Quander, Georg 1982. Schaupltze fr Musik: Tendenzen im amerikanischen Musiktheater der Gegenwart. In Musiktheater heute: Sechs Kongrebeitrge: Jahrestagung, Darmstadt, 1982. Ed. by Hellmut Khn. Mainz: Schott, 105-121.

 

Quillet, Hlne 1972. Chroniques. Musique en jeu no. 7 (May), 134-135.

 

Quinn, Sue 1944. Modern Dance Is Interpreted with Realism, by Cunningham. Richmond Times-Dispatch [Richmond, Virginia] (November 21).

 

Quist, Pamela Layman 1984. Indeterminate Form in the Work of Earle Brown. DMA thesis, Composition: Peabody Institute, Johns Hopkins University.

 

R.B. 1963. Ballettabend Merce Cunningham. Aufbau [New York] (August 23).

 

R.B. 1987. John Cage Metz: Les 75 ans du plus actuel des contemporains. Le Rpublicain Lorrain (November 23).

 

R.C.M. 1975. Cage: Winter Music. Flynn: Wound. High Fidelity/Musical America (March).

 

R.E. 1952. Jean Erdman, Hunter Playhouse, Jan. 18. Musical America 72, no. 3 (February), 206.

 

R.E. 1977. Klassische Tradition und neue Form. Handelsblatt [Dsseldorf] (June 24).

 

R.G. 1984a. Arriva John Cage: Sonorizzer un bosco? Il Secolo XIX [Genova] (April 28).

 

R.G. 1984b. Tra musica e funghi John Cage provoca dal podio. Il Secolo XIX [Genova] (May 8).

 

R.S., N.K., and Louis Horst 1954. Reviews of the Month: Merce Cunningham and Dance Company. Dance Observer 21, no. 2 (February), 25-26.

 

R.W.S. [between 1968-1972]. Foss. High Fidelity, 98-100.

 

Raaijmakers, Dick 1989a, ed. Anti qua musica: Het open instrument in kunst en antikunst. s-Gravenhage: Haags Gemeentemuseum; SDU uitgeverij.

 

Raaijmakers, Dick 1989b. De provocatieve schroef. In Raaijmakers 1989a, 36-38.

 

Raaijmakers, Dick/Schnberger, Elmer and J.F. Vogelaar 1981. Verschuivingen in de slagorde. Raster new series no. 19 (1981), 14-58.

 

Racine, Rober 1997. Cage/Satie: Le silence vertigineux: Quelques rencontres avec John Cage sans jamais lavoir regard dans les yeux. Circuit [Montral, Qubec] 8, no. 2 (1997), 39-43.

 

Rackliffe, Howard 1956. Cage Untudored. Village Voice (June 6), 6.

 

Radano, Ronald M. 1982-1983. Themes and Variations by John Cage. Perspectives of New Music 21, no. 1-2 (Fall-Summer), 417-424.

 

Raffi, Alessandro 1991. Labbandono, il tempo, il silenzio: Su alcuni luoghi del pensiero di John Cage. Musica/Realt 12, no. 35 (August), 53-63.

 

Raffmann, Rita La Plante 1976. Ludwig Wittgensteins Concept of Family Resemblances and Contemporary Music. In In Search of Musical Method. Ed. by F. Joseph Smith. London: Gordon and Breach; repr. Music and Man [London] 2, no. 1-2 (August 1976), 117-123.

 

Rahn, John 1994. Centers - Dissenters: Music, Religion, and Politics. Current Musicology no. 56, 72-85.

 

Raimi, Jessica 1987. Lieutenant Pinkerton Visits Cigarette Factory. Columbia College Today 14, no. 3 (Fall), 6-7.

 

Raine-Reusch, Randy 1994a. Without Intent. Musicworks no. 57 (Winter), 21-23.

 

Raine-Reusch, Randy 1994b. Zero for John Cage. Musicworks no. 57 (Winter), 22.

 

Rainer, Yvonne 1981. Looking Myself in the Mouth. October [Cambridge, Massachusetts] no. 17 (Summer), 65-76; repr. in Robinson, Julia 2011, 35-48.

 

Ramos, Francisco 1993. Tragedia de la escucha. Revista de Occidente no. 148 (September), 101-11.

 

Ramos, Francisco 2004. Discos. Scherzo 19 (May), 66.

 

Ramovš, Primož 1982. Nova pota Wittenskega festivala. Naši Razgledi [Ljubljana] (May 28).

 

Rand, Joey 1993. A Garage Sale at MOCA. Los Angeles Reader (October 1).

 

Randolph, David 1959. A New Music Made with a Machine. Horizon 1, no. 3 (January), 119-127.

 

Raney, Carolyn 1971. Indeterminacy in Music. Music: the A.G.O. and R.C.C.O. Magazine 5, no. 7 (July), 23.

 

Ranta, Michael W. 1969. The Avant Garde Scene: John Cages 27'10.544" for a Percussionist: An Analysis of 2 Possible Realizations Percussionist 7, no. 1 (October), 8-12.

 

Rao, Nancy Yunhwa 2005. Cowells Sliding Tone and the American Ultramodernist Tradition. American Music 23, no. 3 (Fall), 281-323.

 

Rapoport, Paul 1977. Cage in Toronto. Tempo no. 123 (December), 51-52.

 

Rapoport, Paul 1978. Guide to Records. American Record Guide 41, no. 6 (April), 13-14.

 

Rapoport, Paul 1982. Books [Review of Cage 1979c, Cage/Charles 1976, and Griffiths 1981a]. Tempo no. 140 (March), 36-38.

 

Rsnen, Auli 1983. Sienestv Cage ja muita ilmiit. Uusi Suomi [Helsinki] (August 1).

 

Rasch, Rudolf et al. 1993, ed. Cage, John. In Lexikon klassieke muziek. Utrecht [etc.]: Kosmos-Z&K, 54-55.

 

Rasmussen, Karl Aage 1992-1993. John var her: John Cage, 1912 til 1992. Dansk Musiktidsskrift 67, nr. 3, 74-83.

 

Rasmussen, Karl Aage/Beyer, Anders 1997. Modviljens poesi: Samtale med komponisten Karl Aage Rasmussen. Dansk Musiktidsskrift 72, no. 1 (September), 2-11 and 72, no. 2 (October), 46-54.

 

Ratcliff, Carter 1980. Looking at Sound. Art in America 68, no. 3 (March), 87-95.

 

Rther, Helmut 1992. John Cage: Schrille Tne gegen die alte Harmonie. Westflische Rundschau [Dortmund] (August 14), [4].

 

Rathert, Wolfgang 1983. Musik als Philosophie - Ives und Cage in der Nachfolge des Transzendentalismus. In Der Hang zum Gesamtkunstwerk: Europische Utopien seit 1800 (suppl. to the [Berlin station of the exhibition]). Berlin: DAAD, 53-59.

 

Rathert, Wolfgang 1995. Der amerikanische Transzendentalismus. In Musik und Religion. Laaber: Laaber, 189-214.

 

Rathert, Wolfgang 2001. Ein Kopfstand vor der Aufnahmeprfung. Frankfurter Allgemeine (June 16), iv.

 

Ratner, Leonard G. 1966. Music: The Listeners Art, 2nd ed. New York: McGraw-Hill.

 

Rau, Paula Oliver 2005. John Cage: Prints, Drawings and Watercolors, 1978-1992. Ph.D. dissertation, Virginia Commonwealth University.

 

Raum 1985. Raum Zeit Stille II: John Cage: Mushrooms et Variationes. Kln: Klner Gesellschaft fr Neue Musik (Verffentlichungen; 14).

 

Rausch, Ulrike 1993. John Cage: der Weg zum Sptwerk. Magisterarbeit Albert-Ludwigs-Universitt Freiburg im Breisgau.

 

Rausch, Ulrike 1999a. Christian Wolff: John, David. Positionen no. 38 (February), 47-48.

 

Rausch, Ulrike 1999b. Grenzgnge: Musik und bildende Kunst im New York der 50er Jahre. Saarbrcken: Pfau (Ph.D. dissertation, Albert-Ludwigs-Universitt Freiburg im Breisgau, 1998) (review: Sanio 2000).

 

Rauschenberg, Robert/Rose, Barbara 1987. Rauschenberg: An Interview with Robert Rauschenberg by Barbara Rose. New York: Vintage Books; German as Robert Rauschenberg im Gesprch mit Barbara Rose, trans. Lothar Gorris. Kln: Kiepenheuer und Witsch, 1989 (Kunst heute; 3).

 

Rauschning, Hans 1960. Auf die Spitze getrieben. Der Abend [Berlin] (September 29).

 

Rautmann, Peter and Nicolas Schalz 2002a, ed. Anarchistische Harmonie: John Cage und die Zukunft der Knste. Bremen: H.M. Hauschild (Einwurf: Dialoge zwischen Kunst und Musik an der Hochschule fr Knste Bremen; 2).

 

Rautmann, Peter and Nicolas Schalz 2002b. Matinee: John Cage - Lecture on Nothing. In Rautmann und Schalz 2002a, 16-43.

 

Ravenscroft, Brenda 2006. Re-Construction: Cage and Schoenberg. Tempo no. 235 (January), 2-14.

 

Raybaud, Antoine 1995. Cage et C: Potique de la mtamorphose. Littrature: Larousse no. 99 (October), 88-96.

 

Raymond, Silvy Panet 1980. Cunningham - I had no idea where the floor was. Cage - Oh yes, that was fun. Cunningham - Fun? It was hell!. Performance Magazine [London] no. 7 (August), 10-12.

 

Raynor, Henry B. 1985. Reviews of Music. Music Review 46, 152-153.

 

Read, Gardner 1969-1970. Music Reviews. Notes series 2, vol. 26, 351-352.

 

Read, Gardner 1976. Contemporary Instrumental Techniques. New York: Schirmer Books.

 

Read, Gardner 1993. Compendium of Modern Instrumental Techniques. Westport, Connecticut [etc.]: Greenwood Press.

 

Rebhahn, Michael 1999. Die Lysis des Zusammenhanges: John Cages Konzeption eines multidimensionalen Musiktheaters. Magisterarbeit Musikwissenschaftliches Institut, Johann Wolfgang Goethe-Universitt, Frankfurt am Main.

 

Rebhahn, Michael 2001. Die Auflsung des Zusammenhangs: John Cages multidimensionales Musiktheater Europeras 1 & 2. MusikTexte no. 90 (August), 13-21.

 

Rebhahn, Michael 2009. Ein Ruspern am Morgen: John Cages Organ2/ASLSP in Halberstadt. Neue Zeitschrift fr Musik 170, no. 1 (January-February), 28-31.

 

Rebscher, Georg 1976. Natur in der Musik. Wiesbaden: Breitkopf und Hrtel (Materialien zur Didaktik und Methodik des Musikunterrichts; 3).

 

Recorded Sound 1982. [Review of Griffiths 1981a]. Recorded Sound no. 81 (January), 87-88.

 

Ree, Hans 1991. Ter ere van Duchamp. NRC Handelsblad (August 17), Zaterdags Bijvoegsel, 4.

 

Reeve, Stephen 1982. Odyssey towards John Cage. Classical Music (July 3), 17.

 

Reeve, Stephen 1986. Reports and Reviews. Classical Music (May 31), 25.

 

Register Magazine 1961. Sounds Make Music. Register Magazine [New Haven, Connecticut] (May 14), 4.

 

Rehak, Frank 1980. A Call from Cage. Ear [San Francisco, California] 8, no. 5 (September-October), 1.

 

Rehfeldt, Phillip 1977. New Directions for Clarinet. Berkeley [etc.]: University of California Press (The New Instrumentation; 4).

 

Rehn, Renate 1987. Ein Zirkus des europischen Musiktheaters. Volksblatt Berlin/Spandauer Volksblatt (December 9).

 

Reich, Steve 1972. Music as a Gradual Process. Source [Sacramento, California] 5, no. 2 <no. 10> (1972), 30; repr. in Reich 1974c.

 

Reich, Steve 1974a. Notes on Music and Dance 1973. In Reich 1974c, 41-43.

 

Reich, Steve 1974b. Notes on the Ensemble 1973. In Reich 1974c, 45-48.

 

Reich, Steve 1974c. Writings about Music. Halifax: Press of the Nova Scotia College of Art and Design (Nova Scotia Series: Source Materials of the Contemporary Arts).

 

Reichenfeld, J(nos) [Hans] 1968. De niet-bestaande Silence van John Cage. Nieuwe Rotterdamse Courant (March 29); repr. in J. Reichenfeld, Schrijven over muziek kan eigenlijk niet. Rotterdam: NRC Handelsblad; Amsterdam: Meulenhoff, 1979, 168-173.

 

Reichenfeld, J. 1976. Amerikaanse avant-garde te kust en te keur. NRC Handelsblad (June 9), 6.

 

Reichenfeld, Katja 1988. Masterclass John Cage: Veel stilte. NRC Handelsblad (July 2), 6.

 

Reichert, Klaus 1983. Dankrede des Wieland-Preistrgers 1983, Klaus Reichert, bei der Verleihung des Preises am 18. Oktober 1983 in Esslingen. Der bersetzer [Mnchen] 20, no. 11-12 (November-December); repr. Neuland 5 (1984-1985), 371-373.

 

Reichert, Klaus 1984-1985. Zur bersetzung des Alphabet von John Cage. Neuland 5, 364-365.

 

Reichert, Klaus 1985. Finnegans Wake auf der Spur bei John Cage: James Joyce und Roaratorio. MusikTexte no. 10 (July), 23-26.

 

Reichow, Christa 1980. Die Gedanken sind frei... General-Anzeiger (October 18).

 

Reidy, Brent 2010. Our Memory of What Happened is Not What Happened: Cage, Metaphor, and Myth. American Music 28, no. 2 (Summer), 211-227.

 

Reimer, Bennett 1970. A Philosophy of Music Education. Englewood Cliffs, New Jersey: Prentice-Hall.

 

Reimers, Lennart 1963. Cage och verkligheten. Svenska Dagbladet (May 31 [in several editions June 1]), Section A, 14.

 

Reimers, Renate 1992. Der Mann, der die Klassik revolutionierte. Express [Kln] (August 14), 7.

 

Rein, Ingrid 1991. John hat alles verndert... Sddeutsche Zeitung (July 24), 11.

 

Reinboud, W. 1992. Lezersreacties. Entracte 4, no. 9 (November), 5.

 

Reinhardt, Lauriejean 2000. John Cages The Wonderful Widow of Eighteen Springs. In The Rosaleen Moldenhauer Memorial: Music History from Primary Sources: A Guide to the Moldenhauer Archives. Ed. by Jon Newsom and Alfred Mann. Washington, D.C.: Library of Congress.

 

Reininghaus, Frieder 1983a. John Cage, der Gaukler. Neue Zeitschrift fr Musik 144, no. 7-8 (July-August), 50-51.

 

Reininghaus, Frieder 1983b. Musik aus lauter Gaukler-Wrtern. Sddeutsche Zeitung (May 30), 23.

 

Reininghaus, Frieder 1987a. Wohlabgeschmecktes Opern-Ragout. General-Anzeiger (December 16), 11.

