revue Franaise no. 92 (August), 318+.
Eco, Umberto 1962. Opera
aperta: Forma e indeterminazione nelle poetiche contemporanee. Milano:
Valentino Bompiani (Portico; 38); 2nd rev.
ed., 1967; repr. 1971; repr. 1976; repr. 1980 (Tascabili Bompiani, 11); English as The Open Work. Trans. Anna Cancogni. Cambridge, Massachusetts:
Harvard University Press, 1989; French as Loeuvre
ouverte. Trans. Andr Boucourechliev, C. Roux de Bzieux. Paris: Seuil,
1965; repr. 1979; German as Das offene
Kunstwerk. Trans. Gnter Memmert. Frankfurt am Main: Suhrkamp, 1977
(Taschenbuch Wissenschaft; 222).
Eco, Umberto 1964. Lopera aperta. Rivista di Estetica 9, 141-142.
Eco, Umberto 1971. Lowbrow Highbrow, Highbrow
Lowbrow. Times Literary Supplement
(October 8); repr. in Mahsun 1989, 220-231.
Economist 1992.
UnCaged. Economist (August 22), 71.
Edler, Arnfried 1997. Von Satie zu Cage, oder: Vom
Komponieren mit Objekten. In Festschrift
Christoph-Hellmut Mahling zum 65. Geburtstag. Ed. by Axel Beer, Kristina
Pfarr, and Wolfgang Ruf. Tutzing: Hans Schneider, 309-322 (Mainzer Studien zur
Musikwissenschaft; 37).
Edmunds, John and Gordon Boelzner 1959. Some twentieth
century American composers: a selective bibliography. Bulletin of the New York Public Library (July-August); rev. repr.
as Some Twentieth Century American
Composers: A Selective Bibliography. New York: New York Public Library,
vol. 1, 1959.
Edwards, J. Michele 1977. Literature for Voices in Combination with Electronic and Tape Music: An
Annotated Bibliography. Ann Arbor, Michigan: Music Library Association.
Eggebrecht, Hans Heinrich 1991. Musik im Abendland: Prozesse und Stationen vom Mittelalter bis zur
Gegenwart. Mnchen [etc.]: Piper.
Eggebrecht, Hans Heinrich 1995. Musik verstehen. Mnchen [etc.]: Piper.
Eggelsberg, Peter 1985. Vater Rhein gluckste am
Roncalli-Platz. Klner Stadt-Anzeiger
(October 2), 10.
Ehrenforth, Karl Heinrich 1974. Bcher. Musik und Bildung 6, 576-577.
Ehrismann, Sibylle 1991a. Entwicklungstendenzen in
der Cage-Rezeption. Aargauer Tagblatt
(June 22).
Ehrismann, Sibylle 1991b. Isolation im mechanischen
Opernmix. Zrcher Oberlnder (June
3).
Ehrismann, Sibylle 1991c. Ein Komponist auf der Suche
nach Bildnissen. Aargauer Tagblatt
(June 11); Freimter Tagblatt (June
11); also published as Noten als Graphik, Graphik als Notation. Landbote (June 11).
Ehrler, Hanno 1990. Bcher. Neue Zeitschrift fr Musik 151, no. 9 (September), 53.
Eib 1986. Moderne-Pianist Herbert Henck. Klner Stadt-Anzeiger (February 21), 28.
Eidenbenz, Michael 1991. Keine Handlung, kein Sinn:
Die reine Oper. St. Galler Tagblatt
(June 3).
Eimert, Herbert 1953. Was ist elektronische Musik? Melos 20, 1-5.
Eimert, Herbert and Hans Ulrich Humpert 1973. Das Lexikon der elektronischen Musik.
Regensburg: Gustav Bosse; 2nd
rev. ed. 1977 (Bosse-Musik-Paperback; 2); repr. 1981.
Einemann, Marita 1984. Schallplatten. Neue Zeitschrift fr Musik 145, no. 1
(January), 41-42. On Bis LP-232 (recordings).
Eisenman, David 1985. John Cage. Champaign-Urbana News-Gazette Weekend
(February 22), 10-13.
Eisert, Christian 1992. John Cage – Zeittafel.
In Schdler and Zimmermann 1992b, 310-316.
Ekbom, Torsten 1962. Upprymd musik. Dagens Nyheter [Stockholm] (July 11), 4.
On Cage 1961h.
Ekbom, Torsten 1962-1963. En vrld av ljud. Nutida Musik 6, no. 6, 16-19.
Ekbom, Torsten 1963. Mte med John Cage. Dagens Nyheter [Stockholm] (May 29),
Section A, 5.
Ekbom, Torsten 1964. Fem New York-kvllar. Dagens Nyheter [Stockholm] (October 4).
Ekbom, Torsten 1969. Swing it, magistern. Dagens Nyheter [Stockholm] (July 8), 3.
Ekbom, Torsten 1990. Pigg pensionr skapar panik p
parnassen. Dagens Nyheter
[Stockholm] (June 28), B 3.
Ekbom, Torsten 1992. John Cage har avlidit. Dagens Nyheter [Stockholm] (August 14),
16.
Ekbom, Torsten 2009. En trdgrd av ljud: En bok om John Cage och The Cage age.
Stockholm: Bonnier (review: Andersson 2010).
El Haouli, Janete 2001. Radio: The Art of
Sonorous Space. MikroPolyphonie
[Canberra] 7 (December).
http://pandora.nla.gov.au/pan/10054/20021007-0000/farben.latrobe.edu.au/mikropol/volume7/el_haouli_j/El_Haouli.html
(accessed July 28, 2010).
Elkomoss, Alexandre 1990. Tout est (plutt) bien qui
finit (trs) bien... Hebdoscope
(October 3-9).
Ellestrm, Lars 1994. Musik och ironi: Ngra
reflexioner kring Sjostakovitsj och Cage. Nutida
Musik 37, no. 2, 54-60.
Elliot, Diane 1971. One Dance Is Worth a Thousand
Words. Michigan Daily (April 15), 2.
Elliott, Dorothy Gail 1976. Zounds! A Three-Unit Program of Musical Instruction. Portland,
Maine: J. Weston Walch (review: Anderson, B. 1977-1978).
Elliott, Susan
1992. Avant-Garde Pioneer John Cage Dies. Billboard
104 (August 22), 10+.
Ellis, Linda 1971. Choreography, Music Separated By
Troupe. Ann Arbor News (April 14),
3.
Ellis, Simone 1990. John Cage Tackles a New Order of Chaos. New Mexican (July 6), Pasatiempo (July 6-12), 17.
Ellsworth, Ray E. 1956. Americans on Microgroove. High Fidelity 6 (August), 63.
Ellsworth, Ray 1958-1959. Book Reviews [Review of
Hoover and Cage 1959]. American Record
Guide 25, 769-771.
Elster, Jon 1993. La randomizziazione in arte. In
Costa, L. et al. 1993, 767-769.
Elyashiv, Vera 1990. Der Pianist lt keinen Ton
erklingen. Klner Stadt-Anzeiger
(August 8).
Emert, Harold 1986. John Cage in Brazil. High Fidelity/Musical America 36, no. 7
(July), Musical America, 34-36.
Emmerik, Ivo van 1981. Cages Roaratorio, an Irish Circus. Mens
en Melodie 36, 168-171.
Emmerik, Ivo van 1982. Tiende Rencontres
internationales te Metz. Mens en Melodie
37, 72-76.
Emmerik, Ivo van 1992. Aarde, lucht, vuur en water.
In I. van Emmerik, van Groningen Stuling and Selie 1992a, 72-77.
Emmerik, Ivo van/Herruer, Paul 1992. Van Cage leerde
je discipline, geen componeren. Nieuwsblad
van het Noorden (September 14), 13.
Emmerik, Ivo van and Ron Ford 1988-1989. John Cage in
The Hague: A Theatre of Songs. Trans. Ron Ford. Key Notes [Amsterdam] no. 25, 15-17.
Emmerik, Ivo van, Ron Ford and Richard Rijnvos/Horst,
Agnes van der 1989. We zijn allemaal door Cage benvloed, ook degenen die
niet door Cage benvloed zijn. Drift:
tijdschrift voor kunst en kunstonderwijs 3, no. 2-3 (March), 30-32.
Emmerik, Ivo van, Anita van Groningen Stuling and
Frits Selie 1992a, ed. But What about the
Noise: John Cage 1912-1992. Groningen: Stichting Prime, 1992.
Emmerik, Ivo van, Anita van Groningen Stuling and
Frits Selie 1992b, ed. Voorwoord. In I. van Emmerik, van Groningen Stuling
and Selie 1992a, 4-5.
Emmerik, Paul (Paulus Henricus Andreas Maria) van
1983. John Cage in indrukwekkend concert. Het
Parool (May 17), 15.
Emmerik, Paul van 1984a. Inspirerende muziek en
frisse ideen komen nog steeds uit Amerika. Het Parool (August 18), 23.
Emmerik, Paul van
1984b. John Cage: Sonatas and Interludes. Preludium
[Amsterdam] 42, no. 8 (April), 48.
Emmerik, Paul van 1984c. Unieke videofilm met John
Cage. Het Parool (February 29), Uit
en Thuis, 6.
Emmerik, Paul van 1985a. Cage met stopwatch in Keulse
kerk. Het Parool (April 4), 19.
Emmerik, Paul van 1985b. Componisten als
hoorspelschrijvers. Het Parool
(October 14), 15.
Emmerik, Paul van 1987a. John Cage past goed in
Wereldmuziekdagen. Het Parool
(November 2), 6.
Emmerik, Paul van 1987b. Onbekommerde speelsheid in
opera van John Cage. Het Parool
(December 17), 17.
Emmerik, Paul van 1987c. Ruimte en stilte beheersen
werk van John Cage. Het Parool
(February 24), 9; German as Einzigartiger Querschnitt: zum NachtCageTag in
Kln. Trans. Gisela Gronemeyer. MusikTexte
no. 19 (April 1987), 48.
Emmerik, Paul van 1987d. Wereldpremire Cages
orgelsolo perfect uitgevoerd. Het Parool
(November 24), 13.
Emmerik, Paul van 1988a. A Cage Documentary.
Doctoraalscriptie Universiteit van Amsterdam.
Emmerik, Paul van 1988b. John Cage. In [CHECK TTB/
program book Nieuwe Muziek Zeeland]; rev. repr. in I. van Emmerik, van
Groningen Stuling and Selie 1992a, 25-32.
Emmerik, Paul van 1990. Diskographie. In Metzger,
H.-K. and Riehn 1990, 352-361; repr. Du
[Zrich] no. 5 (May 1991), 95-96, 99, 103, 108; repr. (with additions) in
Revill 1992/1995, 451-472.
Emmerik, Paul van 1992a. John Cage and European
serialism. Muziek & wetenschap:
Dutch quarterly for musicology 2, 227-236; Italian as John Cage e il
serialismo europeo. In Costa, L. et al. 1993, 823-827.
Emmerik, Paul van 1992b. Recent works by John Cage
1987-1992. In Schdler and Zimmermann 1992b, 304-308.
Emmerik, Paul van 1994. right up to the finAl /
victory. Musicworks no. 58 (Spring),
40.
Emmerik, Paul van 1996. Themas en variaties:
Systematische tendensen in de compositietechnieken van John Cage. Ph.D.
dissertation, Universiteit van Amsterdam (review: Dekker 1998).
Emmerik, Paul van 1997. Dzhon Keydzh i
kreolizatsiya serializma. Trans. Svetlana Zavrazhnova. Muzykalnaya Akademiya no. 2 (1997), 201-205.
Emmerik, Paul van 1998a. John Cage e il
modularizzazione del serialismo. Trans. Gabriele Bonomo. In Bonomo and
Furghieri 1998, 443-454.
Emmerik, Paul van 1998b. Muzikale ecologie. Tijdschrift voor Muziektheorie 3, no. 1
(February), 52-59.
Emmerik, Paul van 2000. Book Reviews [Review of
Shultis 1998c]. Notes series 2, vol.
56, no. 3 (March), 729.
Emmerik, Paul van 2001. Here Comes Everything. In
Bernstein, D.W. and Hatch 2001, 157-166.
Emmerik, Paul van 2002. An Imaginary Grid: Rhythmic
Structure in Cages Music Up to circa 1950. In Patterson, D.W. 2002b, 217-238.
Emmerik, Paul van and Martin Erdmann 1991. Sulla
storia della ricerca su Cage: Un profilo critico. Trans. Ulrike Brand, Alfonso
Fratteggiani Bianchi. Quaderni Perugini
di Musica Contemporanea no. 48-49, 4-16; rev. repr. as La ricerca su
Cage. In Brand and Bianchi 1993, 39-48; German as Zur Geschichte der
Cage-Forschung: ein kritischer berblick. Archiv
fr Musikwissenschaft 49 (1992), 207-224.
Emmerson, Simon 1977a. Concerts: Feldman, Cage and
Others. Music and Musicians 26, no.
4 <304> (December), 45-46.
Emmerson, Simon 1977b. Seven Obscure Releases [review
of Obscure OBS 5; Obscure EGED 25 (recordings)]. Music and Musicians 25 (January), 20-22.
Emmerson, Simon 1978. John Cage. Music and Musicians 27 (November), 74.
Emmerson, Simon 1982. Analysis and the Composition of
Electro-acoustic Music. Ph.D. dissertation, City University, London.
Emmerson, Simon 1986. The Relation of Language to
Materials. In The Language of
Electro-acoustic Music. Ed. by Simon Emmerson. Houndmills, Basingstoke
[etc.]: Macmillan, 17-39.
Emons, Hans 1978. Aspekte der minimal art: ber
einige Gemeinsamkeiten in Musik, Kunst und Literatur. Zeitschrift fr Musikpdagogik [Regensburg] 3, no. 6, 49-53.
Encinar, Jos Ramn 1974. Marcel Duchamp in memoriam
(siete man-made y un Cage). Sonda
[Madrid] 7 (November), 31-41.
Ender, Daniel 2001. Zu einem frhen
Klavierzyklus von Morton Feldman. sterreichische
Musikzeitschrift 56, no. 11-12 (November-December), 38-41.
Endlich, Stefanie and Rainer Hynck 1988, ed. Blickwechsel: 25 Jahre Berliner
Knstlerprogramm. Berlin: Berliner Knstlerprogramm des DAAD; Argon.
Engard, Ed 1975. [Untitled] [cartoon]. Instrumentalist 30, no. 2 (September), 18.
Enge, Hvard 2011. Der Augenblick und die Tradition:
Zenders und Cages Konzepte des Hrens. Trans. Esther Dubielzig. Neue Zeitschrift fr Musik 172, no. 6 (November-December), 32-37.
Engelhardt, Jrgen 1981. Sich selber aushalten. Der Tagesspiegel (18 December).
Engelhardt, Jrgen 1982. Komponist fr die 80er
Jahre. Der Tagesspiegel (26
January).
Engerth, Ruediger 1969. John Cage kam sogar bis Preburg. Salzburger Nachrichten (February 24).
Englert, Giuseppe Giorgio 1969. [Untitled]. As part of Anthologie. In Brtschi et al. 1969, X 2.
Englert, Giuseppe G. 1970. Disques [Review of
Deutsche Grammophon 643 543 (recordings)]. Musique
en jeu no. 1 (November), 138-139.
Engstrm, Andreas 2008a. [Review of Licht 2007]. Nutida Musik 51, no. 1 (2008), 50.
Engstrm, Andreas 2008b. [Review of Variations VII (film)]. Nutida Musik 51, no. 4 (2008), 48.
Enriquez, Rachele 1978. Ciuf ciuf fa John Cage. Panorama (July 11), 73-74.
Ephron, Nora 1964. 3 Characters in Search of a Ballet, Or the Genesis of Summerspace. New York Times (June 15), International Edition.
Epperson, John W. 1974. Color in Contemporary Music
Notation. Selmer Bandwagon [Elkhart, Indiana] no. 74 (November),
14-18.
Erdman, Jean 1951. The Dance as Non-Verbal Poetic
Image. In The Dance Has Many Faces.
Ed. by Walter Sorell. New York [etc.]: World Publishing Co., 197-212.
Erdmann, Martin 1983. John Cage: Ein New Yorker in
Kln. Rhein-Ruhr [Kln] no. 0 [trial
issue], 24-25.
Erdmann, Martin 1985. Musique sans sauce: Ein
Workshop ber Erik Satie in Bonn. Neue
Zeitschrift fr Musik 146, no. 5 (May), 43-44.
Erdmann, Martin 1986a. Klang – Klavier/Klavier
– Klang. Neue Zeitschrift fr Musik
147, no. 5 (May), 65-66.
Erdmann, Martin 1986b. Zusammenhang und Losigkeit: zu
Morton Feldmans Kompositionen zwischen 1950 und 1956. In Metzger, H.-K. and
Riehn 1986, 67-94.
Erdmann, Martin 1990a. Auswahlbibliographie. In
Metzger, H.-K. and Riehn 1990, 342-351.
Erdmann, Martin 1990b. Chronologisches Verzeichnis
der musikalischen Kompositionen, Schriften, Gesprche, Hrspiele, Bilder,
Objekte und Filme. In Metzger, H.-K. and Riehn 1990, 305-341.
Erdmann, Martin 1990c. Webern und Cage: Zur Genese
der Cageschen Losigkeit. In Metzger, H.-K. and Riehn 1990, 237-259.
Erdmann, Martin 1992a. Alles anders In 34. Internationales Beethovenfest Bonn 1992
25: Berio Cage Beethoven. Ed. by Oberstadtdirektor der Stadt Bonn. Bonn:
Stadt Bonn/Orchester der Beethovenhalle, [4].
Erdmann, Martin 1992d. Memories of You. Quaderni perugini di musica contemporanea
no. 52-57 (June), 9-13.
Erdmann, Martin 1992e. Ein mblierter Raum: John
Cages 1O1. In Budisavljevic 1992, 143-146.
Erdmann, Martin 1992g. Il silenzio ritrovato: Cages
Zahlenstcke. In Schdler and Zimmermann 1992b, 187-189; Dutch trans. Paul
van Emmerik in I. van Emmerik, van Groningen Stuling and Selie 1992a, 49-54.
Erdmann, Martin 1993a. Bibliografia essenziale. In
Brand and Bianchi 1993, 58-63.
Erdmann, Martin 1993b. Catalogo delle composizioni di
John Cage. In Brand and Bianchi 1993, 49-57.
Erdmann, Martin 1993c. Convergenze tra Boulez e
Cage. Trans. Ulrike Brand and Lelio Cremonte. In Brand and Bianchi 1993,
21-26; repr. included in Erdmann 1996c, 103-109.
Erdmann, Martin 1993d. John Cage e la musica
seriale. Trans. Chiara Furiani. In Brand and Bianchi 1993, 15-19.
Erdmann, Martin 1993e. Su alcune trasformazioni
caratteristiche nelle ultime opere di Cage. In Costa, L. et al. 1993, 817-821;
repr. as Su alcune trasformazioni estetiche nelle ultime opere di Cage.
Included in Erdmann 1996c, 110-117; revised English as Concerning Some
Aesthetic Changes in Cages Last Works. Trans. Patrick Morris. Musicworks no. 61 (Spring 1995), 55-58.
Erdmann, Martin 1993f. Untersuchungen zum Gesamtwerk
von John Cage. Ph.D. dissertation, Rheinische Friedrich-Wilhelms-Universitt
Bonn.
Erdmann, Martin 1994a. Cage-Culver: Geen
grafschrift. Trans. Rob ter Doest. Notes
[Amsterdam] 9, no. 6-8 (June-August), 13-14.
Erdmann, Martin 1994b. In stndiger Vernderung
begriffen: Merce Cunninghams Ocean mit Musik von Andrew Culver und David
Tudor in Brssel uraufgefhrt. Neue
Zeitschrift fr Musik 155, no. 5 (September), 59-60.
Erdmann, Martin 1995a. Besprechungen. Die Musikforschung 48, 101-102. On
Pritchett 1993.
Erdmann, Martin 1995b. Paean. Trans. Patrick Morris.
Musicworks no. 61 (Spring), 54.
Erdmann, Martin 1995c. Wie John Cage 1992 in West und
Ost erlebt wurde. In Hudba ako
posolstvo: Symposion 1993 Bratislava, 11.-13. november v rmci 2. ročnka
festivalu Melos-tos = Musik als Botschaft: im Rahmen des 2. Jahrgangs des
Melos-Ethos Festivals/Hudba a totalita: Symposion 1991 Bratislava, 17.-19.
oktber v rmci 1. ročnka festivalu Melos-tos = Musik und
Totalitarismus: im Rahmen des 1. Jahrgangs des Melos-Ethos Festivals. Ed.
by Peter Važan. Bratislava: Festival Melos-Ethos, 201-204.
Erdmann, Martin 1996a. Prima dellop. 1: gli anni di
apprendistato e di vagabondaggio di Cage. Trans. Pietro Cavalotti. Included in
Erdmann 1996c, 97-102.
Erdmann, Martin 1996b. Tontrger. Neue Zeitschrift fr Musik 157, no. 3
(May-June), 70-71.
Erdmann, Martin 1996c. Tre studi su Cage. In Itinerari della musica americana. Ed.
Gianmario Borio and Gabrio Taglietti. Lucca: Cosa Rara, 97-117 (Nuovi percorsi
musicali; 1).
Erdmann, Martin
1998. Cage, John. In Kammermusikfher.
Ed. by Ingeborg Allihn. Stuttgart [etc.]: Metzler; Brenreiter, 123-127.
Erdmann, Martin
2000. Cage, John (Milton). In Die Musik
in Geschichte und Gegenwart: Allgemeine Enzyklopdie der Musik, 2nd rev.
ed. Ed. by Ludwig Finscher. Kassel [etc.]: Brenreiter; Metzler, Personenteil,
vol. 3, cols. 1557-1575.
Erdmann, Martin and Oliver Vogel 1996. Erik Saties
Socrate und John Cages Cheap Imitation. In Klassizistische Moderne: Eine Begleitpublikation zur Konzertreihe im
Rahmen der Veranstaltungen 10 Jahre Paul Sacher Stiftung. Ed. by Felix
Meyer. Winterthur: Amadeus, 180-186.
Erickson, Jon 1999. Cage, Notation, and Theatre. I.S.A.M. Newsletter 28, no. 2 (Spring),
7, 15.
Erickson, Robert 1975. Sound Structure in Music. Berkeley [etc.]: University of California
Press [includes Deutsche Grammophon SLPM 137 009 (recordings)].
Ericson, Raymond 1961a. Assorted Sounds Heard in
Concert. New York Times (April 21),
28.
Ericson, Raymond 1961b. David Tudor in Routine
Recital Gives Piano a Vigorous Workout. New
York Times (March 25), 17.
Ericson, Raymond 1962. Muzak versus John Cage Ends in
Silence at Pan Am. New York Times
(August 12), Section 2, 9.
Ericson, Raymond 1964. Avant-Garde Music Festival Opens. New York Times (August 31).
Ericson, Raymond 1969. Grete Sultan Plays American Moderns. New York Times (February 4).
Ericson, Raymond 1972a. City Sounds Yield an Opus by
Cage. New York Times (July 2), 31.
Ericson, Raymond 1972b. Music: Sorting Cages
Earliest Charms. New York Times
(November 5), 80.
Ericson, Raymond 1974. The Pick of Modern American Music. New York Times (August 25).
Ericson, Raymond 1979. Disks: Singing Along with the
Guitar [review of Turnabout TV 34727S (recording)]. New York Times (April 5), C11.
Ericson, Raymond 1985. Gershwin Stars in a Display of
American Musical Variety [includes review of Mode 1-2 (recordings)]. New York Times (August 18).
Ericsson, Hans-Ola 2000. As slow as possible –
Neues vom Halberstdter Cage-Projekt: Zur Auffhrung. Positionen no. 44 (August), 49-50.
Erlanger Nachrichten 1990a. Fest mit Musik der Avantgarde. Erlanger Nachrichten/Erlanger Tagblatt (September 19).
Erlanger Nachrichten 1990b. Tag mit John Cage. Erlanger Nachrichten/Erlanger Tagblatt (September 25).
Erni, Jrg 1972. Erste Begegnung in Basel. National-Zeitung [Basel] (June 7).
Ernst, David 1977. The
Evolution of Electronic Music. New York: Schirmer Books.
Ernst, David 1979. Composer Profiles: John Cage. Polyphony 5, no. 1 (May-June), 13-15,
29.
Ertan, Deniz 2010. [Review of Nicholls 2007]. Music & Letters 91, no. 1
(February), 136-139.
E-s 1987. Marathon mit John Cage. Klnische Rundschau (February 12).
Ėskina, Natalja Anatolevna 1998. Meždu
Bahom i tretim tysjačeletiem. Muzykalna Zhizn no. 11
(November), 36-37.
Espresso 1962. [Title unknown]. LEspresso (October 14), 15.
Essener Woche 1963.
Musik oder Narrenspossen? Essener Woche
(June 15-22).
Essl, Karlheinz 1989. Zufall und Notwendigkeit:
Anmerkungen zu Gottfried Michael Koenigs Streichquartett 1959 vor dem
Hintergrund seiner kompositionstheoretischen berlegungen. In Metzger, H.-K.
and Riehn 1989, 35-76.
Est Rpublicain 1987.
Deux crations dans les bagages de John Cage. LEst Rpublicain [Nancy] (November 23).
Esteban, Jos Maria 1972. Audicin musical de John Cage y David Tudor. Diario de Navarra (July 4), 23.
Etrog, Sorel and John Cage 1982. Sorel Etrog, Dream Chamber: Joyce and the Dada Circus: A
Collage/John Cage, About Roaratorio:
An Irish Circus on Finnegans Wake. Ed. by Robert ODriscoll. Toronto
[etc.]: Black Brick Press; Dolmen Press.
Euen, Bruno 1977. Ein Erlebnis besonderer Art. Hildesheimer Allgemeine Zeitung (December 17).
Evangelisti, Debbie 1978. Kostelanetz Breaks Ground for John Cages WSU Visit. The Sunflower [Wichita, Kansas] (April 10), 1.
Evangelisti, Franco 1985. Vom Schweigen zu einer
neuen Klangwelt: Aufzeichnungen aus den Jahren 1957-1979 (Kln - Berlin -
Rom). Trans. I. Evangelisti, Heinz-Klaus Metzger, and Rainer Riehn. In Franco Evangelisti. Ed. by Heinz-Klaus
Metzger and Rainer Riehn. Mnchen: text + kritik, 40-166 (Musik-Konzepte;
43-44).
Evans, Brad 1972. Thousands Flee! National Review [New York] 24, no. 34 (September
1), 965.
Everett, William 1961. An Affirmation of Life. Wesleyan Argus (October 31), 3.
Everett-Green, Robert 1988. [Review]. Globe and Mail (July 16). On July 8-31,
1988.
Everett Herald 1977. A Dance Premiere. Everett Herald [Everett, Washington] (September 8).
Everschor, Franz 1963. Ist ungewaschener Salat
lebenswichtig? Rheinische Post
(November 19).
Evett, Robert 1953. Progress in Music. New Republic (August 17), 17-18.
Ewen, David 1961. The
New Book of Modern Composers. New York: Alfred A. Knopf.
Ewen, David 1962. David
Ewen Introduces Modern Music: A History and Appreciation, from Wagner to Webern.
Philadelphia, Pennsylvania [etc.]: Chilton Book Co.; rev. ed. as David Ewen Introduces Modern Music: A
History of Appreciation, from Wagner to the Avant-Garde. Philadelphia,
Pennsylvania [etc.]: Chilton Book Co., 1969.
Ewen, David 1968. The
World of Twentieth-Century Music. Englewood Cliffs, New Jersey:
Prentice-Hall; repr. London: Hale, 1969; 2nd ed. revised by Stephen J. Pettitt.
London: Hale, 1991.
Ewen, David 1969. Cage, John. In David Ewen, Composers since 1900: A Biographical and
Critical Guide. New York: H. W. Wilson Co., 111-114.
Ewen, David 1971. Composers
of Tomorrows Music: A Non-Technical Introduction to the Musical Avant-Garde
Movement. New York: Dodd, Mead.
Ewen, David 1982. John Cage. In David Ewen, American Composers: A Biographical
Dictionary. New York: G. P. Putnams Sons, 105-108.
Express 1987a.
24 Stunden Zufallsmusik. Express
[Kln] (January 20).
Express 1987b.
Cage-Konzert: Zuhrer kamen mit Schlafsack. Express [Kln] (February 16).
Ey 1991. Die Ausstellung als Zufallsspiel. Sddeutsche Zeitung (July 9), 12.
Eyckmans, Jozef 1980. John Cage [poem]. In Jozef
Eyckmans, Achtendertig componisten.
Amsterdam [etc.]: Elsevier Manteau, 57 (Elseviers literaire serie).
Eyer, Ronald 1960. Is Composer Facing Electronic Future? New York Herald Tribune (December 11).
Eyles,
John 2009. [Review of Another Timbre AT18 (recording)]. All About Jazz (September 2).
http://www.allaboutjazz.com/php/article.php?id=33962 (accessed September 4,
2010).
Eyles,
John 2010. Lost Daylight [review of Another Timbre AT10 (recording)]. All About Jazz (February 17).
http://www.allaboutjazz.com/php/article.php?id=35480 (accessed August 10,
2010).
F.F. 1963. Gerusch-Experimente. Neue Ruhr Zeitung (June 11).
F.S. 1970. Allez en Cage. Actuel!? new series, no. 1 (October).
Faas, Ekbert 1975. Open
Forms: The Evolution of a New Aesthetics. Munich: Goldmann.
Faamausili, Aserota 1993. The Aesthetic Theories of
John Cage (d. 1992) and the Extent to which They Have Been Embodied in His Own
Music. MM thesis University of Auckland.
Fabian, Rainer 1978. [Untitled] [letter to Karlheinz
Stockhausen]. Included in Stockhausen 1974/1978, 653.
Fabre, Claude 1983. Merce Cunningham: Toute la prsence dun art moderne. Libert (October 28).
Faculty 1980. John
Cage: Musical Messages: An Exhibition of Pages from Compositions by John Cage,
commentary Faculty of the Department of Music, University of California at San
Diego. Introduction Will Ogdon. La Jolla: University of California at San
Diego. Includes Balzano 1980a;
Balzano 1980b; Foster, G. 1980a; Foster, G. 1980b; Nee 1980a; Nee 1980b;
Oliveros 1980; Reynolds, R. 1980a; Reynolds, R. 1980b.
Fahlstrm, yvind 1960. Ljuv hetsig dlighet i
konstens tjnst. Expressen [Stockholm]
(November 13), 4.
Falck, Robert 1965. Cage, Tudor, Wolff In MIT
Concert. Boston Globe (February 23).
Fancelli, Agust 1991. John Cage, el control del azar. El Pas (January 17), 40.
Fancelli, Agust 1992. John Cage descubre el
silencio. El Pas (August 14), 21.
Fanfare DATE. [Review of New World Records 80203-2; New World Records 80456-2
(recordings)]. Fanfare (DATE).
Fanning, David 1989. Cage with Broken Bars. The Independent (November 25).
Fanselau, Rainer 1979. Gleichzeitigkeit des
Ungleichzeitigen: berlegungen zu einer Unterrichtsreihe in Musik
(Sekundarstufe 2): 1940/41 - Ein Querschnitt. Musik und Bildung 11, no. 1, 33-37.
Fant, Gran 1965. Tre uruppfranden. Svenska Dagbladet (September 12).
Fant, Gran 1966-1967. [Review of Cage 1966e]. Nutida Musik 10, no. 3-4, 56-57.
Farabet, Ren 1978. Il treno di John Cage - la
recherche du temps perdu. Musique en jeu
no. 33 (November), 130-131.
Farlow, Helen 1953. Critic Is Not Enchanted. Urbana News [Urbana, Illinois] (March 23).
Farrell,
Gerry 2001. [Review of Born and Hesmondhalgh 2000]. Music
& Letters 82, no. 4 (November), 680-682.
