A John Cage Compendium: Bibliography A-C (Last modified 1 January 2024)

 

20th-Century Music 1999. Review of Composers Recordings CRI CD 732 (recording). 20th-Century Music [San Anselmo, California] 6 (December), 24-25.

A.B. 1951. “New Music String Quartet, McMillin Theater, March 31.” Musical America 71 (1 April), 22.

A.B. 1952. “Recitals.” Musical America 72, no. 3 (February), 224-225.

A.D. 1949. “Dreams That Money Can Buy: Herleefde avant-garde in Amerika.” Filmfront-Filmstudiën [Delft] 2, no. 13 (1949), 268-269.

A.D.R. 1972. “Portsmouth Sinfonia.” Source [Sacramento, California] 5, no. 2 <no. 10> (1972), 78; repr. in Austin, L. and Kahn 2011, 338-339.

A.H. 1952. “David Tudor, Pianist.” Musical America 72, no. 2 (15 January), 12.

A.H. 1959. “David Tudor in Piano Recital.” New York Herald Tribune (20 March).

A.H. 1981. “Consensus.” Review of Composers Recordings CRI SD 410 (recording). Ovation no. 2 (1981), 42.

A.J. 1978. “Il treno-teatro di Cage nella terra del liscio.” Il Giorno (1 July).

A.W. 1980. “Entdecker des Neuen.” Neue Ruhr Zeitung (10 November).

Aargauer Tagblatt 1991. “Cunningham ist kein Geschichtenerzähler.” Aargauer Tagblatt (24 June).

Aarons, Leroy F. 1966. “Avant Garde Now Festival Takes On Frankenstein Tone.” Washington Post (28 April), E 27.

ABC 1992. “John Cage, la muerte de un viajante por los caminos de la música de vanguardia.” ABC [Madrid] (14 August), 71.

Abeel, Erica 1966-1967. “Armory ’66: Not Quite What We Had in Mind.” Arts Magazine (December-January), 23-24.

Abel, Jean 1986a. “John Cage à Marseille.” Le Provençal [Marseille] (8 July), 6.

Abel, Jean 1986b. “Le séjour à Marseille de l’extraordinaire John Cage.” Le Provençal [Marseille] (12 July).

About the House 1973. “Tilt and Twilight.” About the House [London] 4, no. 3 (Summer), 30-31.

Abraham, Molly 1972. “Cage-Cunningham: Unstructured Duet.” Detroit News [Detroit, Michigan] (25 February).

Achternbusch, Herbert 1990. 20 Jahre Galerie, 11 Jahre Dany Keller Galerie München: Eine Dokumentation. München: Dany Keller Galerie.

Ackley, Clifford S. 1990. “The Unique Print Today.” In 70s into 90s: The Unique Print [exhibition catalogue]. Boston: Museum of Fine Arts, 1990, 3-7.

Adachi, Tomomi 2012. “‘John Cage Shock’ in the 1960s in Japan and the Question of Orientalism.” In Schröder, J.H. and Straebel 2012, 165-167.

Adam, Judy 1989, ed. Cage, Cunningham, Johns: Dancers on a Plane. London: Anthony d’Offay Gallery [exhibition 31 October-2 December 1989, London, Anthony d’Offay Gallery; 23 January-25 March 1990, Liverpool, Tate Gallery]; repr. London: Thames and Hudson, 1990; repr. New York: A.A. Knopf, 1990; German as Freundschaften: Cage, Cunningham, Johns. Trans. Frank Druffner. Stuttgart: Cantz, 1991 (review: Kipphoff 1991).

Adamčiak, Milan 1992. “John Cage.” Slovak Music [Bratislava] no. 2 (1992), 7.

Adamčiak, Milan/Murin, Michal 1992. “What Was behind All This? A Reflection of Cage’s Views and Creation in Slovakia.” Slovak Music [Bratislava] no. 2 (1992), 32-34.

Adams, Chris 2015. Review of Grubbs 2014. Popular Music [Cambridge] 34, no. 2 (May), 347-349.

Adams, John 2008. Hallelujah Junction: Composing an American Life. New York: Farrar, Straus and Giroux (reviews: Fox, C. 2009; Stein, R. 2009; Whittall 2010a).

Adams, John 2010. “The Zen of Silence.” Review of Silverman, K. 2010. New York Times (19 November).

Adams, John Luther 2020. Silences so Deep: Solitude, Music, Alaska. New York: Farrar, Straus and Giroux (reviews: Haas, Lidija 2020; Mondor 2020; O’Donnell 2020; Publishers Weekly 2020).

Adcock, Mike/Peters, Brian 1991. “Bellows Assault.” Folk Roots 12, no. 9 <no. 93> (March), 17, 19.

Addiss, Stephen 1982. “A Kaleidoscope on the Art of John Cage.” Triquarterly [Evanston, Illinois] no. 54 (Spring), 200-207; repr. in Gena and Brent 1982, 134-141.

Addiss, Stephen and Ray Kass 2009, eds. John Cage: Zen Ox-Herding Pictures. New York: George Braziller (review: Publishers Weekly 2009).

Adler, Renata 1966. “Selling Something.” New Yorker (after 23 October).

Adlington, Robert 2005. “Music Theatre Since the 1960s.” In The Cambridge Companion to Twentieth-Century Opera. Ed. by Mervyn Cooke. Cambridge [etc.]: Cambridge University Press, 225-243.

Adlington, Robert 2009, ed. Sound Commitments: Avant-Garde Music and the Sixties. Oxford [etc.]: Oxford University Press (review: Waxman 2010).

Adorno, Theodor W. 1960. “Musik und Neue Musik: Peter Suhrkamp zum Gedächtnis.” Merkur 14, no. 147 (May), 6-10.

Adorno, Theodor W. 1962. “Vers une musique informelle.” Darmstädter Beiträge zur Neuen Musik 4 (1962), 73-102; expanded repr. in Theodor W. Adorno, Quasi una fantasia. Frankfurt am Main: Suhrkamp, 1963, 365-437; repr. in Theodor W. Adorno, Musikalische Schriften I-III: Klangfiguren (I), Quasi una fantasia (II), Musikalische Schriften (III). Frankfurt am Main: Suhrkamp, 1978, 493-540 (Gesammelte Schriften; 16); English in Theodor W. Adorno, Quasi una fantasia: Essays on Modern Music. Trans. Rodney Livingstone. London [etc.]: Verso, 1992, 269-322; book repr. 1998 and 2002; French in Theodor W. Adorno, Quasi una fantasia. Trans. Jean-Louis Leleu. Paris: Gallimard, 1982 (Ecrits musicaux; 2) (Bibliothèque des idées).

Advani, Mira 1994. “John Cage: Minimalist Musician.” Silver Kris [Singapore] 21, no. 11 (November), 42-46.

Aeberhard, Simon 2017. “Writing the Ephemeral: John Cage’s Lecture on Nothing as a Landmark in Media History.” Journal of Sonic Studies [Leiden] no. 13 (2017).

Agee, James 1948. [Untitled]. The Nation (24 July).

Aguzzi, Andrea 2018. Review of Stone Records 5060192380833 (recording). Italian and English. NeuGuitars [Mestre] (17-18 December).

Aharonián, Coriún 1993. “La muerte de un abridor de caminos: Algunos apuntes rapidos de John Cage.” Revista Musical Chilena 47 (January-June), 114-120.

Aharonián, Coriún 1999. “Un ejemplo de coherencia y rectitud: Una mirada a Nancarrow desde el lejano sur.” Pauta [México] 18, no. 72 (October-December), 44-55.

Ahlander, Leslie Judd 1963. “Pop Art Festival Hailed.” Washington Post (26 May), G10.

Ahles, Richard F. 1960. “Cage Cages Audience with Cagey Audiometrics.” Hartford Courant [Hartford, Connecticut] (8 November), 6.

Ahlstrom, David 1982. “Beyond Music: Metamusic.” Interface 11, 195-211.

Ahrend, Thomas 2012. “James Tenney: Form und Harmonik nach John Cage.” In Schröder, J.H. and Straebel 2012, 147-163.

Aitken, Hugh 1971. Review of Thomson 1971. Notes 2nd series, 28, no. 2 (December), 224-225.

Akers, Bill 1977a. “Festival Audience Dips into Sampler.” Watsonville Register-Pajaronian (19 August).

Akers, Bill 1977b. “Two Musical Looks at Socrates.” Watsonville Register-Pajaronian (26 August).

Akiyama, Kuniharu 1970. “John Cage and… Philosophy of Actions [in Japanese].” Bijutsu Techō (December), 210-232.

Akiyama, Kuniharu 1973. Gendai ongaku o dō kikuka. Tōkyō: Shōbun Sha.

Akiyama, Kuniharu 1974. “John Cage or a Seeker after Truth of Sound [in Japanese].” Jinbutsu Hiyoron (January), 34-37.

Akiyama, Kuniharu 1980. “John Cage or the Revolution to Listen.” Kyōiku Ongaku [Tōkyō] (September), 54-59.

Akt 1987-1988. “Oper zur Entlarvung der Oper?” Akt [Frankfurt am Main] 19, no. 12 (December-January), 4.

Albany Student Press 1967. “Arts Program Presents ‘Voices’ Performance.” Albany Student Press (17 February), 7.

Albèra, Philippe 1988a. “Foisonnement.” Dissonanz = Dissonance no. 18 (November), 29-30.

Albèra, Philippe 1988b. “La Nouvelle Ecole.” In Centre 1988, 608-613.

Albet, Montserrat 1973. La música contemporánea. Barcelona: Salvat Editores; repr. 1975; repr. 1979; French as La musique du XXe siècle. Lausanne [etc.]: Editions Grammont, 1975; German as Moderne Musik: Von den Regeln der Klassik zum freien Experiment. Trans. Christina Matilla. Ed. and rev. by Kerstin Lorenzen and Dietmar Michelsen. Reinbek: Rowohlt, 1977 (Rororo).

Albright, Daniel 2000. Untwisting the Serpent: Modernism in Music, Literature, and Other Arts. Chicago [etc.]: University of Chicago Press (reviews: Gill, Jonathan 2001; Levitz 2002; Munton 2002; Reed 2002).

Albright, Daniel 2004, ed. and commentary. Modernism and Music: An Anthology of Sources. Chicago [etc.]: University of Chicago Press.

Alburger, Mark 1995. “Minimalism, Multiculturalism, and the Quest for Legitimacy.” Ph.D. Diss., Claremont Graduate School.

Alburger, Mark 1996a. “Cage: Get a Life.” 20th-Century Music [San Anselmo, California] 3, no. 2 (February), 24.

Alburger, Mark 1996b. “Here Comes Cage.” 20th-Century Music [San Anselmo, California] 3, no. 1 (January), 24.

Alburger, Mark 1996c. “John Cage: Composed in Stanford.” 20th-Century Music [San Anselmo, California] 3, no. 6 (June), 25.

Alburger, Mark 1996d. “Music since 1945.” 20th-Century Music [San Anselmo, California] 3, no. 2 (February), 23.

Alburger, Mark 1998a. Review of Gann 1997. 20th-Century Music [San Anselmo, California] 5, no. 5 (May), 23-24.

Alburger, Mark 1998b. Review of Kostelanetz 1997. 20th-Century Music [San Anselmo, California] 5, no. 2 (February), 31.

Alburger, Mark 1998c. Review of Kostelanetz, Darby and Santa 1996. 20th-Century Music [San Anselmo, California] 5, no. 11 (November), 26-28.

Aldan, Daisy 1980. Review of Cage 1979c. World Literature Today [Norman, Oklahoma] 54, no. 2 (Spring), 284-285.

Alderman, Pauline 1981. “Reminiscences: Arnold Schoenberg at USC.” Journal of the Arnold Schoenberg Institute [Los Angeles, California] 5 (1981), 203-210.

Alessandri, Giulio 1993. “Cage: Universi multimediali.” In Costa, L. et al. 1993, 775-777.

Alexander, Bill 1990. “John Cage Unleashed.” Times Scottish Education Supplement (28 September), 19.

Alfonso, Barry 1980. “The Artist as Criminal: Views from John Cage.” Daily Guardian [San Diego, California] (8 February), 1, 6, 7.

Algemeen Dagblad 1950. “Een experimentele film van emigranten-kunstenaars.” Algemeen Dagblad [Rotterdam] (11 January).

Algemeen Dagblad 1992. “John Cage was uitvinder van de stilte.” Algemeen Dagblad [Rotterdam] (14 August), 11.

Allen, Frank 1992. Review of Perloff, M. 1991b. Library Journal (1 February).

Allen, Trevor 1973. Review of Cage 1961h. Books and Bookmen [London] 18, no. 12 <no. 216> (September), 137.

Allenby, David 1987. “The Proms Reviewed.” Musical Opinion 110, 316-318.

Alley-Young, Gordon 2013. Review of Blesser and Salter 2007. Canadian Journal of Communication [Vancouver, British Columbia] 38, no. 3 (2013), 443-445.

Allinson, Ewan 1995. Review of Hat Art CD 6146 (recording). Tempo no. 193 (July), 59-60.

Allison, Rebecca and Andrew Denison 1978. “Pie and Piano: A Visit to John Cage at Home.” Kite (11 January).

Alloway, Lawrence 1969. Review of Cage 1967o. The Nation 209 (22 December), 706.

Almasi, Stephen 1978. “John Cage Concert at Union College.” Kite (18 January), 4.

Almeida, Karina Campos de 2016. “Entre-territórios: A dança como catalisadora de diferentes noções de composição.” Doctor of Performing Arts Diss., Universidade Estadual de Campinas.

Almeida, Karina Campos de and Lidia Olinto 2017. “A experimentação como território: O legado indisciplinar de John Cage.” Urdimento [Florianópolis] 1, no. 28 (July), 15-34.

Aloff, Mindy 1977. “Cunningham Excites Seattle.” Willamette Week [Portland, Oregon] (20-26 September), The Arts.

Alonso-Minutti, Ana Ruth 2008. “Resonances of Sound, Text, and Image in the Music of Mario Lavista.” Ph.D. Diss., Musicology, University of California at Davis.

Alonso-Minutti, Ana Ruth 2012. “Permutar a Cage.” Pauta [México] 31, no. 123-124 (July-December).

Alpern, Wayne 1999. Review of Gann 1997. Institute for Studies in American Music Newsletter 28, no. 2 (Spring), 6.

Alperson, Philip 1998, ed. Musical Worlds: New Directions in the Philosophy of Music. University Park, Pennsylvania: Pennsylvania State University Press (reviews: Judkins 1999; Sharpe 2000).

Alpert, Barry 1975. “Post-Modern Oral Poetry: Buckminster Fuller, John Cage, and David Antin.” Boundary 2 [Binghamton, New York] 3, no. 3 (Spring), 665-681.

Alpert, Bill 1977a. “Cunningham Comes and Goes.” Seattle Argus (16 September).

Alpert, Bill 1977b. “Cunningham Is Acquired Taste.” Bellevue & Kirkland Daily Journal American [Kirkland, Washington] (9 September).

Alpert, Bill 1977c. “Cunningham’s Secret Is in What He Isn’t.” Seattle Post-Intelligencer (10 September).

Alpert, Bill 1977d. “‘Inlets’ the Cunningham Highlight.” Seatte Post-Intelligencer (12 September).

Alpert, Bill 1977e. “Sea-First and Merce Cunningham: A Perfect Marriage.” Bellevue of Kirkland Daily Journal American [Kirkland, Washington] (24 June).

Alston, Vernon 1964. “Author of Electronic Music Fails to Shock.” State-Times [Baton Rouge, Louisiana] (10 January), 4-A.

Altman, Peter 1970. “Then the Drummer Whipped Up a Salad.” Minneapolis Star (ca. 14 January).

Altshuler, Bruce 1991. “The Cage Class.” In FluxAttitudes. Ed. by Cornelia Lauf and Susan Hapgood. Exhibition catalogue, Hallwalls Contemporary Arts Center, Buffalo, 23 February-27 March 1991; New Museum of Contemporary Art, New York, 10 May-16 August 1992. Gent: Imschoot, 1991, 17-23.

Altshuler, Bruce 1994. The Avant-Garde in Exhibition: New Art in the 20th Century. New York: Harry N. Abrams.

Amati, Ivano and Giorgio 1977. “Il concerto di John Cage al Lirico di Milano ha rappresentato un grosso momento di confronto e di verifica per la musica attuale di avanguardia.” Quotidiano dei Lavoratori (ca. 5 December), 6.

Amberg, George 1949. Ballet in America: The Emergence of an American Art. New York: Duell, Sloan and Pearce; 2nd ed. 1954; repr. New York: Da Capo Press, 1983.

Amelunxen, Hubertus von et al. [Dieter Appelt and Peter Weibel, in collaboration with Angela Lammert] 2008, eds. Notation: Kalkül und Form in den Künsten. Exhibition catalogue, Berlin, Akademie der Künste, 20 September-16 November 2008; Karlsruhe, Zentrum für Kunst und Medientechnologie, 14 February-26 July 2009. Berlin [etc.]: Akademie der Künste; Zentrum für Kunst und Medientechnologie Karlsruhe.

American Magazine 1942. “Smashbang.” American Magazine 134 (July), 71.

American Music Teacher 1987. Review of Gena and Brent 1982. American Music Teacher 36, no. 6, 42-43.

American Organist 1984. “Convention Personalities.” American Organist 18, no. 4 (April), 111-135 [odd pages only], esp. 113.

American Organist 1992. Obituary. American Organist 26 (November), 44-45.

American Record Guide 1990. Review of New World Records 80405-2; New World Records 80391-2 (recordings). American Record Guide (ca. 1990).

American Record Guide 1995. “Here & There.” American Record Guide 58, no. 2 (1995), 23.

American Record Guide 1999. “Guide to Records.” American Record Guide 62 (November-December), 112.

American Review Guide 1968. Review of Cage 1967o. American Review Guide 24 (May), 848.

Amersfoortse Courant 1988. “John Cage centraal in muziekproject.” Amersfoortse Courant (29 October), 2.

Amersfoortse Courant 1992. “Avant-garde componist John Gage [sic] (79) overleden.” Amersfoortse Courant (13 August), 2.

Ames, Charles 1992. “Quantifying Musical Merit.” Interface 21, 53-93.

Ames, Van Meter 1962. Zen and American Thought. Honolulu: University of Hawaii Press.

Ames, Van Meter 1966. “What is Music?” Annual Bulletin of the Hellenic Society for Aesthetics 5; rev. repr. Journal of Aesthetics and Art Criticism 26, no. 2 (Winter 1967), 241-249.

Ames, Van Meter 1970. Review of Cage 1969a. Journal of Aesthetics and Art Criticism 28, no. 4 (Summer), 559-560.

Ames, Van Meter 1971. “Is It Art?” Journal of Aesthetics and Art Criticism 30, no. 1 (Fall), 39-48.

Ames, Van Meter 1972. “From John Dewey to John Cage.” In Proceedings of the Sixth International Congress of Aesthetics. Ed. by Rudolf Walter Zeitler. Uppsala [etc.]: Uppsala Universitet; Almqvist & Wiksell, 737-740 (Figura: Uppsala Studies in the History of Art; Acta Universitatis Upsaliensis; new series no. 10).

Amiot, Anne-Marie 1972. “Raymond Roussel, Marcel Duchamp, John Cage: De L’étoile au front à Musicircus en passant par Roue de bicyclette.” Musique en jeu no. 6 (March), 37-53.

Amiot, Anne-Marie 1987-1988. “Mots en cage, mots en liberté.” In Charles 1987-1988, 51-64.

Amirkhanian, Charles 1971. “Muse Aghast.” KPFA Folio 22, no. 5 (May), 6, 36.

Amirkhanian, Charles et al. 1993. “Cage/Atlas.” Perspectives of New Music 31, no. 2 (Summer), 72-73.

Ammann, René 1991. “Nach dem Frühstück eine zufällige Reise durch ‘Ulysses’.” Sonntagszeitung [Zürich] (2 June).

Ammer, Christine 1987. “Cage […], John, 1912- .” In Christine Ammer, The Harper Dictionary of Music, 2nd ed. New York: Harper and Row; Toronto: Fitzhenry and Whiteside, 59 (original ed. 1972).

Amy, Gilbert/Jameux, Dominique 1971. “Entretien avec Gilbert Amy.” Musique en jeu no. 3 (June), 72-78.

Amzoll, Stefan 2015. Review of Kramer, U. 2014. Neue Zeitschrift für Musik 176, no. 5 (2015), 85.

Anastasi, William 1993. “Jarry, Joyce, Duchamp e Cage.” In Costa, L. et al. 1993, 783-787.

Anastasi, William 2011. The Cage Dialogues: A Memoir. Ed. by Aaron Levy. Philadelphia: Slought Books (Contemporary Artist Series; 6).

Anders, Johannes 1972. “Klang, Farbe und Elektronik.” National-Zeitung [Basel] (28 October).

Andersen, Drake (Ralph) 2017. “‘What Can They Have to Do with One Another?’: Approaches to Analysis and Performance in John Cage’s Four².” Music Theory Only 23, no. 4 (December).

Andersen, Drake Ralph 2020. “The Limits of Indeterminacy: The Performance and Analysis of Selected Indeterminate Compositions by John Cage and Earle Brown.” Ph.D. Dissertation, City University of New York.

Andersen, Eric 1966. “Efter Cage.” Dansk Musiktidsskrift 41, no. 2, 44-46.

Anderson, Beth 1975. “Poem to John.” Ear 1, no. 3 (Summer), [7].

Anderson, Beth 1976-1977. “More about Laurie Spiegel and Vivian Fine, Meredith Monk, about Jim Fulkerson, about John Cage.” Ear 2, no. 8-9 (December-January), [3].

Anderson, Beth 1977-1978. “Zounds: In Review.” Ear 3, no. 8-9 (December-January), [2].

Anderson, Donald Leonard 2011. “Power and Indeterminacy: The Noisy Networks of Foucault, Cage, Burroughs, and Delany.” Ph.D. Diss., University of Washington.

Anderson, E. Ruth 1976, comp. and ed. “Cage, John.” In Contemporary American Composers: A Biographical Dictionary. Boston: G. K. Hall and Co., 65; rev. repr. 1982, 78.

Anderson, Jack 1966. “What Happens at a Happening?” Dance Magazine (August), 44-46.

Anderson, Jack 1978. “Cage Music Dance ‘Event’.” New York Times (21 March), 30.

Anderson, Jack 1980a. “Dance: By Cunningham, ‘Fractions’ and ‘Inlets’.” New York Times (25 February).

Anderson, Jack 1980b. “Dance: Merce Cunningham’s Love of Theater.” New York Times (ca. 24 February).

Anderson, Jack 1981. “Cunningham’s Musical Choices.” New York Times (13 September), 28 D.

Anderson, Jack 1983. “Making Music for Cunningham.” New York Times (13 March), Arts & Leisure, Section 2, pp. H1, H24.

Anderson, Jack 1984. “Cunningham’s ‘Events’ Are Audacious and Controversial.” New York Times (14 October), Section 2, 16.

Anderson, Jack 1985. “Erdman Retrospective: 4 Decades of Movement.” New York Times (6 December).

Anderson, Jack 2007. Review of Brown, C. 2007. Dance Chronicle 30, no. 3 (2007), 533.

Anderson, Jeffrey 1967. “Bouchard and Morisset Featured at Concert.” Winnipeg Free Press (1 December).

Anderson, Laurie 1972. “John Cage’s [Jackson] ‘Not Wanting to Say Anything about Marcel’.” Art News 70, no. 10 (February), 13.

Anderson, Roger 1986. “The Guests Go in to Supper.” Calendar Magazine (July).

Anderson, Simon Peter 2012. “The Prepared Piano Music of John Cage: Towards an Understanding of Sounds and Preparations.” Masters Thesis, University of Huddersfield.

Anderson, Susan Heller 1982. “Briefs on the Arts.” New York Times (30 August), C15.

Anderson, Vaughn 2017. “‘Revision of the Golden Rule’: John Cage, Latin America, and the Poetics of Non-Interventionism.” Journal of Modern Literature [Bloomington, Indiana] 41, no. 1 (Fall), 58-80.

Anderson, Virginia 2013. “The Beginning of Happiness: Approaching Scores in Graphic and Text Notation.” In Assis, Brooks, and Coessens 2013, 130-142.

Andersson, Magnus 2003. “Fyra fot och trettiotre tum: Musik som en rumslig och teatralisk kategori i John Cages musik efter 1952.” Nutida Musik/Tritonus [Stockholm] 46, no. 2 (2003), 23-25.

Andersson, Magnus 2008. Review of Nicholls 2007. Nutida Musik/Tritonus [Stockholm] 51, no. 4 (2008), 46.

Andersson, Magnus 2009a. “Elaborating Nothing: John Cage’s Aesthetics of Silence.” Ph.D. Diss., Norges Musikkhøgskole, Oslo.

Andersson, Magnus 2009b. “John Cage as Meta-Composer.” In Brooks and Vermeire 2009, 17-42.

Andersson, Magnus 2010. Review of Ekbom 2009. Svensk Tidskrift för Musikforskning 92 (2010), 135-137.

Anderton, Mike 1977. “Merce Cunningham – Clown and/or Genius of Dance.” Snohomish County Tribune [Snohomish, Washington] (22 September), 4.

Andraschke, Peter 2008. “The Wonderful Widow of Eighteen Springs: Über frühe Lieder und Instrumentalmusik von John Cage.” In Krones 2008, 137-158.

Andreus, Hans [Johan Willem van der Zant] 1970. “Cage [poem].” In Hans Andreus, Natuurgedichten en andere. Haarlem: Uitgeversmaatschappij Holland; repr. in Hans Andreus, Verzamelde gedichten, 3rd ed. Ed. by Gerrit Borgers, Jan van der Vegt, and Pim de Vroomen. Amsterdam: Bert Bakker, 1985, 742.

Andrews, Bob 1942. “His Beer Bottle Music Becomes a High Art.” Daily Times [Chicago, Illinois] (4 March).

Andrews, Ian 2021. Chance, Phenomenology and Aesthetics: Heidegger, Derrida and Contingency in Twentieth-Century Art. London [etc.]: Bloomsbury Academic.

Andrews, Michael 1977a. “A Few Excellent Pieces in Experimental Marathon.” Palo Alto Times [Palo Alto, California] (29 August).

Andrews, Michael 1977b. “Mixed Offering in Cabrillo Music.” Redwood City Tribune (20 August).

Andrews, Michael 1977c. “Orchestra Program of Mixed Quality.” Palo Alto Times [Palo Alto, California] (22 August).

Andriessen, Louis and Misha Mengelberg/Bernlef, J. 1981. “Vrijheden en verboden.” Raster [Amsterdam] new series no. 19 (1981), 88-105.

Andriessen, Louis et al. [Reinbert de Leeuw, Misha Mengelberg, Peter Schat, Jan van Vlijmen]/Schouten, Martin 1973. “Hoe de Zestigers de Nederlandse muziek uit de droom hielpen.” Haagse Post (3 November), 56-59, 61, 63, 65-66.

Andriessen, Louis and Elmer Schönberger 1983. Het apollinisch uurwerk: Over Stravinsky. Amsterdam: De Bezige Bij; English as The Apollonian Clockwork: On Stravinsky. Trans. Jeff Hamburg. Oxford [etc.]: Oxford University Press, 1989.

Angermann, Klaus 1987. Review of Nicklaus 1987. Neue Zeitschrift für Musik 148, no. 10 (October), 71-72.

Angermann, Klaus 1990. “… daß wir nirgendwo hingelangen: John Cage und die befreite Wahrnehmung.” Musik und Gesellschaft [Berlin] 40 (November), 558-561.

Angermann, Klaus 1991. Review of Metzger, H.-K. and Riehn 1978b and Metzger, H.-K. and Riehn 1990. Neue Zeitschrift für Musik 152, nr. 3 (March), 55-56.

Animal Kingdom 1983. “Saying Goobye to Sibu.” Animal Kingdom/Lincoln Park Zoo [Chicago] 86, no. 5 (October-November), LP6-LP7.

Annibaldi, Claudio 1983. “Der schuldlose Musiker: Postillen zu einem Verlagskatalog.” Trans. W. Paris. In Giacinto Scelsi. Ed. by Heinz-Klaus Metzger and Rainer Riehn. München: text + kritik, 96-110 (Musik-Konzepte; 31).

Annotated Bibliography 1979a. Review of Cage 1961h. Annotated Bibliography of New Publications in the Performing Arts [New York] (Winter), 8.

Annotated Bibliography 1979b. Review of Cage 1979c. Annotated Bibliography of New Publications in the Performing Arts [New York] no. 37 (Fall), 10.

Annotated Bibliography 1979c. Review of Cage 1979c. Annotated Bibliography of New Publications in the Performing Arts [New York] (Winter), 8.

Anonymous 1959f. “Kranichsteiner Chronik 1958.” Darmstädter Beiträge zur Neuen Musik 2, 69-74.

Anonymous 1967dX. “Note on the author and this work.” In Cage 1967c, 15.

Anonymous 1968b. “Concerto for prepared piano and orchestra [sic].” Buffalo Philharmonic Program Notes (12 March), 30-31.

Anonymous 1975b. “Cage, John.” In Who’s Who in America, 38th ed. Chicago: International Who’s Who, vol. 1, 465.

Anonymous 1978k. “Obituary [sic].” Cadence 4 (October), 80.

Anonymous 1978r. [Untitled], in National Union Catalog 1973-1977: Music, Books on Music and Sound Recordings. Totowa, New Jersey: Rowman and Littlefield, vol. 1, 606.

Anonymous 1979m. [Title unknown]. Museumjournaal 24, no. 3 (May).

Anonymous 1980j. “Zu Song Books.” In Krüger 1980, 59.

Anonymous 1981d. “Hechos y figuras.” La Nación (8 March).

Anonymous 1981g. “Music: Cage Uncaged.” Saturday Review 64 (November), 10.

Anonymous 1982a. “Biographische Notizen […]: John Cage: Einige Lebensdaten.” In Pro musica nova: 2. bis 13. Mai 1982 (program). Bremen: Radio Bremen, 66-69.

Anonymous 1982c. “Cage, John.” In Der Musik-Brockhaus. Wiesbaden [etc.]: Brockhaus, 90.

Anonymous 1982e. “John Cage.” In Pro musica nova: 2. bis 13. Mai 1982 (program). Bremen: Radio Bremen, 59.

Anonymous 1983B. “Les grandes bouffes de Cage.” Le Figaro (29 October).

Anonymous 1983c. “John Cage: Aufführungen seiner Musik im Kölner Raum.” In Kölner Gesellschaft 1983, 29-32.

Anonymous 1984c. “Film Reviews.” Variety (25 July), 20.

Anonymous 1985d. [Title unknown]. AMC Newsletter 27, no. 3 (Summer), 9.

Anonymous 1986d. “Roaratorio.” In Brooklyn Academy of Music Next Wave Festival. Brooklyn, New York: Brooklyn Academy of Music, 8.

Anonymous 1987l. “News Section: Composers.” Tempo no. 163 (December), 53.

Anonymous 1987n. “Panel Discussion.” Interface 16, 187-199.

Anonymous 1987p. [Title unknown]. Neue Zeitschrift für Musik 148, no. 7-8 (July-August), 94.

Anonymous 1987-1988a. “Art com [in English, with parallel French trans. Carol Richards].” Revue d’Esthétique new series no. 13-15, 281-286.

Anonymous 1988c. “Eareviews.” Ear [New York] 13, no. 7, 26.

Anonymous 1996. [Title unknown]. Le monde de la musique/Télérama.

Ansell, Kenneth 1988. “Cage, Kagel, and Others at the Almeida Festival.” Tempo no. 166 (September), 46-48.

Anthony, Michael 1974a. “Cage, Socrates of Music.” Minneapolis Tribune (6 October), Arts, 1D, 11D.

Anthony, Michael 1974b. “St. Paul Chamber Orchestra.” Minneapolis Tribune (30 September), 12B.

Antin, David 2005. John Cage Uncaged Is Still Cagey. San Diego, California: Singing Horse Press; repr. in David Antin, Radical Coherency: Selected Essays on Art and Literature, 1966 to 2005. Chicago, Illinois [etc.]: University of Chicago Press, 2011, 331-343; French as John Cage sans cage. Trans. Claire Delamarre and Abigail Lang. Dijon: Les Presses du Réel, 2011 (Motion Method Memory).

Antioch Review 1979. “Some Summer Reading: Time, Song, Wine, and Men.” Review of Cage 1973h and Cage 1979c. Antioch Review [Yellow Springs, Ohio] 37, no. 4 (Fall), 488-500.

Antokoletz, Elliot 1992. Twentieth-Century Music. Englewood Cliffs, New Jersey: Prentice Hall.

Antokoletz, Elliot 2014. A History of Twentieth-Century Music in a Theoretic-Analytical Context. New York [etc.]: Routledge.

Anuario interamericano 1971. Review of Kostelanetz 1970d. Anuario interamericano de investigación musical = Yearbook for inter-American musical research = Anuario interamericano de pesquisa musical [Austin, Texas] 7 (1971), 187.

Anzeiger 1991. “John Cage bildkünstlerisches Werk im Kunsthaus.” Anzeiger des Bezirkes Horgen [Horgen] (12 June).

Appel-Segal, C. Anthony 1955. “John Cage’s ‘Prepared Talk,’ Prepared Piano From Notations Becomes Sound; Both Unusual.” The Dartmouth [Hanover, New Hampshire] (23 March), 1.

Applebaum, Louis 1948. “Dreams That Money Can Buy.” Film Music Notes [New York] 8, no. 1 (September-October), 19-20.

Appleton, Jon H. and Ronald C. Perera 1975, eds. The Development and Practice of Electronic Music. Englewood Cliffs, New Jersey: Prentice-Hall.

Aquien, Pascal 1986. “Introduction aux ‘Song Books I & II’ de John Cage.” Contrechamps no. 6 (April), 79-87.

Ar. Ca. 1987. “Ai confini dello spazio, ecco la musica.” La Stampa [Torino] (5 May), 27.

Araño, Juan Carlos 1984. “Cage: Selección de textos.” Figura [Sevilla] no. 2 (1984).

Arató, István 1969. “Was ist Improvisation?” In Bärtschi et al. 1969, A 1-A 3.

Arciuli, Emanuele 2010. Musica per pianoforte negli Stati Uniti: Autori, opere, storia. Torino: EDT.

Arciuli, Emanuele 2012a. “Cage o della libertà.” Alfabeta 2 [Milano] no. 24 (November), supplement AlfaCage.

Arciuli, Emanuele 2012b. “Music of Cha(lle)nges.” In Fronzi 2012b, 149-154.

ARD Magazin 1987. “John-Cage-Marathon.” ARD Magazin no. 1 (January-February).

Arditti, Irvine 1995-1996. “Cage without Fear.” Schwann Opus [Santa Fe, New Mexico] 7, no. 1 (Winter), 28A and passim.

Arditti, Irvine 2004. “Persönliche Erinnerungen an John Cage.” Trans. Gina Mattiello. In Polzer and Schäfer 2004, 102-103.

Arena, Leonardo 1998. “Uno scambio fecondo: John Cage, Zeami e il gagaku.” In Shodò: L’arte della calligrafia giapponese. Ed. by Emanuela Patella, Alberto de Simone, and Gino Maggio. Genova: Centro Ligure di Studi Orientali, 153-157.

Armengaud, Jean Pierre 1988. Les plus que brèves d’Erik Satie. Paris: Librairie Séguier; Spanish as Erik Satie: Una biografía para el piano. Trans. Gabriel Hormaechea. Barcelona: Parsifal, 1991.

Arndt, Jürgen and Werner Keil 1998, eds. Jazz und Avantgarde. Hildesheim: Georg Olms (Hildesheimer musikwissenschaftliche Arbeiten; 5) (review: Wilson, P.N. 1998).

Arne, Thomas 1980. “John Cage at UCSD.” San Diego Reader (24 January).

Arns, Inke 2012. “On the Dark Side of Silence.” In Daniels, D. and Arns 2012, 39-44.

Aronson, Arnold 2000. American Avant-Garde Theatre: A History. London [etc.]: Routledge (Theatre Production Studies); repr. 2003; repr. 2005; repr. 2007; repr. 2013 (reviews: Harding 2003; Jakovljevic 2002; Mackay, M. 2002).

Arpel, Anna Laura 1997. Review of Chadabe 1997. Computer Music Journal 21, no. 3 (Fall), 100-101.

Art and Artists 1972a. [Title unknown]. Art and Artists 7 (June), 8.

Art and Artists 1972b. [Title unknown]. Art and Artists 7 (July), 11.

Art in America 1969. “John Cage and Calvin Sumsion.” Art in America [New York] 57, no. 4 (July-August), 33-34.

Art in America 1983. [Title unknown***]. Art in America [New York] 71 (September), 69.

Art in America 1984. [Title unknown]. Art in America 72 (February), 72.

Art News 1976. “John Cage (Carl Solway).” Art News 75, no. 8 (October), 118.

Art Progress 1973. “John Cage.” Art Progress no. 1 (January).

Art Progress 1974. “John Cage.” Art Progress no. 8 (January).

Arthur, Bill 1977. “T-Shirts, Jeans Set Aptos Music Festival Tone.” Long Beach Press Telegram [Long Beach, California] (21 August).

Arts 1977. “Merce Cunningham Performance at Seattle Center Arena Sept. 3.” The Arts: Newsletter of the King County Arts Commission (August), 3.

Arts Magazine 1965. Review of Tomkins 1965. Arts Magazine [New York] 39 (May), 83.

Arts Magazine 1971. “Martha Jackson Gallery, New York.” Arts Magazine [New York] 46 (December), 62.

Arvey, Verna 1941. Choreographic Music, Music for the Dance. New York: E.P. Dutton.

Asabuki, Ryōji 1985. “Chimmoku/hakushi ni tsuite.” Gendai Shi Techō [Tōkyō] 28, no. 5 (April), 255-259.

ASCAP Today 1968. “Honors for Members.” ASCAP Today 2, no. 3, 34.

Asche, Gerhart 1972. “Das Publikum wird frei.” Bremer Nachrichten (8 May); repr. Nordsee-Zeitung [Bremerhaven] (9 May).

Asche, Gerhart 1975. “Kunst der leisen Faszination.” Bremer Nachrichten (17 June or later).

Ashbery, John 1964. “Cunningham Ballet in Paris.” New York Herald Tribune [Paris] (13-14 June), 5.

Ashbery, John 1971. “Introduction.” In Frank O’Hara, The Collected Poems of Frank O’Hara. Ed. by Donald Allen. New York: Knopf; repr. Berkeley [etc.]: University of California Press, 1995.

Ashbery, John 1978. “Cheering Up Our Knowing: Exhibition at the Carl Solway Gallery, New York.” New York 11, no. 15 (10 April), 69-71.

Ashbery, John 1982. “The Look of Music.” Newsweek (22 March), 80 (Frank, H. 1982; Merkin 1982).