 

Reininghaus, Frieder 1987b. Ein wohlabgeschmecktes Opern-Ragout: John Cages Europeras 1 & 2 in Frankfurt uraufgefhrt. Neue Zeitschrift fr Musik 149, no. 3 (March 1988), 34-36.

 

Reininghaus, Frieder 1989. Die Neue Oper: Zum Musiktheater der achtziger Jahre. Theater Heute 30, no. 11 (November), 20-25.

 

Reininghaus, Frieder 1992a. Alles Einfache ist schwer. Deutsches Allgemeines Sonntagsblatt (August 21), 24.

 

Reininghaus, Frieder 1992b. Sanfte Revolution der Musik. General-Anzeiger (August 14), 12.

 

Reininghaus, Frieder 1992c. Von Feldman bis Coleman. General-Anzeiger (December 28), 15.

 

Reinke-Nobbe, Herbert 1987. Flammenmeer in der Oper: Brandstifter festgenommen. Frankfurter Neue Presse (November 13), 1.

 

Reis, Claire R. 1942. League of Composers Turns 20. New York Times (December 20).

 

Reis, Claire R. 1947. Composers in America: Biographical Sketches of Contemporary Composers with a Record of Their Works, rev. and enl. ed. New York: Macmillan; repr. New York: Da Capo Press, 1977 (Da Capo Press Music Reprint Series).

 

Reisinger 1961. Koncert Klnskih gostiju [cartoon]. Vjesnik [Zagreb] (May 24).

 

Reiinger, Marianne 1987a. Cage-Urauffhrung nun im Dezember. Abendzeitung [Mnchen] (November 13).

 

Reiinger, Marianne 1987b. Mnchens Ring als Pausenfller. Abendzeitung [Mnchen] (November 19).

 

Reiter, Susan 1982. Cunninghams Fatal Attraction. Los Angeles Times (April 4), Calendar, 69.

 

Renaissance 1986. Cage non-stop. La Renaissance (late January or early February).

 

Renneberg, Gerlind 1999. A House Full of Music: Ein Musik-Zirkus nach John Cage. Musik in der Schule 50, no. 1 (January-March), 2-4+.

 

Reporter 1978. Arts. Reporter [Buffalo, New York] (October 19), 1, 3.

 

Reporter 1980. Gala at the Gallery. Reporter (March 27).

 

Reportero 1982. Semana John Cage. El Reportero (March 2), 17.

 

Repubblica 1984. E a Torino 15 giorni con John Cage. La Repubblica (April 29-30).

 

Rpublicain Lorrain 1981. Ces compositeurs qui font leur petite cuisine. Le Rpublicain Lorrain (November 18), 1.

 

Restagno, Enzo 1983. Da Venezia, la Biennale Musica. Nuova Rivista Musicale Italiana 17, no. 1, 104-111.

 

Restagno, Enzo 1984a. Festival Cage. La Stampa (April 28).

 

Restagno, Enzo 1984b. Un grande Cage che fa discutere. La Stampa (May 7).

 

Restagno, Enzo 1984c. Suoni di John Cage. La Stampa (May 16).

 

Restany, Pierre 1963. Une tentative amricaine de synthse de linformation artistique: Les happenings. Domus [Milano] no. 405 (August), 35-42.

 

Restany, Pierre 1978. Lautre face de lart: Le jeu existentiel [in French, English, Italian]. Domus no. 581 (April), 41-47.

 

Restany, Pierre 1979. Lautre face de lart. Paris: Galile, 1979; Spanish as La otra cara del arte. Buenos Aires: Rosenberg-Rita, 1982 (Teora artstica y esttica).

 

Resto del Carlino 1978. Un treno per far musica. Il Resto del Carlino (June 3).

 

Reszler, Andr 1973. Lesthtique anarchiste. Paris: Presses universitaires de France.

 

Retallack, Joan 1987. Post-Scriptum-High-Modern. Genre 20, 483-512; repr. in Perloff, M. 1989, 248-273.

 

Retallack, Joan 1993. Uncagedwords: John Cage in Dialogue with Chance. In Ferguson and Schottlaender 1993.

 

Retallack, Joan 1994a. Poethics of a Complex Realism. In Perloff, M. and Junkerman 1994b, 242-273.

 

Retallack, Joan 1994b. Revisions to Overpopulation and Art. In Perloff, M. and Junkerman 1994b, 275-278.

 

Retzel, Frank 2010. [Review of Sauer 2008]. New Music Connoisseur 18, no. 1 (Spring), 26.

 

Revill, David 1989. The Sound of Silence. Times Higher Education Supplement (December 1).

 

Revill, David 1990. The Sound of Silence. Times (November 17).

 

Revill, David 1992. The Roaring Silence: John Cage, A Life. New York: Arcade; London: Bloomsbury; German as Tosende Stille: Eine John-Cage-Biographie. Trans. Hanns Thenhors-Esch. Mnchen [etc.]: List, 1995 (reviews: Alburger 1996a; Brooks, W. 1997; Driver 1993; Gratzer 1997; Griffiths 1992; Hodges 1992; Kostelanetz 1993e; Nicholls 1993c; Nofze 1996; Taruskin 1993; Voermans 1992a).

 

Revill, David 1999. John Cage. Percussive Notes 37, no. 5 (October), 73-75.

 

Revista de Musicologia 1998. [Review of Pardo Salgado 1998]. Revista de Musicologia [Madrid] 21, no. 1, 283-285.

 

Rexroth, Dieter 1972. Wohin mit dem neuen Musikmll? General-Anzeiger [Bonn] (October 27).

 

Rey, Anne 1974. Erik Satie. Paris: Seuil (Solfges; 35); repr. 1981.

 

Rey, Anne 1990. Fentre sur cours (de chant). Le Monde (October 5).

 

Rey, Anne 1992. La mort de John Cage. Le Monde (August 14), 1, 9.

 

Reynolds, Roger 1965. Indeterminacy: Some Considerations. Perspectives of New Music 4, no. 1 (Fall-Winter), 136-140.

 

Reynolds, Roger 1968. Happenings in Japan and Elsewhere. Arts in Society 5, no. 1 (Spring-Summer), 90-101.

 

Reynolds, Roger 1980a. For Paul Taylor and Anita Dencks. In Faculty 1980, [23]-[24].

 

Reynolds, Roger 1980b. Song Books. In Faculty 1980, [32]-[37].

 

Reynolds, Simon 1994. British Rave. Artforum 32 (February), 54-56.

 

Rhodes, Carol Shirley 1995. The Dance of Time: The Evolution of the Structural Aesthetics of the Prepared Piano Works of John Cage. DMA dissertation, University of Arizona.

 

Rhodes, John 1980. Glosses on Empty Words. New Boston Review 5 (June-July), 3-5.

 

Ricci, Massimo 2009. [OgreOgress Productions 634479962141 (recording)]. Touching Extremes (December 19). http://touchingextremes.blogspot.com/2009/12/john-cage-sculptures-musicales-twenty.html (accessed September 4, 2010).

 

Ricci, Massimo 2010. [Review of Another Timbre AT18 (recording)]. Touching Extremes (February 21). http://touchingextremes.blogspot.com/2010/02/tom-chant-angharad-davies-benedict-drew.html (accessed September 4, 2010).

 

Rice, Bill 1978a. Cage Concert Is Unique. Schenectady Gazette (January 17).

 

Rice, Bill 1978b.Composer Cage Dominates Avant Garde Music Realm. Schenectady Gazette (January 17).

 

Rich, Alan 1961. Composers Showcase. Musical America 81, no. 6 (June), 48-49.

 

Rich, Alan 1964. The Most Adventurous of Adventurous. New York Herald Tribune (February 7), 9.

 

Rich, Alan 1969. Up the Wall with John Cage. New York (October 6), 54.

 

Rich, Alan 1980. And Things That Go Beep in the Night. New West (March), 61, 63.

 

Rich, Alan 1988a. Europeras Is More than Sum of Its Parts.  Los Angeles Herald Examiner (ca. July 15), B-1, B-5.

 

Rich, Alan 1988b. [Title unknown]. Los Angeles Herald Examiner (July 24), E-2.

 

Rich, Alan 1989a. And Never the Twain Shall Meet? Los Angeles Herald Examiner (August 27), F4.

 

Rich, Alan 1989b. High Culture from Thin Air at Telluride. Los Angeles Herald Examiner (August 22), B-1, B-5.

 

Rich, Alan 1990. Cultural Influence of Cage Left No One Unchanged. Daily News [Los Angeles] (March 25).

 

Rich, Alan 1993. The Sound of One Hand [includes review of Mode 27; New World Records 80405-2; Newport Classic Premier NPD 85526; Newport Classic Premier NPD 85547; Smithsonian Folkways CD SF 40804-40805; Wergo WER 6216-2 (recordings)]. LA Weekly (September 10-16), 18-22, 24-26.

 

Rich, Alan 1995. American Pioneers: Ives to Cage and Beyond. London: Phaidon (20th-Century Composers).

 

Richard, Christine 1991. Zrtlicher Zufall. Basler Zeitung (June 22).

 

Richards, D. 1994. Out of Cage. Musical Opinion 117 (February), 51.

 

Richards, M(ary) C(aroline) 1982. John Cage and the Way of the Ear. Triquarterly [Evanston, Illinois] no. 54 (Spring), 110-121; repr. in Gena and Brent 1982, 38-49.

 

Richards, Sam 1996. John Cage As Oxford: Amber Lane Press (Shultis 1998-1999).

 

Richardson, Derk 1987. My Dinner with Ono (and Cage and Anderson) [Review of Sumner, Burch, and Sumner 1986]. San Francisco Bay Guardian (March 18).

 

Richardson, Gregg 1986. Reminiscing with John. BG News [Bowling Green, Ohio] (November 11), 2.

 

Richart, Bette 1962. A Modern Composer Lectures on Art. The Commonweal 75 (January 12), 416-417.

 

Richter, Klaus Peter 1999. Bei den falschen Meistern. Frankfurter Allgemeine (November 17).

 

Rickenbacker, William F. 1970. Two Metamorphosis Nights. National Review [New York] 22, no. 25 (June 30), 690-91.

 

Ricker, Mathias 1987. John Cage: Ein Monitor als Dirigent. Auftritt: Rhein-Main-Illustrierte (1987), 22-23.

 

Rico, Diana 1993. Tradition Upended: Circus by Cage. International Herald Tribune (November 27).

 

Riehn, Rainer 1978. Noten zu Cage. In Metzger, H.-K. and Riehn 1978b, 97-106.

 

Riehn, Rainer 1987. In (Un-)Art der Europeras oder die zufllige Verbindung eines Komponisten mit einem Schriftsteller = In (Un)Art of the Europeras or the Coincidental Link between a Composer and a Writer. Trans. Jeremy Gaines and Doris Jones. In Cage et al. 1987, [75]-[77]; enl. repr. of the German in Metzger, H.-K. and Riehn 1990, 129-131.

 

Riehn, Rainer 1992a. Chronologisches Werkverzeichnis ab 1985. In Metzger, H.-K. 1992b, 55-57.

 

Riehn, Rainer 1992b. Weder dies, noch jenes, noch irgend etwas oder Der Zufall der Zuflle. In Metzger, H.-K. 1992b, 43-54.

 

Riemens, Wim 1988. Componistenportet: John Cage [photographs]. Provinciale Zeeuwse Courant (June 29).

 

Rieple, Max 1959. Musik in Donaueschingen. Konstanz: Rosgarten.

 

Rieth, Michael 1987a. Frankfurt a.M.: Ensemble Modern spielt John Cage zu Jasper Johns in der Schirn. Das Orchester 35, 547-548.

 

Rieth, Michael 1987b. Rein mit der Lieblingsarie! Saarbrcker Zeitung (December 14), 5.

 

Riethmller, Albrecht 1995. Wie ber den Komponisten John Cage reden? Archiv fr Musikwissenschaft 52, 103-120.

 

Rietstap, Ine 1982. Merce Cunningham. NRC Handelsblad (June 1).

 

Riggins, Stephen 1982. Cage, the Chaos Continues. Toronto Arts News 1, no. 8 (March), 1, 6.

 

Rigoni, Michel 1990-1991. Vers toujours plus de libert. Les Cahiers du CIREM [Rouen] no. 18-19 (December-March), 81-100.

 

Rigoni, Michel 1996. Mthodologies de lanalyse de la musique contemporaine: Pluralit desthtiques, multiplicit danalyses. Musurgia 3, no. 3, 56-80.

 

Rihm, Wolfgang 1984. Avant-garde et tradition. Trans. Suzanna Niederer, Edna Politi and Philippe Albra. Contrechamps no. 3 (September), 69-82; original German text as Musikalische Freiheit. In Der Komponist Wolfgang Rihm: Ein Buch der Alten Oper Frankfurt: Frankfurt Feste 85. Ed. by Dieter Rexroth. Mainz [etc.]: Schott, 1985, 67-82; Danish as Musikalsk frihid. Trans. Bo Rasmussen. Dansk musiktidsskrift 60, no. 5 (1985-1986), 202-208.

 

Rijavec, Andrej 1993. Post mortem John Cage: Provokator, guru ali? In Kuret 1993, 83-88.

 

Rijnvos, Richard 1993. What is it like together? Genesis of the first production of Becketts Radio I. In Beckett in the 1990s: Selected Papers from the Second International Beckett Symposium, held in The Hague, 8-12 April, 1992. Ed. by Marius Buning and Lois Oppenheim. Amsterdam [etc.]: Rodopi, 103-110 (Samuel Beckett Today = aujourdhui; 2).

 

Riley, Charles A. 1998. The Saints of Modern Art: The Ascetic Ideal in Contemporary Painting, Sculpture, Architecture, Music, Dance, Literature, and Philosophy. Hanover, New Hampshire: University Press of New England.

 

Ringger, Rolf Urs 1969. Glucksen, keifen, schnurren. Die Welt (March 14).

 

Ringger, Rolf Urs 1972. Visible Musik und anderes. Die Weltwoche (October 25).

 

Ringo, James 1958. The Lure of the Orient. Bulletin of American Composers Alliance 7, no. 2, 8-12.

 

Ringo, James 1967-1968. John Cage,  Kind of Carefree Skinny-Dipping in the Infinite. American Record Guide 34, 848, 850, 852-853.

 

Rist-Grabner, Simone 1998. Stimme und Gesang bei John Cage. In Die Ausdruckswelt der Stimme. Ed. by Horst Gundermann. Heidelberg: Hthig, 314-316.

 

Rivera, Nelson 1982. Its John Cage Week at UPR. San Juan Star (February 28), Portfolio, 31.

 

Rivest, Johanne 1992. La notion de structure chez John Cage. Canadian University Music Review = Revue de musique des universits canadiennes 12, no. 1 (1992), 37-51.

 

Rivest, Johanne 1996a. Le Concert for Piano and Orchestra de John Cage ou les limites de lindtermination. Ph.D. dissertation, Musicology, Universit de Montral.

 

Rivest, Johanne 1996b. Glenn Gould and John Cage in Counterpoint. GlennGould 2, no. 2 (Fall), 81-85.

 

Rivest, Johanne 1996c. Here Comes John Cage. Musicworks no. 64 (Spring), 55-57.

