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Kostelanetz, Richard 1967b. “Modern Music Criticism and the Literate Layman.” Perspectives of New Music 6, no. 1 (Fall-Winter), 119-133; repr. in Kostelanetz 1989e.

 

Kostelanetz, Richard 1967c. The Music of Today. New York: Time.

 

Kostelanetz, Richard 1968a. “New Sound for a Plugged-in Age.” Look (January 9), 45.

 

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Kostelanetz, Richard 1969d. “They All Came to Cage’s Circus.” New York Times (May 25), D 23; repr. as “Environmental Abundance.” In Kostelanetz 1970d, 173-177; repr. in Kostelanetz 1989e, 61-65; repr. as “HPSCHD: Environmental Abundance.” In Kostelanetz 1996f, 99-104; repr. in Kostelanetz 1997g, 83-90; German as “Fülle des Environments.” In Kostelanetz 1970d/1973, 234-238.

 

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Kostelanetz, Richard 1970c. “Introduction.” In Kostelanetz 1970d, 3-5; German as “Einleitung.” In Kostelanetz 1970d/1973, 24-26; Spanish as “Introducción.” In Kostelanetz 1973, 5-9.

 

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Kostelanetz, Richard 1973. Entrevista a John Cage. Trans. José Manuel Álvarez and Ángela Pérez. Barcelona: Anagrama (Cuadernos Anagrama; 60).

 

Kostelanetz, Richard 1975. “Language and Structure.” Journal of the Los Angeles Institute of Contemporary Art 6 (June-July), 12-14.

 

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Kostelanetz, Richard 1981a. The Old Poetries and the New. Ann Arbor [etc.]: University of Michigan Press.

 

Kostelanetz, Richard 1981b. “The Special Sound of German Radio.” New York Times (December 13).

 

Kostelanetz, Richard 1982a. “The Avant-Garde Establishment: Cunningham Revisited.” Dance Magazine 56, no. 7 (July), 56-59.

 

Kostelanetz, Richard 1982b, ed. The Avant-Garde Tradition in Literature. Buffalo, New York: Prometheus Books.

 

Kostelanetz, Richard 1983. American Imaginations: Charles Ives, Gertrude Stein, John Cage, Merce Cunningham, Robert Wilson. Trans. Almuth Carstens. Berlin: Merve (Internationaler Merve-Diskurs; 111) (review: Tefelski 1983).

 

Kostelanetz, Richard 1986a. “Cunningham/Cage.” In Next Wave Festival 1986. Ed. by Douglas W. Allan. New York: Brooklyn Academy of Music, 50-57; repr. Composer! 1, no. 3 (Spring 1987), 3-6; repr. in Kostelanetz 1989e, 77-83; repr. in Kostelanetz 1996f, 25-33; repr. in Kostelanetz 1997g, 263-272.

 

Kostelanetz, Richard 1986b. “Expanded ‘Writing’ in Nontraditional Media: An Art Autobiography.” Leonardo 19, no. 4 (Fall), 277-284.

 

Kostelanetz, Richard 1987a, ed. “The Aesthetics of John Cage: A Composite Interview.” Kenyon Review [Gambier, Ohio] new series 9, no. 4 (Fall), 102-130.

 

Kostelanetz, Richard 1987b, ed. “His Own Music (Part I: To 1970): Ur-Conversation with John Cage Produced by Richard Kostelanetz [annotated by John Cage].” Perspectives of New Music 25, no. 1-2 (Winter-Summer), 88-106.

 

Kostelanetz, Richard 1987c, ed. “John Cage.” High Performance 10, no. 2 <no. 38> (1987), 20-29.

 

Kostelanetz, Richard 1987d. [Title unknown]. New York Times (1987); repr. as “John Cage as a ‘Hörspielmacher’.” Journal of Musicology 8 (1990), 291-299; repr. in Kostelanetz 1993f, 213-221; repr. as “Roaratorio: John Cage as a Radio Artist.” In Kostelanetz 1996f, 150-157; John Cage as a Radio Artist.” In Kostelanetz 1997g, 181-193; French as “John Cage en tant que ‘Hörspielmacher’.” Trans. Josseline Revel-Mouroz. In Charles 1987-1988, 273-277.

 

Kostelanetz, Richard 1988a. “Anarchy in the USA: The Politics and Principles of John Cage.” Boston Phoenix (date unknown), Section 3; German as “John Cage: Seine Prinzipien und Politik.” Trans. Peter Peterson. Trafik [Mülheim] 10, no. 34 (August 1991), 57-60.