Ashbery, John 1989. “John Cage and Jules Olitski.” In idem, Reported Sightings: Art Chronicles, 1957-1987. Ed. by David Bergman. New York: Knopf, 221-224; repr. Cambridge, Massachusetts: Harvard University Press, 1991.

Ashby, Arved 1994. Review of Classic Produktion Osnabrück CPO 999 227-2 (recording). American Record Guide 57, no. 4 (July-August), 89.

Ashford, Gerald 1962. “Noteless Music Return to Creative Spirit.” San Antonio Express and News [San Antonio, Texas] (2 September).

Ashley, Robert 1968. “The ONCE Group.” Source [Sacramento, California] 2, no. 1 <no. 3> (January), as part of Austin et al. 1968; repr. Ear [San Francisco, California] 8, no. 4 (Summer 1980), 3.

Ashley, Robert 1982. “Just One Complaint.” In Gena and Brent 1982, 77-81 (previously as program notes for the New Music America Festival, Chicago 1982).

Ashley, Robert et al. [David Behrman, Alvin Lucier, Gordon Mumma, and Christian Wolff]/Osterwold, Matthias and Volker Straebel, 2012. “Sonic Arts (re)Union.” In Schröder, J.H. and Straebel 2012, 259-271.

Ashton, Dore 1958. “Cage, Composer, Shows Calligraphy of Note.” New York Times (6 May), 33; repr. in Kostelanetz 1970d, 126; German as “Der Komponist John Cage zeigt Notenkalligraphie: Eine Kunstkritik.” In Kostelanetz 1970d/1973, 177.

Ashton Dore 1962. The Unknown Shore: A View of Contemporary Art. Boston, Massachusetts: Little, Brown; repr. London: Studio Vista, 1964.

Ashton, Dore 1972. The Life and Times of the New York School. Bath: Adams and Dart; repr. as The New York School: A Cultural Reckoning. New York: Viking Press, 1973; repr. Berkeley [etc.]: University of California Press, 1992.

Aspen Flyer 1966a. “15th IDCA Starts at Amphitheater.” Aspen Flyer [Aspen, Colorado] (20 June).

Aspen Flyer 1966b. [Untitled]. Aspen Flyer [Aspen, Colorado] (27 June).

Aspen Times 1966. “Prominent Men to Speak at IDCA.” Aspen Times [Aspen, Colorado] (2 June).

Asplund, Christian 1997. “A Body without Organs: Three Approaches – Cage, Bach, and Messiaen.” Perspectives of New Music 35, no. 2 (Summer), 171-187.

Assis, Paulo de 2018, ed. Virtual Works–Actual Things: Essays in Music Ontology. Leuven: Leuven University Press.

Assis, Paulo de, William Brooks, and Kathleen Coessens 2013, eds. Sound & Score: Essays on Sound, Score and Notation. Leuven: Leuven University Press (Orpheus Institute Series; 2).

Aste, Francesca 2005. “Il pianoforte preparato e la poetica dell’indeterminazione: Analisi delle Sonatas and Interludes di John Cage.” Hortus Musicus [Bologna] 6, no. 24 (October-December), 133-153.

Aste, Francesca 2012. “Sassi e altre forme misteriose.” Alfabeta 2 [Milano] no. 24 (November), supplement AlfaCage.

Aste, Francesca 2013. “‘Imitare la natura nel suo modo di agire’: Tra libertà e necessità nei metodi compositivi di John Cage.” Musica/Realtà [Lucca] 34, no. 100 (March), 81-87.

Asterisk 1975-1976. Review of Nyman 1974. Asterisk [Ann Arbor, Michigan] 2, no. 3, 6.

Åstrand, Hans 1977-1978. Review of Cage/Charles 1976. Nutida Musik [Stockholm] 21, no. 2, 71-72.

Åstrand, Hans 1978-1979. “Glosor om John Cage.” Review of Charles 1978c. Nutida Musik [Stockholm] 22, no. 3, 54.

Atkins, Robert 1992. “Scene & Heard: Bob, Roger, David, and John.” Village Voice (29 September), 100.

Atlanta Journal 1992. “John Cage, 79, Composer Who Used Hardware in His Instrumental Works.” Atlanta Journal/Atlanta Constitution (August), B8.

Attali, Jacques 1977. Bruits: Essai sur l’économie politique de la musique. Paris: Presses universitaires de France; English as Noise: The Political Economy of Music. Trans. Brian Massumi. Minneapolis: University of Minnesota Press, 1985 (Theory and History of Literature; 16); Manchester: Manchester University Press, 1985 (review: Steiner 1977).

Attinello, Paul Gregory 1997. “The Interpretation of Chaos: A Critical Analysis of Meaning in European Avant-Garde Vocal Music, 1958-1968.” Ph.D. Diss., University of California, Los Angeles.

Au, Sau Woon Rebecca 2013. “I Ching in the Music of John Cage, Chou Wen Chung (Zhou Wenzhong) and Zhao Xiao Sheng (Zhao Xiaosheng).” Ph.D. Diss., Chinese University of Hong Kong.

Au, Susan 1986. “Cunningham, Merce.” In The New Grove Dictionary of American Music. Ed. by H. Wiley Hitchcock and Stanley Sadie. London [etc.]: Macmillan, vol. 1, 555.

Audio 1980. Review of Composers Recordings CRI SD 410 (recordings). Audio no. 12, 87-88.

Aufbau 1965. “Von Rameau zum Elektronenballet.” Aufbau [New York] (30 July).

Auner, Joseph (Henry) 2013. Music in the Twentieth and Twenty-First Centuries. New York [etc.]: W.W. Norton and Company (Western Music in Context: A Norton History).

Auner, Joseph 2014. “Review: Digital and Multimedia Scholarship.” Journal of the American Musicological Society 67, no. 3 (Fall), 866-880.

Austin, Larry 1969. “Events/Comments.” Review of Cage 1969a. Source [Sacramento, California] 3, no. 1 <no. 5> (January), 77; repr. in Austin, L. and Kahn 2011, 201-202.

Austin, Larry 2004a. “John Cage’s Williams Mix (1951-53): The Restoration and New Realisations of and Variations on the First Octophonic, Surround-Sound Tape Composition.” In Hall, P. and Sallis 2004, 189-214.

Austin, Larry 2004b. Review of Electronic Music Foundation EMF Media CD 038 (recording). Computer Music Journal 28, no. 3 (Fall), 83-85.

Austin, Larry and Douglas Kahn 2011, eds.; managing ed. Nilendra Gurusinghe. Source: Music of the Avant-Garde, 1966-1973. Berkeley [etc.]: University of California Press (reviews: Boyd, M. 2013; Gramophone 2011b; Schuster-Craig 2012; Smart 2011; Smoliar 2012).

Austin, Larry et al. [Stanley Lunetta, John Mizelle, and Arthur Woodbury] 1968. “Groups: New Music Ensemble, ONCE Group, Sonic Arts Group, Musica Elettronica Viva.” Source [Sacramento, California] 2, no. 1 <no. 3> (January), 15-17; repr. in Austin, L. and Kahn 2011, 93-107.

Austin, William W. 1966. Music in the 20th Century: From Debussy through Stravinsky. New York [etc.]: Norton; London: Dent, 1966; Spanish as La música en el siglo XX: Desde Debussy hasta la muerte de Stravinsky, 2 vols. Trans. José Maria Martín Triana. Madrid: Taurus, 1985 (Ensayistas; 255-256) (reviews: Hamm 1967; Nathan 1969).

Austin, William W. 1974. “Neue Musik.” Trans. T.M. Höpfner. In Epochen der Musikgeschichte in Einzeldarstellungen. Kassel [etc.]: Bärenreiter; Deutscher Taschenbuch-Verlag, 386-461 (dtv; 4146).

Austin, William W. 1994. “Necrologies: John Milton Cage, 1912-1992.” Inter-American Music Review 14, no. 1 (Spring-Summer), 161-162.

Australian Journal of Music Education 1982. Review of Griffiths, P. 1981a. Australian Journal of Music Education [Nedlands, Western Australia] no. 30 (April), 72-73.

Australian Journal of Music Education 1999. Review of Nyman 1974. Australian Journal of Music Education no. 1 (1999), 106.

Avignone, June 1985. “Expect the Unexpected.” The News [Bergen, New Jersey] (8 April).

Avron, Dominique 1972. “Notes pour introduire une métapsychologie de la musique.” Musique en jeu no. 9 (November), 102-110.

Avron, Dominique 1975. “Energétique ou sémiologie de la musique?” Musique en jeu no. 18 (April), 93-97.

Avron, Dominique 1978. L’appareil musical. Paris: Union générale d’éditions (Série Esthétique) (previously Ph.D. Diss., Université Paris 1 Panthéon-Sorbonne, 1974).

Avshalomoff, Jack 1940. “Cage Percussion Players.” Reed College Quest [Portland, Oregon] (16 February), 2.

Axelrod, Stephen Gould 1999. Review of Shultis 1998c. American Literature (Fall).

Ayot, Pierre et al. 1997. [Illustrations]. Circuit [Montréal, Québec] 8, no. 2 (1997), passim.

Azarm, Ben 1980. “Once Upon a Group….” Ear [San Francisco, California] 8, no. 4 (Summer 1980), 1.

Azenied, Zoe 1995. “The Legacy of Internationally Renowned Composer John Cage Honored in Four Day Festival of Music, Film and Art at Mills.” Mills College Weekly (10 November), 7.

Azoulay, Eliane 1988. “Cage d’homme.” Télérama (30 March), 138.

B. 1992. “John Cage treedt in de legende.” Het Volk/DNG [Gent] (13 August), 9.

B., Otto 1959. “Avantgarde auf fossilen Spuren.” Neues Österreich [Wien] (22 November).

B., Will and Jack Suhl 1942. “Bach, Beethoven, Brahms and Beer.” Cartoon. New York World-Telegram (6 March).

B.F. 1984. “Percussioni, bambini, funghi, suoni: Così Cage darà la sveglia a Torino.” Il Giornale (6 May).

B.R.N. 1949. “‘Prepared’ Piano Used in Interesting Event.” Los Angeles Times (24 February).

Baas, Jacquelynn 2005. Smile of the Buddha: Eastern Philosophy and Western Art from Monet to Today. Berkeley [etc.]: University of California Press.

Baas, Jacquelynn 2018. “Filosofías de Asia: Nuevas dimensiones pare el arte occidental, 1945-1975.” In El principio Asia: China, Japón e India en el arte contemporáneo en España (1957-2017) [exhibition catalogue, Madrid, Fundación Juan March, 8 March-24 June 2018]. Ed. by Inés Vallejo. Madrid: Fundación Juan March; Editorial de Arte y Ciencia.

Bach, Hans Elmar 1972. “Die musikalischen Streiche des John Cage.” Kölnische Rundschau (15 September).

Bach, Hans Elmar 1977. “Dunkel im Westen – Licht aus dem Osten.” Kölnische Rundschau (12 December).

Bach, Hans Elmar 1978. “Das Wässerchen, das Musik war, ist schnell schal geworden.” Kölnische Rundschau (11 April).

Bach, Hans Elmar 1992a. “Musik als Stille, Zufall und Geräusch.” Kölner Stadt-Anzeiger (14 August), 16; also published Rhein-Sieg-Anzeiger (14 August), 16.

Bach, Hans Elmar 1992b. “Eine Reise in die Leere.” Kölner Stadt-Anzeiger (21 September), 12; also Rhein-Sieg-Anzeiger (21 September), A 2.

Bach Bachtischa [Bach], Michael 1991. Fingerboards & Overtones: Pictures, Basics and Model for a New Way of Cello Playing = Bilder, Grundlagen und Entwürfe eines neuen Cellospiels. Trans. Biruta Aļļe. Ed. by Alexander Ochs. München: Spangenberg, with unpag. supplement (reviews: Frisch 1991; Roelcke 1991b; Schloemann 1992; Sommer, U. 1993).

Bach Bachtischa, Michael 1996a. “Der Bach-Bogen.” Neue Zeitschrift für Musik 157, no. 5 (September-October), 48-50.

Bach Bachtischa, Michael 1996b. “Cage-Interpretation? [excerpt of Cage/Retallack 1996 in German translation].” Positionen [Berlin] no. 26 (February), 30-35.

Bachauer, Walter 1966. “‘Es ist alles nicht so schlimm, wie es ist’.” Die Welt [Berlin] (13 May).

Bachmann, Claus-Henning 1972a. “Bonn: Erfahrungen im verfremdeten Museum.” Frankfurter Rundschau (30 May); repr. Neue Zeitschrift für Musik 133 (1972), 386-387.

Bachmann, Claus-Henning 1972b. “Hörphysiologische Gewitterstimmung.” National-Zeitung [Basel] (7 June).

Bachmann, Claus-Henning 1972c. “‘Pro musica nova’ in Bremen.” Lübecker Nachrichten (18 May).

Bachmann, Claus-Henning 1972d. “Der Rattenfänger von Bremen.” Badische Neueste Nachrichten [Karlsruhe] (25 May).

Bachmann, Claus-Henning 1972e. “Ein Traumhaus für die Musik.” Neue Zeitschrift für Musik 133 (1972), 384-386.

Bachmann, Claus-Henning 1973. “Wirklichkeit und Konstruktion.” St. Galler Tagblatt (19 June).

Bachmann, Claus-Henning 1982a. “Aspekte und Affekte.” Weser-Kurier [Bremen] (4 May), 18; repr. as “Die ‘Tage für neue Kammermusik’ 1982.” St. Galler Tagblatt (7 May); abridged repr. as “Aspekte und Affekte.” Rhein-Neckar-Zeitung [Heidelberg] (6 May); abridged repr. as “Klänge aus einem Friedensreich.” Hessische/Niedersächsische Allgemeine [Kassel] (6 May); abridged repr. as “Sichtbar gemachte Musik, hörbar gemachtes Sehen.” Das Vaterland [Luzern] (7 May); further repr. Augsburger Allgemeine [Augsburg]; Badische Neueste Nachrichten [Karlsruhe]; Fränkischer Tag [Bamberg]; Heilbronner Stimme [Heilbronn].

Bachmann, Claus-Henning 1982b. “Ausschnitte aus der tönenden Welt.” General-Anzeiger [Bonn] (2 September).

Bachmann, Claus-Henning 1982c. “Mein Gruß an John Cage.” Deutsches Allgemeines Sonntagsblatt (5 September).

Bachmann, Claus-Henning 1982d. “Ost-West-Wege.” Deutsches Allgemeines Sonntagsblatt (9 May).

Bachmann, Claus-Henning 1982e. “Von Träumen, Sternen, Metronomen.” Wiener Zeitung (7 May), 4; repr. Schaffhauser Nachrichten (10 May), 9; repr. Basler Zeitung (11 May); abridged repr. as “Von Träumen und Metronomen.” Esslinger Zeitung (8-9 May); abridged repr. as “Von Träumen, Sternen und Metronomen.” General-Anzeiger [Bonn] (11 May).

Bachmann, Claus-Henning 1982f. “‘Wie weiter?’: Lektionen ohne Lehre: Wittener Tage für neue Kammermusik 1982.” Neue Zeitschrift für Musik 143, no. 6-7 (June-July), 64-66.

Bachmann, Claus-Henning 1982g. “Wittener Tage für Neue Kammermusik 1982.” Österreichische Musikzeitschrift 37, no. 6 (June), 341-343.

Bachmann, Claus-Henning et al. 1961 [Ernst Krenek, Franz Willnauer und Fritz Winckel]. “Kann man serielle Musik hören?” Melos 28 (1961), 223-229.

Bachmann, Dieter 1991. “Editorial.” Du [Zürich] no. 5 (May), 13, 15.

Bachmann, Plinio 1991. “John Cage: Chronik von Leben und Werk.” Du [Zürich] no. 5 (May), 78-87.

Bacht, Nikolaus 2003. “Jean-François Lyotard’s Adaptation of John Cage’s Aesthetics.” Perspectives of New Music 41, no. 2 (Summer), 226-249.

Backalm, Carol 1978. “‘La musique comme vous dites, n’est qu’un mot’.” Rouge [Montreuil] (12 May).

Bäcker, Marcus 1990. “Wandern - Hausmusik inklusive.” Rheinische Post [Düsseldorf] (25 September).

Backhausen, Nelly and Axel Kjerulf 1950, eds. “Cage, John.” In Politikens Musikleksikon: Musikkens hvem, hvad, hvor. København: Politikens Forlag. vol. 1.

Badger, Billy 2020. “‘And This Is How New Music Is Made’: Stefan Paul Goetsch’s ‘Hate Loops’ in the Context of New Music.” Acta Musicologica [Basel] 92, no. 2 (2020), 200-213.

Badische Neueste Nachrichten 1990. “Alternative Harmonie und die Dinge des Lebens.” Badische Neueste Nachrichten [Karlsruhe] (27 July).

Baecker, Inge 1975a. “John Cage.” In Baecker 1975b, 13.

Baecker, Inge 1975b, ed. Sehen um zu hören: Objekte & Konzerte zur visuellen Musik der 60ger Jahre: 17.10.-26.10.’75: Städtische Kunsthalle Düsseldorf; Cage, Kagel, Paik-Moorman, Chiari, Jones, Schnebel, Van Huene. Düsseldorf: Städtische Kunsthalle Düsseldorf.

Baer-Bogenschütz, Dorothee 1992. “Endlichkeit der Zeit, Unendlichkeit der Wünsche.” Frankfurter Rundschau (8 September), 23.

Baetens, Jan 2006. Review of Gere 2006. Leonard Digital Reviews (24 October).

Bagar, Robert 1943. “Percussion Concert Produces Cacophony.” New York World-Telegram (8 February).

Bagar, Robert 1952. Review of 12 October 1952 (concert). New York World-Telegram (13 October).

Bahn, Robert Curtis 1997. “Composition, Improvisation and Meta-Composition.” Ph.D. Diss., Princeton University.

Bai, Giovanni 1998. “Gion Kèig.” In Bonomo and Furghieri 1998, 574-576.

Bailey, Candace 2000. Review of Rowland 1998. Journal of Musicological Research 20, no. 1 (November), 93-96.

Baille, Marthe 1979. “Génial Merce Cunningham!” Le Journal (8 May).

Bair, Deirdre 1995. Anaïs Nin: A Biography. New York: Putnam.

Bakan, Michael B., Wanda Bryant and Li Guangming 1990. “Demystifying and Classifying Electronic Music Instruments.” Selected Reports in Ethnomusicology 8, 37-64.

Baker, David 2014. Review of Burnard 2012. British Journal of Music Education 31, no. 1 (March), 99-108.

Baker, David N. 1974. Contemporary Techniques for the Trombone: A Revolutionary Approach to Dealing with the Problems of Music in the Twentieth Century. New York: Charles Colin.

Baker, Don Russell 1985. “The Percussion Ensemble Music of Lou Harrison: 1939-1942.” D.M.A. thesis, University of Illinois, Urbana-Champaign.

Baker, Jason Colby 2004. “The Snare Drum as a Solo Concert Instrument: An In Depth Study of Works by Milton Babbitt, John Cage, Dan Senn, and Stuart Saunders Smith, together with Three Recitals of Selected Works by Keiko Abe, Daniel Levitan, Askell Masson, Karlheinz Stockhausen, and Others.” D.M.A. Diss., University of North Texas.

Baker, Kenneth 1970. “Cage’s ‘Plexigrams’.” Christian Science Monitor [Boston, Massachusetts] (2 March), 10.

Baker, Kenneth 1990. “Form Jostles Content in Cage’s Lectures.” Review of Cage 1990f. San Francisco Chronicle (10 June), Review, 14-15.

Baker, Kenneth 1992. “Cartoon Spinoffs Paired with Cage.” San Francisco Chronicle (2 January).

Baker, Kenneth 1993. “Cage as Art ‘Circus’ Ringmaster.” San Francisco Chronicle (13 October), Datebook, D1, D5.

Baker, Kenneth 1994a. [Review]. San Francisco Chronicle (24 July), 6.

Baker, Kenneth 1994b. “Rolywholyover!” Town & Country (April).

Baker, Kenneth 1996. Review of Cage/Retallack 1996. San Francisco Chronicle (10 March).

Baku 2019. Review of Fornel 2019. Revue et Corrigée [Lille] no. 120 (June).

Balakian, Nona 1967. “End Papers.” Review of Cage 1967o. New York Times (9 December), 45.

Baldwin, John 1987. Review of Sound Star-Ton SST 0184/S (recording). Percussive Notes 26, no. 1 (Fall), 63.

Baldwin, Peter 2014. The Copyright Wars:
Three Centuries of Trans-Atlantic Battle. Princeton, New Jersey: Princeton University Press.

Ballade 1984. “A Cage of Hit and Run.” Ballade [Oslo] 8, no. 1 (1984), 1.

Ballantine, Christopher 1977. “Towards an Aesthetic of Experimental Music.” Musical Quarterly 63, no. 2 (April), 224-246.

Ballardini, Franco, Aldo Cutroneo, and Emanuela Negri 2003, eds. John Cage: L’espressione si sviluppa in colui che la percepisce: Convengno di Studi, Riva del Garda, Auditorium del Conservatorio, 3-10 Settembre 2002: Atti. Lucca: Libreria Musicale Italiana.

Ballarini, Corinne 1993. “Les partitions processus de J. Cage et de K. Stockhausen.” Maîtrise Université de Montpellier III.

Bals, Karen Elizabeth 1982. “The American Piano Concerto in the Mid-Twentieth Century.” D.M.A. Diss., University of Kansas, Lawrence.

Balzano, Gerald 1980a. “Cartridge Music.” In Faculty 1980, [10]-[12].

Balzano, Gerald 1980b. “Imaginary Landscape, No. 5.” In Faculty 1980, [25]-[27].

Bambarger, Bradley 1995. Review of New Albion NA 073 (recording). Billboard (27 May).

Banes, Sally 1983. Democracy’s Body: Judson Dance Theater, 1962-1964. Ann Arbor, Michigan: UMI Research Press (Studies in the Fine Arts: The Avant-Garde; 43); paperback repr. Durham, North Carolina [etc.]: Duke University Press, 1993.

Banes, Sally R. 1984. “Performance: The Whole Story.” Village Voice (29 May), 83.

Banes, Sally 1993. Greenwich Village 1963: Avant-Garde Performance and the Effervescent Body. Durham, North Carolina: Duke University Press.

Banfield, Stephen 2001. Review of Born and Hesmondhalgh 2000. Musical Times [London] 142, no. 1876 (Fall), 55-58.

Banks, Eric 2013, ed. In Artists for Artists: Fifty Years of the Foundation for Contemporary Arts. New York: Foundation for Contemporary Arts.

Bannon, B.A. 1966. Review of Cage 1961h. Publishers Weekly [New York] 190 (12 September), 94.

Barber, David W. 1986. Bach, Beethoven and the Boys: Music History as It Ought to Be Taught. Toronto: Sound and Vision.

Barber, Llorenç 1976. “John Cage: Una identificación arte-vida.” Kurpil [San Sebastián] no. 10 (April).

Barber, Llorenç 1978a. “Encuentro/despedida con/a John Cage.” Ozono [Madrid] no. 39 (December).

Barber, Llorenç 1978b. “El tren de John Cage: A la búsqueda del silencio perdido.” Ozono [Madrid] no. 39 (December).

Barber, Llorenç 1979. “John Cage.” Ritmo [Madrid] no. 489 (March).

Barber, Llorenç 1985. John Cage. Madrid: Círculo de Bellas Artes (Colección Músicos de Nuestro Siglo; 1).

Barber, Llorenç 1987-1988. “Une musique pneumatique: La linguopharyngocampanologie.” Trans. Esther Ferrer. In Charles 1987-1988, 67-70.

Barber, Llorenç 1992. “Cage y postmodernidad española.” Zehar [San Sebastián] no. 14 (1992).

Barbiero, Daniel 2014. Review of Grubbs 2014. Percorsi Musicali (21 May).

Barce, Ramón 1964a. “Estudio sobre John Cage (I).” Aulas [Madrid] no. 20 (1964).

Barce, Ramón 1964b. “Estudio sobre John Cage (II).” Aulas [Madrid] no. 22 (1964).

Barce, Ramón 1965. “Un nuevo tipo de teatro musical.” ABC (16 February).

Barden, Mark, Johannes Kreidler and Martin Schüttler/Naujocks, Carolin 2012. “‘Hoffentlich bleibt er anfechtbar’.” MusikTexte no. 135 (November), 19-23.

Bargreen, Melinda 1977a. “Chance, Change and Cage.” Seattle Times (4 September).

Bargreen, Melinda 1977b. “‘Dialogue’ Surprising Event.” Seattle Times (7 September).

Bargreen, Melinda 1977c. “Tapes, Water Buckets and Radios in Concert.” Seattle Times (9 September).

Bargreen, Melinda 1983a. “Cage Events Will Focus on Earlier Works.” Seattle Times (9 December).

Bargreen, Melinda 1983b. “Cage Pushes Musical Frontier Too Far.” Seattle Times (12 December).

Baril, Jacques 1977. La danse moderne: D’Isadora Duncan à Twyla Tharp. Paris: Vigot (Collection Sport + Enseignement; 6); repr. 1984.

Barkema, Peter and Michelle Blaauw 1978. “Sounday: Hoe spannend is het maken van akoesties behang?” ASKO-Krant [Amsterdam] no. 16-17 (August-September), 5-7.

Barker, David 1989. “Untitled: Art, Music, and Nothing.” Exploratorium Quarterly 13, no. 4 (Winter), 24-29.

Barkin, Elaine 1986. “John Cage: String Quartet in Four Parts (1950).” News of Music [Annandale-on-Hudson] no. 8 (1986); rev. repr. included in Barkin 1993, 131; repr. in Elaine Barkin, E: An Anthology: Music, Texts & Graphics (1975-1995). Red Hook, New York: Open Space, 1997, 105.

Barkin, Elaine 1993. “The Cage Case: Existential Joker.” Perspectives of New Music 31, no. 2 (Summer), 128-131.

Barlow, Jon 1993. “Three Exercises for John Cage.” Wesleyan [Middletown, Connecticut] 75, no. 3 (Winter), 9.

Barlow, Samuel L.M. 1945. “On and Off Broadway.” Modern Music 22, no. 3 (March-April), 206-208.

Barna, John 1995. “Change Comes Daily with New Cage Exhibit.” Today’s Sunbeam [Salem, New Jersey] (4 June); repr. as “Taking a Chance.” Gloucester County Times [Woodbury, New Jersey] (9 June).

Barnes, Clive 1964a. “It’s Foolish and It’s Fun.” Daily Express (6 August).

Barnes, Clive 1964b. “U.S. Dance Group Stirs Londoners.” New York Times (13 August).

Barnes, Clive 1964c. “U.S. Dancers Win Hearts in London.” New York Times (3 August).

Barnes, Clive 1966a. “Cunningham’s Troupe Appears in Brooklyn.” New York Times (25 April).

Barnes, Clive 1966b. “Dance: Trouble with Going Abroad.” New York Times (21 May), 24.

Barnes, Clive 1966c. “Happening: Ineffable Night at Armory.” New York Times (17 October), 48.

Barnes, Clive 1966d. “West Leaps Language Barrier to Meet East.” New York Times (30 April).

Barnes, Clive 1972. “Dance: New Cunningham.” New York Times (3 February), 25.

Barnes, Clive 1975. “Dance: Merce Cunningham’s Events.” New York Times (3 December).

Barnes, Clive 1977. “Dance: Cunningham on Broadway,” in other edition “Cunningham Dancers.” New York Times (19 January).

Barnes, Clive 1982a. “Cunningham: Wall-to-Wall Images.” New York Post (17 March), 55.

Barnes, Clive 1982b. “Cunningham Shows No Merce-y.” New York Post (19 March), 70.

Barnes, Richard 1966. “Our Distinguished Dropout.” Pomona Today [Claremont, California] 64, no. 1 (July), 18-20; repr. in Kostelanetz 1970d, 49-54; German as “Unser prominenter Dropout.” In Kostelanetz 1970d/1973, 77-82.

Barnett, Rob 2018. Review of Stone Records 5060192380833 (recording). MusicWeb International [Loughton, Essex] (November).

Barnett, Vivian Endicott and Josef Helfenstein 1997, eds. Die Blaue Vier: Feininger, Jawlensky, Kandinsky, Klee in der Neuen Welt. Exhibition catalogue, Kunstmuseum Bern, 5 December 1997-1 March 1998, and Kunstsammlung Nordrhein-Westfalen, Düsseldorf, 28 March-28 June 1998. Köln: DuMont; English as The Blue Four: Feininger, Jawlensky, Kandinsky, and Klee in the New World. Trans. Anthony Vivis and Isabel Wünsche. Köln: DuMont, 1997.

Barnhart, Michael Robert 2009. Review of Collins, Nick and d’Escrivan 2007. Computer Music Journal 33, no. 3 (Fall-Winter), 64.

Barni, Roberto 2012. “Quella divina musica elementare.” Alfabeta 2 [Milano] no. 24 (November), supplement AlfaCage.

Baron, Louise 1981. “A Châteauvallon: Un débat avec Cunningham et John Cage.” La Marseillaise (29 July).

Barras, Vincent 1990. “Réussite dans l’Oberland: John Cage à Wetzikon et sur disque.” Dissonanz = Dissonance no. 25 (August), 24-26.

Barratt, Barnaby B. 1995. Review of Sass 1992. Psychoanalytic Dialogues [Hillsdale, New Jersey] 5, no. 1 (1995), 113-121.

Barreiro Ortiz, Carlos 19??. “John Cage: El hombre en la jaula.” El Tiempo (no date given), Lecturas Dominicales, 13.

Barrett, G. Douglas 2011. “The Silent Network: The Music of Wandelweiser.” Contemporary Music Review 30, no. 6 (December), 449-470.

Barrett, G. Douglas 2016. After Sound: Toward a Critical Music. New York [etc.]: Bloomsbury Academic.

Barrett, Richard 1989. Review of Edition Michael Frauenlob Bauer MFB 003-004; Edition Michael Frauenlob Bauer MFB 014-015 (recording). Wire Magazine no. 11, 50-51.

Barron, Susan and John Cage 1981. Another Song. Photographs by Susan Barron. New York: Callaway Limited Editions [limited edition of 53 numbered copies plus facsimile trade edition] (review: I.S.A.M. Newsletter 1980).

Barron, Susan and John Cage 1993. “Susan Barron and John Cage.” Art Journal 52, no. 4 (Winter), 72-73.

Barry, Edward 1961. Review of Cage 1961h. Chicago Tribune (10 December), 14.

Barry, Malcolm 1980. “John Cage.” Music and Musicians 28, no. 7 <331> (March), 62.

Bartell, Scott 1970. Review of 11 April 1970 (performance). Minnesota Daily (13 April).

Bartezzaghi, Stefano 1998. “Per Cage (mesostici, domande, regole, obiezioni).” In Bonomo and Furghieri 1998, 495-502.

Barthel-Calvet, Anne-Sylvie 2011, ed. Propositions pour une historiographie critique de la création musicale après 1945. Metz: Centre de recherche universitaire lorrain d’histoire (Centre régional universitaire lorrain d’histoire, Site de Metz; 41) (reviews: Goldman, J. 2012; Kaltenecker 2013; Murray 2012).

Barthelmes, Barbara 1986. Review of Maur 1985b. Musikpsychologie 3, 220-224.

Barthelmes, Barbara 2012. Review of Cage 1961h; Fuente 2011; Metzger, C. 2011 and Robinson, Julia 2011. Österreichische Musikzeitschrift 67, no. 3 (March), 97-99.

Barthes, Roland/Bianciotti, Hector 1973. “Les Fantômes de l’Opéra.” Le Nouvel Observateur no. 475 (17-23 December), 51+; repr. in Roland Barthes, Le grain de la voix: Entretiens, 1962-1980. Paris: Seuil, 1982; English as “The Phantoms of the Opera.” In Roland Barthes, The Grain of the Voice: Interviews 1962-1980. Trans. Linda Coverdale. New York: Hill and Wang, 1985, 183-187; London: Jonathan Cape, 1985; repr. Berkeley, California: University of California Press, 1991.

Bartlett, Lee 1985. Review of Perloff, M. 1985a. American Literary Scholarship, 325-326.

Bärtschi, Werner 1992. “Komponieren und hören.” Die Weltwoche [Zürich] (20 August), 42.

Bärtschi, Werner 2012. “‘Ich schreibe jetzt wirklich recht schöne Stücke’.” Neue Zürcher Zeitung (31 August).

Bärtschi, Werner/Häusermann, Thomas and Petra Ronner 1990. “Gespräch mit werner Bärtschi.” In Ronner and Häusermann 1990, 5-7, 13, 24-27.

Bärtschi, Werner and Thomas Schibler 1969. “Realisation eines Werkes von John Cage am Beispiel von Variations I.” As part of “Realisationen.” In Bärtschi et al. 1969, R 4-R 5.

Bärtschi, Werner et al. [Andreas Bliggenstorfer, Daniel Fueter, Klaus Gäumann, Thomas Häusermann, Thomas Schibler, François Thurneysen, Philippe Welti] 1969, eds. Die unvermeidliche Musik des John Cage. Zürich: Organisation der Musikstudierenden Zürich.

Baruch, Gerth-Wolfgang 1980. “Tönende Bilderrätsel auch als Augenweide.” Stuttgarter Zeitung (5 November).

Baruch, Gerth-Wolfgang 1991. “Trickreicher Onkel aus Amerika.” Stuttgarter Zeitung (2 December), 12.

Basart, Ann Phillips 1961. Serial Music: A Classified Bibliography of Writings on Twelve-Tone and Electronic Music. Berkeley [etc.]: University of California Press.

Basellandschäftliche Zeitung 1991. “Cage-Ausstellung im Kunsthaus Zürich.” Basellandschäftliche Zeitung [Liestal] (19 June).

Basualdo, Carlos and Erica F. Battle 2013, eds. Dancing Around the Bride: Cage, Cunningham, Johns, Rauschenberg, and Duchamp [exhibition catalogue, Philadelphia, Pennsylvania, Philadelphia Museum of Art, 30 October 2012-21 January 2013; London, Barbican Art Gallery, 14 February-9 June 2013]. Includes essay by Calvin Tomkins. New Haven, Connecticut [etc.]: Yale University Press.

Bastian, René 1979. “Habeamus Cage.” In Zeller 1979a, 8-9.

Bastian, René 1981. “Voyage musical en Lorraine.” Alsacien (1 December).

Basting, Barbara 1991. “Schönheit hat nichts mit Verstehen zu tun: Ein Besuch bei John Cage.” Du [Zürich] no. 5 (May), 30-38.

Basting, Barbara 2001. “Und die Zusatzzahl ist – die 68.” Frankfurter Allgemeine (31 May), 60.

Batta, András 1999, ed. Opera: Komponisten, Werke, Interpreten. Köln: Könemann; rev. ed. by Matthias Heilmann. Königswinter: Ullmann, 2009; rev. ed. by Matthias Heilmann. Potsdam: Ullmann, 2012; Dutch as Opera: Componisten, werken, uitvoeringen. Trans. Celine Jongert. Köln: Könemann, 2000; English as Opera: Composers, Works, Performers. Köln: Könemann, 2005; rev. ed. by Matthias Heilmann. Königswinter: Ullmann, 2009; French as Opéra: Compositeurs, oeuvres, interprètes. Trans. Olivier Mannoni, Odile Demange, Jean Bertrand, et al. Paris: Editions Place des Victoires, 2005; rev. ed. by Matthias Heilmann. Trans. Janine Boulois. Potsdam: Ullmann, 2013; Hungarian as Opera: Zeneszerzők, művek, előadóművészek. Trans. Ágnes Tasnádi, Boldizsár Fejérvári, and Éva Szilágyi. Budapest: Vince Kiadó, 2006; Swedish as Opera: Kompositörer, verk, uttolkare. Trans. Kjell Waltman. Köln: Könemann, 2000.

Battcock, Gregory 1970. The New Music. New York: E.P. Dutton.

Battcock, Gregory 1981, ed. Breaking the Sound Barrier: A Critical Anthology of the New Music. New York: E.P. Dutton.

Battcock, Gregory, René Berger, and Dany Bloch 1979. “L’art de la performance = The Art of Performance = El arte de la performance.” T & C: Théorie et Critique = Theory and Criticism = Teoría y Critica [Buenos Aires] 2 (December), 13-79.

Battcock, Gregory and Robert Nickas 1984, eds. The Art of Performance: A Critical Anthology. New York: E.P. Dutton.

Battye, John Christopher 1971. Review of Kostelanetz 1970d. Art and Artists 6, no. 7 (November), 60-61.

Baucke, Ludolf 1972a. “Braucht Europa John Cage?” Stuttgarter Zeitung (9 June), 36.

Baucke, Ludolf 1972b. “‘Pro musica nova’ mit John Cage.” Musica [Kassel] 26, 356-357.

Baucke, Ludolf 1972c. “Schattenwürfe in den Gehörgängen.” Stuttgarter Zeitung (28 December), 26.

Baucke, Ludolf 1974. “Cage und Schnebel in der Schule.” Hifi-Stereophonie 13, 868+.

Baucke, Ludolf 1982a. “Atem, Alltag und Apfelpfannkuchen.” Hannoversche Allgemeine Zeitung (29 April).

Baucke, Ludolf 1982b. “Wenn die Stille Blasen wirft.” Hannoversche Allgemeine Zeitung (4 September).

Baucke, Ludolf 1982c. “Wildes Hören und Zufallsklänge.” Hannoversche Allgemeine Zeitung (17 May).

Baucke, Ludolf 1983. “Bilder, Klänge und Texte.” Hannoversche Allgemeine Zeitung (24 May).

Baucke, Ludolf 1984. “Durchs Klavier zur inneren Ruhe.” Review of Etcetera ETC 2001 (recording). Hannoversche Allgemeine Zeitung (ca. 20 February), 23.

Baucke, Ludolf 1987. “Stille kann auch sehr laut sein.” Hannoversche Allgemeine Zeitung (20 February).

Baucke, Ludolf 1992a. “Die klingende Zeit.” Hannoversche Allgemeine Zeitung (31 January), 11.

Baucke, Ludolf 1992b. “Rückblenden als roter Faden.” Hannoversche Allgemeine Zeitung (2-3 May), 8.

Baucke, Ludolf 1993. Review of Grünzweig, Schröder, and Supper 1990; Klüppelholz 1991. MusikTexte no. 48 (February), 54.

Bauer, Elisabeth Eleonore 1987. “Zu kurze Hosen für den Zeitgeist.” Die Tageszeitung [Frankfurt am Main] (17 December), 13-14.

Bauer, Johannes 1999. “Cage und die Tradition.” In Mahnkopf 1999b, 75-125.

Bauer, Johannes 2002. “Die Stille und das Weiße: John Cages 4'33".” Positionen [Berlin] no. 52 (August), 45-48.