 

Rivest, Johanne 1997a. Atlas Eclipticalis, commande montralaise. Circuit [Montral, Qubec] 8, no. 2 (1997), 61-69.

 

Rivest, Johanne 1997b. ҃ditorial. Circuit [Montral, Qubec] 8, no. 2 (1997), 5-6.

 

Rivest, Johanne 1998. La reprsentation des avant-gardes la Semaine Internationale de Musique Actuelle (Montral, 1961). Canadian University Music Review = Revue de musique des universits canadiennes 19, no. 1, 50-68.

 

Rivest, Johanne 1999a. Lart indtermin de John Cage vacue-t-il le principe dauthenticit? Les Cahiers de la Socit Qubcoise de Recherche en Musique 3, no. 1-2 (September), 71-76.

 

Rivest, Johanne 1999b. John Cages Concert for Piano and Orchestra. In Heintze 1999, 81-93.

 

Rivest, Johanne 2001. Le hasard et la technologie chez John Cage: Subsistance de la modernit. Canadian University Music Review = Revue de Musique des Universits Canadiennes 21, no. 2 (2001), 12-28.

 

Rivest, Johanne 2001b. Les spectateurs dans larne: Implications esthtiques du Musicircus de John Cage. Les Cahiers de la Socit Qubcoise de Recherche en Musique 5, no. 1-2 (December), 91-105.

 

Rixmann, Gerd 1970. Frankfurt auf der Suche nach neuer Freiheit. Melos 37, 107-108.

 

Rizzardi, Veniero 1992a. John Cage in Italia: Sentieri interrotti. Quaderni Perugini di Musica Contemporanea no. 52-57 (June), 14-20; repr. in Brand and Bianchi 1993, 7-13.

 

Rizzardi, Veniero 1992b. Ritorno a John Cage: Su qualche libro recente. Diastema [Treviso] no. 1 (January), 64-65.

 

Rizzardi, Veniero 1995. [Untitled]. Quaderni Perugini di Musica Contemporanea no. 69 (May), 3-4.

 

Roads, Curtis 1988. Reviews [Review of Kostelanetz 1988b]. Computer Music Journal 12, no. 4 (Winter), 47-49.

 

Robbins, Eugenia S. 1966. Performing Art. Art in America 54, no. 4 (July-August), 107-111.

 

Robellaz, Daniel 1990a. John Cage nous explique sa musique. Journal de Genve (September 12).

 

Robellaz, Daniel 1990b. Le triomphe de John Cage Genve. Journal de Genve (September 13).

 

Roberts, David 1976-1977. Jan Steele; John Cage: Voices and Instruments. Contact no. 15 (Winter), 34.

 

Roberts, David 1978. Cage. Musical Times 119, 697.

 

Roberts, Nesta 1964. Merce Cunningham Dance Company at Sadlers Wells. Guardian (August 1).

 

Robez, Franoise 1981. Merce Cunningham: La danse lՎtat brut. Le Journal Quotidien Rhne-Alpes [Lyon] (August 7).

 

Robinson, Abby 1989. The Artists Palate: How the Creative Crowd Feeds Itself. New York Post (April 5).

 

Robinson, Bob 1983. Three Views of Political Music. Walt 3, no. 2 [Valencia, California] (Fall), 4-7.

 

Robinson, Jean 1960a. The Aisle is Full of Noises. Village Voice (April 13), 12.

 

Robinson, Jean 1960b. New? Nu? no! Village Voice (March 23).

 

Robinson, Julia 2009a, ed. The Anarchy of Silence: John Cage and Experimental Art. Barcelona: Museu dArt Contemporani de Barcelona [MACBA; exhibition catalog, October, 23, 2009-January, 10, 2010; also editions in Catalan and Spanish; contributions by Yve-Alain Bois, Branden W. Joseph, Rebecca Y. Kim, Liz Kotz, James Pritchett, and others].

 

Robinson, Julia 2009b. John Cage and Investiture: Unmanning the System. In Robinson, Julia 2009a; rev. repr. in Robinson, Julia 2011, 171-216.

 

Robinson, Julia 2011, ed. John Cage. Cambridge, Massachusetts [etc.]: MIT Press (October Files; 12).

 

Robinson, Suzanne 2007a. Homage to a Non-Harmonic Genius: Glanville-Hicks on Cage. Musicology Australia no. 29 (2007), 1-22.

 

Robinson, Suzanne 2007b. A Ping, Qualified by a Thud: Music Criticism in Manhattan and the Case of Cage (1943-1958). Journal of the Society for American Music 1, no. 1 (February), 79-139.

 

Robinson, William R. 1971. Art as Process. Master of Fine Arts thesis, University of South Florida, Department of Visual Arts.

 

Roca, Octavio 1989a. Its All Music to His Ears. Washington Times (May 4), E1, E5.

 

Roca, Octavio 1989b. Moment of Silence for Cages, er, Art. Washington Times (May 8).

 

Roca, Octavio 1990. Book Reiterates Point: Cage is Empty. Washington Times (April 23), E8.

 

Rochberg, George 1960. Indeterminacy in the New Music. The Score no. 26 (January), 9-19; repr. in Rochberg 1984, 3-15.

 

Rochberg, George 1961. Duration in Music. In Beckwith and Kasemets 1961, 56-64; repr. in Rochberg 1984, 71-77.

 

Rochberg, George 1963. The New Image of Music. Perspectives of New Music 2, no. 1 (Fall-Winter), 1-10; repr. in Rochberg 1984, 16-25.

 

Rochberg, George 1973. The Structure of Time in Music. The Study of Time 2 [Berlin and New York]; repr. in Rochberg 1984, 137-147.

 

Rochberg, George 1984. The Aesthetics of Survival: A Composers View of Twentieth-Century Music. Ed. by William Bolcom. Ann Arbor: University of Michigan Press. Includes Rochberg 1960; Rochberg 1961; Rochberg 1963; Rochberg 1973.

 

Rochon, Lisa 1989. Sense and Nonsense: The Provocative Art of John Cage. Globe and Mail (April 4), A16.

 

Rockwell, John 1970. Music of John Cage on Encounters 70 Series. Los Angeles Times (January 26).

 

Rockwell, John 1973a. A Cage Sampling Heard at the Kitchen. New York Times (December 9), 79.

 

Rockwell, John 1973b. New York. Music and Musicians 21 (August), 74+.

 

Rockwell, John 1973c. Records: Roiling Work. New York Times (October 31).

 

Rockwell, John 1973d. S. E. M. Group Offers Cages Song Books. New York Times  [City Edition] (May 6).

 

Rockwell, John 1975a. An Extravaganza by John Cage Due. New York Times (May 3), 41.

 

Rockwell, John 1975b. Foss Gives Modern-Music Fans a 5-Hour Workout in Brooklyn. New York Times (May 5), 39.

 

Rockwell, John 1975c. Grete Sultan, Pianist, Performs John Cages Etudes Australes. New York Times (January 27), 18.

 

Rockwell, John 1977. Music: Brooklyn Philharmonia. New York Times (February 24).

 

Rockwell, John 1979a. Music: Contemporary. New York Times (December 13).

 

Rockwell, John 1979b. Relche of Philadelphia Performs Recent Works. New York Times (June 10).

 

Rockwell, John 1980a. Concert: American Percussion Music. New York Times (March 12).

 

Rockwell, John 1980b. New Music in Amerika. Neue Zeitschrift fr Musik 141, 546-548.

 

Rockwell, John 1980c. The Rich Diversity of New American Music. New York Times (April 27), D 21, 27.

 

Rockwell, John 1981. 1982 Festival to Honor Cage. New York Times (October 1), C24.

 

Rockwell, John 1982a. Concert: New Music America in Chicago. New York Times (July 8), D6.

 

Rockwell, John 1982b. New Music: Festival in Chicago. New York Times (July 6).

 

Rockwell, John 1982c. Rosenkavalier to Open Met Season for 1982-83. New York Times (February 18), C19.

 

Rockwell, John 1982d. 13 Free Hours of John Cage. New York Times (March 12), 15, 18; other editions C1, C2, C26.

 

Rockwell, John 1983a. All American Music: Composition in the Late Twentieth Century. New York [etc.]: Alfred A. Knopf; Random House; repr. New York: Vintage Books, 1984; 2nd ed. New York: Da Capo Press, 1997 (reviews: Commanday 1983; Heckman 1983; Hitchcock 1983; Sanders 1983; Wentz 1983).

 

Rockwell, John 1983b. Concert: Music from Japan Series at Asia Society. New York Times (December 4), 94.

 

Rockwell, John 1983c. The American Experimental Tradition & Its Godfather: John Cage. In Rockwell 1983a, 47-59.

 

Rockwell, John 1984. New Music: The Festival Marches On in Hartford. New York Times (July 5), 16.

 

Rockwell, John 1986a. Experimental Music. In The New Grove Dictionary of American Music. Ed. by H. Wiley Hitchcock and Stanley Sadie. London [etc.]: Macmillan, vol. 2, 91-95.

 

Rockwell, John 1986b. Piano: Anthony De Mare Presents New Works. New York Times (November 13).

 

Rockwell, John 1986c. Roaratorio Will Open Next Wave Festival. New York Times (April 30).

 

Rockwell, John 1987. The Impact and Influence of John Cage. New York Times (February 8), Art and Leisure.

 

Rockwell, John 1988a. John Cages Quasi Opera Has American Premiere. New York Times (July 16), Section L, The Arts, 11.

 

Rockwell, John 1988b. A Sampler of Works from Italy. New York Times (November 10).

 

Rockwell, John 1989a. A Musical Free Spirit Warms Up for Carnegie. New York Times (April 20), C17, C21.

 

Rockwell, John 1989b. Note to Posterity on Measuring Real Success. New York Times (July 30), Section H, 23.

 

Rockwell, John 1990. A Man Inspired by Chance. New York Times Book Review (May 13), 10; Dutch as John Cage: Toeval als inspiratiebron. Boekenkrant 1, no. 5-6 (July-August), 23.

 

Rockwell, John 1991. Three Women Perform Vanguard Voice Works. New York Times (January 8).

 

Rockwell, John 1992. Cage Merely an Inventor? Not a Chance. New York Times (August 23), H 21.

 

Rockwood, Jerome 1966. Whats Happening? New York Times (January 16), X 7.

 

Rode-Breymann, Susanne 2001. [Review of Kreutziger-Herr 1998]. Die Musikforschung 54, no. 3 (July-September), 321-323.

 

Rodet, Anne 1978. Brves nouvelles musicales. LInformation du Spectacle [Paris] (April).

 

Roeder, Margarete 1985. John Cage: Where R = Ryoanji: Zeichnungen. In Herzogenrath 1985, 91.

 

Roelcke, Eckhard 1991a. Der Stachel stumpft. Die Zeit (July 26), 46.

 

Roelcke, Eckhard 1991b. Der Zwang zur Freiheit. Die Zeit (December 6), 67.

 

Roelcke, Eckhard 1992. Scheiterhaufen der Stille. Die Zeit (June 12), 71.

 

Roelofs, Saar 2000. Tien componistenportetten in woord en beeld. Amsterdam: Partner Productions; MuziekGroep Nederland.

 

Roeper, Jeanne 1969. Wit, Profundity Mark Lecture by Electronics Composer. Gazette-Times [Corvallis, Oregon] (October 16), 22.

 

Rogalsky, Matt (Matthew) 1997a. Archologie: Zum Projekt eines David-Tudor-Archivs. MusikTexte no. 69-70 (April), 60-62.

 

Rogalsky, Matt 1997b. Martin Bartlett, xenomelophiliac. Musicworks no. 69 (December), 11-12.

 

Rogalsky, Matt 2010. Nature as an Organising Principle: Approaches to Chance and the Natural in the Work of John Cage, David Tudor and Alvin Lucier. Organised Sound 15, no. 2 (August), 133-136.

 

Roggenkamp, Peter 1986. Der Flgel: Gestreichelt, gezupft, geschlagen: Studie fr prpariertes Klavier. Neue Musikzeitung 35 (December), 19.

 

Rogoff, Gordon 1986. Merciful Grace. Village Voice (October 21), 89-90.

 

Rohde, Gerhard 1983-1984. Gerusche, Bewegung und Zeit. Neue Musikzeitung 32, no. 6 (December-January), 33.

 

Rohde, Gerhard 1984. Die Wiederholungen wiederholen sich. Frankfurter Allgemeine (June 6).

 

Rohde, Gerhard 1987a. Arche Noah fr alle Opern des Abendlandes. Die Neue rztliche (December 14), 9.

 

Rohde, Gerhard 1987b. Ofen aus. Frankfurter Allgemeine (December 16), 23.

 

Rohde, Gerhard 1988. Eine Arche Noah fr Europas Oper. Neue Musikzeitung 37, no. 1 (February-March), 7.

 

Rohde, Hedwig 1977. Die bsen Buchstaben. Der Tagesspiegel (February 22).

 

Rhring, Klaus 2000. As slow as possible: Neues vom Halberstdter Cage-Projekt. Positionen no. 42 (February), 56-57.

 

Rhring, Klaus 2005. Befreiendes Hren oder Das Verweilen: Theologische Notizen zu John Cages Klavierwerken. Musik und Kirche 75 (November-December), 448-454.

 

Rhring, Klaus 2007. [Review of Ulrich, T. 2006]. Musik und Kirche 77, no. 1 (January-February), 52, 54.

 

Roman, Beatriz 2004. Time as a Structural Element in the Music of John Cage: A Study of Representative Piano Pieces. D.M.A. dissertation, Performance, City University of New York.

 

Romano, C. and Gianni-Emilio Simonetti 1976. Introduzione ad una fenomenologia rozzo del gruppo Fluxus. Le Arti 26, no. 4 (April), 3-10.

 

Romano, Jacobo 1970. III Festival de America y Espaa. Buenos Aires Musical 25, no. 421 (November 16), 3.

 

Romeo, James J. 1979. Prepared Pianos in Perspective. Clavier 18, no. 5 (May-June).

 

Rmer, Dieter 1987. John Cage fr die Schule. Frankfurter Allgemeine (December 21).

 

Ronner, Petra and Thomas Husermann 1990, ed. John Cage: Konzerte in Wetzikon, Schaffhausen, St. Gallen. Wetzikon [etc.]: Musikkollegium Zrcher Oberland.

 

Ronte, Dieter 1982. Nam June Paiks early works in Vienna. In Hanhardt 1982, 73-78.

 

Roos, James 1991. The Art of Noise. Calgary Herald [Calgary, Alberta] (May 5), F5.

 

Roosevelt, Oliver 1982. Composer John Cage Stirs, Bends, Wins Minds at UA. Birmingham News [Birmingham, Alabama] (February 13), 4B.

 

Rorem, Ned 1968. Music and People. New York: George Braziller.

 

Rorem, Ned 1970. Critical Affairs: A Composers Journal. New York: George Braziller.

 

Rorem, Ned 1978. An Absolute Gift: A New Diary. New York: Simon and Schuster.

 

Rorem, Ned 1988. Settling the Score: Essays on Music. San Diego, California: Harcourt Brace Jovanovich; repr. New York: Doubleday, 1989 (An Anchor Book).