Fssler, Gnther 1991. John Cages Schnickschnack. Bndner Zeitung [Chur] (June 6).
Faure, Maurice 1954. La cration musicale contemporaine. Lettres Nouvelles 3, no. 22 (December), 927-932.
Faurot, Albert 1974. Concert Piano Repertoire. Metuchen, New Jersey: Scarecrow Press.
Faust, Wolfgang Max 1980. Das Wort, die Musik, das
Schweigen: Notizen zu John Cage. Sprache
im Technischen Zeitalter [Berlin] no. 74
(June), 161-172.
Favaro, Roberto 2004. Segno, struttura,
gesto: Limprovvisazione nella musica colta. Musica/Realt 25, no. 75 (November),
135-147.
Favre, Max 1983. Bern: Schweizerische
Cage-Erstauffhrung. Schweizerische
Musikzeitung = Revue Musicale Suisse 123, no. 3, 173.
Fayenz, Franco 1992. Cage e le sinfonie del rumore. Il Giornale (August 14), 17.
Feder, Susan 1986. Orchestral Music: 4. 1950-70. In The New Grove Dictionary of American Music.
Ed. by H. Wiley Hitchcock and Stanley Sadie. London [etc.]: Macmillan, vol. 3,
430-432.
Federhofer, Hellmut 1977. Neue Musik: Ein Literaturbericht. Tutzing: Hans Schneider.
Federhofer, Hellmut 1998. Von Arnold Schnberg zu
John Cage. Neues Musikwissenschaftliches
Jahrbuch [Augsburg] 7 (1998), 219-228 (review [of the periodical]: Sterl
1999).
Federhofer, Hellmut 1999. Anarchische Musik und Musikwissenschaft. Neues Musikwissenschaftliches Jahrbuch [Augsburg] 8 (1999), 197-204.
Federhofer, Hellmut 2003. John Cage und
Karlheinz Stockhausen. Studia
Musicologica Academiae Scientiarum Hungaricae 44, no. 3-4 (2003),
411-422.
Fedida, Pierre 1972. LՎcho minral. Musique en jeu no. 9 (November),
116-118.
Feher, Etienne 2007. Concert choeur
ouvert. Rue Descartes no. 56
(2007), 29-37.
Feinstein, Roni 1986. The Early Work of Robert
Rauschenberg: The White Paintings, the Black Paintings, and the Elemental
Sculptures. Arts Magazine 61, no. 1
(September), 28-37.
Feisst [Feit], Sabine 1997. Der Begriff Improvisation in der neuen Musik. Sinzig: Studio
(Berliner Musik Studien; 14).
Feisst, Sabine
2005. Etwas Unvorhersehbares tun: Zur Bedeutung der Improvisation fr John
Cage. MusikTexte no. 106 (August),
63-71.
Feisst, Sabine 2005. Etwas
Unvorhersehbares tun: Zur Bedeutung der Improvisation im Schaffen von John
Cage. MusikTexte no. 106
(May), 63-71.
Feisst, Sabine 2007. Komponieren mit
urbanen Klngen: Die U.S.-amerikanische Komponistin Annie Gosfield. MusikTexte no. 115 (November), 5-14.
Feisst, Sabine 2009. John Cage and Improvisation:
An Unresolved Relationship. In Musical
Improvisation: Art, Education, and Society. Ed. Gabriel Solis
and Bruno Nettl. Urbana, Illinois: University of Illinois Press, 38-51.
Feldman, Elyn 1986. [Review of Cunningham/Lesschaeve
1980/1985]. Sonneck Society Newsletter
12, no. 1, p. 28.
Feldman, Morton 1958. Sound, Noise, Varese, Boulez. It Is no. 2 (Winter-Spring), 46.
Feldman, Morton 1963. Morton Feldman. liner notes
for phonodisc Series 2000 58007 and S/8007. New York: Time Records; untitled
repr. (slightly abr.) [on the cover of Feldmans scores]. New York: C. F.
Peters, since 1963; repr. (of the slightly abr. version) as Autobiography:
Morton Feldman (* 1926) with German as Autobiographie: Morton Feldman (*
1926). Trans. and ann. by Norbert Weiss. In Morton Feldman, Essays. Ed. by Walter Zimmermann.
Kerpen: Beginner Press, 1985, 36-40.
Feldman, Morton 1966. Pre-Determinate/Indeterminate.
Composer no. 19 (Spring), 3-4; repr.
with German trans. Gerhard Westerrath as Vorbestimmt/unbestimmt. In Feldman
1985, 47-49.
Feldman, Morton 1967. Avant Garde: Progress or
Stalemate? New York Times (March 5),
D 27; Swedish as Avantgarde: Utveckling eller stillstnd. Nutida Musik 32, no. 4 (1988-1989),
20-21.
Feldman, Morton 1967-1968. Varken - eller. Nutida Musik 11, no. 5-6, 45-46;
original English text as Neither/Nor. Included in Cage et al./Austin 1969,
7-8; repr. (with German trans. Peter Behrendsen as Weder/noch) in Feldman
1985, 79-81.
Feldman, Morton 1968. Give my regards to Eighth
Street. Art News Annual (1968);
repr. Art in America 59, no. 2
(March-April 1971), 96-99; repr. with German trans. Peter Behrendsen as Gr
mir die Eighth Street. In Morton Feldman, Essays. Ed. by Walter Zimmermann. Kerpen: Beginner Press, 1985,
71-78.
Feldman, Morton 1968-1969a. Konstens ngslan. Nutida Musik 12, no. 3, 36-41; original
English text as The Anxiety of Art. Art
in America 61, no. 5 (September-October 1973), 88-93; repr. with German
trans. Peter Behrendsen as Die Angst vor der Kunst. In Feldman 1985, 83-96.
Feldman, Morton 1968-1969b. Mellan kategorierna. Nutida Musik 12, no. 4, 25-27; original
English text as Between Categories. The
Composer 1, no. 2 (September 1969), 73-77; repr. New Observations no. 67 (May 1989), 6-8; repr. in Feldman 2000,
83-89; French as Entre des categories. Trans. Dominique Bosseur. Musique en jeu no. 1 (November 1970),
22-26; repr. with German trans. Gisela Gronemeyer as Zwischen den Kategorien
(Between Categories). In Feldman 1985, 82-84.
Feldman, Morton 1969b. Un problema di composizione.
Trans. Franca Lerici. Il Verri: Rivista
di Letteratura no. 30 (July), 68-70; original English text as A
compositional problem. Neue Musik
[Mnchen], special issue as Originalbeitrge
Musik/Film/Dia/Licht-Festival. Kunstprogramm Olympische Spiele Mnchen 1972,
35; repr. with German as Ein kompositorisches Problem. Trans. Peter
Behrendsen. In Morton Feldman, Essays.
Ed. by Walter Zimmermann. Kerpen: Beginner Press, 1985, 113-114 (review: Vlad
1970).
Feldman, Morton 1981. Crippled Symmetry. Res [Cambridge, Massachusetts] no. 2
(Fall), 91-103.
Feldman, Morton 1982. Mehr Licht. Trans. John
Gabriel and Sabine Gabriel. In Krger 1982, [10]-[11]; repr. (with original
English text), in Feldman 1985, 120-121; repr. as More Light = Mehr Licht. In
Budisavljevic 1992, 14-15; French as Plus de lumire. Trans. Carol Richards.
In Charles 1987-1988, 191.
Feldman, Morton 1985. Essays. Ed. by Walter Zimmermann. Kerpen: Beginner Press.
Feldman, Morton 1986. Middelburg Lecture. Ed.
Vincent Gasseling, Michael Nieuwenhuizen. In Metzger, H.-K. and Riehn 1986,
3-63.
Feldman, Morton 1987. Everything Is Recycled:
Middelburg-Lecture vom 2. Juli 1987. MusikTexte
no. 22 (December), 8-9, 11, 17-19, 21, 25, 27-28.
Feldman, Morton 2000. Give My Regards to Eighth Street: Collected Writings of Morton Feldman.
Ed. by B.H. Friedman. Cambridge, Massachusetts: Exact Change.
Feldman, Morton 2006. Morton Feldman Says: Selected Interviews and Lectures 1964-1987.
Ed. Chris Villars. London: Hyphen Press (Hyphen New Series) (reviews: Clark, P.
2006; Fox, C. 2006; Gerlich
2008; Gresser 2007b; Wohlfahrt
2006).
Feldman, Morton 2008. Words on Music:
Lectures and Conversations = Worte ber Musik: Morton Feldman in Middelburg. Ed. by Raoul Mrchen. Trans. Raoul
Mrchen and Timothy Jones. Kln: MusikTexte, 2 vols. (Edition Musiktexte; 010)
(reviews: Neuner 2009; Sderberg 2009).
Feldman, Morton et al. 1952. 4 Musicians at Work. Trans/formation 1, no. 3, 168-172.
Feldman, Morton/Beckett, Alan 1966. Morton Feldman. International Times no. 3 (14-27
November); repr. in Some of IT. Ed.
by David Mairowitz. London: Knullar, 1969, 25-27.
Feldman, Morton/Bosseur, Jean-Yves 1968. A lՎcart
des grandes villes. Revue dEsthtique
21, no. 2-4 (April-December), 3-8.
Feldman, Morton/Gena, Peter 1982. H.C.E. (Here Comes
Everybody): Morton Feldman in Conversation with Peter Gena. Triquarterly [Evanston, Illinois] no. 54 (Spring),
122-144; repr. in Gena and Brent 1982, 51-73; German excerpt as H.C.E. (Here
Comes Everybody): Morton Feldman im Gesprch mit Peter Gena (Auszge). In For 1983, 14-26.
Feldman, Morton/Laycock, Jolyon and David Charlton
1967. An Interview with Morton Feldman. Opus
[Nottingham, England] 2 (Spring), 18-20.
Feldman, Morton/Massi, R. Wood 1989. Captain Cooks
First Voyage: An Interview with Morton Feldman. Cum Notis Variorum no. 131 (April), 7-12.
Feldman, Morton/Orton, Fred and Gavin Bryars 1976.
Morton Feldman: Interview by Fred Orton and Gavin Bryars. Studio International [London] 192, no.
984 (November-December), 244-248.
Feldman, Morton/Zimmermann, Walter 1976. Morton
Feldman. In Zimmermann, W. 1976, 1-20; repr. in Zimmermann, W. 1981, 249-255;
repr. as Epilog: Conversation between Morton Feldman and Walter Zimmermann.
In Feldman 1985, 229-244; German (trans. Peter Behrendsen) in Zimmermann, W.
1981, 256-263; repr. as Gesprch zwischen Morton Feldman und Walter
Zimmermann. In Feldman 1985, 229-244; Swedish as Att behlla kontrollen ver
tystnaden. Nutida Musik 32, no. 4
(1988-1989), 22-30.
Feldman, Phyllis 1957. Reviewer Lauds Dance Performance. Antioch College Record [Yellow Springs, Ohio] (May 17).
Feller, Elisabeth 1991. Der Guru hat gesprochen. Badener Tagblatt (June 24).
Ferguson, Russell and Sherri Schottlaender 1993, ed. Rolywholyover: A Circus. Los Angeles
[etc.]: Museum of Contemporary Art; Rizzoli, unpag. Koshalek, Richard 1993.
Directors Foreword. In Ferguson and Schottlaender 1993 (reviews:
Blažeković 1992; Cameron, D. 1993; Peeters, M. 1993; Tuber
1993).
Fernndez, Luis Alfonso 1993. John Cage y Sam Francis en el MOCA. Resena no. 245 (December), 14-15.
Fernndez, Luis Alfonso 1994. El azar y la tecnologa. El Pas (February 5), Babelia, 6-7.
Ferrari, Aldo 1978a. costato 50 milioni il giochino di Cage. Il Resto del Carlino (June 29).
Ferrari, Aldo 1978b. E quando vorr suonare un Boeing? Il Resto del Carlino (June 28).
Ferrari, Luc/Robindor, Brigitte 1998. Luc Ferrari:
Interview with an Intimate Iconoclast. Computer
Music Journal 22, no. 3 (Fall), 8-16.
Ferrarotti, Franco/Nissirio, Cesare 1981. Jack in the Juke-Box. Il Dramma [Roma] 57, no. 4 (June), 47-49.
Ferrer, Esther 1978. El taller: Estudio de John
Cage. Punto y Coma [Barcelona] no.
11-12 (June).
Ferrer, Esther 1979. John Cage, entre la disciplina
matemtica y el azar. El Pas
(November 17).
Ferrer, Esther 1981. El compositor John Cage
desentraa el mundo catico de una novela de Joyce. El Pas (February 20).
Ferrer, Esther 1987-1988. Hommage John Cage. In
Charles 1987-1988, 202-203.
Ferrer, Esther 1995. Does Anarchy Have a Future? Musicworks no. 62 (Summer), 22-23.
Ferrero, Lorenzo 1974. Le idee di J. Cage. Tesi di
Laurea, Universit di Torino, Facult di Lettere e Filosofia.
Ferrero, Lorenzo 1979. John Cage Festival. Scena [Milano] 4, no. 3-4 (September), 11-14.
Festschrift 1974. Festschrift fr Michael Schneider zum 65.
Geburtstag: Dargebracht von Freunden und Schlern. Berlin: Merseburger
(reviews: Dorfmller 1975; Wienke 1974).
Fetterman, William (Benson) 1996a. John Cages Theatre Pieces: Notations and
Performances. Amsterdam [etc.]: Amsterdam [etc.]: Harwood (Contemporary
Music Studies; 11) (revised Ph.D. dissertation, New York University, 1992)
(review: Erickson, J. 1999).
Fetterman, William
1996b. Merce Cunningham & John Cage: Choreographic Cross-Currents. In
Vaughan 1996.
Fetterman, William
2002. 4'33", 0'00": Variaciones sobre una accin disciplinada. Olobo [Cuenca] no. 3.
Feuchtner, Bernd 1992a. Die Neugier auf die Klnge
des Lebens. Der Tagesspiegel (August
14), 13.
Feuchtner, Bernd 1992b. Worauf Cage nie eine Antwort
gab: Ein Wochenende mit Werken des Komponisten. Das Orchester 40, 1456-1457.
Feuchtner, Bernd 1993a. Eine menschliche Uhr. Der Tagesspiegel (May 19-20), 17.
Feuchtner, Bernd 1993b. Lyrik unterm Firmament. Der Tagesspiegel (May 21).
Feuchtner, Bernd 1993c. Die Rckkehr des
Klavierpapstes. Der Tagesspiegel
(May 18), 20.
Fiedler, Helmuth 1991a. Das Diktat des Chronometers!
Stuttgarter Nachrichten (December 2).
Fiedler, Helmuth 1991b. Die Legende John Cage. Stuttgarter Nachrichten (December 2).
Filgraebe, Michael 1983. John Cage: Sie mssen es nicht Musik nennen: Gedanken zu Musik und Philosophie. Hausarbeit fr die Prfung fr das Lehramt fr die Mittelstufe und Oberstufe, Kassel.
Filipović, Filip 1981. Beleške o Johnu
Cageu. In Cage 1981i, vii-xv.
Filliou, Robert 1970. Lehren und Lernen als Auffhrungsknste = Teaching and Learning as
Performing Arts. Ed. by Kasper Knig. Kln [etc.]: Koenig.
Findsen, Owen 1971. Art By Chance. Cincinnati Enquirer (January 10), 1-H.
Fine, Douglas J. 1992. The Music of Noise. Peninsula Times Tribune (January 26 or earlier), F1, F4.
Fineberg, Jonathan
1995. Art since 1940: Strategies of Being.
New York: Harry N. Abrams; 2nd ed. Upper Saddle River, New Jersey: Prentice
Hall, 2000.
Fink, Robert 1998.
Elvis Everywhere: Musicology and Popular Music Studies at the Twilight
of the Canon. American Music 16, no. 2 (Summer),
135-179.
Finkelstein, Sidney 1947. John Cages Music. New Masses [New York] 62, no. 2 (January
7), 30-31.
Finley, Larry 1967. What Happened at the Happening. Champaign-Urbana Courier (November 19),
20.
Finn, Robert 1970. Cage Makes Verbal, Musical Sense.
Plain Dealer (January 24).
Finnie, Jimmy Wayne 1995. The Keyboard Percussion
Trios of Toru Takemitsu and Toshi Ichiyanagi. DMA doc. University of North
Texas.
Firincioğlu, Semih 1988. Şans işi bir opera. Cumhuriyet (November 9), 5.
First Bank News 1977. Bank Helps Fund Dance Company Residency. First Bank News 15, no. 13 (July 8), 3.
Fischer, Alfred M. and Dieter Daniels 1988, ed. brigens sterben immer die anderen: Marcel
Duchamp und die Avantgarde seit 1950. Kln: Museum Ludwig.
Fischer, Eva-Elisabeth 1990. Von der Kunst des Zufalls. Sddeutsche Zeitung (October 9).
Fischer, Eva-Elisabeth 1992. Schule der Wahrnehmung.
Sddeutsche Zeitung (September 23),
13.
Fischer, Kurt von 1969. [Untitled]. As part of Anthologie. In Brtschi et al. 1969, X 3.
Fischer, Rudolph K. 1974. Die Kunstauffassung von John Cage: Ihre Prgung durch die Lehre des Zen-Buddhismus und die Auswirkung auf sein Schaffen. Thesis [Schriftliche Hausarbeit zum Staatsexamen fr das Lehramt an Gymnasien], Mainz.
Fischlin, Daniel
and Ajay Heble 2004, ed. The Other Side
of Nowhere: Jazz, Improvisation, and Communities in Dialogue. Middletown,
Connecticut: Wesleyan University Press.
Fisher, George 1994-1995. Music Reviews. Notes series 2, vol. 51, 1462-1464.
Fisher, Marjory M. 1942. Interest Shown in Percussion
Music Program. San Francisco News
(May 8).
Fitton, Mary 1951. College Correspondence. Dance Observer (March), 35, 45-46.
Fitzgerald, Gerald 1970. Tune-up for the Eyes. Patriot Ledger [Quincy, Massachusetts]
(February 24), 22.
Fiumara, Anthony 2000. Muzikaliteit van een
stofzuiger. Utrechts Nieuwsblad
(March 22).
Fiumara, Anthony 2006. Cd–klassiek [review of
ECM New Series 1844 (recordings)]. Trouw
(January 14).
Fiumara, Anthony 2010. Componist, charlatan: Cage. Trouw (September 29), 32.
Flamm, Matthew 1992. And Zen I Wrote New York Post (July 9), 21.
Flammer, Ernst Helmuth 1984. Happening und
Environment in Kunst und Musik: Zur Problematik des Zufalls bei Joseph Beuys und
John Cage. In Martin Gosebruch zu Ehren:
Festschrift anlsslich seines 65. Geburtstages am 20. Juni 1984. Ed. by
Frank Neidhart Steigerwald. Mnchen: Hirmer, 192-206.
Flanagan, Ray 1967. John Cage Releases His Chance
Theories. Morning Call [Allentown,
Pennsylvania] (February 23), 38.
Flanagan, William 1960. A 3-Ring Circus of Lunacy Is
This Musical Premiere. New York Herald
Tribune (March 8).
Flanagan, William 1962. Berio, Circles, etc. HiFi/Stereo Review 7 (April), 63.
Flander, Judy 1973. Cagy John Cage. Washington Star-News (September 5),
Portfolio, B.
Fleming, Richard 1989. Introduction. In Fleming and
Duckworth 1989, 9-10.
Fleming, Richard and William Duckworth 1989, ed. John Cage at Seventy-Five. Lewisburg,
Pennsylvania [etc.]: Bucknell University Press [etc.] (Bucknell Review; 32, no.
2) (reviews: Gann 1990b; Hitchcock 1990; Nicholls 1993b; Rizzardi 1992b).
Fleming, Shirley 1976. Music Notes: Asked for One,
Cage Writes Two. New York Times
(September 19).
Fleuret, Maurice 1970a. Clefs pour la musique
nouvelle. Rock & Folk no. 45
(October), 13.
Fleuret, Maurice 1970b. Le hasard fait le geste. Le Nouvel Observateur (June 22), 48-49.
Fleuret, Maurice et al. 1971. Journes de musique
contemporaine, Paris 19-27 Octobre 1970. La
revue musicale no. 270-271, 35-42+.
Flood, Richard 1982. Purchase: Soundings: Neuberger
Museum, State University of New York. Artforum
20, no. 9 (May), 88-89.
Flory, Michael 1975. Cage as Poet: Two Evenings. Ear 1, no. 3 (Summer), 3, [3].
Flower, Edward 1980. Record Review: Music for Voice
and Guitar [review of Turnabout TV 34727S (recording)]. Musical Quarterly 66, no. 1 (January), 153-154.
Flynt, Henry A. 1990. Cage and Fluxus. In Henry
Flynt, Mutations of the Vanguard.
S.l.: privately published; rev. repr. in Kostelanetz 1993f, 279-282.
Foesel, Karl 1972. Nrnbergs Musica Sacra mit sieben
Urauffhrungen. Melos 39, 299-300.
Fohrbeck, Karla 1985. Handbuch der Kulturpreise und der individuellen Knstlerfrderung in
der Bundesrepublik Deutschland 1979-1985. Bonn [etc.]: Zentrum fr
Kulturforschung; DuMont.
Foirades/Fizzles 1987. Foirades/Fizzles: Echo and Allusion in the Art of Jasper Johns. Los Angeles, California: Grunwald
Center for the Graphic Arts; Wight Art Gallery, University of California, Los Angeles,
167-192 [exhibition catalogue, September 20-November 15, 1987].
Foley, Suzanne
1981. Space, Time, Sound: Conceptual Art
in the San Francisco Bay Area: The 1970s. San Francisco [etc.]: San
Francisco Museum of Modern Art; University of Washington Press [exhibition
catalogue, Space/Time/Sound–1970s: A Decade in the Bay Area, December 21,
1979-February 10, 1980].
Folkart, Burt A. 1992. John Cage, 79; Avant-Garde
Composer Created Music with Sound and Silence. Los Angeles Times (August 13), A24-A25.
Fong, Monique 1983. Avant-propos. In Cage 1983c,
v-xi.
Fontes Artis Musicae 1987.
International Conference Marking 75th Birthday of Composer John Cage Will Be
Held at Wesleyan University. Fontes
Artis Musicae 34, no. 4, 263-264.
Fontova, Rosario 1991. El msico John Cage presenta sus pinturas en el Espai Poblenou. El Peridico (January 17).
For 1983. For John Cage: a portrait series. Kln:
Klner Gesellschaft fr Neue Musik (Verffentlichungen; 6).
Ford, Andrew 1993. Composer
to Composer: Conversations about Contemporary Music. London: Quartet Books;
Sydney: Allen & Unwin (reviews: Hewett 1994; Matthews 1994b).
Ford, Mark 1991. Recordings [review of New World
Records 80382-2 (recording)]. Percussive
Notes 30, no. 2 (December 1991), 75.
Ford, Mary Beth
1993. Alternative Music Styles: Implications for Program Development in Music
Education. Ed.D. dissertation, Temple University, Philadelphia, Pennsylvania.
Forget, Marie-Christine 1994. Du mutique
lobjectal: La notion de silence chez John Cage. Les Cahiers du CIREM [Rouen] no. 32-34, 89-94.
Fornel, Anne de 2008. Regards croiss: Not
Wanting to Say Anything about Marcel et les Song Books de John Cage. Dissonanz = Dissonance no. 104
(December), 4-9.
Forsythe, Eric 1977. Theatre in Review. Educational Theatre Journal 29, no. 4
(December), 561-562.
Forum fr
Zeitgenssische Musik 1986. Cage-Urauffhrung in Stuttgart:
Geruschwald im Kunstverein. Forum fr
Zeitgenssische Musik im Bonner Konzertleben (September-October), 9.
Foster, Genette 1980a. Music for Carillon, No. 4. In
Faculty 1980, [28]-[31].
Foster, Genette 1980b. Water Music. In Faculty 1980,
[38]-[40].
Foster, Hal 1983, ed. The Anti-Aesthetic: Essays on Postmodern Culture. Port Townsend,
Washington: Bay Press.
Fouse, Kathryn Lea 1992. Surrealism in the Piano
Music of Representative Twentieth-Century American Composers with Three
Recitals of Selected Works of Ives, Cowell, Crumb, Cage, Antheil, and Others.
DMA thesis, University of North Texas, Denton.
Fowler, John 1984. Free and Easy. Glasgow Herald (September 4).
Fox,
Aaron A. 2000. [Review of Born and Hesmondhalgh 2000]. Current
Musicology no. 70 (Fall-Winter), 175-178.
Fox, Christopher 1982. Darmstadt 1982. Contact no. 25 (Fall), 49-52.
Fox, Christopher
1985. A Darmstadt Diary. Contact no.
29 (Spring), 44-47.
Fox, Christopher 1986.
Cage–Eckhart–Zimmermann. Tempo
no. 159 (December), 9-15.
Fox, Christopher 1991. Cage–Feldman–La
Barbara [Review of New Albion NA 035 (recording)]. Tempo no. 177 (June), 58.
Fox, Christopher 1995. Record Review [Review of Hat
Art CD 6159 and Wergo WER 6231-2-Wergo WER 6238-2 (recordings)]. Tempo no. 194 (October), 58, 60.
Fox, Christopher 2006. [Review of Feldman, M. 2006]. Musical Times 147, no. 1896
(Fall-Winter), 102-108.
Fox, Christopher 2007. [Review of Dickinson 2006a]. Musical Times 148, no. 1899 (Summer),
116-119.
Fox, Christopher
2008. [Review of Nicholls 2007]. Musical Times 149, no. 1904 (Fall-Winter),
113-116.
FR 1960. Der Klavierdeckel spielte mit. Spandauer Volksblatt (September 30).
Francis, John Richard 1976. Structure in the Solo
Piano Music of John Cage. Ph.D. dissertation, Florida State University,
Tallahassee.
Francis, Mary C. 2000. [Review of Lindenberger 1998]. South Atlantic Quarterly [Durham, North Carolina] 16, no. 1 (Winter), 79-83.
Francis, Richard 1989. If Art Is Not Art, Then What
Is It? In Adam 1989, 25-32.
Francis, Sean 1994. [Review of Perloff, M. 1991]. Chicago Review 2 and 3, 175-177.
Franois, Jean-Charles 1981. Percussion Sound
Sculpture. Percussionist/Percussive
Notes Research Edition 18, no. 3 (Summer), 40-70.
Franois, Jean-Charles 1987-1988. Timbre fig, timbre
dynamique. In Charles 1987-1988, 205-208; English as Fixed Timbre, Dynamic Timbre. Perspectives of New Music 28, no. 2
(Summer 1990), 112-118.
Franois, Jean-Charles 1990. Quel champigon faut-il
pousser? Corps crit no. 35
(September), 115-120.
Franois, Jean-Charles 1991. Percussion et musique contemporaine. Paris: Klincksieck (Collection
desthtique; 53).
Franois, Jean-Charles 1992. Writing about
Representation, and Unreadable Notation. Perspectives
of New Music 30, no. 1 (Winter), 6-20.
Franje [pseudonym] 1988. Holland Festival: Cochius. Trouw (June 25), 19.
Frank, Henry 1982. Music and Art. Newsweek (April 12), 6.
Frank, Peter 1978. Something Old, Something New, Something Borrowed, Something Cerulean. Village Voice (April 10), 78.
Frank, Peter 1983a. New Music in Honor of John Cage.
Ear 8, no. 1-2 (February-May), 31-33.
Frank, Peter 1983b. Something Else Press: An Annotated Bibliography. S.l.: McPherson
and Co. (A Documentext Publication).
Frank, Peter 1985. Zwischen Bild und Partitur. In
Maur 1985b, 444-449.
Frankel, Bruce 1981. Off the Pedestal, out of the
Frame. Suburbia Today (September
20), 14-16.
Frnkel, Salomo 1972. Monsterschau der Experimente in
Mnchen. Melos 39, 349-355.
Frankenstein, Alfred V. 1939. A Program of
Percussion. San Francisco Chronicle
(July 28).
Frankenstein, Alfred 1942. A Recital on Percussion
Instruments. San Francisco Chronicle
(May 8).
Frankenstein, Alfred 1948. The Seasons. San Francisco Chronicle (March 28).
Frankenstein, Alfred 1960a. First Electronic Concert is Like Surrealist Movie. Toronto Star (August 13), 19, 25.
Frankenstein, Alfred 1960b. In Retrospect: The Music
of John Cage [review of George Avakian KO8Y-1499-1504 (recordings)]. High Fidelity 10, no. 4 (April), 63-64.
Frankenstein, Alfred 1961. Cages Collected Essays
[review of Cage 1961h]. San Francisco
Chronicle (December 10), This World.
Frankenstein, Alfred 1962. Berio: Circles; Bussotti:
Frammento; Cage: Fontana Mix, Aria. High
Fidelity 12 (March), 74.
Frankenstein, Alfred 1964. A Concert in the Stars. San Francisco Sunday Chronicle (April
5), 29.
Frankenstein, Alfred 1968. Electronic Music:
Masterpieces and Other Pieces. High
Fidelity/Musical America 18 (February), 45.
Frankenstein, Alfred 1969. Cage. High Fidelity/Musical America 19, no. 2
(February), 84.
Frankenstein, Alfred 1970a. Classical [review of
Columbia MS 7416-7417 (recording)]. High
Fidelity/Musical America 20, no. 8 (August), 82.
Frankenstein, Alfred 1970b. [Review of Deutsche Grammophon SLPM 137 009 (recording)]. High Fidelity/Musical America 20 (May), 80.
Frankenstein, Alfred 1978. [Review of Deutsche
Grammophon 2530 735 (recording)]. High
Fidelity/Musical America 28, no. 7 (July).
Frankfurter
Allgemeine 1987a. Am Aband flackert das Feuer im zerstrten
Opernhaus wieder auf. Frankfurter
Allgemeine (November 13), 45-46.
Frankfurter
Allgemeine 1987b. Frankfurter Oper durch Brandstiftung
zerstrt. Frankfurter Allgemeine
(November 13), 9-10.
Frankfurter
Allgemeine 1987c. Im Bockenheimer Depot und andernorts soll der
Spielbetrieb weitergehen. Frankfurter
Allgemeine (November 13), 45-46.
Frankfurter
Allgemeine 1987d. Mehr als hundert Millionen Mark Schaden nach
Brandstiftung in der Frankfurter Oper. Frankfurter
Allgemeine (November 13), 1.
Frankfurter
Allgemeine 1991. Cage in Umbrien. Frankfurter Allgemeine (September 2), 31.
Frankfurter Neue Presse 1987. Komponist Cage hatte schon Koffer gepackt. Frankfurter Neue Presse (November 13).
Frankfurter Rundschau 1974. Was ist berhaupt fortschrittlich? Frankfurter Rundschau (March 19).
Frankfurter Rundschau 1987.
Gary Bertini: Wir werden nicht gestoppt – wir machen weiter. Frankfurter Rundschau (November 13), 13,
14.
Frnkischer Tag 1973. Optische Sprache und akustisches Schweigen. Frnkischer Tag [Bamberg] (April 9).
Franklin,
Benjamin V. 1995. [Review of Corbett 1994]. Coda
[Toronto, Ontario] no. 260 (March-April), 18-21.
Franklyn, Frederic A. 1962. Skeletons and Marrow. Trace 11, no. 45 (Spring), 139-144.
Freeman, Betty and Daniele Palazzoli 1987. Music People & Others. Milano:
Gabriele Mazzotta.
Frego, R. J. David 1996. The Effect of Aural, Visual,
and Aural/Visual Conditions on Subjects Response to Perceived Artistic Tension
in Music and Dance. Ph.D. dissertation, Florida State University.
Freitag, Kornelia 1995. [Review of Perloff, M. 1991]. AmerikaStudies/American Studies 40.
Freund, Andrea 1987. Manche kommen ahnungslos zur
Probe. Frankfurter Allgemeine
(November 13), 47.