 

Kostelanetz, Richard 1988b, ed. Conversing with Cage. New York: Limelight Editions; repr. London [etc.]: Omnibus Press, 1989 (A Division of Book Sales); 2nd ed. New York: Routledge, 2003; French excerpt (“Precursors”) as “Mozart, Satie, Schoenberg…” Trans. Marc Dachy. L’Infini [Paris] no. 66 (Summer 1999), 20-40; French (full text) as Conversations avec John Cage. Trans. Marc Dachy, in collaboration with Monique Fong, Marianne Guénot-Hovnaian. Paris: Editions des Syrtes, 2000; German as John Cage im Gespräch: zu Musik, Kunst und geistigen Fragen unserer Zeit. Trans. Almuth Carstens and Birger Ollrogge. Köln: DuMont, 1989 (DuMont-Taschenbücher; 226) (reviews: Briner 1989; Brooks, W. 1989b; Central Opera Service Bulletin 1988; Dy 1989; E.D. 1989; Ehrler 1990; Gann 1988c; Gollasch 1989; Musical America 1988b; Nicholls 1990b; Ovation 1988; Rizzardi 1992b; Roads 1988; Wolkenkratzer 1989).

 

Kostelanetz, Richard 1988c, ed. “From Conversing with Cage: Autobiography.” Chicago Review 36 (Fall), 37-51.

 

Kostelanetz, Richard 1988d, ed. “His Own Music: Part Two: Ur-Conversation with John Cage.” Perspectives of New Music 26, no. 1 (Winter), 26-49.

 

Kostelanetz, Richard 1988e. “John Cage, 75, Writes First, ‘Great American’ Opera.” New York Times (date unknown, probably identical with 1988f); repr. New Art Examiner 16 (December 1988); repr. in Kostelanetz 1989e, 67-76; repr. as “Europera: Before and After.” In Kostelanetz 1996f, 133-145; repr. in Kostelanetz 1997g, 91-105.

 

Kostelanetz, Richard 1988f. “John Cage’s First Opera, Written by the Numbers.” New York Times (July 10), 25, 30.

 

Kostelanetz, Richard 1988g. “Preface.” In Kostelanetz 1988b, ix-x; repr. included in Kostelanetz 1997e.

 

Kostelanetz, Richard 1989a. “‘Avant-garde’.” Avantgarde [Amsterdam] no. 3, 109-112.

 

Kostelanetz, Richard 1989b. “Cage’s Early Piano Music.” In Kostelanetz 1989e, 37-41; repr. in Richard Kostelanetz, Twenties in the Sixties: Previously Uncollected Critical Essays. Westport, Connecticut: Greenwood Press, 1979; repr. in Kostelanetz 1996f, 51-54; repr. in Kostelanetz 1997g, 51-56.

 

Kostelanetz, Richard 1989c. “German Radio Goes American.” The World and I (October), 240-245.

 

Kostelanetz, Richard 1989d. “The Keystone of the Cagean Canon.” In Kostelanetz 1989e, 43-45; repr. as “Sonatas and Interludes.” In Kostelanetz 1996f, 55-57; repr. as “The Keystone of the Cagean Canon.” In Kostelanetz 1997g, 57-60.

 

Kostelanetz, Richard 1989e. On Innovative Music(ian)s. New York: Limelight (reviews: Dalton 1990; Gann 1990b; Oja 1990-1991).

 

Kostelanetz, Richard 1990a. “The Anarchist Art of the Polyartist.” In City Lights Review no. 4 (1990); repr. in Kostelanetz 1997g, 256-263.

 

Kostelanetz, Richard 1990b, ed. “John Cage on Radio and Audio Tape.” In Lander and Lexier 1990, 289-300; Spanish as John Cage en radio y cinta. Cuenca: Ediciones Radio Fontana Mix, 1994.

 

Kostelanetz, Richard 1990c. “A Modern Master’s PoŹme ConcrŹte.” Journal of Art (December); repr. as “Book Reviews.” Notes series 2, vol. 47 (1990-1991), 1144-1146; repr. as “John Cage’s Longest and Best Poem.” In Kostelanetz 1993f, 297-300; repr. as “I-VI.” In Kostelanetz 1996f, 146-149; repr. as “John Cage’s Longest and Best Poem.” In Kostelanetz 1997g, 175-178; German as “Wie ein Stück Musik: zu Cages neuester Dichtung.” Trans. Barbara Basting. Du [Zürich] no. 5 (May 1991), 75.