Bauer, Johannes 2005. “Text und Textur: Wieviel Konvention verträgt die Neue Musik?” Dissonanz = Dissonance no. 91 (September), 4-11.

Bauer, Marion (Eugénie) 1947. Twentieth Century Music: How It Developed; How to Listen to It. New York: G.P. Putnam’s Sons.

Baumgartner, Alfred 1985. Musik des 20. Jahrhunderts. Salzburg: Kiesel (Der große Musikführer: Musikgeschichte in Werkdarstellungen; 5).

Baumgartner, Alfred 1989. “John Cage.” In Propyläen Welt der Musik: Die Komponisten: Ein Lexikon in fünf Bänden. Berlin [etc.]: Propyläen Verlag, vol. 1, 488-489.

Baur, Jürg 1972. [Letter to Uwe Kraemer]. In Kraemer 1972, 81.

Bayer, Francis 1981. De Schönberg à Cage: Essai sur la notion d’espace sonore dans la musique contemporaine. Paris: Klincksieck (Collection d’esthétique; 35) (reviews: Labussière 1984; Pilon 1982).

Bayley, Lynn René 2021. Review of SWR Music SWR19111CD (recordings). Art Music Lounge [Cincinnati, Ohio] (27 September).

Bayo, Norberto 2010. “Composición e interpretación en Theatre Piece de John Cage”. Disturbis [Barcelona] no. 8 (2010), 1-6.

Bayo, Norberto 2019. “La escucha declinada en Theatre Piece, de John Cage” Cuadernos de Música, Artes Visuales y Artes Escénicas [Bogotá] 14, no. 1 (January-June), 85-101.

Bazarnik, Katarzyna 2015. “Liberatura [sic] i Cage.” In Kutnik 2015a, 241-252.

Beacco, Enzo 1977. “Tutti insieme appassionatamente.” La Repubblica [Roma] (4-5 December), 21.

Beach, Carol 1977a. “Strange Stuff from Cunningham.” Everett Herald [Everett, Washington] (12 September).

Beach, Carol 1977b. “Taking a Chance with Modern Dance.” Everett Herald [Everett, Washington] (6 September).

Beal, Amy C. 1999. “Patronage and Reception History of American Experimental Music in West Germany, 1945-1986.” Ph.D. Diss., Historical Musicology, University of Michigan.

Beal, Amy C. 2000. “Negotiating Cultural Allies: American Music in Darmstadt, 1946-1956.” Journal of the American Musicological Society 53, no. 1 (Spring), 105-139.

Beal, Amy C. 2002a. “A Place to Ply Their Wares with Dignity: American Composer-Performers in West Germany, 1972.” Musical Quarterly 86, no. 2 (Summer), 329-348.

Beal, Amy C. 2002b. Review of Bernstein, D.W. and Hatch 2001. Notes 2nd series, 59, no. 2 (December), 337-339.

Beal, Amy C. 2003. “The Army, the Airwaves, and the Avant-Garde: American Classical Music in Postwar West Germany.” American Music 21, no. 4 (Winter), 474-513.

Beal, Amy C. 2006. New Music, New Allies: American Experimental Music in West Germany from the Zero Hour to Reunification. Berkeley [etc.]: University of California Press (California Studies in 20th-Century Music; 4).

Beal, Amy C. 2007. “David Tudor in Darmstadt.” Contemporary Music Review 26, no. 1 (February), 77-88.

Beal, Amy C. 2008a. “‘Experimentalists and Independents Are Favored’: John Edmunds in Conversation with Peter Yates and John Cage, 1959-61.” Notes 2nd series, 64, no. 4 (June), 659-687.

Beal, Amy C. 2008b. Review of Dickinson 2006a. Twentieth-Century Music 5, no. 1 (March), 146-149.

Beaman, Jeanne H. 1970. “Ready for Merce Cunningham?” Pittsburgh Point (19 February), 8.

Beaud, Paul and Alfred Willener 1973. Musique et vie quotidienne: Essay de sociologie d’une nouvelle culture. Ligugé: Maison Mame (Repères: Sciences humaines et idéologies; 2-3).

Bech, Marianne 1985. “Fluxus: Den uforudsigelige legende = Fluxus: The Unpredictable Legend.” Trans. Peter Shield. North [Roskilde, Denmark] 4, no. 3 <no. 15> (1985), 6-69.

Beck, John H. 1995a, ed. Encyclopedia of Percussion. New York [etc.]: Garland. Includes Beck, J. H. 1995b; Schick 1995; Udow 1995.

Beck, John H. 1995b. “Percussion Ensembles.” In Beck, J. H. 1995a, 269-273.

Beck, R(ichard) T. 1973a. “Experimentalism: An Analysis.” In Sternfeld 1973, 391-394.

Beck, R.T. 1973b. Review of Kostelanetz 1970d. Music & Letters 54, no. 1 (January), 92-93.

Becker, Glenn Erik 1992. “Hanging Alert: The Performance of Language.” Ph.D. Diss., University of California at Santa Barbara.

Becker, Judith (Margaret Omans) 1983. “One Perspective on Gamelan in America.” Asian Music [New York] 15, no. 1 (1983), 82-89.

Becker, Jürgen and Wolf Vostell 1965, eds. Happenings: Fluxus, Pop Art, Nouveau Réalisme: Eine Dokumentation. Reinbek bei Hamburg: Rowohlt (Rowohlt-Paperback; 45); repr. 1966; repr. 1968.

Becker, Peter 2002. “Tacet – Non tacet: Zu Rhetorik des Schweigens bei John Cage.” In Rautmann and Schalz 2002a, 44-60.

Becker, Peter 2008. Review of Hiekel 2007. Neue Zeitschrift für Musik 169, no. 1 (January-February), 92.

Becker, Peter 2014. Review of Schultz, W.-A. 2014. Neue Zeitschrift für Musik 175, no. 3 (2014), 92.

Becker, Peter and Peter Rautmann 2000. “Kann man eine Skulptur hören? Synästhetische Konzepte in der Musik der Gegenwart am Beispiel John Cage.” In Im Spiel der Wellen: Musik nach Bildern. Ed. by Frank Schneider. München [etc.]: Prestel, 105-127.

Becker-Carsten, Wolfgang 1972. “John Cage zieht in Den Haag ein.” Melos 39 (1972), 247-249.

Becker-Carsten, Wolfgang 1973. “Da Amburgo.” Nuova rivista musicale italiana 7 (1973), 128-129.

Becker-Carsten, Wolfgang 1977. “Aus einem Brief von Wolfgang Becker-Carsten an die Musiker des Kölner Rundfunk-Sinfonie-Orchesters.” In Musik der Zeit III: Neue Einfachheit. Köln: Westdeutscher Rundfunk, unpag.

Beckwith, John and Udo Kasemets 1961, eds. The Modern Composer and His World. Toronto: University of Toronto Press.

Bedient, Calvin 1980. “New Confessions.” Review of Cage 1979c. Sewanee Review [Sewanee, Tennessee] 88, no. 3 (July-September), 474-488.

Beeler, Charles Alan 1973. “Winter Music/Cartridge Music/Atlas Eclipticalis: A Study of Three Seminal Works by John Cage; Quintessence II for Symphony Orchestra; Modules for String Trio in Scordatura.” Ph.D. Diss., Washington University, Saint Louis, Missouri.

Beer, Roland de 1988. “Conservatorium zet tanden in Cage.” De Volkskrant [Amsterdam] (11 November), 9.

Beer, Roland de 1992. “Nichi nichi kore ko nichi: Groningen eert Cage.” De Volkskrant [Amsterdam] (12 September), 11.

Beer, Roland de 1996. “Morton Feldman en de grote ongestelde vraag.” De Volkskrant [Amsterdam] (10 May), 27.

Beer, Roland de, Pay-uun Hiu, and Frits van der Waa 1988. “Nerveuze troepenbewegingen in nacht van Cage.” De Volkskrant [Amsterdam] (25 June), 11.

Beers, Carole 1977a. “A Cagey Collaboration.” Seattle Times (12 September).

Beers, Carole 1977b. “The Canny Cunning of Cunningham.” Seattle Times (after ca. 22 August), Tempo.

Beers, Carole 1977c. “Famed Pioneers of Dance, Music Return to Seattle.” Seattle Times (8 January), Arts and Entertainment.

Beers, Carole 1977d. “Graves to Design for Dance.” Seattle Times (28 June).

Behrendsen, Peter 1984-1985a. “Acht Graphisticha auf den Namen John Cage.” Neuland: Ansätze zur Musik der Gegenwart [Bergisch Gladbach] 5 (1984-1985), 328-337.

Behrendsen, Peter 1984-1985b. “Wenn einer Klänge sucht: Vorbereitungen zur Produktion von John Cage’s ‘Alphabet’.” Neuland: Ansätze zur Musik der Gegenwart [Bergisch Gladbach] 5 (1984-1985), 390-392.

Behrens, Jack 1987. “A Celebration: John Cage at 75.” Music Magazine [Toronto, Ontario] 10, no. 4 (November-December), 10-13.

Behrens, Jack 1990. “Satie: Seen through His Letters.” Review of Satie 1989. Choice (March), 252.

Behrens, Jack 1995. Review of Perloff, M. and Junkerman 1994b. Choice 32, no. 8 (April).

Behrman, David 1998. “Focus on David Tudor: Private Person, Public Figure: David Tudor in the 60’s and 70’s.” Musicworks [Toronto, Ontario] no. 71 (Summer), 44-46.

Beil, Ralf and Peter Kraut 2012, eds. A House Full of Music: Strategien in Musik und Kunst [exhibition catalogue, Darmstadt, Mathildenhöhe, 13 May-9 September 2012, in collaboration with the Internationales Musikinstitut Darmstadt]. Ostfildern: Hatje Cantz; English ed. as A House Full of Music: Strategies in Music and Art. Trans. Steven Lindberg and Melanie Newton. Ostfildern: Hatje Cantz, 2012.

Beiswanger, George W. 1942. “Dance Observer Concert 1942: Jean Erdman, Nina Fonaroff, Merce Cunningham.” Dance Observer [New York] 9, no. 9 (November).

Beiswanger, George W. 1943. “Reviews of the Month: Lee Sherman and Beatrice Seckler; Marie Marchowsky; Welland Lathrop.” Dance Observer [New York] 10, no. 2 (February), 20.

Beiswanger, George W. 1944. “Moderns in Review.” Dance News (May).

Beiswanger, George W. 1960. “Little Concert Lecture Series Ends; American Dance Festival Is Next.” New London Evening Day (16 August), 2.

Bek, Josef 1964. “John Cage v Praze.” Hudební Rozhledy [Praha] no. 19 (1964), 838-839.

Bekaert, Jacques 1969a. “John Cage.” Ici Ailleurs [Paris] no. 6 (June), 13-15.

Bekaert, Jacques 1969b, ed. John Cage: Boîte/livre-objet (with contributions by Pierre Bartholomée, Jacques Bekaert, Hugh Davies, Shigeko Kubota, Gordon Mumma, Henri Pousseur, Anne Thyrion, Joji Yuasa and an unidentified text by John Cage). Bruxelles: Algol, unpag. (Vierkantuitgaven) (review: Bosseur, J.-Y. 1970b).

Belcher, Julia 1993. “Cage Unlocked.” Airwaves [Tempe, Arizona] (September), 11.

Belford, Liora 2020. “The Composer as Curator.” Seismograf Peer [København] (26 June).

Belford, Marilyn and Jerry Herman 1980, eds. Time and Space Concepts in Art. New York: Pleiades Gallery.

Belgrad, Daniel 1998. The Culture of Spontaneity: Improvisation and the Arts in Postwar America. Chicago [etc.]: University of Chicago Press; repr. 2007.

Bell, Eleanor 1967. “John Cage Concert Produces Boos, Cheers and Surprises.” Cincinnati Post (7 March).

Bell, Gelsey 2015. “Voice-Acts: Performance and Relationality in the Vocal Activities of the American Experimental Music Tradition.” Ph.D. Diss., New York University.

Bell, Gelsey 2016. Review of Rothfuss 2014. Drama Review [Cambridge, Massachusetts] 60, no. 2 (Summer), 169-172.

Bell, Jane 1979. “John Cage: ‘You Can Have Art without Even Doing it. All You Have to Do Is Change Your Mind’.” Art News 78, no. 3 (March), 61-64.

Bell-Kanner, Karen 1998. Frontiers: The Life and Times of Bonnie Bird: American Modern Dancer and Dance Educator. Amsterdam [etc.]: Harwood Academic Publishers (Choreography and Dance Studies; 176) (review: Burt, R. 1999).

Bellman, Jonathan 2002. Review of Born and Hesmondhalgh 2000. Notes 2nd series, 58, no. 3 (March), 567-569.

Belt, Byron 1982. “Cunningham’s ‘Inlets’ Drifts into a Washout.” Newhouse Newspapers (after 16 March).

Belt, Byron 1984. “AGO National Convention San Francisco 1984.” American Organist 18, no. 8 (August), 28-33.

Beltaire, Mark 1967. “Junkets in the Air.” Detroit Free Press (16 January).

Benamou, Michel and Charles Caramello 1977, eds. Performance in Postmodern Culture. Milwaukee, Wisconsin [etc.]: Center for Twentieth-Century Studies, University of Wisconsin-Milwaukee; Coda Press (Theories of Contemporary Culture; 1).

Benary, Peter 1969. “Luzern: Neue Musik an den Musikfestwochen (II).” Schweizerische Musikzeitung = Revue Musicale Suisse 109, 358-359.

Bender, William 1963. “A Composition That Lasts All Night.” New York Herald Tribune (8 September), Section 4, 10.

Bender, William 1964, ed. “Notes on Strange Goings-On.” New York Herald Tribune (31 August).

Bender, William 1965. “French-U.S. Fete and a Happening.” New York Herald Tribune (24 July).

Beneš, Juraj et al./Smetanová, Oľga 1992. “A Question Put to Slovak Composers.” Slovak Music [Bratislava] no. 2 (1992), 35-41.

Bénézit, Emmanuel 1976. “Cage, John.” In Emmanuel Bénézit, Dictionnaire critique et documentaire des peintres, sculpteurs, dessinateurs et graveurs […], rev. ed. Ed. by Jacques Busse. Paris: Gründ, vol. 2, Betto-Chilingovsky, 443.

Benig, Irving 1973. Review of Cage 1973h. Library Journal 98, no. 17 (1 October), 2864.

Benítez, Joaquím M. 1978. “Avant-Garde or Experimental? Classifying Contemporary Music.” International Review of the Aesthetics and Sociology of Music 9, no. 1 (June), 53-77.

Benítez, Joaquím M. 1981. Gendai ongaku o yomu: Ekurityūru o koete. Tōkyō: Asahi Shuppansha.

Bennert, Klaus 1992. “Sprechende Musik.” Süddeutsche Zeitung [München] (1 June), 38.

Bennett, Myron 1972. “Music as Furniture.” High Fidelity/Musical America 22, no. 2 (February), 64-66.

Benoist, Marjès 1978, comp. Sounday: 15-6-78. Ed. by Frans van Rossum. Hilversum: Katholieke Radio Omroep.

Benowitz, Sam 1977. “Cunningham Tells Centralians They Have Access to the World.” Centralia Chronicle [Centralia, Washington] (23 September).

Benson, Jack 1977a. “Avant-Garde ‘Pilgrimage’.” San Jose Mercury (29 August); repr. as “Cabrillo’s Traditional Visit to World of Avant-Garde.” San Jose News (29 August); repr. as “Cabrillo Festival’s 10 Concert Explores Avant Garde Sounds.” San Jose Mercury (31 August).

Benson, Jack 1977b. “Davies’ Efforts Enhance Cabrillo Music Festival.” San Jose Mercury-News (27 August).

Benson, Jack 1977c. “Janos Starker Stunning at Cabrillo Festival.” San Jose News (22 August); also published as “Restrained Perfection.” San Jose Mercury (22 August).

Benson, Jack 1977d. “Music Festival Opening Salute to a Founder.” San Jose Mercury (circa 22 August).

Benson, Jackson J. 1984. The True Adventures of John Steinbeck, Writer. New York: Viking Press, 1984; repr. as John Steinbeck, Writer: A Biography. New York: Penguin Books, 1990.

Benson, Stephen 2012. “Beckett’s Audiobooks.” Yearbook of English Studies 42 (2012), 223-237.

Bent, Jaap van der 1981. “Ken Kesey keek op festival terug naar jaren zestig.” NRC Handelsblad (12 October), 6.

Berenice 1977. “John Cage: Concerto per treno e rotaia.” Paese Sera (11 December).

Berg, Curt 1960. “Fylkingen.” Dagens Nyheter [Stockholm] (11 October), 16.

Berg, Curt 1963. “‘Ljudkonsert’ i Moderna Museet.” Dagens Nyheter [Stockholm] (31 May), section A, 18.

Berg, Erik van den 1990. “Een anti-dualist en een radicale dialecticus schouder aan schouder.” De Volkskrant [Amsterdam] (20 June), 19.

Berg, Jan Hendrik van den 1977. Gedane zaken: Twee omwentelingen in de westerse geestesgeschiedenis. Nijkerk: Callenbach (Metabletica van de materie; 2).

Berg, Stefan 2012. “Diener des Hörens: John Cage zum 100. Geburtstag.” Musik und Kirche [Kassel] 82, no. 3 (May-June), 192-196.

Berg, Yvonne van den 1992. “Uitvinder en componist.” UK [Groningen] no. 3 (3 September).

Bergé, Pieter 1994. “Kan men spreken over Cage?” Muziek & Wetenschap [Amsterdam] 4, no. 3 (1994), 119-127.

Berger, Arthur V. 1943. “Spring Season, 1943.” Modern Music 20, no. 4 (May-June), 254-257.

Berger, Arthur V. 1947. “The Music.” New York Herald Tribune (19 May); repr. Ibid. (20 May).

Berger, Arthur V. 1948. “Composers’ Forum: Jacob Avshalomoff Shares Program with John Cage.” New York Herald Tribune (26 January).

Berger, Arthur V. 1949a. “Cage’s Sonatas: Maro Ajemian Plays 16 at Carnegie Hall Recital.” New York Herald Tribune (13 January).

Berger, Arthur V. 1949b. “Music by New Academicians.” New York Herald Tribune (16 May).

Berger, Arthur 1950. “‘Concrete Music,’ New Fad, Causes Stir at Tanglewood.” New York Herald Tribune (6 August), Section 5, p. 5.

Berger, Arthur V. 1951a. “Composers Are Nostalgic for the Turbulent 1920s.” New York Herald Tribune (20 May).

Berger, Arthur V. 1951b. “Music News: Jeritza Back, ‘Dybbuk’ Off; Chance Games.” New York Herald Tribune (28 January).

Berger, Arthur V. 1951c. “New Music Society: ‘Imaginary Landscape’ No. 4 for 12 Radios Heard.” New York Herald Tribune (12 May).

Berger, Arthur V. 1952. “Spotlight on the Moderns.” Saturday Review (26 January), 42.

Berger, Arthur 1987. “Is There a Post-Modern Music?” Boston Review (April), 7-9, 23.

Berger, Melvin 1970. “The New Music: John Cage and Experimental Music.” In idem, Masters of Modern Music. New York: Lothrop, Lee & Shepard Co.

Bergflödt, Torbjörn 1991a. “Ein Armutszeugnis für das Publikum.” Zürichsee-Zeitung (18 June).

Bergflödt, Torbjörn 1991b. “Die Opernbühne als Zirkusmanage.” Zürichsee-Zeitung (3 June), 9.

Bergh, Gerhard van den 1993. “Ein Tagebuch, das keines ist.” Dissonanz = Dissonance no. 38 (November), 43-44.

Berghaus, Günter 2005. Avant-Garde Performance: Live Events and Electronic Technologies. Basingstoke [etc.]: Palgrave Macmillan.

Bergman, Petter 1981-1982. “En tidig kvartett av John Cage.” Nutida Musik [Stockholm] 25, no. 1 (1981-1982), 43.

Bergmann, Rudij 1980. “Nicht immer muß Musik auch Klänge haben.” Stuttgarter Nachrichten (14 November).

Bergonzi, Bernard 1968a, ed. Innovations: Essays on Art and Ideas. London: Macmillan.

Bergonzi, Bernard 1968b. “Thoughts on the Personality Explosion.” In Bergonzi 1968a.

Bergstrøm-Nielsen, Carl 1978. Review of Nyman 1974. Dansk Musiktidsskrift 53, no. 1 (September), 33-34.

Bergstrøm-Nielsen, Carl 1981-1982. “Ny musik som eksperiment og alternativ.” Dansk Musiktidsskrift 55, no. 6 (1981-1982), 266-279.

Bergstrøm-Nielsen, Carl 1986. To musikalske eventyrere: Cage og Stockhausen. Århus: PubliMus; Musikvidenskabeligt Institut.

Berio, Luciano 1992. “I sorrisi dell’eroe.” La Stampa [Torino] (14 August), 19.

Berio, Luciano et al. [Jonathan Harvey; Frederic Rzewski; Iannis Xenakis] 1993. “Four Envois.” Perspectives of New Music 31, no. 2 (Summer), 132-135.

Berkel, Ben van and Caroline Bos 1986. “Muziek om naar te kijken.” De Volkskrant [Amsterdam] (22 August), 17.

Berkman, Florence 1966. “‘Father of Electronic Music’ Sees Start of a New Age.” Includes recipe. Hartford Times [Hartford, Connecticut] (23 March), 15A.

Berkowitz, Peggy 1979a. “John Cage.” The Georgian [Montreal, Québec] (19 January), 8.

Berkowitz, Peggy 1979b. “John Cage Concert.” Musicworks [Toronto, Ontario] no. 7 (Spring), 14.

Berkson, Bill and Joe LeSueur 1980, eds. Homage to Frank O’Hara. Berkeley: Creative Arts Book Company.

Berliner Montagsecho 1960. “Sinn und Blödsinn.” Berliner Montagsecho (3 October).

Berman, Janice 1989. “Cunningham’s Spring Breeze.” Newsday (2 March).

Berman, Janice 1991. “A Twinkling Conversion.” Newsday (9 July), 49, 72.

Bernard, Jonathan Walter 1993. “The Minimalist Aesthetic in the Plastic Arts and in Music.” Perspectives of New Music 31, no. 1 (Winter), 86-132.

Bernardini, Nicola 1988. Review of Exhibition, Nuova Atlantida, Il Continente della Musica Elettronica 1900-1986, 25 October-23 November 1986, Venice. Computer Music Journal 11, no. 3 (November), 48-49.

Bernas, Richard 1978. “An American Anthology.” Classical Music Weekly (July).

Bernheimer, Martin 1967. “Cathy Berberian in Recital Held at UCLA.” Los Angeles Times (10 April), 30.

Bernheimer, Martin 1977a. “Cage Shakes Up the Pavilion.” Los Angeles Times (15 January), Part II, 6.

Bernheimer, Martin 1977b. “On Chaos, Cacophony and Cage.” Los Angeles Times (23 January), Calendar, 1, 60.

Bernheimer, Martin 1987. “A Musicircus Kicks Off Festival Honors for Cage.” Los Angeles Times (7 September), Part V, Calendar, 1, 7.

Bernier, Françoys et al. 1976. Pierre Mercure. Montréal: Centre de musique canadienne au Québec (Compositeurs au Québec; 9).

Bernius, Volker 2015. Review of Paul and Schock 2013. Musiktherapeutische Umschau [Göttingen] 36, no. 3 (September), 258.

Bernlef, J. [Hendrik Jan Marsman] and Reinbert de Leeuw 1969. Charles Ives. Amsterdam: De Bezige Bij.

Bernlef, J. [Hendrik Jan Marsman] and K. Schippers [Gerard Stigter] 1967, eds. Een cheque voor de tandarts. Amsterdam: Querido (review: By 1967).

Berliner Zeitung 1963. “Die hängende Drahtspirale oder ein Status des Wunders.” Berliner Zeitung (9 February).

Bernstein, David W(alter) 1996. Review of Pritchett 1993. Music Theory Spectrum 18 (1996), 265-273.

Bernstein, David W. 1999-2000. “John Cage and the ‘Project of Modernity’: A Transformation of the Twentieth-Century Avant-Garde.” Corner [Oakland, California] no. 3 (Fall-Spring). cornermag.net.

Bernstein, David W. 2000. Review of Shultis 1998c. American Music 18, no. 1 (Spring), 103-109.

Bernstein, David W. 2001a. “‘In Order to Thicken the Plot’: Toward a Critical Reception of Cage’s Music.” In Bernstein, D.W. and Hatch 2001, 7-40.

Bernstein, David W. 2001b. “Techniques of Appropriation in the Music of John Cage.” Contemporary Music Review 20, no. 4 (2001), 71-90.

Bernstein, David W. 2002a. “Cage and High Modernism.” In Nicholls 2002c, 186-213.

Bernstein, David W. 2002b. “John Cage and the ‘Aesthetic of Indifference’.” In Johnson, S. 2002, 113-134.

Bernstein, David W. 2002c. “John Cage, Arnold Schoenberg, and the Musical Idea.” In Patterson, D.W. 2002b, 15-45.

Bernstein, David W. 2002d. “Music I: To the Late 1940s.” In Nicholls 2002c, 63-84.

Bernstein, David W. 2008, ed. The San Francisco Tape Music Center: 1960s Counterculture and the Avant-Garde. Berkeley [etc.]: University of California Press.

Bernstein, David W. 2009. “‘A Line in Rhythmic Space’: John Cage’s String Quartet in Four Parts.” In Jones, E. 2009, vol. 2, 195-209.

Bernstein, David W. 2012. “John Cage’s Music of Changes and Its Genesis.” In Schröder, J.H. and Straebel 2012, 67-84.

Bernstein, David W. 2014a. “Cage (Re)Considered’.” Contemporary Music Review 33, no. 5-6 (October-December), 449-450.

Bernstein, David W. 2014b. “John Cage’s Cartridge Music (1960): ‘A Galaxy Reconfigured’.” Contemporary Music Review 33, no. 5-6 (October-December), 556-569.

Bernstein, David W. 2015. Review of Iddon 2013a. Music Theory Spectrum 37, no. 2 (Fall), 318-322.

Bernstein, David W. and Christopher Hatch 2001, eds. Writings through John Cage’s Music, Poetry, and Art. Chicago [etc.]: University of Chicago Press (Beal 2002b; Nicholls 2003; Smigel 2004; Weaver 2004).

Bernstein, Martin and Martin Picker 1966. An Introduction to Music, 3rd ed. Englewood Cliffs, New Jersey: Prentice-Hall.

Bernstein, Tamara 2001. “Essential Listening.” Tower Guide to Classical Music.

Berntsen, Frederike 2011. Review of Etcetera KTC 1429 (Recordings). Trouw (25 October).

Berry, Reginald 1988. Review of Perloff, M. 1985a. Canadian Literature no. 118 (Fall), 147-151.

Bersselaar, Victor van den 1989. “John Cage, pionier van de stilte.” Krisis 9, no. 4 <no. 37> (Fall), 70-77.

Berswordt-Wallrabe, Kornelia von 1992. “John Cage: Zu Aspekten von Leere und Verschwinden.” In Herborn 1992, 9-14; English as “John Cage: On Aspects of Emptiness and Disapperance.” Trans. John Southard. In Herborn 1992, 15-20.

Bertens, Hans 1995. The Idea of the Postmodern: A History. London [etc.]: Routledge.

Bertinetto, Alessandro 2012. “4'33" di arte, non di musica.” In Fronzi 2012b, 155-176.

Bertoncelli, Riccardo 1978. “Un fungo equivoco: L’amanita cageana.” In Mogni 1978, 87-89.

Besier, Erik 1988a. “Cage stelt grenzen aan de Kunst.” Het Binnenhof (19 November), 31.

Besier, Erik 1988b. “Hedendaagse muziek met twee gezichten.” Het Binnenhof (25 November), 19.

Besier, Erik 1988c. “John Cage beminnelijk en vol tegenstrijdigheden.” Het Binnenhof (15 November), 25.

Besthorn, Florian Henri 2018. Review of Richter-Ibáñez and Mayer 2016. Die Musikforschung 71, no. 3 (2018), 302-305.

Betini, Despina 2005. “Try This at Home?” International Piano 9 (July-August), 32-33+.

Betke, Kirsten 2000. “‘It’s Not a Question of Satie’s Relevance. He Is Indispensable.’ (John Cage): Die Satie-Rezeption bei John Cage.” Magisterarbeit Universität zu Köln.

Betz, Marianne 1999. “In futurum: Von Schulhoff zu Cage.” Archiv für Musikwissenschaft 56, no. 4 (1999), 331-346.

Beuth, Reinhard 1973. “Auf Pilzsuche mit Cage und Kamera.” Kölner Stadt-Anzeiger (8 May).

Beyenburg, Hans-Peter 1982. “Dokumentation einer ‘beleidigenden Huldigung’.” Funk-Korrespondenz no. 31 (4 August), K2-K3.

Beyer, Anders 1992-1993. “Efter Cage.” Dansk Musiktidsskrift 67, nr. 3 (November), 73.

Beyer, Anders 1995-1996. “Menneske og maskine: Merce Cunningham, John Cage, David Tudor, syngende dansere og andre saere amerikanere.” Dansk Musiktidsskrift 70, 270-272.

Beyer, Huntley 1981. “Zen & Contemporary Music.” Studia Mystica [Sacramento, California] 4, 29-50.

Bianchi, Ruggero 1985. “J. Cage: La partitura dell’ascolto.” Gli occhi dello stûpa [Torino] 3, no. 6 (May), 35-39.

Biancolli, Louis 1958a. “Concert Comment Hits Hostile Note.” New York World-Telegram and Sun (9 June).

Biancolli, Louis 1958b. “John Cage Gives Review of Work.” New York World-Telegram and Sun (16 May), 25.

Biancolli, Louis 1963. “New Philharmonic Slate Accents the Moderns.” New York World-Telegram and Sun (14 September).

Biancolli, Louis 1964. “Composer Booed at Philharmonic.” New York World-Telegram and Sun (7 February), 26.

Biddle, Stephen Pierce 1972. “American Avant-Garde Playwrights of the Late Sixties.” Ph.D. Diss., University of Kansas, Lawrence.

Bigazzi, Giampiero 1993, ed. John Cage. San Giovanni Valdarno: Materiali Sonori (Sonora: Itinerari oltre il suono) (review: Colazzo, C. 1995).

Billboard 1969a. “256 Machines in Concert of Computer-Programmed Music.” Billboard 81 (17 May), 63.

Billboard 1969b. “Cage & Hiller Work to Debut at U. of Illinois.” Billboard (17 May).

Billboard 1969c. “Harpsichord Strikes New Notes in Music.” Billboard 81 (31 May), 4, 59.

Billeter, Fritz 1991. “Geharkter Sand im Garten der Stille.” Tages-Anzeiger [Zürich] (10 June).

Bird, Bonnie/Boyle, Rebecca 2006. “Bonnie Bird: Interview with Rebecca Boyle, Laban Centre, London, December 7, 1993.” In Dickinson 2006a, 67-80.

Bird, Bonnie/Riess, William and Heidi Gundlach-Smith 1994. Bonnie Bird Gunlach, Dancer and Dance Educator: Oral History Transcript. Oakland: California Digital Library. Online resource.

Bird, John 1968. “Oooaaaaaaaoooohh!” Listener [London] 79, no. 2038 (18 April), 502-504.

Bischoff, Ulrich 1991a. “Kunst als Grenzbeschreitung: John Cage und die Moderne.” In Bischoff 1991b, 13-20.

Bischoff, Ulrich 1991b, ed. Kunst als Grenzbeschreitung: John Cage und die Moderne. Exhibition catalogue, Neue Pinakothek München, 18 July-27 October 1991. München: Bayerische Staatsgemäldesammlungen.

Bischoff, Ulrich and Peter Eikemeier 1991. “Vorwort.” In Bischoff 1991b, 9-10.

Bither, David 1980. “A Grand Old Radical.” Horizon [Tuscaloosa, Alabama] 23, no. 12 (December), 48-55.

Bitz, Albert-Peter 1972. “Sängerin erschießt Pianisten.” Saarbrücker Zeitung (25 October); repr. Trierische Landeszeitung (26 October).

Bitz, Albert-Peter 1978. “Saarbrücken, ‘Musik im 20. Jahrhundert’: Ein Cage-Festival.” Melos/Neue Zeitschrift für Musik 4, no. 4 (July-August), 319-320.

Bitz, Albert-Peter 1979. “Mit Glockenklang und Hundegebell.” Saarbrücker Zeitung (25 October).

Bitz, Albert-Peter 1981. “Die Großen gaben den Ton an.” Saarbrücker Zeitung (26 November).

Bitz, Albert-Peter 1987. “Klänge aus sieben Zellen.” Saarbrücker Zeitung (25 November).

Black, Cobey 1964. “Who’s News.” Honolulu Advertiser [Honolulu, Hawaii] (14 April).

Blackburn, Philip 1997. Harry Partch. Saint Paul, Minnesota: American Composers Forum (Enclosure; 3).

Blackmer, Corinne E. 1995. “The Ecstasies of Saint Theresa: The Saint as Queer Diva from Crashaw to ‘Four Saints in Three Acts’.” In En Travesti: Women, Gender Subversion, Opera. Ed. by Corinne E. Blackmer and Patricia Juliana Smith. New York: Columbia University Press, 306-347.

Blades, James 1961. Orchestral Percussion Techniques. London: Oxford University Press.

Blaha, Christian Cyril 2019. “‘Wat in Middelburg kan, dat kan niet’: Jeugd & Muziek Zeeland / Nieuwe Muziek Zeeland = ‘What is Possible in Middelburg, is Not Possible’: Jeugd & Muziek Zeeland / Nieuwe Muziek Zeeland.” Ph.D. Diss., Universiteit Utrecht.

Bland, Alexander 1964a. “The Future Bursts in.” Observer (2 August).

Bland, Alexander 1964b. “Lop-sided Richness.” Observer (16 August).

Blanning, Lisa 2010. “Out There.” The Wire no. 311 (January), 90-92.

Blasl, Franz 1976. Review of Kostelanetz 1970d. Musikerziehung [Wien] 29, no. 3 (January), 142-143.

Blau, Herbert 1977. “Letting Be Be Finale of Seem: The Future of an Illusion.” In Benamou and Caramello 1977, 59-77.

Blau, Max 2012. “33 Musicians on What John Cage Communicates.” NPR Music (5 September).

Blaustein, Susan 1989. “The Survival of Aesthetics.” Review of DeLio 1984. Perspectives of New Music 27, No. 1 (Winter), 272-303.

Blažeković, Zdravko 1992. “Exhibitions.” RIdIM/RCMI Newsletter 17, no. 2 (Fall), 34.

Blecha, Peter 2010. “John Cage Debuts His ‘Prepared Piano’ in Seattle on April 28, 1940.” In HistoryLink: The Free Encyclopedia of Washington State History [Seattle Washington] (5 June).

Blechner, Mark 1977. “Cheap Trills.” SoHo Weekly News (29 December), 24.

Blesser, Barry and Linda-Ruth Salter 2007. Spaces Speak, Are You Listening? Experiencing Aural Architecture. Cambridge, Massachusetts [etc.]: MIT Press (reviews: Alley-Young 2013; Dobson 2008; Lee, S. 2008; Tosti-Lane 2007).

Bloch, Georges 1990. “John Cage, objets trouvés, langages objets.” Correspondances no. 3 (1990), 25-32.

Block, René 1980. “Die Summe aller Klänge ist grau.” In Block, R. et al. 1980, 103-146.

Block, René and Anne Marie Freybourg 1983, eds. 1962 WiesbadenFluxus 1982: Eine kleine Geschichte von Fluxus in drei Teilen. Wiesbaden [etc.]: Harlekin Art; Berliner Künstlerprogramm des DAAD.

Block, René et al. 1980, eds. Für Augen und Ohren: Von der Spieluhr zum akustischen Environment: Objekte, Installationen, Performances. Berlin: Akademie der Künste (Akademie-Katalog; 127).

Block, Ursula 1976, ed. New York, Downtown Manhattan, SoHo: Ausstellungen, Theater, Musik, Performance, Video, Film: 5 September bis 17 Oktober 1976. Exhibition catalogue. Berlin: Akademie der Künste; Berliner Festwochen.

Block, Ursula and Michael Glasmeier 1989, eds. Broken Music: Artists’ Recordworks. Berlin: Berliner Künstlerprogramm des DAAD; Gelbe Musik.

Bloem, Rein 1965. “John Cage, een samenvatting.” Kroniek van Kunst en Kultuur 24, no. 11-12 (November-December), 61-63.

Blomann, Karl-Heinz and Frank Sielecki 1997, eds. Hören: Eine vernachlässigte Kunst? Hofheim: Wolke, 1997 (reviews: Müller, H.-C. 1999; Sørensen 1998; Weiss, W. 1998).

Blomdahl, Karl-Birger/Hambræus, Bengt 1965. [Original title unknown], Musikrevy 20, 338-341; English as “Conversation with Karl-Birger Blomdahl.” Musikrevy 22 (1967), special edition, 86-88.

Bloom, Julius 1947, ed. The Year in American Music: 1946-1947. New York: Allen, Towne and Heath.

Blum, Eberhard 1981. “John Cage und seine Kompositionen für und mit Flöten.” Tibia [Celle] 6, no. 3 (1981), 407-411 (review: Vermeulen 1982c).

Blum, Eberhard 1996a. “Freiheit statt Freizeit: Zur Aufführungspraxis der Musik von John Cage.” MusikTexte no. 65 (July-August), 71.

Blum, Eberhard 1996b. “… Werke von Cage aufführen.” Positionen [Berlin] no. 26 (February), 27-29.

Blum, Eberhard 2008. Choice & Chance: Bilder und Berichte aus meinem Leben als Musiker. Berlin: Berlinische Galerie.

Blum, Eberhard 2012. “Bemerkungen zur Arbeit mit Kompositionen von John Cage.” In Schröder, J.H. and Straebel 2012, 125-132.

Blum, Eberhard/Barthelmes, Barbara and Sabine Sanio 1992. “… über John Cage sprechen!” Positionen [Berlin] no. 13 (November), 42-46.

Blum, Eberhard/Straebel, Volker 1997. “Zur Interpretation Neuer Musik: Zwei Gespräche über ausgewählte Werke.” Positionen [Berlin] no. 31 (May), 40-45 and no. 32 (August), 38-42.

Blume, Eugen and Cathrine Nichols 2016, eds. Das Kapital: Schuld, Territorium, Utopie. Exhibition catalog, Nationalgalerie im Hamburger Bahnhof and Museum für Gegenwart Berlin, 2 July-6 November 2016. Dortmund: Verlag Kettler.

Blumenstein, Gottfried 1992. “Magier unerhörter Klänge.” Neue Zeit [Berlin] (14 August), 13.