Frey, Ann 1979. Avant-Garde Piano Recital a Multi-Media Performance. BG News [Bowling Green, Ohio] (August 16).
Freytag, Fred 1991. Free Jazz und nickende Zehen. Die Tageszeitung [Berlin] (November 29).
Fricke, David 1994. On the Edge. Rolling Stone no. 676 (February 24), 57.
Fricke, Stefan 1998. [Review of Borio and Danuser
1997]. Neue Zeitschrift fr Musik 159, no. 5 (September-October), 72.
Fricke, Stefan 1999a. Danger Music: Der
Fluxus-/Intermediaknstler Dick Higgins ist tot. Neue Zeitschrift fr Musik
160, no. 2 (March-April), 41; another version as Danger Music: Der
Fluxusknstler Dick Higgins ist tot. Positionen
no. 39 (May 1999), 49.
Fricke, Stefan 1999b. [Review of Boulez/Cage 1990]. Neue
Zeitschrift fr Musik 160, no. 3 (May-June), 83-84.
Fricke, Stefan 1999c. [Review of Meyer, P.M. 1997]. Neue
Zeitschrift fr Musik 160, no. 6 (November-December), 76.
Fricke, Stefan 1999c. Nam June Paik, Schnberg und
Cage. Positionen nr. 39 (May),
43-45.
Fricke,
Stefan 2001. [Review of Geisenberger 1999]. Neue Zeitschrift fr
Musik 162, no. 1
(January-February), 92.
Fricke, Stefan 2002. Kritik konzis. Positionen no. 53 (November), 51-52.
Fried, Alexander 1955. Novel Recital Blends Odd Tape Music and Dancing. San Francisco Examiner (November 17), Section II.
Friedman, Ken s.a. The
Three Legs of Teaching [brochure]. S.l.: s.n.
Friedman, Ken 1973. NYCS Weekly Breeder [collage]. Source [Sacramento, California] 6, no. 1
<no. 11> (1973), 35.
Friedman, Kim 1991. Astral Converted Premieres in
Nations Capital. Dance/USA 9, no. 1
(Summer), 6.
Friedman, Sy 1958. A Whistle, a Slinky and a Bunch of Screws [photograph]. New York Times (May 11), X 9.
Friedman, Sydney 1989. To Thine Own Self Be True or Sunshine and Other States or A Posteriori (A Report on the New Music America Miami Festival). New Music Chicago in Print (March), 2-5.
Friedmann, Michael 1966. Music Review. The Justice [Waltham, Massachusetts]
(January 11).
Fries, A. 1994. CDs. Das Orchester 42, no. 2, 72.
Frisch, Johannes 1991. Der alte Mann der Neuen Musik
und ein junger, talentierter Cellist. Badische
Neueste Nachrichten [Karlsruhe] (December 2).
Frisius, Rudolf
1980. Notation und Komposition:
Unterrichtsmaterialien fr die Sekundarstufe I, 2 vols. Stuttgart: Klett.
Frisius, Rudolf 1987. Im Jahre nach dem Jubilum. Luxemburger Wort (November 28).
Frisius, Rudolf 1988. Bekannte und unbekannte
Avantgardisten: Nono, Cage und junge Franzosen beim Musikfestival im
lothringschen Metz. Neue Musikzeitung
37, no. 1 (February-March), 64.
Frisius, Rudolf 1994. Chaos und Zufall im Musikdenken
von John Cage und Iannis Xenakis. In Chaos
und Zufall: Interdisziplinres Forum mit Vortrgen, Diskussionen und Musik.
Ed. by Karl-Josef Mller. Mainz: Johannes-Gutenberg-Universitt, Fachbereich
Musik, 100-106.
Frobenius, Wolf 1999. John Cage und sein
Orchesterstck 103 (1991). Archiv fr Musikwissenschaft 56, no. 2
(1999), 146-157.
Frhlich, Hans J. 1983. Betubung, dem Zufall
zuliebe. Frankfurter Allgemeine
(January 28).
Froment-Meurice, Marc 1979. La pense de John Cage:
un acheminement travers lessence de lart et de la technique modernes.
Thse de doctorat Universit de Paris X.
Froment-Meurice, Marc 1982. Les intermittences de la raison: Penser Cage, entendre Heidegger.
Paris: Klincksieck (Collection desthtique; 38).
Froment-Meurice, Marc 1987-1988. Musicage. In
Charles 1987-1988, 209-221.
Frounberg, Ivar 1984-1985. Horisontal og vertikal
proportionering - en skitse. Dansk
musiktidsskrift 58, no. 2-3, 115-121.
Fruchart, C. 1990.
Les couleurs de B. A. Zimmermann et le degr zro de John Cage. LAlsace (September 27).
Fubini, Enrico 1971. Indeterminazione e struttura
nellavanguardia musicale. Nuova rivista
musicale italiana 5, 1003-1018.
Fueter, Daniel, Franois Thurneysen and Philippe Welti 1969. Beispiele zur Auffhrungspraxis und zur instrumentalen Behandlung der Orchesterstimmen in John Cages Concerto [sic] for Piano and Orchestra. As part of Realisationen. In Brtschi et al. 1969, R 1-R 4.
Fuhrmann, Peter 1973. Musik plus-minus Bild. Die Zeit (May 9).
Fuhrmann, Peter 1978. Zerhackte Hymnen und Chorle
von Cage. Neue Musikzeitung 27, no.
1, 4.
Fuhrmann, Peter 1985. Das unmgliche in die Realitt
umgesetzt. Neue Musikzeitung 34
(June-July), 46.
Fujieda, Mamoru 1998. Proportion und Symmetrie:
Conlon Nancarrows Studie Nummer 26 fr Player Piano. Trans. Saul Klar. MusikTexte no. 73-74 (March), 57-60.
Fulcher, Jane F. 2001. [Review of Lindenberger 1998]. Journal of the American Musicological Society 54, no. 1 (Spring), 147-159.
Fullemann, John David 1984-1985. Aufzeichnung ber
die Entstehung von James Joyce, Marcel Duchamp, Erik Satie: ein Alphabet von
John Cage. Trans. Deborah Kagel. Neuland
5, 385-389. On James Joyce, Marcel
Duchamp, Erik Satie: Ein Alphabet (text).
Fuller, Donald 1943. More on the New York Season. Modern Music 20, no. 3 (March-April),
182-185.
Fuller, Donald 1946. Airborne over New York, Spring
1946. Modern Music 23, 116-123.
Fuller, Peter 1970. Dubuffet and John Cage. Arts Review [London] 22, no. 17 (August
29).
Funes, Donald J. and Kenneth Munson 1975. Musical Involvement: A Guide to Perceptive
Listening. New York [etc.]: Harcourt Brace Jovanovich.
Funk, Karlheinz Ludwig 1972. Cage im Kunstverein. Frankfurter Rundschau (June 23).
Funk, Karlheinz Ludwig 1983. Gegen-Radio-Geschwtz. Frankfurter Rundschau (April 14).
Funk-Korrespondenz 1985.
WDR und Klnischer Kunstverein veranstalten die 1. Acustica International. Funk-Korrespondenz no. 39 (September
27).
Funt, Ellen 1990. My Mother [typographical arrangement of excerpt from Cage/Goldberg 1976]. Ballast Quarterly Review 5, no. 3 (Spring), [12].
Furghieri, Giuseppe 1998. Su un certo modo di
ascoltare i suoni e i rumori di questo secolo. In Bonomo and Furghieri 1998,
538-563.
Frst-Heidtmann, Monika 1976. John Cages Werke fr
prpariertes Klavier: Ein Beitrag zur Emanzipation der Klangfarbe. Musik und Bildung 8, 69-74; Swedish as
Det preparerade pianots id och teknik. Trans. Per Skans. Nutida Musik 21, no. 1 (1977-1978),
9-13.
Frst-Heidtmann, Monika 1979. Das prparierte Klavier des John Cage. Regensburg: Gustav Bosse
(Klner Beitrge zur Musikforschung; 97) (Konold 1980; Neue Musikzeitung 1980) (Ph.D. dissertation 1978).
Frst-Heidtmann, Monika 1981-1982. Henry Cowell und
die experimentelle Klaviermusik. Neuland
2, 255-263.
Frst-Heidtmann, Monika 1982. Die Musik von Conlon
Nancarrow: Studies for Player Piano. In Nies, Marx and Berger 1982, 7-35;
repr. in Musik der Zeit. [] Die Musik von Conlon Nancarrow (program
November 5, 1982).
Frst-Heidtmann, Monika 1987a. Cages Musik fr
prpariertes Klavier. In Danuser, Kmper and Terse 1987, 149-161.
Frst-Heidtmann, Monika 1987b. Fr, zu und ber John
Cage: Resonanz und Reflexion [includes statements by Peter Behrendsen, Herbert
Henck, Heinz-Klaus Metzger, Hans Otte, Klaus Reichert, Josef Anton Riedl,
Gerhard Rhm, Klaus Schning, Dieter Schnebel, Gerd Zacher, Walter
Zimmermann]. Neue Zeitschrift fr Musik
148, no. 10 (October), 21-24.
Frst-Heidtmann, Monika 1995. Tontrger. Neue Zeitschrift fr Musik 156, no. 3
(May-June), 65.
Frst-Heidtmann, Monika 1996. Tontrger. Neue Zeitschrift fr Musik 157, no. 6
(November-December), 67-68.
Frst-Heidtmann, Monika 1998. Sinnlich-vital und
intellektuell-strukturell: Conlon Nancarrow: Ein merkwrdiger Sonderling. MusikTexte no. 73-74 (March), 90-93.
Frst-Heidtmann, Monika 1999. Experimentator-Inspirator:
Henry Cowell. Neue
Zeitschrift fr Musik 160, no. 3 (May-June), 10-14.
Frst-Heidtmann, Monika 2005. Schlagzeug mit einem
Pianisten: Das prparierte Klavier. Neue
Zeitschrift fr Musik 166, no. 2 (March-April), 26-29.
Fssl, Peter 1986. Gott, John Cage und Gerold Amann.
Neue Vorarlberger Tageszeitung
(January 10), 15.
G. 1964. Cage Turussa. Uusi Suomi [Helsinki] (September 17).
G.A. 1982. Les
soixante-dix ans de John Cage. Le Nouvel
Alsacien [Strasbourg] (May 15).
G.Fer. 1992. Padre del rock. La Stampa (August 14), 19.
G.W.B. 1942. Jean Erdman, Nina Fonaroff, Merce Cunningham. Dance Observer (November).
G.W.B. 1943. Reviews of the Month: Lee Sherman and
Beatrice Seckler; Marie Marchowsky; Welland Lathrop. Dance Observer (February), 20.
G.Z. 1960. Wie im Variet. Berliner Morgenpost (September 30), 18.
G.Z. 1978. La musica di John Cage si ascolter sul treno. Il Giorno (June 1).
Gable, David 1988a. Concerto pour piano prpar et
orchestre de John Cage. In Centre 1988, 619.
Gable, David 1988b. Le dpassement des modles. In
Centre 1988, 620-623.
Gablik, Suzi 1983. Monographs. Art in America 71, no. 5 (May), 21.
Gaboury, Placide 1969-1970. Electronic Music: The
Rift between Artist and Public. Journal
of Aesthetics and Art Criticism 28, 345-353.
Gagnard, Madeleine 1975. Quelques aspects de la voix
et du chant dans la musique contemporaine. Ph.D. dissertation, Universit de
Paris VIII.
Gagnard, Madeleine 1982. Lionel Fedrigo lorgue de Sainte-Croix. La Rpublique du Centre [Orlans] (October 27).
Gagne, Cole 1985. You Can Hear Everything in a
Different Way. Ear 10, no. 2
(November-December), 5, 8; repr. Ear
15, no. 5 (July-August 1990), 37-38.
Gagne, Cole 1990. Sonic
Transports: New Frontiers in Our Music. New York: De Falco Books (review:
Gann 1990b).
Galliano, Luciana 2006. Toshi Ichiyanagi, Japanese
Composer and Fluxus. Perspectives
of New Music 44, no. 2 (Summer), 250-261.
Galliari, Alain
1999. Compacts. Diapason [France]
no. 465 (December), 67-68.
Galvin, J. 1992. [Review of Perloff, M. 1991]. Choice (October), 301.
Galzigna, Mario 1994. La rappresentazione dei
processi interiori. In Melancolia e
musica: Dalla nostalgia dell essere alla poetica del suono. Venezia:
Cardo, 23-36.
Gann, Kyle 1987a. Collections. Fanfare 10, no. 4 (March-April), 263.
Gann, Kyle 1987b. Revolution Now: Bowery
Ensemble/Christian Wolff. Village Voice
(April 28), 78.
Gann, Kyle 1988a. A Flight at the Opera. Village Voice (August 2), 82.
Gann, Kyle 1988b. Cage. Fanfare 11 (February), 104-105.
Gann, Kyle 1988c. No Shortcuts. Village Voice (May 10), 86.
Gann, Kyle 1989a. God on a Compact Disc. Village Voice (February 28), 70.
Gann, Kyle 1989b. Sonic Encounters: The New Piano. Fanfare (May-June).
Gann, Kyle 1990a. Essential Music. Village Voice (November 27).
Gann, Kyle 1990b. Split the Stick, and there is Cage
[Review of Cage 1990f; Fleming and Duckworth 1989; Gagne 1990; Kostelanetz
1989e, Nicholls 1990a; Smith, S.S. and DeLio 1989]. Village Voice (October 9), 90.
Gann, Kyle 1991. Cages Choice. Village Voice (May 7), 78.
Gann, Kyle 1992a. Genius Flops. Village Voice (May 19), 92.
Gann, Kyle 1992b. Music. Village Voice (October 28).
Gann, Kyle 1992c. Philosopher No More. Village Voice (August 25), 77, 84; repr.
World New Music Magazine [Cologne] no.
3 (November 1993), 98-101.
Gann, Kyle 1993. Dysfunctional Harmony. Village Voice (September 14), 96.
Gann, Kyle 1994. Un-Control Freak. Village Voice (May 31), 88.
Gann, Kyle 1996a. Cage Upstaged. Village Voice (February 6), 66.
Gann, Kyle 1996b. Nicht alle Zufallsmusik ist gleich
[review of Pritchett 1993]. MusikTexte
no. 62-63 (January), 97.
Gann, Kyle 2002.
No Escape from Heaven: Cage as Father Figure. In Nicholls 2002c, 242-260.
Gann, Kyle 2010. No Such Thing as Silence: John Cages
4'33". New Haven,
Connecticut [etc.]: Yale
University Press (Icons of America) (reviews: Borg-Wheeler 2010; Boylan
2010; New Yorker 2010;
Olson, R. 2010; Publishers Weekly 2010; Ruscher
2010; Saval 2010).
Ganz, Rudolph 1965. Rudolph Ganz Evaluates Recent
Music [review of Music of Changes
(score)]. Clavier 4
(November-December), 21-23, 46.
Garbowski, Christopher 1998. Reviews [review of
Kutnik 1997]. American Studies in Europe
Newsletter no. 40 (February), 23.
Gardner, Paul 1982. Tuning in to Nam June Paik. Art News 81, no. 5 (May), 64-73.
Gardiner, Michael
2003. Ideal Transformations: John Cage, Freeman
Etude III, Book I. Sonus 23
(Spring), 59-81.
Garland, Peter 1976. [Original title unknown]. In Lou Harrison: 40 Years of Music
(program). Ed. by Peter Garland. Berkeley, California: ***CHECK publisher;
German as John Cage/Lou Harrison. Double Music (Doppelmusik). Trans.
Herbert Henck. In Ives & Co.: 13
Konzerte des Westdeutschen Rundfunks Kln im Rahmen des Internationalen
Festivals Charles Ives und die amerikanische Musik in Duisburg 1987/1988.
Ed. by Herbert Henck. Kln: Pressestelle des Westdeutschen Rundfunks, 1987, 58.
Garland, Peter 1982a. Americas: Essays on American Music and Culture, 1973-80. Santa Fe,
New Mexico: Soundings Press (review: Gillespie 1983).
Garland, Peter 1982b. Drums along the Pacific. In
Garland 1982a; repr. in Garland 1987a, 98-99.
Garland, Peter 1987a, ed. A Lou Harrison Reader. Santa Fe, New Mexico: Soundings Press.
Garland, Peter 1987b. The Music of Lou Harrison: Some
Biographical Perspectives (A Preface). In Garland 1987a, 6-11.
Garland, Peter 1990. James Tenney: Some Historical
Perspectives. In A Celebration of
American Music: Words and Music in Honor of H. Wiley Hitchcock. Ed. by
Richard A. Crawford, R. Allen Loft, and Carol J. Oja. Ann Arbor: University of
Michigan Press, 477-486.
Garland, Peter 1991. John Cage: Some Musical
Perspectives. In Peter Garland, In
Search of Silvestre Revueltas: Essays 1978-1990. Santa Fe, New Mexico:
Soundings Press, 31-43.
Garland, Peter
1997. Six American Composers: Partch, Cage, Harrison, Nancarrow, Tenney, Bowles. Trans. Almuth Carstens. Berlin: Merve Verlag (Positionen 1998).
Garrison, D. Max 1977a. John Cage: Letting Sounds Be Themselves. News-Times (March 17).
Garrison, D. Max 1977b. Pianist, Composer Join in Strange Show. News-Times (March 16).
Gartner, Kenneth Ralph 1979. The Expansion of Pianism
since 1945. Dissertation, New York University.
Garvey, Evelyn 1977. [Review of Etudes Australes]. American
Music Teacher 26 (April-May).
Gaska, Rolf 1972. Kiel: Modernes Quartettspiel in
Vollendung. Neue Zeitschrift fr Musik
133, 92-93.
Gass, Mitchell 1988. Current Literature. Leonardo [Oxford] 21, 462-463.
Gastell, Karin 2000. As slow as possible –
Neues vom Halberstdter Cage-Projekt: Das Instrument. Positionen no. 44 (August), 49-50.
Gather,
John-Philipp 2004. The Origins of Synthetic Timbre Serialism and the Parisian
Confluence, 1949-1952. Ph.D. dissertation, Musicology, State University of New
York at Buffalo.
Gatti, Armand 1949. Merce Cunningham: Danseur amricain dclare la guerre au ballet classique. Le Parisien 6, no. 1532 (August 17), 2.
Gatti, Guido 1959. Il paradossale caos di John Cage.
Tempo [Roma] no. 3 (20 January).
Gatti, Guido M. and Alberto Basso 1968, ed. Cage,
John. In La musica: Parte seconda:
Dizionario. Torino: Unione Tipografico-editrice Torinese, vol. 1, 322.
Gaudibert, Eric 1971. Paris: Journes de musique
contemporaine. Schweizerische
Musikzeitung = Revue musicale suisse 111, 108-110.
Gauthier, Andr
1963. La musique amricaine. Paris:
Presses universitaires de France (Que sais-je; 1058); 2nd ed. 1972.
Gauville, Herv 1983. Cunningham Wake. Libration (October 29).
Gay, Peter 2008. Modernism: The Lure of Heresy: From Baudelaire to Beckett and Beyond. New York [etc.]: Norton.
Gazet van Antwerpen 1992.
John Cage schiep nieuw soort muziektheater. Gazet van Antwerpen (August 14-16), 6.
Gebstadter, Egbert B. [pseudonym of Douglas R.
Hofstadter] 1992. Cheltenham Aachen Garamond Eurostyle. In Schdler and
Zimmermann 1992b, 57; repr. in Bonomo and Furghieri 1998, 17-21.
Geddert, Geesche 1994. Three: Das Blockfltentrio
von John Cage. Tibia [Celle] 19, no. 1 (1994),
40-43.
Geeraert, Nicole 1982. Schallplatten. Neue Zeitschrift fr Musik 143, no. 10
(October), 73-74.
Gefen, Andrea 1977. [Letter to the Editor]. Music Journal (March). On Cage/Freedman 1976.
Gehl, Imke 1982a. Festival mit 800 Bremer Kindern,
Propheten und Prominenz. Bremer
Nachrichten (April 5).
Gehl, Imke 1982b. John Cage hat Wort gehalten. Bremer Nachrichten (May 7).
Geisenberger, Jrgen 1999. Joseph Beuys und die Musik. Marburg: Tectum (Wissenschaftliche
Beitrge aus dem Tectum-Verlag: Reihe Kunstgeschichte; 1) (Ph.D. dissertation,
Katholische Universitt Eichsttt) (reviews: Fricke, S. 2001; Groetz 2000).
Geitel, Klaus 1987. Die goldene Brcke fhrt nach
Walhall. Die Welt (December 14), 17.
Geitel, Klaus 1990a. Der alte Orpheus und der
Opernsalat. Die Welt (June 28).
Geitel, Klaus 1990b. John Cage lffelt aus der
musikalischen Gulaschkanone. Berliner
Morgenpost (June 27).
Geitel, Klaus and Heinz Joachim 1960. Ausdruckstanz mit Krawall Die Welt (September 30), 6.
Gelatt, Roland 1949. Ajemian Plays Music for
Prepared Piano. New York Sun
(January 13).
Gelles, George 1969. A Look at Some New Writings about Music. Record American [Boston, Massachusetts] (April 25), 42. On Cage 1969a.
Gembris, Heiner 1988. Lieber John Cage, haben Sie
nicht Lust, die entzckenden Beitrge in dieses Buch zu vertonen?
Besucherreaktionen in der Cage-Installation auf der documenta 8. In Festschrift zum 50. Geburtstag von Helga de
la Motte-Haber. Ed. by Barbara Barthelmes. Berlin: privately printed; abr.
repr. as Was sagt das Publikum zur Kunst der Avantgarde? Aus dem Gstebuch der
Klanginstallation von John Cage auf der documenta 8. In Musik und bildende Kunst. Ed. by Rudolf-Dieter Kraemer. Essen:
Blaue Eule, 1990, 90-110 (Musikpdagogische Forschung; 10); repr. as Stein des
Anstoes: Besucherreaktionen zur Cage-Installation Essay bei der documenta
8. MusikTexte no. 40-41 (August
1991), 95-104.
Gena, Peter 1981. Freedom in Experimental Music: The
New York Revolution. Triquarterly [Evanston, Illinois] no. 52 (Fall),
223-243.
Gena, Peter 1982. John Cage the Composer. Triquarterly [Evanston, Illinois] no. 54 (Spring),
73-75; repr. in Gena and Brent 1982, 1-3.
Gena,
Peter 1992a. Cage and Rauschenberg: Purposeful Purposelessness Meets Found
Order. In John Cage: Scores from the
Early 1950s. Chicago: Museum of Contemporary Art [brochure for the
exhibition, February 8-April 19, 1992].
Gena, Peter 1992b. John Cage: 1912-1992. New Art Examiner (October), 9.
Gena, Peter and Jonathan Brent 1982, ed. (with Don C.
Gillespie). A John Cage Reader in
Celebration of his 70th birthday. New York [etc.]: C. F. Peters (American Music Teacher 1987; Canick
1984-1985; Hoogerwerf 1986; Roads 1988).
Genauer, Emily 1951. Woodstock Festival on Art Films – Some Questions It Failed to Answer. New York Herald Tribune (September 9).
Genauer, Emily 1954. Anybody Here Seen Sweeney? New York Herald Tribune (April 25).
Genauer, Emily 1966. Engineers Asleep at the Switch. New York/World Journal Tribune (November 6), 33-34.
General-Anzeiger 1987. Ein Radikaler Avantgardist. General-Anzeiger (September 2), 14.
Genter, Sandra
1994. Ocean in Brussels. Ballet Review 22, no. 4 (Winter), 60-63.
Gentilucci, Armando 1969. Guida allascolta della musica contemporanea: Dalle prime avanguardie
alla nuova musica. Milano: Feltrinelli.
Gentilucci, Armando 1978. Il treno di Cage un oggetto da museo. Rinascita no. 27 (1978).
Gentry, Philip 2007. Multimedia Reviews: John Cage: The Works for Piano 7 (Mode
DVD). Journal of the Society for American Music 1, no. 1 (February), 157-158.
Gentry, Philip Max FORTHCOMING. Music and
McCarthyism: Politics of the Body in Post-War American Music, 1948-1954. Ph.D.
dissertation, Musicology, University of California at Los Angeles.
George, Phillip 1996a. Cage and the 26 Pianos of
Mills College. 20th-Century Music 3,
no. 2 (February), 24.
George, Phillip 1996b. In the Ocean with Cage,
Culver, and Cunningham. 20th-Century
Music 3, no. 7 (July), 20-21.
George, Phillip 1996c. [Review of Gordon, S. 1996]. 20th-Century Music 3, no. 6 (June), 24.
George, Phillip 1996d. [Review of Kostelanetz and Darby 1996]. 20th-Century Music 4, no. 8 (August), 24.
George, William Bernard 1971. Adolph Weiss. Ph.D.
dissertation, State University of Iowa.
Gerber, Richard J. 1987. Ripatorio: A Review of
Roaratorio, an Irish circus on Finnegans Wake, by John Cage: Brooklyn
Academy of Music, Next Wave Festival, October, 1986. James Joyce Quarterly [Tulsa, Oklahoma] 24, no. 3 (Spring),
369-373.
Gerlich, Thomas
1994. Bcher [review of Cage/Feldman 1993]. Neue Zeitschrift fr Musik 155, no. 1 (January), 73-74.
Gerlich, Thomas
2008. [Review of Feldman, M. 2006]. Dissonanz = Dissonance no. 104 (December), 56-57.
Gerrard, Ian 1988. Cage: Not-so-Instant Replays. Wesleyan Argus (February 23), 7.
Gersmann, Friedrich 1987. Die lange Nacht des John
Cage. Aachener Volkszeitung (February
17).
Gerus, Patrizio 1984. Su, fischiate! La musica ora siete voi. La Repubblica (May 8).
Gervais, Raymond
1997. O tes-vous donc, John Cage? Circuit
[Montral, Qubec] 8, no. 2 (1997), 33-38.
Gervasoni, Giorgio 1984a. Cage, alla ricerca del suono perduto. Il Nostro Tempo (May 20).
Gervasoni, Giorgio 1984b. Giocare con i rumori. Il Resto del Carlino (May 8).
Gervasoni, Giorgio 1984c. Joyce in musica. Il Resto del Carlino (May 8).
Gessler, Clifford 1949. Pianist Seeks New Sounds for Concert. Oakland Tribune (February 27).
Gherardini, Caroline 1969a. Black Light... and Audience in Smocks Will Come Alive as Glowing Images. News-Gazette (May 11), Section 4, 31.
Gherardini, Caroline 1969b. Film Review on History of Space at HPSCHD Friday. The News-Gazette (May 13).
Gherardini, Caroline 1969c. Four and a Half Hour Hall Happening of Chance Music. News-Gazette (May 4), Section 4, 33.
Gherardini, Caroline 1969d. HPSCHD Arrives at Testing Stage. News-Gazette (May 14).
Giannakis, Kostas 2006. A Comparative
Evaluation of Auditory-Visual Mappings for Sound Visualisation. Organised Sound 11, no. 3 (December),
297-307.
Giann, Emanuelita 1980. Merce Cunningham. Le danseur et la danse. Spirali [Milano] 3, no.11 <no. 25> (December), 34-35.
Gidal, Peter 1974. [Review]. Art and Artists 8 (March), 52-53. On Cage 1973h.
Gieseler, Walter, Luca Lombardi and Rolf-Dieter Weyer
1985. Instrumentation in der Musik des
20. Jahrhunderts: Akustik - Instrumente - Zusammenwirken. Celle: Moeck.
Gieener Anzeiger 1987a. Ideenbrse
der aktuellen Klnge. Gieener Anzeiger
(October 21).
Gieener Anzeiger 1987b. Vom Altern
der Klnge. Gieener Anzeiger
(November 4).
Giger, Romeo 1991. Innovation und Konvention. Neue Zrcher Zeitung (June 12).
Gilbert, Pia 1987. Musik ist Sache des Zufalls. Die Welt (September 5), III.
Gilbert, Pia 1993. John Cage. Dance Magazine 67 (March), 46-48.
Gilbert, Steven E. 1973-1974. The Ultra-Modern
Idiom: A Survey of New Music. Perspectives
of New Music 12, no. 1-2 (Fall-Summer), 282-314.
Gill, Dominic 1969. Music in London: John Cage. Musical Times 110, 653.
Gill, Dominic 1970a. Aquarius, Gentle Fire. Musical Times 111, 723.
Gill, Dominic 1970b. Sonor, Electric Candle. Musical Times 111, 410.
Gill, Dominic 1976. Cage in La Rochelle Festival. Financial Times (July 24). On July 3-4,
1976.
Gill, Dominic 1981. Cage, Kagel & Xenakis. Financial Times (December 15).
Gill, Dominic 1982. Cage at 69. Financial Times (June 1).
Gill, John 1995. A Minutes Noise for John Cage. In
John Gill, Queer Noises: Male and Female
Homosexuality in Twentieth-Century Music. London: Cassell, 26-35.
Gillemon, Danile 1979. [Title unknown]. Le Soir [Bruxelles] (March 25-26).
Gillespie, Don C. 1982a. Biographical Chronology. In
Gena and Brent 1982, 184-193.
Gillespie, Don C. 1982b. Books by John Cage. In Gena
and Brent 1982, 201.
Gillespie, Don C. 1982c. Chronological listing of
musical works through the Summer of 1982. In Gena and Brent 1982, 194-200.
Gillespie, Don C. 1982d. Recordings of Cages Music.
In Gena and Brent 1982, 202-207.
Gillespie, Don C.
1983. [Review of Garland 1982a]. High Fidelity/Musical America
33, no. 1 (January), Musical America, 13-14.
Gillespie, Don C. 1998. William Russell: American
Percussion Composer. Southern Quarterly
[Hattiesburg, Mississippi] 36, no. 2 (Winter), 34-55.
Gillmor, Alan M. 1975. Satie, Cage, and the New
Asceticism. Journal of the Canadian
Association of University Schools of Music = Association Canadienne des coles
Universitaires de Musique Journal 5, no. 2 (Fall), 47-66; rev. repr. Contact no. 25 (Fall 1982), 15-20.
Gillmor, Alan M. 1983a. Erik Satie and the Concept of
the Avant-Garde. Musical Quarterly
69, 104-119.
Gillmor, Alan M. 1983b. Essay Review. Queens Quarterly 90, 990-1004. On Nyman
1974.
Gillmor, Alan M. 1988. Erik Satie. Basingstoke [etc.]: Macmillan Press.
Gilmore, Bob 1998.
Harry Partch: A Biography. New Haven,
Connecticut [etc.]: Yale University Press.
Gim, Gyeong-sun 2009. Jon Keiji eumag e
isseoseo juyeog. Seoyang eumaghag
20 (2009), 185-222.
Ginell, Richard S. 1987a. Cage Uncaged: Making Music
of Discord. Daily News [Los Angeles]
(September 14), L.A. Life.
Ginell, Richard S. 1987b. John Cages Own Music Is
Lacking. Daily News [Los Angeles]
(September 9), L.A. Life.
Ginell, Richard S. 1994. Long Beach Opera: Cage
Europeras 3 and 4. American Record
Guide 57, no. 2 (March-April), 37-38.
Gingras, Claude 1961a. A la Comdie-Canadienne et
McGill. La Presse [Montral] (August
7), 10.
Gingras, Claude 1961b. La semaine internationale de
musique actuelle souvre sur des horizons illimits. La Presse [Montral] (August 4), 12.
Ginneken, Lily van 1981. Laadjesmuseum biedt
overzicht moderne kunst. De Volkskrant
(August 4).
Giolito, Sergio 1984a. Ancora due appuntamenti a Ivrea con limprevedibile John Cage. La Sentinella del Canavese (May 14).
Giolito, Sergio 1984b. La musica di John Cage domani sera al Giacosa viene presentata dal pianista Giancarlo Cardini. La Sentinella del Canavese (May 7).
Giornale 1978. Spettacolo in treno con musica e video. Il Giornale (June 1).