 

Kostelanetz, Richard 1991. “The Development of His Visual Art.” Boulevard [New York] 5-6; repr. Musicworks no. 52 (Spring 1992), 40-42; repr. in Kostelanetz 1993f, 323-326; rev. repr. as “Not Wanting to Say Anything about Marcel.” In Kostelanetz 1996f, 105-109; repr. in Kostelanetz 1997g, 229-233; Italian as “Lo sviluppo della sua arte visiva.” In Costa, L. et al. 1993, 771-773.

 

Kostelanetz, Richard 1992a. “Indeterminacy Then and Now.” American Book Review (1992); repr. as “Indeterminacy.” In Kostelanetz 1996f, 79-82; repr. as “Indeterminacy Then and Now.” In Kostelanetz 1997g, 131-136.

 

Kostelanetz, Richard 1992b. “John Cage, Inventor.” Liberty 6, no. 2 (November); repr. Anarchy [Columbia, Missouri] 12, no. 1 (Winter 1993); repr. in Richard Kostelanetz, A Dictionary of the Avant-Gardes. Chicago: Chicago Review Press, 1993; repr. as The Dictionary of the Avant-Gardes. Pennington, New Jersey: A Cappella Books; repr. in Kostelanetz 1996f, 3-6; Kostelanetz 1997g, 3-7.

 

Kostelanetz, Richard 1992c. “Not Wanting to Say Anything New about John Cage.” Hybrid 1, no. 1 (1992); repr. in Kostelanetz 1997g, 27-47.

 

Kostelanetz, Richard 1993a. “Beginning with Cage.” In Kostelanetz 1993f, 8-12; German as “John Cage: Eine Einführung.” In Kostelanetz 1983, 45-51.

 

Kostelanetz, Richard 1993b. “Not Wanting to Say Anything about John Cage (1912-1992).” Chicago Review 38, no. 4, 169-179.

 

Kostelanetz, Richard 1993c. “Preface.” In Cage 1993d, xiii; repr. included in Kostelanetz 1997e.

 

Kostelanetz, Richard 1993d. “Preface.” In Kostelanetz 1993f, ix-xi; repr. included in Kostelanetz 1997e.

 

Kostelanetz, Richard 1993e. [Review of Revill 1992]. Notes series 2, vol. 49, no. 4 (1993), 1492-1494; repr. as “A Riot of Errors.” In Kostelanetz 1997g, 289-292.

 

Kostelanetz, Richard 1993f, ed. Writings about John Cage. Ann Arbor: University of Michigan Press.

 

Kostelanetz, Richard 1994a. “Cagean Performances.” In Kostelanetz 1994ON; repr. in Kostelanetz 1997g, 105-110.

 

Kostelanetz, Richard 1994b. On Innovative Performance(s): Three Decades of Reflections on Alternative Theater. Jefferson, North Carolina: McFarland.

 

Kostelanetz, Richard 1994c. “Recent Thoughts about John Cage.” Musicworks no. 59 (Summer), 50; repr. in Kostelanetz 1997g, 281-285.

 

Kostelanetz, Richard 1995a. [Review of Boulez/Cage 1990]. American Book Review (1995); repr. in Kostelanetz 1997g, 292-297.

 

Kostelanetz, Richard 1995b. “The Song Books Score.” Arshile [Los Angeles, California] no. 4 (1995); repr. in Kostelanetz 1996f, 110-114; repr. in Kostelanetz 1997g, 297-240.

 

Kostelanetz, Richard 1996a. “Anarchist Art.” In Reinventing Anarchy, Again. Ed. by Howard J. Erlich. Edinburgh, Scotland: AK Press, 293+.

 

Kostelanetz, Richard 1996b. “Homosexuality.” In Kostelanetz 1996f, 167-169; repr. as “John Cage and Homosexuality.” In Kostelanetz 1997g, 297-299.

 

Kostelanetz, Richard 1996c. “The John Cage Disco-Bibliography.” Musical Opinion 118 (Spring), 18-19; repr. in Kostelanetz 1996f, 175-179.

 

Kostelanetz, Richard 1996d. “John Cage, Polyartist.” In Kostelanetz 1996f, 34-46.

 

Kostelanetz, Richard 1996e. “I Saw John Cage at the Millrose Games.” In Kostelanetz 1996f, 170-173; repr. as “The Millrose Games at Madison Square Garden.” In Kostelanetz 1997g, 124-128.

 

Kostelanetz, Richard 1996f. John Cage (Ex)plain(ed). New York: Schirmer Books.

 

Kostelanetz, Richard 1996g. “The Keystones of the Cagean Canon.” In Kostelanetz 1996f, 49-50.

 

Kostelanetz, Richard 1996h. [Review of Cage/Retallack 1996]. Journal of Musicology 14, 424-425; repr. as “Underedited/Underpublished.” In Kostelanetz 1997g, 310-311.