 

Roschitz, Karlheinz 1965. Beinah wie ein Bombardement. Kurier [Wien] (December 6).

 

Roschitz, Karlheinz 1969. Zeitgenssische Musik in Venedig. sterreichische Musikzeitschrift 24, 646-648.

 

Roschitz, Karlheinz 1970. Sprache-Musik-Gestus: Musiktheater. Wort und Wahrheit 25, 519-527.

 

Rose, Barbara 1967. American Art since 1900: A Critical History. New York: Praeger; German as Amerikas Weg zur modernen Kunst: Von der Mlltonnenschule zur Minimal Art. Trans. Susanne B. Milczewsky. Kln: M. DuMont Schauberg, 1969 (DuMont Dokumente).

 

Rose, Barbara 1969. Not Wanting to Say In [Title unknown] (pamphlet). Cincinnati, Ohio: Eye Editions, 1969; repr. in Kostelanetz 1970d, 187-189; German in Kostelanetz 1970d/1973, 251-252.

 

Rose, Barbara 1970a. John Cage/Calvin Sumsion: Plexigram IV. Not Wanting to Say Anything about Marcel. Plexigrams I-VIII. Source [Sacramento, California] 4, no. 1 <no. 7> (January), 18-20.

 

Rose, Barbara 1970b. Out of the Studios, On to the Barricades. New York (date unknown), 54-57.

 

Rose, Barbara 1971a. Channel Changes. In Marcel Duchamp, Jasper Johns, Robert Rauschenberg, John Cage [exhibition catalogue, January 12, 1971]. Cincinnati, Ohio: Contemporary Arts Center, 4-7.

 

Rose, Barbara 1971b. John Cage [in English]. Revista de Letras [Mayagez] 3, no. 11 (September), 315-318.

 

Rose, Barbara 1971c. Senza voler dire niente a proposito di Marcel = Ne voulant rien dire propos de Marcel = Not Wanting to Say Anything about Marcel [exhibition brochure]. Milano: Galleria Schwarz (Catalogo no. 106).

 

Rose, Barbara 1974. Americans Wake Up the French. Vogue (January), 19, 138.

 

Rose, David W. 2008. Notes from Underground: A Plurality of One: John Cage and the People-to-People Committee on Fungi. Fungi [Richfield, Wisconsin] 1, no. 4 (Winter).

 

Rose, Margaret 1986. Ring Festival a Garden of Aural Finds. San Diego Tribune (May 5), C-10-C-11.

 

Rosebush, Judson 1974, ed. Nam June Paik: Video n Videology 1959-1973. Syracuse, New York: Everson Museum of Art.

 

Rosen, Lillie F. 1982a. Merce Cunningham Dance Company. Dance News (May), 3-4.

 

Rosen, Lillie F. 1982b. Merce Cunningham Is Beautiful People. New York Guide (March 21), 7.

 

Rosen, Michael 1967. A Survey of Compositions Written for the Percussion Ensemble [Part II]. Percussionist 4, no. 3 (March), 137-143.

 

Rosenberg, Deena and Bernard Rosenberg 1979. The Music Makers. New York: Columbia University Press.

 

Rosenberg, Harold 1971. Thoughts in Off-Season. New Yorker (July 24), 62-65.

 

Rosenberg, Harold 1973. Discovering the Present: Three Decades in Art, Culture and Politics. Chicago: University of Chicago Press.

 

Rosenblum, Sandra P. 1993. Pedaling the Piano: A Brief Survey from the Eighteenth Century to the Present. Performance Practice Review 6, 158-178.

 

Rosenthal, A. 1980. Images of Silence: University of California, Irvine. Artweek Artweek [Oakland, California] 11 (May 17), 7.

 

Rosenthal, M.L. 1988. [Review of Perloff, M. 1985a]. Modern Philology (August), 112-114.

 

Rosenthal, Nan 1991. Jasper Johns: Perilous Night. In Bischoff 1991b, 162.

 

Rosenwald, Hans 1951. Speaking of Music... Music News [Chicago, Illinois] 43, no. 4 (April), 10-11.

 

Rosier, Leontien 1988. Cage-tempel voor de schaarse gelovigen. Het Parool (November 14), 10.

 

Rsing, Helmut 1997, ed. Step across the Border: Neue musikalische Trends, Neue massenmediale Kontexte. Hamburg: Arbeitskreis Studium Populrer Musik (Beitrge zur Popularmusikforschung; 19-20) (reviews: Mark 1998; Seyfried 1998).

 

Ross, Alex 1992. John Cage Tributes. New York Times (November 7), 16.

 

Ross, Alex 1993a. The Classical and the New in a Musical Adventure. New York Times (December 3).

 

Ross, Alex 1993b. [Review of Musical Observations CP2/103 (recording)]. Fanfare (January-February).

 

Ross, Alex 2007. The Rest Is Noise: Listening to the Twentieth Century. New York: Farrar, Straus and Giroux; repr. London: Fourth Estate, 2008; repr. London: Harper Perennial, 2009; French as The rest is noise: A lՎcoute du XXe sicle: la modernit en musique. Trans. Laurent Slaars. Arles: Actes Sud, 2010; Dutch as De rest is lawaai: Luisteren naar de twintigste eeuw. Trans. Rob van Essen and Meile Snijders. Amsterdam: Ambo, 2008; German as The Rest is Noise: Das 20. Jahrhundert hren. Trans. Ingo Herzke. Mnchen [etc.]: Piper, 2009; repr. Frankfurt am Main [etc.]: Bchergilde Gutenberg, 2010; Italian as Il resto e rumore: Ascoltando il 20. secolo. Trans. Andrea Silvestri. Milano: Bompiani, 2009 (Bompiani Overlook).

 

Ross, Alex 2010. Searching for Silence. New Yorker (October 4), 52-53+.

 

Ross, David A. 1982. Nam June Paiks Videotapes. In Hanhardt 1982, 101-110.

 

Ross, Janice 1986. A Supper with Plenty to Chew on. Oakland Tribune (date unknown).

 

Rosset, Dominique 1990. Un puzzle surraliste. LHebdo (October 11).

 

Rossi, Nick and Robert A. Choate 1969. Music of Our Time: An Anthology. Boston: Crescendo.

 

Rossum, Frans van 1978. John Cage: Workshop/openbare repetitie Sounday. Stedelijk Museum Bulletin [Amsterdam] (June), 17.

 

Rossum, Frans van 1982. 60-80 en de muziek in het Stedelijk. In Petersen, Mignot en Schampers 1982, 15-18.

 

Rossum, Frans van 1987. Festival Notes: Do You Know John Cage by Any Chance? Performing Arts (September 3-27), F-3-4.

 

Rossum, Frans van 1988. Enige bekende feiten over John Cage alsmede een lijst van zijn composities, geschriften en beeldende kunst en een aantal eigen werktoelichtingen. s-Gravenhage: Koninklijk Conservatorium (Hager 1988c).

 

Rossum, Frans van 1992a. Componeren met I Ching. NRC Handelsblad (August 13), 6.

 

Rossum, Frans van 1992b. John Cage 1912-1992. Entracte 4, no. 7 (September), 28-31.

 

Rossum, Frans van 1992c. Roaratorio, an Irish circus on Finnegans wake. In I. van Emmerik, van Groningen Stuling and Selie 1992a, 38-40.

 

Rossum, Frans van 1994. Frances-Marie Uitti speelt John Cage. Entracte 6, no. 4 (May), 37-39.

 

Rossum, Frans van 1995. Oorzaak & gevolg. Entracte 7, no. 2 (March), 24-25, 27.

 

Rossum, Frans van/Rivest, Johanne 1995. John Cage and the Fusion of Art & Life. Musicworks no. 62 (Summer), 41-43.

 

Rost, Cornelia 1983. Wie der Zufall Hrspiele schreibt. Klnische Rundschau (May 17), 18.

 

Rost, Cornelia 1985. Festival fr die Ohren. Klnische Rundschau (September 26).

 

Rostand, Claude 1970. Dictionnaire de la musique contemporaine. Paris: Larousse (Les dictionnaires de lhomme du XXe sicle; 40).

 

Rostand, Claude 1972. Cage, John. In La grande encyclopdie. Paris: Larousse, vol. 4, Boudin-cestodes, 2147.

 

Roth, Matthias 1996. Tontrger. Neue Zeitschrift fr Musik 157, no. 3 (May-June), 72.

 

Roth, Moira 1977. The Aesthetic of Indifference. Artforum 16, no. 3 (November), 46-53.

 

Rothrmel, Marion 1963a. Diesmal richtig gelacht Klnische Rundschau (February 12).

 

Rothrmel, Marion 1963b. Elektronisch nichts Neues. Klnische Rundschau (November 19).

 

Rothenberg, David 1994. Get Out of Whatever Cage: Avant-Garde in the Natural World. Musicworks no. 58 (Spring), 34-40.

 

Rothenberg, Jerome 1977. New Models, New Visions: Some Notes toward a Poetics of Performance. In Performance in Postmodern Culture. Ed. by Michel Benamou, Charles Caramello. Milwaukee [etc.]: Coda Press, 11-17.

 

Rothstein, Edward 1981a. Computers Face the Music in Texas. New York Times (November 5), C21.

 

Rothstein, Edward 1981b. Sounds and Mushrooms. New York Times Book Review (November 22), 12, 39-40.

 

Rothstein, Edward 1982. Avant-Garde: Concert for John Cage. In other editions as Avant-Garde: Tribute to Cage. New York Times (March 15), C16.

 

Rothstein, Edward 1983. Music: 8-Hour Americathon. New York Times (February 17), C18.

 

Rothstein, Edward 1984. Music: Premiere of Cages Muoyce. New York Times (March 12), C12.

 

Rothstein, Edward 1990. Cages Cage. New Republic (May 28), 25-28; repr. in Kostelanetz 1993f, 301-308.

 

Rothstein, Edward 1992. Cage Played His Anarchy by the Rules. New York Times (September 20), H21.

 

Rothstein, Edward 1993. Pianist Honors John Cage with Playful Devotion. New York Times (July 28), C13-C14.

 

Rotterdams Nieuwsblad 1988. John Cage brengt brandnetels mee. Rotterdams Nieuwsblad (October 27), 24.

 

Rouard, Isabelle 1982. John Cage: Les 70 ans dun inventeur de musique. La Rpublique du Centre [Orlans] (October 25).

 

Roussel, Hubert 1965. Infernal Escalator. Houston Post (April 15), Section 8, p. 2.

 

Routh, Francis 1972. Contemporary British Music. London: Macdonald and Co.

 

Routh, Francis 1981. Tweet Tweet. Composer no. 74 (Winter), 43-44.

 

Routh, Francis 1987. Mesostics. Composer no. 92 (Winter), 32.

 

Rowe, Keith 1972. [Title unknown, review of concert given by Cage in Great Britain]. Microphone (June).

 

Rowell, Lewis 1987. Stasis in Music. Semiotica [Amsterdam] 66, no. 1-3, 181-195.

 

Rowes, Barbara 1979. With Electronics, Tin Cans and Silence, John Cage Reigns as King of Avant-Garde Music. People Weekly (October 15), 92-93, 97-98.

 

Rowland, David E. 1998, ed. The Cambridge Companion to the Piano. New York [etc.]: Cambridge University Press (reviews: Bailey 2000; Bradshaw 1999; Crisp, D. 1999; Crozier 1999; McKay, E.N. 2001; Siek 2000).

 

Roxburgh, Edwin 1968-1969. Cage. Composer no. 30 (Winter), 15-17 (Bush 1969; Harris, S. 1969a; Harris 1969b; Roxburgh 1969).

 

Roxburgh, Edwin 1969. John Cage [letter to the editor]. Composer no. 32 (Summer), 33.

 

Roy, Klaus George 1960. The Strange and Wonderful Sonic World of John Cage. HiFi/Stereo Review 5, no. 5 (November), 62-64, 66.

 

Roy, Klaus George 1961. Noise and Music. HiFi/Stereo Review 6, no. 6 (June), 29-34.

 

Rubin, Marjorie 1963. Musicians Using Bizarre Sounds. New York Times (August 17), 21.

 

Rubin, Nathan 1968. The Performing Group: To All Who Are Interested. Mills Quarterly 50, no. 3 (February), 4-8.

 

Rubin, Nathan 1994. John Cage and the Twenty-Six Pianos of Mills College: Forces in American Music from 1940 to 1990: A History. Moraga, California: Sarahs Books (review: George, P. 1996a).

 

Rubinstein, Meyer Raphael and Daniel Weiner 1986. A Countercultural Didacticism and a Partnership of Noise: John Cage and Jamie Reid. Arts Magazine 61, no. 4 (December), 48-49.

 

Rubsamen, Walter H. 1951. Schoenberg in America. Musical Quarterly 37, no. 4 (October), 469-489.

 

Ruch Muzyczny 1964. Cage i nowa muzyka fortepianowa. Ruch Muzyczny 8, no. 13, 8.

 

Ruch Muzyczny 1979. [Review]. Ruch Muzyczny 23, no. 12, 16.

 

Ruch Muzyczny 1989. John Cage w Hadze. Ruch Muzyczny 33, no. 4, 18.

 

Rdiger, Wolfgang 2006. Organische Identitt? Versuch ber den Musiker-Krper und die Krperlichkeit der Musik. Neue Zeitschrift fr Musik 167, no. 4 (July-August), 30-39.

 

Rudolph, Uwe 1981. Von Barockmusik bis zu John Cage. Neue Musikzeitung no. 5 (October-November).

 

Redi, Peter 1972. Vortrag ber Nichts. Journal Zrich no. 23 (June 3-4).

 

Regger, Emmanule 1991. Cunningham, peintre figuratif? Danser (September).

 

Ruh, Harry 1979. Fluxus: The Most Radical and Experimental Movement of the Sixties. Amsterdam: Harry Ruh.

 

Ruhr-Nachrichten 1987. Avantgarde nonstop: 24 Stunden Funk fr John Cage. Ruhr-Nachrichten [Dortmund] (February 12).

 

Ruhr-Nachrichten 1992. Frankfurt: Cage total und in memoriam. Ruhr-Nachrichten [Dortmund] (August 31), M 11.

 

Ruijfrok, Tom 1992. De stilte van John Cage blijft klinken. Provinciale Zeeuwse Courant [Middelburg] (September 11), 21.

 

Ruiter, Wim de 1993. Compositietechnieken in de twintigste eeuw. Haarlem: De Toorts, 2 vols.

 

Runge, Wolfgang 1979. Nicht nur leere Worte. Neue Hoffnung 2, no. 7 (July), 17-18.

 

Ruppel, Karl Heinz 1954. Drehscheibe der internationalen Musik. Melos 21, 318-320.

 

Ruscher, John 2010. So Much to Listen to: Kyle Gann. Bomblog (March 31). http://bombsite.powweb.com/?p=9144 (accessed July 25, 2010).

 

Rushefsky, Carolyn 1977a. Conference at B. C. Explores The Phonograph and Our Musical Life. Flatbush Life [New York] (December 26), Section 2, 6B.

 

Rushefsky, Carolyn 1977b. John Cages Compositions: Its All or Nothing. Flatbush Life [New York] (December 26), Section 2, 7B.