Blumröder, Christoph von 1981. Der Begriff ‘neue Musik’ im 20. Jahrhundert. München [etc.]: Katzbichler (Freiburger Schriften zur Musikwissenschaft; 12).

Blumröder, Christoph von 1981-1982. “Experiment, experimentelle Musik.” In Handwörterbuch der musikalischen Terminologie. Ed. by Hans Heinrich Eggebrecht. Wiesbaden: Franz Steiner, 9th = 9. Auslieferung; repr. Feedback Papers no. 29 (July 1982), 1-24.

Blumröder, Christoph von 1987. “Mit dem Kopf gegen die Wand.” Badische Zeitung [Freiburg im Breisgau] (5-6 September), Kultur, 15.

Blumröder, Christoph von 1990. “Musiktheater der achtziger Jahre.” In Jost 1990, 30-46.

Blumröder, Christoph von 2004. “John Cage und die Musikwissenschaft.” In Kompositorische Stationen des 20. Jahrhunderts: Debussy, Webern, Messiaen, Boulez, Cage, Ligeti, Stockhausen, Höller, Bayle. Ed. by Christoph von Blumröder. Münster: Lit, 80-86 (Signale aus Köln: Beiträge zur Musik der Zeit; 7).

Blyton, Carey 1975. “Oh Muse, Thou Art Sick!” Musical Opinion 98 (1975), 231-233.

BMI 1967b. “In the Press.” BMI: The Many Worlds of Music [New York] (April), 9-10.

Bø-Rygg, Arnfinn 1982. “Fra modernisme til postmodernisme.” Ballade [Oslo] 6, no. 2 (1982), 36-43.

Bø-Rygg, Arnfinn 1984. “Den ureduserbare erfaring.” Ballade [Oslo] 8, no. 1 (1984), 28-31, 33.

Bø-Rygg, Arnfinn 1985-1986. “Modernisme - avantgardisme - postmodernisme: om betingelserne for den postmoderne musikalske erfaring.” Dansk Musiktidsskrift 60, no. 5 (1985-1986), 212-218.

Bobak, Jacqueline Carlson 1992. “Radical Evolution: The Influence of Futurism and Dada on the Non-linear Operas of Philip Glass and John Cage.” D.M.A. Thesis, University of Illinois at Urbana-Champaign.

Bobo, Roger et al. and William Kraft 1977. “Reactions to Renga.” Los Angeles Times (13 February), Calendar, 2.

Boccadoro, Carlo 1997. “John Cage: Music of Changes.” In Le tentazioni della virtuosità. Ed. by Enzo Restagno. Milano: Longanesi; repr. in Bonomo and Furghieri 1998, 439-442.

Bochner, Mel 1997. Working Drawings and Other Visible Things on Paper Not Necessarily Meant to Be Viewed as Art: New York 1966. Genève [etc.]: Musée d’Art et d’Histoire.

Bock, Jannika 2008. Concord in Massachusetts, Discord in the World: The Writings of Henry Thoreau and John Cage. Frankfurt am Main [etc.]: Peter Lang (American Culture; 6) (previously Ph.D. Diss., Universität Hamburg, 2008).

Bockris, Victor 1989. The Life and Death of Andy Warhol. New York: Bantam Books.

Boehm, Gottfried 2006. “Klang-Bild: Zwei Perspektiven auf John Cages Variations I: Cage sehen. Variations I als ein Bild.” Musiktheorie 21, no. 2, 186-190.

Boehmer, Konrad 1967a. “Reihe oder Pop?” Diskus [Frankfurt am Main] 17 (January); repr. in Boehmer 1993, 96-116.

Boehmer, Konrad 1967b. “Zufall als Ideologie.” In Konrad Boehmer, Zur Theorie der offenen Form in der neuen Musik. Darmstadt: Edition Tonos, 170-186 (previously Ph.D. Diss., Universität zu Köln, 1967); repr. 1988; English as “Chance as Ideology.” Trans. Ian Pepper. October [Cambridge, Massachusetts] no. 82 (Fall 1997), 62-76; repr. in Robinson, Julia 2011, 17-34 (reviews: By 1967; Pepper 1997; Zeller 1968).

Boehmer, Konrad 1982. “Cage, John.” In Grote Winkler Prins: Encyclopedie in 25 delen, rev. 8th ed. Amsterdam [etc.]: Elsevier, vol. 5, 435-436.

Boehmer, Konrad 1991. “Wider die Strategie der Verinnerlichung.” Neue Zeitschrift für Musik 152, no. 6 (June); repr. in Boehmer 1993, 223-240.

Boehmer, Konrad 1993. Das böse Ohr: Texte zur Musik 1961-1991. Ed. by Burkhardt Söll. Köln: DuMont (DuMont Dokumente) (review: Uske 1993).

Boer, Hiepko H. 1962. “De artisticiteit van de dobbelsteen.” Mens en Melodie 17 (1962), 134-135.

Boer, Sam 2015. “Less Is More, and More Is Less, More or Less: The Historical Progression, Aesthetic Characteristics, and Physical Limitations of Minimalism.” Note Bene [London, Ontario] 8, no. 1 (2015), 1-14.

Böhi, B. 1991. “Gedanken zu John Cages ‘Europeras 1 & 2’.” Neue Zürcher Zeitung (25 June).

Bohm, Jerome D. 1943. “Janet Fairbank Is Heard in American Song Recital.” New York Herald Tribune (6 March), 8.

Bohm, Jerome D. 1947a. “Anahid Ajemian.” New York Herald Tribune (24 October).

Bohm, Jerome D. 1947b. Review of Disc Company of America 675 (recording). New York Herald Tribune (26 May).

Böhmer, Helga 1969a. “Das gerettete Venedig: Die Musik-Biennale im 32. Jahr.” Melos 36, 524-526.

Böhmer, Helga 1969b. “Zum sechstenmal Neue Musik Palermo.” Melos 36, 87-88.

Böhmer, Helga 1970. “Zwischen Klang und Geräusch (Venedig).” Musica [Kassel] 24, 565; repr. as “Zum dreiunddreißigsten Male modernes Musikfest in Venedig.” Melos 38 (1971), 72-73.

Böhmer, Helga 1972. “Hallo, hier spricht die Elektronik.” Südwest Presse (25 October).

Bohn, James 1997. “An Overview of the Music of Lejaren Hiller and an Examination of His Early Works Involving Technology.” D.M.A. thesis, University of Illinois, Urbana-Champaign.

Bohn, Willard 1982. Review of Perloff, M. 1981. Comparative Literature [Durham, North Carolina] 34, no. 2 (Spring), 181-183.

Böhringer, Hannes 1991. “Cage und Filliou mit Schopenhauer im gleichen Zugabteil.” In Bischoff 1991b, 23-25; Hungarian as “Cage és Filliou Schopenhauerrel egy fülkében.” Trans. J.A. Tillmann. Jelenkor [Pécs] 3 (1994), 258-261.

Bois, Rob du 1968. “Zevenentwintig informaties over de vorm.” Raster [Amsterdam] 2, no. 1 (April), 95-109.

Bois, Yve-Alain 2009. “Chance Encounters: Kelly, Morellet, Cage.” In Robinson, Julia 2009a, 188-203.

Bokes, Vladimír 1992. “A Cage.” Slovak Music [Bratislava] no. 2 (1992), 28-29.

Bolis, Jacopo Leone 2012. “John Cage: Empty Words: Parole scomposte, suoni concettuali.” De Musica [Rende, Calabria] 16 (2012), 99-139.

Bomba, Andreas 1992. “Totenfeier für den großen Meister Neuer Musik.” Frankfurter Neue Presse (31 August), 11.

Bomberger, E. Douglas 2009. Review of Horowitz 2005/2007. American Music 27, no. 3 (Fall), 369-371.

Bombert, Daniel 1981a. “Le ballet d’oiseaux disloqué par le vent…. “ Le Journal du Var/Var Matin République (26 July).

Bombert, Daniel 1981b. “Cunningham: L’apothéose.” Le Journal du Var/Var Matin République (28 July).

Bonami, Francesco 1991. “John Cage.” Flash Art no. 160 (October), 91-95.

Bonetti, David 1994. “From Temple to Disco: The Museum Redefining Itself.” San Francisco Examiner (2 January), D-1, D-7, D-8.

Bonik, Manuel 1991. “Musik: John Cage.” Vogue Deutschland nr. 6 (June), 97-98.

Bonito Oliva, Achille, Gabriella De Mila, and Claudio Cerritelli 1990, eds. Ubi fluxus ibi motus 1990-1962 [exhibition catalogue Venezia, Ex Granai della Repubblica alle Zitelle (Giudecca), 26 May-30 September 1990]. Milano: Mazzotta.

Bonk, Ecke 1989. Marcel Duchamp: The Box in a Valise. New York: Rizzoli.

Bonner Theater-Zeitung 1980-1981. “Roaratorio.” Bonner Theater-Zeitung no. 2 (1980-1981), 1, 3.

Bonomo, Gabriele 1993. “John Cage e l’Europa: Perugia, 22-26 guigno 1992.” Temporale [Lugano] 8, no. 29-30, 9.

Bonomo, Gabriele 1998. “‘ChAnGEs’: Il carteggio Cage-Boulez.” In Bonomo and Furghieri 1998, 455-493.

Bonomo, Gabriele 1999. “Cage, Feldman, Hidalgo, La Rosa, Marchetti: ‘Rumori alla Rotonda,’ Milano, 21 gennaio 1959.” KonSequenz new series 6, no. 2 (July-December), 31-47.

Bonomo, Gabriele and Giuseppe Furghieri 1998, eds. John Cage. Milano: Marcos y Marcos (Riga; 15).

Book Review Digest 1962. Review of Cage 1961h. Book Review Digest (August).

Book Review Digest 1968. Review of Cage 1967o. Book Review Digest (1968).

Book Review Digest 1970. Review of Cage 1969a. Book Review Digest (1970 annual), 221.

Book Review Digest 1973. Review of Cage 1973h. Book Review Digest (1973 annual), 181.

Booklist 1959. Review of Hoover, K.O. and Cage 1959. Booklist [Chicago, Illinois] 55 (1 May), 475.

Boren, Virginia 1940. “Cornish Dance Group Gives Refreshing Concert.” Seattle Daily Times (8 May).

Boretz, Benjamin 1962. “Music.” The Nation 194, no. 5 (3 February), 107-108.

Boretz, Benjamin 1993. “Regretting John Cage and Kenneth Gaburo: A Gathering of Texts.” Perspectives of New Music 31, no. 2 (Summer), 118-127.

Borg-Wheeler, Philip 2010. Review of Gann 2010. Classical Music [London] no. 919 (3 July), 60.

Borgo, David 2002. “Negotiating Freedom: Values and Practices in Contemporary Improvised Music.” Black Music Research Journal [Champaign, Illinois] 22, no. 2 (Fall), 165-188.

Borio, Gianmario and Hermann Danuser 1997, eds. Im Zenit der Moderne: Geschichte und Dokumentation in vier Bänden: Die Internationalen Ferienkurse für Neue Musik Darmstadt, 1946-1966. Freiburg im Breisgau: Rombach, 4 vols. (Rombach-Wissenschaft: Reihe Musicae; 2) (reviews: Dibelius 1999; Fricke, S. 1998; Heister 1998).

Bormann, Hans-Friedrich 2005. Verschwiegene Stille: John Cages performative Ästhetik. Paderborn: Wilhelm Fink.

Bormann, Hans-Friedrich 2012. “Cages Stimme hören: Ein Versuch.” In Schröder, J.H. and Straebel 2012, 243-248.

Born, Georgina 1995. Rationalizing Culture: IRCAM, Boulez, and the Institutionalization of the Musical Avant-Garde. Berkeley [etc.]: University of California Press (previously previously Ph.D. Diss., University College London, as “The Ethnography of a Computer Music Research Institute: Modernism, Post Modernism, and New Technology in Contemporary Music Culture,” 1989).

Born, Georgina and David Hesmondhalgh 2000, eds. Western Music and Its Others: Difference, Representation, and Appropriation in Music. Berkeley [etc.]: University of California Press (reviews: Banfield 2001; Bellman 2002; Diamond, B. 2001; Farrell 2001; Fox, A.A. 2000; Waterman 2002).

Bornstein, George 1987. Review of Perloff, M. 1985a. English Language Notes (June), 80-82.

Borris, Siegfried 1977. “Kagel - der unbequeme Nonkonformist.” Musik und Bildung 9 (1977), 585-588.

Borroff, Edith 1971. Music in Europe and the United States: A History. Englewood Cliffs, New Jersey: Prentice-Hall; 2nd ed. New York: Ardsley House, 1990.

Borstlap, John 2013. The Classical Revolution: Thoughts on New Music in the 21st Century. Lanham, Maryland [etc.]: Scarecrow Press.

Bortolotto, Mario 1964. “Phantasiestücke après une lecture de Cage.” La Biennale di Venezia (June).

Bortolotto, Mario 1966. “Un paradisus interruptus.” In Avanguardia e neo-avanguardia. Milano: Sugar, 1966 (Argomenti; 24).

Bortolotto, Mario 1969. Fase seconda: Studi sulla nuova musica. Torino: Einaudi; repr. 1976 (Reprints Einaudi; 89); repr. Milano: Adelphi, 2008.

Bortolotto, Mario 1978. “Rinnovare senza dilettantismo.” In Mogni 1978, 123-126.

Borum, Poul 1982-1983. “4'34" til/om/-kring J. C. (not Jesus Christ).” Dansk Musiktidsskrift 57, nr. 2, 68-69.

Bos, Saskia 1980. “Concerten voor fabriekssirenes en haardrogers.” NRC Handelsblad (15 February), Cultureel Supplement.

Bosker, Gideon 1984. “John Cage.” Willamette Week [Portland, Oregon] (3-9 January), Fresh Weekly, 13, 15.

Bosma, Hannah 1987. “John Cage: Componist van de stilte.” De Waarheid (18 February), 9.

Bosseur, Dominique 1970. “L’expérience du temps chez Cage.” Musique en Jeu no. 1 (November), 16-22.

Bosseur, Dominique 1971. “Errata et précisions.” Musique en Jeu no. 2 (March), 128.

Bosseur, Dominique 1972a. “John Cage et la danse.” In Bosseur, J.-Y. et al. 1971-1972, 79-85.

Bosseur, Dominique 1972b. “Responsabilité et non-intention dans la nouvelle musique.” Musique en jeu no. 8 (September), 110-116.

Bosseur, Dominique 1982. “En même temps.” In Lartigue 1982b, 60-65; Norwegian as “Merce Cunningham og John Cage: Tilsamme tid.” Trans. Anita Amundsen. Ballade [Oslo] 7, no. 2-3 (1983), 24-28.

Bosseur, Dominique and Jean-Yves Bosseur 1971-1972. “Commentaires sur quelques oeuvres de John Cage.” In Bosseur, J.-Y. et al. 1971-1972, 45-73.

Bosseur, Dominique and Jean-Yves Bosseur 1979. Révolutions musicales: La musique contemporaine depuis 1945. Paris: Le Sycomore; 2nd rev. ed. 1982; 4th rev. ed. Paris: Minerve, 1993; 5th rev. ed. 1999; Portuguese as Revoluções musicais: A música contemporânea depois de 1945. Lisboa: Editorial Caminho, 1990.

Bosseur, Jean-Yves 1970a. Review of Deutsche Grammophon SLPM 139 442 and Deutsche Grammophon 643 543 (recordings). Musique en jeu no. 1 (November), 138-139.

Bosseur, Jean-Yves 1970b. Review of Bekaert 1969b, Cage 1969a and Cage 1970m. Musique en jeu no. 1 (November), 140-141.

Bosseur, Jean-Yves 1971-1972a. “John Cage et le théâtre.” In Bosseur, J.-Y. et al. 1971-1972, 74-76.

Bosseur, Jean-Yves 1971-1972b. “Notes biographiques.” In Bosseur, J.-Y. et al. 1971-1972, 39-44.

Bosseur, Jean-Yves 1972. “Vers un théâtre musical.” Cahiers de Musique de Tous les Temps no. 9 (September), 14-17.

Bosseur, Jean-Yves 1973. “John Cage.” Musique de notre temps 1, 65-70.

Bosseur, Jean-Yves 1977. “Entretiens avec John Cage.” Review of Cage/Charles 1976. La Quinzaine Littéraire [Paris] no. 252 (16-31 March).

Bosseur, Jean-Yves 1988. “Thèmes et thématiques dans les musiques d’aujourd’hui.” Communications [Paris] no. 47 (1988), 119-131.

Bosseur, Jean-Yves 1992a. “La dernière fois que j’ai rencontré John Cage en avril dernier.” Les Cahiers du CIREM [Rouen] no. 24-25 (June-September), 105-106.

Bosseur, Jean-Yves 1992b, ed. Le sonore et le visuel: Intersections musique/arts plastiques aujourd’hui, in collab. with Daniel Charles and Alexandre Broniarski. Paris: Dis Voir; English as Sound and the Visual Arts: Intersections between Music and Plastic Arts Today. Trans. Brian Holmes, Peter Carrier. Paris: Dis Voir, 1993.

Bosseur, Jean-Yves 1993. John Cage: Suivi d’entretiens avec Daniel Caux et Jean-Yves Bosseur. Paris: Minerve (Musique ouverte); 2nd rev. and expanded ed. 2000 (review: Glayman 1994).

Bosseur, Jean-Yves 2011. “La question de l’héritage cagien = The Question of Cage’s Legacy [interview].” Tacet [Mulhouse] no. 1 (December).

Bosseur, Jean-Yves 2015. “Cage und die Bildenden Künste = Cage and the Visual Arts.” In Reifenscheid 2015a, 25+.

Bosseur, Jean-Yves 2019. Musique et contestation: La création contemporaine dans les années 1960. Paris: Minerve (Musique ouverte) (review: Rosset, C. 2019).

Bosseur, Jean-Yves et al. 1971-1972 [Philippe Bonzon, Michel Decoust, Claudine Karabéguian], eds. John Cage. Nevers: Maison de la culture (Cahier Maison de la Culture de Nevers et de la Nièvre; 2) (review: Hirsch, J.-F. 1972).

Boston Herald 1955a. “Doll’s Arms and Credulity.” Boston Herald (24 January).

Boston Herald 1955b. “No Kitchen Sink – Yet.” Boston Herald (13 January), 12.

Boston Sunday Globe 1961. “The Gregarious Reader.” Boston Sunday Globe (19 November).

Botting, Gary 1972. The Box Beyond. Edmonton, Alberta: Harden House of Canada.

Böttinger, Peter 1990. “Vom Außen und Innen der Klänge.” In Metzger, H.-K. and Riehn 1990, 12-31.

Bouchard, Frederick 1989. “Year of the Cage in Cambridge.” Down Beat 56, no. 7 (July), 11.

Boucourechliev, André 1970. “Critique musicale et responsabilité publique.” Réforme (10 October), 21.

Boucourechliev, André 1989. “La musique aléatoire: une appellation incontrôlée.” Analyse musicale no. 14 (January), 38-40.

Boudaille, Georges 1989. Jasper Johns. Barcelona: Ediciones Poligrafa; German trans. Hans Georg Hepermann. Recklinghausen: Bongers, 1991.

Boul, David 1985. “Still Cagey.” Winston-Salem News & Record (20 November), A11.

Boulez, Pierre 1952a. “Eventuellement…” Revue Musicale [Paris] no. 212 (April), 117-148; repr. in Boulez 1966, 183-204; English as “Possibly.” Trans. Herbert Weinstock. In Boulez 1966/1968, 111-140; English as ‘Possibly….” Trans. Stephen Walsh. In Boulez 1966/1991, 111-140; German as “Möglichkeiten.” In Boulez 1966/1972, 33-52.

Boulez, Pierre 1952b. [Untitled]. Included in Feldman et al. 1952; repr. in Boulez/Cage 1990/1993, 98-103; original French text in Boulez 1981; repr. in Boulez/Cage 1990, 158-167; German as part of Boulez 1987.

Boulez, Pierre 1957a. “Aléa.” La nouvelle revue française [Paris] new series vol. 5, no. 59 (November), 839-857; repr. in Boulez 1966, 41-56; English as “Alea.” Trans. David Noakes and Paul Jacobs. Perspectives of New Music 3, no. 1 (Fall-Winter 1964), 42-53; English as “Alea.” Trans. Herbert Weinstock. In Boulez 1966/1968, 35-51; repr. in Perspectives on Contemporary Music Theory. Ed. by Benjamin Boretz and Edward T. Cone. New York: Norton, 1972, 45-56; English as “Alea.” Trans. Stephen Walsh. In Boulez 1966/1991, 26-38; German as “Alea.” Trans. Heinz-Klaus Metzger. Darmstädter Beiträge zur Neuen Musik 1 (1958), 44-56; German in Boulez 1966/1972, 100-113.

Boulez, Pierre 1957b. “Tendances de la musique récente.” In Vers une musique expérimentale. Ed. by Pierre Schaeffer. Paris: Richard-Masse, 28-35 (Revue musicale; 236); repr. in Boulez 1966, 223-231.

Boulez, Pierre 1958b. “Cage, John.” In Encyclopédie de la musique. Ed. by François Michel, in collab. with François Lesure and Vladimir Fédorov. Paris: Fasquelle, vol. 1, A-E, 474.

Boulez, Pierre 1966. Relevés d’apprenti. Ed. by Paule Thévenin. Paris: Seuil (Collection Tel Quel); English as Notes of an Apprenticeship. Trans. Herbert Weinstock. New York: Alfred A. Knopf, 1968; English as Stocktakings from an Apprenticeship. Comp. and ed. by Paule Thévenin. Trans. Stephen Walsh. Introduction by Robert Piencikowski. Oxford: Clarendon Press, 1991; German as Werkstatt-Texte. Trans. Josef Häusler. Berlin: Propyläen-Verlag, 1972.

Boulez, Pierre 1981. Points de repère. Comp. and ed. by Jean-Jacques Nattiez. Paris: Bourgois; Seuil (Musique/passé/présent); 2nd ed. 1985; English as Orientations: Collected Writings. Trans. Martin Cooper. Cambridge, Massachusetts: Harvard University Press, 1986; repr. London [etc.]: Faber and Faber, 1986; repr. 1990 (Faber Paperback).

Boulez, Pierre 1987. “Zwei Briefe an John Cage [30 December 1950; August 1951; from Boulez 1981].” Trans. (of Boulez/Cage 1990, 128-145; repr. in Boulez 1981/1986, 129-137 and of Boulez 1952b) and commentary Ulrich Mosch. Musiktheorie 2 (1987), 87-102.

Boulez, Pierre 1992. “Ein Brief von Pierre Boulez an John Cage.” Introduction and ed. by John Holzaepfel. In Schädler and Zimmermann 1992b, 33-39.

Boulez, Pierre/Bayle, Laurent 1988. “Rétrospective de poche.” In Centre 1988, 36-45.

Boulez, Pierre/Brandt, Maarten 1995. Wegen naar Boulez: De meester in dialoog met de traditie: Gesprekken met Pierre Boulez. Kampen: Kok Lyra.

Boulez, Pierre/Cage, John 1990. Correspondance et documents. Ed. by Jean-Jacques Nattiez et al. [Françoise Davoine, Hans Oesch, and Robert Piencikowski]. Winterthur: Amadeus (Veröffentlichungen der Paul Sacher Stiftung; 1); rev. ed. Ed. by Robert Piencikowski. French and English. Mainz [etc.]: Schott; Paul Sacher Foundation, 2002; English as The Boulez-Cage correspondence. Ed. by Jean-Jacques Nattiez et al. Trans. and ed. Robert Samuels. Cambridge [etc.]: Cambridge University Press, 1993; 2nd ed. 1995; French as Correspondance. Ed. by Jean-Jacques Nattiez et al. Trans. Gaétan Martel. Paris: Christian Bourgois, 1991 (Musique/Passé/Présent); German as Dear Pierre, Cher John: Pierre Boulez und John Cage: Der Briefwechsel. Trans. Bettina Schäfer and Katharina Matthewes. Ed. by Jean-Jacques Nattiez. Hamburg: Europäische Verlags-Anstalt, 1997 (Europäische Bibliothek; 23); Italian excerpt as “Cinque lettere dalla ‘Corrispondenza’.” Trans. Gabriele Bonomo. In Bonomo and Furghieri 1998, 234-262; full text in Italian as Corrispondenza e documenti. Trans. and ed. by W. Edwin Rosasco. Milano: Archinto, 2006 (reviews: Bonomo 1998; De Benedictis 2006; Fricke, S. 1999b; Griffiths, P. 1994; Heister 1996; Hirsbrunner 1990a; Hodges 1994; Kolsteeg 1991; Kostelanetz 1995a; Matthews 1994a; Meine 1993; Morelli 1991; Morgan, Robert P. 1994b; Nicholls 1995; Northcott 1993; Parsons, B. 2004; Patterson, D.W. 1994; Rizzardi 1992b; Rossum 1995; Ruch Muzyczny 2000; Schlee 1991; Taruskin 1993; Tugny 1991; Whittall 1992; Whittall 2003b; Wilson, P.N. 1991a; Zeller 1995).

Boulez, Pierre/Deliège, Célestin 1975. Par volonté et par hasard: Entretiens avec Célestin Deliège. Paris: Éditions du Seuil (Collection Tel Quel); English as Pierre Boulez: Conversations with Célestin Deliège. London: Eulenburg Books, 1976.

Boulez, Pierre/Lonchampt, Jacques 1974. “Beaubourg: An Admirable Answer to Musical Stagnation.” Guardian (6 April).

Boulez, Pierre/Samuel, Claude 1984. “Répons: L’étincelle marginale.” In Eclats/Boulez. Ed. by Claude Samuel. Paris: Editions du Centre Pompidou, 34, 36-39.

Bouliane, Denys 1988. “Les Journées mondiales de la musique 1987.” Sonances: revue musicale québecoise 7, no. 4, 26-37.

Bourgeois, Jacques 1970. “Musique contemporaine.” La Galerie no. 97 (October), 86.

Boutwell, Brett N. 1999. “‘Marvelous Accidents’: The Concerto for Prepared Piano and Chamber Orchestra of John Cage.” Master of Music Thesis (Musicology), University of North Texas.

Boutwell, Brett N. 2006. “A Static Sublime: Morton Feldman and the Visual, 1950-1970.” Ph.D. Diss., Musicology, University of Illinois at Urbana-Champaign.

Boutwell, Brett 2007. Review of Mode 158 (recording); Cage and Lohner 1992 (film); Scheffer and Culver 1995 (film). American Music 25, no. 3 (Fall), 378-383.

Boutwell, Brett 2008. Review of Dickinson 2006a. Journal of the Society for American Music 2, no. 4 (November), 572-579.

Bouwmeester, Aart 1988. “Ik ben drie slagwerkstukjes kwijt.” De Holland Festival Dagkrant (19 June), 2.

Bowen, Meirion 1990. “Cage and the Anti-Opera.” Guardian (19 June).

Bowers, Faubion 1954. “‘Sheshebon’ in Nippon.” Saturday Review (25 September), 56-57, 71-73.

Bowles, Paul 1943a. “Concert Given by the League of Composers.” New York Herald Tribune (15 March).

Bowles, Paul 1943b. “Percussionists in Concert Led by John Cage.” New York Herald Tribune (8 February); repr. in Kostelanetz 1993f, 22-23.

Bowman, David 1997. “Notes on Chronological Group 1 for the London Anthology of Music: Divergent Trends in 20th-Century Music: Cage, Britten and Berio.” Music Teacher [London] 76 (January), 24-28.

Boyd, Kate 2016. “Learning John Cage’s Sonatas and Interludes.” Clavier Companion [Athens, Georgia] 8, no. 4 (July-August), 40-43.

Boyd, Michael 2013. Review of Austin, L. and Kahn 2011. Computer Music Journal 37, no. 1 (January), 73-75.

Boyden, David 1970. An Introduction to Music, rev. 2nd ed. New York: Alfred A. Knopf.

Boyden, Sarah Brown 1942. “John Cage Band Here in March.” Chicago Sun (20 February).

Boylan, J. Gabriel 2010. Review of Gann 2010. Bookforum (2010).

Boziwick, George 1995. “John Cage Collection Goes to New York Public Library.” Afterimages [Lee, Massachusetts] 2, no. 4 (Fall), 5.

Bozzetti, Elmar and Klaus Trapp 1990, eds. Neue Musik. Regensburg: Gustav Bosse (Musikwerke im Unterricht; 4).

Bracke, Eric 1994. “Zich verwonderen over de vorm der dingen.” De Morgen [Brussel] (18 April), 27.

Bradshaw, Susan 1981. “The Piano in the Twentieth Century.” In The Book of the Piano. Ed. by Dominic Gill. Oxford: Phaidon, 150-171.

Bradshaw, Susan 1999. Review of Rowland 1998. Musical Times [London] 140, no. 1866 (Spring), 60.

Brady, Thomas M. 1979. “Are You Prepared for the ‘Prepared’ Piano?” Clavier 18, no. 3 (March), 58.

Brakhage, Stan 1982. Brakhage Scrapbook: Collected Writings 1964-1980. Ed. by Robert A. Haller. New Paltz, New York: Documentext.

Bramsen, Ludvig Ernst 1961, ed. “Cage, John.” In Musikkens hvem hvad hvor: Biografier A-L. København: Politiken, vol. 1 (Politikens håndbøger; 255).

Branchi, Walter 2015. “Passive and Active Environmental Sounds.” Open Space Magazine [Red Hook, New York] no. 17-18 (Spring-Fall), 280-284.

Brand, Ulrike and Alfonso Fratteggiani Bianchi 1993, eds. John Cage. Palermo: L’Epos (Quaderni Perugini di Musica Contemporanea; 2).

Brandl, M. Staff and Thomas Emil Homerin 1982-1983. “Big Noise from Lake Michigan.” Ear 7, no. 5 (November-January), 15, 17.

Brandt, Maarten 1983. “Dertig stukken voor vijf orkesten van John Cage.” Mens en Melodie 38 (1983), 264-265.

Brandt, Maarten 1995. “Cd-besprekingen alfabetisch.” Luister 43, no. 513 (June), 23.

Brandt, Maarten 1996. “Recensies.” Luister 44, no. 523 (April), 27.

Braun, Susan 1986. Modern Dance & Ballet on Film & Video: A Catalog. New York: Dance Films Association.

Braune, Sean 2012. “Cage’s Mesostics and Saussure’s Paragrams as Love Letters.” Postmodern Culture [Baltimore, Maryland] 22, no. 2 (January).

Bray, Trevor 1974. Twentieth-Century Music: 1900-1945. Worcester [etc.]: Martin Cadbury (Arts: A Third Level Course; The Development of Instruments and their Music; 23-25).

Bray, Trevor 1980. “Music Reviews: Cheap Imitation.” Musical Times [London] 121, no. 1645 (March), 184.

Brech, Martha and Ralph Paland, eds. 2015. Kompositionen für hörbaren Raum: Die frühe elektroakustische Musik und ihre Kontexte = Compositions for Audible Space: The Early Electroacoustic Music and its Contexts. Bielefeld: Transcript (Musik und Klangkultur; 12).

Brecht, George 1960. “Music Criticism [letter to the editor].” Village Voice (27 April).

Brecht, George 1966. Chance Imagery. New York: Something Else Press (Great Bear Pamphlet; 1).

Brecht, George 1970. “The Origin of Events.” in Sohm 1970, vol. 1, unpag. [pages relevant to Brecht].

Brecht, George 1991. Notebooks. Ed. by Dieter Daniels in collaboration with Hermann Braun. Köln: Walther König, 3 vols.

Brecht, George 1997-2005. Notebook. Ed. by Hermann Braun. Köln: Walther König, 4 vols.

Brecht, George et al. [Irmeline Lebeer, Henry Martin, Ben Vautier, Martin Alocco] 1976. “George Brecht: Speciale Fluxus 2.” Data [Milano] no. 20 (March-April), 92-96.

Bredekamp, Horst 2005. “John Cage and the Principle of Chance.” In Music And The Aesthetics Of Modernity: Essays. Ed. by Karol Berger and Anthony Newcomb. Cambridge, Massachusetts [etc.]: Harvard University Press, 99-110 (Harvard Publications in Music; 21; Isham Library Papers; 6).

Bredow, Moritz von 2012. Rebellische Pianistin: Das Leben der Grete Sultan zwischen Berlin und New York. Mainz [etc.]: Schott; repr. 2014.

Bremser, Martha 1999, ed. Fifty Contemporary Choreographers. London [etc.]: Routledge (Routledge Key Guides).

Brennan, James 1970. “Orchestra’s Rapport With Rock Bands Electrifies Audience.” Buffalo Evening News [Buffalo, New York] (18 March).

Brennecke, Wilfried 1982a. “Composition in Retrospect.” In Brennecke 1982c, 26.

Brennecke, Wilfried 1982b. “John Cage.” In Brennecke 1982c, 25-26.

Brennecke, Wilfried 1982c, ed. Wittener Tage für neue Kammermusik 1982. Witten: Kulturamt der Stadt Witten.

Brent, Jonathan 1982. “Preface.” Triquarterly [Evanston, Illinois] no. 54 (Spring), 70-72; rev. repr. in Gena and Brent 1982, ix-xi.

Bresnick, Martin 1974. “Cage’s Unexpected Offspring: Content, Periodicity and Space.” Mosaic [Winnipeg, Manitoba] 8, no. 1 (Fall), 151-156.

Brett, Philip 2000. “Cage, John (1912-1992).” In Gay Histories and Cultures: An Encyclopedia. Ed. by George E. Haggerty, John Beynon, and Douglas Eisner. New York: Garland, 160-162 (The Encyclopedia of Lesbian and Gay Histories and Cultures; 2) (Garland Reference Library of Social Science; 1002).

Bretz, Lynn 1980a. “Barring None, Cage Music World’s Rare Inventor.” Lawrence Journal-World [Lawrence, Kansas] (5 October).

Bretz, Lynn 1980b. “Composer Directs Script of Surreal Fantasy.” Lawrence Journal-World [Lawrence, Kansas] (1 October).

Breuer, Robert 1962. “John Cage und die tönende Stille.” Melos 29, 150-151.

Breuer, Robert 1965. “New York bietet auch im Hochsommer Experimente.” Melos 32, 414-415.

Breuer, Robert 1976. “Ein doppelbödiger John Cage.” Neue Zürcher Zeitung (24 November), 25.

Breuer, Robert 1977a. “Ein neues Opus von John Cage.” Österreichische Musikzeitschrift 32, no. 1 (January), 31-32.

Breuer, Robert 1977b. “New York: ‘Neuer’ Konzertsaal, neuer Cage.” Melos/Neue Zeitschrift für Musik 3, 45-46.

Brian 1971. “Reviews.” [undentified publication, possibly San Francisco Reader], 31.

Bridger, Michael 1987. “Structural, Expressive and Contextual Aspects of Selected Electro-Acoustic Compositions by Berio, Cage, Ligeti, Stockhausen, and Varèse.” Ph.D. Diss., Musicology, Keele University.

Brimhall, Cleo Larsen 1976. “The Life and Works of John Cage.” Master of Music Thesis, University of Nebraska, Lincoln.

Brindle, Reginald Smith 1970. Contemporary Percussion. London [etc.]: Oxford University Press.

Brindle, Reginald Smith 1975. The New Music: The Avant-Garde since 1945. London [etc.]: Oxford University Press; expanded 2nd ed. Oxford [etc.]: Oxford University Press, 1987; repr. 1988; repr. 2003; Catalan as La nova música (L’avantguarda des de 1945). Trans. Alex Alsina. Barcelona: Antoni Bosch, 1979 (Música d’avui; 1) (review: Mila 1976).

Brindle, Reginald Smith 1986. “Musica indeterminata.” Fronimo 14, no. 55 (October), 10-20; no. 56 (December), 17-31.

Brindle, Reginald Smith 1990-1991. “Indétermination: Hasard et musique aléatoire.” Trans. Benoît Greneche. Les Cahiers du CIREM [Rouen] no. 18-19 (December-March), 65-79.

Briner, Andres 1969a. “John Cage.” Neue Zürcher Zeitung, Fernausgabe (21 February), 49.

Briner, Andres 1969b. [Untitled]. As part of “Anthologie.” In Bärtschi et al. 1969, X 4.

Briner, Andres 1973. “John Cage in Texten.” Neue Zürcher Zeitung (8 August).

Briner, Andres 1978. “Die Umerziehung des John Cage.” Neue Zürcher Zeitung (9 August).

Briner, Andres 1987a. “Amerikanische Moderne und Traditionskritik.” In Danuser, Kämper and Terse 1987, 91-99.

Briner, Andres 1987b. “Querschnitt durch viele Länder.” Neue Zürcher Zeitung (ca. 3 November).

Briner, Andres 1989. “Der Komponist John Cage.” Neue Zürcher Zeitung (30 November), 27.

Brinkmann, Reinhold 1976. “Besprechungen.” Musikforschung 29, 239-240.

Brissaud, Pascal 1995. “John Cage.” Répertoire des disques compacts no. 76 (January).

Britton, Burt 1976, ed. Self-Portrait: Book People Picture Themselves: From the Collection of Burt Britton. New York: Random House.

Britton, James 1955. “Art of the City.” San Diego & Point Magazine 8, no. 1 (December), 31-32.

Brizio, Giorgio Sebastiano 1984. “Presenza di Cage tra molti fischi e provocazioni.” Avanti! (18 May).

Broad, Elaine Harriet 1990. “A New X? An Examination of the Aesthetic Foundations of Early Minimalism.” Music Research Forum 5, 51-62.

Brockett, Oscar G. 1978. “Anarchy and Order: Theater in the 1960’s.” In Theatre Byways: Essays in Honor of Claude L. Shaver. Ed. by C.J. Stevens and Joseph Aurbach. New Orleans, Louisiana: Polyanthos, 106-122.

Brockman, John 1966. “‘Theatre, Engineering’: All the Fun Was Backstage.” Village Voice (27 October), 9-10.

Broekert, Leen C. de 1988a. “Formidabel spel van slagwerker Faber.” Provinciale Zeeuwse Courant [Middelburg] (27 June), 7.

Broekert, Leen C. de 1988b. “Spanningsloze muziek van John Cage scherpt de oren.” Provinciale Zeeuwse Courant [Middelburg] (4 July), 7.

Broers, Gerard 1982. “De anti-opera, of: Muziek en de grote stijl.” Doctoraalscriptie filosofie, Universiteit van Amsterdam.

Bronnenmeyer, Walter 1990a. “Der befreite Klang und das gepeinigte Ohr.” Die Rheinpfalz/Ludwigshafener Rundschau [Ludwigshafen] (5 October).

Bronnenmeyer, Walter 1990b. “Erlangen: Festival des Hörens 21. bis 30. September.” Oper und Konzert 28 (December), 30.

Bronzell, Sean 2005. “The Legacy of a Chess Game.” Etant donné [Baby] no. 6 (2005).