 

Kostelanetz, Richard 1996i. “Rolywholyover: Antiseptic Havoc in the Name of John Cage.” In Kostelanetz 1996f, 161-166; repr. as “Wreaking Havoc in the Name of John Cage.” In Kostelanetz 1997g, 312-320.

 

Kostelanetz, Richard 1996j. “Two Ways of Polyartistry.” In Kostelanetz and Darby 1996, 295-308; repr. in Kostelanetz 1997g, 243-256.

 

Kostelanetz, Richard 1997a. “Cagean Illiteracy.” In Kostelanetz 1997g, 302-309.

 

Kostelanetz, Richard 1997b. “Etudes Australes.” In Kostelanetz 1997g, 61-64.

 

Kostelanetz, Richard 1997c. “His Influence.” In Kostelanetz 1997g, 321-356.

 

Kostelanetz, Richard 1997d. “A Note on Marjorie Perloff’s Cage Criticism [Review of Perloff, M. 1991].” In Kostelanetz 1997g, 299-301.

 

Kostelanetz, Richard 1997e. “Prefaces.” In Kostelanetz 1997g, 275-281.

 

Kostelanetz, Richard 1997f. “Proposal for an Exhibition of the Cagean Library.” In Kostelanetz 1997g, 172-174.

 

Kostelanetz, Richard 1997g. Thirty Years of Critical Engagements with John Cage. New York: Archae (review: Alburger 1998a).

 

Kostelanetz, Richard 2000. “John Cage: The Text Pieces 1.” 21st-Century Music 7, no. 1 (January), 23. http://www.21st-centurymusic.com/ML210001.pdf (accessed September 21, 2010).

 

Kostelanetz, Richard 2002. “Il ribelle John Cage.” Musica/Realtą 23 (November), 161-170.

 

Kostelanetz, Richard and Joseph Darby 1996, ed. Classic Essays on Twentieth-Century Music. New York: G. Schirmer (review: Alburger 1998b; George, P. 1996d).

 

Köster, Maren 1996. “Cage-Aspekte.” Positionen no. 29 (November), 52-53.

 

Kösterke, Doris 1996. Kunst als Zeitkritik und Lebensmodell: Aspekte des musikalischen Denkens bei John Cage (1912-1992). Regensburg: Susanne Roderer (Theorie und Forschung; 406) (Musikwissenschaften; 4) (Köster 1996).

 

Kosugi, Takehisa 1987-1988. “75 for John Cage.” In Charles 1987-1988, 278-279.

 

Kosuth, Joseph/Prandi, Lucia 1998. “Conversazione con Joseph Kosuth.” Trans. Marai Pia Alignani and Lucia Prandi. In Bonomo and Furghieri 1998, 532-537.

 

Kotik, Petr 1982. “Einige Anmerkungen zu John Cage.” Trans. Wilfried Brennecke. In Brennecke 1982c, 24-25.

 

Kotik, Petr 1993. “On John Cage.” In Kostelanetz 1993f, 13-14.

 

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Kotschenreuther, Hellmut 1982. “Zufall, ein Fall, Ausfall.” Der Tagesspiegel [Berlin] (September 18).

 

Kotte, Wouter 1987. Marcel Duchamp als Zeitmaschine = Marcel Duchamp als tijdmachine (exhibition catalogue Utrecht, Museum voor Moderne Kunst). Köln: Walther König.

 

Kottman, Pieter 1990. “Voor Cunningham is het menselijk lichaam de norm.” NRC Handelsblad (April 13), 6.

 

Kottman, Pieter 1994a. “Dobbelen om niets.” NRC Handelsblad (May 27), Cultureel Supplement, 1.

 

Kottman, Pieter 1994b. “Fabelachtige dans op de maat van een digitale klok.” NRC Handelsblad (May 19), 10.

 

Kotz, Liz 2001. “Post-Cagean Aesthetics and the ‘Event’ Score.” October [Cambridge, Massachusetts] no. 95 (Winter), 54-90; repr. in Robinson, Julia 2011, 101-140.

 

Kotz, Mary Lynn 1990. Rauschenberg: Art and Life. New York: Harry N. Abrams; rev. ed. 2004.

 

Kovács, Inge 2003. Wege zum musikalischen Strukturalismus: René Leibowitz, Pierre Boulez, John Cage und die Webern-Rezeption in Paris um 1950. Schliengen: Edition Argus (Sonus; 7) (Glossner 2005; Grant 2006; Wörner 2007).

 

Kovacs, Sándor 1984. “Napjaink zeneje.” Muzsika 27, no. 8 (August), 13-15.