 

Russcol, Herbert 1972. The Liberation of Sound: An Introduction to Electronic Music. Englewood Cliffs, New Jersey: Prentice-Hall; repr. New York: Da Capo Press, 1994.

 

Russell, Armand 1966. The Composers View. [unidentified University of Hawaii publication] (1966), 11-15.

 

Russell, John 1970. Seated One Day at the I-Ching. Art News 68, no. 9 (January), 52-53, 71-72.

 

Russell, John 1976. Drawing Now, One of the Moderns Best. New York Times (January 24).

 

Russell, John 1989. Modern Arts September Song. International Herald Tribune (November 24), 11 [reprint from New York Times].

 

Russell, Kathlyn 1980. Cages Avant-Garde Art. Times-Advocate [Escondido, California] (January 31), Todays Scene, B-1.

 

Russell, Smith 1962. Players Have Option of What and When to Play in Far Out Works. Music of the West 17, no. 8 (April), 9-10.

 

Russomano, Stefano 2002. John Cage: Un inventor de genialidades. ABC Cultural [Madrid] (August 31).

 

Ruthven, K.K. 1987. [Review]. Southern Review 20 (November), 319-321.

 

Rutkoff, Peter M. and William B. Schott 1986. New School: A History of the New School for Social Research. New York: Free Press; London: Collier Macmillan.

 

Rutledge 1967. Magnificent Seven Stir Sleeping Minds. Hill News [Canton, New York] (February 23).

 

Rutten, Elly 1994. Het belang van tijdsbeleving. De Morgen (May 18), 13.

 

Rzewski, Frederic 1974a. Indeterminate Performance. In Vinton 1974, 565-568.

 

Rzewski, Frederic 1974b. Prose Music. In Vinton 1974, 593-595.

 

Rzewski, Frederic 1974c. Nonmetrical Rhythm since 1950. In Vinton 1974, 622-624.

 

S.K. 1978. Eisenbahnmusik. Frankfurter Allgemeine (May 29).

 

Sabatini, Arthur J. 1989. Silent Performances: On Reading John Cage. In Fleming and Duckworth 1989, 74-96.

 

Sabbe, Herman 1977. Het muzikale serialisme als techniek en als denkmethode: een onderzoek naar de logische en historische samenhang van de onderscheiden toepassingen van het serirend beginsel in de muziek van de periode 1970-1975, gesteund op een analyse van het werk van de Belgische componisten Karel Goeyvaerts, Henri Pousseur en Lucien Goethals. Gent: Rijksuniversiteit te Gent (Werken uitgegeven door de faculteit van de letteren en wijsbegeerte; 163).

 

Sabbe, Herman 1980a. Cage, John. In Algemene muziekencyclopedie. Ed. by J. Robijns, Miep Zijlstra. Haarlem: De Haan, vol. 2, 93-95.

 

Sabbe, Herman 1980b. Het klankschap waarin wij leven. Mens en Melodie 35, 235-238.

 

Sabbe, Herman 1987. A Logic of Coherence and an Aesthetic of Contingency: European versus American Open Structure Music. Interface 16, 177-186.

 

Sabbe, Herman 1993. Cage: Waar is de tijd? Vlaamse Gids 77, no. 1 (January-February), 38-44.

 

Sabbe, Herman 1996. All that Music: Een antropologie van de westerse muziekcultuur. Leuven [etc.]: Acco; rev. ed. as Stilte! Muziek! Een antropologie van de westerse muziekcultuur. Leuven [etc.]: Acco, 2003.

 

Sabbe, Herman 2003. Musiques savantes, musiques populaires (de Zappa Zimmermann). International Review of the Aesthetics and Sociology of Music 34 (December), 161-172.

 

Sabin, Robert 1944. Merce Cunningham; John Cage. Dance Observer (May), 57-58.

 

Sabin, Robert 1949. American Piano Music Concert for Library Musical Collection. Musical America 69, no. 1 (January 1), 5.

 

Sabin, Robert 1950. Maro Ajemian, Pianist. Musical America 70, no. 4 (March 15), 34.

 

Sabin, Robert 1951. New Music Society. Musical America 71, no. 8 (June), 18.

 

Sabin, Robert 1958. Quarter Century of John Cage. Musical America 78, no. 7 (June), 16-17.

 

Sabin, Robert 1963. Some Younger American Composers. Tempo no. 64 (Spring), 25-28.

 

Sabin, Robert 1964, ed. Cage, John. In The International Cyclopedia of Music and Musicians, 9th ed. Ed. by Robert Sabin. New York: Dodd, Mead.

 

Sable, Barbara Kinsey 1976. On Contemporary Notation and Performance. NATS Bulletin 32, no. 4 (May), 26-31.

 

Sablosky, Irving 1969. American Music. Chicago: University of Chicago Press.

 

Sacher, Reinhard Josef 1985. Musik als Theater: Tendenzen zur Grenzberschreitung in der Musik von 1958-1968. Regensburg: Gustav Bosse (Klner Beitrge zur Musikforschung; 139).

 

Sacilotto, Deli 1982. Photographic Printmaking Techniques. New York: Watson-Guptill Publications.

 

Sadie, Stanley 1972. John Cage, David Tudor. Times (May 23).

 

Said, Edward W. 1997. From Silence to Sound and Back Again: Music, Literature, and History. Raritan [New Brunswick, New Jersey] 17, no. 2 (Fall), 1-21.

 

Saisselin, Rmy Gilbert 1966-1967. Reviews. Journal of Aesthetics and Art Criticism 25, 112-113.

 

Sala, Alberico 1978. La mia arte Barnum; Incita al disordine. Il Giorno (January 15).

 

Salisbury, Wilma 1981. Dancers in Signals Move in Outer Space. Plain Dealer (February 15), 29-D.

 

Salisbury, Wilma 1983. Life Is Open Door for Composer Cage. Plain Dealer (May 15).

 

Sllstrm, ke 1965. Elektronik och Cage hos Fylkingen. Sydsvenska Dagbladet (September 11).

 

Salzburger Nachrichten 1991. Plapageno. Salzburger Nachrichten (June 7).

 

Salzburger Nachrichten 1992. Ein Stachel, der sich mit Lust einbohrte: Klangvolle Turbulenzen in der Musikwelt. Salzburger Nachrichten (August 14), 7.

 

Salzman, Eric 1960a. By Cowell and Cage. New York Times (March 8), 38.

 

Salzman, Eric 1960b. In and Out the Piano with Cage. New York Times (February 14), Section 2, 12.

 

Salzman, Eric 1960c. John Cage in Story Hour for Some Friends. New York Times (January 26).

 

Salzman, Eric 1960d. Recital Is Given by David Tudor. New York Times (March 29).

 

Salzman, Eric 1961. Disks: Percussive and Electronic. New York Times (July 2), Section 2, X 13.

 

Salzman, Eric 1963a. Retrospective Avant-Garde Music. New York Herald Tribune (December 21), 6.

 

Salzman, Eric 1963b. With the New Music, Real Times a Trouble. New York Herald Tribune (October 12).

 

Salzman, Eric 1965. Music. In The New American Arts. Ed. by Richard Kostelanetz. New York: Horizon Press.

 

Salzman, Eric 1967. Twentieth-Century Music: An Introduction. Englewood Cliffs, New Jersey [etc.]: Prentice-Hall; 2nd ed. 1974; 3rd ed. 1988.

 

Salzman, Eric 1969a. Contemporary Music: Two Unquiet Streams. Stereo Review 22, no. 2 (February), 106.

 

Salzman, Eric 1969b. Hymnen. Stereo Review 22 (September); repr. in Kostelanetz 1970d, 186-187; German in Kostelanetz 1970d/1973, 249-250.

 

Salzman, Eric 1969c. Milton Babbitt and John Cage: Parallels and Paradoxes. Stereo Review 22, no. 4 (April), 60.

 

Salzman, Eric 1969d. Recording of Special Merit: Cage, Variations IV, volume II. Stereo Review 22 (May), 88; repr. in Kostelanetz 1970d, 150-151; German in Kostelanetz 1970d/1973, 208-209.

 

Salzman, Eric 1970. Cage-Hiller: HPSCHD. Stereo Review 24, no. 1 (January 1970), 94.

 

Salzman, Eric 1972. The Revolution in Music. In Hays 1972.

 

Salzman, Eric 1974a. Mixed Media. In Vinton 1974, 489-492.

 

Salzman, Eric 1974b. [Review of Mainstream MS 5016 (recording)]. Stereo Review no. 8.

 

Salzman, Eric 1978a. Cage. Stereo Review (April).

 

Salzman, Eric 1978b. Record Review [review of Tomato TOM-2-1001 (recording)]. Musical Quarterly 64, no. 2 (April), 261-263; repr. as Cages Well-Tampered Clavier. In Kostelanetz 1993f, 55-57.

 

Salzman, Eric 1979. Partch [and] Cage. Stereo Review (June).

 

Salzman, Eric 1980. John Cage. Stereo Review 44, no. 4 (April), 124.

 

Salzman, Eric 1982. John Cage: Imaginary Landscaper. Keynote [New York] 6, no. 7 (September), 6-10; repr. in Kostelanetz 1993f, 1-7.

 

Salzman, Eric 1994. Er war der ernsteste Humorist der Welt. Neue Zeitschrift fr Musik 155, no. 5 (September), 18-22.

 

Samama, Leo 1978. Sounday voor Cage. De Volkskrant (June 10).

 

Samama, Leo 1987. Platen. NRC Handelsblad (January 2), Cultureel Supplement, 2.

 

Samama, Leo 1988. Componisten aan het werk. NRC Handelsblad (June 23), 18.

 

Samama, Leo 1989. Platen. NRC Handelsblad (October 20), Cultureel Supplement, 2.

 

Sampaio, Luiz Paulo 1996. O silncio e o tempo na msica de John Cage. In IX Encontro anual da ANPPOM. Ed. by Martha de Ulha and Jos Maria Neves. Rio de Janeiro: Associao Nacional de Pesquisa e Ps-Graduao em Msica, 224-234.

 

Samsonova, Tatjana 2000. Dzhon Kejdzh 7 Haiku: Magija skrytogo smysla. In Muzykalnyj millenium: Iskusstvo istorii, istorija iskusstva. Ed. by Ljubov Abramovna Kupets. Petrozavodsk: Periodika, 51-59.

 

Samuel, Claude 1961. Hellzapoppin du piano. Paris-Presse (June 16).

 

Samuel, Claude 1978. A la cueillette des sons. Le Matin (May 17).

 

Samuel, Claude 1981. Musique contemporaine: Les Xes Rencontres de Metz. Le Matin de Paris (November 20).

 

Samuel, Claude 1982. John Cage: Quand le silence devient musique. Le Matin de Paris (September 16).

 

San Francisco Chronicle 1964. Avant-Garde. San Francisco Chronicle (December 24).

 

San Francisco Sunday Examiner and Chronicle 1974. [Review of Angel S-36059 (recording)]. San Francisco Sunday Examiner and Chronicle (May 12).

 

Snchez, David 1998. Four: Cage – Rckkehr zur Homogenitt. Positionen no. 34 (February), 34-37.

 

Sanders, Linda 1983. State of the Art of Music. New York Times (March 19), L 13.

 

Sanders, Linda 1986. [Title unknown]. Village Voice (May 27).

 

Sanderson, George and Frank Macdonald 1989, ed. Marshall McLuhan: The Man and His Message. Goldon, Colorado: Fulcrum.

 

Sandford, Mariellen R. 1995, ed. Happenings and Other Acts. London: Routledge (Worlds of Performance). Includes Cage/Kirby and Schechner 1965; Kirby 1965a.

 

Sandler, Irving 1970. Abstract Expressionism: The Triumph of American Painting. London: Pall Mall Press.

 

Sandler, Irving 1978. The Duchamp-Cage Aesthetics. In The New York School: The Painters and Sculptors of the Fifties. New York [etc.]: Harper and Row.

 

Sandler, Irving 1980. Sweeping Up after Frank. In Berkson and LeSueur 1980, 78-80.

 

Sandner, Wolfgang 1977. Der Kunstanspruch der Rockmusik - Beziehungen zwischen populrer und ernster Musik. Universitas 32, 1185-1190.

 

Sandner, Wolfgang 1982. Jeder Klang ist schn. Frankfurter Allgemeine (September 4), 23.

 

Sandow, Gregory 1980. Vinyl Judgments. Village Voice (August 27-September 2), 60.

 

Sandow, Gregory 1981-1982. UnCaged Melodies. Village Voice (December 30-January 5), 31.

 

Sandow, Gregory 1982a. As I also Was Saying. Village Voice (August 3), 62.

 

Sandow, Gregory 1982b. Cage Everywhere. Village Voice (March 30), 98.

 

Sandow, Gregory 1982c. The Cage Style. Village Voice (May 11), 80.

 

Sandow, Gregory 1984a. Cage Speaks Faster When the Street Gets Noisy. Village Voice (September 11), 71.

 

Sandow, Gregory 1984b. Not So Arbitrary. Village Voice (May 29), 77-78.

 

Sandow, Gregory 1984c. Sight for Stained Minds. Village Voice (November 27), 105.

 

Sandow, Gregory 1986. One Fine Day. Village Voice (October 21), 69.

 

Sangild, Torben 2008. [Review of Hegarty 2007]. Nutida Musik 51, no. 3 (2008), 61.

 

Sanio, Sabine 1991a. Im Raum der Absichtslosigkeit: Cages musikalisches Raumkonzept und die Notwendigkeit von Kunst. Positionen no. 8 (August), 15-18.

 

Sanio, Sabine 1991b. Merzbhne und Happening: Cage - Schwitters - Cage. Positionen no. 9 (November), 20-23.

 

Sanio, Sabine 1992a. Genau genommen ist mein Komponieren absolut unntig: Fnf Thesen zum Verhltnis von Kunst und Leben bei John Cage. MusikTexte no. 46-47 (December), 24-29.

 

Sanio, Sabine 1992b. John Cage bei Hat Hut und Wergo. Positionen no. 11 (May), 41.

 

Sanio, Sabine 1992-1993. Cage im Kontext: Konzeptionelle Voraussetzungen und sthetische Hintergrnde. Positionen no. 13 (November 1992), 36-39; no. 14 (February 1993), 31-35.

 

Sanio, Sabine 1994a. Cage als Filmkomponist. Positionen no. 18 (February), 31-33.

 

Sanio, Sabine 1994b. Radio-Happenings. Positionen no. 19 (May), 52-53.

 

Sanio, Sabine 1995. Zur Theorie der Neuen Musik. Positionen no. 23 (May), 50-51.

 

Sanio, Sabine 1996a. David Tudor: Vom Klavier zur Live-Elektronik. Positionen no. 29 (November), 39-42.

 

Sanio, Sabine 1996b. Das Rauschen: Paradoxien eines hintergrndigen Phnomens. In Sanio and Scheib 1996, 50-66.

 

Sanio, Sabine 1998. Musikalische Schaltungen: Die Blockdiagramme von David Tudor. Positionen no. 36 (August), 24-26.