Brooke, Nicholas James Stopford 2003. “Playing the Phonograph: Images of Technology, Performance, and Composition in the Twentieth Century.” Ph.D. Diss., Princeton University.

Brooklyn Eagle 1943. “League of Composers Turn to Percussion.” Brooklyn Eagle (8 February).

Brooks, Iris 1994. “Other Minds/Yerba Buena.” Musicworks [Toronto, Ontario] no. 59 (Summer), 54-55.

Brooks, William 1974a. “Cage, John Milton, Jr.” In Encyclopedia of American Biography. Ed. by John A. Garraty. New York [etc.]: Harper & Row, 160-161.

Brooks, William 1974b. “Instrumental and Vocal Resources.” In Vinton 1974, 339-349.

Brooks, William 1981a. “The American Piano.” In The Book of the Piano. Ed. by Dominic Gill. Oxford: Phaidon, 172-190.

Brooks, William 1981b. “John Cage Festival: Bonn, June 6-10, 1979.” Contact [London] no. 22 (Summer), 28-30.

Brooks, William 1982a. “Choice and Change in Cage’s Recent Music.” Triquarterly [Evanston, Illinois] no. 54 (Spring), 148-166; repr. in Gena and Brent 1982, 82-100; French as “Choix et changements dans la musique récente de Cage.” Trans. Christophe Charles. In Charles 1987-1988, 75-86; Italian as “Scelte e cambiamenti nella musica recente di Cage.” Trans. Antonella Mascaretti. In Bonomo and Furghieri 1998, 338-355.

Brooks, William 1982b. “A Maverick Turns Seventy.” Institute for Studies in American Music: Newsletter 12, no. 1 (November), 1-2.

Brooks, William 1983. “‘Roaratorio’ Appraisated.” Institute for Studies in American Music: Newsletter 12, no. 2 (May), 12; repr. in Kostelanetz 1993f, 222-224.

Brooks, William 1989a. “About Cage about Thoreau.” In Fleming, R. and Duckworth 1989, 59-73.

Brooks, William 1989b. Review of Kostelanetz 1988b. Notes 2nd series, 45, no. 3 (March), 510-511.

Brooks, William 1993a. “16 Dances.” In Kostelanetz 1993f, 341-344.

Brooks, William 1993b. “The Americas, 1945-1970.” In Morgan, R.P. 1993, 309-348.

Brooks, William 1993c. “John Cage and History: Hymns and Variations.” Perspectives of New Music 31, no. 2 (Summer), 74-103.

Brooks, William 1997. Review of Revill 1992. American Music 15, no. 2 (Summer), 242-249.

Brooks, William 2002a. “Music II: From the Late 1960s.” In Nicholls 2002c, 128-147.

Brooks, William 2002b. “Music and Society.” In Nicholls 2002c, 214-226.

Brooks, William 2003. Review of Cage 1989b. Music & Letters 84, no. 2 (May), 333-334.

Brooks, William 2007. “Pragmatics of Silence.” In Losseff and Doctor 2007, 97-126.

Brooks, William 2009a. “Preface.” In Brooks and Vermeire 2009, 5-8.

Brooks, William 2009b. “Sounds, Gamuts, Actions: Cage’s Pluralist Universe.” In Brooks and Vermeire 2009, 61-94.

Brooks, William 2010. “Protest, Progress and (Im)possible Music.” Contemporary Music Review 29, no. 4 (August), 405-411.

Brooks, William 2012a. “In Re: ‘Experimental Music’.” Contemporary Music Review 31, no. 1 (February), 37-62.

Brooks, William 2012b. Review of Silverman, K. 2010. American Music 30, no. 1 (Spring), 113-115.

Brooks, William 2014. “In Re: ‘Experimental Analysis.” Contemporary Music Review 33, no. 5-6 (October-December), 539-555.

Brooks, William and Heike Vermeire 2009, eds. MetaCage: Essays on and around Freeman Etudes, Fontana Mix, Aria. Ghent: Orpheus Institute; Leuven University Press (Orpheus Research Centre in Music Series; Collected Writings of the Orpheus Institute; 02).

Brophy, Philip 2006. “Epiphanies.” The Wire [London] no. 273 (November), 106.

Brotbeck, Roman 1995. “Auf der Flucht aus der Komponistenrolle.” Dissonanz = Dissonance no. 45 (August), 24.

Brown, Carolyn 1968. “On Chance.” Ballet Review [New York] 2, no. 2 (1968), 22.

Brown, Carolyn 1975. [Untitled]. In Klosty 1975, 19-31.

Brown, Carolyn 2007. Chance and Circumstance: Twenty Years with Cage and Cunningham. New York: Alfred A. Knopf (Borzoi Books) (reviews: Anderson, Jack 2007; Hicks 2008; Lister 2008a).

Brown, Carolyn, Jill Jakes, Jasper Johns, and Lewis Lloyd 2013. “Founding the FCPA: An Oral History.” In Banks 2013, 29-43.

Brown, Earle 1962. “Stravinsky, Craft, Lang and Criticism [letter to the editor].” Paris Herald Tribune (14 March).

Brown, Earle 1965. “Notation und Ausführung Neuer Musik.” In Notation Neuer Musik. Ed. by Ernst Thomas. Mainz [etc.]: Schott, 64-86 (Darmstädter Beiträge zur Neuen Musik; 9); original English as “The Notation and Performance of New Music.” Musical Quarterly 72, no. 2 (1986), 180-201.

Brown, Earle 1966. [Untitled]. In Form in der Neuen Musik. Mainz: Schott, 57-69 (Darmstädter Beiträge zur Neuen Musik; 10); original English text as “Form in New Music.” Source [Sacramento, California] 1, no. 1 <no. 1> (January 1967), 46-51; repr. in Austin, L. and Kahn 2011, 24-34.

Brown, Earle, Remy Charlip and Marianne Preger Simon/Vaughan, David 1985. “The Forming of an Aesthetic: Merce Cunningham and John Cage.” Ballet Review [New York] 13, no. 3 (Fall), 23-40; repr. in Kostelanetz 1992aa.

Brown, Earle/Dickinson, Peter 2006. “Earle Brown.” In Dickinson 2006a, 136-145.

Brown, Gilbert 1939. “You’re Wrong–Not Flat-Wheel Tram but Percussion Music.” Seattle Star (11 December).

Brown, Gloria 1975. “A Bad Show All Around.” Palo Alto Times (28 November).

Brown, John Robert 2011. Review of Feisst 2011. Classical Music no. 942 (4 June), 46.

Brown, John Robert 2006. Review of Dickinson 2006a. John Robert Brown (2006).

Brown, John Robert 2015. Review of Rothfuss 2014. Classical Music (March).

Brown, Kathan 1980. “John Cage, Tom Marioni, Robert Barry and Joan Jonas: Their Art in the Context of the ’70’s.” In White, R. 1980, [5]-[39].

Brown, Kathan 1982a. “Changing Art: A Chronicle Centered on John Cage.” In Diamond and Hicks 1982, 5-17; abr. repr. Triquarterly [Evanston, Illinois] no. 54 (Spring 1982), 189-199; repr. in Gena and Brent 1982, 123-133; French as “L’art changeant: Chronique autour de John Cage.” Trans. Carol Richards. In Charles 1987-1988, 87-102.

Brown, Kathan 1982b. “17 Drawings by Thoreau, 1978.” In Diamond and Hicks 1982, 35.

Brown, Kathan 1982c. “Signals, 1978.” In Diamond and Hicks 1982, 30.

Brown, Kathan 2000. John Cage: Visual Art: To Sober and Quiet the Mind. San Francisco, California: Crown Point Press; abridged repr. as “Visual Art.” In Nicholls 2002c, 109-127.

Brown, Kenneth 1986. “A Summer Meltdown of Experimental Music.” Bay News (2 June), 28.

Brown, Laurence Binet 2005. Review of Davies, S. 2003. Australasian Journal of Philosophy [Abingdon] 83, no. 1 (2005), 125-128.

Brown, Norman O. 1966. Love’s Body. New York: Random House.

Brown, Norman O. 1989. “John Cage.” In Fleming, R. and Duckworth 1989, 97-118; German as “John Cage: Ein Vortrag an der Wesleyan University, 23. Februar 1988.” Trans. Christina Sheneman. MusikTexte no. 40-41 (August 1991), 28-39.

Brown, Richard H. 2011-2012. A Year from Monday: Reading through John Cage’s Writings, 2011-2012. http://www.ayearfrommonday.com.

Brown, Richard H., Jr. 2012a. “Reading Cage.” American Music Review 42, no. 1 (Fall), 1-4.

Brown, Richard H., Jr. 2012b. “Sound on Film: John Cage and Avant-Garde Cinema.” Ph.D. Diss., Historical Musicology, University of Southern California.

Brown, Richard H., Jr. 2012c. “The Spirit Inside Each Object: John Cage, Oskar Fischinger, and ‘The Future of Music.’” Journal of the Society for American Music 6, no. 1 (February), 83-113.

Brown, Richard H., Jr. 2013. “Zen for TV? Nam June Paik’s “Global Groove” and “A Tribute to John Cage” (1973).” Leonardo Electronic Almanac [San Francisco, California] 19, no. 5 (December), 104-121.

Brown, Richard H., Jr. 2014. “Breaking the Sound Barrier: Transparency and Cinematic Space in Works of Calder (1950) and Jackson Pollock 51’.” Contemporary Music Review 33, no. 5-6 (October-December), 512-538.

Brown, Richard H., Jr. 2019. Through the Looking-Glass: John Cage and Avant-Garde Film. New York [etc.]: Oxford University Press (Oxford Music/Media Series).

Browner, Tara 1995. Review of New World Records NW 382 and New World Records 80405-2 (recordings). American Music 13, no. 2 (Summer), 256-258.

Broyles, Michael 2004. Mavericks and Other Traditions in American Music. New Haven [etc.]: Yale University Press (reviews: Dickinson 2006b; Mellers 2005; Pellegrino 2005; Shulstad 2007).

Bruce, Neely 1980. “Reflections on a Semester at Brooklyn College.” Institute for Studies in American Music Newsletter 10, no. 1 (November), 7-8.

Bruce, Neely 1993. “Comments from Neely Bruce.” Wesleyan [Middletown, Connecticut] 75, no. 3 (Winter), 4-5.

Bruck, Werner 1972. “Regentropfen im Museum.” Kölner Stadt-Anzeiger (24 May).

Brügge, Joachim 2000. Review of Mahnkopf 1999b. Österreichische Musikzeitschrift 55, no. 3 (March), 91.

Brumange, Anne and Elly Rutten 1992. “Zen en de anarchistische harmonie.” De Morgen [Brussel] (14 August), 12.

Brunel, Lise 1977. “Cunningham and Cage: Pour les oiseaux - MC = E2.” Art Press [Paris] no. 6 (April), 26-27.

Brunel, Lise 1981a. “Les délices de l’abstraction.” Le Progrès [Lyon] (28 July).

Brunel, Lise 1981b. “Le triomphe de Merce Cunningham.” Matin de Paris (28 July), 21.

Brunel, Lise 1983a. “Merce et Cage: Une double lecture de Joyce.” Les Saisons de la Danse (December), 22.

Brunel, Lise 1983b. “Roaratorio: Un cirque irlandais sur ‘Finnegans Wake’.” Matin de Paris (27 October).

Brunner, David Lee 1989. “The Choral Music of Lou Harrison.” D.M.A. thesis, University of Illinois, Urbana.

Brunner, David Lee 1992. “Cultural Diversity in the Choral Music of Lou Harrison.” Choral Journal 32, no. 10 (May), 17-28.

Brunner, Gerhard 1974. “Revolution als Gustostück.” Die Welt (21 September).

Bruns, Adam 1983. “Impressions of Cage’s Theory.” Knox Student [Galesburg, Illinois] (21 April), 1, 6.

Bruns, Gerald L. 1994. “Poethics: John Cage and Stanley Cavell at the Crossroads of Ethical Theory.” In Perloff, M. and Junkerman 1994b, 206-225.

Brust, Fritz 1954. “Die Donaueschinger Musiktage 1954.” Frankfurter Allgemeine (20 October), 8.

Brüstle, Christa 1998. Review of Kreutziger-Herr 1998. Musiktheorie 16, no. 2 (2001), 188-190.

Bryant, Carolyn 1991. “Notes in Passing.” Sonneck Society Bulletin 17 no. 3 (Fall), 126.

Bryant, Gloria 1966a. “The Switched-On Theater…” Reporter [Murray Hill, New York] 15, no. 6 (November-December), 12-17.

Bryant, Gloria 1966b. “Technology and the Arts.” Reporter [Murray Hill, New York] 15, no. 2 (March-April), 16-19.

Bryant, Gloria 1967. “What’s Happening!” Western Electric 19, no. 1, 14-21.

Bryars, Gavin 1976. “Notes on Marcel Duchamp’s Music.” Studio International [London] 192, no. 984 (November-December), 274-279.

Bryars, Gavin 1983. “Vexations and its Performers.” Contact [London] no. 26 (Spring), 12-20; repr. Journal of Experimental Music Studies [Leicester] (17 March 2004).

Bryars, Gavin 2004. “The Music of Chance.” Guardian (16 January), 10-11.

Bucher, Eva 1991. “Zeitlose Poesie der reinen Bewegung.” Tages-Anzeiger [Zürich] (22 June); rev. repr. as “Zartgliedrige Klassiker des modernen Tanzes.” Das Vaterland [Luzern] (24 June).

Buchborn, Thade 2011. Neue Musik im Musikunterricht mit Blasinstrumenten. Essen: Die Blaue Eule (Detmolder Hochschulschriften; 6) (previously Ph.D. Diss., Musikpädagogik, Hochschule für Musik Detmold, 2011) (review: Thielemann 2012).

Buckinx, Boudewijn 1972. “De Variations I-VI van John Cage: Een poging tot analyse.” Licentiaatsverhandeling Katholieke Universiteit Leuven.

Buckinx, Boudewijn 1977. “John Cage 65.” Muziek en Woord [Zaventem] 3 (1977); repr. Gaudeamus informatie no. 126 (September 1977), 13-14.

Buckinx, Boudewijn 1983a. “Lang leve Wergo.” Muziekkrant no. 17 (January-March), 49-50.

Buckinx, Boudewijn 1983b. “Voor wie wat weten wil over Witten…” Muziek en Woord [Zaventem] 9, no. 104 (May), 29.

Buckle, Richard 1964a. “Invitation to the Chance.” Sunday Times (2 August).

Buckle, Richard 1964b. “The Smell of Peaches.” Sunday Times (9 August).

Buckminster Fuller Institute 1982. Synergetic Stew: Explorations in Dymaxion Dining. Philadelphia, Pennsylvania: Buckminster Fuller Institute; repr. with an introduction by Jamie Snyder. Zürich: Lars Müller Publishers, 2020 (limited edition).

Budisavljevic, Bojan 1992, ed. Aufbrechen Amerika. Bochum: Stadt Bochum [etc.].

Budweg, Harald 1982. “Die beste Form der Regierung ist: keine Regierung!” Neue Zeitschrift für Musik 143, no. 8 (August), 40-42.

Budweg, Harald 1983. “Schallplatten.” Neue Zeitschrift für Musik 144, no. 5 (May), 37-38.

Buelens, Geert 2018. De jaren zestig: Een cultuurgeschiedenis. Amsterdam: Ambo|Anthos.

Buell, Richard 1979. “Viva Does Well by John Cage.” Boston Globe (23 March), 59.

Buell, Richard 1992. “John Cage, We Hardly Knew You.” Boston Globe (8 September), 54.

Buendler, David 1987. “Musicircus is Creative Chaos.” Star-News (9 September).

Buettner, Stewart 1981. “Cage.” International Review of the Aesthetics and Sociology of Music 12, no. 2 (December), 141-151.

Buffalo Courier-Express 1965. “Composer Cage Says ‘Progress’ Restricting.” Buffalo Courier-Express (2 March), 5.

Buffalo Evening News 1970. “Philharmonic Holds Rock Concert This Evening.” Buffalo Evening News [Buffalo, New York] (17 March).

Buffalo Evening News 1975. Review of 2-6 June 1975 (performance). Buffalo Evening News [Buffalo, New York] (5 June).

Buggert, Robert W. and Charles B. Fowler 1973. The Search for Musical Understanding. Berkeley, California: Wadsworth Publishing Co.

Bugmann, Urs 1991. “Aus der Leere taucht eine Ahnung von Fülle auf.” Luzerner Neueste Nachrichten (2 July), 7.

Buhles, Günter 1988. “Zwischen Happening und Meditation.” Musik und Bildung 20 (March), 237-238.

Buhles, Günter 1998. “Die Musik als Medium zur Strukturierung der Zeit: Die Frage nach dem richtigen Tempo.” Das Orchester 46, no. 10 (October), 8-11.

Buhles, Günter 2000. “Amerikanische Komponisten: Von Charles Ives und Carl Ruggles bis John Cage und Morton Feldman.” Das Orchester 48, no. 9 (2000), 2-9.

Buhles, Günter 2001. “Amerikanische Individualisten: Komposition – von Charles Ives und Duke Ellington bis Thelonious Monk und John Cage.” Jazz Podium 50, no. 1 (January), 12-14.

Buhles, Günter 2017. “Aus der Nähe… : Begenungen mit Komponisten und Interpreten des Jazz und der Neuen Musik.” Jazz Podium 66, no. 4 (April), 36-39.

Buhlmann, Britta E. 1996, ed. John Cage, Terry Fox, Gudrun Wassermann: Texte - Bilder - Musik, Raum - Text - Skulptur, Schatten - Licht - Klang. Exhibition catalog. Kaiserslautern: Pfalzgalerie.

Buholzer, Meinrad 1991. “Ausbruch aus dem Käfig des Komponierens.” Luzerner Neueste Nachrichten (12 June).

Bühring, Gerhard 1985. “Sound-Poeten aus aller Welt.” Nürnberger Zeitung (27 September).

Bull, Storm 1964. Index to Biographies. Metuchen, New Jersey: Scarecrow Press.

Bulletin of American Composers Alliance 1952. “Words for Prepared Discourse.” Bulletin of American Composers Alliance 2, no. 2 (June), 11.

Bulletin of American Composers Alliance 1952-1953. “The Concert Hall.” Bulletin of American Composers Alliance 2, no. 4 (Winter), 20-21.

Bulut, Zeynep 2011. “La Voix-Peau: Understanding the Physical, Phenomenal and Imaginary Limits of the Human Voice through Contemporary Music.” Ph.D. Diss., University of California, San Diego.

Bumann, Ulrich 1987. “Einen Jux hat er sich gemacht.” Rhein-Zeitung [Koblenz] (14 December), 18.

Bunge, John A(rnold) 1984. “Arithmetic, Music, Silence: Boethius and John Cage.” Sonus [Cambridge, Massachusetts] 4, no. 2 (Spring), 46-68.

Bunger, Richard 1973. The Well-Prepared Piano. Foreword Cage 1973d. Colorado Springs, Colorado: Colorado College Music Press; 2nd ed. San Pedro, California: Litoral Arts Press, 1981; Japanese as Weru puripeado piano. Trans. Jō Kondō and Joaquím M. Benítez. Tōkyō: Zen’on Gakufu Shuppansha, 1978 (reviews: Clavier 1974; Piano Quarterly 1974-1975).

Bunger, Richard 1975-1981. “Prepared Piano: The First 40 Years.” Contemporary Keyboard [Saratoga, California] (tussen 1975-1981); repr. in Bunger 1973/1981, 83-91.

Bunger, Richard 1977a. “Prepared Piano: Its History, Development, and Practice.” Contemporary Keyboard 3, no. 7 (July), 26-28.

Bunger, Richard 1977b. “Prepared Piano: Explorations in Sound.” Contemporary Keyboard 3, no. 8 (August), 14-36; repr. in Bunger 1973/1981, 72-82.

Bunger, Richard 1977c. “Synthesized Sound of the Prepared Piano.” Washington Post (9 October).

Bunger, Richard 1978. “The Prepared Piano.” Peters Notes [New York] 2, no. 1 (Spring-Summer), 5.

Bunger, Richard 1980. “Prepared Piano.” Contemporary Keyboard 6, no. 4 (April), 58-60.

Bunger, Richard and Barbara English Maris 1980. “Why, When, How – and How Not to Prepare a Piano.” Piano Quarterly 28, no. 109 (Spring), 34-40.

Bunt, Leslie 2008. Review of Losseff and Doctor 2007. British Journal of Music Therapy 22, no. 2 (2008), 102-103.

Buoy, Jean 1977. “Cage Captures Celebration.” News-Times [Danbury, Connecticut] (6 March), E-6.

Bür 1991 [Dominic Büttner?]. “Klangtourist Cage beim Steinklavier.” Tages-Anzeiger [Zürich] (26 June).

Burba, Tony 1969. “Assembly Hall Ready for Take-Off.” Champaign-Urbana Courier (4 May), 4.

Burbank, Richard D. 1984. Twentieth-Century Music. London: Thames and Hudson.

Burbank, Richard D. 2008. Review of Ross, A. 2007b. Notes 2nd series, 65, no. 1 (September), 75-78.

Burde, Wolfgang 1968, ed. Aspekte der Neuen Musik: Professor Hans Heinz Stuckenschmidt zum 65. Geburtstag. Kassel [etc.]: Bärenreiter-Verlag (review: Hudebni Věda 1969).

Burde, Wolfgang 1972a. “Ein abenteuerlicher Anreger.” Der Tagesspiegel (12 January); repr. Neue Zeitschrift für Musik 133 (1972), 141; repr. in Endlich and Höynck 1988, 118-119.

Burde, Wolfgang 1972b. “Berlin: Woche der Avantgardistischen Musik 1972.” Neue Zeitschrift für Musik 133 (1972), 518-521.

Burde, Wolfgang 1972c. “Die Revolutionäre lächeln.” Der Tagesspiegel (23 or 28 October).

Burde, Wolfgang 1977. “Musik ohne allen Klebstoff.” Der Tagesspiegel (4 September), 5.

Burde, Wolfgang 1978. “Bonn: Tradition und Zirkus: ‘Musik der Zeit II’ vom Westdeutschen Rundfunk.” Melos/Neue Zeitschrift für Musik 4, 129-130.

Burgauer, Irene 1991. “Zuviel Zufall.” Zürichsee-Zeitung (9 July).

Burge, David 1976. Review of Music for Marcel Duchamp (score). Notes 2nd series, 32, no. 4 (June), 878-881.

Burge, David 1977. Review of Etudes Australes (score). Notes 2nd series, 33, no. 3 (March), 690-692.

Burge, David 1979. “Contemporary Piano: Best Pieces of the ’70s.” Contemporary Keyboard (November), 75.

Burge, David 1989. “Contemporary Piano.” Keyboard (March), 83.

Burge, David 1990. Twentieth-Century Piano Music. New York [etc.]: Schirmer Books (Studies in Musical Genres and Repertories); Toronto, Ontario: Collier Macmillan Canada, 1990; repr. Lanham, Maryland: Scarecrow Press, 2004.

Burgin, Victor 1986. [Title unknown]. Between [London] (1986).

Burke, Frank L., Michael Grossman, and Donald Muggeridge 1977. “Vociferous Comments on Cage.” Los Angeles Times (30 January), Calendar, 2.

Burkhardt, Werner 2005. Review of Metzmacher 2005. Süddeutsche Zeitung [München] (18 February).

Burkholder, J. Peter, Donald Jay Grout and Claude V. Palisca 2006. A History of Western Music, 7th ed. New York [etc.]: Norton; 8th ed. 2010; 9th ed. 2014.

Burley, George 1977. “Backstage.” Everett Herald [Everett, Washington] (10 August).

Burmister, Robert 1975. “Raucous Audience at San Jose.” San Mateo Times (24 November).

Burnard, Pamela 2012. Musical Creativities in Practice. Oxford [etc.]: Oxford Univdersity Press (reviews: Baker, David 2014; Kokotsaki 2013).

Burrell, Robert W B 2013. “Taking the Chance: A Descriptive Study of a Creative Work that Utilizes Chance and Indeterminacy whilst Maintaining Form.” Malaysian Music Journal [Tanjung Malim, Perak] 2, no. 2 (December), 58-73.

Burt, Ramsay 1999. Review of Bell-Kanner 1998. Dance Theatre Journal 14, no. 4 (1999), 46.

Burt, Warren 1998. Review of Chadabe 1997. Computer Music Journal 22, no. 1 (Spring), 73-75.

Burt, Warren A. 2014. “John Cage: Crafting Randomness.” Malaysian Music Journal [Tanjung Malim, Perak] 3, no. 1 (2014), 82-92.

Burt, Warren A. and Ronald Al Robboy 1976. “Fatty Acid Presents.” Ear 2, no. 2 (April), [5].

Burwasser, Peter 1995. “Cage.” Fanfare (March-April), 151.

Busch, Regina 1998. “Über die Artikulation der Zeit durch Form.” Jahrbuch des Staatlichen Instituts für Musikforschung Preußischer Kulturbesitz (1998), 225-244.

Busch, Regina 2000. “Formen der Bewegung: Über stagnierende Musik in Werken von Webern, Cage und Mashayekhi = Formes du mouvement: La musique ‘stationnaire’ dans les oeuvres de Webern, Cage et Mashayekhi.” Dissonanz = Dissonance no. 63 (February), 4-9; Spanish as “Formas del movimiento: Acerca de la música sin movimiento en las obras de Webern, Cage y Mashayekhi.” Trans. Juan Carlos Lores Gil. Quodlibet [Madrid] no. 20 (June 2001), 14-28.

Busch, Regina 2011. “Dasselbe immer anders: Über Variationen, Reprisen und ähnliches.” Musik der Moderne = Music and Modernism. Ed. by Federico Celestini, Gregor Kokorz and Julian Johnson. Wien [etc.]: Böhlau, 339-350 (Wiener Musikwissenschaftliche Beiträge; 9).

Bush, Alan 1969. “Letters to the Editor.” Response to Roxburgh 1968-1969. Composer no. 32 (Summer), 32.

Buske, Peter 2012. Review of Etcetera KTC 1429 (Recordings). Potsdamer Neueste Nachrichten (27 November).

Bussotti, Sylvano 1978. “La ‘musica’ di Cage.” In Mogni 1978, 127-133.

Bussotti, Sylvano 1982. “John Cage retrodatato.” In Sylvano Bussotti, Il miei teatri: Diario segreto, diario pubblico, alcuni saggi. Palermo: Novecento, 377-386 (Biblioteca Narciso di Novecento; 2).

Bussotti, Sylvano 1992. “John Cage: Musica e sberleffi.” La Stampa [Torino] (14 August), 1, 2.

Butler, Christopher 1980. After the Wake: An Essay on the Contemporary Avant-Garde. Oxford: Clarendon Press; New York: Oxford University Press.

Butler, Gary 1993. “John Cage Was a Bastard!” Bachelor of Creative Arts (Honours) Thesis, University of Wollongong.

Butler, Gary 2000. “Prepared Instruments in Improvised Music: Precedents and Purposes.” Ph.D. Diss., University of Wollongong.

Butlin, Ron 2012. The Magicians of Edinburgh: Recent Poetry. Edinburgh: Polygon (review: Cusack, C. 2019).

Butterick, George F. 1984. “Rattling the Cage.” Exquisite Corpse 2, no. 5-7 (May-July), 6-7.

Butterworth, Neil 1984. A Dictionary of American Composers. New York: Garland Publishing Co.

Büttiker, Herbert 1991. “Cage und sein ‘Einbruch’ in die Operngeschichte.” Landbote (3 June).

By, Henk de 1967. “John Cage: Een charlatan of een pionier.” Review of Bernlef and Schippers 1967 and Boehmer 1967b. Vrij Nederland (30 September).

Byelick, Ira 2011. Review of Franklin, J. 2006. American Record Guide 74, no. 4 (July-August), 284.

Bylander, Cynthia E. 1989. “The Warsaw Autumn: International Festival of Contemporary Music 1956-1961: Its Goals, Structures, Programs, and People.” Ph.D. Diss., Ohio State University.

Byrd, Jeffery and John Fritch 2012. “Forever Ephemeral: John Cage’s ASLSP.” Performance Research [Abingdon] 17, no. 5 (October), 5-8.

Byrd, Joseph 1993. “Variations IV.” In Kostelanetz 1993f, 134-135.

Byrne, Ben 2017. “Sound as Multiplicity: Listening with Thoreau, Cage and Serres.” Organised Sound 22, no. 3 (December), 362-368.

C.D. 1963. “Komponist klemmte einst Radiergummi und Schrauben zwischen Klaviersaiten.” Westdeutsche Allgemeine Zeitung (7 June).

C.H. [presumably Carter Harman] 1947. “Anahid Ajemian Plays New Violin Works in Her Second Appearance at Town Hall.” New York Times (24 October).

C.R. 1954. “Festival du C.D.M.I. (Huitieme concert, Salle Gaveau, musique experimentale).” Table Ronde (December).

Cadenbach, Rainer 1998. “‘That Entertainment Called a Discussion’: Zeit, Bedeutung und Nichts in John Cages Lecture on Nothing.” In Musikwissenschaft zwischen Kunst, Ästhetik und Experiment: Festschrift für Helga de la Motte-Haber zum 60. Geburtstag. Ed. Reinhard Kopiez et al. Würzburg: Königshausen und Neumann, 63-74.

Cadenbach, Rainer 2005. “Musik zwischen den Zeilen: Beobachtungen am Text und beim Hören von John Cages String Quartet in Four Parts.” In Zwischen Komposition und Hermeneutik: Festschrift für Hartmut Fladt. Ed. by Ariane Jeßulat, Andreas Ickstadt and Martin Ullrich. Würzburg: Königshausen und Neumann, 347-363.

Cadence 1989. “Video Critique: ‘Sound’.” Cadence 15 (January), 68.

Cadence 1999. “Hodgepodge & Shorties.” Cadence 25 (March), 24.

Cadieu, Martine 1970a. “Da Parigi.” Trans. Luigi Bonino Savarino. Nuova Rivista Musicale Italiana 4 (1970), 753-756.

Cadieu, Martine 1970b. “Da Parigi.” Trans. Luigi Bonino Savarino. Nuova Rivista Musicale Italiana 4 (1970), 1148-1153.

Cadieu, Martine 1970c. “John Cage, un doux anarchiste.” Les Saisons de la Danse [Paris] (Summer).

Cadieu, Martine 1970d. “Les journées de musique contemporaine à Paris (II).” Lettres Françaises no. 1358 (4-10 November), 8-9.

Caen, Herb 1941. [Announcement], San Francisco Chronicle (date unknown).

Caen, Herb 1964. “A Monday Kind of Things.” San Francisco Chronicle (30 November), 33.

Cage, Allen M. and Tom C. Cage 1923. The Cage Family. San Antonio, Texas: Naylor Co.

Cage, John 1929. “Song Ghosts.” Manuscript [Claremont, California] (April), 37.

Cage, John 1930. “The Immaculate Medawewing.” Manuscript [Claremont, California] (January), 11-15.

Cage, John 1934. “Counterpoint.” Dune Forum [Oceano, California] 1, no. 2 (15 February), 42-44; repr. in Kostelanetz 1993f, 15-17; Russian as “Kontrapunkt.” Trans. Marina Viktorovna Pereverzeva. In Genova and Tarasevich 2006, 385-388.

Cage, John 1939. “Goal: New Music, New Dance.” Dance Observer [New York] 6, no. 10 (December), 296-297; repr. in Cage 1961h, 87-88; Dutch as “Doel: Nieuwe muziek, nieuwe dans.” Trans. Henk van der Meulen. Notes [Amsterdam] 4, no. 10 (October 1989), 27-28; Italian as “Scopo: Musica nuova, danza nuova.” In Cage 1971e, 98-99; Turkish as “Hedef: Yeni Müzik, Yeni Dans.” In Cage 2012b.

Cage, John 1941-1942a. “Chavez and the Chicago Drouth.” Modern Music 19, no. 3 (March-April), 185-186; repr. in Kostelanetz 1970d, 62-64; German as “Chavez und die Dürre von Chicago.” In Kostelanetz 1970d/1973, 90-91; Spanish as “Chávez y la aridez de Chicago.” Trans. Dionisia Urtubees. Pauta [México] 3, no. 9 (January-March 1984), 42-44.

Cage, John 1941-1942b. “For More New Sounds.” Modern Music 19, no. 4 (May-June), 243-245; repr. in Kostelanetz 1970d, 64-66; repr. in Lederman 1983, 183-184; German as “Für mehr neue Klänge.” In Kostelanetz 1970d/1973, 92-94.

Cage, John 1941-1942c. “South Winds in Chicago.” Modern Music 19, no. 4 (May-June), 260-263; repr. in Kostelanetz 1970d, 67-69; German as “Südwind in Chicago.” In Kostelanetz 1970d/1973, 95-97.

Cage, John 1942a. “Sylvia Streetor Recitalist.” New York Herald Tribune (14 November).

Cage, John 1942b. “Welsh Women’s Chorus in 5th Annual Concert.” New York Herald Tribune (21 November).

Cage, John 1944. “Grace and Clarity.” Dance Observer [New York] 11, no. 9 (November), 108-109; repr. in Cage 1961h, 89-93; repr. in Kostelanetz 1992aa; Dutch as “Gratie en helderheid.” Trans. Henk van der Meulen. Notes [Amsterdam] 4, no. 10 (October 1989), 29-30; Italian as “Grazia e chiarezza.” In Cage 1971e, 100-103; Turkish as “Zarafet ve Belirginlik.” In Cage 2012b.

Cage, John 1944-1945. “Summer Music: The Parks.” Modern Music 22, no. 1 (November-December), 38-40; repr. in Kostelanetz 1970d, 69-71; German as “Sommer-Musik: die Parks.” In Kostelanetz 1970d/1973, 98-99.

Cage, John 1946a. “The Dreams and Dedications of George Antheil.” Review of George Antheil, Bad Boy of Music. Garden City, New York: Doubleday, 1945. Modern Music 23, no. 1 (Winter), 78-79; repr. in Kostelanetz 1970d, 73-74; excerpt repr. in Lederman 1983, 18-19; French as “Les rêves et dédicaces de George Antheil.” Trans. Daniel Charles. In Charles 1987-1988, 65-66; German as “Die Träume und Dedikationen des George Antheil.” In Kostelanetz 1970d/1973, 103-104.

Cage, John 1946b. “The East in the West.” Modern Music 23, no. 2 (Spring), 111-115; repr. Asian Music [New York] 1, no. 1 (Winter 1968-1969), 15-18; repr. in Cage 1993d, 21-25; Japanese trans. Kuniharu Akiyama, The Symphony [Japan] (February 1955), 8-9.

Cage, John 1947a. [Untitled/The Seasons (program note for the first performance)]. In [***title]. New York: ***; repr. [Untitled] in Merce Cunningham, Changes: Notes on Choreography. Ed. by Frances Starr. New York [etc.]: Something Else Press, 1968, [11]-[12].

Cage, John 1947b. [Untitled] (Program note for a piano recital by William Masselos on the music of Alban Berg, Arnold Schoenberg, Ben Weber, and Anton Webern). 22 November 1947, New York, Carnegie Hall.

Cage, John 1948. [Title unknown]. B.M.C. Bulletin [Black Mountain, North Carolina] 6, no. 4 (May).

Cage, John 1949a. “Contemporary Music Festival: A Report.” New York Herald Tribune (15 May), Section 5, 5.

Cage, John 1949b. “Contemporary Music Festivals Are Held in Italy.” Musical America 69, no. 8 (June), 3, 32-33; repr. in Cage 1993d, 45-50.

Cage, John 1949c. “Forerunners of Modern Music.” The Tiger’s Eye [New York] 1, no. 7 (March), 52-56; repr. in Cage 1961h, 62-66 (without the diagram); repr. in Twentieth-Century Music. Ed. Ellen Rosand. New York [etc.]: Garland Publishing, 1985, 136-140 (The Garland Library of the History of Western Music; 10); repr. in Ann Eden Gibson, Issues in Abstract Expressionism: The Artists-Run Periodicals, Ann Arbor, Michigan, 1990; repr. in Boulez/Cage 1990/1993, 38-42 (with the diagram); French as “Raison d’être de la musique moderne.” Trans. Frederick Goldbeck. Contrepoints [Paris] no. 6 (1949), 55-61; repr. La revue musicale no. 306-307 (1977), 41-46; repr. in Boulez/Cage 1990, 64-69; Hungarian as “A modern zene előhírnökei.” In Cage 1994a, 31-35; Italian as “Precursori della musica moderna.” In Cage 1971e, 37-41; Russian as “Predshestvenniki sovremennoj muzyki.” Trans. Marina Viktorovna Pereverzeva. In Kyuregyan and Tsenova 2009, 33-38; Spanish as “Precursores de la música [moderna].” Included in Cage 1971f, 420-427.

Cage, John 1949d. “Music in Aix.” New York Herald Tribune (13 August).

Cage, John 1950a. “Satie Controversy.” Musical America 70 (15 December), 12; repr. in Kostelanetz 1970d, 89-90; German as “Kontroverse um Satie.” In Kostelanetz 1970d/1973, 118-119; Italian as “Polemica su Satie.” Trans. Giordano Falzoni. Lo Spettatore Musicale no. 5 (September-October 1971), 7-8.

Cage, John 1950b. [Untitled]. Included in “Program Notes,” Program leaf of concert, 17 December. New York: David W. Rubin Concert Management.

Cage, John 1951a. “A Few Ideas about Music and Films.” Film Music Notes [New York] 10, no. 3 (January-February), 12-15; repr. Film Culture [New York] no. 29 (Summer 1963), 35-37; repr. as “A Few Ideas about Music and Film.” In Cage 1993d, 63-65; Hungarian as “Néhány gondolat zenéről és filmekről.” Trans. András Wilheim. In Kenedi 1978, 407-409.

Cage, John 1951b. “More Satie.” Musical America 71 (1 April), 26; repr. in Kostelanetz 1970d, 92-94; German as “Noch mehr über Satie.” In Kostelanetz 1970d/1973, 122-124; Italian as “Ancora Satie.” Trans. Giordano Falzoni. Lo Spettatore Musicale no. 5 (September-October 1971), 9-10.

Cage, John 1951c. “Unfortunate Comment on Our Musical “Life,” That Everybody’s Interested in.” In Motherwell 1951, xvi; repr. in Motherwell 1951/1981, xxii.

Cage, John 1952a. [Untitled], included in Feldman et al. 1952, 171-172; repr. as “To Describe the Process of Composition Used in Music of Changes and Imaginary Landscape No. 4.” In Cage 1961h, 57-59; Italian as “Descrizione del processo compositivo impiegato in Music of Changes e Imaginary Landscape No. 4.” In Cage 1971e, 64-66; Russian as “Opisanie protsessa sochineniya Muzyki peremen i Voobrazhaemogo pejzazha 4.” Trans. Marina Viktorovna Pereverzeva. In Kyuregyan and Tsenova 2009, 39-45.