 

Kozinn, Alan 1984. “Kroumata Percussion Ensemble and Others.” High Fidelity/Musical America 34, no. 2 (February), High Fidelity, 50.

 

Kozinn, Allan 1988a. “Celebrating Cage in All His Variety.” New York Times (August 22).

 

Kozinn, Allan 1988b. “An Evening of Drums.” New York Times (October 6).

 

Kozinn, Allan 1988c. “John Cage Is Focus of Outdoor Concerts.” New York Times (July 1).

 

Kozinn, Allan 1988d. “Voices Whispering and Jabbering.” New York Times (July 1), C3.

 

Kozinn, Allan 1992a. “Connecting Diverse Styles.” New York Times (November 13).

 

Kozinn, Allan 1992b. “John Cage, 79, A Minimalist of Musical Prolificacy, Dies.” New York Times (August 13), A1, D21.

 

Kozinn, Allan 1992c. “John Cage, Universal Avant-Gardist, Dies at 79.” International Herald Tribune (August 14), 5.

 

Kozinn, Allan 1992d. “A Musical (a) Anarchist or (b) Liberator Is Turning 80.” New York Times (July 2).

 

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Kraglund, John 1966. “John Cage: Musical McLuhan.” Globe and Mail (May 13), 15.

 

Kraglund, John 1970. “A Sono-Semantic Commentary.” Globe and Mail (March 13); repr. American Musical Digest 1, no. 6 (1970), 15-16.

 

Kraglund, John 1982a. “Cage’s Musical Mission Impossible Sometimes.” Globe and Mail (February 1), 16.

 

Kraglund, John 1982b. “Cage’s Roaratorio a Roaring Success.” Globe and Mail (February 2), 19.

 

Kraglund, John 1982d. “Roaratorio Sinks to Babble.” Globe and Mail (February 1), 15.

 

Kraglund, John 1984. “Cage and Company Run Musical Gamut.” Globe and Mail (December 1), M15.

 

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Kramer, Hilton 1972. “Imagery’s Mastery in Paintings on Paper.” New York Times (January 8), 25.

 

Kramer, Hilton 1992. “Cage’s Obituarists: Limming the Gadget-Fair Giant.” New York Observer (September 14).

 

Kramer, Hilton 1994. “Cage Exhibition Shows A Knack for Fund Raising.” New York Observer (June 20), 1, 21.

 

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Krellmann, Hanspeter 1972c. “Europa ruft John Cage.” Badische Zeitung (May 15).

 

Krellmann, Hanspeter 1972d. “Film, Hörspiel und Jazz.” Kieler Nachrichten (October 28); simultaneously as “Streit der Musiker war einkomponiert.” Bremer Nachrichten (October 28); repr. as “Überfülle und Leerläufigkeit.” Main-Echo [Aschaffenburg] (November 4).

 

Krellmann, Hanspeter 1973a. “Nicht Scharlatan und nicht Prophet: John Cage: mangels anderer Bezeichnung als Künstler qualifiziert.” Neue Musikzeitung 22, no. 1 (February-March), 3.

 

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Mens en Melodie 1988. “De dag van John Cage, de nacht van Guus Janssen.” Mens en Melodie 43, 100-101.

 

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Mersch, Dieter 1997. “Ereignis und Aura: Zur Dialektik von ästhetischem Augenblick und kulturellem Gedächtnis.” Musik & Ästhetik 1, no. 3 (July), 20-36.

 

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Mertens, Wim 1980. Amerikaanse repetitieve muziek in het perspectief van de Westeuropese muziekevolutie. Bierbeek: W. Vergaelen; English as American Minimal Music: La Monte Young; Terry Riley; Steve Reich; Philip Glass. Trans. J. Hautekiet. London: Kahn and Averill; New York: Alexander Broude, 1983.

 

Messer, Pam 1983. “Cage Treats Knox to Randomness” Knox Student [Galesburg, Illinois] (April 21), 1, 8.

 

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Messinis, Mario 1970b. “Da Venezia.” Nuova Rivista Musicale Italiana 4, 744.

 

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Metzer, David 2000. “Musical Decay: Luciano Berio’s Rendering and John Cage’s Europera 5.” Journal of the Royal Musical Association 125, no. 1 (January), 93-114.

 

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Metzger, Heinz-Klaus 1958. “… ‘geschultest und entfaltest’….” Darmstädter Echo (September 16); repr. included in Metzger, H.-K. 1999.