 

Sanio, Sabine 1999a. Alternativen zur Werksthetik: John Cage und Helmut Heienbttel. Saarbrcken: Pfau (Ph.D. dissertation, Freie Universitt Berlin) (reviews: Schalz 2000; Srensen 2000).

 

Sanio, Sabine 1999b. Cage und Adorno sitzen im selben Boot: Und Luhmann lacht. In Sanio and Scheib 1999, 148-163.

 

Sanio, Sabine 2000. [Review of Rausch 1999b]. Neue Zeitschrift fr Musik 161, no. 5 (September-October), 88.

 

Sanio, Sabine 2001. Ausdruckskonzepte in der Musik des 20. Jahrhunderts = La notion dexpression dans la musique du XXe sicle. Dissonanz = Dissonance no. 72 (December), 4-9.

 

Sanio, Sabine 2002. Strategien der Unbestimmtheit: Cages sthetik und die Zukunft der Musik. In Rautmann and Schalz 2002, 102-121.

 

Sanio, Sabine and Christian Scheib 1996, ed. Das Rauschen: Aufstze zu einem Themenschwerpunkt im Rahmen des Festivals Musikprotokoll 95 im Steirischen Herbst. Hofheim: Wolke. Includes Sanio 1996.

 

Sanio, Sabine and Christian Scheib 1999, ed. Form-Luxus, Kalkl und Abstinenz: Fragen, Thesen und Beitrge zu Erscheinungsweisen aktueller Musik. Saarbrcken: Pfau.

 

Sanio, Sabine and Christian Scheib 2000, ed. Bilder-Verbot und Verlangen in Kunst und Musik. Saarbrcken: Pfau.

 

Santa Cecilia 1962. John Cage. Santa Cecilia [Roma] 11 (April), 33.

 

Santos, Carles 1971. Haiku (1951), de John Cage. Revista de Letras [Mayagez] 3, no. 11 (September), 365-374.

 

Santos, Ftima Carneiro dos 2001a. Cage: Uma escuta que compe. Msica hodie [Goinia, Brasil] 1, no. 1 (December), 8-18.

 

Santos, Ftima Carneiro dos 2001b. Rethinking Music and the Listening Experience According to Street-Sound Transformation Strategies. MikroPolyphonie [Canberra] 7 (December). http://pandora.nla.gov.au/pan/10054/20021007-0000/farben.latrobe.edu.au/mikropol/volume7/dos_santos_f/dos_Santos.html (accessed July 28, 2010).

 

Saracino, Tito 1978. Un treno pieno di suoni. Il Messaggero (June 1).

 

Sargeant, Winthrop 1954. Old Horizons. New Yorker (May 8), 125.

 

Sargeant, Winthrop 1964. First Causes. New Yorker (February 15), 124-126.

 

Sargent, David 1982. The John Cage Century. Vogue [New York] 172, no. 9 <no. 3206> (September), 112.

 

Sarkama-Voigt, Eila 1991. John Cagelle hiljaisuus on musiikkia. Katso no. 44.

 

Sarkis/Siegler, Bernard 2005. La bande magntique contient un son qui dsire se rpter. LInou: Revue de lIRCAM no. 1 (May), 69-82.

 

Sarmiento Garca, Jos Antonio 2002. Cage en los Encuentros de Pamplona. Olobo [Cuenca] no. 3 (2002).

 

Sarraute, Claude 1973. Un jour ou deux, de Merce Cunningham. Le Monde (November 8), 28.

 

Sarriugarte Gmez, igo 2009. John Cage y su influencia en la obra del video artista Nam June Paik. Anuario Musical 64 (2009), 237-258.

 

Sartori, Claudio and Riccardo Allorto 1963-1964, ed. Cage, John. In Enciclopedia della musica. Milano: Ricordi, vol. 1, A-C, 363.

 

Sasaki, K. 1985a. Ide de la philosophie de luvre et la structure lastique de celle-ci. In McCormick 1985, 47-50.

 

Sasaki, K. 1985b. Sakuhin no tetsugaku. Tōkyō: University Press of Tōkyō.

 

Sasonkin, Manus 1960. Cunningham Group in Modern Dances. St. Louis Post-Dispatch (February 1), 3 C.

 

Sasser, Thomas J. 1964. New Approach to Art Applauded. Lubbock Avalanche Journal [Lubbock, Texas] (May 5 or later).

 

Sassi, Gianni 1978a. Banalit e strutture informative. In Mogni 1978, 139-144.

 

Sassi, Gianni 1978b. Selon les anciens Dieu tait un son. Musique en jeu no. 32 (September), 22-28.

 

Satie, Erik [Eric] (Alfred Leslie) 1977. Ecrits. Ed. by Ornella Volta. Paris: Editions Champ Libre.

 

Satie, Erik 1980. Quaderni di un mammifero. Ed. by Ornella Volta. Milano: Adelphi (Biblioteca Adelphi; 97).

 

Satie, Erik 1989. Satie Seen through His Letters. Ed. by Ornella Volta. Trans. Michael Bullock. London [etc.]: Marion Boyars; repr. 1994; Dutch as Satie in de spiegel van zijn tijd. Trans. Josephine Ruitenberg. Haarlem: Gottmer, 1992 (reviews: Behrens 1990; Dickinson 1991; Jones, J.B. 1990; Orledge 1990a).

 

Sattler, Judith 1960. Jazz Not Totally Respectable. Michigan Daily [Ann Arbor, Michigan] (October 16), 2.

 

Saturday Review 1971. [Review]. Saturday Review (January 30), 31.

 

Sauer, Theresa 2008. Notations 21. Ed. by Buzz Poole. New York: Mark Batty (Retzel 2010).

 

Sauerwein, Uwe 1992. Avantgardist mit dem neugierigen Drang eines Erfinders: John Cage . Berliner Morgenpost (August 14), 8.

 

Savage, Roger W. H. 1987. Structure and Sorcery: The Aesthetics of Post-War Serial Compositions and Indeterminacy. Ph.D. dissertation, University of Sussex. New York: Garland, 1989 (Outstanding Dissertations in Music from British Universities).

 

Saval, Nikil 2010. No Such Thing as Silence: John Cages 4'33". New Statesman [London] (May 3).

 

Savenije, Wenneke 1987. Cage met gepraat en zonder dans. NRC Handelsblad (April 28), 6.

 

Savenije, Wenneke 1988. Frank Scheffer. NRC Handelsblad (June 21), 6.

 

Savenije, Wenneke 1994. In Cages oceaan van klanken luisteren de musici niet naar elkaar. NRC Handelsblad (June 27), 8.

 

Savenko, Svetlana 1983. Gibt es in der Musik der Postavantgarde einen individuellen Stil? Kunst und Literatur [Berlin] 31, 276-283.

 

Savić, Miša 1981. John Cage. In Cage 1981i, xvii-xxvi.

 

Saville, Jonathan 1986. Collaborative Enterprise. In The Pacific Ring Festival April 29-May 9, 1986. San Diego, California: University of California at San Diego, 1986, 13-14.

 

Saxer, Marion 1997a. Morton Feldman: Between Categories: Studien zum Komponieren Morton Feldmans von 1951-1977. Ph.D. dissertation, Technische Universitt Berlin.

 

Saxer, Marion 1997b. [Review of Stephan et al. 1996]. Positionen no. 33 (November), 49.

 

Saxer, Marion 2000. Klang und Bedeutung: berlegungen zur Rolle der Semantik in den Zufallskompositionen John Cages am Beispiel der Etudes Australes. In Sanio and Scheib 2000; revised as Sternen-Cartograph: Zur Rolle der Semantik in John Cages Etudes Australes. Positionen no. 46 (February 2001), 11-15.

 

Saxer, Marion 2001. Complete Piano Music von John Cage, Steffen Schleiermacher, piano, Vol. 1-7. Positionen no. 49 (November), 50-51.

 

Scala, Mark 1989. John Cage. New Art Examiner 16 (March), 50-51.

 

Scarnecchia, Paolo 1981. Le avanguarde americane: I miti. Il Dramma [Roma] 57, no. 4 (June), 45-46.

 

Scarr, Kathleen M. 1955. John Cage & Prepared Music. The Canon [Hunters Hill, New South Wales] 8, no. 10 (May), 393-395.

 

Schab, Gnter 1958. Musik mit Broklammern. Neue Rhein Zeitung [Essen] (October 17).

 

Schab, Gnter 1963a. Abenteuer elektronischer Musik. Freie Presse (November 20); repr. Mannheimer Morgen (November 21).

 

Schab, Gnter 1963b. Elektronisches Abenteuer. Neue Rhein Zeitung [Essen] (November 19).

 

Schab, Gnter 1963c. Schlagzeug: Diesmal zarter behandelt. Freie Presse [Kln] (February 12).

 

Schdler, Stefan 1990. Transformationen des Zeitbegriffs in John Cages Music of Changes. In Metzger, H.-K. and Riehn 1990, 185-236.

 

Schdler, Stefan 1991. Sprache und Klang-Raum: Vom Diskurs der Bedeutungen zum Theater der Ideen in Texten von John Cage. In Zeit-Rume: Zeitrume-Raumzeiten-Zeittrume. Ed. by Martin Bergelt and Hortensia Vlckers. Mnchen [etc.]: Carl Hanser, 284-297 (Edition Akzente).

 

Schdler, Stefan 1992a. John Cage und der Zufall in der Musik. In Zufall als Prinzip: Spielwelt, Methode und System in der Kunst des 20. Jahrhunderts. Ed. by Bernhard Holeczek and Lida von Mengden. Heidelberg: Braus, 65-74.

 

Schdler, Stefan 1992b. Kopernikanische Wende. MusikTexte no. 46-47 (December), 106.

 

Schdler, Stefan 1992c. Die Paradoxie des Gedchtnisses im Werk von John Cage. In Schdler and Zimmermann 1992b, 81-93.

 

Schdler, Stefan and Walter Zimmermann 1992a. Bemerkungen zur Sache. In Schdler and Zimmermann 1992b, 11-12.

 

Schdler, Stefan and Walter Zimmermann 1992b, ed. John Cage: Anarchic Harmony. Trans. Gisela Gronemeyer, Heinz-Klaus Metzger, Stefan Schdler, Christina Sheneman, Jrg von Stein, Ursula Stiebler, Hans Rudolf Zeller, Walter Zimmermann. Mainz [etc.]: Schott. Includes Boulez 1992; Cage 1982h; Cage 1991b; Cage 1992e; De Visscher 1992b; Eisert 1992; Emmerik, P. van 1992b; Erdmann 1992g; Gebstadter 1992; Hofstadter 1992; Holzaepfel 1992; Klein, Ha. M. 1992; Minsky 1992; Nbel 1992; Schdler 1992c; Schdler and Zimmermann 1992; Stiebler 1992; Ullmann 1992; Wolf 1992; Zimmermann, W. 1992 (Gratzer 1993).

 

Schaefer, Hansjrgen 1968. Wem nutzt es? Musik und Gesellschaft [Berlin] 18, 729.

 

Schaefer, Hansjrgen 1992. Er hat sogar die Stille komponiert. Neues Deutschland (August 14), 7.

 

Schaefer, John 1985. Eareviews [Review of Mode 1-2 (recordings)]. Ear 10, no. 2 (November-December), 16-17.

 

Schaefer, John 1987. New Sounds: A Listeners Guide to New Music. New York [etc.]: Harper & Row (review: Wilson, P.N. 1988b).

 

Schaeffer, Francis A. 1968. The God Who Is There: Speaking Historic Christianity into the Twentieth Century. Downers Grove, Illinois: InterVarsity Press.

 

Schaeffer, Pierre 1952. A la recherche dune musique concrte: Esquisse dun solfge concret. Paris: Seuil, 1952 (Collection Pierres vives); repr. 1998.

 

Schaeffer, Pierre 1967. La musique concrte. Paris: Presses universitaires de France (Que sais-je; 1287); repr. 1973; German as Musique concrte: Von den Pariser Anfngen um 1948 bis zur elektroakustischen Musik heute. Trans. Josef Husler, rev. Michel Chion. Stuttgart: Klett, 1974.

 

Schfer, Michael 1996. Entspanntes Spiel mit unerhrten Klngen. Gttinger Tageblatt (January 27).

 

Schfermeyer, Michael 1984. Konsequente Arbeit mit dem Phnomen Zufall. Funk-Korrespondenz nr. 25 (June 22), P 2-P 3.

 

Schfermeyer, Michael 1990. Zur Hrspielarbeit John Cages. In Metzger, H.-K. and Riehn 1990, 151-181.

 

Schffer, Bogusław 1963. Cage, John. In Bogusław Schffer, Leksykon kompozytorw XX wieku. Krakw: Polskie Wydawnictwo Muzyczne, vol. 1, A-Ł, 82-83.

 

Schffer, Bogusław 1976. Wstęp do kompozycji. Krakw: Polskie Wydawnictwo Muzyczne; English as Introduction to Composition. Trans. Jerzy Zawadzki. Krakw: Polskie Wydawnictwo Muzyczne, 1976.

 

Schffler, Philipp 2008. Divine Influences: John Cages Rezeption von Meister Eckhart und das Paradox der spirituellen Erfahrung. In Sinnbildungen: Spirituelle Dimensionen in der Musik heute. Ed. by Jrn Peter Hiekel. Mainz [etc.]: Schott, 177-190 (Verffentlichungen des Instituts fr Neue Musik und Musikerziehung Darmstadt; 48).

 

Schffler, Philipp 2009. Die Idee der Bildung im Schaffen von John Cage. Mainz [etc.]: Schott Music (Schott Campus; 48) (Glossner 2010; Maier, T.M. 2010).

 

Schalz, Nicolas 2000. [Review of Sanio 1999a]. Positionen no. 44 (August), 54-55.

 

Schalz-Laurenze, Ute 1982. Der Traum des John Cage. Weser-Kurier [Bremen] (May 12).

 

Schalz-Laurenze, Ute 2002. Bremen: Klnge des Inneren Auges. Positionen no. 51 (May), 60-61.

 

Scharenberg, Sointu 2002. berwinden der Prinzipien: Betrachtungen zu Arnold Schnbergs unkonventioneller Lehrttigkeit zwischen 1898 und 1951. Saarbrcken: Pfau.

 

Schat, Peter 1963. Biennale voor nieuwe muziek. Vrij Nederland (June 8).

 

Schatt, Peter W. 1986. Exotik in der Musik des 20. Jahrhunderts: Historisch-systematische Untersuchungen zur Metamorphose einer sthetischen Fiktion. Mnchen [etc.]: Katzbichler (Berliner musikwissenschaftliche Arbeiten; 27).

 

Schatt, Peter W. 1995. Jazz in der Kunstmusik: Studien zur Funktion afro-amerikanischer Musik in Kompositionen des 20. Jahrhunderts. Kassel: Gustav Bosse.

 

Schaub, Fritz 1991. Cage erregt die Gemter. Sdkurier (June 5); repr. as Dann schwebt ein Zeppelin durch den Raum. Solothurner Zeitung (July 1, 1991).

 

Schauer, Lucie 1965. Wozu noch Happenings? Diesmal bei Ren Block in Berlin. Die Welt [Berlin] (June 21).