Cage, John 1952b. [Untitled], in [***title] (program). New York: Living Theatre; repr. as “Manifesto.” In Cage 1961h, xii; repr. [untitled], in Kostelanetz 1970d, 131; German trans. [untitled], in Kostelanetz 1970d/1973, 185; Italian [untitled] in Cage 1971e, 15.

Cage, John 1953a. “Letter to Peter Yates.” Included in Yates 1953b, 30.

Cage, John 1953b. [Untitled]. Included in Emily Genauer, “Stable Gallery: Musings on Miscellany.” New York Herald Tribune (27 December); repr. in [unidentified publication], 78; repr. as [Manifesto on Painting of Bob Rauschenberg]. In Kostelanetz 1970d, 111-112; German as “Robert Rauschenberg.” In Kostelanetz 1970d/1973, 162.

Cage, John 1954. [Title unknown] (program notes for the first performance of 34'46.776" for a Pianist and 31'57.9864" for a Pianist). In Donaueschinger Musiktage 1954 (program 17 October).

Cage, John 1955a. “Experimental Music.” The Score and I.M.A. Magazine [London] no. 12 (June), 65-68; repr. as “Experimental Music: Doctrine.” In Cage 1961h, 13-17; repr. in Chase 1966, 227-234; repr. The Composer [Redondo Beach, California] 1, no. 1 (June 1969), 43-47; excerpt included in Cage 1987a, 1-2; Italian as “Musica sperimentale: Dottrina.” In Cage 1971e, 32-36; Serbo-Croatian as “Eksperimentalna muzika: Doktrina.” In Cage 1981i, 27-30; Spanish as “La música experimental: Doctrina.” Included in Cage 1971f, 412-419.

Cage, John 1955b. “Music Lovers’ Field Companion.” United States Lines Paris Review (1955); repr. in Cage 1961h, 274-276; Italian as “Guida miceto-logica del musicofilo.” In Cage 1971e, 21-23.

Cage, John 1955c. “Problem.” The Symphony [Japan] (February), 10-12.

Cage, John 1955d. Untitled. Commentary on Henry Pleasants, The Agony of Modern Music. New York: Simon and Schuster, 1955, dust jacket.

Cage, John 1956. “Program Note.” In program folder for a concert by Cage and David Tudor (20 April). Cambridge, Massachusetts: Harvard University, Sanders Theatre; rev. repr. as “Program.” In program folder for a concert by Cage and David Tudor (7 February). Geneva, New York: Hobart and William Smith Colleges, 1957; repr. as “Program Note”. In program folder for a concert by Cage and David Tudor (20 February). Akron, Ohio: Art Institute, 1957; repr. as “Program Notes.” In Cage 1993d, 81.

Cage, John 1957a. “Beschreibung der in Music for Piano 21-52 angewandten Kompositionsmethode.” Includes music example omitted in repr. Trans. Christian Wolff. Die Reihe [Wien] no. 3 (1957), 43-45; repr. in Kommentare 1961, 176-180; repr. in Lenz Meierott and Hans-Bernd Schmitz, Materialien zur Musikgeschichte für die Sekundarstufe II, Band 1: Texte. München: Bayerischer Schulbuch-Verlag, 1980, 195-197; original English text as “To Describe the Process of Composition Used in Music for Piano 21-52.” Die Reihe [Bryn Mawr, Pennsylvania] no. 3 (1959), 41-43; repr. in Cage 1961h, 60-61; Italian as “A descrizione del processo compositivo impiegato in ‘Music for Piano 21-52’.” In Cage 1971e, 67-69; Russian as “Opisanie protsessa sochineniya Muzyki dlya fortepiano 21-52.” Trans. Marina Viktorovna Pereverzeva. In Kyuregyan and Tsenova 2009, 46-49.

Cage, John 1957b. “In This Day….” Dance Observer [New York] 24, no. 1 (January), 10; repr. in Cage 1961h, 94-95; repr. Ear 15, no. 6 (October 1990), 66; Dutch as “In deze dagen.” Trans. Henk van der Meulen. Notes [Amsterdam] 4, no. 10 (October 1989), 30; German (slightly abridged) as “Programm-Notiz.” Trans. Hans G Helms (program 5 October 1960, Friedrich-Wilhelm-Gymnasium Köln); repr. in Die 60er Jahre: Kölns Weg zur Kunstmetropole, vom Happening zum Kunstmarkt. Ed. by Wulf Herzogenrath and Gabriele Lueg. Köln: Kölnischer Kunstverein, 1986, 158; Italian as “Oggi….” In Cage 1971e, 104-105; Turkish as “Günümüzde….” In Cage 2012b.

Cage, John 1957c. “Morris Graves.” In Museum of Art of Ogunquit, Maine, Fifth Annual Exhibition Catalogue (29 June-9 September 1957). Ogunquit, Maine: Museum of Art; repr. in Kostelanetz 1970d, 124-126; German in Kostelanetz 1970d/1973, 175-176.

Cage, John 1957d. “2 Pages, 122 Words on Music and Dance.” Dance Magazine 31, no. 11 (November), 18-19; repr. in Cage 1961h, 96-97; Dutch as “2 pagina’s, 122 woorden over muziek en dans.” Trans. Henk van der Meulen. Notes [Amsterdam] 4, no. 10 (October 1989), 31; Finnish included in Cage/Tiensuu 1983, 11; Italian as “2 pagine, 122 parole sulla musica e la danza.” In Cage 1971e, 106-107; Swedish as “2 sidor, 122 ord om musik och dans.” In Cage 1966e, 116-117; Turkish as “Müzik ve Dans Üzerine 2 Sayfa, 122 Sözcük.” In Cage 2012b.

Cage, John 1958a. “On Erik Satie.” Art News Annual 27 (1958), 74-81; repr. as “Erik Satie” in Cage 1961h, 76-82; Dutch in Bernlef and Schippers 1967, 56-61; French trans. Monique Fong Les Lettres Nouvelles (May-June 1970), 11-22; German (trans. Heinz-Klaus Metzger) in Metzger, H.-K. and Riehn 1980, 29-36; German (different trans.) in Cage 2012a, 151-168; Italian in Cage 1971e, 42-47; Serbo-Croatian in Cage 1981i, 139-144.

Cage, John 1958b. “45 Questions.” Village Voice (April); repr. in The Village Voice Reader: A Mixed Bag from the Greenwich Village Newspaper. Ed. Daniel Wolf and Edwin Fancher. Garden City, New York: Doubleday, 1962, 280-281; repr. New York: Grove Press, 1963, 280-281 (Black Cat Edition); revised and enlarged repr. as “Communication.” In Cage 1961h, 41-56; German included in Cage 1999b; Serbo-Croatian as “Komunikacija.” In Cage 1981i, 48-59; Swedish as “Kommunikation.” In Cage 1966e, 20-36; Hungarian as “A kommunikáció.” In Cage 1994a, 51-64; Italian as “Comunicazione.” Trans. Franco Masotti. In Bonomo and Furghieri 1998, 80-93.

Cage, John 1958c. “Über Komposition, deren Aufführung nicht festgelegt ist.” Neues Forvm [Wien] 8, no. 1, 4, 6, 8; original English text as “Indeterminacy.” In Cage 1961h, 35-40; repr. in Cox, C. and Warner 2004, 176-186; excerpt repr. as “Indeterminacy: John Cage.” In La Motte-Haber, Rilling, and Schröder 2011a, 232-234; German included in Cage 1999b; German excerpt as “Indeterminacy: John Cage.” Trans. Julia H. Schröder. In La Motte-Haber, Rilling, and Schröder 2011a, 345-346; Italian as “Indeterminazione.” Trans. Franco Nasi. In Bonomo and Furghieri 1998, 72-79; Serbo-Croatian as “Neodređenost.” In Cage 1981i, 43-47.

Cage, John 1958-1959. “Röster om Varèse.” Nutida Musik [Stockholm] 2, no. 4, 12-13; original English text as “Edgard Varese.” In Cage 1961h, 83-84; Dutch trans. Babet Mossel, Janneke van der Meer and Elmer Schönberger as [untitled], in De bevrijding van de klank: Teksten van en over Varèse. Ed. by Elmer Schönberger. Amsterdam: Stichting ASKO, 1984, 35-36; Italian as “Edgard Varèse.” In Cage 1971e, 56-57.

Cage, John 1959DAVID. “David Tudor,” In Program, La Maison Francaise at New York University, 19 March 1959.

Cage, John 1959a. “Experimental Music.” Liner notes for record KO8Y 1499-1504 (in enclosed booklet, [6]-[8]). New York: George Avakian; repr. (slightly abridged and without the footnote), in Cage 1961h, 7-12; repr. in The American Experience: A Radical Reader. Ed. by Harold Jaffe and John Tytell. New York: Harper and Row, 1970, 327-331; repr. in I. van Emmerik, van Groningen à Stuling and Selie 1992a, 42-47; repr. in Kostelanetz, Darby and Santa 1996, 202-206; repr. in Source Readings in Music History. Ed. by Oliver Strunk, rev. ed. by Leo Treitler. New York [etc.]: Norton, 1998, 1300-1305; repr. in The Twentieth Century. Ed. by Robert P. Morgan. New York [etc.]: Norton, 1998, 30-35 (Source Readings in Music History; 7); Hungarian as “Az experimentális zene.” In Cage 1994a, 36-40; Italian as “Musica sperimentale.” In Cage 1971e, 27-31; Russian excerpt as “Ėksperimental’naja muzyka: Fragment.” Trans. Elena Dubinets and Svetlana Zavrazhnova. Muzykal’naya Akademiya no. 2 (1997), 211; Serbo-Croatian as “Eksperimentalna muzika.” In Cage 1981i, 22-26; Spanish trans. as “La música experimental.” Included in Cage 1971f, 404-411; Swedish as “Experimentell musik.” In Cage 1966e, 14-19; Turkish as “Deneysel Müzik.” In Cage 2012b.

Cage, John 1959b. “The Future of Music: Credo.” Liner notes for phonodisc KO8Y 1499-1504 (in encl. booklet, [2]-[4]). New York: George Avakian; repr. in Cage 1961h, 3-6; repr. Music Journal [New York] 20 (January 1962), 44-46, 80-83; repr. in Kostelanetz 1970d, 54-57; excerpt repr. in Benoist 1978, [4]; repr. in Lander and Lexier 1990, 15-19; repr. in I. van Emmerik, van Groningen à Stuling and Selie 1992a, 35-37; repr. as liner notes for compact disc WER 6247-2. Mainz: Wergo, 1994; repr. in Cox, C. and Warner 2004, 25-28; excerpt repr. as “Cages ‘Credo’: Von Perkussion zu elektronischer Musik.” In La Motte-Haber, Rilling, and Schröder 2011a, 30-31; German as “Die Zukunft der Musik - Credo.” In Kostelanetz 1970d/1973, 83-85; repr. in Baecker 1975b, 13-14; repr. in Block, R. et al. 1980, 174-175; repr. in Dahlhaus and Zimmermann 1984, 395-398; German excerpt as “Cages ‘Credo’: Von Perkussion zu elektronischer Musik.” Trans. Julia H. Schröder. In La Motte-Haber, Rilling, and Schröder 2011a, 330-331; Hungarian as “A zene jövője: Credo.” In Cage 1994a, 7-9; Italian as “Il futuro della musica: Credo.” In Cage 1971e, 24-26; Russian as “Budushcheye muzyki: Credo.” Trans. Elena Dubinets and Svetlana Zavrazhnova. Muzykal’naya Akademiya no. 2 (1997), 210-211; Serbo-Croatian as “Budućnost muzike: Credo.” in Cage 1981i, 19-21; Spanish as “El futuro de la música: Credo.” In Kostelanetz 1973, 65-70; Spanish as “El futuro de la música: Credo.” Included in Cage 1971f, 398-402; Spanish as “El futuro de la música: Credo.” In Cage 1999a; Swedish as “Musikens framtid: Credo.” In Cage 1966e, 9-12; Turkish as “Müziğin Geleceği: Credo.” In Cage 2012b.

Cage, John 1959c. “Lecture on Nothing.” Incontri Musicali [Milano] no. 3 (August), 128-149; repr. in Cage 1961h, 109-126; excerpts in Jones, J.C. 1982; German as “Vortrag über nichts.” In Cage 1969b, 5-23; repr. 1987, 6-35; Hungarian as “Előadás a semmiről.” Trans. Kata Weber. Jelenkor 10 (1992), 799-813; repr. in Cage 1994a, 65-80; Italian as “Conferenza su niente.” In Cage 1971e, 70-84; Serbo-Croatian as “Predavanje o ničemu.” In Cage 1981i, 60-71; Spanish as “Conferencia sobre nada.” In Cage 1999a; Swedish as “Föredrag om ingenting.” In Cage 1966e, 38-63; Turkish as “Hiçbir Şey Üzerine Bir Konuşma.” In Cage 2012b.

Cage, John 1959e. “Notes.” Liner notes for phonodisc KO8Y 1499-1504 (in enclosed booklet, [9]-[11]). New York: George Avakian; repr. as liner notes for compact disc WER 6247-2. Mainz: Wergo, 1994; enl. repr. as [On Earlier Pieces]. In Kostelanetz 1970d, 127-131; German as “Über frühere Stücke.” In Kostelanetz 1970d/1973, 178-185.

Cage, John 1959ee [= Cage, John 1959d]. “On Hearing Morton Feldman’s New Recording.” It Is [New York] no. 4 (Fall), 73-78; [extended] repr. as “Lecture on Something.” In Cage 1961h, 128-145; German as “Vortrag über etwas.” In Cage 1969b, 24-41; repr. 1987, 36-62; Hungarian as “Előadas valamiről.” In Cage 1994a, 81-95; Serbo-Croatian as “Predavanje o nečemu.” In Cage 1981i, 72-83.

Cage, John 1959f. “Unbestimmtheit.” Trans. Iris Schnebel, Hans G Helms, Christian Wolff. Die Reihe [Wien] no. 5 (1959), 85-115; original English text ibid., 116-120; repr. Die Reihe [Bryn Mawr, Pennsylvania] no. 5 (1961), 84-114 [German], 115-120 [English]; repr. included in Cage 1967f, 133-138; German repr. in Kommentare 1961, 155+; repr. in Zeller 1979a, 28-33; German (different trans.) as “Unbestimmtheit I.” In Cage 2012a, 49-68.

Cage, John 1959g. [Untitled]. Liner notes for phonodisc FT 3704. New York: Folkways Records; repr. in Cage 1993d, 75-79.

Cage, John 1959h. Liner notes for phonodisc KO8Y 1499-1504, on twelve separate double leaves, unpaginated. New York: George Avakian; partial repr. as [Sonatas and Interludes] and [Williams Mix]. In Kostelanetz 1970d, 74-76, 109-111; German as “Sonatas and Interludes” and “Williams Mix.” In Kostelanetz 1970d/1973, 106-107, 159-161.

Cage, John 1959i. “Virgil Thomson: His Music.” In Hoover, K.O. and Cage 1959, 115-252; French as “Virgil Thomson: Sa musique.” In Hoover, K.O. and Cage 1959/1962.

Cage, John 1959j. “Zur Geschichte der experimentellen Musik in den Vereinigten Staaten.” Trans. Heinz-Klaus Metzger. In Darmstädter Beiträge zur Neuen Musik 2 (1959), 46-53; repr. in Danuser, Kämper, and Terse 1987, 267-274; original English as “History of Experimental Music in the United States.” In Cage 1961h, 67-75; repr. in Simms 1999, 160-167; excerpt repr. in Weiss, P. and Taruskin 1984, 522-525; Czech trans. Konfrontace [Praha] no. 4 (1970); Italian as “Storia della musica sperimentale negli Stati Uniti.” In Cage 1971e, 48-55; Russian as “Istoriya eksperimental’noy muzyki v SShA.” Trans. Elena Dubinets and Svetlana Zavrazhnova. Muzykal’naja Akademija no. 2 (1997), 205-210; Spanish as “Historia de la música experimental en los Estados Unidos.” Included in Cage 1971f, 429-441.

Cage, John 1960a. “Remarks on Theater Song and Ikon.” Cardinal [Middletown, Connecticut] (Winter), 52-54; repr. in Cage 1993d, 87-89.

Cage, John 1960b. [Untitled statement on musical notation]. Art News 59, no. 2 (April), 35 (included in “Form is a Language,” Ibid., 34-35, 62, with Kenneth Rexroth, Frederick Kiesler, and Julian Beck); repr. as “Form Is a Language” in Kostelanetz 1970d, 135; German as “Form ist eine Sprache.” In Kostelanetz 1970d/1973, 188.

Cage, John 1961a. “Changes.” In Cage 1961h, 18-34; German included in Cage 1999b; Hungarian as “A változások.” In Cage 1994a, 41-50; Italian as “Mutamenti.” Trans. Franco Masotti. In Bonomo and Furghieri 1998, 59-71; Serbo-Croatian as “Promene.” In Cage 1981i, 31-42.

Cage, John 1961b.

Cage, John 1961d. “Foreword.” In Cage 1961h, ix-xi; partly identical with Cage 1959[UNTITLED-FOLKWAYS]; German (excerpt) as “Nachwort.” In Cage 1969b, 90-91; repr. 1987, 158-160; Italian excerpt included in “Prefazione.” In Cage 1971e, 17-18.

Cage, John 1961e. “45' for a Speaker.” In Cage 1961h, 146-192; excerpt repr. in Young, L.M. 1963, [27]; repr. in Young, L.M. 1963/1970, [27]; German as “45' für einen Sprecher.” In Cage 1969b, 42-89; repr. 1987, 63-157; Hungarian as “A szónok 45 perce.” In Cage 1994a, 111-157; Russian as “45 minut dlya chteca.” Trans. Marina Viktorovna Pereverzeva. In Kholopov, Tsenova and Pereverzeva 2004, 35-66; Swedish excerpt as “4' ur 45' för en talare.” In Cage 1966e, 108-115.

Cage, John 1961g. “Indeterminacy.” In Cage 1961h, 6, 12, 40, 56, 66, 84-85, 88, 93, 95, 108, 127, 193, 260-273; excerpts repr. in Cage 2020; Czech trans. by Ladislav Novák, published 1962 as samizdat; German as “Unbestimmtheit II” and “Unbestimmtheit III.” In Cage 2012a, 135-150, 195-214; Italian [Untitled]. In Cage 1971e, 26-129, passim; Spanish as “Indeterminación.” Trans. Alfredo Garbes. Cultura Universitaria [Caracas] no. 76-77 (July-September 1961), 80-87; Spanish excerpts [untitled] included in Cage 1971f, 402-403, 411, 427-428; Swedish as “Det obestämda.” Trans. Torsten Ekbom. Rondo [Stockholm] 1, no. 4 (1961), 25-32; repr. in Cage 1966e, 96-107; Turkish as “Öyküler.” In Cage 2012b.

Cage, John 1961gh. “On Robert Rauschenberg, Artist, and His Work.” Metro [Milano] no. 2 (May), 36-51; repr. in Cage 1961h, 98-108; excerpts (English) as “Über Rauschenberg.” in Bischoff 1991b, 188; Italian as “Su Robert Rauschenberg, artista, e la sua opera.” In Cage 1971e, 120-129; Swedish as “Om Robert Rauschenberg, konstnär, och hans arbete.” Konstrevy [Stockholm] 37, no. 5-6 (1961), 166; repr. in “Rauschenberg.” In Cage 1966e, 64-76.

Cage, John 1961h. Silence: Lectures and Writings. Middletown, Connecticut: Wesleyan University Press; repr. 1973; Hanover, New Hampshire: Wesleyan University Press, 2011 (50th Anniversary Edition, foreword by Kyle Gann); repr. 2013; repr. Toronto: Burns & MacEachern, 1961; repr. Cambridge, Massachusetts [etc.]: M.I.T. Press, 1966; repr. London: Calder & Boyars, 1968; repr. London: Marion Boyars, 1978; repr. 1983; repr. 1986; repr. 1987; repr. 2004; excerpts repr. as “Fragments from Silence.” In Albright 2004, 190-192; Chinese as Chen mo: Wu shi zhou nian ji nian ban. Trans. Jingying Li. Gui Lin: Li jiang chu ban she, 2013; Czech as Silence: Přednášky a texty. Trans. Jaroslav Šťastný, Radoslav Tejkal and Matěj Kratochvíl. Praha: Tranzit, 2010 (Navigace; 6); partial French trans. Cage 1970m; French as Silence: Conférences et écrits. Trans. Vincent Barras. Genève [etc.]: Héros-Limite, 2003; rev. repr. Genève [etc.]: Héros-Limite; Editions Contrechamps, 2012; partial German trans. Cage 1969b; partial Italian trans. Cage 1971e; Italian as Silenzio. Trans. Giancarlo Carlotti. Milano [etc.]: Shake Edizioni, 2010; repr. with foreword by Kyle Gann. Milano: Il Saggiatore, 2019 (La cultura; 1223); Korean as Sailleonseu: Jon Keijiui gangyeongwa geul. Trans. Na Hyeon Yeong. Shoul [Seoul]: Opeunhauseu [Openhouse], 2014; Spanish as Silencio. Trans. Marina Pedraza. Madrid: Árdora Ediciones, 2002; repr. 2012 (reviews: Allen, T. 1973; Annotated Bibliography 1979a; Bannon 1966; Barry, E. 1961; Barthelmes 2012; Beltaire 1967; Book Review Digest 1962; Boretz 1962; Boston Sunday Globe 1961; Breuer 1962; Crnković 1994; Dennis 1968-1969; Dickinson 1968; Eco 1964; Ekbom 1962; Fernández Guerra 2003; Frankenstein 1961; Franklyn 1962; Goldman, A. 1962; Guschlbauer 1962; Hambræus 1962-1963a; Helm 1969; Henry, B.D. 1968; Hiller, L. 1962; Hollander, J. 1963; Holmes 1981a; Iges 2003; Johnston, J. 1962; Kasemets 1962; Keane 2017; Kesting 1972; Lieb, A.J. 1962; McGary 1962; Miller, C.K. 1962; Monaco 1967; Montornés 2003; Morris, E. 1967; Music in Education 1973; Music Magazine 1962; Music Teacher 1973; Musical Events 1973; Pan Pipes 1963; Picó 2003; Read, D.W. 1966; Reichenfeld, J. 1968; Richart 1962; Small, C. 1973; Smalley, R. 1968; Slonimsky 1961; Sorell 1962; Thomson 1970; Williamson 1968; Woodham 1969; Yates 1962c; Yates 1962d).

Cage, John 1961i. “Where Are We Going? And What Are We Doing? = Où allons-nous et que faisons-nous?” [excerpt]. Ring des Arts [Zürich] no. 2 (Fall), 7-9; full text (English only) in Cage 1961h, 194-259; Serbo-Croatian as “Kuda idemo? I šta radimo?” In Cage 1981i, 84-133.

Cage, John 1962a. “Geijutsu wa mattaku henka shita.” Trans. Yōko Ono. Yomiuri Shimbun (22 October) [evening edition], 7; orig. English included in Cage 1967e, 30-33.

Cage, John 1962b. “Foreword.” In Dunn 1962, 5-6; German as “Vorwort.” [ii]-[1], ibidem (in some copies distributed in Germany).

Cage, John 1962c. “Remarks Before a Visit to Japan.” In English with parallel Japanese trans. by Toshi Ichiyanagi. Sōgetsu Art Center Journal no. 27 (October), 3-5.

Cage, John 1962d. [Untitled]. Liner notes for phonodiscs Series 2000 58009 and S/8009. New York: Time Records; repr. as [Cartridge Music] in Kostelanetz 1970d, 144-145; German in Kostelanetz 1970d/1973, 200-201.

Cage, John 1962e. [Untitled] (notes on various pieces written between 1933-1962), in Dunn 1962, 7-43, passim.

Cage, John 1963a. “26 Statements re Duchamp.” Mizue [Tokyo] (September); repr. Art and Literature [Lausanne] no. 3 (Fall-Winter 1964), 9-10; repr. in Cage 1967o, 70-72; repr. in D’Harnoncourt and McShine 1973, 188-189; repr. in Masheck 1975, 67-69; Dutch as “26 statements over Duchamp.” Barbarber [Amsterdam] no. 46 (May 1966), 9-10; repr. in Bernlef and Schippers 1967, 22-23; French in Cage 1970m, 163-165; Italian as “26 tesi in merito a Duchamp.” In Cage 1971e, 130-132; Portuguese as “26 proposições sobre Duchamp.” In Cage 1967o/1985, 70-72; Serbo-Croatian as “26 iskaza o Duchampu.” In Cage 1981i, 177-178; Spanish as “26 tesis en honorar a Marcel Duchamp.” Included in Encinar 1974, 39-41; Spanish as “26 textos sobre Duchamp.” In Cage 1967o/1974, 91-93; Swedish as “Marcel Duchamp.” In Cage 1966e, 93-95.

Cage, John 1963b. “Contemporary Japanese Music: A Lecture.” Ed. Fredric Lieberman. Points of Contact [Honolulu, Hawaii] 2, no. 5 (5 February), unpag. [8 pages]; repr. in Locating East Asia in Western Art Music. Ed. by Yayoi Uno Everett and Frederick Lau. Middletown, Connecticut: Wesleyan University Press, 2004, 193-198.

Cage, John 1963MOVEMENT. “A Movement, A Sound, A Change of Light.” In various programs of the Merce Cunningham Dance Company throughout the 1970s; repr. in program, 14-19 March 1978 and 21-26 March 1978. New York, Roundabout Theater, [13]-[14]; repr. in Cage 1993d, 91-92; excerpt repr. as “Cage & Cunningham.” In La Motte-Haber, Rilling, and Schröder 2011b, 78-79; French as “Mouvement, son, changement de lumière.” Tel Quel no. 18 (Summer 1964); German excerpt as “Cage & Cunningham.” Trans. Julia H. Schröder. In La Motte-Haber, Rilling, and Schröder 2011b, 317; Turkish as “Bir Hareket, Bir Ses, Işığın Bir Değişimi.” In Cage 2012b.

Cage, John 1963c. [Untitled]. Dance Perspectives [New York] no. 16, 39-41; repr. as “Where Do We Go from Here?” In Cage 1967o, 91-94; Italian as “E da qui, dove andiamo?” In Cage 1971e, 94-97; Portuguese as “Daqui, para onde vamos?” In Cage 1967o/1985, 91-94; Spanish as “¿Y ahora a donde vamos?” In Cage 1967o/1974, 114-118; Turkish as “Buradan Nereye Gideriz?” In Cage 2012b.

Cage, John 1964a. “Jasper Johns: Stories and Ideas.” In Jasper Johns [exhibition catalog, 16 February-2 April 1964]. Ed. by Alan R. Solomon. New York: October House; Jewish Museum, 1964, 21-26; repr. in Jasper Johns. London: Whitechapel Gallery, 1964, 28+; repr. in The New Art: A Critical Anthology. Ed. by Gregory Battcock. New York: E.P. Dutton, 1966, 29-45; repr. in Cage 1967o, 73-84; Dutch as “Jasper Johns: Verhalen en ideeën.” Barbarber [Amsterdam] no. 81 (July 1970), 38-47; German excerpts as “Über Johns.” In Bischoff 1991b, 160; Italian as “Jasper Johns: Storie e idee.” In Cage 1971e, 133-143; Portuguese as “Jasper Johns: Estórias e idéias.” In Cage 1967o/1985, 73-84; Serbo-Croatian as “Jasper Johns: Priče i ideje.” In Cage 1981i, 150-158; Spanish as “Jasper Johns: Historias e ideas.” In Cage 1967o/1974, 94-107; Swedish as “Jasper Johns: Historier och ideer.” In Cage 1966e, 77-93.

Cage, John 1964b. [***original title] (program notes), in [CHECK title] (program 6 February). New York: New York Philharmonic Orchestra; repr. included in Downes 1970, 143-144.

Cage, John 1964c. Original title unknown (in Japanese). In [CHECK title]. Tōkyō: Sogetsu Art Center; original English text included in Cage 1967e, 33-34.

Cage, John 1965a. “Mosaic.” Review of Arnold Schoenberg, Letters. Selected and ed. Erwin Stein. Trans. Eithne Wilkins and Ernst Kaiser. New York: St. Martin’s Press, 1965. Kenyon Review [Gambier, Ohio] 27, no. 3 (Summer), 535-540; rev. repr. in Cage 1967o, 43-49; Italian as “Mosaico.” in Cage 1971e, 58-63; Portuguese as “Mosaico.” In Cage 1967o/1985, 43-49; Serbo-Croatian as “Mozaik.” In Cage 1981i, 134-138; Spanish as “Mosaico.” In Cage 1967o/1974, 61-68.

Cage, John 1965b. “Nam June Paik: A Diary.” In Nam June Paik: Electronic Art [catalog of exhibition, 23 November-11 December 1965, brochure, designed by Cage]. New York: Galleria Bonino, 1965; repr. in Cage 1967o, 89-90; German as “Nam June Paik: Ein Tagebuch.” Trans. Marlis Grüterich. In Herzogenrath, W. 1976, 139-140; Portuguese as “Nam June Paik: Um diário.” In Cage 1967o/1985, 89-90; Serbo-Croatian as “Nam June Paik: Dnevnik.” In Cage 1981i, 159-160; Spanish as “Nam June Paik: Un diario.” In Cage 1967o/1974, 111-113.

Cage, John 1965c. [Quotation]. In Edward Downes, “Notes on the Program.” In New York Philharmonic French-American Festival [program brochure] (23 July), B-E.

Cage, John 1966a. “Diary: Audience 1966.” Included in Cage et al. 1966, 24-25; repr. in Cage 1967o, 50-51; repr. as “Extract from A Year from Monday.” In Reichardt 1968, 24-25; Italian as “Diario: (A)uditorio 1966.” In Cage 1971e, 85-86; Portuguese as “Diário: Audiênfcia 1966.” In Cage 1967o/1985, 50-51; Serbo-Croatian as “Dnevnik: Publika 1966.” In Cage 1981i, 165-166; Spanish as “Diario: Público 1966.” In Cage 1967o/1974, 69-71.

Cage, John 1966b. “Diary: Emma Lake Music Workshop 1965.” Canadian Art (January); repr. in Cage 1967o, 21-25; repr. in Rothenberg and Ulvaeus 2001, 30-33; Portuguese as “Diário: Seminário de música de Emma Lake, 1965.” In Cage 1967o/1985, 21-25; Spanish as “Diario: Taller de composición musical, Emma Lake, 1965.” In Cage 1967o/1974, 34-39.

Cage, John 1966c. “Diary: How to Improve the World (You Will Only Make Matters Worse) 1965.” Joglars [Providence, Rhode Island] 1, no. 3 (1966); repr. Link (September-October 1966); repr. Aspen [New York] 1, no. 4 (Spring 1967); repr. Cage 1967o, 3-20; repr. in Possibilities of Poetry. Ed. by Richard Kostelanetz. New York: Dell, 1970; repr. in Cage 2015; French as “1966.” In Cage 1983c, 3-17; German as “Tagebuch: Wie die Welt zu verbessern ist.” In Cage 2012a, 21-40; Italian as “Diario: Come migliorare il mondo (non farete che peggiorare le cose) 1965.” Che: Studi sull’uso e sui significati dell’architettura no. 5-6 (March 1977); repr. (trans. and ed. Gabriele Bonomo), in Bonomo and Furghieri 1998, 94-108; Portuguese as “Diário: Como melhorar o mundo (você só tornará as coisas piores) 1965.” In Cage 1967o/1985, 3-20; Spanish as “Diario: Como mejorar el mundo (solo se conseguira empeorarlo) 1965.” In Cage 1967o/1974, 15-33.

Cage, John 1966d. “Letters to the Editor: Electronic Souls.” Village Voice (20 January); repr. in Kostelanetz 1970d, 167; German Jazz Podium [Wien] 16, no. 9 (September 1967), 244; German as “Elektronische Seelen.” Trans. Iris Schnebel. In Kostelanetz 1970d/1973, 228.

Cage, John 1966e. Om ingenting: Texter. Selected and trans. Torsten Ekbom, Leif Nylén. Stockholm: Albert Bonniers (BLM-biblioteket) (review: Fant 1966-1967).

Cage, John 1966f. “Rhythm Etc.” In Kepes 1966, 194-203; repr. in Cage 1967o, 120-132; German as “Rhythmus etc.” In Modul, Proportion, Symmetrie, Rhythmus. Ed. by Gyorgy [György] Kepes. Brüssel: La Connaissance [sole representative Paris: Weber], 1969, 194-203 (Sehen und Werten); Hungarian as “Ritmus stb.” In Cage 1994a, 158-169; Italian as “Ritmo ecc.” Trans. Franca Lerici. Il Verri: Rivista di Letteratura [Milano] 4th series no. 30 (July 1969), 25-36; Italian as “Ritmo, ecc.” In Cage 1971e, 108-119; Portuguese as “Ritmo, etc.” In Cage 1967o/1985, 120-132; Serbo-Croatian as “Ritam itd.” In Cage 1981i, 167-176; Spanish as “Ritmo, etc.” In Cage 1967o/1974, 155-168; Spanish as “Ritmo etc.” In Cage 1999a.

Cage, John 1966g. “Seriously Comma.” Preuves [Paris] no. 181 (March), 37-38; repr. in Cage 1967o, 26-29; Portuguese as “Seriamente vírgula!” In Cage 1967o/1985, 26-29; Spanish as “Seriamente coma.” In Cage 1967o/1974, 40-43.

Cage, John 1966h. [Untitled]. Included in Cage et al. 1966; repr. as [Memoir]. In Kostelanetz 1970d, 76-77; German as “Bericht.” In Kostelanetz 1970d/1973, 105; repr. in Benoist 1978, [9].

Cage, John 1967a. “Afterword.” In Cage 1967o, 163-167; Portuguese as “Fim de papo.” In Cage 1967o/1985, 163-167; Spanish as “Epílogo.” In Cage 1967o/1974, 205-210.

Cage, John 1967b. “Diary: How to Improve the World (You Will Only Make Matters Worse) Continued 1966.” Paris Review [Paris] 10, no. 40 (Winter-Spring), 52-68; repr. in Cage 1967o, 52-69; repr. in Cage 2015; French as “1966 (suite).” In Cage 1983c, 22-37; Portuguese as “Diário: Como melhorar o mundo (você só tornará as coisas piores) continuado em 1966.” In Cage 1967o/1985, 52-69; Spanish as “Diario: Como mejorar el mundo (solo se conseguira empeorarlo) continuación, 1966.” In Cage 1967o/1974, 72-90; Swedish as “Dagbok: Hur man förbättrar världen (du gör bara sakerna värre) fortsatt 1966.” Nutida Musik [Stockholm] 10, no. 3-4 (1966-1967), enclosure.

Cage, John 1967c. Diary: How to Improve the World (You Will Only Make Matters Worse) Continued Part Three (1967). West Glover, Vermont: Something Else Press (A Great Bear Pamphlet); repr. as “Diary: How to Improve the World (You Will Only Make Matters Worse) Continued 1967.” In Cage 1967o, 145-162; repr. in Cage 2015; French as “1967.” In Cage 1983c, 44-59; Italian (excerpt) as “Diario: Come migliorare il mondo (non farete che peggiorare le cose) continuazione 1967.” In Cage 1971e, 147-154; Portuguese as “Diário: Como melhorar o mundo (você só tornará as coisas piores) continuado em 1967.” In Cage 1967o/1985, 145-162; Spanish as “Diario: Como mejorar el mundo (solo se conseguira empeorarlo) continuación, 1967.” In Cage 1967o/1974, 186-204.

Cage, John 1967d. “Foreword.” In Cage 1967o, ix-x; Italian (excerpt) included in “Prefazione.” In Cage 1971e, 18-20; Portuguese as “Antepapo.” In Cage 1967o/1985, xxv-xxvi; Spanish as “Prólogo.” In Cage 1967o/1974, 11-13.

Cage, John 1967e. “Happy New Ears!” In Cage 1967o, 30-34; repr. in Rothenberg and Ulvaeus 2001, 25-29; Italian as “Buone orecchie!” Trans. Franca Lerici. Il Verri: Rivista di Letteratura [Milano] 4th series no. 30 (July 1969), 19-24; Portuguese in Cage 1967o/1985, 30-34; Serbo-Croatian as “Srećne nove uši!” In Cage 1981i, 161-164; Spanish as “¡Feliz oído nuevo!” In Cage 1967o/1974, 44-49.

Cage, John 1967f. “How to Pass, Kick, Fall and Run.” In Cage 1967o, 20, 25, 34-35, 49, 69, 72, 84, 88, 111, 132, 133-140, 162; repr. as “Stories and Sayings: Excerpts from A Year from Monday.” Dance Magazine 41 (December), 34-36; Italian as “Come uno passa, picchia, casca e scappa.” In Cage 1971e, 87-93 and 63-146, passim; Polish as “Jak podawać, kopać, upadać i biegać.” Akcent [Lublin] no. 1 <no. 127> (2012); Portuguese as “Como passar, chutar, cair e correr.” In Cage 1967o/1985, 20, 25, 34-35, 49, 69, 72, 84, 88, 111, 132, 133-140, 162; Serbo-Croatian excerpt as “Kako proći, udariti, pasti i potrčati.” In Cage 1981i, 179-186; Spanish as “Como pasar, patear, caer y correr.” In Cage 1967o/1974, 33, 49, 68, 71, 90, 93, 107, 113, 118-119, 154, 169-180, 204; Spanish as “Cómo pasar, patear, caer y correr.” In Cage 1999a.

Cage, John 1967g. “Juilliard Lecture.” In Cage 1967o, 95-111; Hungarian as “Juilliard előadás.” In Cage 1994a, 96-110; Portuguese as “Conferência no Juilliard.” In Cage 1967o/1985, 95-111; Spanish as “Conferencia en Juilliard.” In Cage 1967o/1974, 120-145.

Cage, John 1967h. “Lecture on Commitment.” In Cage 1967o, 112-119; Portuguese as “Conferência sobre o compromisso.” In Cage 1967o/1985, 112-119; Spanish as “Conferencia sobre el compromiso.” In Cage 1967o/1974, 146-154; Turkish as “Kendini Adama Üzerine Bir Konuşma.” In Cage 2012b.

Cage, John 1967i. Letter to J. Bernlef, 4 December 1965 (facsimile). In Bernlef and Schippers 1967, 61; repr. as “Brief über die Uraufführung von ‘Vexations’.” In Metzger, H.-K. and Riehn 1980a, 47.

Cage, John 1967j. “Miró in the Third Person: 8 Statements.” In Cage 1967o, 85-88; Italian as “Miró in terza persona: 8 blocchi.” In Cage 1971e, 144-146; Portuguese as “Miró na terceira pessoa: 8 proposições.” In Cage 1967o/1985, 85-88; Spanish as “Joan Miró en tercera persona: 8 textos.” In Cage 1967o/1974, 108-110.