 

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Metzger, Heinz-Klaus 1959b. “John Cage o della liberazione.” Trans. Sylvano Bussotti. Incontri Musicali [Milano] no. 3 (August), 16-31; repr. in Bonomo and Furghieri 1998, 273-286; English as “John Cage, or Liberated Music.” Trans. Ian Pepper. October [Cambridge, Massachusetts] no. 82 (Fall 1997), 49-61; repr. in Robinson, Julia 2011, 1-16; French as “John Cage: Musique laissée en liberté.” Trans. J. Lioret, Dominique Bosseur, Jean-Yves Bosseur. In Bosseur, J.-Y. et al. 1971-1972, 15-29; original German as “John Cage oder die freigelassene Musik.” In Bärtschi et al. 1969, M 1-M 7; repr. in Musik auf der Flucht vor sich selbst. Ed. Ulrich Dibelius. München: Carl Hanser, 1969, 133-149 (Reihe Hanser; 28); repr. in Metzger, H.-K. and Riehn 1978b, 5-17; Swedish as “John Cage: Frigiven musik.” Nutida Musik 10, no. 3-4 (1966-1967), 44-51 (Kirchberg 1970; Linke 1970).

 

Metzger, Heinz-Klaus 1960. “Ecksteine neuer Musik.” Magnum no. 30 (June), 41-42.

 

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Metzger, Heinz-Klaus 1965b. “Über die Verantwortung des Komponisten.” Collage [Palermo] no. 5 <12> (September), 70-76; repr. in Metzger, H.-K. 1980, 27-39.

 

Metzger, Heinz-Klaus 1966. “John Cage in Saint-Paul-de-Vence.” Melos 33, 424-427.

 

Metzger, Heinz-Klaus 1969a. “Musik wozu?” Dissonanz: Kritische Zeitschrift für Musik no. 3 (20 October), 3-11; repr. in Metzger, H.-K. 1980, 294-306; French as “Musique, pourquoi faire?” Trans. Bob Weber, Jean-Yves Bosseur, Giuseppe G. Englert. Musique en jeu no. 1 (November 1970), 86-94.

 

Metzger, Heinz-Klaus 1969b. “Züspa oder Der mißbrauchte John Cage.” Frankfurter Rundschau (May 24); repr. Stuttgarter Zeitung (June 9).

 

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Metzger, Heinz-Klaus and Rainer Riehn 1980, ed. Erik Satie. München: text + kritik (Musik-Konzepte; 11).

 

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Metzger, Heinz-Klaus and Rainer Riehn 1990, ed. John Cage II. München: text + kritik (Musik-Konzepte; Sonderband) (Angermann 1991; Ehrismann 1991a; Hirsbrunner 1990b; Koch, G.R. 1990; Rizzardi 1992b; Wagner, M. 1990).

 

Metzger, Heinz-Klaus and Rainer Riehn 1999, ed. Darmstadt-Dokumente I. München: text + kritik (Musik-Konzepte; Sonderband).

 

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Napolitano, Ernesto 1972. “L’idioletto di John Cage.” Nuova Rivista Musicale Italiana 6, 391-403.

 

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Nauck, Gisela 1990b. “Sie werden nichts hören-Sie werden alles hören: John Cage in Berlin.” Musik und Gesellschaft [Berlin] 40, 562-563.

 

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Nelson, Catherine 2001. [Title unknown]. The Strad (March).

 

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Neue Musikzeitung 1982. “Wittener Tage für neue Kammermusik.” Neue Musikzeitung 31, no. 3 (June-July).

 

Neue Musikzeitung 1986. “Musik im Land begrenzter Möglichkeiten: New Music America ’86 – Beobachtungen bei einem Musik-Marathon.” Neue Musikzeitung 35 (June-July), 60.

 

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New York Herald Tribune 1952b. [Review]. New York Herald Tribune (October 13).

 

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New York Times 1947. “Records: Excerpts from ‘Wozzeck’.” New York Times (May 27).

 

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New York Times 1954b. “Liner’s Passengers in Sit-Down after Collision at Sea.” New York Times (October 4), 1, 49.

 

New York Times 1956. “John Cage and Composer Associates Present Unusual Stereophonic Concert.” New York Times (May 31), 21.

 

New York Times 1957. “Reprise.” New York Times (May 5).

 

New York Times 1963. “Music Notes.” New York Times (September 9).

 

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New York Times 1968. “Fourteen Members are Chosen by National Arts Institute.” New York Times (March 5), 44.

 

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New York Times 1973. “A Retrospective of Cage’s Music.” New York Times (January 17), 27.

 

New York Times 1975. “Going Out Guide.” New York Times (May 5).

 

New York Times 1979. [Untitled]. New York Times (December 30).