Giovannetti, Giovanni 1977. Parole, parole. Play: Sport e Musica [Milano] (December 14), 88-89.
Giuliano, Charles 1990. Your Arts What You Eat. Art News 88 or 89, 16, 18.
Glackin, William C. 1969. Cage Is Funny and Wise, Satie Endless. Sacramento Bee [Sacramento, California] (November 22), A 10.
Glamour 1945. Artistic Couple Rejuvenate a Tenement. Glamour (June), 80-81.
Glanville-Hicks, Peggy 1948. John Cage: ... A Ping,
Qualified by a Thud. Musical America
68, no. 10 (September), 5, 20; repr. in Kostelanetz 1993f, 26-32.
Glanville-Hicks, Peggy 1950. Musical Explorers. Vogue [New York] (November 15), 112-113, 134+.
Glanville-Hicks, Peggy 1951. New Music Quartet. New York Times (April 2).
Glanville-Hicks, Peggy 1952a. David Tudor, Pianist,
at Cherry Lane Theater. New York Herald
Tribune (January 3).
Glanville-Hicks, Peggy 1952b. Program of New Music. New York Herald Tribune (May 6), 21.
Glanville-Hicks, Peggy 1953. Tapesichord. Vogue (July), 80.
Glanville-Hicks, Peggy 1954a. Cage, John. In Groves Dictionary of Music and Musicians,
5th ed. Ed. Eric Blom. New York: St. Martins Press; London [etc.]: Macmillan
and Co., vol. 2, 16-17.
Glanville-Hicks, Peggy 1954b. John Cage, David Tudor. New York Herald Tribune (December 16).
Glanzelius, Ingmar 1965. Musik r inte alltid musik.
Stockholms Tidningen (June 16).
Glanzelius, Ingmar 1968. Jazz bland annat [Jazz and other things]. Stockholm: Bonniers (BLM
Biblioteket).
Glasmeier, Michael 1997. Sichtbare Hrbarkeit: Von
Moholy-Nagy ber Cage zum DJ. Positionen
no. 30 (February), 2-5.
Glasmeier, Michael 2002. John Cage, Marcel Duchamp
und eine Kunstgeschichte des Geruschs. In Rautmann and Schalz 2002a, 166-184.
Glass, Philip/Beckman, Jesper 1986-1987. Er det
drligt m det ogs vre got. Dansk
Musiktidsskrift 61, 56-64.
Glauber, Johannes K. 1979. Streichquartett und
Flohzirkus. Neue Rhein Zeitung
[Essen] (June 11).
Glauber, Johannes K. 1987. War das eine Party - sogar
fr Geister! Neue Rhein Zeitung
[Essen] (February 16).
Glayman, Claude 1994. Promeneurs et inventeurs. Mlomane no. 30, 25. On Bosseur, J.-Y.
1993.
Glenn, Gary 1980. Obscure Records. Recordings 2, no. 3, 6-7.
Glickman, Sylvia 1992. Reviews and Recordings. Sonneck Society Bulletin 18, no. 2
(Summer), 84-85.
Gligo, Nikša 1971. Prostornost i pokret u
imanenciji glazbe. Zvuk [Beograd]
no. 111-112 (1971), 1-20.
Gligo, Nikša 1987. Was fr ein musikalisches
Werk stelt A Collection of Rocks von
John Cage dar? Ein Beitrag zur Werkdefinition in der experimentellen Musik. In
Entgrenzungen in der Musik. Ed. Otto
Kolleritsch. Wien [etc.]: Universal Edition, 247-272 (Studien zur
Wertungsforschung; 18); Croatian as Kakvo glazbeno djelo predstavlja Zbirka kamenova Johna Cagea? Doprinos
determinaciji djela u eksperimentalnoj glazbi. In Zvuk, znak, glazba:
Rasprave oko glazbene semiografije. Zagreb: Koncertna Direkcija Zagreb, 1999, 81-103 (Musica theoretica;
3).
Gligo, Nikša 1987-1988. Schrift ist Musik? Ein
Beitrag zur Aktualisierung eines nur anscheinend veralteten Widerspruchs. International Review of the Aesthetics and
Sociology of Music 18, 145-162 and 19, 75-115.
Gligo, Nikša 1989a. Die musikalische Avantgarde
als ahistorische Utopie: Die gescheiterten Implikationen der experimentellen
Musik. Acta Musicologica 61, 217-237
(review: Keil, W. 1991).
Gligo, Nikša 1989b. Structure, un des mots de
notre poque: Die Kompositionstheorie als notwendiger Beitrag zum Verstndnis
der Neuen Musik? In Verbalisierung und
Sinngehalt: ber semantische Tendenzen im Denken und ber Musik heute. Ed.
by Otto Kolleritsch. Wien: Universal Edition, 82-103 (Studien zur
Wertungsforschung; 21), 82-103.
Gligo, Nikša 1995. Hrvatska glazbena
terminologija: Agregat. Arti Musices
[Zagreb] 26, no. 1, 119-129.
Gligo, Nikša 1998. Die Zeit als ein
beitragendes Element zur Werkdetermination in der Neuen Musik: Ansatz zu einem
Aspekt der musikalischen Chronemik. International
Review of the Aesthetics and Sociology of Music 28, no. 1 (January-June),
19-36.
Globokar, Vinko 1968. Problem instrumentalnega in
glasbenega teatra. Muzikološki
Zbornik = Musicological Annual [Ljubljana] 4, 132-137.
Glossner, Herbert 1987. Was wir sehen, wenn wir
hren. Deutsches Allgemeines
Sonntagsblatt (December 20), 26.
Glossner, Herbert 2005. [Review of Kovcs, I. 2003]. Positionen no. 64 (August), 52-53.
Glossner, Herbert 2010. Kritik konzis [Review of Schffler
2009]. Positionen no. 83 (May),
48-49.
Glueck, Grace 1966a. Disharmony at the Armory. New York Times (October 30).
Glueck, Grace 1966b. The Sounds that Mushrooms Make. New York Times (October 2), D 25.
Glueck, Grace 1967. Single-Channeled You Mustnt Be. New York Times (February 5).
Glueck, Grace 1968. Jump Suits and Silver Pillows. New York Times (May 12).
Glueck, Grace 1980. Artists Conference Alights at a
South Sea Island. New York Times
(February 24), 44.
Gmi 1987. Alles Theater. Frankfurter Allgemeine (December 14).
Gn 1987. John Cage verfhrt den Kopf rundum. Frankfurter Neue Presse (November 4).
Gockel, Konstantin 1985. Gedanken zum metrischen
Gefhl, angeregt durch Atlas Eclipticalis
von John Cage. In Collegium musicologicum:
Festschrift Emil Platen zum sechzigsten Geburtstag. Ed. by Martella
Gutirrez-Denhoff. Bonn: privately printed, 190-207; 2d ed. 1986.
Godard, Misette 1983. John Cage: Je veux entendre un
champignon. Decoration International
no. 65 (October).
Godfrey, Stephen 1978. Dancers Every Movement Dense. Globe and Mail (August 18), 13.
Godlovitch, Stan
1998. Musical Performance: A
Philosophical Study. London [etc.]: Routledge.
Godwin, Joscelyn
1987. Harmonies of Heaven and Earth: The
Spritual Dimensions of Music from Antiquity to the Avant-Garde. Rochester,
Vermont: Inner Traditions International; repr. as Harmonies of Heaven and Earth: Mysticism in Music from Antiquity to the
Avant-Garde, 1995; French as Les
harmonies du ciel et de la terre: La dimension sprituelle de la musique.
Trans. Marc Rolland. Paris: Albin Michel, 1994 (Bibliothque de lhermtisme).
Goebels, Franzpeter 1973. Bemerkungen und Materialen
zum Studium neuer Klaviermusik (II). Schweizerische
Musikzeitung = Revue musicale suisse 113, 329-340.
Goedl, Monika, Ursula Frohne and Wanda Lemanczyk 1987,
ed. Documenta 8 Kassel 1987 12. Juni-20.
Sept. Kassel: Weber und Weidemeyer, 3 volumes. Includes Schning 1987a; Schning 1987b; Schning
1987c.
Goehr, Alexander 1978. Musical Ideas and Ideas about Music. London: Birkbeck College
(Birkbeck College Foundation Orations).
Goehr, Lydia 1992. The
Imaginary Museum of Musical Works: An Essay in the Philosophy of Music.
Oxford [etc.]: Clarendon Press (Scruton 1994).
Goehr, Lydia 1996. [Review of Perloff, M. and
Junkerman 1994b]. Journal of Aesthetics
and Art Criticism 54, 193-195.
Goehr, Lydia 2006. Explosive Experimente und die Fragilitt des Experimentellen. Adorno,
Bacon und Cage. In Praktiken der Evidenzproduktion im 17.
Jahrhundert. Ed. by Helmar Schramm, Ludger Schwarte, and Jan Lazardzig.
Berlin [etc.]: Walter de Gruyter, 477-506. Original English as Explosive
Experiments and the Fragility of the Experimental in Lydia Goehr, Elective Affinities: Musical Essays on the
History of Aesthetic Theory. New York: Columbia University Press, 2008,
108-135 (Columbia Themes in Philosophy, Social Criticism, and the Arts).
Goertz, Wolfram 1983a. Der Guru der Zufallsmusik. Rheinische Post (May 18).
Goertz, Wolfram 1983b. Man hrt auch mit den
Augen. Kieler Nachrichten (May 21).
Goertz, Wolfram 1992. Musik zu einem Abbild des
Lebens geformt. Rheinische Post
(August 14), [5].
Goeyvaerts, Karel 1958. Cage, John. In Algemene muziekencyclopedie. Ed. by A.
Corbet and Wouter Paap. Antwerpen [etc.]: Zuid-Nederlandse Uitgeverij, vol. 2,
15.
Goeyvaerts, Karel 1983. Autobiografie Karel Goeyvaerts. Leuven: Centrum voor Muziek (Cahier
van het Centrum voor Muziek).
Ghl, Johannes 1979. Ein Vorschlag zur Gte. In
Zeller 1979a, 42-44.
Gohr, Siegfried and Rafael Jablonka 1986, ed. Europa/Amerika: Die Geschichte einer knstlerischen Faszination seit
1940: Museum Ludwig Kln, 6. September-30. November 1986 [exhibition catalogue]. Kln:
Museum Ludwig.
Gojowy, Detlef 1975. Jefim Golyscheff - der unbequeme
Vorlufer. Melos/Neue Zeitschrift fr
Musik 1, no. 3, 188-193.
Gojowy, Detlef 1985a. Europa als Idee und dreizehn
als Glckszahl: Die Musikbiennale Zagreb 1985. Neue Zeitschrift fr Musik 146, no. 7-8 (July-August), 56-57.
Gojowy, Detlef 1985b. Kindliche Abzhlreime fr
Vierton-Komponisten. Die Welt (April
29).
Golas, Tad 1963. Satie Is Perfect. New York Herald Tribune (September 14),
10.
Gold, Gerald 1981. Joyce-Cage Finnegan on Air. New York Times (December 31), C23.
Goldberg, Albert 1962. Music Hits New Low at Monday
Concert. Los Angeles Times (March
7).
Goldberg, Jeffrey 1986. Cage-Multiplicity: An
Inquiry. Bachelor of Arts thesis, Harvard University, Music Department.
Goldberg, RoseLee 1976. Performance: The Art of
Notation. Studio International [London]
192, no. 982 (July-August), 54-58.
Goldberg, RoseLee 1978. Performance: Live Art 1909 to the Present. New York: Harry N.
Abrams; repr. London: Thames and Hudson, 1979.
Gold, Pierre 1991. Discovering Americas New Music. The Bulletin [Brussels] no. 11 (March 14), 30-33.
Golding, Alan 1994. [Review of Perloff, M. 1991]. Contemporary Literature 35, no. 1
(Spring).
Golding, Robin 1988. Recordings [review of Deutsche
Grammophon 423 245-2 (recordings)]. Tempo
no. 167 (December), 38-39.
Goldman, Albert 1962. Cage in Concrete [review of
Cage 1961h; George Avakian KO8Y-1499-1504 (recordings)]. New Leader 45, no. 17 (August 20), 23-24.
Goldman, Albert
1984. The Lives of John Lennon.
London [etc.]: Bantam, 1988; New York: William Morrow, 1988; repr. Chicago,
Illinois: A Capella, 2001.
Goldman, Richard Franko 1974. American Music:
1918-1960: Music in the United States. In The
Modern Age: 1890-1960. Ed. by Martin Cooper. London [etc.]: Oxford
University Press, 569-634 (The New Oxford History of Music; 10).
Goldner, Nancy 1970. Cunninghams Choreographic
Order. Christian Science Monitor
(November 23), 4.
Goldner, Nancy 1977. Tingling with Alertness. Christian Science Monitor (January 27).
Goldstein, Louis
1999. Reviews of Recorded Materials [review of Mode 57; Mode 63
(recordings)]. Sonneck Society for
American Music Bulletin 25 (Spring), 26.
Goldstein, Louis
2009. [Review of Mode 193 (recordings)]. American
Music 27, no. 1 (Spring), 109-111.
Goldstein, Malcolm 1974. Sound Textures. In Vinton
1974, 747-753.
Goldstein, Malcolm 1987. [Untitled], in Twenty-one
1987[CHECK], 1-21, passim.
Goldstein, Malcolm
1988. Sounding the Full Circle:
Concerning Music Improvisation and Other Related Matters. Sheffield,
Vermont: Malcolm Goldstein.
Goldstein, Malcolm
1998. Gentle Rain Preceding Mushrooms (In Memoriam for John Cage). In
Bonomo and Furghieri 1998, 571-573.
Goldstein,
Malcolm/Rivest, Johanne 1997. Improviser ou interprter Theatre Piece? Trans. Johanne Rivest. Circuit [Montral, Qubec] 8, no. 2 (1997), 53-60.
Goldstein,
Malcolm/Lesle, Lutz 1999. You Can Do Anything, Starting from Nothing. Neue Zeitschrift fr Musik 160, no. 3
(May-June), 48-49.
Goldstein, Stanley 1946. John Cage. Music Business [New York] 2, no. 4
(April), 38.
Goldstein, Stanley 1947. John Cage. Music Business [New York] 3, no. 1
(January), 32.
Goldstein, T. 1996. Recollections and Thoughts. Percussive Notes 34, no. 6, 51-52.
Gola, Antoine [pseudonym of Siegfried Goldman] 1954. Esthtique de la musique contemporaine.
Paris: Presses universitaires de France (Bibliothque internationale de
musicologie).
Gola, Antoine 1962a. Les caprices dEuterpe. Musica-Disques no. 98 (May), 30.
Gola, Antoine 1962b. Vingt ans de musique contemporaine. Vol. 2. De Boulez linconnu. Paris: Seghers.
Gola, Antoine 1970. Musicale internationale de la
musique au cirque. Carrefour des ides
(November 4).
Gola, Antoine 1974. Paris: Die Kunst des
Rckschritts - Cunningham und Cage. Neue
Zeitschrift fr Musik 135, 44-45.
Gollasch, Detlef 1989. Dem Zufall sei Dank. Darmstdter Echo (September 6).
Gollasch, Detlef 1990. Cage in Deutschland: Wege,
Umwege, Abwege. Darmstdter Echo (26
July), 21.
Golubev, Anatolij 1997. Muzyka kak hudozhestvennaja
matematika. Muzykalnaya Akademiya
no. 2 (1997), 133-137.
Gombrich, Ernst H. 1968. Art at the End of Its
Tether. In Bergonzi 1968a.
Gonzalez, Juan Carlos 1992. The Paradox of John
Cage. M.A. thesis, Florida Atlantic University. Includes Cage/Gonzalez 1992.
Goode, Daniel 1989. Goode Confessions. Ear 14, no. 3 (May), 32-33.
Goodfriend, James 1969. Cage on Disc. Stereo Review 22, no. 5 (May), 69.
Goodman, Nelson 1968. Languages of Art: An Approach to a Theory of Symbols. New York:
Bobbs-Merrill; repr. London [etc.]: Oxford University Press, 1969; 2d rev. ed.
Indianapolis: Hackett, 1976; repr. Brighton: Harvester Press, 1981; 6th ed.
Indianapolis: Hackett, 1988.
Goodman, Peter 1982. 14 Hrs., 15 Mins. of Cage. Newsday (March 16), Part II, 21. On
March 13, 1982.
Goodman, Peter 1988a. John Cages Wild Collage. Newsday (July 16), 7, 9 [9, 11 in
different edition].
Goodman, Peter 1988b. Purchase (NY). Musical America 108, no. 5, 43-44.
Goodman, Peter 1992. Still Shrugging to Cages Atlas. Newsday (New York) (November 4).
Goodwin, Betty 1993. Cages Circus Delights Some, Baffles Others. Los Angeles Times (September 10).
Goodwin, Noel 1964. Off-Beat Dancing Team Pushes Out Frontiers. Daily Express (August 12).
Goodwin, Noel 1967. Beating the Bounds. Music and Musicians 15 (January), 26.
Gordon, Eric 1977. At the Edges of the Canvas Called Art. Hartford Advocate [Hartford, Connecticut] (September 28), 22-23.
Gordon, Stewart 1996. A History of Keyboard Literature: Music for the Piano and Its
Forerunners. New York: Schirmer Books (George, P. 1996c).
Gorm 1960. Modernister ger konsert for brodkavel och
flygel. Dagens Nyheter [Stockholm]
(October 10), 14.
Gorodecki, Michael 1990. Darmstadt. Musical Times 131, 558-559.
Goss, Marianne 1969. Harpsichords Spectacular:
Shatters Ears, Tradition. News-Gazette
(May 17).
Gosselin, Guy 1992. Postcard from Heaven [obituary].
Les Cahiers du CIREM [Rouen] no.
24-25 (June-September), 107-111.
Gossett, Carl 1956. Using Strings and Keys in New
Music [photograph]. New York Times
(May 27).
Gotti, Tito 1979. Caro sig. Cage [in Italian, with
parallel texts in English and French]. In Monastra 1979, 9-21.
Gotti, Tito/Monastra, Nino and M. Grazia Veggi 1979.
[Untitled]. In Monastra 1979, [80]-[81].
Gottlieb, Jane 1992. Focus! Library Exhibit: A Tribute to John Cage on His 80th Birthday. Juilliard Journal (February), 3-4.
Gottlieb, Lynette M. 2002. Narrating Modernism:
Technology and the Changing Voice of Musical Collaboration, 1909-1959. Ph.D.,
Music History, State University of New York at Buffalo.
Gottwald, Clytus 1973. Bausteine zu einer Theorie der
Neuen Vokalmusik. In Festschrift fr
einen Verleger: Ludwig Strecker zum 90. Geburtstag. Ed. by Carl Dahlhaus.
Mainz: Schott, 259-269; French as Elments pour une thorie de la nouvelle
musique vocale. Trans. Michel Bataillon. In Marger and Benmussa 1975, 95-116.
Gottwald, Clytus 1974. Zu den Song Books von John
Cage. In Donaueschinger Musiktage 1974.
Ed. by Josef Husler. Donaueschingen: Donaueschinger Musiktage, 33-34.
Gottwald, Clytus 1975. Fragments dune analyse de
Song Books. Trans. Michel Bataillon. In Marger and Benmussa 1975, 117-125.
Gottwald, Clytus 1978. John Cage und Marcel Duchamp.
In Metzger, H.-K. and Riehn 1978b, 132-146.
Gousseland, Jack 1970. Boulez, Bussotti, De Pablo et
Cage pour les SMIP 70. Combat
(October 5).
Gouveia, Georgette 1988a. Arts Lovers Celebrate Cage
Collages. Gannett Westchester (July
15 or later).
Gouveia, Georgette 1988b. John Cage Stages Meaningul
Madness. Gannett Westchester (July
16).
Grabcz, Mart 1987-1988a. John Cage: Sonatas and
Interludes for Prepared Piano. Trans. Carol Richards. In Charles 1987-1988,
223-226.
Grabcz, Mart 1987-1988b. La nouvelle sensibilit
dans les compositions des annes 1980: Notes sur trois uvres dIstvn Mrtha.
In Charles 1987-1988, 227-232.
Gradenwitz, Peter 1972. Hellenische Woche der
zeitgenssischen Musik, Athen. Musica
[Kassel] 26, 33-34.
Graevenitz, Antje von 1991. Seine Prinzipien in der
bildenden Kunst - eine Skizze. In Bischoff 1991b, 51-54.
Graham, J.P. Pokorný-Šťastný
1993a. John Cage – Skladateľ bez hudobnho sluchu? Slovensk Hudba 19, no. 1, 123-135.
Graham, J.P. Pokorný-Šťastný
1993b. Proč Cage. Konserva/Na Hudbu no. 9, 45-49.
Graham, J.P. Pokorný-Šťastný
1993c. Tri eseje o Cageovi. Slovensk
Hudba 19, no. 1, 136-142.
Gramophone 1992.
[Obituary]. Gramophone 70 (October),
16.
Gramophone 2006. [Review of Dickinson 2006a]. Gramophone 84, no. 1013 (December), 130-131.
Grant, M.J. [Morag Josephine] 2006. [Review of Kovcs, I. 2003]. Music & Letters 87, no. 2 (May), 346-349.
Gramann, Bernd and Ulrich Wei 1988.
Unterrichtsplanung im Gesprch: John Cages Radio
Music: Die Auflsung des traditionellen Kunstwerkbegriffs. Musik und Bildung 20 (1988), 20-26.
Gratzer, Wolfgang 1991a. Cage und das 15. Aspekte-Festival.
sterreichische Musikzeitschrift 46,
416-417.
Gratzer, Wolfgang 1991b. Cage und das 15.
Aspekte-Festival in Salzburg: Ein Resmee. Positionen no. 8 (August), 43.
Gratzer, Wolfgang 1991c. Kann man John Cages Zufallsmusik auch falsch spielen? Salzburger Nachrichten (June 10), 7.
Gratzer, Wolfgang 1991d. Das Leben als solches ansprechen statt eine Ordnung zu besttigen. Salzburger Nachrichten (June 1), 7.
Gratzer, Wolfgang 1992a. Happy New Media! ber John
Cage und Marshall McLuhan. sterreichische
Musikzeitschrift 47, 663-672.
Gratzer, Wolfgang 1992b. In memoriam. sterreichische Musikzeitschrift 47,
552-553.
Gratzer, Wolfgang 1993. Bcher und Noten. sterreichische Musikzeitschrift 48,
378. On Schdler and Zimmermann 1992b.
Gratzer, Wolfgang 1996. John Cage und Morton
Feldman. Archiv fr Musikwissenschaft
53, 336-348.
Gratzer, Wolfgang 1997. David Revill:
John-Cage-Biographie. sterreichische
Musikzeitschrift 52, no. 6, 68-69.
Gratzer, Wolfgang
2005. Bcher [review of Jrging 2002; Mehring 2003]. sterreichische Musikzeitschrift 60, no. 4 (April), 80-82.
Gratzer, Wolfgang 2003. Komponistenkommentare:
Beitrge zu einer Geschichte der Eigeninterpretation. Wien [etc.]: Bhlau (Wiener
musikwissenschaftliche Beitrge; 22) (Paland 2006).
Gray, DArcy Philip 1997. The Art of the Impossible.
Musicworks no. 69 (December), 18-21.
Gray, Louise 1990. Silence Speaks [Review of Cage
1990f]. City Limits [London] (August
23).
Grazioli, Elio 1998. Larte quando non cՏ arte. In
Bonomo and Furghieri 1998, 504-524.
Green, David B. 1968-1969. John Cage and His
Non-Music. Theology Today 25,
246-249. On Cage 1967o.
Greene, David Mason 1985. Cage, John. In David Mason
Greene, Greenes Biographical
Encyclopedia of Composers. New York: Doubleday & Co.; London [etc.]:
William Collins Son & Company, repr. 1986, 1237-1241.
Greene, Margo 1976. The Fragmentation of 20th Century
Music. Catalyst [New York] (Spring),
10-15.
Greer, Thomas Henry 1969. Music and its Relation to
Futurism, Cubism, Dadaism, and Surrealism, 1905-1950. Ph.D. dissertation,
North Texas State University, Denton.
Gresser, Clemens 1998. a Music Made by Everyone:
Eine analytische Annherung an John Cages Number Pieces. MusikTexte no. 76-77 (December), 41-47.
Gresser, Clemens
2001. Interviews mit = with John Cage: Editorische Einletung = Editorial
Introduction. Frankfurter Zeitschrift fr Musikwissenschaft 4,
TM 2, 1-5. http://www.fzmw.de/2001/2001T2.htm (accessed March 21, 2008);
http://www.fzmw.de/2001/2001T2.pdf (accessed March 21, 2008).
Gresser, Clemens 2002a. Im Schatten von Cage und
Feldman: Zum Gedenken an Earle Brown. MusikTexte
no. 94 (August), 77-78.
Gresser, Clemens
2002b. [Review of Mahnkopf 1999b]. Frankfurter Zeitschrift fr Musikwissenschaft 5, 55-69. http://www.fzmw.de/2002/2002_4.htm
(accessed March 21, 2008); http://www.fzmw.de/2002/2002_4.pdf (accessed March
21, 2008).
Gresser, Clemens 2004a. John Cage Uncaged: Das Januar-Komponisten-Wochenende der BBC in London. MusikTexte no. 100 (February), 115-116.
Gresser, Clemens 2004b. (Re-)Defining the
Relationships between Composer, Performer and Listener: Earle Brown, John Cage,
Morton Feldman and Christian Wolff. Ph.D. dissertation, Musicology, University
of Southampton.
Gresser, Clemens
2005. Kritische Interpretation? Zum Cage-Studientag in Manchester. MusikTexte no. 106 (August), 78-79.
Gresser, Clemens
2007a. [Review of Dickinson 2006a]. Tempo no. 242 (October),
72-73.
Gresser, Clemens
2007b. [Review of Feldman, M. 2006]. Music & Letters 88,
no. 4 (November), 706-708.
Gresser,
Clemens 2008. [Review of Ulrich, T. 2006]. Tempo
no. 243 (January), 72-74.
Gries, Benjamin 1992. Zufall herrscht. Rhein-Zeitung [Koblenz] (September 22),
9.
Griffith, Owen 1985. John Cage: The Diamond in the Ice-Box. Cencrastus [Edinburgh] no. 21 (Summer), 5.
Griffiths, Paul 1974a. 20th-Century. Musical Times 115, 153-155.
Griffiths, Paul 1974b. Cage. Times [London] (July 23).
Griffiths, Paul 1978. A Concise History of Modern Music from Debussy to Boulez. London:
Thames and Hudson (The World of Art Library); repr. as Modern Music: A Concise History from Debussy to Boulez. London:
Thames and Hudson, 1984; French as Histoire
concise de la musique moderne: De Debussy Boulez. Trans. Marie-Alyx
Revellat. Paris: Fayard, 1978.
Griffiths, Paul 1979. A Guide to Electronic Music. London: Thames and Hudson.
Griffiths, Paul 1980a. Aleatory. In The New Grove Dictionary of Music and
Musicians. Ed. by Stanley Sadie. London [etc.]: Macmillan [etc.], vol. 1,
237-242.
Griffiths, Paul 1980b. Book Reviews. Musical Times 121, 702-703. On Cage
1979c.
Griffiths, Paul 1980c. New Music. Musical Times 121, 794-795.
Griffiths, Paul 1981a. Cage. London [etc.]: Oxford University Press (Oxford Studies of
Composers; 18) (reviews: Australian
Journal of Music Education 1982; Chadabe 1983; Dickinson 1982; Hamm 1984;
Hoffman 1982-1983; Jaschinski 1982; Rapoport 1982; Recorded Sound 1982; Routh 1981; Sandow 1981-1982; Whittall 1982).
Griffiths, Paul 1981b. Modern Music: The Avant Garde since 1945. London [etc.]: Dent; New
York: George Braziller; rev. ed. as Modern
Music and after. Oxford [etc.]: Oxford University Press, 1995.
Griffiths, Paul 1982. John Cage: St. James,
Chillingworth Road. Times (May 31),
7.
Griffiths, Paul 1988. From Unpredictable Cage to
Predictable Telemann: New Records [Review of Hungaroton SLPD 12893
(recording)]. New Hungarian Quarterly
29 (Summer), 234-236.
Griffiths, Paul 1990. Sounds Original. Times Literary Supplement (May 25-31), 552. On Cage 1990f; Nicholls 1990.
Griffiths, Paul
1992. [Review of Revill 1992]. Times Literary Supplement
(date unknown).
Griffiths, Paul 1994. [Review of Boulez/Cage 1990]. Times Literary Supplement no. 4756 (May
27), 16.
Grimmel, Werner M. 1999. Ausbrechen: Der
Komponist Gerhard Stbler. Neue Zeitschrift fr Musik 160, no. 1 (January-February), 45-47.
Groenewald, Anke 1985. Machen wir hrbar das
Hrbare. Neue Westflische
[Bielefeld] (October 3).
Groetz,
Thomas 2000. [Review of Geisenberger 1999]. Testcard [Mainz] no. 8 (March), 260.
Grohmann, Will 1966. New Art around the World. New York: Harry N. Abrams.
Gromer, Grard 1981. Les rencontres internationales
de musique contemporaine Metz. Alsacien
(December 1).
Gronemeyer, Gisela 1979a. Allzu neue Tne sind nicht
mehr erwnscht. Klner Stadt-Anzeiger
(October 22 or later).
Gronemeyer, Gisela 1979b. Zwei Cage-Konzerte im
Studio Beginner. Klner Stadt-Anzeiger
(June 14).
Gronemeyer, Gisela 1981a. Bis die Sthle verrckt
werden. Darmstdter Echo (November
27).
Gronemeyer, Gisela 1981b. Mit Stockhausen, Kagel und
Cage. Klner Stadt-Anzeiger
(November 26).
Gronemeyer, Gisela 1981-1982. Zu Empty Words von
John Cage. Neuland 2, 218-224. On Empty Words (text).
Gronemeyer, Gisela 1982a. Beten, bgeln, Cognac
trinken. Klner Stadt-Anzeiger
(April 30).
Gronemeyer, Gisela 1982b. Gebgelt wurde nur ganz
zufllig. Darmstdter Echo (May 6).
Gronemeyer, Gisela 1982c. Jeder Klang ist ihm ein
Buddha. Klner Stadt-Anzeiger
(September 4-5), 37.
Gronemeyer, Gisela 1982d. New Music
America–Chicago 1982: Ein Festival und seine Hintergrnde. Neue Zeitschrift fr Musik 143, no. 10
(October), 19-22.
Gronemeyer, Gisela 1982e. Das Prinzip heit Zufall. Klner Stadt-Anzeiger (April 27).
Gronemeyer, Gisela 1983a. Sounds of the Spores
Dropping from a Mushroom: Zur Internationalen Sommerakademie fr
zeitgenssische Musik in Viitasaari. MusikTexte
no. 1 (October), 50.
Gronemeyer, Gisela 1983b. Der Zauber der
Eintnigkeit. Klner Stadt-Anzeiger
(May 17), 11.
Gronemeyer, Gisela 1984a. Ich lerne langsam, auf
mich selbst zu achten: Zum fnften Band der Writings von John Cage. MusikTexte no. 6 (October), 62.
Gronemeyer, Gisela 1984b. Kann es denn auch Hartford
sein? Zum ersten Mal in einer Kleinstadt: New Music America 1984. MusikTexte no. 7 (December), 56-57.
Gronemeyer, Gisela 1985a. Komponisten als
Musikmacher? MusikTexte no. 11
(October), 2.
Gronemeyer, Gisela 1985b. Paul Zukovsky [sic] Does
Not Agree: Mushrooms et Variationes: Eine neue Textkomposition von John
Cage. MusikTexte no. 10 (July),
26-31.
Gronemeyer, Gisela 1985c. Variationen ber Dit und
Pilze. Klner Stadt-Anzeiger (April
4-5), 8.
Gronemeyer, Gisela 1987a. Erinnerungen an glanzvolle
Zeiten: Cage und Freunde bei Bonns Tagen Neuer Musik. Neue Musikzeitung 36, no. 2 (April-May), 6.