Cage, John 1967l. “Talk I.” In Cage 1967o, 141-144; Portuguese as “Papo no. I.” In Cage 1967o/1985, 141-144; Spanish as “Primera plática.” In Cage 1967o/1974, 181-185.

Cage, John 1967m. “Ten Years before Sixty-seven.” In Leo Castelli: Ten Years. Ed. by David Whitney. New York: Leo Castelli Gallery, 1967; repr. included in Cage 1973k, 95.

Cage, John 1967n. “Two Statements on Ives.” In Cage 1967o, 36-42; Dutch (second statement only) as “John Cage.” Trans. J. Bernlef. In Bernlef and Leeuw 1969, 128-130; Portuguese as “Duas proposições sobre Ives.” In Cage 1967o/1985, 36-42 [trans. between 40-41, 42-43]; Spanish as “Dos textos sobre Ives.” In Cage 1967o/1974, 50-60 [51-60 facsimile, 57-60 trans.].

Cage, John 1967o. A Year from Monday: New Lectures and Writings. Middletown, Connecticut: Wesleyan University Press, 1967; repr. London: Calder and Boyars, 1968; repr. London: Marion Boyars, 1975; repr. 1976; repr. 1985; excerpt repr. as Cage 1967STORIES; repr. New York: Praeger; repr. Greenwich, Connecticut: New York Graphic Society, 1971; French as Une année dès lundi: Conférences et écrits. Trans. Christophe Marchand-Kiss. Paris: Textuel, 2006 (L’œil du poète); partial Italian trans. Cage 1971e; Portuguese as De segunda a um ano: Novas conferências e escritos. Trans. Rogério Duprat. Ed. Augusto de Campos. São Paolo: Hucitec, 1985; Spanish as Del lunes en un año. Trans. Isabel Fraire. México: Ediciones Era, 1974 (Biblioteca Era) (reviews: Alloway 1969; American Review Guide 1968; Balakian 1967; Book Review Digest 1968; Cork Examiner 1967; Dennis 1968-1969; Dickinson 1968; Dickinson 1969; Green, D.B. 1968-1969; Helm 1969; Henry, B.D. 1968; High Fidelity/Musical America 1968; Holmes 1981a; Inter-American Institute 1967; Junker 1968; Kirby, M. 1968; Kirkus Reviews 1967; Kostelanetz 1968-1969; Maren 1968; Mellers 1968; National Catholic Reporter 1967; Newsweek 1967; Publishers Weekly 1967; Ringo 1967-1968; Roxburgh 1968-1969; Small. C. 1973; Smalley, R. 1968; Snyder, E.J. 1969; Souster 1968; Souster 1968-1969; Thomson 1970; Times Literary Supplement 1969; Tomkins 1968b; Urmson 1967; Weiss, Paul 1967-1968; Williamson 1968; Woodham 1969; Yates 1968; Yorkshire Life 1968).

Cage, John 1968a. Diary: Part IV. Ed. by William Copley. New York: S.M.S. Press, 1968 (S.M.S.; no. 4); rev. repr. as “Diary: How to Improve the World (You Will Only Make Matters Worse) Continued 1968 (Revised 1969).” Triquarterly [Evanston, Illinois] no. 18 (Spring 1970), 94-111; repr. as “Diary: How to Improve the World (You Will Only Make Matters Worse) Continued 1968 (Revised).” In Cage 1973h, 3-25, passim; repr. in Cage 2015; French as “1968.” In Cage 1983c, 66-80.

Cage, John 1968b. “On Nam June Paik’s ‘Zen for Film’ (1962-64).” Cinema Now [Cincinnati, Ohio] no. 1 (1968); repr. in Paik-Abe: Video Synthesizer with Charlotte Moorman [exhibition catalogue]. New York: Galeria Bonino, 1971, 1; German as “Über ‘Zen for Film’ (1962-1964).” In Stooss and Kellein 1991.

Cage, John 1968c. [Untitled]. Dance Perspectives [New York] no. 34 (Summer), 8-9, 13, 22, 27, 40; repr. as [Cunningham Stories]. In Kostelanetz 1970d, 180-183; French as “Seize histoires de Cunningham.” Trans. Mireille Davidovici. In Lartigue 1982b, 74-77; German as “Cunningham-Geschichten.” In Kostelanetz 1970d/1973, 242-245.

Cage, John 1969a, comp. Notations. In collab. with Alison Knowles. New York: Something Else Press (reviews: Ames, V.M. 1970; Austin, L. 1969; Book Review Digest 1970; Bosseur, J.-Y. 1970b; Cardew 1969; Chase, G. 1970a; Clavier 1969; Ekbom 1969; Gelles 1969; Henahan 1969b; Henry, B.D. 1969; Holmes 1981a; Huybens 1974-1976; Ingle 1969; International Musician 1970; Karkoschka 1969; Kondracki 1970; Mam 1969; Mangelsdorf 1969; Moore, Ca. 1969; Music and Musicians 1969; Nichol 1969; Piano Quarterly 1970-1971; Publishers Weekly 1968; Schnebel 1969a; Singer 1975; Smith, P.J. 1969; Souster 1969; Thomson 1970; Times Literary Supplement 1970; Yates 1969).

Cage, John 1969b. Silence: Vortrag über nichts, Vortrag über etwas, 45' für einen Sprecher. Trans. Ernst Jandl. Ed. Helmut Heißenbüttel. Neuwied [etc.]: Hermann Luchterhand; repr. as Silence. Frankfurt am Main: Suhrkamp, 1987, repr. 1989, repr. 1990, repr. 1992 (1477; Neue Folge Band 477); repr. as Silence. Frankfurt am Main: Suhrkamp, 1995 (Bibliothek Suhrkamp; 1193). Includes Cage 1959c; Cage 1959d; Cage 1961d; Cage 1961e; excerpts from Cage 1961h (reviews: Kaiser, A. 1989; Widmer 1969; Wilson, P.N. 1989).

Cage, John 1969c. To Describe the Process of Composition Used in Not Wanting to Say Anything about Marcel: Plexigrams I-VIII; Lithographs A and B; together with a Glossary. Cincinnati, Ohio: Eye Editions; repr. with French trans. as “To Describe the Process of Composition Used in Not Wanting To Say Anything About Marcel.” Etant donné [Baby] no. 6 (2005).

Cage, John 1969d. [Untitled]. Statement about notation. On the flyleaf of the hardback of Cage 1969a; repr. as part of Cage/Kostelanetz 1986.

Cage, John 1970a. [The Arts in Dialogue]. In Kostelanetz 1970d, 149-150; German as “Die Künste im Gespräch.” In Kostelanetz 1970d/1973, 207.

Cage, John 1970b. “Defense of Satie.” In Kostelanetz 1970d, 77-84; German as “Plädoyer für Satie.” In Kostelanetz 1970d/1973, 108-114; Hungarian as “Satie védelmében.” In Cage 1994a, 25-30; Italian as “Difesa di Satie.” Trans. Giordano Falzoni. Lo Spettatore Musicale no. 5 (September-October 1971), 3-7; Serbo-Croatian as “Odbrana Satiea.” In Cage 1981i, 145-149; Turkish as “Satie’nin Savunması.” In Cage 2012b.

Cage, John 1970c. “Ladies of the Monday Club and Gentlemen of the Faculty.” In Kostelanetz 1970d, 135-138; German as “Meine Damen vom Montagsklub, meine Herren von der Fakultät!” In Kostelanetz 1970d/1973, 189-191.

Cage, John 1970d. [Letter to Paul Henry Lang, 22 May 1956]. In Kostelanetz 1970d, 116-118; German as “Brief an Paul Henry Lang.” In Kostelanetz 1970d/1973, 166-167.

Cage, John 1970e. “List No. 2.” In Kostelanetz 1970d, 138-139; German as “Liste Nr. 2.” In Kostelanetz 1970d/1973, 192-193.

Cage, John 1970f. “McLuhan’s Influence.” In Kostelanetz 1970d, 170-171; German as “McLuhans Einfluß.” In Kostelanetz 1970d/1973, 231-232.

Cage, John 1970g. [The New School]. In Kostelanetz 1970d, 118-120; German as “Die New School.” In Kostelanetz 1970d/1973, 168-169.

Cage, John 1970h. “New York Mycological Society.” In Kostelanetz 1970d, 151-153; German as “Neue Mykologische Gesellschaft New York.” In Kostelanetz 1970d/1973, 210-212.

Cage, John 1970i. “On Film.” In Kostelanetz 1970d, 115-116; German as “Über Film.” In Kostelanetz 1970d/1973, 164-165; excerpt repr. in Metzger, H.-K. 1992b, 41-43; Hungarian as “A filmről.” Trans. Ágnes Erdélyi. In Kenedi 1978, 349-350.

Cage, John 1970j. “Other People Think.” In Kostelanetz 1970d, 45-49; German as “Andere Völker denken.” In Kostelanetz 1970d/1973, 72-76; German (different trans.) as “Andere Völker denken.” In Cage 2012a, 183-194.

Cage, John 1970k. [Poem for Edwin Denby]. In Kostelanetz 1970d, 149; repr. (with slightly changed typography) as “Present.” Included in Cage 1973k, 94; German as “Gedicht für Edwin Denby.” In Kostelanetz 1970d/1973, 206.

Cage, John 1970l. “Re Musicircus.” In Kostelanetz 1970d, 171-172; repr. as “John Cage.” In Scenarios: Scripts to Perform. Ed. by Richard Kostelanetz. New York: Assembling Press, 1980, 194; German as “Über Musicircus.” In Kostelanetz 1970d/1973, 233.

Cage, John 1970m. Silence: Discours et écrits [anthology from Cage 1961h and Cage 1967o]. Trans. Monique Fong-Wust. Paris: Denoël (Dossiers des Lettres nouvelles; 17); repr. Paris: Denoël, 2004 (Collection X-trême) (reviews: Bosseur, J.-Y. 1970b; Pleynet 1970).

Cage, John 1970n. “These Days.” In Kostelanetz 1970d, 177-180; repr. in Kostelanetz 1971, 275+; German as “In diesen Tagen.” In Kostelanetz 1970d/1973, 239-241.

Cage, John 1970o. “36 Acrostics re and not re Marcel Duchamp.” In Kubota 1970, passim; repr. as “36 Mesostics re and not re Marcel Duchamp.” Vogue [London] (1972); repr. in Cage 1973h, 26-28, 30-34.

Cage, John 1970p. [Untitled]. Liner notes for records Columbia MS 7416 and MS 7417. New York: Columbia Records; repr. as liner notes for records CBS Collectors’ Series CMS 7416 and 7417. New York: CBS.

Cage, John 1971a. “Comments.” Art in America 59, no. 5 (September-October), 79. Included in Nancy Foote, “Who Was Sonia Sekula?” Ibid., 73-80.

Cage, John 1971b. “Diary: How to Improve the World (You Will Only Make Matters Worse) Continued 1969 (part V).” In Hassan 1971, 3-21; repr. in Cage 1973h, 57-84, passim; repr. in Cage 2015; repr. (with parallel German trans. as “Tagebuch: wie sich die Welt verbessern läßt (du wirst alles nur noch schlimmer machen); Fortsetzung 1969 (Teil V)”) in Experimentelle amerikanische Prosa. Ed. by Brigitte Scheer-Schäzler. Trans. Trans. Johann Aschenberger. Stuttgart: Reclam, 1977, 166-217 (Universal-Bibliothek; 9849); French as “1969.” In Cage 1983c, 88-104.

Cage, John 1971c. “Diary: How to Improve the World (You Will Only Make Matters Worse) Continued 1970-71.” New Literary History: A Journal of Theory and Interpretation 3, no. 1 (Fall), 201-214; repr. in Cage 1973h, 96-116, passim; repr. in Cage 2015; French as “1970-71.” In Cage 1983c, 110-124; Spanish as “Diario: cómo mejorar el mundo (sólo se conseguirá empeorarlo) Continuación 1970-71.” In Cage 1999a.

Cage, John 1971FONT. “Fontana Mix [facsimile].” Revista de Letras [Mayagüez] 3, no. 11 (September 1971), 333-339.

Cage, John 1971d. “Mueau [first part].” Synthesis: An Electronic Music Quarterly [Minneapolis, Minnesota] (January), 16-21; full text as “Mureau.” Neue Musik [München] special issue, “Musik/Film/Dia/Licht-Festival” (1972), 13-33; repr. in Cage 1973h, 35-38, 40-52, 54-56; repr. in Cage 1981i, 187-197 (review: Karkoschka 1973).

Cage, John 1971e. Silenzio: Antologia da Silence e A Year from Monday. Trans. Renato Pedio. Milano: Feltrinelli (Materiali; 31); repr. 1980 (Cresti 1980; Napolitano 1972).

Cage, John 1971f. “Varios escritos.” Trans. Pilar Gómez Bedate. Revista de Letras [Mayagüez] 3, no. 11 (September), 398-441. Includes Cage 1949c; Cage 1955a; Cage 1959a; Cage 1959b; Cage 1959f; Cage 1959j.

Cage, John 1972a. [Untitled] [three letters, dated 11 February, 29 April and 27 July 1971, to Hans Otte, in facs.]. In Programm: Pro musica nova/5. bis 8. Mai 1972. Bremen: Radio Bremen, [26]-[27], [28], [30].

Cage, John 1972b. “Mesostics re Merce Cunningham.” In Music 1972, [3].

Cage, John 1972c. “Mureau.” in Music 1972, [2]-[3].

Cage, John 1972d. Mushroom Book, in collab. with Lois A. Long and Alexander H. Smith. New York: Hollander’s Workshop, limited ed. of 75 copies; repr. in Cage 2020; text published separately in Cage 1973h, 117-183, passim; French as “Le livre des champignons.” Trans. Pierre Lartigue. In Cage 1983d, 37-93; Italian excerpt as “Funghi.” Trans. Nanni Balestrini. Alfabeta new series vol. 5, no. 46 (March 1983), 9; another excerpt as “Mushroom Book = Il libro dei funghi.” Trans. Gigliola Nocera. In Costa, L. et al. 1993, 799-803; both excerpts combined as “Funghi.” In Bonomo and Furghieri 1998, 109-118.

Cage, John 1972e. “Re and not re Fuller and Mao.” Arts in Society 9, no. 2 (Summer-Fall), 270-274.

Cage, John 1973a. [Review of Mary Caroline Richards, The Crossing Point: Selected Talks and Writings. Middletown, Connecticut: Wesleyan University Press, 1973]. Village Voice (27 December), Literary Supplement; repr. included in Cage, Troy and Merritt 1974.

Cage, John 1973b. “Diary: How to Improve the World (You Will Only Make Matters Worse) Continued 1971-72.” In Cage 1973h, 195-217, passim; repr. in Cage 2015; French as “1971-72.” In Cage 1983c, 125-140.

Cage, John 1973c. “For A.C. on His 70th Birthday.” Included in Cage 1973k, 95.

Cage, John 1973d. “Foreword.” In Bunger 1973, [v]-[vii]; repr. in Bunger 1973/1981, 5-6; repr. in Cage 1993d, 117-119; rev. repr. as “How the Piano Came to be Prepared.” In Cage 1979c, 7-9; French as “Comment le piano fut préparé.” Trans. Marc Dachy. Luna-Park [Paris] no. 7 (March 1981), 19-21; Japanese as “Hashigaki.” Trans. Jô Kondô and Joaquím M. Benítez. In Bunger 1973/1978, 4-8; Russian as “Kak poyavilos’ podgotovlennoe fortepiano.” Trans. Marina Pereverzeva. Nauchnyj Vestnik Moskovskoj Konservatorii [Moskva] no. 1 (2014); Turkish as “Piyano Nasıl Hazırlanmış Oldu.” In Cage 2012b.

Cage, John 1973e. “Foreword.” In Cage 1973h, ix-xvi; repr. in excerpt in Smith, S.S. and DeLio 1989, 51-54; French (excerpt) [untitled] in Cage 1983c, 158.

Cage, John 1973ee. “Grand Street and Monroe (for R.L. Twenty Years After).” On the inivitation for an exhibition of the work of Richard Lippold, 17 April-12 May 1973, at the Willard Gallery, New York.

Cage, John 1973f. “In memoriam S.W.” Included in Cage 1973k, 94.

Cage, John 1973g. “July 13, 1972.” Included in Cage 1973k, 95.

Cage, John 1973h. M: Writings ’67-’72. Middletown, Connecticut: Wesleyan University Press; London: Calder and Boyars; repr. London [etc.]: Marion Boyars, 1998; excerpts repr. as “Some Words from M.” In Words and Spaces: An Anthology of Twentieth-Century Musical Experiments in Language and Sonic Environments. Ed. Stuart Saunders Smith and Thomas DeLio. Lanham, Maryland [etc.]: University Press of America, 1989, 49-72 (reviews: Antioch Review 1979; Benig 1973; Book Review Digest 1973; Chocrón 1973; Dickinson 1975; Duckworth 1973; Gidal 1974; Henahan 1973b; Holmes 1981a; Nyman 1973b; Publishers Weekly 1973; Publishers Weekly 1974; Small, C. 1974; Smalley, R. 1973; Times Literary Supplement 1974; Village Voice 1973; Washington Post 1973; Waugh 1973).

Cage, John 1973i. “Note re Recent Texts.” Thoreau Society Bulletin no. 124 (Fall), 1.

Cage, John 1973j. “On the windshield of a new Fiat for James K. (who had not made up his mind where to go) and Carolyn Brown.” In Cage 1973h, 94.

Cage, John 1973k. “Six Mesostics.” In Cage 1973h, 94-95.

Cage, John 1973l. “62 Mesostics re Merce Cunningham [originally appeared as score with directions for its performance as music].” In Cage 1973h, 4-214, passim; repr. in Klosty 1975.

Cage, John 1973m. “Song.” In Cage 1973h, 86, 88, 90-91.

Cage, John 1973n. “25 Mesostics re and not re Mark Tobey.” In Cage 1973h, 186-188, 190, 192.

Cage, John 1973o. [Untitled] [mesostic on ‘Marcel’]. In D’Harnoncourt and McShine 1973, 189.

Cage, John 1974a. “Books = Livres = Bücher [review of Louise Varèse, Varèse: A Looking-Glass Diary. New York: Norton, 1972, in English, French, German].” The World of Music = Le Monde de la Musique = Die Welt der Musik 16, no. 2, 73-74.

Cage, John 1974b. “Design ‘Diary: How to Improve the World (You Will Only Make Matters Worse)’.” In R. Banham, The Aspen Papers: Twenty Years of Design Theory from the International Design Conference in Aspen. New York: Praeger, 162-169.

Cage, John 1974c. “Empty Words [Part I].” In An Active Anthology. Ed. by George Quasha and Susan Quasha. Fremont, Michigan: Sumac Press, 1974; repr. included in Cage 1979EW, 11-31.

Cage, John 1974d. [Empty Words Part II]. Interstate 2; repr. included in Cage 1979EW, 33-49.

Cage, John 1974e. Letter to Dieter Schnebel, 11 December 1973. German excerpts (trans. Iris Schnebel) included in Schnebel 1974; full text in English in Cage 2016, 438-441; German as “Die Nadel im Heuhaufen: Brief an Dieter Schnebel.” MusikTexte no. 154 (August 2017), 29-30.

Cage, John 1974f. “The Future of Music.” Numus-West [Mercer Island, Washington] no. 5 (1974), 6-15; repr. in Kostelanetz 1978c, 288-300; rev. repr. in Cage 1979c, 177-187; Danish as “Musikkens fremtid.” Trans. Paul Borum. Dansk Musiktidsskrift 50, no. 2 (1975-1976), 57-65; Hungarian as “A zene jövője.” In Cage 1994a, 170-181; Italian as “L’avvenire della musica.” Trans. Gigliola Nocera. L’Illustrazione Italiana new series 4, no. 17 (June 1984), 84-88; Italian as “Il futuro della musica.” Trans. Giovanni Iannaccio. In Bonomo and Furghieri 1998, 119-131; Serbo-Croatian as “Budućnost muzike.” In Cage 1981i, 201-210; Spanish (original version) as “El futuro de la música.” Trans. Manuel Núñez Nava. Talea [México] no. 1 (September-December 1975), 7-24; repr. Pauta [México] 5, no. 18 (1986), 6-27; Spanish as “El futuro de la música.” In Cage 1999a; Turkish as “Müziğin Geleceği.” In Cage 2012b.

Cage, John 1974g. “Series re Morris Graves.” In The Drawings of Morris Graves: With Comments by the Artist. Ed. by Ida E. Rubin. Boston: New York Graphic Society for the Drawing Society, New York, 1974, 9-32; repr. in Cage 1979c, 99-121; French as “Série au sujet de Morris Graves.” Trans. Christophe Marchand-Kiss. Java [Paris] no. 18-19 (Spring 1999), 3-12 (part I) and Java [Paris] no. 21-22 (Spring 2001), 174-188 (part II).

Cage, John 1975A. Abstract of Cage 1973h. RILM Abstracts of Music Literature [Flushing, New York] 7 (1975), 53 [no. 724].

Cage, John 1975b. [Empty Words Part III]. Big Deal [New York] no. 3 (Spring); repr. included in Cage 1979EW, 51-63; repr. in Kostelanetz 1980b, 398-411; repr. as Empty Words: Parte III. Cuenca: Ediciones +-491, 1992.

Cage, John 1975c. “Empty Words [PART IV; INTRODUCTIONS-TO-I, II, III].” Wch Way 2, no. 1 (May-September), unpag.; repr. included in Cage 1979EW, 65-77; repr. as liner notes for phonodisc MFB 003-004. Frankfurt am Main: Edition Michael Frauenlob Bauer, 1987.

Cage, John 1975d. “Etudes Australes I, II, and VIII.” Stagebill [New York] 2, no. 5 (January), 22-24; excerpt repr. in Clarke, G.E. 1977, 186-187.

Cage, John 1975e. “‘I’m the happiest person I know’ (S.W.).” Minneapolis Star (3 April); repr. in Cage 1979c, 122.

Cage, John 1975f. “Part of a letter from Jackson Mac Low and an answer to his old letters together with ‘Nine Mesostics re Jackson Mac Low’s Tree* Movie’.” Vort: Twenty-first Century Pre-views no. 8, 64-72.

Cage, John 1975g. [Untitled]. In Edition Peters: Contemporary Music Catalogue. New York: C.F. Peters, 14; repr. 1979, 9; repr. 1980; repr. 1982; repr. in Cage 1993d, 125.

Cage, John 1975h. “Where Are We Eating? And What Are We Eating? (38 Variations on a Theme by Alison Knowles).” In Klosty 1975, 54-62; repr. in Cage 1979c, 79-97; French as “Où mangeons-nous? et que mangeons-nous?” Trans. Pierre Lartigue. In Lartigue 1982b, 78-85; repr. in Cage 1983d, 9-35.

Cage, John 1976a. “Avertissement II.” In Cage/Charles 1976, 59; English as “Foreword II.” In Cage/Charles 1976/1981, 65; German as “Vorwort II.” In Cage/Charles 1976/1984, 69; Italian in Cage/Charles 1976/1977; Japanese in Cage/Charles 1976/1982; Spanish in Cage/Charles 1976/1981, 65.

Cage, John 1976b. “Notes on the Program.” Stagebill [New York] 4, no. 3 (November), 18-19.

Cage, John 1976c. “Postface.” In Cage/Charles 1976, 243-244; English as “Afterword to the French Edition.” In Cage/Charles 1976/1981, 239; German as “Nachwort zur französischen Ausgabe.” In Cage/Charles 1976/1984, 313-314; Italian in Cage/Charles 1976/1977; Japanese in Cage/Charles 1976/1982; Spanish as “Nota final.” In Cage/Charles 1976/1981, 303-304.

Cage, John 1976d. [Untitled]. Included in Nyman 1976b; German as “Rede an ein Orchester.” Trans. Rainer Riehn. In Metzger, H.-K. and Riehn 1978b, 56-61; Spanish as “Ensayo de orquesta.” In Barber, L. 1985, 95-99.

Cage, John 1976e. [Untitled] (program note on “Renga” with “Apartment house 1776”), in ISCM World Music Days 1976 (program, 24-30 October). Boston: International Society for Contemporary Music, 73 [?].

Cage, John 1977a. “7 out of 23.” Triquarterly [Evanston, Illinois] no. 38 (Winter), 174-178; repr. in Hayman, D. and Anderson 1978, 174-178; repr. in Cage 1993d, 127-130.

Cage, John 1977b. “If there isn’t any, why do you wear them?” Unmuzzled Ox 4, no. 3 <15>, 11; repr. in Cage 1993d, 131.

Cage, John 1977c. “A Long Letter.” In Conlon Nancarrow, Selected Studies for Player Piano. Ed. by Peter Garland. Berkeley, California: Soundings Press (Soundings; 4), unpag.?, [25?]; repr. in Cage 1979c, 6; repr. in Block, R. et al. 1980, 106; repr. in Nies, Marx and Berger 1982, 1.

Cage, John 1977d. [Untitled mesostic for Joan La Barbara]. Liner notes for phonodisc CR 196. New York: Chiaroscuro Records; repr. as liner notes for phonodisc Wizard 196, 1983; repr. as liner notes for compact disc NA 035. San Francisco, California: New Albion Records, 1990.

Cage, John 1977Q. “Quartets I & II for 24 Instruments.” In concert program, Brooklyn Philharmonia, 22 February 1977, New York, Brooklyn Academy of Music, unpaginated, [10].

Cage, John 1977e. [Untitled] [in English and Italian]. Liner notes for phonodisc CRSLP 6117. Milan: Cramps Records; French as “Cheap Imitation.” Included in Sassi 1978b, 27-28.

Cage, John 1978a. “Emptywords [sic] [includes ‘Syntax: ‘-preface, nieuwe toelichting op MS facs SEE BELOW, and also includes (p. 170) note on Music of Changes].” Semiotext(e) [New York] 3, no. 2, 165-174.

Cage, John 1978b. “Empty Words with Relevant Material.” In Talking Poetics from Naropa Institute. Ed. by Anne Waldman and Marilya Webb. Boulder, Colorado [etc.]: Shambala, 195-220 (Annals of the Jack Kerouac School of Disembodied Poetics; 1).

Cage, John 1978c. “Etudes Australes.” Ear [New York] 4, no. 1 (February).

Cage, John 1978X. “Programme Notes [on Etudes Australes and Cheap Imitation (Violin)].” in program of concert, London, Queen Elizabeth Hall, by Grete Sultan and Paul Zukofsky, 13 June.

Cage, John 1978d. “Two Mesostics.” Big Sky [Bolinas, California] no. 11-12 (April); repr. in Berkson and LeSueur 1980, 182.

Cage, John 1978e. [Untitled] (program notes on Etudes Australes and Freeman Etudes), in Benoist 1978, [14]-[15].

Cage, John 1978f. [Untitled] [program note on Henry David Thoreau]. In Benoist 1978, [52]; repr. as [part (headnote) of repr. of Preface to Lecture on the Weather].

Cage, John 1978g. [Untitled], In Benoist 1978, [2].

Cage, John 1978h. “Writing for the Second Time through Finnegans Wake.” In Cage 1978j; repr. (with rev. introduction) in Cage 1979c, 133-176; repr. in Schöning 1980, [51]-[95]; repr. in Cage 1982k, 29-68; excerpt repr. in Etrog and Cage 1982, 82-91.

Cage, John 1978i. “Writing through Finnegans Wake.” James Joyce Quarterly 15, Special Supplement, unpag. (University of Tulsa Monograph Series; 16); repr. in Cage 1978j; French (excerpt) as “Écriture à travers Finnegans wake.” Cahiers du collectif Change no. 41 (March 1982), 96-98 (review: Kostelanetz 1979a).

Cage, John 1978j. Writings through Finnegans Wake [includes untitled introduction]. West Glover, Vermont: Printed Editions (review: Kostelanetz 1979a).

Cage, John 1978k. “Zu den 7 Radierungen (1978) [in English].” In Metzger, H.-K. and Riehn 1978b, 66; repr. as “Seven Day Diary (Not Knowing), 1978.” In Diamond and Hicks 1982, 36.

Cage, John 1979a. “Caro Tito Gotti [in Italian, French, English].” In Monastra 1979, 23-31; Spanish as “El tren de Cage.” In Barber, L. 1985, 99-101.

Cage, John 1979b. “Ben Weber, 1916-1979.” Proceedings of the American Academy and Institute of Arts and Letters 2, no. 30, 90-92; repr. as “B.W. 1916-1979.” In Cage 1983j, 119-122.

Cage, John 1979c. Empty Words: Writings ’73-’78. Middletown, Connecticut: Wesleyan University Press; repr. 1981; repr. London [etc.]: Marion Boyars, 1980; Italian as Parole vuote: Scritti ’73-’78. Trans. Antonella Carosini. Ed. by Fernando Vincenzi and Antonella Carosini. Napoli [etc.]: Orthotes Editrice, 2015 (reviews: Aldan 1980; Annotated Bibliography 1979b; Annotated Bibliography 1979c; Antioch Review 1979; Bedient 1980; Campos 1979; Cargas 1981; Choice 1980; Cresti 1983; Edmeades 2014; Edmeades 2016; Griffiths, P. 1980b; Holmes 1981a; Johnson, Tom 1979-1980; Keller, H. 1980; Kostelanetz 1979a; Leavis and Blom 1980; McGahan 1979; Mellers 1980; Newlin 1979; Plath 1979; Publishers Weekly 1979; Rapoport 1982; Rhodes, J. 1980; Schmitt, N. C. 1981-1982; WH 1979; Whittall 1981).

Cage, John 1979d. “For S. Fort, Dancer.” In Cage 1979c, 10.

Cage, John 1979e. “For William Mc N. Who Studied with Ezra Pound.” In Cage 1979c, 78.

Cage, John 1979EW. “Empty Words.” In Cage 1979c, 11-77; excerpts [with comics added by Dave Morcie] repr. Poetry Comics [Iowa City, Iowa] no. 12 (November 1980), [3]-[9].

Cage, John 1979f. “Foreword.” In Cage 1979c, ix; French as “1979.” In Cage 1983c, 141.

Cage, John 1979g. “Jasper Johns.” In Poets & Painters [exhibition catalogue]. Denver: Denver Art Museum, 46.

Cage, John 1979h. “Listing through Finnegans Wake.” In Pieces 4. Ed. by Michael Byron. New York: Michael Byron.

Cage, John 1979i. “Many Happy Returns.” In Cage 1979c, 6; repr. in Garland 1987a, 107.

Cage, John 1979j. “Mushrooms.” In The Poets’ Encyclopedia. Ed. by Michael Andre and Erika Rothenberg. New York: Unmuzzled Ox Editions, 185-190; repr. 1980; repr. in Cage 1993d, 143-146.

Cage, John 1979k. “Musical Manuscripts – An Introduction to Notation.” Ear 5, no. 3 (November-December), 12.

Cage, John 1979l. “Preface to Lecture on the Weather.” In Cage 1979c, 3-5; German as “Vorwort.” In Krüger 1980, 55; German (different trans.) as “Vorwort zu Lecture on the Weather.” In Cage 2012a, 177-182; Serbo-Croatian as “Predgovor ‘Predavanju o vrenemu’.” In Cage 1981i, 198-200.

Cage, John 1979m. “Robert Rauschenberg.” In Poets & Painters (exhibition catalogue). Denver: Denver Art Museum, 48.

Cage, John 1979n. “Sixty-one Mesostics re and not re Norman O. Brown.” In Cage 1979c, 123-132.

Cage, John 1979o. “Song.” In Cage 1979c, 10.

Cage, John 1979p. “‘There is not much difference between the two.’ (Suzuki Daisetz).” Misuzi 1979. Tōkyō; repr. included in Cage 1980i, 117; repr. in Cage 1983j, 51.

Cage, John 1979q. [Untitled] (mesostic on “train”). In Monastra 1979, 33; repr. in Charles 1979, 8.

Cage, John 1979r. [Untitled]. In Du silence. Trois-Rivières, Québec: Atelier de Production Littéraire de la Mauricie, 33 (A.P.L.M.; 8); repr. as “Correction.” Included in Cage 1980i, 119; untitled repr. in Cage 1983j, 117; repr. with French trans. as “Untitled.” Trans. Carol Richards. In Charles 1987-1988, 543.

Cage, John 1979s. “Wright’s Oberlin House Restored by E. Johnson.” In Cage 1979c, 78.

Cage, John 1980a. “The Beginning of a Connection between Satie and Thoreau.” In Metzger, H.-K. and Riehn 1980, 37.

Cage, John 1980b. “Concerto grosso für 4 Fernsehgeräte und 12 Radios: Uraufführung.” Trans. Sabine Gabriel, John Gabriel. In Block, R. et al. 1980, 172.

Cage, John 1980d. “Music and Particularly Silence in the Work of Jackson Mac Low.” Paper Air [Blue Bell, Pennsylvania] 2, no. 3 (1980), 36-39; repr. in Cage 1993d, 147-152; German as “‘There is Never Any Silence’: Musik und insbesondere Stille im Werk von Jackson Mac Low.” MusikTexte no. 49 (May 1993), 40-42.

Cage, John 1980e. “On Having Received the Karl-Sczuka-Prize for ‘Roaratorio’, Donaueschingen 10/20/79.” Composer Magazine [Hamilton, Ohio] 10-11, no. 1 (1980), 23-28; slightly rev. repr. as “About Roaratorio: An Irish Circus on Finnegans Wake.” In Etrog and Cage 1982, 73-81; slightly enlarged repr. as “On Having Received the Karl-Sczuka-Price [sic] for ‘Roaratorio’.” In Cage 1982k, 155, 157, 159, 161, 163, 165; French [Untitled]. Trans. Jean-Claude Emery. In John Cage 1981, 2-7; German as “Rede nach der Überreichung des Karl-Sczuka-Preises für ‘Roaratorio’.” In Cage 1982k, 154, 156, 158, 160, 162, 164; Italian as “Su ‘Roaratorio’.” Trans. Alessandro Carrera. In Bonomo and Furghieri 1998, 132-137.

Cage, John 1980f. “Package from Switzerland.” Included in Cage 1980i, 118.

Cage, John 1980g. “Reunion (1968).” Trans. Sabine Gabriel, John Gabriel. In Block, R. et al. 1980, 172.

Cage, John 1980h. “Silent Environment.” Trans. Sabine Gabriel, John Gabriel. In Block, R. et al. 1980, 172.

Cage, John 1980i. “Three Mesostics.” Chelsea no. 39 (1980), 117-119.

Cage, John 1980j. “Two Performance Dreams.” Dreamworks [New York] 1, no. 3 (Fall), 202.

Cage, John 1980k. “White on ‘Blanco’ for O.P.” Kosmos no. 5-6 (Spring-Summer-Fall-Winter), 96-98.

Cage, John 1981a. “Another Song.” In Barron and Cage 1981, 2-3, 12, 20, 43; repr. in Cage 1983j, 103-107.

Cage, John 1981b. “‘Apropos of’ (marcel duchamp 1961).” In Shigeko Kubota: Video Sculptures. Ed. Zdenek Felix. Essen: Museum Folkwang; Berlin: Berliner Kunstprogramm des Deutschen Akademischen Austauschdienstes (DAAD); Zürich: Kunsthaus Zürich [exhibition catalogue], 2.

Cage, John 1981c. “Dodatak [facsimile with Serbo-Croatian trans. of letter to Nikša Gligo, 21 September 1981].” In Cage 1981i, 211.

Cage, John 1981d. “An Introduction.” In Cage/Charles 1976/1981, 11-12; German as “Eine Einleitung.” In Cage/Charles 1976/1984, 9-10; Japanese in Cage/Charles 1976/1982; Spanish in Cage/Charles 1976/1981, 9.

Cage, John 1981dd. “Statement by John Cage: Happy Birthday.” In An Introduction to Music Publishing: A Tour Through the Music Publishing Operations Involved in Transforming the Composer’s Manuscript Into a Printed Publication and Its Dissemination to the Student and the Performer: Including Articles on Contemporary Music, Music Publishing, and Related Areas. Ed. by Carolyn Sachs. New York: C.F. Peters Corporation, 17 (Edition Peters; 33).

Cage, John 1981e. “James Joyce, Marcel Duchamp, Erik Satie: An Alphabet [first part, including the preface].” Zero [Los Angeles, California]; full text in Cage 1983j, 53-101; French as “James Joyce, Marcel Duchamp, Erik Satie: Un alphabet.” Trans. Carol Richards. In Charles 1987-1988, 11-50; German as “James Joyce, Marcel Duchamp, Erik Satie: Ein Alphabet.” Trans. Klaus Reichert. Neuland: Ansätze zur Musik der Gegenwart [Bergisch Gladbach] 5 (1984-1985), 339-363; repr. in Cage 2012a, 69-134; Norwegian (preface only) as “Joyce, Duchamp, Satie: En introduksjon.” Ballade [Oslo] 8, no. 1 (1984), 6-7.

Cage, John 1981f. “Letters [letter to Jonathan Brent].” Triquarterly [Evanston, Illinois] no. 52 (Fall), 279.

Cage, John 1981g. “Marcel Duchamp and Suzuki Daisetz.” In Marcel Duchamp (exhibition catalogue of the Duchamp Exhibition of the Museum of Modern Art, Tokyo, 1 August-6 September). Tōkyō: Seibu Takawara, 121-122.

Cage, John 1981h. “On the Surface [in French].” In Dixièmes rencontres internationales de musique contemporaine: Metz 19-22 novembre 1981. Metz: Centre européen pour la recherche musicale, [41].

Cage, John 1981i. Radovi/tekstovi 1939-1979 izbor. Trans. Filip Filipović. Ed. by Miša Savić and Filip Filipović. Beograd: Studentski Izdavački Centar.

Cage, John 1981j. [Introduction] In Sound on Paper: Musical Notations in Japan. Ed. by Hisayoshi Ota and Rand Castile. New York: Japan House Gallery, 6-8.

Cage, John 1981k. [Untitled] (two letters to M. William Karlins). Included in Karlins 1981, 250-251.

Cage, John 1981l. [Untitled]. Liner notes for phonodisc Cp2/7. Port Jefferson, New York: Musical Observations; repr. as liner notes for compact disc Cp2 103. CHECK PLACE: Musical Observations, 1991.

Cage, John 1982a. “Collecting the Sounds.” In Cage 1982k, 119; German as “Auf der Suche nach den Klängen.” Ibidem, 118; Italian as “La raccolta dei suoni.” Trans. Alessandro Carrera. In Bonomo and Furghieri 1998, 140.

Cage, John 1982b. “Composition in Retrospect.” In Diamond and Hicks 1982, 39-57; slightly changed repr. in Cage 1982c, [4]-[58], lefthand pages; repr. in Cage 1983j, 123-152; repr. in Cage 1993b, 5-51 [with new introduction]; German as “Komponieren: ein Rückblick.” Trans. Robert Schnorr. In Cage 1982c, [5]-[59], righthand pages; German (different trans.) as “Komposition im Rückblick.” In Cage 2012a, 41-48; Japanese in Seibu Music Festival (program, June 1982). Tokyo: CHECK publisher; English with parallel Spanish [text] as “Composición en retrospectiva.” Trans. Rafael Vargas. Pauta [México] 1, no. 2 (April-June 1982), i-xxiii (English), xxiv-xlviii (Spanish).