 

New York Times 1986. “Weekend.” New York Times (June 6).

 

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New York World-Telegram 1943. “Moderns Get Hearing.” New York World-Telegram (March 6).

 

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News-Gazette 1969b. “Record Version of HPSCHD Available at Performance.” News-Gazette (May 14).

 

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Newsweek 1964. “Sound of Cybernetics.” Newsweek (February 17), 88.

 

Newsweek 1966. “Jammed Doors.” Newsweek (October 31), 101-102.

 

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Nicholls, David 1993c. “Reviews of Books.” Music & Letters 74, 625-626.

 

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Nicholls, David 2005. “‘Nicht jedermann kann ein Waisenkind sein’: John Cage und die Ultramodernen.” Trans. Monika Lichtenfeld. MusikTexte no. 106 (August), 26-30.

 

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Nimczik, Ortwin 1989b. “Musikpraktische Gestaltungsversuche durch Schüler auf Grundlage der Beschäftigung mit Erik Saties ‘Portrait de Socrate’ und der ‘Cheap Imitation’ (Satz I) von John Cage (gymnasiale Oberstufe).” In Spiel-Räume fürs Leben: Musikerziehung in einer gefährdeten Welt. Ed. by Karl-Heinrich Ehrenforth. Mainz: Schott, 118-128.

 

Nimczik, Ortwin 1998. “‘Jeder Klang hat seine eigene Seele, sein eigenes Leben’: Musikalische Gestaltungsarbeit nach Four6 von John Cage.” Musik und Bildung 30, no. 5 (September-October), 52-55.

 

Nimczik, Ortwin 1999. “Das Ensemble der Radios: Radiomusiken von John Cage, Vinko Globokar und Pierre Henry.” Musik und Bildung 31, no. 1 (January-February), 36-41.

 

Nimczik, Ortwin 2003. “Musikalische Entdeckungsreise zu Alltagsgegenständen: Gestaltungsanregungen durch John Cages Living Room Music.” Musik und Bildung 35, no. 1 (January-March), 64-67.

 

Nimczik, Ortwin 2004. “Kalkulierter Zufall – individuelle Konstruktion: Vergleich zweier Melodiekompositionen von John Cage und Karlheinz Stockhausen.” Musik und Bildung 36, no. 4 (October-December), 32-37.

 

Nimczik, Ortwin 2005. “Das instrumentierte Klavier: Gestaltungsanregungen aus John Cages Sonatas and Interludes (1946-48).” Musik und Bildung 37, no. 1 (January-March), 58-61.

 

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Nocera, Gigliola 1978b. “Verso una musicalitą integrale del quotidiano.” Scena [Milano] 3, no. 2 (April), 19-20.

 

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Nocera, Gigliola 1985a. “Cage, John.” In La nuova enciclopedia della letteratura Garzanti. Ed. by Giuseppe Barile et al. Milano: Garzanti, 170 (Nuova Serie Garzanti 12,5 x 19).

 

Nocera, Gigliola 1985b. “Le ‘partiture verbali’ di Cage.” Gli occhi dello stěpa [Torino] 3, no. 6 (May), 41-47.

 

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Nocera, Gigliola 1987-1988. “Les Freeman Etudes de John Cage.” Trans. Susan Santolini. In Charles 1987-1988, 349-350.

 

Nocera, Gigliola 1988a. “Cage e il computer autori per Gibellina.” La Sicilia (August 5), 17.

 

Nocera, Gigliola 1988b. “Cage, l’esploratore della musica.” La Sicilia (August 13), 3.

 

Nocera, Gigliola 1988c. “Che numero questa musica.” La Sicilia (August 8), 16.

 

Nocera, Gigliola 1993. “Frammenti di funghi.” In Costa, L. et al. 1993, 797-798.

 

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Nyffeler, Max 1977. “Spritzen von der Folklore bis zum Tingeltangel.” Kölner Stadt-Anzeiger (December 13).

 

Nyffeler, Max 1978a. “Partituren ausgestellt.” Kölner Stadt-Anzeiger (April 5), 32.

 

Nyffeler, Max 1978b. “Ein Stachliger im Sonntagskleid.” Kölner Stadt-Anzeiger (April 8), 37.

 

Nyffeler, Max 1979a. “Krankhaftes Mißtrauen gegenüber dem Gefühl.” Kölner Stadt-Anzeiger (June 12), 14.

 

Nyffeler, Max 1979b. “Die Zeit ist ein Container.” Frankfurter Allgemeine (August 4), 19; repr. Gaudeamus Informatie no. 151 (December 1979), 14-15.