 

Scheele, Walter 1987. Brandstiftung! Frankfurter Oper zerstrt. Dsseldorf Express (November 13).

 

Scheib, Christian 1996. Die indiskrete Arbeit am Realen: Das Rauschen ist die Musik. In Sanio and Scheib 1996, 67-80.

 

Scheldebode 1988. Festival Nieuwe Muziek in het teken van John Cage. De Scheldebode [Vlissingen] (June 8).

 

Schenk-Sorge, Jutta 1994. Rolywholyover: A Circus for Museum by John Cage. Kunstforum 125 (January-February), 379-380.

 

Scher, Steven Paul 1994. Acoustic Experiment as Ephemeral Spectacle? Musical Futurism, Dada, Cage and the Talking Heads. In Die Semantik der musiko-literarischen Gattungen: Methodik und Analyse: Eine Festgabe fr Ulrich Weisslein zum 65. Geburtstag. Ed. by Walter Bernhart. Tbingen: Gunter Darr, 201-214.

 

Scherzer, Ernst 1987. Ein musikalischer Spa. Kleine Zeitung (December 20), 44.

 

Schiaffini, Giancarlo 1998. Penses parses sur limprovisation = Gedankensplitter zur Improvisation. Dissonanz = Dissonance no. 55 (February), 24-26.

 

Schiavazzi, Vera 1984. Tourne di John Cage dal 5 al 19 maggio da Ivrea a Torino. Il messagiero di Roma (April 28).

 

Schiavo, Paul 1987. Between Language and Music. ABR, 8, 19.

 

Schibli, Sigfried 1979. Erfundenes um ein Erfinder. Frankfurter Allgemeine (November 24), Bilder und Zeiten, 5.

 

Schibli, Sigfried 1991. Warum? Warum nicht! Basler Zeitung (June 3).

 

Schibli, Sigfried 1992. Die ungeschriebenen Meisterwerke. Neue Zeitschrift fr Musik 153, no. 9 (September), 2.

 

Schiche, Ericka 1994. Random Acts of Art. Public News [Houston, Texas] (February 2), 6.

 

Schick, Steven 1995. Multiple Percussion. In Beck, J. H. 1995a, 257-263.

 

Schick, Steven 2006. The Percussionists Art: Same Bed, Different Dreams. Rochester, New York [etc.]: University of Rochester Press; Boydell & Brewer.

 

Schickel, Richard 1972. Entertainment Arts: Theatre, Music and Film. In A Portrait from the Twentieth Century: American Civilization. Ed. by Daniel J. Boorstin. New York: Mc Graw-Hill, 235-258.

 

Schieber, Curtis 1990. Sound Check. Columbus Alive (February 1-15).

 

Schiff, David 1983. The Music of Elliott Carter. London: Eulenburg Books; New York: Da Capo Press, 1983; 2nd ed. Ithaca, New York: Cornell University Press, 1998; London: Faber and Faber, 1998.

 

Schiffer, Brigitte 1958. Kranichstein 1958 (II). Radio-Monde Spectacles [Le Caire] (November 1), 4-5.

 

Schiffer, Brigitte 1969. Amerikanische Musik in englischen Konzertslen. Melos 36, 272-273.

 

Schiffer, Brigitte 1970. Interessante Neuheiten bereichern das Londoner Musikleben. Melos 37, 20-22.

 

Schiffer, Brigitte 1971. Griechisches Musikfest 1971. Melos 38, 549-553.

 

Schiffer, Brigitte 1974. Fnf Amerikaner in London. Neue Zrcher Zeitung (January 8).

 

Schiffer, Brigitte 1976. Bcher. Melos/Neue Zeitschrift fr Musik 2, 241-242.

 

Schiffer, Brigitte 1978. London: John Cage en tourne. Schweizerische Musikzeitung = Revue musicale suisse 118, 228-229.

 

Schiffer, Brigitte 1982. Composer Monographs in German. Contact no. 25 (Fall), 42-44.

 

Schillaci, Daniel 1980. Overtones. New West (March), 63.

 

Schippers, K. 1995. De verhoudingen van ieder voorval. NRC Handelsblad (January 20), Cultureel Supplement, 5.

 

Schlee, Thomas Daniel 1991. Bcher und Noten. sterreichische Musikzeitschrift 46, 574.

 

Schleiermacher, Steffen 1995. Experimentelle Pianistik. Positionen nr. 24 (August), 51-52.

 

Schleuning, Peter 1995. Bach, Cage, swing. Bremer Jahrbuch fr Musikkultur 1, 59-68.

 

Schloemann, Adelheid 1992. Michael Bach: Fingerboards & Overtones: Bilder, Grundlagen und Entwrfe eines neuen Cellospiels. Positionen no. 12 (August), 46-47.

 

Schmid, Waldemar 1985. Fnf Tage lang Anstiftung zum Mit-Hrspielen: 1. Acustica International. Funk-Korrespondenz no. 40 (October 4), P1-2.

 

Schmid, Waldemar 1987. Eine Geburtstagsfeier, hrt, hrt. Funk-Korrespondenz no. 8 (February 20).

 

Schmidt, Christian Martin 1977. Brennpunkte der Neuen Musik: Historisches-Systematisches zu wesentlichen Aspekten. Kln: Hans Gerig (TB 267; Musik-Taschen-Bcher Theoretica; 16).

 

Schmidt, Christian Martin 1992. Die offene Frage der offenen Form. In Form in der Neuen Musik: Fnf Kongrebeitrge. Ed. by Ekkehard Jost. Mainz [etc.]: Schott, 9-15 (Verffentlichungen des Instituts fr Neue Musik und Musikerziehung Darmstadt; 33).

 

Schmidt, Drte 1998. Die Geburt des Flugzeugs: Cage, I Ching, und C.G. Jung. In Kreutziger-Herr 1998, 353-366.

 

Schmidt, Felix 1984. John Cage. Frankfurter Allgemeine (August 17), Faz Magazin, 10-14, 28; repr. in Musique sans sauce: Workshop Erik Satie. Bonn: Kulturamt der Stadt Bonn, 1985, 30-36.

 

Schmidt, Felix 1992. Hindemith floh vor dem Frevler der Kunst aus dem Konzertsaal. Welt am Sonntag [Hamburg] (February 16).

 

Schmidt, Jochen 1983. Wie die Zeit vergeht. Frankfurter Allgemeine (November 4).

 

Schmidt, Jochen 1988. [Review of Five Stone]. Frankfurter Allgemeine (July 17 ca.).

 

Schmidt, Jochen 1989. Wasserscheide des modernen Tanzes. Frankfurter Allgemeine (April 17), 31.

 

Schmidt, Jochen 1992. Ein Prospero der Choreographie. Frankfurter Allgemeine (September 22), 35.

 

Schmidt, Konrad 1978. Musik-Form ohne Inhalt. Ruhr-Nachrichten [Dortmund] (April 11).

 

Schmidt, Matthias 2000. Experimente der Geschichte oder was Cage von Schnberg ber Cage lernte. Jahrbuch des Staatlichen Instituts fr Musikforschung Preuischer Kulturbesitz (2000), 210-233.

 

Schmidt, Silke 2008. [Review of Hessbrgen-Walter 2007]. Musik & sthetik 12, no. 46 (April), 103.

 

Schmidt-Pirro, Julia 2003. Schwebende Worte – Neue Denkstrukturen: Untersuchungen zu John Cages Vortrag 45' for a Speaker. MusikTexte no. 97 (May), 33-38.

 

Schmitt, Hans-Jrgen 1968. Glckliche neue Ohren. Frankfurter Allgemeine (July 7).

 

Schmitt, Natalie Crohn 1981-1982. John Cage in a New Key. Perspectives of New Music 20, no. 1-2 (Fall-Summer), 99-103; repr. in Kostelanetz 1993f, 176-179.

 

Schmitt, Natalie Crohn 1982. John Cage, Nature, and Theater. Triquarterly [Evanston, Illinois] no. 54 (Spring), 89-109; repr. in Gena and Brent 1982, 17-37; repr. in Schmitt, N. C. 1990, 5-37, 132-140.

 

Schmitt, Natalie Crohn 1990. Actors and Onlookers: Theater and Twentieth-Century Views of Nature. Evanston, Illinois: Northwestern University Press.

 

Schmitt, Natalie Crohn 1995. So Many Things Can Go Together: The Theatricality of John Cage. New Theatre Quarterly 11, no. 54 (February).

 

Schmitz-Stevens, Gregor 1996. Zufall als Ordnung: Eine Analyse von John Cages Klavierstck One. MusikTexte no. 65 (July-August), 11-17.

 

Schnebel, Dieter 1966. LAvicenna di Bloch, Cage e il rapporto forma-materia nella nuova musica. Collage [Palermo] no. 6 <13>, 13-16; repr. Il Verri: Rivista di Letteratura no. 30 (July 1969), 61-67; original German text as Die kochende Materie der Musik: John Cages experimentelle Formen. In Schnebel 1972, 139-150 (Vlad 1970).

 

Schnebel, Dieter 1968. Sichtbare Musik. Collage [Palermo] no. 8 (December), 8-18.

 

Schnebel, Dieter 1969a. Das Aquarium der neuen Musik [review of Cage 1969a]. Frankfurter Allgemeine (March 19), 24; repr. in Schnebel 1972, 356-357.

 

Schnebel, Dieter 1969b. Ueber John Cage. As part of Anthologie. In Brtschi et al. 1969, X 2-X 3.

 

Schnebel, Dieter 1972. Denkbare Musik: Schriften 1952-1972. Ed. by Hans Rudolf Zeller. Kln: DuMont Schauberg.

 

Schnebel, Dieter 1973a. Avantgardist - der Avantgarde voraus. In Kostelanetz 1970d/1973, 9-18.

 

Schnebel, Dieter 1973b. Cage, John. In Die Musik in Geschichte und Gegenwart: Allgemeine Enzyklopdie der Musik. Ed. by Friedrich Blume. Kassel [etc.]: Brenreiter, vol. 15 (supplement), columns 1239-1241.

 

Schnebel, Dieter 1974. Disziplinierte Anarchie: Cages seltsame Konsequenzen aus der Lehre bei Schnberg. In Herausforderung Schnberg: Was die Musik des Jahrhunderts vernderte. Ed. by Ulrich Dibelius. Mnchen: Carl Hanser, 151-160 (Reihe Hanser; 166) (Schreiber, U. 1975).

 

Schnebel, Dieter 1975. Neue Weltmusik: Tendenzen und Probleme zeitgenssischer Musik. Universitas 30, 701-708.

 

Schnebel, Dieter 1978a. Tendenzen in der neuen amerikanischen Musik. In Avantgarde, Jazz, Pop: Tendenzen zwischen Tonalitt und Atonalitt. Ed. by Reinhold Brinkmann. Mainz: Schott, 9-17 (Verffentlichungen des Instituts fr Neue Musik und Musikerziehung Darmstadt; 18).

 

Schnebel, Dieter 1978b. Wie ich das schaffe?: Die Verwirklichung von Cages Werk. In Metzger, H.-K. and Riehn 1978b, 51-55.

 

Schnebel, Dieter 1979. Cages Sptwerk: Konzept eines Kommentars. In Zeller 1979a, 5-7.

 

Schnebel, Dieter 1980. Gestoppte Grung. In Dieter Schnebel. Ed. by Heinz-Klaus Metzger and Rainer Riehn. Mnchen: Edition Text + Kritik, 112-118 (Musik-Konzepte; 16).

 

Schnebel, Dieter 1984. Om John Cage og hans musikk. Trans. Synne Skouen. Ballade [Oslo] 8, no. 1, 2-5.

 

Schnebel, Dieter 1990. Die Tradition des Fortschritts und der Fortschritt der Tradition: Ein Erfahrungsbericht. In Grnzweig, Schrder, and Supper 1990, 11-21.

 

Schnebel, Dieter 1992. Erinnerung. Die Tageszeitung (August 14), 3.

 

Schnebel, Dieter 1993a. Anschlge-Ausschlge: Texte zur neuen Musik. Mnchen [etc.]: Hanser (Edition Akzente).

 

Schnebel, Dieter 1993b. John Cage, 80. Positionen no. 14 (February), 36-39; complete text in Schnebel 1993a.

 

Schnebel, Dieter 1994. John Cage: Auf der Suche nach Tradition. In Die neue Musik in Amerika: ber Traditionslosigkeit und Traditionslastigkeit. Ed. by Otto Kolleritsch. Wien [etc.]: Universal Edition, 32-41 (Studien zur Wertungsforschung; 27).

 

Schnebel, Dieter 1999. Auf der Suche nach der verlorenen Musik: Erfahrungen Giacinto Scelsis. MusikTexte no. 81-82 (December), 56-57.

 

Schnebel, Dieter 1999. Ritual-Musik. In Musik und Ritual: Fnf Kongrebeitrge, zwei freie Beitrge und ein Seminarbericht. Ed. by Barbara Barthelmes and Helga de la Motte-Haber. Mainz [etc.]: Schott, 9-17 (Verffentlichungen des Instituts fr Neue Musik und Musikerziehung Darmstadt; 39).

 

Schnebel, Dieter 2005. Schn – oder vielleicht doch gar nicht so sehr?. Positionen no. 64 (August), 13-15.

 

Schnebel, Dieter/Herbort, Heinz Josef 1982. Der Schock, der aus der Stille kam. Die Zeit (September 3), 31.

 

Schnebel, Dieter, Jakob Ullmann, and Walter Zimmermann/Nauck, Gisela 1994. Man entgeht den Schmetterlingssammlern nicht: ber das Ephemere. Positionen no. 20 (August), 8-15.

 

Schneede, Uwe M. 1994. Joseph Beuys: Die Aktionen-Kommentiertes Werkverzeichnis. Stuttgart: Hatje.

 

Schneeweisz, Oswin 1988a. Cage meester van details. Algemeen Dagblad [Rotterdam] (November 17), 6.

 

Schneeweisz, Oswin 1988b. Cage-rage houdt aan in Den Haag. Algemeen Dagblad [Rotterdam] (November 23), 6.

 

Schneeweisz, Oswin 1988c. John Cage middelpunt Nieuwe Muziek. Algemeen Dagblad [Rotterdam] (July 4), 6.

 

Schneeweisz, Oswin 1988d. Twee weken project John Cage. Algemeen Dagblad [Rotterdam] (November 9), 6.

 

Schneeweisz, Oswin 1988e. Vaag beeld van John Cage. Algemeen Dagblad [Rotterdam] (October 11), 6.

 

Schneider, Frank 1992. Cage Is Coming. Positionen no. 13 (November), 39-41.

 

Schneider, Hans 2001. Christian Wolff: Ein amerikanischer Komponist aus dem Umfeld von John Cage: Eine Begegnung, Biografisches und eine Anregung fr den Klassenuterricht. Musikerziehung [Wien] 54 (June), 262-266.

 

Schneider, Marcel 1970a. Les journes John Cage. Combat (October 29).

 

Schneider, Marcel 1970b. Musicircus et conclusion. Figaro (November 3).

 

Schneider, Marcel 1970c. Pleins feux sur lavant-garde. Figaro littraire (November 2-8), 36-37.