Gronemeyer, Gisela 1987b. Immer klingt alles ganz
anders. Klner Stadt-Anzeiger (February
17), 9.
Gronemeyer, Gisela 1987c. John Cage. In Danuser,
Kmper and Terse 1987, 314-317.
Gronemeyer, Gisela 1987d. Kein Untergang des
Abendlandes. Klner Stadt-Anzeiger
(December 14), 6.
Gronemeyer, Gisela 1987e. Mit staunenden Kinderaugen:
John Cages Europeras 1 & 2. MusikTexte
no. 22 (December), 59.
Gronemeyer, Gisela 1987f. Tag- und Nachtfeier. Klner Stadt-Anzeiger (February 13), 13.
Gronemeyer, Gisela 1987g. Der Zufall regiert die
Musik noch immer. Klner Stadt-Anzeiger
(December 10), 20.
Gronemeyer, Gisela 1988. Lebendes Oxymoron: Zu einem
Cage-Symposion an der Wesleyan University. MusikTexte
no. 24 (April), 59-60.
Gronemeyer, Gisela
1989a. Gipfel, die in die Landschaft ragen: Composer-to-Composer-Treff in
Telluride. MusikTexte no. 31
(October), 63.
Gronemeyer, Gisela
1989b. Popkultur und hohe Kunst: Das 10. New Music America-Festival in
Miami. MusikTexte no. 27 (January),
56-57.
Gronemeyer, Gisela
1990a. Flohmarktcharakter und rigoroser Anspruch: Die Internationalen
Ferienkurse fr Neue Musik Darmstadt 1990. MusikTexte
no. 36 (October), 63-64.
Gronemeyer, Gisela 1990b. Die Kunst, Dinge sich
selbst zu berlassen. Darmstdter Echo
(July 21), 49.
Gronemeyer, Gisela 1991. Individuelle Entscheidungen:
John Cages Anarchy. MusikTexte no.
40-41 (August), 40-48.
Gronemeyer, Gisela 1992. Anything I say will be
misunderstood: Wie John Cage in der Bundesrepublik rezipiert wurde. Neue Zeitschrift fr Musik 153, no. 9
(September), 5-9, 11-12.
Gronemeyer, Gisela 1993. Im Finally Writing
Beautiful Music: Das numerierte Sptwerk von John Cage. MusikTexte no. 48 (February), 19-24.
Gronemeyer, Gisela 2004. Variation und Wiederholung: John Cages Charles Eliot Norton Lectures I-VI. MusikTexte no. 100 (February), 53-59.
Groome, Carle V.P. 1987. Garbage Conquers the
Century: Subterranean Streams / Surface Tensions. Ear 12, no. 3 (May), 14-15.
Groot, Rokus de 1991. Compositie en intentie van Ton
de Leeuws muziek: Van een evolutionair naar een cyclisch paradigma. Ph.D.
dissertation, Rijksuniversiteit te Utrecht.
Gross, Alexander 1960. [Letter to the editor]. Village Voice (March 30).
Gross, Charles 1964. Theres Been Nothing since the
Classics (?); of Odd Birds, Cage and Chance Music. Listen 1 (March-April), 1-3.
Grossmann [Gromann], Rolf 1999. Die
Phantasie der kalkulierten Welt. In Die Knste des Zufalls. Ed. by Peter Gendolla and Thomas
Kamphusmann. Frankfurt am Main: Suhrkamp, 122-136 (Suhrkamp-Taschenbuch
Wissenschaft; 1432).
Grout, Donald Jay 1973. A History of Western Music, rev. ed. New York: Norton; London:
Dent; 3rd. ed. 1980.
Grout, Donald Jay and Claude V. Palisca 1988. A History of Western Music, 4th ed. New
York [etc.]: Norton; 5th ed. 1996; 6th ed. 2001.
Grubbs, David 2005. Records Ruin the Landscape: John
Cage, the Sixties, and Sound Recording. Ph.D. dissertation, University of
Chicago.
Gruen, John 1963. 18 Hours, Over & Over, Same
Music 840 Times. New York Herald Tribune
(September 10), 21.
Gruen, John 1968. The New Mentality. Vogue [New York] (February 1), 110.
Gruen, John 1972. The
Partys over Now: Reminiscences of the Fifties: New Yorks Artists, Writers,
Musicians, and Their Friends. New York: Viking Press.
Gruen, John 1988. Architectural Digest Visits: John
Cage and Merce Cunningham. Architectural
Digest 45, no. 11, 198, 201, 272.
Grueninger, Walter F. 1980. Recorded Music in
Review. Consumers Research (July),
43. On Composers Recordings CRI SD 410 (recordings).
Grnewald, Helge 1990. Opern-Verschnitt fern von Hoffnung. Volksblatt [Berlin] (June 27).
Grunfeld, Fred [Frederic V.] 1952. Sound Your Anvil. Accent on Living (1952), 92-93.
Grunfeld, Fred 1960. Cage without Bars [includes
review of George Avakian KO8Y-1499-1504 (recordings)]. Reporter 22, no. 3 (February 4), 35, 37.
Grunfeld, Fred 1962. Guggenheim Roulette. Reporter (January 4), 35-37.
Grnzweig, Werner, Gesine Schrder, and Martin Supper
1990, ed. SchNeBel 60. Hofheim: Wolke
(review: Schweizer 1992).
Gs. 1963. Gibt es romantische Elektroniker? Dsseldorfer Nachrichten (November 19).
Gs. 1964. Die armselige Musikschau des Mr. John
Cage. Dsseldorfer Nachrichten (July
13).
GS 1981. Viermal neue Musik. Frankfurter Allgemeine (November 16).
Guccero, Domenico 1966. Musica sperimentale. In La musica: Parte prima: Enciclopedia storica.
Ed. by Guido M(aggiorino) Gatti. Torino: Unione Tipografico-editrice Torinese,
vol. 4, 458-468.
Guallino, Emmanuel 1986. Vorte guide pour sortir. La Marseillaise (July 8), 17.
Gubernatis, Raphal de 1981. [Title unknown]. Quotidien de Paris (August 24).
Gubernatis, Raphal de 1983. Cunningham en Cage. Le Nouvel Observateur (November 18).
Gubernikoff, Carole 1994. John Cage - Sonatas and Interludes for Prepared Piano;
Music of Changes. New Sound no. 3, 71-80; Spanish as La
temporalidad en John Cage: Sonatas e Interludios para piano preparado, Music of
Changes. Trans. Fabienne Bradu. Pauta
12, no. 47-48 (July-December 1998), 177-186.
Guerriero, Leo G. 1977. Nudo contra la folla. Lotta Continua (December 8), 5.
Guggenheim, Peggy
1942, ed. Art of This Century: Objects,
Drawings, Photographs, Paintings, Sculpture, Collages, 1910 to 1942. New
York: Art of this Century; repr. New York: Arno Press, 1968 (Arno Series of
Contemporary Art; 18).
Guggenheim, Peggy 1979. Out of This Century: Confessions of an Art Addict. New York:
Universe Books.
Guide du Concert 1954. [Untitled]. Guide du Concert [Paris] (December 17-24).
Guiganti, Bruno 1995. Audicibilit du monde. Musicworks no. 63 (Fall), 36-38.
Guinn, John 1979. The Big Question: Is What He Does
Music? Detroit Free Press (March
16), 5B.
Gnther, Nils
2009. Zentrum des Universums: Mensch, Ego und Individuum in John Cages
sthetik. Positionen no. 80
(August), 18-20.
Gurlitt, Willibald
1959, ed. Cage, John. In Riemann
Musik-Lexikon, 12th ed., Personenteil A-K. Mainz [etc.]: Schott, 265.
Grsching, Albrecht 1985. [Review of Party
Pieces (music)]. Neue Musikzeitung
(February-March), 41.
Grsching, Albrecht 1998. [Review of Schultz, W.-A.
1997]. Tibia [Celle] 23, no. 4 (1998),
310-312.
Guschlbauer, Wilhelm 1962. John Cage: Genie oder
Narr? Der Opernfreund [Wien] 7, no.
68 (May), 3-4.
Gustafson, Bruce (Lester) 1984. AGO San Francisco:
Some Perspectives. The Diapason 75,
no. 10 <no. 899> (October), 6, 8, 9.
Gutknecht, Dieter 1996. Aural Eyeness:
Gemeinsamkeiten von Musik und bildender Kunst in Abstract Expressionism und New
York School. Glasba in likovna umetnost
= Musik und bildende Kunst. Ljubljana: Festival Ljubljana, 187-198.
Gutknecht, Dieter 2007. [Review of Ulrich, T.
2006]. sterreichische
Musikzeitschrift 62, no. 11-12 (November-December), 88-90.
Gutmann, Peter
1999. Classical Notes – the Sounds of Silence: The Greatest Classical
Work of Our Century. Goldmine 25
(September 24), 58.
Gutscher, Manfred 1975. Tne, die zu sich selbst
kommen sollen. Stuttgarter Zeitung
(June 24), 18.
Guzelimian, Ara 1978. Elliott Carter Premiere at Bing Theater. Los Angeles Times (March 23).
Guzzo, Louis R. 1962a. Cages Electronic Music Amazes
and Amuses. Seattle Times (September
27), 38.
Guzzo, Louis R. 1962b. Johnson Beckons John Cage For
Cornish Concert. Seattle Times
(September 17), 6.
Gweon, Song-taeg 2007. Gyeonggye reul neomeoseo: Lu Haeriseun yi
eumag e natananeun hangug eumagjeog yoso (1961-1962). Seoyang eumaghag = Journal of the Musicological Society of Korea
15 (2007), 69-96.
Gyger, David 1974. The Proms of 1974: Saved by a Requiem. Australian (ca. February).
H.B. 1963. Konzert ohne Musik. Westdeutsche Allgemeine Zeitung (June 10).
H.L. 1987. John Cage kommt in den Gasteig. Abendzeitung [Mnchen] (November 12).
H.R. 1991a. John Cage & oder: Gibt es noch etwas, das es nicht gab? Salzburger Volkszeitung (June 8).
H.R. 1991b. John Cage und seine Adepten. Salzburger Volkszeitung (June 4), 11.
H.S. 1943. It Comes in a Flowerpot, But They Call It
Music. PM [New York] (February 8).
H.S. 1963. Mit Schraube und Radiergummis. Neue Ruhr Zeitung (June 7).
Haas, Joseph 1969. A Happening with John Cage. Chicago Daily News (May 10), Panorama, 17.
Haas, Leon de 1988. Strategien van het vlees:
Hommage aan John Cage, ondanks Adorno. In La
chair: Het vlees in filosofie en kunst. Ed. H.A.F. Oosterling and A.W.
Prins. Rotterdam: Erasmus Universiteit, Faculteit der Wijsbegeerte, 51-68
(Rotterdamse Filosofische Studies; 8).
Haase, Marlis 1992. Musik kam von den Sternen. Neue Rhein Zeitung [Essen] (August 14),
[4].
Haddad, Barbara 1966. John Cage Stirs Design Conference. Denver Post (June 24), Section B, 19.
Hadley, Benjamin 1980, ed. Cage, John. In Britannica Book of Music. Garden City,
New York: Doubleday and Co., 147-148 (Doubleday/Britannica Books).
Haefeli, Anton 1982. Die Internationale Gesellschaft fr Neue Musik (IGNM): Ihre Geschichte
von 1922 bis zur Gegenwart. Zrich: Atlantis.
Haefeli, Toni 1998. [Review of Heister et al. 1997]. Dissonanz = Dissonance no. 57 (August),
52.
Haessig, Georges 1972. Les musiciens de Brme. Musique en jeu no. 8 (September), 118.
Hagen, Daron 1988. Cage Retrospective. Ear 13, no. 3 (May), 27.
Hagen, Wolfgang 1997. Silencetechno: John Cage und
das Radio. In Rsing 1997, 73-91.
Hager, Adriaan 1988a. Componist Cage is binnengehaald
als het Paard van Troje. Trouw
(November 9), 22.
Hager, Adriaan 1988b. Kwartetten van John Cage al te
saai voor muziekstudent. Trouw
(November 23), 20.
Hager, Adriaan 1988c. Verbijsterd in verwondering
over het fenomeen Cage. Trouw
(November 24), 27.
Haglund, Magnus 1995. I spren efter det frlorade
Europa. Nutida Musik 38, no. 3,
36-40.
Haglund, Rolf 1984. Cage som bildkonstnr. Musikrevy 39, 144-145.
Hagmann, Peter 1991. Alles von allem getrennt:
Notizen zu den Europeras von John Cage. Neue
Zrcher Zeitung (May 25-26), 70.
Hague, Robert A. 1946. Odd Music from Caged Pianos;
Hilsberg Leads Philadelphians. PM
[New York] (December 12), 19-20.
Hahn, Christoph W. 1991. Unzhlige Zentren. Die Tageszeitung (July 24), 17.
Hhnel, Folke 1964. Musiken. Dagens Nyheter [Stockholm] (September 16).
Halasz, Gabor 1994. Experimente in Freiheit. Die Rheinpfalz [Ludwigshafen] (June 11).
Halsz, Pter
1986. Bartk Szeminrium. Muzsika 29,
no. 10 (October), 3-7.
Halbreich, Harry 1984. Les as de Darmstadt. Le Monde de la Musique/Tlrama no. 72
(November), 86-91.
Hale, Barrie 1965. Music for Eye and Ear. The Telegram [Toronto, Ontario]
(November 29), 43.
Halier, Ronald 1986. John Cage: Music of Changes en
Freeman Etudes. Audio & Muziek
[Rotterdam] 1, no. 1 (April), 28-29, 31.
Halimi, Andr 1970. Drles de journes. Pariscope (October 14-20), 6.
Hall, David 1961. Pre-eminent Percussion. HiFi/Stereo Review 6, no. 4 (April), 70.
Hallam, Huw 2010. [Review of Hegarty 2007]. Music & Letters 91, no. 2 (May),
297-299.
Hamada, Gōji 1985. Kōra to niku: Keiji no
kotoba sekai. Gendai Shi Techō
[Tōkyō] 28, no. 5 (April), 236-239.
Hambrus, Bengt 1960-1961. 25-Year Retrospective Concert. Nutida Musik 4, no. 4, 27.
Hambrus, Bengt 1962-1963a. Bcker om musik: Cage, John
Silence: Lectures and Writings. Nutida
Musik 6, no. 1, 20.
Hambrus, Bengt 1962-1963b. [Title unknown]. Nutida Musik 6, no. 6, 16.
Hambrus, Bengt 1962-1963c. Om Aria con Fontana mix. Nutida Musik 6, no. 6, 50-51.
Hambrus, Bengt 1963. Lt oss lyssna till svamparnas
musik. Musikrevy 18, 134-135.
Hambrus, Bengt 1965. Blickfng i ny amerikansk musik. Musikrevy 20, 242-249.
Hambrus, Bengt 1966-1967. John Cage och grnserna. Nutida Musik 10, no. 3-4, 39-43.
Hambrus, Bengt 1985-1986. John Cage, Aria con Fontana
Mix. Nutida Musik 29, no. 1, 9.
Hamel, Peter 1994. Universalismus in der
zeitgenssischen Musik am Beispiel der Wirkungsgeschichte von John Cage und
Olivier Messiaen. Musica [Kassel] 48, 4-9; Serbian as
Univerzalizam u savremenoj musici, na primeru dejstva Djona Kejdja i Olivijea
Mesijana. Trans. Mira Daleore. Muzički
Talas 3, no. 4 (1996), 52-58.
Hamel, Sylvie 1987. John Cage sur les rives de la
Moselle. LEst Rpublicain (November
22).
Hamilton, Andy
2006. [Review of Dickinson 2006a]. The Wire [London] no. 274 (December), 79.
Hamilton, David 1968. American Pioneers of the New
Music. High Fidelity/Musical America
18 (September), 47.
Hamilton, Richard
1977. Polaroid Portraits. Volume 2.
Stuttgart [etc.]: Hansjrg Mayer.
Hamilton, Victoria 1977. Merce Cunningham and Dance Company. Art Reach [Tacoma, Washington] 1, no. 5 (September 15).
Hamm, Charles
1967. Not Yet. Arts in Society 4,
554.
Hamm, Charles 1980. Cage, John. In The New Grove Dictionary of Music and
Musicians. Ed. by Stanley Sadie. London [etc.]: Macmillan [etc.], vol. 3,
597-603; rev. repr. as Cage, John (Milton, Jr.). In The New Grove Dictionary of American Music. Ed. by H. Wiley
Hitchcock and Stanley Sadie. London [etc.]: Macmillan, 1986, vol. 1, 334-341;
repr. in The New Grove Twentieth-Century
American Masters: Ives, Thomson, Sessions, Cowell, Gershwin,
Copland, Carter, Barber, Cage, Bernstein. Ed. John Kirkpatrick et
al. London [etc.]: Macmillan; Norton, 1988 (The New Grove Composer Biography
Series).
Hamm, Charles 1983. Music in the New World. New York [etc.]: Norton.
Hamm, Charles 1984. Cage. By Paul Griffiths. American
Music 2, no. 3 (Fall), 88-89.
Hamm, Charles 1993. John Cage Revisited. Journal of Popular Music Studies 5, 3-7;
repr. in Hamm 1995, 381-385.
Hamm, Charles 1995. Putting Popular Music in Its Place. Cambridge [etc.]: Cambridge
University Press.
Hamm, Charles 1997. Privileging the Moment: Cage,
Jung, Synchronicity, Postmodernism. Journal
of Musicology 15, no. 2 (Spring), 278-289.
Hamm, Charles 2002. Introduction. In Patterson, D.W.
2002b, 1-13.
Hamm, Charles, Bruno Nettl and Ronald Byrnside 1975. Contemporary Music and Music Cultures.
Englewood Cliffs, New Jersey: Prentice-Hall.
Hamm, Charles et al. 1980. Response to Address by John Cage. In The Phonograph and Our Musical Life:
Proceedings of a Centennial Conference, 7-10 December 1977. Ed. by H. Wiley
Hitchcock. Brooklyn, New York: Institute for Studies in American Music, 1-6
(I.S.A.M. Monographs; no. 14).
Hammel, Jrgen 1990. Abgesang auf die Oper. Saarbrcker Zeitung (October 4); repr. Pflzischer Merkur (October 4).
Hamson, Robert 1995. Why Cant They all Write Like
Seamus Heaney? Yeats Annual 11,
252-257.
Hanhardt, John G. 1982a, ed. Nam June Paik. New York: Whitney Museum of American Art; Norton.
Includes Hanhardt 1982b.
Hanhardt, John G. 1982b. Paiks Video Sculpture. In
Hanhardt 1982a, 91-100.
Hni, Susanne et al. [Alois Mller, Toni Stoss, Harald Szeemann] 1983, ed. Der Hang zum Gesamtkunstwerk: Europische Utopien seit 1800 [exhibition catalogue, Kunsthaus Zrich, February 11-April 30, 1983; Stdtische Kunsthalle und Kunstverein fr die Rheinlande und Westfalen Dsseldorf, May 19-July 10, 1983; Museum moderner Kunst, Museum des 20. Jahrhunderts, Wien, September 10-November 13, 1983]. Aarau: Sauerlnder.
Hanna, Judith Lynne 1982. Is Dance Music?
Resemblances and Relationships. The
World of Music 24, no. 1, 57-71.
Hannes, Tom 1993. At Maturing Daily Gloryaims: A
Poetics of John Cage. Licentiate thesis, Katholieke Universiteit Leuven.
Hansell, Sven H. 1962. Elektronische Experimente
stlich des Mississippi. Melos 29,
388-391.
Hansen, Al (Alfred E.) 1961. New Trends in Art. The Prattler [New York] (November 29),
2.
Hansen, Al 1965. A
Primer of Happenings & Time/Space Art. New York [etc.]: Something Else
Press; excerpt included in Hansen and Higgins 1970, 120-122; German excerpt
included in Hansen and Higgins 1970/1973, 171-172.
Hansen, Al 1966. Incomplete
Requiem for W.C. Fields. New York [etc.]: Something Else Press (A Great
Bear Pamphlet).
Hansen, Al and Dick Higgins 1970. [On Cages Classes].
In Kostelanetz 1970d, 120-124; German as ҆ber Cages Kurse. In Kostelanetz
1970d/1973, 171-174.
Hansen, Ivan 1982-1983. John Cage p plade. Dansk musiktidsskrift 57, 73.
Hansen, Joseph 1988. Obedience [novel]. New York: Mysterious Press, 8.
Hansen, Peter S. 1961. An Introduction to Twentieth-Century Music. Boston: Allyn and
Bacon; 2d ed. 1967; 3d ed. 1971; 4th ed. 1978.
Hanson, Sten 1968-1969. Recensioner: Rsternas
frlangning. Nutida Musik 12, no. 2,
76-77.
Hanson, Sten 1983. Cage och Fylkingen. Fylkingen Bulletin no. 1 (1983).
Hanson, Sten 1992. After John. Nutida Musik no. 4 (1992), 17.
Hapgood, Susan
1994. Neo-Dada: Redefining Art, 1958-1962.
New York: American Federation of Arts in association with Universe.
Harb, Karl 1991a. Das, was alle Lsungen verbindet, ist stets die Frage. Salzburger Nachrichten (June 8), 7.
Harb, Karl 1991b. Der Reiz des Prparierten Vater Cage und seine Shne. Salzburger Nachrichten (June 3).
Harb, Karl 1991c. Die Schnheit des Leisen, die Stille und klingendes Gerusch. Salzburger Nachrichten (June 5), 7.
Harley, Maria Anna 1994. Space and Spatialization in
Contemporary Music: History and Analysis, Ideas and Implementations. Ph.D.
dissertation, McGill University.
Harley, Maria Anna 1998. Spatiality of Sound and
Stream Segregation in Twentieth-Century Instrumental Music. Organised Sound 3, no. 2 (August),
147-166.
Harman, Alec, Anthony Milner and Wilfrid H. Mellers
1962. Man and His Music. New York:
Oxford University Press.
Harman, Carter 1950. Boulez 2d Sonata Heard in Premiere. New York Times (December 18), 35.
Harmonie 1977.
[Review of Cage/Charles 1976]. Harmonie
[Paris] no. 131 (November), 164.
Harnack, Curtis 1987. John Dewey in the Bauhaus. New York Times Book Review (August 9), 13-14.
Harpers Bazaar 1952.
Four Artists in a Mansion. Harpers
Bazaar (July), 79.
Harrel, Doris Leland 1976. New Techniques in
Twentieth Century Solo Piano Music: An Expansion of Pianistic Resources from
Cowell to the Present. DMA dissertation, University of Texas at Austin.
Harris, Dale S. 1974. Bolshoi Bombs; Cunningham
Captures Paris: Jasper Johns, John Cage Contribute to Opera Event. High Fidelity/Musical America 24
(January), Musical America, 40.
Harris, Dale 1976a. La Rochelle. Music and Musicians 25 (November),
62-63.
Harris, Dale 1976b. [Title unknown]. Guardian (July 22).
Harris, Dale 1980. Freedom from Formula. Ballet News (January-February), 15-16.
Harris, Dale 1982. Accidental Noise of an Anarchist.
Guardian (May 28), 13.
Harris, Dale 1985. The Avant-Garde in Avignon. Wall Street Journal (August 21).
Harris, Dale 1986. New Perceptions in Lyric Theatre.
Opera Canada 27, no. 2, 19-21+.
Harris, Dale 1987. In the Wake of Joyce. Guardian (July 17), 15.
Harris, Dale 1988. Cage-y: Opera Guyed. New York Post (July 18).
Harris, L. David 1978. Eccentric Composer-Writer-Artist Wins Approval for Avant-Garde Work. Wichita Eagle and Beacon [Wichita, Kansas] (April 16), 2C.
Harris, Mary Emma 1987. The Arts at Black Mountain College. Cambridge, Massachusetts
[etc.]: MIT Press; repr. 2002 (review: Harnack 1987).
Harris, Mary Emma 1991. John Cage im Black Mountain
College. Trans. Christina Melk-Haen. In Bischoff 1991b, 45-48.
Harris, Melissa 1981. Avant-Garde Fuses Chance with
Dance. Yale Daily News (March 24),
5.
Harris, Simon 1969a. Cage. Composer no. 31 (Spring), 41-42.
Harris, Simon 1969b. The Integrity of John Cage. Composer no. 33 (Fall), 35.
Harrison, Jay S. 1951. New Music Society. New York Herald Tribune (May 11), 21.
Harrison, Jay S. 1954. The Music Season: Firsts and Failures. New York Herald Tribune (May 23), Section 4, 5.
Harrison, Jay S. 1956. New Music Concert Given at the
Carl Fischer Hall. New York Herald
Tribune (May 31).
Harrison, Jay S. 1958a. John Cage Retrospective
Concert Is Presented at Town Hall. New
York Herald Tribune (May 16).
Harrison, Jay S. 1958b. Pianists Gold and Fizdale
Search for a Hidden Work. New York
Herald Tribune (March 2).
Harrison, Jay S. 1964. The New York Music Scene. Musical America 84 (March), 24+.
Harrison, Jay S. 1966. Dear Sirs: Heres Some
Stravinsky to Act By. New York Post
(July 16), 49.
Harrison, Lou 1944. Forecast and Review: Seasons
End, May 1944. Modern Music 21, no.
4 (May-June), 233-237.
Harrison, Lou 1945. Recital at the New School: The
Rich and Varied New York Scene. Modern
Music 22, no. 3 (March-April), 181-185.
Harrison, Lou 1946. Ajemian-Masselos. New York Herald Tribune (December 11);
repr. in Kostelanetz 1993f, 24-25.
Harrison, Lou 1947. [Untitled], liner notes for
records 643-648. New York: Disc Company of America.
Harrison, Lou 1971. Music Primer: Various Items about Music to 1970. New York: C. F.
Peters.
Harrison, Lou 1987. Nines to John Cage on his
sixtieth birthday, 1977. In Garland 1987a, 106.
Harrison, Lou/Kakinuma, Toshie and Mamoru Fujieda
1989. I Am One of Mr. Ives Legal Heirs: An Interview with Lou Harrison. Sonus 9, no. 2 (Spring), 46-58.
Harrison, Lou/Kostelanetz, Richard 1992. A
Conversation, in Eleven-minus-One Parts, with Lou Harrison about
Music/Theatre. Musical Quarterly 76,
383-409.
Harrison, Lou/Siwe, Tom 1980. Lou Harrison at the
University of Illinois. Percussive Notes
18, no. 2 (Winter), 30-33, 57-62.
Harrison, Lou and Bill Colvig/Leyland, Winston 1974.
Winston Leyland Interviews Lou Harrison. Gay
Sunshine Journal [San Francisco, California] no. 23 (November); repr. in Gay Sunshine Interviews. San Francisco,
California: Gay Sunshine Press, 1978, repr. 1984; abriged repr. in Garland
1987a, 70-84.
Harrison, Max 1969. Music in London: Recitals. Musical Times 110, 1055.
Harrison, Max 1972. Book Reviews. Composer no. 44 (Summer), 34-35.
Harrison, Max 1989. Cages Visionary Logic. Times (November 17).
Hart, Philip 1962. Lukas Foss Time Cycle. The Music Magazine and Musical Courier
(April), 43.
Harter, J. L. 1993. La musique et le jeu. Revue desthtique new series no. 24,
109-121.
Hartsuiker, Ton 1970. John Cage: Alles wat we doen
is muziek. Volkskrant (June 20).
Hartwell, Robin 1993. Postmodernism and Art Music.
In Miller, Si. 1993, 27-51.
Harvey, John H. 1951. Sinfonietta Review. St. Paul Pioneer Press (May 2).
Harvey, Jonathan 1975. The Music of Stockhausen: An Introduction. London: Faber &
Faber.
Haskell, Harry 1980. Discarding Tradition Frees
Composer to Create Controversial Musical Style. Kansas City Star (September 30).
Haskins, Rob(ert) 1993. Computer Music Consort to
Present Cage Premiere. Peabody News
(March-April).
Haskins, Rob 1996. Composition (Not Philosophy):
James Pritchetts The Music of John Cage.
Perspectives of New Music 34, no. 2
(Summer), 216-223.
Haskins, Rob 2000. [Review of Offseason Productions OP
226 (recording)]. American Record Guide
(date unknown).
Haskins, Rob 2002. [Review]. American Record Guide (September-October).
Haskins, Rob 2003.
Notes on Cage, Harmony, and Analysis. Frankfurter Zeitschrift fr
Musikwissenschaft 6, 66-81. http://www.fzmw.de/2003/2003_6.htm
(accessed March 21, 2008); http://www.fzmw.de/2003/2003_6.pdf (accessed March
21, 2008).
Haskins, Rob 2004a.
An Anarchic Society of
Sounds: The Number Pieces of John Cage. Ph.D. dissertation, Musicology, University of Rochester, Eastman
School of Music.
Haskins, Rob
2004b. [Review of Nicholls 2002c]. Music Theory Online 10, no. 2 (June).
http://societymusictheory.org/mto/issues/mto.04.10.2/mto.04.10.2.haskins.html
(accessed March 21, 2008).
Haskins, Rob 2009. On John Cages Late Music,
Analysis, and the Model of Renga in Two2. American Music 27, no. 3 (Fall-Winter),
327-355.
Hassan, Ihab 1963. The Dismemberment of Orpheus. American Scholar 32, 463-484.
Hassan, Ihab 1968. The Literature of Silence. In
Bergonzi 1968a.
Hassan, Ihab 1977. Prometheus as Performer: Toward a
Posthumanist Culture? A University Masque in Five Scenes. In Benamou and
Caramello 1977, 201-217.
Hastings, Baird 1971. [Review of Kostelanetz 1970d]. Library Journal 96, 1372.
Hatlen, Burton 1987. [Review of Perloff, M. 1985a]. Sagetrieb [Orono, Maine] 6, 154, 314.
Hattinger,
Gottfried, Peter Weibel, and Irene Judmayer 1987, ed. Ars electronica: Festival fr Kunst, Technologie und Gesellschaft,
Linz, 16.-19. September 1987. Linz: Linzer Veranstaltungsgesellschaft.
Hauff, Andreas 1992a. Der freundliche Philosoph. Frankfurter Rundschau (September 9), Feuilleton, 8.
Hauff, Andreas 1992b. Weihestunde in der Fabrik. Frankfurter Rundschau (September 1), 23.
Hauff, Andreas 2006a. Von Alphorn bis Xun: Die
Erffnung der Festspiele Ludwigshafen mit John Cages Musicircus. Das Orchester
54 (January), 38-39.
Hauff, Andreas 2006b. Cages Musicircus in
Ludwigshafen. Positionen no. 66
(February), 62-63.
Hauser, Fritz 1991. Cage und das Tram. Du [Zrich] no. 5 (May), 57.
Husler, Josef 1969. Musik im 20. Jahrhundert: Von Schnberg zu Penderecki. Bremen: Carl
Schnemann.
Husler, Josef 1996. Spiegel der Neuen Musik: Donaueschingen: Chronik - Tendenzen -
Werkbesprechungen. Kassel [etc.]: Brenreiter; Metzler (Nauck 1997).
Husler, Rudolf 1972a. Basel: John Cage und David
Tudor simultan. Schweizerische
Musikzeitung = Revue musicale suisse 112, 225-226.
Husler, Rudolf 1972b. Kammermusik des 20.
Jahrhunderts. Schweizerische Musikzeitung
= Revue musicale suisse 112, 32-33.
Have, S. P. ten 1992. Reacties. Entracte 4, no. 8 (October), 7.
Haverstock, Gwendolyn 1988. Cages Age. 7 Days [New York] (August 24), 44-45.
Hawthorn, Maggie 1977a. Cunningham Troupe Coming to Cornish. Seattle Post-Intelligencer (January 12).
Hawthorn, Maggie 1977b. Dancing Is like Walking. Seattle Post-Intelligencer (September 5).