 

Nyffeler, Max 1979c. “Zwischen Experiment und Dogma.” Stuttgarter Zeitung (June 21), 26.

 

Nyffeler, Max 1982a. “Revolutionär ohne Dogma.” Stuttgarter Zeitung (September 4).

 

Nyffeler, Max 1982b. “Ein stoischer Optimist.” Basler Zeitung (September 4).

 

Nyffeler, Max 1982c. “Subjekt Ost, Subjekt West, - ein Störer.” Stuttgarter Zeitung (May 8).

 

Nyffeler, Max 1983a. “An den Rändern von Raum und Zeit.” Neue Musikzeitung 32, no. 4 (August-September), 5.

 

Nyffeler, Max 1983b. “Sprachkompositionen am Rande der Zeit.” Tages-Anzeiger (June 20).

 

Nyffeler, Max 1987. “Blick in die Eingeweide der Oper.” Tages-Anzeiger (December 15).

 

Nyffeler, Max 1993. “‘… das beste steht nicht in den Noten …’: Reduktion komplex.” Positionen no. 16 (August), 2-5.

 

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Nyman, Michael 1972. “The Experimental Tradition.” Art and Artists 7, no. 7 <no. 79> (October), 44-49.

 

Nyman, Michael 1973a. “Cage and Satie.” Musical Times 114, 1227-1229; repr. in Kostelanetz 1993f, 66-72.

 

Nyman, Michael 1973b. “Cage/Cardew.” Tempo no. 107 (December), 32-38.

 

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Nyman, Michael 1976a. “Hearing/Seeing.” Studio International [London] 192, no. 984 (November-December), 233-243.

 

Nyman, Michael 1976b. “Music.” Studio International [London] 192, no. 983 (September-October), 192-194; German as “Annotationen.” Trans. Rainer Riehn. In Metzger, H.-K. and Riehn 1978b, 56-61.

 

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Nyman, Michael 1982. “Nam June Paik, Composer.” In Hanhardt 1982, 79-90.

 

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Oehlschlägel, Reinhard 1969a. “Aktionen von heute und morgen: Musiktheater von Cage, Kagel und Ligeti.” Opernwelt no. 3 (March), 40.

 

Oehlschlägel, Reinhard 1969b. “Komponierte Konzertformen.” Frankfurter Allgemeine (September 13), 13.

 

Oehlschlägel, Reinhard 1971a. “Cage gibt das Komponieren auf: Die ‘Journeés de Musique Contemporaine’ in Paris.” Neue Musikzeitung 20, no. 1, 15.

 

Oehlschlägel, Reinhard 1971b. “Claude Debussy und die neue Musik.” Musica [Kassel] 25, 353-355.

 

Oehlschlägel, Reinhard 1971c. “Tage für neue Musik (Paris).” Musica [Kassel] 25, 27-28.

 

Oehlschlägel, Reinhard 1978. “Ein bißchen Etikettenschwindel mit John Cage. ‘Konzepte’-Musik: Ausstellung & Konzerte & Schriften, informativ und nostalgisch.” Frankfurter Rundschau (April 20), 12.

 

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Oehlschlägel, Reinhard 1979b. “Wort-Spiele bis Sonnenaufgang.” Deutsches allgemeines Sonntagsblatt (July 1), 19.

 

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Oehlschlägel, Reinhard 1983. “John Cage: Eine deutschsprachige Auswahlbibliographie.” In For 1983, 33-39.

 

Oehlschlägel, Reinhard 1984a. “Darmstadt lebt wieder.” General-Anzeiger (August 25).

 

Oehlschlägel, Reinhard 1984b. “Darmstädter Wiederbelebung: Zu den Internationalen Ferienkurse für Neue Musik 1984.” MusikTexte no. 6 (October), 60-61.

 

Oehlschlägel, Reinhard 1984c. “Moderne und Postmoderne.” MusikTexte no. 6 (October), 3-4.

 

Oehlschlägel, Reinhard 1985. “Zufällige Koinzidenz: 55 Bruchstücke zu den Thirty Pieces for String Quartet von John Cage.” Melos 47, no. 4, 2-18.

 

Oehlschlägel, Reinhard 1986. “Der Etüden andere Art: ein Nachruf auf ‘Neuland’.” MusikTexte no. 13 (February), 65-66.

 

Oehlschlägel, Reinhard 1987a. “Geburtstagfeier.” Frankfurter Rundschau (March 3).

 

Oehlschlägel, Reinhard 1987b. “‘The Space Acts as a Filter’: Zur Dimension der Räumlichkeit von Musik.” MusikTexte no. 21 (October), 41-45.