 

Schneider, Nikolaus 1990. Ein fast gewaltttiger Schlupunkt. Main-Post (October 1).

 

Schneider, Pierre 1970. Paris: Savoring All Kinds of Silence. New York Times (November 16), 47.

 

Schneider, Pierre 1973. Paris: A Festival to Vitalize a Season. New York Times (December 11), 54.

 

Schoettler, Carl 1973. Composer Cage Makes His Music With That Touch Of Avant-Garde. Evening Sun [Baltimore, Maryland] (September 11), C1.

 

Scholes, Percy A. 1955. Cage, John. In idem, The Oxford Companion to Music, 9th ed. London [etc.]: Oxford University Press, 145; 10th ed., rev. John Owen Ward. London: Oxford University Press, 1970.

 

Scholes, Percy A. 1964. Cage, John. In idem, The Concise Oxford Dictionary of Music, 2nd ed. Ed. by John Owen Ward. London [etc.]: Oxford University Press, 87.

 

Schllhorn, Johannes 2002. Das unhrbare Meisterwerk. In Rautmann and Schalz 2002a, 122-139.

 

Scholz, Carter 1992. I-VI. Leonardo 25, no. 1, 101.

 

Schn, Wolf 1978a. Ein Labor frs Leben. Deutsche Zeitung/Christ und Welt (April 14), 14.

 

Schn, Wolf 1978b. Ohne den alten Stachel. Stuttgarter Zeitung (April 14), 37.

 

Schonberg, Harold C. 1950. Ajemian Presents John Cage Works. New York Times (March 8), 33.

 

Schonberg, Harold C. 1959. Advanced Music Beeps and Plinks. New York Times (April 8).

 

Schonberg, Harold C. 1960. The Far-Out Pianist. Harpers Bazaar (June), 49-54.

 

Schonberg, Harold C. 1961a. An End in Itself. New York Times (March 26).

 

Schonberg, Harold C. 1961b. Toppling Idols: According to Hodeir, Music of Webern, Stravinsky and Cage Is Now Old-Hat. New York Times (January 29), 11.

 

Schonberg, Harold C. 1963a. Dada, Dada: Avant-Garde Doings to Pepper Up the Town. New York Times (August 25), Section 2, 8.

 

Schonberg, Harold C. 1963b. The Great Pianists. New York: Simon and Schuster.

 

Schonberg, Harold C. 1964. Music: Last of a Series. New York Times (February 7), 35.

 

Schonberg, Harold C. 1967. Art and Bunk, Matter and Anti-Matter. New York Times (September 24), part 2.

 

Schonberg, Harold C. 1968. Music: Libel on the Bishops and Pawns. New York Times (May 28), 40.

 

Schonberg, Harold C. 1973. Carter, Cage, Reich... Speak to Me. New York Times (February 4), Section 2, 15.

 

Schonberg, Harold C. 1974. The Sound and Fury of Contemporary Music for Piano. New York Times (November 24), Section 2, 21.

 

Schonberg, Harold C. et al. 1963 [Anonymous, Raymond Ericson, Howard Klein, Brian ODoherty, Marjorie Rubin, Richard F. Shepard, Sam Zolotow]. Music: A Long, Long, Long Night (and Day) at the Piano. New York Times (September 11), 45, 48.

 

Schnberg, Wolf-Christoph 1982. Das Pro musica nova-Festival in Bremen. Fono-Forum nr. 7.

 

Schnberger, Elmer 1980. Een stuk van mij gaat een paar keer, daar moet je toevallig bij zijn, en dan verdwijnt het weer. Vrij Nederland (date unknown); repr. Gaudeamus informatie no. 158 (July-August 1980), 12-14.

 

Schnberger, Elmer 1992. Juist Satie (en niet Cage). Vrij Nederland (January 25), 63.

 

Schnburg, W. C. von 1985. Berhrung mit den anderen Knsten bei den 27. Tagen der Neuen Musik in Hannover. Neue Musikzeitung 34 (April-May), 2.

 

Schnfeldt, Heinz 1972. Ohne herausragende Ereignisse. Mannheimer Morgen (October 24).

 

Schonfield, Victor 1967a. Sergeant Peppers Favourite Composer. New Society (September 7), 331.

 

Schonfield, Victor 1967b. Uncaged Music. New Society (April 13).

 

Schonfield, Victor 1969. Letters to the Editor: Indeterminate Scores. Musical Times 110, 374-375.

 

Schning, Klaus 1980, ed. Prix Italia 1980: Roaratorio, ein irischer Zirkus ber Finnegans Wake von John Cage. S.l.: Arbeitsgemeinschaft der ffentlich-rechtlichen Rundfunkanstalten der Bundesrepublik Deutschland.

 

Schning, Klaus 1982. Nichi-nichi kore k-nichi (Tag um Tag ein schner Tag). In Cage 1982k, 12, 14, 16, 18, 20, 22, 24; English as Nichi-nichi kore k-nichi (day by day is a beautiful day). Trans. Christine Hazlehurst. Ibid., 13, 15, 17, 19, 21, 23, 25.

 

Schning, Klaus 1983a, ed. Hrspielmacher: Autorenportrts und Essays. Knigstein/Taunus: Athenum.

 

Schning, Klaus 1983b. Klnge sind nur Schaumblasen auf der Oberflche der Stille. Sprache im Technischen Zeitalter [Berlin] no. 87 (September 15), 197-219; repr. in Kuhn, R. and Kreutz 1991, 173-183.

 

Schning, Klaus 1983c. Silence sometimes can be very loud = Stille kann manchmal sehr laut sein: Hrspielmacher John Cage. In Schning 1983a, 288-327.

 

Schning, Klaus 1984-1985a. Alphabet et variationes. Neuland 5, 382-384.

 

Schning, Klaus 1984-1985b. Don Quijote oder die Wrde des bersetzens: Preisrede fr Klaus Reichert. Neuland 5, 366-370.

 

Schning, Klaus 1985. Alphabet et variationes (2). In Raum 1985, 25-32; repr. as Alphabet et variationes. In Metzger, H.-K. and Riehn 1990, 144-150; French trans. Marc Moser. In Charles 1987-1988, 417-422.

 

Schning, Klaus 1986. Anmerkungen zur 1. Acustica International: Komponisten als Hrspielmacher – WDR Kln 1985. In Sprache und Musik [program book, Inventionen 86 and Sprachen der Knste, February 27-March 10]. Ed. by Klaus Ebbeke. Berlin: Akademie der Knste; Berliner Knstlerprogramm des DAAD; Technische Universitt Berlin, 71-82; English as You Give Us 22 Minutes, Well Give You the World (John Cage): Notes on the First Acustica International. EBU Review 37, no. 3 (May), 32-36.

 

Schning, Klaus 1987a. Auf den Spuren der akustischen Kunst im Radio. In Goedl, Frohne and Lemanczyk 1987, vol. 1, 127-141.

 

Schning, Klaus 1987b. John Cage. In Goedl, Frohne and Lemanczyk 1987, vol. 2, 46-47.

 

Schning, Klaus 1987c. John Cage. In Goedl, Frohne and Lemanczyk 1987, vol. 2, 329-330.

 

Schning, Klaus 1991a. The Contours of Acoustic Art. Trans. Mark E. Cory. Theatre Journal 43, 307-324.

 

Schning, Klaus 1991b. Ryoan-ji oder die Grten der Leere. In Stooss and Abbt 1991, 29-33.

 

Schning, Klaus 1993. John Cage alla Westdeutscher Rundfunk Kln. In Costa, L. et al. 1993, 839.

 

Schning, Klaus 1996. Die Technik-ein Instrument der akustischen Kunst. In Musik und Technik: Fnf Kongrebeitrge und vier Seminarberichte. Mainz: Schott, 63-78.

 

Schning, Klaus and Wolfgang Becker-Carsten 1987a. NachtCageTag. WDR Print no. 130 (February), 10.

 

Schning, Klaus and Wolfgang Becker-Carsten 1987b, ed. NachtCageTag: Vierundzwanzig Stunden fr und mit John Cage. Kln: Westdeutscher Rundfunk.

 

School Musician 1975. [Review]. School Musician 47 (August-September), 51.

 

Schorr, Dieter 1972a. Auf elektronischen Klangkrcken. Nrnberger Zeitung (October 25).

 

Schorr, Dieter 1972b. Die Revolution ist tot. Stuttgarter Nachrichten (October 24).

 

Schouten, Rob 2010. Mooie stukken. Trouw (February 19), De Verdieping, 23.

 

Schreiber, Ulrich 1975. [Review]. Hifi-Stereophonie 14, 1092-1094.

 

Schreiber, Ulrich 1978. [Review]. Die Zeit (October 27), 60.

 

Schreiber, Wolfgang 1977a. Gesucht: Die musikalische Honigpumpe. Sddeutsche Zeitung (presumably October 29).

 

Schreiber, Wolfgang 1977b. Klnge von Dingen der Natur und Umwelt. Neue Musikzeitung 26, no. 5.

 

Schreiber, Wolfgang 1977c. Wohlklnge – auch von John Cage. Sddeutsche Zeitung (December 19).

 

Schreiber, Wolfgang 1978a. Cage ante portas. Sddeutsche Zeitung (June 28).

 

Schreiber, Wolfgang 1978b. Drinnen saen schweigend Leute. Sddeutsche Zeitung (April 21), 13.

 

Schreiber, Wolfgang 1978c. Gespenster namens Cage und Mozart. Sddeutsche Zeitung (May 8).

 

Schreiber, Wolfgang 1978d. In der Manege des Musicircus. Sddeutsche Zeitung (May 31).

 

Schreiber, Wolfgang 1979a. John Cages Sptwerk in Bonn. sterreichische Musikzeitschrift 34, 446-447.

 

Schreiber, Wolfgang 1979b. Klnge - frei, schn und chaotisch wie das Leben. Sddeutsche Zeitung (June 22), 12.

 

Schreiber, Wolfgang 1981. Die Alten sind jung geblieben. Sddeutsche Zeitung (November 27), 50.

 

Schreiber, Wolfgang 1982a. Die beste Regierung ist keine Regierung. Sddeutsche Zeitung (May 8-9).

 

Schreiber, Wolfgang 1982b. A House Full of Music. Sddeutsche Zeitung (June 19-20).

 

Schreiber, Wolfgang 1986. Hren im Turm. Sddeutsche Zeitung (November).

 

Schreiber, Wolfgang 1987a. Fischer-Dieskau singt Rihm. Sddeutsche Zeitung (December 4), 67.

 

Schreiber, Wolfgang 1987b. Ein Geburtstagsstndchen fr John Cage. Neue Musikzeitung 36, no. 2 (April-May), 49.

 

Schreiber, Wolfgang 1987c. John Cage total. Sddeutsche Zeitung (February 19).

 

Schreiber, Wolfgang 1988. John Cages Europeras I + II in Frankfurt. sterreichische Musikzeitschrift 43, 269-271.

 

Schreiber, Wolfgang 1991. Beschreitung. Sddeutsche Zeitung (July 19), 12.

 

Schreiber, Wolfgang 1992. Klnge und Gerusche und Schweigen ums Nichts. Sddeutsche Zeitung (August 14-16), 15.

 

Schreuder, Arjen 1988a. Denk aan de paddestoelen. NRC Handelsblad (November 25), Cultureel Supplement, 1.

 

Schreuder, Arjen 1988b. Olijke, filosofische geluiden. NRC Handelsblad (November 10), 6.

 

Schrder, Julia H. 2011. In- und Interdependenz von Musik und Tanz. Hofheim: Wolke.

 

Schroeder, Marianne 1990. Ein deutscher Cage? In Grnzweig, Schrder and Supper 1990, 65-67.

 

Schroeder, Marianne 1993. Die Etudes Australes. Positionen no. 17 (November), 13-15.

 

Schubert, Giselher 1986. Bcher. Neue Zeitschrift fr Musik 147, no. 5 (May), 70.

 

Schuijer, Michiel 1991. Cage, John Milton Jr. In Grote Winkler Prins: Encyclopedie in 26 delen, 9th ed. Amsterdam [etc.]: Elsevier, vol. 5, 401-402.

 

Schulkowsky, Robyn 1991. Cage Music and the Performers Process. In Bischoff 1991b, 26-33.

 

Schuller, Gunther 1963. East Meets West at the Zagreb Biennale. New York Times (June 2), Section 2, 9.

 

Schuller, Gunther 1976. Cage, John. In The Encyclopedia Americana: International Edition. New York: Americana Corporation, vol. 5, 140; repr. Danbury, Connecticut: Grolier, 1982, vol. 5, 140.

 

Schulte, Michael 1991a. Beethoven lieben und Cage spielen: Grete Sultan. Frankfurter Allgemeine Magazin (March 15), 10-14, 16.

 

Schulte, Michael 1991b. Hatte Schnberg Humor, Herr Cage? Du [Zrich] no. 5 (May), 40.

 

Schulte, Pete 1986. Now, To Find a Job [photographs]. Newhall Signal & Sangus Enterprise (May 11), 6.

 

Schultz, Gunter 1977. Rckkehr der Trumerei. Rheinische Post (December 14).

 

Schultz, Herbert 1958. Noch viel mehr Freiheit fr den Pinsel! Der Mittag (October 17).

 

Schultz, Susan 1992. [Review]. Postmodern Culture 3, no. 1 (Fall).

 

Schultz, Wolfgang-Andreas 1997. Damit die Musik nicht aufhrt: Ein musikphilosophischer Essay. Eisenach: Karl Dieter Wagner (review: Grsching 1998).

 

Schulz, Reinhard 1987-1988. Vielversprechend. Neue Musikzeitung 36, no. 6 (December-January), 37.

 

Schulz, Reinhard 1988. Rckblicke auf gute alte Zeiten: Neue Musik in Mnchen: Kagel, Cage und Schnebel. Neue Musikzeitung 37, no. 1 (February-March), 8.

 

Schulz, Reinhard 1990. Die radikale Stille an Randzonen der Wahrnehmung. Neue Musikzeitung 39 (October-November), 54.

 

Schulz, Reinhard 1992. Hin zur Stille in erschreckender Konsequenz. Neue Musikzeitung 41, no. 5 (October-November), 3.

 

Schulze, Franz 1994. Philip Johnson: Life and Work. New York: Alfred A. Knopf.

 

Schumacher, Brent 1939. The Show Stops. University of Washington Daily (March 26).

 

Schumann, Peter 1962. Das 14. amerikanische Tanzfestival und die Situation des modernen knstlerischen Tanzes. Das Tanzarchiv 10, no. 1 (June), 1-6.

 

Schppenhauer, Christel 1989, ed. Wortlaut. Kln: Galerie Schppenhauer.

 

Schren, Dieter [author identical with Terschren, H.D.] 1982. Gummikeile im Klavier. Die Welt (April 28).

 

Schrmann, Hans G. 1973. Ohne Bedeutung und ohne Zweck General-Anzeiger (May 5).

 

Schrmann, Hans G. 1977a. Alte Schwierigkeiten mit der Neuen Einfachheit. General-Anzeiger (January 26).

 

Schrmann, Hans G. 1977b. Traditionen zur Materialverwertung freigegeben. General-Anzeiger (December 12).