Hayes 1977. [Review of Etudes Australes]. Music Journal (October).
Hayles, N. Katherine 1994. Chance Operations: Cagean
Paradox and Contemporary Science. In Perloff, M. and Junkerman 1994b, 226-241;
Spanish as Operaciones aleatorias: La paradoja cageana y la ciencia
contempornea. Hurly Burly [Madrid]
no. 8 (1999) and no. 9 (1999).
Hayman, David 1976. Some Writers in the Wake of the
Wake. Triquarterly no. 38 [Evanston, Illinois] (Winter), 3-38; repr.
in Hayman, D. and Anderson 1978, 3-38.
Hayman, David and Elliott Anderson 1978, ed. In the Wake of the Wake. Ed. Madison,
Wisconsin [etc.]: University of Wisconsin Press, 1978.
Hayman, Richard (I.P.) 1975a. Ears of John Cage
[rubbing]. Ear 1, no. 3 (Summer),
[7].
Hayman, Richard 1975b. The Local Woods in May. Ear 1, no. 3 (Summer), [2].
Hayman, Richard 1975c. Music at Naropa. Ear 1, no. 4 (September), [6].
Hayman, R(ichard) I.P. 1987. Eareviews [Review of Mode
1-2 (recording)]. Ear 11, no. 5-12,
no. 1 (February-March), 39.
Hayman, R.I.P. 1989. Composer-to-Composer. Ear 14, no. 8 (November), 22-24.
Hayman, R.I.P. 1994. Encounters with John Cage. Musicworks no. 58 (Spring), 42-46.
Hays, William 1972, ed. Twentieth-Century Views of Music History. New York: Charles
Scribners Sons.
Hazendonk, Roeland 1988. Toevalsoperaties van John
Cage stemmen tot nadenken. De Telegraaf
(November 18), 19.
Hazendonk, Roeland 1992a. Moeilijke Cage-premire
eervol voor Ives Ensemble. Telegraaf
(February 28), 14.
Hazendonk, Roeland 1992b. Ook laatste orkestwerk Cage
roept vragen op. Telegraaf
(September 22), 11.
Hck 1963. John Cage macht Musik mit Gerusch und
Humor. Ruhrnachrichten (June 7).
Hd 1987. Begeisterung beim Happening im
Schulgebude. Rheinische Post
(November 27).
Headington, Christopher 1974. The Bodley Head History of Western Music. London: Bodley Head.
Healey, Jon 1985. Zen Buddhism and the Art of
Mushroom Hunting. Winston-Salem Journal
(November 16), 2, 16.
Hebbelinck, Andr 1988. Cage in Zeeland. Knack [Brussel] (June 22), 171-172.
Hebbelinck, Andr 1989. Herosche stiltes voor
piano. Knack [Brussel] (April 26),
174-175.
Hebbelinck, Andr 1990. Oh, met twee handen. Knack [Brussel] (August 22), 95-96.
Heckman, Don 1964. The Sounds and Silences of John
Cage. Down Beat 31 (May 7), 20-22.
Heckman, Don 1983.
All American Music. By John
Rockwell. High Fidelity/Musical America
33, no. 1 (January), Musical America, 16-17.
Hefley, Jack 1955. Music and Mushrooms. UCLA Daily Bruin (November 11), M-4.
Heg, Hans 1984. Keurige heren Nexus meppen te
perfect. De Volkskrant (June 25).
Heg, Hans 1991. La Barbara zingt en prevelt werk Cage
larmoyant. De Volkskrant (February
1), Kunstkatern, 10.
Hegarty, Paul
2007. Noise/Music: A History. New York [etc.]: Continuum (Hallam
2010; Sangild 2008).
Hegdal, Magne 1984. Den avmytologiserte kunstneren:
Sonatas and -ludes (pre and inters) re J. C. Ballade [Oslo] 8, no. 1, 8-12.
Heibe, Carolus 1954a. Er nennt es Musik. Westfalen-Zeitung (November 4).
Heibe, Carolus 1954b. John Cage und sein Geruschorchester.
Musikalische Jugend = Jeunesses musicales
3, no. 6, 4.
Heijer, Jac. 1988. Frances-Marie Uitti. NRC Handelsblad (June 17).
Heikinheimo, Seppo 1964a. John Cage: Filosofi vai
musiikillinen ilveilij. Helsingin
Sanomat (September 18); repr. ljyposti
no. 4 (1967).
Heikinheimo, Seppo 1964b. John Cage harrastaa sieni
ja nukkumista. Helsingin Sanomat
(September 18).
Heikinheimo, Seppo 1976. Cage, John. In Otavan suuri ensyklopedia. Ed. by Matti
Nurminen et al. Helsinki: Otava, vol. 1, 739.
Heikinheimo, Seppo
1983a. 17 tuntia John Cagen kintereill. Helsingin
Sanomat (August 14).
Heikinheimo, Seppo 1983b. Kun tuolin narinasta
tehtiin musiikkia. Helsingin Sanomat
(July 28), 14.
Heilgendorff, Simone 1998. Amerikanische Kultur im
Spiegel musiktheatralischen Komposition: John Cage Song Books in doppelter Weite = La culture amricaine reflte
dans une oeuvre de thtre musical: Les Song
Books de John Cage. Dissonanz =
Dissonance no. 58 (November), 18-27.
Heilgendorff, Simone 2000. Fremde Ideen in Cages
Wirken [Review of Mahnkopf 1999b]. Dissonanz
= Dissonance no. 64 (May), 54-55.
Heilgendorff,
Simone 2002a. Experimentelle Inszenierung von Sprache und
Musik: Vergleichende Analysen zu Dieter Schnebel und John Cage. Freiburg im Breisgau: Rombach (Rombach
Wissenschaften: Reihe Cultura; 16).
Heilgendorff, Simone 2002b. Im kollektiven Prozess
zu einer individuellen Klanggestalt: ber die Erarbeitung der Streichquartette No One (1995) von Isabel Mundry und Thirty Pieces (1983) von John Cage. in Individualitt in der Musik. Ed. by
Oliver Schwab-Felisch. Stuttgart [etc.]: J.B. Metzler, 213-222 (M-&-P-Schriftenreihe fr
Wissenschaft und Forschung).
Heilgendorff, Simone 2005. Engagement,
Weltanschauung, Praxis: Ein Versuch zur Kreuzung der Lebenswege Dieter
Schnebels und John Cages. Neue
Zeitschrift fr Musik 166, no. 1 (January-February), 20-25.
Heilgendorff, Simone 2008. Neue Live-Kulturen der westlichen Kunstmusik: Fr eine Rezeption musikalischer Interpretationen mit Krper und Ort. In Musikrezeption, Musikdistribution und Musikproduktion: Der Wandel des Wertschpfungsnetzwerks in der Musikwirtschaft. Ed. by Gerhard Gensch, Eva Maria Stckler, and Peter Tschmuck. Wiesbaden: Gabler, 109-137 (Gabler Edition Wissenschaft); repr. 2009.
Heimbecker, Sara 2008. HPSCHD, Gesamtkunstwerk,
and Utopia. American Music 26, no. 4 (Winter), 474-498.
Heimbecker, Sara J. FORTHCOMING. John Cages HPSCHD. Ph.D. dissertation, Musicology,
University of Illinois at Urbana-Champaign.
Heindrichs, Heinz-Albert 1970. Witten weist der
Kammermusik neue Wege. Melos 37,
247-248.
Heindrichs, Heinz-Albert 1971a. Musica viva in
Bochum. Melos 38, 28-29.
Heindrichs, Heinz-Albert 1971b. Vielfalt und
Konzentration bei den Wittener Kammermusiktagen 1971. Melos 38, 299-302.
Heintze, James R.
1999. Perspectives on American Music
since 1950. New York: Garland (Essays in American Music; 4; Garland
Reference Library of the Humanities; 1953).
Heisch, Michael 2005. Schweizer Fenster (J.
Cage/Petra Ronner, G. Crumb, Vier Paprikafrchte aus: Bilderbuch fr zwei
Klaviere). Positionen no. 65
(November), 50.
Heise, Walter
1986. [Review]. Zeitschrift fr
Musikpdagogik [Regensburg] 11, no. 34, 68-69.
Heiss, Alanna 1993a. Introduzione. In Costa, L. et
al. 1993, 729-731.
Heiss, Alanna 1993b. Il mio amico John. In Costa, L.
et al. 1993, 753-755.
Heienbttel, Helmut 1976. Enthusiastisches, aber
auch zgerndes Pldoyer fr John Cage. Musica
[Kassel] 30, 531-533.
Heister, Hanns-Werner 1994. Intentionslosigkeit als
Ideologie: ber Cage. In Klischee und
Wirklichkeit in der musikalischen Moderne. Ed. by Otto Kolleritsch. Wien
[etc.]: Universal Edition, 35-61 (Studien zur Wertungsforschung; 28).
Heister, Hanns-Werner 1996. Besprechungen. Die Musikforschung 49, 100-101.
Heister, Hanns-Werner 1997. Absolute Muzak: Zur
Konstituierung und Destruktion von Bedeutung im Musikproze. In Heister et al.
1997, 263-279.
Heister, Hanns-Werner 1998. [Review of Borio and
Danuser 1997]. Dissonanz = Dissonance no. 57
(August), 50.
Heister, Hanns-Werner et al. [Hans-Joachim Hinrichsen,
Arne Langer, and Susanne Oschmann] 1997, ed. Semantische Inseln–Musikalisches Festland: Fr Tibor Kneif zum
65. Geburtstag. Hamburg: Bockel (Zwischen/Tne; 7) (review: Haefeli, T.
1998).
Helguera, Luis Ignacio 1992. John Cage (1912-1992). Pauta 11, no. 43 (July-September),
125-126.
Heller, Felix C. 1987. C wie Cage. Frankfurter Allgemeine (December 4), 29.
Hellewell, David 1973. The New Music: An Introduction and General Survey for the
Non-Specialist. Bournemouth: Apollo Contemporary Music.
Hello 1977. News & Notes. Hello [New York] 2, no. 2A.
Hellqvist, Per-Anders 1960. Ingenting r
komplicerat. Svenska Dagbladet
(October 11), 15.
Hellqvist, Per-Anders 1964. Bisarr konsert med [ADD:
ballonkannor?][CHECK]. Svenska dagbladet
(September 12).
Helm, Everett 1954a. Germany: Donaueschingen Festival
1954. Musical Times 95, 671-73.
Helm, Everett 1954b. Music from the Left and Right
Banks of the Rhine. Saturday Review
(November 27), 60-61, 77-79.
Helm, Everett 1958. Warsaw Autumn. New York Times (October 19), X 9.
Helm, Everett 1960. Berlin Festival Rich in Events. New York Times (October 9), 11.
Helm, Everett 1961. Moderns in Zagreb. New York Times (June 11), X 9.
Helm, Everett 1964. Experimentelle Musik in den USA.
Melos 31, 123-125; repr. Das Orchester 12 (1964), 208-210.
Helm, Everett 1968. Neue Musik. Fono-Forum no. 7, 395.
Helm, Everett 1969. About John Cage and Two Books. Music Review 30, 155-158.
Helm, Everett 1970. Music: Cage, Bussotti, Boulez,
Pablo in Depth. Christian Science
Monitor (November 27).
Helm, Everett 1971a. The Music of an Avant-Garde. San Francisco Examiner & Chronicle
(January 10), This World.
Helm, Everett 1971b. Venedig: Musikbiennale mit
modernen Klassikern. Neue Zeitschrift
fr Musik 132, 606-608.
Helms, Hans G 1959. Zu John Cages Vorlesung
Unbestimmtheit. Die Reihe [Wien]
no. 5, 84; English as John Cages Lecture Indeterminacy. Die Reihe [Bryn Mawr, Pennsylvania] no.
5 (1961), 83; repr. in Kostelanetz 1993f, 162.
Helms, Hans G 1967. Voraussetzungen eines neuen
Musiktheaters. Melos 34, 118-130.
Helms, Hans G 1972. ҆ber Birdcage - 73'20.958"
for a Composer. In Donaueschinger
Musiktage 1972. Donaueschingen: Donaueschinger Musiktage, 21-22.
Helms, Hans G 1998. Rapprochements John
Cage oder Hieronymus/John von Mnchhausen: Fabulierer, Adventurer, Erfinder
neuer Klangwelten: Eine Radiokomposition mit der integrierten Music of Changes
von John Cage: Fr fnf Sprecherinnen und Sprecher und digitale
Klangverfremdung. In sthetik und Urgeschichte:
Kolloquium der Leibniz-Soziett zum 90. Geburtstag von Georg Knepler. Ed. Karlheinz Barck. Berlin:
Trafo-Verlag, 23-33 (Sitzungsberichte der Leibniz-Soziett; 25 no. 6).
Henahan, Donal 1969a. A Collage of Found Sounds. New York Times (May 18), 32 D.
Henahan, Donal 1969b. What, You Never Learned to Read Music? New York Times (November 30), D-15, D-34. On Cage 1969a.
Henahan, Donal 1970a. Earle Brown: They Love Him in
Baden-Baden. New York Times (June
21), Section II, 15, 18.
Henahan, Donal 1970b. [Record review]. New York Times (June 14).
Henahan, Donal 1971. Prepared Piano Heard in
Recital. New York Times (April 9),
21.
Henahan, Donal 1972. Who Throws Dice, Reads I Ching,
and Composes? New York Times
(September 3), D, 9.
Henahan, Donal 1973a. A Belated Tribute to John Cage
at 60. New York Times (January 22),
20.
Henahan, Donal 1973b. He is the American Optimist. New York Times Book Review (September
23), 34, 36-37.
Henahan, Donal
1973c. Music: An Oddly Retrospective Air at Tanglewood. New York Times (August 10).
Henahan, Donal 1976a. John Cage, Elfin Enigma, at
64. New York Times (October 22), C1,
C7.
Henahan, Donal 1976b. Music: Cages Renga Gives
Lift to Festival of Modern Works. New
York Times (October 29), C9.
Henahan, Donal 1976c. A Ruptured Duck That Just
Will Not Fly. New York Times (August
15).
Henahan, Donal 1978. Cages Works Played in His
Honor. New York Times (April 25).
Henahan, Donal 1981. The Riddle of John Cage. New York Times (August 23), D 17, D 21;
abridged repr. as The Random Cage. International
Herald Tribune (August 25, 1981).
Henahan, Donal 1987. But Why Call it Don Giovanni?
New York Times (August 2).
Henahan, Donal 1989. In 101 Parts, a Premiere by John
Cage. New York Times (April 14),
C17.
Henck, Herbert 1982-1983a. John Cage, Music of
Changes (1951). Neuland 3, 269-270.
Henck, Herbert 1982-1983b. Vom halben Pedal:
Funktionsweise, Spielweise. Neuland
3, 129-130.
Henck, Herbert 1982-1983c. Zum hren von John Cage,
Music of Changes. Neuland 3, 270.
Henck, Herbert 1985a. Das Unvorherhrbare als
Prinzip: John Cages Cartridge Music
(1960). In Herzogenrath 1985, 87-90.
Henck, Herbert 1985b. Vom Klang der Stille: John
Cages 4'33". In Herzogenrath
1985, 81-86; French as Le son du silence: 4'33"
de John Cage. Trans. Vincent Barras, Carlo Russi. Contrechamps no. 6 (April 1986), 75-78; repr. in Charles 1987-1988,
237-239.
Henck, Herbert 1987a. Cage, John. In Henck 1987b,
110.
Henck, Herbert 1987b, ed. Ives & Co. 13 Konzerte des Westdeutschen Rundfunks Kln im Rahmen
des internationalen Festivals Charles Ives und die amerikanische Musik in
Duisburg 1987/1988. Ed. by Herbert Henck. Kln: Pressestelle des
Westdeutschen Rundfunks.
Henck, Herbert 1991. The Music of Changes Changes.
Du [Zrich] no. 5 (May), 48-49; repr.
in Henck 1994a, 150-152.
Henck, Herbert 1994a. Experimentelle Pianistik: Improvisation, Interpretation, Komposition:
Schriften zur Klaviermusik (1982 bis 1992). Mainz [etc.]: Schott (Schleiermacher 1995).
Henck, Herbert 1994b. John Cages Music for Piano
1-84. In Henck 1994a, 123-26.
Henck, Herbert 1994c. John Cages Music of Changes.
In Henck 1994a, 115-122.
Henck, Herbert and Paul van Emmerik 1984-85.
Cage-Bibliographie 1939-1985. Neuland
5, 394-431 (Oehlschlgel 1986; Schubert 1986).
Henderson, Robert 1972. On a Theme by Ben Franklin. Daily Telegraph [London] (April 8), 13.
Henderson, Robert 1990. Groovy, Radical and Stuck. Daily Telegraph [London] (June 19), 16.
Hendrick, Kimmis 1970. John Cages Intent to Affirm
this Life. Christian Science Monitor
(March 9), 6.
Hendrick, Kimmis 1972. Mushrooms – and
Listening. Christian Science Monitor
(September 9).
Henke, Matthias 2006. I admire your work:
John Cage, Anestis Logothetis und ihr unverffentlichter Briefwechsel. sterreichische Musikzeitschrift 61, no. 4
(April), 4-13.
Henken, John 1987a. Cage Festival: Words, Music,
Reminiscences. Los Angeles Times
(September 11), Part VI, 22.
Henken, John 1987b. John Cage Fete: The Next
Generation. Los Angeles Times
(September 9).
Henken, John 1987c. Percussion Program to the Beat of
John Cage. Los Angeles Times
(September 14), Part VI, 2.
Henken, John 1992. Cages Final Project Set for MOCA
in 93. Los Angeles Times (August
14), F15.
Hennenberg, Fritz 1987. John Cage, retrospektiv. Musik und Gesellschaft [Berlin] 37, no.
9 (September), 472-475.
Henniger, Gerd 1976. Die Provokation der Stille: John
Cage als Schriftsteller. Sprache im
Technischen Zeitalter [Berlin] no. 58
(April-June), 143-162.
Henri, Adrian 1974. Total Art: Environments and Happenings. London: Thames and Hudson;
simultaneously as Total Art:
Environments, Happenings, and Performance. New York: Praeger, 1974.
Henry, Barbara D. 1968. [Review]. Library Journal 93, 552.
Henry, Barbara D. 1969. [Review]. Library Journal 94, 1501.
Henry, Otto W. 1969. Performance of HPSCHD Is Well-Planned, Rehearsed. Wilson Daily Times [Wilson, North Carolina] (November 6).
Henry III, William A. 1990. Giving Birth Astride of
a Grave: Samuel Beckett: 1906-1989. Time
(January 8), 69.
Herborn, Gabriele 1992, ed. John Cage: Arbeiten auf Papier. Wiesbaden: Kulturamt der Landeshauptstadt
Wiesbaden. Includes Berswordt-Wallrabe 1992.
Herbort, Heinz-Josef 1972. Speis und Klang. Die Zeit (October 27).
Herbort, Heinz Josef 1978. Das gekrzte Nichts. Die Zeit (April 14), 53-54.
Herbort, Heinz Josef 1980. Durchgesiebte Musik. Die Zeit (November 14).
Herbort, Heinz Josef 1981. Handwerk hat doch goldenen
Boden. Die Zeit (November 27), 51.
Herbort, Heinz Josef 1982a. Leben mit dieser Welt. Die Zeit (April 30), 43.
Herbort, Heinz Josef 1982b. Der Traum von der Einheit
der Kunst. Die Zeit (March 26),
47-48.
Herbort, Heinz Josef 1987a. Die Gnade der Stunde
Null. Die Zeit (November 20), 61.
Herbort, Heinz Josef 1987b. Happy New Ears! Die Zeit (February 20), 55.
Herbort, Heinz Josef 1987c. Die Oper berlebt (alles).
Die Zeit (December 18), 42.
Herbort, Heinz Josef 1993. John Cage: Fakta zivota. Hudebn Rozhledy [Praha] 46, no. 1,
38-39.
Herguth, Bob 1982. Running on Janes Mind, But Not in This Marathon. Chicago Tribune (July 9).
Hering, Doris M. 1946. John Cage and the Prepared
Piano. Dance 20, no. 3 (March), 21,
52-53.
Hering, Doris 1949. Some Lively Dancing at City Center. Daily Compass [New York] (December 19); repr. (December 20).
Herman, Andrea 1980. Sounds from Cage. Evening Tribune (February 9).
Herman, June L. 1955. Merce Cunningham. Dancing Star [San Jose, California] 5, no. 8 (August-September), 297-298.
Herman, Kenneth 1991a. A Duet of Chance. Los Angeles Times (May 18), F1, F12.
Herman, Kenneth 1991b. For John Cage, Lifes Still a Trip on a River of Sound. Los Angeles Times (May 25).
Herman, Kenneth 1991c. Music, Sculpture Blend Well in
UCSD Premiere. Los Angeles Times
(May 24), F1, F8.
Herridge, Frances 1953. Younger Generation Has Its
Chance. New York Post (April 20).
Herridge, Frances 1977. Cunninghams Broadway Travelogue. New York Post (January 19).
Herruer, Paul 1992a. Cage een componist? Maar wat is
dat? Nieuwsblad van het Noorden
(September 11), 15.
Herruer, Paul 1992b. In sommige dingen was Cage
bikkelhard. Nieuwsblad van het Noorden
(September 14), 12.
Herruer, Paul 1992c. John Cage zette de deuren van de
muziek open. Nieuwsblad van het Noorden
(September 4), 25.
Herruer, Paul 1992d. NNO speelt John Cage met verve.
Nieuwsblad van het Noorden (September
12), 23.
Herruer, Paul 1993. Een loodzware koffer vol geluid:
De elektronica van Cage-pianist David Tudor. Mens en Melodie 48, 494-499.
Hertelendy, Paul 1982. Cage Gets Four Orchestras to
Talk. San Jose Mercury (August 24).
Hertelendy, Paul 1983. The Cabrillo Festival. High Fidelity/Musical America 33, no. 1
(January), Musical America, 31-33.
Herwitz, Daniel A. 1987-1988. The Security of the
Obvious: On John Cages Musical Radicalism. Critical Inquiry 14, 784-804.
Herwitz, Daniel A. 1991. Book Reviews. Journal of Aesthetics and Art Criticism
49, 384-386.
Herwitz, Daniel A.
1993. Making Theory/Constructing Art: On
the Authority of the Avant-Garde. Chicago [etc.]: University of Chicago
Press.
Herwitz, Daniel A. 1994. John Cages Approach to the
Global. In Perloff, M. and Junkerman 1994b, 188-205.
Herzfeld, Friedrich 1971. Cage, John. In Friedrich
Herzfeld, Ullstein Lexikon der Musik,
rev. ed. Frankfurt am Main [etc.]: Ullstein, 102.
Herzfeld, Gregor 2004. [Review of Mehring 2003]. Die Musikforschung 57, no. 4
(October-December), 424-425.
Herzfeld-Schild, Marie Louise 2011. Studien zu Cathy
Berberians New Vocality. Archiv fr
Musikwissenschaft 68, no. 2 (2011), 121-156.
Herzogenrath, Wulf 1976, ed. Nam June Paik: Werke 1946-1976: Musik, Fluxus, Video. Kln:
Klnischer Kunstverein [catalogue of exhibition, November 19, 1976-January 9, 1977].
Herzogenrath, Wulf 1979. Cages frhe Begegnung mit
Knstlern: Bemerkungen eines Kunsthistorikers. In Zeller 1979a, 25-27.
Herzogenrath, Wulf 1983. Nam June Paik: Fluxus, Video. Mnchen: Silke Schreiber.
Herzogenrath, Wulf 1985, ed. Raum Zeit Stille. Kln: Klnischer Kunstverein. Includes Henck
1985a; Henck 1985b; Roeder 1985.
Herzogenrath, Wulf 1988. The Anti-Technological
Technology of Nam June Paiks Robots. In Nam
June Paik: Video Works, 1963-1988 [exhibition catalogue]. London: Hayward
Gallery, 6-30.
Herzogenrath, Wulf 1993a. John Cage artista
figurativo. In Costa, L. et al. 1993, 759-765.
Herzogenrath, Wulf 1993b. Vom genialen und vom
normalen Zufall. Frankfurter Allgemeine
(October 11), 37.
Herzogenrath, Wulf
2001. Aus Puppenaugen blicken und Erdnsse werfen. Frankfurter Allgemeine (August 28), 54.
Herzogenrath, Wulf 2004. Vielstimmiger Mnchsgesang,
Gemurmel im Basar: Der Cage-Raum in der Kunsthalle Bremen. Neue Zeitschrift fr Musik no. 3
(May-June), 62-64.
Herzogenrath, Wulf and Gabriele Lueg 1986, ed. Die 60er Jahre: Klns Weg zur Kunstmetropole:
Vom Happening zum Kunstmarkt. Kln: Klnischer Kunstverein.
Herzogenrath, Wulf and Andreas Kreul 2002, ed. Klnge des inneren Auges = Sounds of the
Inner Eye: John Cage, Mark Tobey, Morris Graves. Bremen: Kunsthalle Bremen;
Tacoma, Washington: Museum of Glass: International Center for Contemporary Art
[exhibition catalogue, February 10-April 14, 2002, Kunsthalle Bremen, Bremen;
July 6-October 6, 2002, Museum of Glass: International Center for Contemporary
Art, Tacoma, Washington] (Drees 2002b; Fricke, S. 2002).
Hessbrggen-Walter, Stefan 2007. Das
Kulturschne: Eine Skizze zu nachromantischer Musik und ihrer sthetik. In Musikphilosophie. Ed. Ulrich Tadday.
Mnchen: text + kritik, 167-182 (Musik-Konzepte; special issue) (Schmidt,
S. 2008; Shring 2008).
Hesse, Corinna 1995. Darmstdter
Beitrge XX. Positionen nr. 25
(November), 48-49.
Hessler, Ole 1994. [Review]. Dagens Nyheter [Stockholm] (March 20).
Heterofona 1976.
John Cage en Mexico. Heterofona 9,
no. 47, 30-31.
Heterofona 1982. [Review of Cage/Alcaraz s.a.]. Heterofona 15, no. 79, 44-45.
Hewett,
Ivan 1994. [Review of Ford, A. 1993]. BBC
Music Magazine 2, no. 8 (April), 58.
Heyd, Werner P. 1972a. Aufgewrmtes aus der
Audio-Visions-Kche. Schwarzwlder Bote
(October 23).
Heyd, Werner P. 1972b. Von Musik kaum mehr die Rede.
Schwarzwlder Bote (October 24).
Hickling, Lee 1967. Avant-Garde Stays in Motion. Evening Press [Binghamton, New York] (January 31).
Hicks, Michael 1990. John Cages Studies with
Schoenberg. American Music 8,
125-140.
Hicks, Michael 2008. [Review of Brown, C. 2007]. Journal of the Society for American Music
2, no. 1 (February), 109.
Hidalgo, Juan 1987-1988. Do la sol mi: Suite en 6
temps. Trans. Esther Ferrer. In Charles 1987-1988, 241.
Hidalgo, Juan
1998. John Cage. La Provincia [Las
Palmas] (December 31).
Hiekel, Jrn Peter 2007, ed. Orientierungen: Wege im Pluralismus der Gegenwartsmusik. Mainz
[etc.]: Schott (Verffentlichungen des Instituts fr Neue Musik und Musikerziehung Darmstadt;
47) (review: Becker, P. 2008).
Hiemenz, Jack 1972. Hear America First. High Fidelity/Musical America 22
(October), Musical America, 10.
Hifi-Stereophonie 1974. [Review]. Hifi-Stereophonie 13, 386.
Hifi-Stereophonie 1982.
John Cage in Metz. Hifi-Stereophonie
21, 196-197.
Higgins, Dick 1964. Jeffersons Birthday/Postface. New York: Something Else Press.
Higgins, Dick 1967. Can Art Be Far Behind? East Village Other (March 15).
Higgins, Dick 1968. Boredom and Danger. Something Else Newsletter 1, no. 9
(December); repr. Source [Sacramento,
California] 3, no. 1 <no. 5> (January 1969), 14-17; repr. in Higgins
1969.
Higgins, Dick 1969. Foew&ombwhnw: A Grammar of the Mind and a Phenomenology of Love and
a Science of the Arts as Seen by a Stalker of the Wild Mushroom. New York
[etc.]: Something Else Press. Includes Higgins 1968.
Higgins, Dick 1970a. Does Avant-Garde Mean Anything?
Arts in Society 7, no. 1
(Spring-Summer), 28-31.
Higgins, Dick 1970b. June-July, 1958. Included in
Hansen and Higgins 1970, 122-124; German as Juni-Juli 1958. Included in
Hansen and Higgins 1970/1973, 172-174.
Higgins, Dick 1978. Intermedia. In Kostelanetz
1978c, 186-190.
Higgins, Dick 1983. In einen Minensuchboot um die
Welt, oder: einige Bemerkungen zu Fluxus. In 1962 1983[BLOCK-AND-FREYBOURG],
126-135.
Higgins, Dick 1985. Three Years Texts. American Book Review 7, no. 4
(May-June), 24.
Higgins, Dick 1987-1988. Five Traditions of Art
History: An Essay = Cinq traditions dhistoire de lart: Essai. Trans.
Jacqueline Ollier. In Charles 1987-1988, 243-246.
Higgins, Dick 1991. John Cage: Perception and
Reception. Art Papers [Atlanta,
Georgia] 15, no. 6 (November-December), 79-83.
Higgins, Dick 1994. [Review]. Performing Arts Journal 16, no. 3 (September), 59-67; German MusikTexte no. 62-63 (January 1996),
98-101.
Higgins, Dick
1997. Modernism since Postmodernism:
Essays on Intermedia. San Diego: San Diego State University Press.
High Fidelity 1959.
[Review]. High Fidelity 9 (October),
41.
High Fidelity 1978. Moog Drums & Cage Piano. High Fidelity (April).
High Fidelity/Musical
America 1968. [Review]. High
Fidelity/Musical America 18 (April), Musical America, 32.
High Performance 1992. John Cage (1912-1992). High Performance [Los
Angeles, California] 15,
no. 2-3 <no. 58-59> (Summer-Fall), 66+.
Highstein, Lokke 1993. Caged/Uncaged: Un omaggio
rock/sperimentale a John Cage. In Costa, L. et al. 1993, 845-847.
Highwater, Jamake 1976. Dada at the United Nations...
Again. SoHo News (November 18-24).
Hilberg, Frank 1992. Wind, Herzschlag, Erdrutsch. Die Tageszeitung [Berlin] (August 14),
3.
Hilberg, Frank 1996. David Tudors Konzept des elektrifizierten Klaviers und seine
Interpretation von John Cages Variations II (1961). Saarbrcken: Pfau (Fragmen; 13).
Hilger, Silke 1985. Ironie bei Satie. Westdeutsche Allgemeine (April 12).
Hilger, Silke 1986. Ballet pur und ballet daction:
Cunningham- und Nurejew-Choreographien in der pariser Oper. Neue Zeitschrift fr Musik 147, no. 4
(April), 45-46.
Hilger, Silke 1987. Cage und Cunningham: eine
Entwicklungsgeschichte von Musik und Tanz auf dem Weg einer beziehungsreichen
Beziehungslosigkeit. Magisterarbeit Rheinische Friedrich-Wilhelms-Universitt
Bonn.
Hilger, Silke 1990. Cage und Cunningham: Von
rhythmic structures zu Zufallsoperationen. In Metzger, H.-K. and Riehn 1990,
32-71.
Hilger, Silke 1994. Cage und Cunningham: Chronik
einer Zusammenarbeit. Neue Zeitschrift
fr Musik 155, no. 5 (September), 32-36.
Hill News 1967. Contemporary Voices. Hill News [Canton, New York] (February 23).
Hillenius, Dick 1980. [Title unknown]. NRC Handelsblad (December 27), Zaterdags
Bijvoegsel, 10.
Hillenius, Dick
1986. Toeval bestaat niet. In idem, Wat
kunnen wij van rijke mensen leren? Amsterdam: Van Oorschot, 157+.
Hillenius, Dick/Bernlef, J. [pseudonym of Hendrik Jan
Marsman] and K. Schippers [pseudonym of Gerard Stigter] 1967. Gesprek met D.
Hillenius. De Gids 130, no. 1-2,
32-47.
Hiller, Lejaren (Arthur, Jr.) 1959. Computer Music. Scientific American 201, no. 6
(December), 109.
Hiller, Lejaren 1962. [Review]. Quarterly Journal of Speech [New York] 48, 316-317.
Hiller, Lejaren 1963. Electronic Music at the
University of Illinois. Journal of Music
Theory 7, 99-126.
Hiller, Lejaren 1968. Music Composed with Computer:
An Historical Survey. Urbana, Illinois: University of Illinois, School of
Music, Experimental Music Studio (Technical Report; 18). Unpublished.
Hiller, Lejaren 1970. Programming the I-Ching
Oracle. Computer Studies in the
Humanities and Verbal Behavior 3, 130-143.
Hiller, Lejaren 1972. Computer Programs Used to
Produce the Composition HPSCHD.
Buffalo, New York: State University of New York, Department of Music (Technical
Report; 4). Unpublished.
Hiller, Lejaren A., Jr. and Leonard M. Isaacson. Experimental Music: Composition with an
Electronic Computer. New York: McGraw-Hill; repr. Westport, Connecticut:
Greenwood Press, 1979.
Hillert, Richard Walter 1972. Sources and Sounds of
the New Music. Church Music 1, 1-9.
Hilst, Rob van der 1988. John Cage in Den Haag:
Paradoxale stilte beheerste Koninklijk Conservatorium. Mens en Melodie 43, 742-743.
Hilst, Rob van der 1992. Cage goeroe van
avantgarde-muziek. Utrechts Nieuwsblad
(August 13), 12.
Hindley, Geoffrey 1971, ed. Larousse Encyclopedia of Music. London [etc.]: Hamlyn.
Hindrichs, Gunnar 1998. Bedeutete John Cage einen
Sprung in der Neuen Musik? Archiv fr
Musikwissenschaft 55, no. 1 (1998), 1-27 (review: Spinola 1998).
Hindrichs, Gunnar 2000. Musikgeschichte als
Rechtsinstanz: Dreizehn Thesen. Musik
& sthetik 4, no. 14 (April), 77-86.
Hines, Thomas S. 1989. Echoes of Olympus: The
Historic Schindler House in West Hollywood. Angeles: The Art of Living in L.A. (August), 88-95, 118.
Hines, Thomas S. 1994. Then not yet Cage: The Los
Angeles Years, 1912-1938. In Perloff, M. and Junkerman 1994b, 65-99.
Hinke, Roman 1992. Plattenkiste. Der Tagesspiegel [Berlin] (March 8).
Hinsen, Maurice and Irwin Freundlich 1973, ed. Guide to the Pianists Repertoire.
Bloomington [etc.]: Indiana University Press.
Hinterberger, John 1966. Merce Cunningham Dancers
Jump at Noises in Dark. Seattle Times
(February 8).
Hinz, Klaus-Michael 1985. Ein Museum ohne Taschen:
Zum Hrspiel James Joyce, Marcel Duchamp, Erik Satie: Ein Alphabet von John
Cage. MusikTexte no. 10 (July),
35-38.
Hinz, Klaus-Michael 1999. Ausdruck des
Widerstands: Der japanische Komponist Yori-Aki Matsudara. MusikTexte no. 79 (June), 6-10.
Hirsbrunner, Theo 1985. Pierre Boulez und sein Werk. Laaber: Laaber-Verlag.
Hirsbrunner, Theo 1990a. Geistige Symbiose auf Zeit. Dissonanz = Dissonance no. 25 (August), 32.
Hirsbrunner, Theo 1990b. Theodor W. Adornos Erben. Dissonanz = Dissonance no. 26
(November), 37-38.
Hirsbrunner, Theo
1994. John Cage und Pierre Boulez. In Die
neue Musik in Amerika: ber
Traditionslosigkeit und Traditionslastigkeit. Ed. by Otto Kolleritsch. Wien [etc.]: Universal Edition, 42-56 (Studien zur Wertungsforschung;
27).
Hirsbrunner, Theo 1997. Von Debussy bis Cage:
Auereuropische Einflsse auf die Musik des 20. Jahrhunderts. In Europas Musikgeschichte: Grenzen und
ffnungen. Ed. by Ulrich Prinz. Kassel [etc.]: Brenreiter, 206-217 (Schriftenreihe der Internationalen
Bachakademie Stuttgart; 7).
Hirsch, Cornelius 1997. Reduktion und Vielfalt:
Schlagzeugmusik von John Cage, Josef Anton Riedl und Cornelius Hirsch. In
Liedtke 1997, 261-265, 279.
Hirsch, Jean-Franois 1970. Livres. Musique en jeu no. 1 (November),
139-140.
Hirsch, Jean-Franois 1972. Nevers et contre tous:
John Cage. Musique en jeu no. 7
(May), 135-136.
Hirsch, Nicole 1954. M. John Cage (compositeur du
Concerto pour silence) a sidr le public parisien en jouant du piano
prpar. France-Soir (October 26
or later).
Historisches
Archiv 1993. Das Atelier Mary
Bauermeister in Kln 1960-1962: Intermedial, kontrovers, experimentell. Ed.
by Historisches Archiv der Stadt Kln. Kln: Emons.
Hitchcock, H. Wiley 1964. Current Chronicle: United States: New York. Musical Quarterly 50, 91-98.
Hitchcock, H. Wiley 1968. Music. In American Civilisation: An Introduction.
Ed. by Arie Nicolaas Jan den Hollander, and Sigmund Skard. Harlow [etc.]:
Longmans, 294-313.
Hitchcock, H. Wiley 1969. Music in the United States: A Historical Introduction. Englewood
Cliffs, New Jersey: Prentice-Hall; 2nd ed. 1974.
Hitchcock, H.
Wiley 1983. Review. Journal of
Musicology 2, 334-339.
Hitchcock, H.
Wiley 1984. Henry Cowells Ostinato Pianissimo. Musical Quarterly 70, 23-44.
Hitchcock, H. Wiley 1986. Notation. In The New Grove Dictionary of American Music.
Ed. by H. Wiley Hitchcock and Stanley Sadie. London [etc.]: Macmillan, vol. 3,
385-397.
Hitchcock, H. Wiley 1990. The Old Mesmerizer and His
Mesostics. Institute for Studies in
American Music Newsletter 19, no. 2 (May), 4.
Hitchcock, H. Wiley 1993. A Dazzling Dissertation on Cage. Institute for Studies in American Music Newsletter
22, no. 2 (Spring), 6.
Hiu, Pay-Uun 1987. Cage en Babbitt in
Amerika-programma. Volkskrant (June
22), 6.
Hiu, Pay-Uun 1988a. Cage als spreker en
concertganger. De Volkskrant
(November 21), 6.
Hiu, Pay-Uun 1988b. Cage laat zich door eigen muziek
verrassen. De Volkskrant (July 2),
11.
Hiu, Pay-Uun 1988c. Concert en discussies op
Middelburgs festival. De Volkskrant
(June 20), 4.
Hiu, Pay-Uun 1988d. John Cage: Op zoek naar geluid
dat je nooit meer zult horen. CJP
Magazine (October-November), 33-34.
Hiu, Pay-Uun 1992. Muziek bevrijd van componist. De Volkskrant (August 14), 4.
Hiu, Pay-Uun 2000.
John Cage. De Volkskrant (March
23), 24.
Hiu, Pay-Uun and Frits van der Waa 1988. John Cage
laat diepe sporen na met zijn ongrijpbare pedagogiek. De Volkskrant (November 28), 6.
Hmn 1987. Ein teurer Spass – oder mehr? Neue Zrcher Zeitung (December 14), 19;
repr. Fernausgabe (December 15), 25.
Hmn 1990. John Cages anregende Provokationen. Neue Zrcher Zeitung (October 5).
Hmn 1991a. Das Schlussbouquet. Neue Zrcher Zeitung (July 2), 23.
Hmn 1991b. Zerlegt, ausgebreitet,
durcheinandergewirbelt. Neue Zrcher
Zeitung (June 3).
Hmn and R. G. 1992. Zum Tode von John Cage. Neue Zrcher Zeitung (August 14),
Fernausgabe, 23.
Hobbs, R.C. 1979. Possibilities: Edgard Varse and
Alexei Haieff Questioned by 8 Composers. Art
Criticism vol. 1, part 2, 96-103.
Hodeir, Andr 1961. La musique depuis Debussy. Paris: Presses universitaires de France;
English as Since Debussy: A View of
Contemporary Music, trans. Noel Burch. New York: Grove Press, 1961
(Schonberg 1961b; Time 1961).
Hodenfield, Jan 1973. Still Avant Garde. New York Post (January 20), section 2,
p. 15.
Hodges, Nicolas 1992. Book Reviews. Tempo no. 183 (December), 27-30.
Hodges, Nicolas 1994. Book Reviews. Tempo no. 188 (March), 51-52.
Hodgins, Paul 1993. The Sounds of Silence. Orange County Register (September 12),
10-11, 39.
Hodgson, Moira 1981. Cunningham and Cage Present a
Lively Dinner. New York Times (March
18), The Living Section, C1, C6.
Hodgson, Moira and Thomas Victor 1976. Quintet: Five American Dance Companies.
New York: William Morrow & Co.
Hoek, Klaas 1981. Organisten, orgels, hedendaagse
orgelmuziek in Nederland. Het orgel
77, 366-380.
Hoek, Klaas 1983. Tierkreis (12 Melodien der
Sternzeichen) van Karlheinz Stockhausen. Het
orgel 79, 65-76.
Hoek, Klaas 1983 OR later. [CHECK title][Hoek:
Variations I; CHECK; probably vol. 80 (1984), now missing in NL-Uu].
Hoelterhoff, Manuela 1982. Mr. Plenty, Three Kings,
One Emperor. Wall Street Journal
(March 19), 21.
Hoeschler, Linda 1970. Musicircus Proves Lots of
Fun. Minneapolis Star (April 13);
repr. as Circus Cage. American Musical
Digest 1, no. 6 (1970), 20.
Hoesterey, Ingeborg 1995. [Review]. Semiotica 106, no. 1-2 (1995), 197-199.
Hoffman, Alan 1982-1983. Book Reviews. Notes series 2, vol. 39, 97-98. On
Griffiths 1981a; Nyman 1974.
Hoffmann, Hilmar/Zwillinger, S. 1987. Snger spielen
ohne Kostme und Kulissen. Dsseldorf
Express (November 13).
Hoffmann, J.J. 1993. Recordando a John Cage. Monsalvat [Barcelona] no. 211 (January),
22-23.
Hoffmann, Stephan 1991a. Brodelnde Nuancen. Die Welt (December 3).
Hoffmann, Stephan 1991b. Der Sturz des Dirigenten. Die Rheinpfalz/Ludwigshafener Rundschau [Ludwigshafen] (December 6).
Hoffmann, Stephan 1991c. Die Uhr als Dirigentin. Badische Zeitung (December 6).
Hoffmann, Stephan 1991d. Eine Uhr statt eines
Dirigenten. Augsburger Allgemeine
[Augsburg] (December 3).
Hoffmann, Stephan 1992. Radikal und sinnlich. Hannoversche allgemeine Zeitung (August
14), 7; also as Die sinnliche Dimension der Anarchie. Stuttgarter Nachrichten (August 14), 12.
Hofmann, Dorothea 2003. Der Komponist als Heros: Mechanismen zur Bildung von kulturellem
Gedchtnis. Essen: Die Blaue Eule (Musikwissenschaft/Musikpdagogik in der Blauen
Eule; 62).
Hofmann, Will 1972. Anti-Musik ohne Zukunft. Hamburger Anzeigen und Nachrichten
(December 21).
Hofmann, Will 1973. Substanz und Utopie. Darmstdter Echo (January 3).
Hofstadter, Douglas R. 1979. Gdel, Escher, Bach: An Eternal Golden Braid. New York: Basic
Books; repr. 1999; Hassocks [etc.]: Harvester Press, 1979 (Harvester Studies in
Cognitive Science; 12); repr. New York: Random House, 1980 (Vintage Books);
Toronto: Random House of Canada, 1980; repr. Harmondsworth [etc.]: Penguin
Books, 1980; repr. 1981; repr. 1982; repr. 1990; repr. London: Penguin, 2000; Danish as Gdel, Escher, Bach: Et evigt gyldent bnd.
Trans. Henning Albrechtsen. Kbenhavn: Aschehoug, 1992; Dutch as Gdel, Escher, Bach: Een eeuwige gouden band.
Trans. Ronald Jonkers. Amsterdam: Contact, 1985; repr. Amsterdam: Olympus, 1999;
German as Gdel, Escher, Bach: Ein
endloses geflochtenes Band, trans. Philipp Wolff-Windegg and Hermann
Feuersee in collaboration with Werner Alexi. Stuttgart: Klett-Cotta, 1985;
repr. 1995; repr. 2006; repr. Mnchen: Deutscher Taschenbuch-Verlag, 1991 (dtv;
11436); repr. 1993 (dtv; 30017); excerpt repr. as Kanon durch intervallische
Augmentation. Klangarten [Wien] no.
3 (June 28, 1992), 24-27.
Hofstadter, Douglas R. 1992. Commentaries about
Gebstadters essay Cheltenham Aachen Garamond Eurostyle. In Schdler and
Zimmermann 1992b, 61-66; Italian as Commenti al saggio di Gebstadter
CheCheltenham Aachen Garamond Eurostyle. Trans. Maria Sebregondi. In Bonomo
and Furghieri 1998, 22-33.
Hogg, Katharine 1999. [Review of Lindenberger 1998]. Brio [London]
36, no. 1 (Spring-Summer), 84.
Hohlweg, Rudolf 1970. In Avignon wimmelt es von
Jugend. Melos 37, 419-420.
Holden, Stephen 1986. Theater: John Cage in Reading.
New York Times (April 24), C18.
Holen, Arne 1978. Cage, John. In Aschehoug og Gyldendals store norske
leksikon. Ed. by Olaf Kortner et al. Oslo: Kunnskapsforlaget, vol. 2, 592.
Holland, Bernard 1986. Concert: Uitti and Goldstein.
New York Times (April 26).
Holland, Bernard 1987. What Hath Liszt Wrought? [Review of Etcetera KTC 2001 and New World Records NW 203 (recordings)]. New York Times (December 13), 36, 40.
Holland, Bernard 1992. John Cages Music: Room for
Nearly Anything. New York Times
(August 27), C17.
Holland, Bernard 1993. Whim and Logic in a Risky
Program. New York Times (December
6).
Holland, Bernard 1996. Mozart Made Modern, Yet with Humanity. New York Times (March 12), C13.
Holland Evening Sentinel 1967. Mixed Emotions Greet Provocative
Concert. Holland
Evening Sentinel [Holland,
Michigan] (May 12), 3.
Holland Festival
Dagkrant 1988a. John Cage volgens de I Tsjing. Holland Festival Dagkrant [Amsterdam]
(June 23), 3.
Holland Festival
Dagkrant 1988b. Het Musicircus/Leidseplein, Amsterdam/23 juni
1988. Holland Festival Dagkrant
[Amsterdam] (June 23), Supplement De Nachtkrant, unpag.
Holland Festival
Dagkrant 1988c. Nacht van Cage. Holland Festival Dagkrant [Amsterdam] (June 23), 1.
Hollander, John 1963. Recent Books. Perspectives of New Music 1, no. 2
(Spring), 137-141; repr. as Silence. In Kostelanetz 1993f, 264-269.
Hollfelder, Peter 1989. John Cage. In idem, Geschichte der Klaviermusik: Historische
Entwicklungen, Komponisten mit Biographien und Werkverzeichnissen, nationale
Schulen. Wilhelmshaven: Florian Noetzel, vol. 2, 1207-1209 (Heinrichshofen-Bcher).
Holliger, Erich/Bachmann, Dieter 1991. Partituren und
Pilze: Basel, ein Ort fr Cage und Cageianer. Du [Zrich] no. 5 (May), 58-59.
Hllinger, Ulrike 1990. Offene Ohren fr die Welt des
Gehrs. Passauer Neue
Presse/Niederbayerische Zeitung (October 2).
Holls, Mt 1993. Művek bontakozban: Lng
Istvn j kompozcii. Muszika 36
(December), 34.
Holly, Rich 1990. Selected Reviews of New Percussion
Literature and Recordings. Percussive
Notes 29, no. 2 (December), 77.
Hollywood Citizen News 1942. Beer Bottle Broken and Called Music. Hollywood Citizen News (March 2).
Holmes, Thom 1979. Electronic/Instrumental. Recordings 1, no. 1, 5-6.
Holmes, Thom 1980a. John Cage: Variations IV, Volumes
1 & 2 (1965). Recordings 2, no.
1, 11.
Holmes, Thom 1980b. Text-Sound Composition. Recordings 2, no. 4, 1-5.
Holmes, Thom 1981a. Cage Books in Print. Recordings 3, no. 3, 8-9.
Holmes, Thom 1981b. Cage Recordings. Recordings 3, no. 3, 6-8.
Holmes, Thom 1981c. Gerd Zacher. Recordings 2, no. 6, 4.
Holmes, Thom(as B.) 1985. Electronic and Experimental Music. New York: Charles Scribners
Sons.
Holmes, Thom 1986. Annotated
Discography of the Music of John Cage. Cherry Hill, New Jersey: Music
Systems Research.
Holt, Simeon ten 1984. Over tijd en ruimte in de
muziek. Wolfsmond no. 13-14, 22-61.
Holt, Simeon ten/Gieling, Ramn 1984. Een gesprek met
Simeon ten Holt. Wolfsmond no.
13-14, 62-73.
Holzaepfel, John 1990. Thirty-Two Mesostics on Four Freeman Etudes by John Cage. Sonus 10, no. 2 (Spring), 48-64.
Holzaepfel, John 1991. Seventy-Fifth Birthday Celebration for John Cage: 22-27 February 1988. Current Musicology no. 48 (1991), 56-68.
Holzaepfel, John 1992. Der Tudor Faktor. Trans.
Ursula Stiebler and Walter Zimmermann. In Schdler and Zimmermann 1992b, 43-53;
repr. as Virtuositt des Geistes: Der Tudor Faktor. MusikTexte no. 69-70 (April 1997), 53-59.
Holzaepfel, John 1993. David Tudor and the
Performance of American Experimental Music, 1950-1959. Ph.D. dissertation,
City University of New York.
Holzaepfel, John
1996. The Role of David Tudor in the Early Repertoire of the Merce Cunningham
Dance Company. In Vaughan 1996.
Holzaepfel, John 2001. David Tudor and the Solo for Piano. In Bernstein, D.W. and Hatch
2001, 137-156.
Holzaepfel, John
2002. Cage and Tudor. In Nicholls 2002c, 169-185.
Homar, Susan 1982. Merce Cunningham: Essence of North American Alienation. San Juan Star (March 10), Portfolio, 3-4.
Hommel, Friedrich 1969. Hr- und Sehversuche. Frankfurter Allgemeine (January 28).
Hommel, Friedrich 1972a. Machmal ein frischer
Windsto. Frankfurter Allgemeine
(June 7), 32.
Hommel, Friedrich 1972b. Mehr Licht. Frankfurter Allgemeine (October 25).
Hommel, Friedrich 1985. Andere fnfziger Jahre?
Familienbild mit Ives, Cowell, Varse und Cage. In Die Musik der fnfziger Jahre: Versuch einer Revision. Ed. by Carl
Dahlhaus. Mainz [etc.]: Schott, 39-47 (Verffentlichungen des Instituts fr
Neue Musik und Musikerziehung Darmstadt; 26); Italian as Quali anni Cinquanta?
Ritratto di famiglia con Ives, Cowell, Varese e Cage. Musica/Realt 14, no. 40 (1993), 201-209.
Honig, Werner 1970. Kulinarische Musikalitten,
kleine Umschau ber komponierende Esser und gourmetische Musikanten. Neue Zeitschrift fr Musik 131, no. 2
(February), 83-86.
Honolka, Kurt 1968. John Cages gesammeltes
Schweigen. Klnische Rundschau (May
4).
Honolka, Kurt 1972. Ligetis Aventures, jngste
Version. Opernwelt no. 12 (December),
22.
Honolulu Advertiser 1962. Creative. Honolulu Advertiser (September 28), C5.
Honolulu Star-Bulletin 1962. John Cage, David Tudor to Give Free
Concert. Honolulu Star-Bulletin
(September 27), 45.
Hood, Sam 1946. Long Hair Pianist Wows Em with
Weather Stripping Tunes. Pittsburgh
Press (June 23), 2.
Hoogerwerf, Frank W. 1976. Cage contra Stravinsky, or
Delineating the Aleatory Aesthetic. International
Review of the Aesthetics and Sociology of Music 7, 235-247.
Hoogerwerf, Frank W. 1986. Book Reviews [Review of
Gena and Brent 1982]. American Music
4, no. 2 (Summer), 222-224.
Hoover, Kathleen ODonnell and John Cage 1959. Virgil Thomson: His Life and Music. New
York [etc.]: Thomas Yoseloff; repr. Freeport, New York: Books for Libraries
Press, 1970; French as Virgil Thomson: Sa
vie, sa musique, trans. Lily Jumal. Paris: Buchet-Chastel, 1962. Includes
Cage 1959i (Booklist 1959; Chase
1959-1960; Cox, D. 1960; Daniel 1959; De Schauensee 1959; Dorian 1959;
Ellsworth 1958-1959; High Fidelity
1959; Miller, C.K. 1959; Musical Opinion
1959; Musique et Radio 1962; Thomson
1970b; Times Literary Supplement
1959b).
Hope-Wallace, Philip 1964. Merce Cunningham at Sadlers Wells. Guardian (July 28).
Hopkin, Bart 1992. [Review]. Experimental Musical Instruments 7, no. 5 (April), 22.
Hopkins, Bill 1975. Books. Tempo no. 112 (March), 39-40.
Hopkins, Jerry 1986. Yoko Ono: A Biography. New York [etc.]: Macmillan.
Hopps, Walter and Susan Davidson 1997. Robert Rauschenberg: A Retrospective.
New York [etc.]: Guggenheim Museum.
Hren 1972. Hren sehen: Texte, Bilder, Environments.
Bremen: Kunsthalle Bremen [exhibition catalogue, May 6-June 11, 1972,
Kunsthalle Bremen].
Horner, Keith 1972. Cages Musicircus. Times (December 19), 10.
Horowitz, Joseph 1976. Cage and Grete Sultan
Collaborate on Program. New York Times
(October 25), 40.
Horowitz, Joseph 1980. Peter Serkin Gives His
Audience a Role. New York Times (May
9).
Horst, Louis 1954. Jean Erdman and Dance Company. Dance Observer [New York] 21, no. 2 (February), 27.
Horst, Louis 1955. Reviews of the Month: Merce Cunningham and Company. Dance Observer 22, no. 2 (February), 24.
Horst, Louis et al. 1963. Composer/Choreographer. Dance Perspectives no. 16, 6-8.
Horvat,
Milutin 1976. Vebern,
Varez ili Kejdž? Muzika i reč [Beograd]
8, no. 5 (1976), 1-5.
Horvath, Adam 1992. Europera 5: Yet Another John
Cage Puzzle. New York Newsday
(August 24).
Hrzu 1987. 24
Stunden fr und mit John Cage. Hrzu
(February 6), 88.
Hosokawa, Shūhei 1985. Puripeado toreino. Gendai Shi Techō [Tōkyō]
28, no. 5 (April), 180-184.
Hosokawa, Shūhei 1987-1988. Cage: LՎcoute
vide. Trans. Daniel Charles. In Charles 1987-1988, 247-250.
Hosokawa, Shūhei 1993. Labus du disque: Cage et
Marclay. In Glazba, ideje i
društvo: Svečani zbornik za Ivana Supičića = Music, Ideas
and Society: Essays in Honour of Ivan Supičić. Ed. by Stanislav
Tuksar. Zagreb: Hrvatsko Muzikološko Društvo, 89-102
(Muzikološki Zbornici; 2).
House & Garden 1950.
New Sounds for Old. House & Garden
[Greenwich, Connecticut] (November), 183.
Houten, Theo van 1978a. Natuurmuziek John Cage
ademloos beluisterd. NRC Handelsblad
(June 16), 6.
Houten, Theo van 1978b. Op goed geluk. NRC Handelsblad (June 16), Cultureel
Supplement, 1.
Hovdenakk, Per 1984a. Cage og
billedkunsten–billedkunsten og Cage. Ballade
[Oslo] 8, no. 1 (1984), 34-37.
Hovdenakk, Per 1984b. Hjemme i N.Y. Ballade [Oslo] 8, no. 1 (1984), 38-39.
Howard, John Tasker 1941. Our American Composers: American Music in the Twentieth Century.
New York: Thomas Y. Crowell Co., 1941; repr. New York: Books for Libraries
Press, 1975.
Howard, John Tasker 1946. Our American Music: Three Hundred Years of It, rev. 3rd ed. New
York: Thomas Y. Crowell Co.; 4th ed. as Our
American Music: A Comprehensive History from 1620 to the Present. New York:
Thomas Y. Crowell Co., 1965.
Howard, John Tasker and James Lyons 1957. Modern Music: A Popular Guide to Greater
Musical Enjoyment, rev. ed. New York: Thomas Y. Crowell Co.; repr.
Westport, Connecticut: Greenwood Press, 1978.
Howe, Joyce 1978. University Community Meets the Arts. [unidentified publication of the University Union Activities Board] [Buffalo, New York] (circa October 19), 17, 20.
Howell, John 1981. The Singer or the Song. In
Pontbriand 1981, 88-92.
Hranchak, Wes 1971. Composer Cage Regales Crowd with
Eccentricities. Indiana Daily Student
(April 17), 11.
Hruby, Frank 1970. Avant-Garde Music Lecture
Isnt–But Is Worth Hearing. Cleveland
Press (January 24).
Huber, Alfred 1987. Wenn der Computer eine Oper
schreibt. Mannheimer Morgen
(December 14).
Huber, Carlo 1972a. Nicht Form, sondern Vorgang. National-Zeitung [Basel] (June 3).
Huber, Carlo 1972b. [CHECK title], in John 1972.
Huber, Nicolaus A. 1979. Offener Brief. In Zeller
1979a, 10-11.
Huber, Nicolaus A. 1980. John Cage: Cheap Imitation.
Neuland 1, 135-141.
Huber, Nicolaus A. 1984. Gedanken zum Umfeld der
Tonalitt. MusikTexte no. 5 (July),
3-7.
Hubert, Heinz-Josef 1985a. Autoren, Komponisten und
Tontechniker: HrSpieler. WDR Print
(September).
Hubert, Heinz-Josef 1985b. Ein verhexter Platz. WDR Print (October).
Hbler, Klaus-K. 1978. John Cage – Gedanke und
Stil: Versuch einer kritischen Dokumentation. Musik und Bildung 10, 470-477.
Hbner, Klaus 1992a. Komponierter Lrm: Ein
berblick. Positionen no. 13
(November), 6-9.
Hbner, Klaus 1992b. Lrm-Reise: ber musikalische Gerusche und geruschvolle Musik.
Augsburg: Sonnentanz.
Huddersfield Daily
Examiner 1989. Music Festival Brings Together Three
World-renowned Figures. Huddersfield
Daily Examiner (November 27).
Hudebni Věda 1969.
[Review of Burde 1968]. Hudebni Věda
[Praha] 6, no. 2
(1969), 211-212.
Hudicek, Laurie
1999. Record Reviews. 20th-Century
Music 6 (December), 24.
Hudicek, Laurie Marie 2002. Off Key: A Comprehensive
Guide to Unconventional Piano Techniques. DMA dissertation, University of
Maryland.
Huebner, Steven 1999. [Review of Lindenberger 1998]. Notes series 2, vol. 55, no. 3 (March),
617-620.
Huesmann, Gnther 1985. Absage an die Einsamkeit. Klnische Rundschau (September 30), [5].
Huff, Steven R. 2003. [Review of Lindenberger 1998]. Seminar
[Toronto, Ontario] 39, no. 2 (May), 171-172.
Hufschmidt, Wolfgang 1981. Musik als Wiederholung:
Anmerkungen zur periodischen Musik. In Reflexionen
ber Musik heute. Ed. by Wilfried Gruhn. Mainz: Schott, 148-168.
Hughes, Allen 1954. New Works in France. New York Times (November 28).
Hughes, Allen 1960. Electronic Music Heard in Concert. New York Times (December 2), C-32.
Hughes, Allen 1963. Modern Problem. New York Times (August 25), Section 2,
8.
Hughes, Allen 1965a. Dance: At Lincoln Center. New York Times (March 8), C 34.
Hughes, Allen 1965b. Dance: Created on Stage. New York Times (July 24), 12.
Hughes, Allen 1965c. Leaps and Cadenzas. New York Times (August 1), section 2,
10.
Hughes, Allen 1976. Hundreds Walk Out of Premiere of
John Cage Work at Fisher Hall. New York
Times (November 5), Section C, p. 3.
Hughes, Allen 1977. Music: From Buffalo With Oboe and
Buzzer. New York Times (November 4),
C 17.
Hughes, Allen 1985. Concert: Juilliard Ensemble at
Tully Hall. New York Times (January
26), 10.
Hughes, Edward Dudley 1990. From the First Construction (in Metal) to the String Quartet in Four Parts: Rhythmic
Structure in the work of John Cage, 1939-1950. Music Tripos Part II
dissertation, University of Cambridge, Pembroke College.
Hughes, Edward Dudley 1993. New Beginnings. Musical Times 134, 14-15.
Hugill, Andrew
2007. The Origins of Electronic Music. In Collins, Nick and dEscrivan 2007,
7-23.
Hultberg, Teddy
1994. Fylkingen: Ny musik &
intermediakonst. Stockholm: Fylkingen Frlag.
Humpert, Hans Ulrich 1970. Moderne Musik auf
Schallplatten. Melos 37, 164-165.
Humpert, Hans Ulrich 1987. Elektronische Musik: Geschichte-Technik-Kompositionen. Mainz
[etc.]: Schott.
Hunchuk, Allan Murray 1990. To be able to say: the
unveiling of the life world through the sociology of music. Ph.D.
dissertation, University of Notre Dame, Notre Dame, Indiana.
Hnigen, Ellen and Klaus Martin Kopitz/Nauck, Gisela
1988. Nachdenken ber Heruasforderungen durch John Cage. Positionen no. 2 (1988), 6-8.
Hunrath, Frederick K. 1969. Poem for John Cage. Know News [West Vancouver, British Columbia] (October-November), 26.
Hunter, Mead 1988-1989. Interculturalism and American
Music. Performing Arts Journal 11,
no. 3-12, no. 1, 186-202.
Hurd, Devin 1994. Sounding the New Violin. Musicworks no. 57 (Winter), 64-65.
Hurnk, Ilja 1962. Řada jako služebnk a
dikttor. Hudebn Rozhledy [Praha]
15, no. 3, 94-95.
Hurst, John V. 1969. UCDs Mewantemooseicday. Sacramento Bee [Sacramento, California] (November 22), A 10.
Husarik, Stephen 1979. Was It Junk or Genius? Illinois Alumni News 58, no. 2 (March),
2.
Husarik, Stephen 1983. John Cage and LeJaren [sic]
Hiller: HPSCHD, 1969. American Music
1, no. 2 (Summer), 1-21.
Hutcheson, Ernest 1964. The Literature of the Piano, rev. Rudolph Ganz. New York: Alfred A.
Knopf.
Hutchings, Arthur 1974. American Music: 1918-1960.
In The Modern Age, 1890-1960. Ed. by
Martin Cooper. London: Oxford University Press (The new Oxford history of
music; 10).
Huybens, Gilbert 1974-1976. Nieuwe boeken = Revue des
livres. Revue belge de musicologie =
Belgisch tijdschrift voor muziekwetenschap 28-30, 267.
Huyssen, Andreas and Klaus R. Scherpe 1986, ed. Postmoderne: Zeichen eines kulturellen
Wandels. Reinbek: Rowohlt Taschenbuch Verlag (Rowohlts Enzyklopdie; 427).
HvL 1963a. Elektronische Musik. Die Welt (November 19).
HvL 1963b. Konzertlieder und Musik der Zeit. Westdeutsche Rundschau (November 22);
also in Aachener Volkszeitung
(November 22).
Hw. 1972. Kunstverfransung und elektronische
Rettung. Sdkurier (October 24).
Hyde, Lewis 1998. Trickster Makes This World: Mischief, Myth, and Art. New York: Farrar, Straus and Giroux.
I., Carlo 1978. Alla ricerca del silenzio perduto. Lotta Continua (July 1).
I.M. 1978. Adagio per rotaia e vagone. Europeo no. 29 (1978).
Ichiyanagi, Toshi 1961. Jon Keiji. Ongaku Geijutsu 19, no. 2 (February),
10-15.
Ichiyanagi, Toshi
1962a. Gosenfu yo
sayōnara. Asahi Jānaru 4,
no. 41 (October), 28-33.
Ichiyanagi, Toshi
1962b. John Cage and David Tudor [in Japanese]. Sōgetsu Art Center Journal no. 27 (October), 2-3.
Ichiyanagi, Toshi
1962c. Zenei ongaku to Nihon. Yomiuri Shinbum (September 26) [evening
edition], 7.
Ichiyanagi, Toshi 1984. Oto wo kiku. Tōkyō: Iwanami Syoten.
Iddon, Martin 2007. Gained in Translation: Words
about Cage in Late 1950s Germany. Contemporary
Music Review 26, no. 1 (February), 89-104.
Iddon, Martin 2008. [Review of Collins,
Nick and dEscrivan 2007]. Notes
series 2, vol. 65, no. 2 (December), 316.
Iden, Peter 1978. Cage-up an der Hochschule der
Knste in Berlin. Theater Heute 19,
no. 11 (November), 18.
Iges, Jos 1993. John Cage: A la bsqueda del
silencio perdido. Creacin [Madrid]
no. 9 (October), 76-79.
Ignatowicz, A. 1993. Dni ciszy-znowa milczenia? Ruch muzyczny 37, no. 23, 4.
Illustrated Aspen News 1966. John Cage, Composer, Educator. Illustrated Aspen News [Aspen, Colorado] 2, no. 27 (June 30), 11.
Illustrierte Berliner
Zeitschrift 1963. Musik auf dem Experimentiertisch. Illustrierte Berliner Zeitschrift no. 12
(March 23), 8-9.
Independent 1965.
Musical Event (?) in Modern Vein Opens Tonight. The Independent [Pasadena, California] (January 7), C-1.
Informations &
Documents 1973c. Merce Cunningham Paris. Informations & Documents no. 337
(December), 17.
Ingle, Tom 1969. Book Reviews. Art Gallery (May), 67-68.
Instrumentalist
1971.
[Review of Kostelanetz 1970d]. Instrumentalist
[Glen Ellyn, Illinois] 25 (March), 12.
Instrumentalist 1976. [Review of Three Pieces for Flute Duet (score)]. Instrumentalist (June).
Instrumentalist 1981. [Review of Third Construction (score)]. Instrumentalist (April).
Instrumentalist
1987.
Whats the Score? Instrumentalist
41 (April), 10.
Instrumentenbau 1982.
Steinway & Sons: Musikalische Geburtstagfeiern fr Kodaly und Cage. Instrumentenbau Musik International [Siegburg]
36 (July), 514.
Inter-American
Institute 1967. [Review of Cage 1967o]. Inter-American Institute for Musical Research: Yearbook = Instituto
interamericano de investigacin musical: Anuario [New Orleans, Louisiana] 3,
101-110.
International Herald Tribune 1970.
Hotbed of Modern Music At Thtre de la Ville. International Herald Tribune (October 17-18).
International Herald
Tribune 1982. John Cages Birthday. International
Herald Tribune (September 17).
International
Musician 1970. [Review]. International
Musician 68 (May), 19.
Intrepido 1977. Tutte le melodie in un cactus secco. Intrepido [Milano] no. 2, 43.
Isacoff, Stuart 1986. Environmental Music. In The New Grove Dictionary of American Music.
Ed. by H. Wiley Hitchcock and Stanley Sadie. London [etc.]: Macmillan, vol. 2,
51-53.
Ishii, Maki 1983. Japans Music of Encounter:
Historical Background and Present Role. The
World of Music 25, no. 1, 80-90.
Ittmann, W. M. 1970. The Donald Karshan Print
Collection. Art Journal 29, 441-443.
Ivashkin, Aleksandr 1988. Vechnoe, siyuminutnoe. Sovetskaya Muzyka 52, no. 1 (January),
93-98.
Ivashkin, Aleksandr 1993. Pusť pesnya vsegda
budet pesney... Sovetskaya Muzyka
no. 7 (July), 18-22.
Iversen, Margaret 2010, ed. Chance. Cambridge, Massachusetts: MIT Press; London: Whitechapel Gallery (Documents
of Contemporary Art) [contributons by Paul Auster, Jacquelynn Baas, Georges
Bataille, Daniel Birnbaum, Claire Bishop, Guy Brett, Benjamin H. D. Buchloh,
Stanley Cavell, Lynne Cooke, Fei Dawei, Gilles Deleuze, Anna Dezeuze, Russell
Ferguson, Branden W. Joseph, Siegfried Kracauer, Jacques Lacan, Sarat Maharaj,
John Miller, Alexandra Munroe, Gabriel Prez Barreiro, Jasia Reichardt, Julia
Robinson, Sarah Valdez, Katharina Vossenkuhl].
Ives, Charles 1987. Notes for Lou Harrison (1947).
In Garland 1987a, 20-28.
Ives, Charles. Selected Correspondence of Charles Ives.
Ed. by Tom C. Owens. Berkeley [etc.]: University of California Press, 2007.
Ivins, Molly 1970. Musicircus Hath Charms to Groove
the Hip Breast. Minneapolis Tribune
(April 11). 7 A.
Iwasa, Tetsuo 1982. Keiji: Chimmoku no bokujin. Gendai Shisō [Tōkyō]
(August).
J.B. [presumably Jack Beeson] 1943. Hanya Holm and
Group. Dance Observer (February),
20-21.
J.B. 1952. Living Theatre Gives Concert of Moderns. New York Times (May 6).
J.B. 1954a. Look, No Hands! And Its Music. New York Times (April 15), 34.
J.B. 1954b. Prepared Pianos Loaded for Concert. New York Times (December 16 or 17).
J.D. 1968. Dance: Weird Rites, Films, Floating Golden Pillows. Buffalo Evening News (March 11).
J.D. 1979. Cage. Fanfare (November-December).
J.J.-L. 1979. Dbat avec John Cage et Merce Cunningham. Progrs [Lyon] (May 4).
J.Mr. 1978. John Cage in Basel: Anlsse in der
Kunsthalle und in der Musikakademie. Neue
Zrcher Zeitung (June 24), 39.
J.S. 1958. Reviews and Previews. Art News 57 (May), 12.
J.S.B. jr. and P.S. 1951. Woodstock Winners. New York Herald Tribune (September 4).
J.V. 1987. Metz et le pays naissin. Diapason/Harmonie (September).
Jack, Adrian 1972a. Cage and Tudor. Music and Musicians 20, no. 12 <no.
240> (August), 66-67.
Jack, Adrian 1972b. Cages Changes. Records and Recording 15, no. 11 <no.
179> (August), 22-23.
Jack, Adrian 1974a. Avantgarde. Music and Musicians 23 (October), 58-59.
Jack, Adrian 1974b. Modern. Music and Musicians 22 (February), 44+.
Jackson, Roland (John) 1980. Polarities, Sound-Masses
and Intermodulations: A View of the Recent Music. Music Review 41, 127-141.
Jacobi, Peter P. 1984. John Cage. Highlights for Children 39, no. 3
<no. 399> (March), 26-27.
Jacoby, Jan 1992. Komponisten John Cage. Politiken [Copenhagen] (August 14),
Section 1, p. 9.
Jacobs, Arthur (David) 1972. A Short History of Western Music. Harmondsworth: Penguin Books.
Jacobs, Joseph
2002. La clase de Cage. Olobo
[Cuenca] no. 3.
Jacobs, Rob 1993. A John Cage Circus at MOCA. Los Angeles Reader (September 10).
Jacobson, Bernard 1970. Fiddling with the Trombone. Chicago Daily News (April 8 or earlier);
repr. American Musical Digest 1, no.
6 (1970), 21.
James, Carol P. 1987. Duchamps Silent Noise/Music
for the Deaf. Dada/Surrealism [Iowa
City, Iowa] no. 16 (1987); repr. in Marcel
Duchamp: Artist of the Century. Ed. by Rudolf Kuenzli and Francis M.
Naumann. Cambridge, Massachusetts: MIT Press, 1989, 106-127.
James, Pence 1942. People Call It Noise – But
He Calls It Music. Chicago Daily News
(March 19), 4; repr. in Kostelanetz 1970d, 61-62; German as Die Leute nennen
es Lrm – er nennt es Musik. In Kostelanetz 1970d/1973, 88-89.
James, Richard S.
1988. [Review]. American Music 6,
342-345.
Jameson, Fredric 1983. Postmodernism and Consumer
Society. In Foster, H. 1983, 111-125.
Jameson, Fredric 1984. Postmodernism, or the Cultural
Logic of Late Capitalism. New Left
Review no. 146 (July-August), 53-92; German as Postmoderne: Zur Logik der
Kultur im Sptkapitalismus. Trans. Hildegard Fcking, Sylvia Kltzer. In
Huyssen and Scherpe 1986, 45-102.
Jameson, Fredric 1991. Postmodernism, or, the Cultural Logic of Late Capitalism. Durham,
North Carolina: Duke University Press.
Jameux, Dominique 1972. Festivals: Tout va trs
bien. Musique en jeu no. 8
(September), 117-118, 119-120, 121, 122.
Jameux, Dominique 1984. Pierre Boulez. Paris: Fayard; Fondation SACEM (Musiciens
daujourdhui).
Janecke, Christian
1995. Kunst und Zufall: Analyse und
Bedeutung. Nrnberg: Verlag fr Moderne Kunst (revised Ph.D. dissertation,
Die Bedeutung des Zufalls in der bildenden Kunst, Universitt Saarbrcken,
1993).
Janello, David 1996. Mathematical Randomness in
Music. Sonus 16, no. 2 (Spring),
12-31.
Jansen, Kasper 1978. Hier zijn n paar varkens
bezig. Volkskrant (October 10).
Janssen, Paul 1994. HPSCHD, het nijvere gespin van
een naaimachinefabriek. Noordhollands
Dagblad/Nieuwe Noordhollandse Courant (April 5).
Janssen, Paul 1995a. Cd-besprekingen alfabetisch. Luister 43, no. 514 (July), 18.
Janssen, Paul 1995b. Cd-besprekingen alfabetisch. Luister 43, no. 518 (November), 33.
Janssen, Paul 1995c. Label van de tegenbeweging. Luister 44, no. 517 (October), 50.
Janssen, Paul 1996a. Postume verrassing van Cage. Het Parool (March 2).
Janssen, Paul 1996b. Recensies. Luister 44, no. 524 (May), 40.
Janssen, Paul
1999. ProCD. Mens en Melodie 54,
233.
Jarraway, David R. 1995. The Marjorie Perloff Show:
The Critic and her Others. Minnesota
Review new series no. 43-44, 212-222.
Jarrell, Joe 1994. Los Angeles, California. Sculpture (March-April), 49-50.
Jarrett, Alfred Roosevelt 1967. New Music in the
U.S.A., 1960-1966. Master of Music dissertation, Howard University,
Washington, D. C.
Jarrett, James Michael 1988. Drifting on a Read: Jazz
as a Model for Literary and Theoretical Writing. Ph.D. dissertation,
University of Florida, Gainesville.
Jarvis, Pamela and Leigh Landy 1973. John Cage:
Performance in Review. SoHo Weekly News
1, no. 11 (December 20), 14.
Jaschinski, Andreas 1982. Bcher. Neue Zeitschrift fr Musik 143, no. 2
(February), 67.
Jazz and Pop 1969.
Electronic Composers. Jazz and Pop
[New York] 8 (December), 32.
Jazz Journal 1971.
[Review]. Jazz Journal [London] 24
(August), 11.
Jeanneret,
Christine 1999. Lautre de la musique: Une tude des influences
extra-europennes dans la musique contemporaine. Schweizer Jahrbuch fr Musikwissenschaft = Annales Suisses de
Musicologie = Annuario Svizzero di Musicologia new series 19 (1999),
337-359.
Jeitschko, Marieluise
1982a. Ich begre alles, was neu auf mich zukommt. Neue Westflische [Bielefeld] (April 28).
Jeitschko,
Marieluise 1982b. Im Zentrum stand John Cage. Gieener Allgemeine Zeitung (April 28).
Jeitschko, Marieluise 1987. John Cage: Der Mann, der
Kltze ins Klavier klemmt. Welt am
Sonntag [Hamburg] (February 15), 68.
Jenkins, Chadwick 2002. Structure vs. Form in the
Sonatas and Interludes for Prepared Piano. In Patterson, D.W. 2002b, 239-261.
Jensen, Marc 2009. The Role of Choice in John Cages Cheap Imitation. Tempo no. 247 (January), 25-37.
Jensen, Niels Martin 1993. Musik und anti Musik: Zur
Bestimmung der Fluxus-Bewegung im Kopenhagener Musikleben Anfang der sechziger
Jahre. In Kuret 1993, 189-196.
Jessup, Bertram 1970-1971. Crisis in the Fine Arts
Today. Journal of Aesthetics and Art
Criticism 29, 3-10.
JH 1978a. John Cage. SoHo Weekly News (January 26).
JH 1978b. John Cage/Witold Lutoslawski. SoHo Weekly News (January 26).
Jckle, Rudolf 1987. Begrbnis erster Klasse fr
faulen Arien-Zauber. Frankfurter Neue
Presse (December 14), 11.
Jckle, Rudolf 1992. Nur Pilze nahm der alte Mann
noch ernster als die Musik. Frankfurter
Neue Presse (August 14).
Johansson, Pr 2009. [Review of Collins,
Nick and dEscrivan 2007]. Nutida
Musik 52, no. 1-2 (2009), 83.
John 1972. John Cage: Partituren, Geschichten,
Plexigramme, Siebdrucke. Bern: Kammerkunsthalle.
John 1981. John Cage: Roaratorio, an Irish circus on
Finnegans Wake (program January 19-24). Paris: IRCAM.
John 1982. John Cage [program on the occasion of
Cages appointment as Commandeur de LOrdre des Arts et Lettres]. Paris:
American Center.
Johns, Jasper/Vaughan, David 1989. The Fabric of
Friendship. In Adam 1989, 137-142.
Johnson, Bengt Emil 1964. En upptckare: John Cage. Stockholms Tidningen (September 8).
Johnson, Bengt Emil 1967-1968a. Cage, Tudor och
Mumma. Nutida Musik 11, no. 5-6,
50-51.
Johnson, Bengt Emil 1967-1968b. En ny tystnad. Nutida Musik 11, no. 7-8, 50-51.
Johnson, Bengt Emil 1977-1978. John Cage. Nutida Musik 21, no. 1, 8-9.
Johnson, Bengt Emil 1981-1982a. John Cage p
elektronmusikfestivalen. Nutida Musik
25, no. 1, 7.
Johnson, Brian 1989. The Noble Snare: A Concert of
Snare Drum Solos. Percussive Notes
28, no. 1 (Fall), 52-54.
Johnson, David/Wallace, Mike 1958. Are Composers Obsolete? New York Post (May 6), 37.
Johnson, Geir 1992. Get Out of Whatever Cage Youre
in (till minne om John Cage). Ballade
[Oslo] 16, no. 4 (December), 6-11.
Johnson, Harriett 1964a. Bernstein Plays IBM Computer
Piece. New York Post (February 7),
56.
Johnson, Harriett 1964b. A Theatrical Use for the
Well-Caged Piano. Philharmonic [Hall]
program (week of January 6-12), 18.
Johnson, Patricia C. 1994. Rolywholyover: Chancy, Ever-Changing Exhibit Expands Idea of Art. Houston Chronicle (January 13), 1C, 10C.
Johnson, Phil 2003. Stretch Your Ears. The Independent [London] (January 17).
Johnson, Steven 2002, ed. The New York Schools of Music and Visual Arts: John Cage, Morton
Feldman, Edgard Varse, Willem De Kooning, Jasper Johns, Robert Rauschenberg.
New York: Routledge.
Johnson, Thomas F. 1962. C. F. Peters: Past and
Present. Musical America 82
(October), 12-13.
Johnson, Tom 1972. John Cage at (almost) 60. Village Voice (July 13), 33, 36, 38;
repr. in Johnson, Tom 1989, 39-41.
Johnson, Tom 1973a. And on Parasol... Village Voice (January 25), 43-44.
Johnson, Tom 1973b. Manning the Radio Stations. Village Voice (December 13), 56-57, 60;
repr. as John Cage at the Kitchen. In Johnson, Tom 1989, 100-102.
Johnson, Tom 1973bC. Toward a Music for the Planet
Earth. Village Voice (January 4),
31; repr. as Music for the Planet Earth. In Johnson, Tom 1989, 56-59.
Johnson, Tom 1975a. Cage Meets Thoreau. Village Voice (October 20), 90; repr. as
John Cages Empty Words. In Johnson, Tom 1989, 188-191.
Johnson, Tom 1975b. John Cage: Music from Stars. Village Voice (February 3), 105-106;
repr. in Johnson, To. 1989, 166-169.
Johnson, Tom 1976a. How to Perform John Cage. Village Voice (February 9), 82.
Johnson, Tom 1976b. John Cage Goes to Boston: A
Bicentennial Premiere. Village Voice
(October 11), 86; repr. in Johnson, Tom 1989, 247-249.
Johnson, Tom 1976c. New Music. High Fidelity/Musical America 26, no. 3 (March), MA-14-MA-15.
Johnson, Tom 1977. Tolerance Has Its Say. Village Voice (November 21).
Johnson, Tom 1978a. Cage, Tudor, and Others. Village Voice (May 1), 66.
Johnson, Tom 1978b. The Content of John Cage. Village Voice (January 9), 54.
Johnson, Tom 1979a. Looking at Music. Village Voice (December 3), 88.
Johnson, Tom 1979b. John Cage and Other Dance
Accompanists. Village Voice (August
20), 74-75.
Johnson, Tom 1979-1980. John Cage, Musician and
Poet. Dance Chronicle 3, 483-485.
Johnson, Tom 1980. Cage, Higgins, Mac Low, Tamia. Village Voice (December 3-9), 90;
excerpt repr. as John Cages Themes and Variations. In Johnson, Tom 1989,
461-462.
Johnson, Tom 1981a. The Best of the Stack. Village Voice (July 15), 68.
Johnson, Tom 1981b. The Metz Reality. Village Voice (December 9-15), 94.
Johnson, Tom 1981c. Newsing News. Village Voice (June 3-9), 72.
Johnson, Tom 1982. Cage at 36. Village Voice (October 26-November 2), 74-75; repr. as John Cage
at 36. In Johnson, Tom 1989, 491-495.
Johnson, Tom 1983. European Envoi. Village Voice (January 11), 66.
Johnson, Tom 1987. Musik ohne Grenzen. MusikTexte no. 22 (December), 16; French
as In memoriam Morton Feldman. Trans. Daniel Charles. In Charles 1987-1988,
199-201.
Johnson, Tom 1987-1988. Intentionnalit et
non-inentionnalit dans linterprtation de la musique de John Cage. Trans.
Christophe Charles. In Charles 1987-1988, 251-255; original English text as
Intentionality and Noninentionality in the Performance of Music by John Cage.
In Fleming and Duckworth 1989, 262-269; [abridged] German as Die Mhsal des
Zufalls: Absicht und Zufall bei Interpretationen von Cages Musik. Trans.
Annette Stdli. Du [Zrich] no. 5
(May 1991), 50-51.
Johnson, Tom 1989. The
Voice of New Music: New York City 1972-1982, A Collection of Articles
Originally Published in The Village Voice. Ed. by Tom Johnson and Paul
Panhuysen. Eindhoven: Apollohuis (Apollo Art About; 2). Includes Johnson, Tom
1975a; 1975b; 1980; 1982.
Johnson, Will 1968. The First Festival of
Live-Electronic Music: 1967. Source
[Sacramento, California] 2, no. 1 <no. 3> (January), 50-54.
Johnston, Ben 1968. On Context. Source [Sacramento, California] 4, no. 2 <no. 8> (July),
44-45.
Johnston, Ben 1970. How to Cook an Albatross. Source [Sacramento, California] 4, no. 1
<no. 7> (January), 63-65.
Johnston, Ben 1974. Microtones. In Vinton 1974,
483-484.
Johnston, Ben and Benjamin Boretz 1972.
Communications. Perspectives of New
Music 10, no. 2 (Spring-Summer), 175-177.
Johnston, Ben and Ed(ward) Kobrin 1970. Phase Ia. Source [Sacramento, California] 4, no. 1
<no. 7> (January), 27-45.
Johnston, Jill 1962. There Is No Silence Now. Village Voice (November 8), 4, 8; repr.
in Kostelanetz 1970d, 145-149; German as Nun gibt es keine Stille mehr. In
Kostelanetz 1970d/1973, 202-205.
Johnston, Jill 1965. Dance. in The New American Arts. Ed. by Richard Kostelanetz. New York:
Horizon; repr. as Cage and Modern Dance. In Kostelanetz 1993f, 334-337.
Johnston, Jill 1967. Poets and Kings. Village Voice (October 15).
Johnston, Jill 1987a. Jigs, Japes, and Joyce. Art in America 75, no. 1 (January),
102-105.
Johnston, Jill 1987b. Tracking the Shadow. Art in America 75, no. 10 (October),
128-143.
Johnston, Jill 1994. John Cage: Music for Museums. Art in America 82, no. 1 (January),
72-77.
Johnston, Jill 1996. Jasper Johns: Privileged Information. New York: Thames and Hudson.
Joho, Marcel 1991. Junifestwochen: Unheilvolle
Entwicklung. Tages-Anzeiger (July
12).
Jolles, Claudia and Esther Woerdehoff 1991. John Cage: Ein berraschungsfreudiger Kreator. Berner Zeitung (May 30), 23.
Jones, Bruce 1978. Cage Is Working – Enjoying – More. Tampa Tribune (February 11), 10-D.
Jones, Caroline A. 1992-1993. Finishing School: John
Cage and the Abstract Expressionist Ego. Critical
Inquiry 19, 628-665.
Jones, Evan 2009, ed. Intimate Voices: The Twentieth-Century String Quartet. Rochester, New York [etc.]: University of Rochester Press, 2 volumes.
Jones, J. Barrie
1990. Book Reviews. Music Review 51,
64-65.
Jones, John Christopher 1980. St Ives by Chance. Architectural Association Quarterly
[Oxford] 12, no. 4, 56-61.
Jones, John
Christopher 1982. Voices at the Conference Conference [sic]. In Changing Design [proceedings of the
Conference of the Design Research Society, Portsmouth, 1977]. Ed. by Barrie
Evans, James A. Powell, and Reg Talbot. Chichester, West Sussex [etc.]: John
Wiley and Sons, 347-367.
Jones, Jack 1980. Composer John Cage, a Pioneer of
Happenings, Will Lecture at UCSD. Los
Angeles Times (January 23), part II, 4.
Jones, Phil 1984. Books. Tempo no. 151 (December ), 43-44.
Jones, Raymond 1980. New York Inspires Works. Daily Press/Newport News [Virginia]
(April 10), 28.
Jordan, Stephanie 1979. Freedom from the Music:
Cunningham, Cage & Collaborations. Contact
no. 20 (Fall), 16-19.
Jordan, Stephanie 1980. Cunningham and Cage at the
Laban Centre. Dancing Times [London]
(October), 38-39.
Jordan, Stephanie 1981. International Dance Course. Dancing Times [London] (November), 102.
Jordan, Stephanie 1985. Songs of Praise. New Statesman [London] (May 31).
Jordan, Stephanie 1987. Roaratorio. Musical Times 128, 573.
Josek, Suzanne
1998. The New York School: Earle Brown,
John Cage, Morton Feldman, Christian Wolff. Saarbrcken: Pfau (review: Wilson,
P.N. 2000).
Josek, Suzanne 2001. Between
Silence and Nothingtoseeness: Die Komponisten der New York School. Neue Zeitschrift fr Musik 162, no. 5
(September-October), 26-30.
Joseph, Branden W. 1997a. John Cage and the
Architecture of Silence. October [Cambridge, Massachusetts] no. 81
(Summer), 81-104; repr.
in Robinson, Julia 2011, 73-99.
Joseph, Branden W. 1997b. Robert Morris and John
Cage: Reconstructing a Dialogue. October
[Cambridge, Massachusetts] no. 81
(Summer), 59-69.
Joseph, Branden W.
2000. White on White. Critical Inquiry 27,
no. 1 (Fall), 90-121; repr. in Joseph 2003.
Joseph, Branden W. 2002a, ed. Robert Rauschenberg. Cambridge, Massachusetts: MIT Press.
Joseph, Branden W. 2002b. A Therapeutic Value for
City Dwellers: The Development of John Cages Early Avant-Garde Aesthetic Position.
In Patterson, D.W. 2002b, 135-175.
Joseph, Branden W. 2003. Random Order: Robert Rauschenberg and the Neo-Avant-Garde.
Cambridge, Massachusetts: MIT Press (review: Siedell 2006).
Joseph,
Branden W. 2008. Beyond the Dream
Syndicate: Tony Conrad and the Arts after Cage: (A Minor History). New York: Zone
Books
Jost, Ekkehard 1990, ed. Die Musik der achtziger Jahre: sechs Kongrebeitrge und drei
Seminarberichte. Mainz [etc.]: Schott (Verffentlichungen des Instituts fr
Neue Musik und Musikerziehung Darmstadt; 31).
Jotterand, Franck 1970. Le nouveau thtre amricain. Paris: Seuil (Collection Points)
(Hirsch, J.-F. 1970).
Journal du Centre 1971. Il
faut se jeter leau... et apprendre nager. Le Journal du Centre (October 18).
Journal du Var 1981. Merce Cunningham pour la dernire fois Toulon. Le Journal du Var/Var Matin Republique (July 26).
Journal Sud-Ouest 1987. Avec John Cage comme parrain. Journal Sud-Ouest (January 13).
Jover, Jos Luis
and Santos Amestoy 1972. John Cage: Primera figura de la msica de
vanguardia. Pueblo [Madrid] (August
5).
Jowitt, Deborah 1982. Trails, Bear Hugs, and a
Mouthful of Flowers. Village Voice
(March 30), 101.
Jowitt, Deborah 1988a. [Review]. Village Voice (July 12).
Jowitt, Deborah 1988b. Time and the Dancing Image. New York: William Morrow & Co.
Jowitt, Deborah 1992. He Who Wields the Mouse. Village Voice (March 17), 89, 91.
Js 1987. Cage im Rundfunk. Rheinische Post (February 12).
Judkins, Jennifer 1987. The Aesthetics of Musical Silence:
Virtual Time, Virtual Space, and the Role of the Performer. Ph.D.
dissertation, University of California, Los Angeles.
Judkins, Jennifer 1999. [Review of Alperson 1998]. Philosophy in Review 19, no. 3 (June), 158-160.
Juhsz, Elod 1976. Hsz nap Salzburgban. Muzsika 19, no. 7 (July), 11-13.
Juilliard, Isabelle 1979. Les conceptions dart chez
John Cage. Ph.D. dissertation, Lyon, II.
Julius, Rolf 1998. Bamboo Forest. In Bonomo and
Furghieri 1998, 565-569.
Julius, Ruth 1978. Edgard Varse: An Oral History
Project, Some Preliminary Conclusions. Current
Musicology no. 25, 39-49.
Jungheinrich, Hans-Klaus 1968. Frankfurt: Mehr zum
Sehen als zum Hren. Melos 35,
256-257.
Jungheinrich, Hans-Klaus 1970. Neue Musik fr
Streichquartett in der Stuttgarter Liederhalle. Melos 37, 58.
Jungheinrich, Hans-Klaus 1972. Von der Fachmesse zum
Supermarkt. Frankfurter Rundschau
(October 23).
Jungheinrich, Hans-Klaus 1981. Die Verunsicherung
eines Bahnhofs. Frankfurter Rundschau
(December 1); repr. Stuttgarter
Nachrichten (December 2).
Jungheinrich, Hans-Klaus 1981-1982. Die
Verunsicherung eines Bahnhofs. Neue
Musikzeitung (December-January).
Jungheinrich, Hans-Klaus 1982a. Alles ist nichts und
etwas ist mehr. Frankfurter Rundschau
(April 28).
Jungheinrich, Hans-Klaus 1982b. Musik: Gewaltfrei. Frankfurter Rundschau (May 13).
Jungheinrich, Hans-Klaus 1987a. Arien-Fden im
kulinarischen Labyrinth. Frankfurter
Rundschau (December 14), 7; abridged repr. as Frhliche Anarchie der
Theatermacher. Die
Rheinpfalz [Ludwigshafen] (December
14).
Jungheinrich, Hans-Klaus 1987b. Es geht weiter. Frankfurter Rundschau (November 13), 11.
Jungheinrich, Hans-Klaus 1987c. In Kirche und
Bahnhof: John Cage. Frankfurter Rundschau
(December 9).
Jungheinrich, Hans-Klaus 1987d. Jeder fr sich, alle
durcheinander. Badische Zeitung
(December 14).
Jungheinrich, Hans-Klaus 1988a. Ehrengast: John
Cage. Neue Zeitschrift fr Musik
149, no. 2 (February), 38-39.
Jungheinrich, Hans-Klaus 1988b. Schmerz im Akkord:
Gary Bertinis Opern-Einstand und die Brandkatastrophe. Musica [Kassel] 42, 67-69.
Jungheinrich, Hans-Klaus 1991a. Hier wird
authentischer gespielt. Frankfurter
Rundschau (December 3).
Jungheinrich, Hans-Klaus 1991b. Wolkenzge. Frankfurter Rundschau (December 4).
Jungheinrich, Hans-Klaus 1992a. Geschlagene Zeit. Frankfurter Rundschau (August 31), 7.
Jungheinrich, Hans-Klaus 1992b. Messias der
Anarchie? Frankfurter Rundschau (August
14), 8.
Junior Harpers
Bazaar 1946. The Shoutings about . Junior
Harpers Bazaar [New York] (June); repr. as [Cages Studio Home]. In
Kostelanetz 1970d, 84-85; German as Cages Wohn-Studio. In Kostelanetz
1970d/1973, 115.
Junker, Howard 1967. Electronic Music: Wiggy. Newsweek (May 22), 98-98A.
Junker, Howard 1968. Unsung Melody. New Republic (January 6), 39-40.
Junkerman, Charles 1993. Modeling Anarchy: The
Example of John Cages Musicircus. Chicago
Review 38, no. 4, 153-168.
Junkerman, Charles 1994. nEw / foRms of living
together: The Model of the Musicircus. In Perloff, M. and Junkerman 1994b,
39-64.
Jurek, Thom 1991. Perilous Night/Four Walls. Metro Times [Detroit] (June 26-July 2).
Jrging, Stefan 2002.
Die Tradition des Traditionsbruches: John Cages amerikanische sthetik. Frankfurt am Main [etc.]: Lang (Beitrge
aus Anglistik und Amerikanistik; 11) (Gratzer 2005).
Jurgrau, Robert 1989. Eareviews. Ear 14, no. 2 (April), 56.
Jusefović, Viktor 1987. Megfontoland plda. Magyar Zene 28, no. 4 (December), 437-444.