Cage, John 1982c. Composition in Retrospect: Vortrag gehalten anläßlich der Veranstaltungen zum 70. Geburtstag des Komponisten. Ed. by Wilfried Brennecke. Köln: Pressestelle des Westdeutschen Rundfunks.

Cage, John 1982d. “Dance/4 Orchestras.” In Cabrillo Music Festival 20. Aptos, California: Cabrillo Music Festival, [35]; Dutch as [CHECK] (trans. Frans van Rossum), in van Rossum 1988[ENIGE], 93.

Cage, John 1982f. “For her first exhibition with love.” In Fanny “nach Straßburg” Collagen 1980-82 (exhibition catalogue). Frankfurt am Main: CHECK publisher; repr. in Cage 1983j, 153; repr. in Fanny Schoening: Papierlandschaften = Paperlandscapes = Papierpaysages 1983-1989 [exhibition catalogue, 2 June-31 July 1989]. Köln: Galerie Schüppenhauer, 1989, 19.

Cage, John 1982h. “Introduction to an Unpresented Text - Oral Poetry, Themes and Variation.” Via: The Journal of the Graduate School of Fine Arts no. 5, 44-51; repr. as “Introduction.” In Cage 1982m, [7]-[18]; repr. in Cox, C. and Warner 2004, 221-225; German (excerpt) as “Themes and Variations.” In Kölner Gesellschaft 1983, 4; German (different excerpt) as “Empty Mind.” Trans. Klaus Reichert. In Schöning and Becker-Carsten 1987b, 83-86; German (different trans.) as “Themen & Variationen.” In Schädler and Zimmermann 1992b, 9-147, passim; German in Cage 2012a, 215-226; Hungarian as “Üres értelem.” In Cage 1994a, 199-204; Serbo-Croatian trans. (excerpt) in [CHECK title] (program). Zagreb: Music Biennale, 1985, [8]-[12]; Spanish as “Temas y variaciones: Introducción.” Trans. Rafael Vargas. Pauta [México] 5, no. 18 (April-June 1986), 41-59.

Cage, John 1982i. [Letter to Eberhard Blum] (in facs.), in 32. 1982[KRÜGER], [6]-[7].

Cage, John 1982LETTER. [Letter to Paul Claudel, 19 May 1982]. In Program, Maison de la Culture Grenoble, Saison 1982-1983. Grenoble: Maison de la Culture, 25.

Cage, John 1982ii. “Macrobiotic Diet.” In Buckminster Fuller Institute 1982.

Cage, John 1982j. [Muoyce] (excerpt), Eigo seinen (1982); full text as “Muoyce: Writing for the Fifth Time through Finnegans Wake.” MusikTexte no. 1 (October 1983), 17-22; repr. in Cage 1983j, 173-187; excerpt repr. as “Writing for the Fifth Time through Finnegans Wake.” In Charles 1987-1988, 257-260.

Cage, John 1982k. Roaratorio: Ein irischer Circus über Finnegans wake = An Irish circus on Finnegans wake. Ed. by Klaus Schöning. Königstein/Taunus: Athenäum; repr. 1985 (reviews: Beyenburg 1982; Brooks, W. 1983; Fröhlich 1983; Kipphoff 1982; Vormweg 1983).

Cage, John 1982l. “Themes and Variations.” In Cage 1982m, [19]-[97].

Cage, John 1982m. Themes & Variations. Barrytown, New York: Station Hill Press; repr. in Cage 1993b, 53-171; Serbo-Croatian trans. (excerpt) in Cage (program). Zagreb: publisher?***, 1985, [5] p. (reviews: Knowles 1982; Newlin 1982; Parisi 1982; Radano 1982-1983; Small Press Review 1983).

Cage, John 1982n. “Toyama 1982.” In [CHECK title]. Toyama, Japan: Museum of Modern Art; repr. in Cage 1983j, 51.

Cage, John 1982o. [Untitled] (excerpt of letter). In Cage 1982k, inside cover.

Cage, John 1982oo. [Untitled] (mesostic on the name of James Joyce). In Cage 1982k, 115.

Cage, John 1982p. [Untitled] (mesostic on ‘Klaus Schoning’ [sic]), included in Schöning 1982[NICHI], 16, 17.

Cage, John 1982q. [Untitled] (mesostic on ‘Muzički Salon’), in [CHECK title] (program of the Cage concerts of the Muzički Salon of the Studentski Centar Sveučilišta, Zagreb, 17-19 May). Zagreb: CHECK publisher.

Cage, John 1982qq. [Untitled] (program note on Score (40 Drawings by Thoreau) and 23 Parts). Stagebill [Chicago, Illinois] (July), 18.

Cage, John 1982r. [Untitled] (program notes on various works; trans. Wilfried Brennecke), in Brennecke 1982c, 26-28.

Cage, John 1982s. [Untitled] (statement concerning Party Pieces). New York [etc.]: C.F. Peters Corporation (Peters; 66500).

Cage, John 1983a. “Diary: How to Improve the World (You Will Only Make Matters Worse) Continued 1973-1982.” In Cage 1983j, 155-169; repr. in Cage 2015; French as “1973-1982.” In Cage 1983c, 143-157; Spanish as “Diario: Cómo mejorar el mundo (sólo se conseguirá empeorarlo) Continuación 1973-82.” In Cage 1999a; Spanish as “Diario: Cómo mejorar el mundo (sólo conseguirá empeorarlo) Continuación 1973-1982.” In Rivera 2012a.

Cage, John 1983b. “Foreword.” In Cage 1983j, ix-x.

Cage, John 1983c. Journal: Comment rendre le monde meilleur (on ne fait qu’aggraver les choses). Trans. Monique Fong. Paris: Maurice Nadeau; Papyrus.

Cage, John 1983d. Le livre des champignons. Trans. Pierre Lartigue. Marseille: Editions Ryôan-ji (Tarting 1987).

Cage, John 1983e. “Muoyce [program notes, in German trans.].” In Kölner Gesellschaft 1983, 5.

Cage, John 1983MUSIC. “Music and Dance.” Program of the Merce Cunningham Annual Season in City Center, New York (15-27 March 1983), 1.

Cage, John 1983f. [Untitled]. Exquisite Corpse 1, no. 2 (February-March), 1.

Cage, John 1983U. [Untitled] [facsimile of letter, 23 October 1966, to Jocy de Oliveira]. In Oliveira, J. de 1983, [9]-10].

Cage, John 1983g. “Wishful Thinking.” In Cage 1983j, 171.

Cage, John 1983h. “Writing for the Fourth Time through Finnegans Wake.” In Cage 1983j, 1-49.

Cage, John 1983i. “Writing through the Cantos.” In Cage 1983j, 109-115.

Cage, John 1983j. X: Writings ’79-’82. Middletown, Connecticut: Wesleyan University Press; repr. 1986; repr. London: Marion Boyars, 1987; repr. 2001 (reviews: Gronemeyer 1984a; Higgins, D. 1985; Oja 1987; Routh 1987).

Cage, John 1983-1984. “For Your 50th.” Nutida Musik [Stockholm] 27, no. 1 (1983-1984), 51.

Cage, John 1984a. “10 mesosticas de ‘Mushrooms et variationes’ sobre Duchamp [in English].” In Moure 1984, 28-29; repr. as “Anagrame aus ‘Mushrooms et Variationes’ zu ‘Duchamp’.” In Duchamp: Eine Ausstellung im Museum Ludwig, Köln. 27. 6-19. 8. 1984. Köln: Museen der Stadt Köln, 1984, 32-33.

Cage, John 1984b. “Ryoanji [program notes, in English with parallel French trans.].” In ISCM World Music Days 1984 (program). Toronto [etc.]: International Society for Contemporary Music, 75.

Cage, John 1984c. [Thirty Pieces for String Quartet] (program notes for the first performance) [IN SCORE?***]. Darmstadt: Internationale Ferienkurse für Neue Musik, mimeographed, [2]; repr. as liner notes for compact disc Mode 17. Kew Gardens, New York: Mode Records, 1989.

Cage, John 1985aaa. The First Meeting of the Satie Society. New York: Osiris Press [limited edition].

Cage, John 1985a. h2 WDR, trans. Klaus Reichert. Köln: Westdeutscher Rundfunk (xerox copy), 2 pp.; rev. as “h2 WDR (2).” trans. Klaus Reichert, in Schöning and Becker-Carsten 1987b, 130-132.

Cage, John 1985b. “How many years ago [in facsimile].” In Cage 1985[PROGRAM], suppl., unpag., [1] p.

Cage, John 1985c. Letter to Léon Schoenmakers, 29 January 1985 (in facsimile). In Kulturamt der Stadt Bonn 1985, 26.

Cage, John 1985d. “Mushrooms et Variationes.” Excerpt. In Kölner Gesellschaft 1985, 3-23; excerpt repr. in Cage 1985[PROGRAM], suppl. (mimeographed OR xerox copies, CHECK); full text in Sumner, Burch, and Sumner 1986, 29-96; repr. in Cage 2020.

Cage, John 1985dd. “Music and Art.” In Maur 1985b; repr. in Cage 1993d, 161-163; French as “Musique et art.” Trans. Daniel Charles. In Charles 1987-1988, 345-347.

Cage, John 1985ddd. [Program notes 13th Muzički Biennale Zagreb].

Cage, John 1985e. “The Satie Society - first meeting” OR*** “Die erste Veranstaltung der Satie Society der Socie Satiety der Sozi Sattiität.” Trans. Klaus Reichert. Bonn: ***publisher (program 31 March, mimeographed); repr. [with orig. English text] as liner notes for phonodisc MFB 014-015. Frankfurt am Main: Edition Michael Frauenlob Bauer, 1988.

Cage, John 1985f. “Sonnekus².” MusikTexte no. 10 (July), 31-34.

Cage, John 1985g. “Theme and Variations.” Antigonish Review no. 62-63 (Summer-Fall), 126-132.

Cage, John 1985h. [Untitled] (quotations in excerpt from earlier writings. Ed. by Tetsuo Iwasa). Gendai Shi Techō [Tōkyō] 28, no. 5 (April), passim.

Cage, John 1985i. Liner notes for phonodisc Mode 1-2. Kew Gardens, New York: Mode Records.

Cage, John 1985j. Liner notes for phonodisc Mode 2. Kew Gardens, New York: Mode Records; Swedish as “Ryoanji.” Nutida Musik [Stockholm] 30, no. 1 (1986-1987), 73.

Cage, John 1985k. “Notes on the Program.” Carnegie Hall Stagebill [New York] 8, no. 3 (November), 11.

Cage, John 1985U. [Untitled]. Included in “Meet the Artists.” Carnegie Hall Stagebill [New York] (March 1985), 11.

Cage, John 1985m. [Untitled] [mesostic on ‘Artics’]. Ártics [Barcelona] no. 1 (September-November), 2.

Cage, John 1985-1986. “Songs for C.W.” Ex Tempore [Edmonton, Alberta] 3, no. 2 (Fall-Winter), 17-23; repr. MusikTexte no. 15 (July 1986), 26-33; repr. included in Cage 1988c, 18-25; French (trans. Carol Richards) in Charles 1987-1988, 511-518.

Cage, John 1986a. “For the S.S.O.” Hungarian Music News [Budapest] new series 3, no. 3-4, 10; repr. in Cage/Malina 1986; repr. as liner notes for record SLPD 12893. Budapest: Hungaroton, 1987.

Cage, John 1986b. “Foreword.” In Von Gunden 1986, v.

Cage, John 1986c. “Introduction to Mushrooms et Variationes.” In Sumner, Burch, and Sumner 1986, 28.

Cage, John 1986RELA. “Relakus².” Introduction [of The First Meeting of the Satie Society] trans. Elizabeth Brockmann. In Gohr and Jablonka 1986, 205-208.

Cage, John 1986d. “Thoroughness like Water.” In Ohne die Rose tun wir’s nicht: Für Joseph Beuys. Ed. by Klaus Staeck. Heidelberg: Edition Staeck, 330-331.

Cage, John 1986e. Liner notes for phonodisc Mode 3-6. Kew Gardens, New York: Mode Records.

Cage, John 1986f. “Writing through Howl.” In Best Minds: A Tribute to Allen Ginsberg. Ed. by Bill Morgan and Bob Rosenthal. New York: Lospecchio Press, 42-51; repr. in Cage 1993d, 165-176.

Cage, John 1986X. [Untitled]. Included in “Lavorando con Marino Zuccheri.” In Nuova Atlantide: Il continente della musica elettronica 1900-1986. Ed. by Roberto Doati and Alvise Vidolin. Venezia: Biennale di Venezia, 174.

Cage, John 1986Y. [Untitled] (on the subject of avant-garde). In Seiichi Tanaka (photographs), The Avant-Gardes in New York. Ed. by Tadanori Itakura. Osaka: Tanaka Studio, [15].

Cage, John 1987aa. “ASLSP.” In program, 10 February 1987, New York, Grace Church, Brian Schober, [3]-[4].

Cage, John 1987a. “Extract from ‘Silence’, Now, Sculpture musicale.” Contemporary Music Review 1, no. 2 (May), 1-8.

Cage, John 1987b. “For n.” In Niki at Nassau: Fantastic Vision: Works by Niki de Saint Phalle, 27 September 1987-3 January 1988, Nassau County Museum of Fine Art, Roslyn, New York: Writings by David Bourdon, John Cage, Harry Mathews [exhibition catalogue]. Roslyn, New York: Nassau County Museum of Fine Art, 25-29.

Cage, John 1987HA. “Haikai.” In program of first performance, 5 April 1987. Toronto, Ontario: Evergreen Club, [9].

Cage, John 1987c. “Handlung [in English with parallel German trans.; twelve different editions].” In Cage et al. 1987, [2]-[3]; repr. (English only) in Cage 1993d, 213-218.

Cage, John 1987d. “Mesostic.” In Kurt Schwitters Almanach 1987. Ed. by Michael Erlhoff and Klaus Stadtmüller. Hannover: Postskriptum, 11-13.

Cage, John 1987e. “Music for Thirteen (1987) [in English with parallel German trans.].” In IGNM Weltmusiktage ’87: Programm Köln Bonn Frankfurt 23.10.-1.11.1987. Ed. by Gisela Gronemeyer. Köln [etc.]: Internationale Gesellschaft für Neue Musik, 235; repr. as “Music for Five.” Liner notes for compact disc Hat Art CD 60702. Therwil: Hat Hut Records, 1991.

Cage, John 1987f. “Now.” Included in Cage 1987a, 3.

Cage, John 1987g. “Ratschläge für meine Freunde über makrobiotische Diät.” Trans. Robert Schnorr. In Schöning and Becker-Carsten 1987b, 102-6.

Cage, John 1987h. “Scenario for M. F. (with Numbers in Celebration of his 60th Birthday).” MusikTexte no. 22 (December), 5-7; repr. in The Music of Morton Feldman. Ed. by Thomas DeLio. Westport, Connecticut [etc.]: Greenwood Press, 1996, 1-6 (Contributions to the Study of Music and Dance; 36); French as “Scénario pour M. F. (dont les nombres célèbrent le 60e anniversaire).” Trans. Carol Richards. In Charles 1987-1988, 193-198.

Cage, John 1987i. “Sculpture musicale.” Included in Cage 1987a, 4-8; repr. included in Cage 1988c, 12-15; repr. as liner notes for compact disc EB 202. Berlin: Edition Block, 1991; repr. as Sculpture Musicale. Madrid: Estampa, 1991.

Cage, John 1987j. “Storia dell’opera [in English with parallel German trans.].” In Cage et al. 1987.

Cage, John 1987k. [Title unknown***]. La Vanguardia [Barcelona] (28 March), supplement.

Cage, John 1987l. “‘They Come’: A Fifty Percent Mesostic.” In Review of Contemporary Fiction 7, no. 2 (Summer 1987), 85-91.

Cage, John 1987m. [Untitled] [in English with parallel German trans.]. In Cage et al. 1987.

Cage, John 1987n. [Untitled], included in “Voor Carter, Cage en Nancarrow.” In Van en voor Nancarrow, Carter, Cage, Crawford (program 27 June). Ed. by Music Research Center, De IJsbreker and Holland Festival. Amsterdam: Holland Festival, 13.

Cage, John 1987o. “What You Say….” Formations [Wilmette, Illinois] 4, no. 1 (Spring-Summer), 52-67; repr. in Cuno 1987, 16-29; repr. included in Cage 1990h, 267-277.

Cage, John 1987-1988a. “‘Les chants de Maldoror’ pulvérisés par l’assistence même.” in Charles 1987-1988, 319.

Cage, John 1987-1988b. “Europeras 1 et 2.” Trans. Daniel Charles. In Charles 1987-1988, 187-189.

Cage, John 1987-1988c. “I See a Boy.” In Charles 1987-1988, 73.

Cage, John 1987-1988d. “Lettre à Scott Kenney.” Trans. Carol Richards. In Charles 1987-1988, 262-263.

Cage, John 1987-1988f. “Run Little Girl.” In Charles 1987-1988, 72.

Cage, John 1988a. “Furniture Music.” Ballade [Oslo] 12, no. 2-3 (1988), 123-124.

Cage, John 1988X. [Untitled]. In 19th Suntory Music Award Commemorative Concert 1988: Hiroyuki Iwaki [program], 14.

Cage, John 1988b. “Repertoire.” In The Boston Musica Viva at Twenty. Boston: Boston Musica Viva, [1], 26.

Cage, John 1988R. “Ryoanji.” In Huddersfield Contemporary Music Festival. Ed. by Tim Sledge and Richard Steinitz [program brochure, 18-27 November]. Huddersfield: Huddersfield Contemporary Music Festival, 15.

Cage, John 1988bb. “Thanks.” In Pepsico Summerfare: the International Performing Arts Festival of the State University of New York at Purchase, July 8-31, 1988 (program). Purchase, New York: State University of New York; Pepsico, 1988, 49.

Cage, John 1988c. “Tokyo Lecture and Three Mesostics.” Perspectives of New Music 26, no. 1 (Winter), 6-25; repr. in Cage 1993d, 177-194; repr. in Rahn 1994b, 152-157; Hungarian (without the poems) as “A tokiói előadás.” Trans. Kata Weber. Jelenkor no. 3 (1994), 253-257; repr. as “Ji King (Tokiói előadás).” In Cage 1994a, 192-196; Turkish as “Tokyo Konuşması ve Üç Mezostik.” In Cage 2012b.

Cage, John 1988d. [Untitled], included in Cage 1988c, 16-17.

Cage, John 1988e. [Untitled]. In Eleven Paintings by Dorothea Tanning: Introduction by Pontus Hulten; with Mesostics by John Cage; 18 May through 18 June 1988. New York: Kent, 10, 12, 14, 16, 18, 20, 22, 24.

Cage, John 1988f. [Untitled]. Life [New York] new series 11, no. 14 (December), 83; repr. in The Meaning of Life: Reflections in Words and Pictures on Why We Are Here. Ed. by David Friend et al. Boston, Massachusetts [etc.]: Little, Brown, and Co., 1991, 211.

Cage, John 1988-1989. [Untitled] (program note on 1O1, taken from individual parts of the composition). In Boston Symphony Orchestra Program Book [108th Season, 1988-1989, Week 22, Thursday, 6 April 1989]. Boston: Boston Symphony Orchestra, 27; repr. in Cage 1993d, 197-199.

Cage, John 1989a. “!” In Gerd Zacher zum 60. Geburtstag: 6. Juli 1989. Essen-Rellinghausen: Evangelische Kirche, 13.

Cage, John 1989b. “Anarchy.” In Fleming, R. and Duckworth 1989, 119-208; excerpt repr. in Ferguson, R. and Schottlaender 1993; repr. as Anarchy. Middletown, Connecticut: Wesleyan University Press, 2001 (review: Brooks, W. 2003).

Cage, John 1989c. “By way of an Introduction.” In Satie 1989, 9-10; Dutch as “Bij wijze van inleiding.” In Satie 1989/1992, 9-10.

Cage, John 1989d. “Centering.” Santa Monica Review 2, no. 1 (Fall), 58-61.

Cage, John 1989e. “Introduction.” In Sanderson and Macdonald 1989, xi-xii; repr. as “Marshall McLuhan.” In Cage 1993d, 227-228.

Cage, John 1989f. “The Meadows Award 1989.” In Algur M. Meadows Award for Excellence in the Arts: Presentation to Robert Rauschenberg, November 5, 1989, Caruth Auditorium, Meadows School of the Arts, Southern Methodist University, Dallas, Texas [program]. Dallas, Texas: Southern Methodist University, 11.

Cage, John 1989g. “Painting Relates to Any Moment.” Talisman [Hoboken, New Jersey] no. 3 (Fall), 10-15.

Cage, John 1989PREF. “Prefazione [in English and Italian].” In Guido Facchin, Le percussioni. Ed. by Giovanni Gioanola. Torino: Edizioni di Torino; Società Italiana di Musicologia, xi-xiii (Biblioteca di cultura musicale; I manuali EDT/SIdM); included in Cage 1991b.

Cage, John 1989h. “Der Preis für den Preis.” MusikTexte no. 32 (December), 61.

Cage, John 1989j. “Sports.” New Observations no. 66 (April), 2-7.

Cage, John 1989k. “Stufen: An Autoku for Siegfried Unseld.” In Siegfried Unselds Geburtstag am 28. September 1989, comp. by Wolfgang Schneider. [Frankfurt am Main]: privately printed, 12-36.

Cage, John 1989UNTITLEDCOMM. [Untitled]. Commentary on the art of Fanny Schoening. In Fanny Schoening: Papierlandschaften = Paperlandscapes = Papierpaysages 1983-1989 [exhibition catalogue, 2 June-31 July 1989]. Köln: Galerie Schüppenhauer, 1989, 18.

Cage, John 1989l. [Untitled]. Mesostic on the name of Andy Warhol. In Andy Warhol: A Retrospective. Ed. by Kynaston McShine. New York: Museum of Modern Art, 427 .

Cage, John 1989m. [Untitled]. Mesostic on “De Kooning.” Art Journal 48, no. 3 (Fall), 228.

Cage, John 1989n. [Untitled]. On back cover of Jackson Mac Low, Words nd Ends from Ez. Bolinas, California: Avenue B.

Cage, John 1989o. [Untitled]. Remark. In Fanny Schoening: Papierlandschaften = Paperlandscapes = Papierpaysages 1983-1989 [exhibition catalogue, 2 June-31 July 1989]. Köln: Galerie Schüppenhauer, 1989, 16.

Cage, John 1990a. “Congratulations and Love.” In Grünzweig, Schröder, and Supper 1990, 5.

Cage, John 1990bb. “Bemerkung zu Seven².” Trans. Heinz-Klaus Metzger. In Festival des Hörens: Erlangen ’90: Programm. Erlangen: Stadt Erlangen, 19; repr. in Metzger, H.-K. 2012a, 194.

Cage, John 1990b. “Für Luigi Nono.” In English. MusikTexte no. 35 (July), 44.

Cage, John 1990c. Mirage verbal: Writings through Marcel Duchamp, Notes. Plombières-les-Dijon: Ulysse, fin de siècle (Cahier Ulysse, fin de siècle; 25).

Cage, John 1990d. “Mirage verbal: Writings through Marcel Duchamp, Notes.” In Cage 1990c, 13-47.

Cage, John 1990e. “Mirakus².” In Cage 1990c, 49-62.

Cage, John 1990f. I-VI: MethodStructureIntentionDisciplineNotationIndeterminacyInterpenetrationImitationDevotionCircumstancesVariableStructureNonunderstandingContingencyInconsistencyPerformance. Cambridge, Massachusetts [etc.]: Harvard University Press (Charles Eliot Norton Lectures; 1988-1989); repr. Hanover, New Hampshire: University Press of New England, 1997 (reviews: Baker, K. 1990; Chernilla 1991; Ekbom 1990; Freeman, E.A. 1992; Gann 1990b; Gray, L. 1990; Griffiths, P. 1990; Herwitz 1991; Hitchcock 1990; Hodges 1992; Kaaij 1991; Kostelanetz 1990c; Leonard 1990-1991; Lipkis 1990; Pasler 1990-1991; Perloff, M. 1990-1991; Revill 1990; Rich 1990; Roca 1990; Rockwell 1990; Rothstein 1990; Scholz 1992; Schwartz, E. 1990; Smoliar 1990; Sweeney Turner 1991; Umbrella 1990; Wians 1990).

Cage, John 1990P. Percussion Music: Seattle ’38-NYC ’90.” In Made in America: The Music of William Russell. Program of concert, 24 February 1990. New York: Essential Music, 2.

Cage, John 1990g. “Selkus².” In Cage 1990c, 63-77.

Cage, John 1990h. “Time (Three Autokus).” In Metzger, H.-K. and Riehn 1990, 264-304.

Cage, John 1990i. [Untitled] [letter, dated 6 May 1990]. 26: A Journal about Type and Typography from AGFA [Wilmington, Massachusetts] 1, no. 1 (1990), 32.

Cage, John 1990u. [Untitled]. Blurb on cover of Sieden 1990.

Cage, John 1990v. “Vorerinnerung’: Über mein aktuelles Leben und meine Arbeit.” Trans. Heinz-Klaus Metzger. In Festival des Hörens: Erlangen ’90: Programm. Erlangen: Stadt Erlangen, 18-19; repr. as “Einführung.” Trans. Gisela Gronemeyer. Positionen [Berlin] no. 6-7 (1991), 20-23; repr. as “Nichtdualistisches Denken: Einführung” and “Mesosticha.” German and English. MusikTexte no. 40-41 (August 1991), 22-27; orig. English text (without introduction) as “Mesostics.” In I. van Emmerik, van Groningen à Stuling and Selie 1992a, 55-58; repr. (with introduction) as “Mesostics = Mesosticha.” Parallel German trans. of the introduction Heinz-Klaus Metzger. In Ästhetik und Komposition: Zur Aktualität der Darmstädter Ferienkursarbeit. Ed. Internationales Musikinstitut Darmstadt, Gianmario Borio, Ulrich Mosch. Mainz [etc.]: Schott, 1994, 7-13 (Darmstädter Beiträge zur Neuen Musik; 20); repr. (introduction in German only) as “Mesosticha.” Neue Zeitschrift für Musik 155, no. 5 (September 1994), 6-9; repr. as “‘Vorerinnerung’: Über mein aktuelles Leben und meine Arbeit.” In Metzger, H.-K. 2012a, 191-193; Hungarian as “Bevezetés [introduction only].” In Cage 1994a, 197-198 (Hesse 1995).

Cage, John 1990j. “Writing through ‘Die Verwandlung I’.” In Metzger, H.-K. and Riehn 1990, 3-4.

Cage, John 1991. PROCESS: Mesostics on ‘Samuel Beckett’. In [program Nederlandse Opera. Ed. by Klaus Bertisch].

Cage, John 1991a. “Art is Either a Complaint or Do Something Else.” Aerial [Washington, D.C.] no. 6-7 (1991), 1-35; repr. in Cage/Retallack 1996, 3-42.

Cage, John 1991aa. “Artist Statement.” Mattress Factory: Archive. Pittsburgh, Pennsylvania. www.mattress.org/archive.

Cage, John 1991auf. “Auf entgegengesetzten Seiten: An die Orchestermusiker der Zürcher Oper.” MusikTexte no. 40-41 (August), 111.

Cage, John 1991b. “An Autobiographical Statement.” Southwest Review 76, no. 1 (Winter), 59-76; repr. in Cage 1993d, 237-247; repr. in Ferguson, R. and Schottlaender 1993; repr. in Pimenta 2003/2012, 599-630; repr. Cine Qua Non [Lisboa] no. 6 (Spring-Summer 2012), i-xiv; German as “Autobiographische Selbst(er)findung im echolosen Raum: Vorlesung beim ‘Commemorative Lecture Meeting’ (1989).” Trans. Klaus Reichert. Neue Zeitschrift für Musik 152, no. 5 (May 1991), 6-13; abr. repr. as “Vorlesung beim Commemorative Lecture Meeting.” Du [Zürich] no. 5 (May 1991), 18-22; German as “Eine autobiographische Skizze.” In Schädler and Zimmermann 1992b, 23-29; German as “‘From Where’m’Now’: Eine autobiographische Skizze.” Trans. Gisela Gronemeyer. MusikTexte no. 106 (August 2005), 21-26; German as “Ein autobiografisches Statement.” In Polzer and Schäfer 2004, 9-13; German (different trans.) as “Autobiographischer Abriß.” In Cage 2012a, 7-20; Hungarian as “Önéletrajzi beszámoló.” In Cage 1994a, 182-191; Portuguese as “Uma Declaração Autobiográfica.” Trans. Ana Luísa Valdeira da Silva. Cine Qua Non [Lisboa] no. 6 (Spring-Summer 2012), i'-xv'; Russian as “Avtobiograficheskoe zayavlenie.” Trans. Marina Viktorovna Pereverzeva. In Kholopov, Tsenova and Pereverzeva 2004, 15-34; Spanish as “Una declaración autobiográfica.” Trans. Anamaría Ashwell. Pauta [México] 11, no. 43 (July-September 1992), 5-23; Spanish as “Una declaración autobiográfica.” In Cage 1999a; Turkish as “Bir Özgeçmiş Yazısı.” In Cage 2012b.

Cage, John 1991c. “A Composer’s Confessions = Bekenntnisse eines Komponisten.” English and German. Trans. Gisela Gronemeyer. MusikTexte no. 40-41 (August), 55-68; English repr. Musicworks [Toronto, Ontario] no. 52 (Spring 1992), 6-15; repr. in Cage 1993d, 27-44; French (with original English) as “Confessions d’un compositeur = A Composer’s Confessions.” Tacet [Mulhouse] no. 1 (December 2011); repr. as Confessions d’un compositeur = A Composer’s Confessions. Trans. Élise Patton. Paris: Éditions Allia, 2013; Hungarian as “Egy zeneszerző vallomása.” In Cage 1994a, 10-24; Italian as “Confessioni di un compositore.” Trans. Franco Nasi. In Bonomo and Furghieri 1998, 43-58; Russian as “Priznaniya kompozitora.” Trans. Marina Pereverzeva. Nauchnyj Vestnik Moskovskoj Konservatorii [Moskva] no. 1 (2014).

Cage, John 1991d. “Dickins.” In Innovations 1: Contemporary Literature & the Arts. Ed. by David Detrich. Maple City, Michigan: Innovations Press, 71.

Cage, John 1991f. “Macrobiotic Cooking.” Aerial [Washington, D.C.] no. 6-7 (1991), 131-137; repr. in Ferguson, R. and Schottlaender 1993; repr. in Cage 1993d, 257-265.

Cage, John 1991g. “Note-O-Gram.” In Klüppelholz 1991, 96-97; repr. in Mauricio Kagel: Homme: age 60. Ed. by Werner Klüppelholz. Köln: Westdeutscher Rundfunk, 1992, 44-45.

Cage, John 1991h. “Stanzas for T. T. [in English with parallel trans. in Japanese].” Polyphone: Biannual Series of Music Criticism [Tokyo] 8, 175-185.

Cage, John 1991hX. “theater ist raum-zeit.” Trans. Alexander Schmitz. In Zeit-Räume: Zeiträume-Raumzeiten-Zeitträume. Ed. by Martin Bergelt and Hortensia Völckers. München [etc.]: Carl Hanser, 280-281.

Cage, John 1991i. “Unfinished Music.” In Susumu Shôno, Poetics of Listening. CHECK place: CHECK publisher.

Cage, John 1991k. [Untitled] (mesostics on Swift), included in Ree 1991.

Cage, John 1991l. “Zum Werk von Nam June Paik.” In Stooss and Kellein 1991, 20-25; original English text as “On the Work of Nam June Paik.” In Stooss and Kellein 1991/1993, 21-26.

Cage, John 1991w. “Writings Through the Essay: On the Duty of Civil Disobedience [excerpt].” New Observations no. 82 (15 February-14 May), 20-21.

Cage, John 1992a. “Cinco cartas.” Trans. and ann. Luis Ignacio Helguera. Pauta [México] 11, no. 43 (July-September), 26-30.

Cage, John 1992b. “Composition in Retrospect.” Slovak Music [Bratislava] no. 2 (1992), 14-27.

Cage, John 1992c. “Drehbuchausschnitt aus One¹¹.” In Metzger, H.-K. 1992b, 31-40.

Cage, John 1992d. “Erläuterungen zu 103 in den Orchesterstimmen.” In Metzger, H.-K. 1992b, 19-22.

Cage, John 1992e. “Muoyce II (Writing through ‘Ulysses’).” In Schädler and Zimmermann 1992b, 151-173.

Cage, John 1992f. “One¹¹ und 103.” In Metzger, H.-K. 1992b, 17.

Cage, John 1992g. “Overpopulation and Art.” In Cage and Sterneck 1992, 74-93; rev. repr. in Perloff, M. and Junkerman 1994b, 14-38.

Cage, John 1992h. [Unidentified essay***]. In Kostelanetz 1992, Merce Cunningham: Dancing in Space and Time.

Cage, John 1992h2. [Unidentified text]. In Tampa Museum of Art 1992.

Cage, John 1992i. [Untitled] (mesostic on “Večery novej hudby”). Slovak Music [Bratislava] no. 2 (1992), 8.

Cage, John 1992j. [Untitled] (mesostic on “Bratislava”). Slovak Music [Bratislava] no. 2 (1992), 30.

Cage, John 1993a. “Art and Technology.” In Cage 1993d, 111-112.

Cage, John 1993b. Composition in Retrospect. Cambridge, Massachusetts: Exact Change (review: Nicholls 1995).

Cage, John 1993bb. “An Essay on Essay.” In John Cage: Sound Installation: Writings through the Essay: On the Duty of Civil Disobedience. Exhibition catalogue, Tokyo, P3 Art and Environment 20 April-1 August 1993. In Japanese and English. Tokyo: P3 Art and Environment; repr. in John Cage 1998, 91-92; German as “Ein Essay über Essay.” In John Cage 1998, 93-94; repr. as “John Cage zu Writing through the Essay On the Duty of Civil Disobedience.” In Herzogenrath, W. and Nierhoff-Wielk 2012, 214-215.

Cage, John 1993c. “Foreword.” In Colin C. Sterne, Arnold Schoenberg: The Composer as Numerologist. Lewiston, New York: E. Mellen Press.

Cage, John 1993dD. “I’ve never heard any sound that I didn’t enjoy: the only trouble with sounds is the music.” Ed. Gabriele Bonomo. Temporale: Rivista d’arte e di cultura 8, no. 29-30, 12-15; French as Je n’ai jamais écouté aucun son sans l’aimer: Le seul problème avec les sons, c’est la musique. Trans. Daniel Charles. La Souterraine: La main courante, 1994 (Collection La main courante; 47); 2nd expanded ed. 1998; 3rd ed. La Souterraine: La main courante, 2002 (Collection La main courante; 116); repr. 2010; Spanish as “Jamás he escuchado un sonido sin amarlo: el único problema con los sonidos es la música.” In Cage 1999a.

Cage, John 1993d. John Cage: Writer: Previously Uncollected Pieces. Ed. by Richard Kostelanetz. New York: Limelight; repr. as John Cage Writer: Selected Texts. New York: Cooper Square Press, 2000 (reviews: Higgins, D. 1994; Patterson, D.W. 1997).

Cage, John 1993dA. “Letter to Zurich.” In Cage 1993d, 255-256; German as “Auf entgegengesetzten Seiten.” Trans. Gisela Gronemeyer. MusikTexte no. 40-41 (August 1991), 111; Turkish as “Zürih’e Mektup.” In Cage 2012b.

Cage, John 1993e. “Listening to Music.” In Cage 1993d, 15-19.

Cage, John 1993f. “Mesostichon.” MusikTexte no. 49 (May), 47.

Cage, John 1993g. “Remarks before a David Tudor Recital.” In Cage 1993d, 71-73.

Cage, John 1993h. “Three Asides on the Dance.” In Cage 1993d, 83-85; Turkish as “Dans Üzerine Üç Düşünce.” In Cage 2012b.

Cage, John 1993i. “Writing through ‘The Agenbite of Outwit’.” In Ferguson, R. and Schottlaender 1993.

Cage, John 1994a. A csend: Válogatott írások. Ed. András Wilheim. Trans. Kata Weber. Pécs: Jelenkor (Ars Longa).

Cage, John 1994b. The First Meeting of the Satie Society. New York: Osiris.

Cage, John 1994c. “Meister Duchamp or Living on Water [includes facsimile].” In Charles 1994d, 159-161; German as “Meister Duchamp oder Leben auf dem Wasser.” Ibid., 162.

Cage, John 1997. “Canada, November 1989, Montreal.” Circuit [Montréal, Québec] 8, no. 2 (1997), 18-19.

Cage, John 1998b. “Mesostico per Demetrio Stratos [in English and Italian. Trans. Gabriele Bonomo].” In Bonomo and Furghieri 1998, 141-143.

Cage, John 1998c. “Message from John Cage.” Contemporary Music Review 17, no. 4 (1998), 97.

Cage, John 1998d. Poèmes [anthology]. Trans. Christophe Marchand-Kiss. Paris: Textuel (L’oeil du poète; 7).

Cage, John 1998e. “Writings through the Essay: On the Duty of Civil Disobedience.” In John Cage 1998, 29-90; German as “Essay.” In Cage 2012a, 169-176.

Cage, John 1999a. Escritos al oído. Trans. and ed. by Carmen Pardo Salgado. Murcia: Colegio Oficial de Aparejadores y Arquitectos Técnicos (Colección de Arquilectura; 38); repr. 2007.

Cage, John 1999b. “Komposition als Prozeß (1958): Drei Studios.” Trans. Heinz-Klaus Metzger, Hans Günter Helms, and Wolf Rosenberg. In Metzger, H.-K. and Riehn 1999, 137-174.

Cage, John 2003. Journal: Comment rendre le monde meilleur (on ne fait qu’aggraver les choses). Trans. Christophe Marchand-Kiss. Genève [etc.]: Héros-Limite.

Cage, John 2009. “‘Ryoanji’: Solos for Oboe, Flute, Contrabass, Voice, Trombone woth Percussion or Orchestral Obbligato (1983-85).” PAJ: A Journal of Performance and Art 31, no. 3 (September), 58-64.

Cage, John 2012a. Empty Mind. Ed. by Marie Luise Knott and Walter Zimmermann. Trans. Klaus Reichert and others. Berlin: Suhrkamp (Bibliothek Suhrkamp; 1472) (reviews: Grünewald 2013; Stock 2012).

Cage, John 2012b. Seçme Yazılar. Trans. and ed. Semih Fırıncıoğlu. Istanbul: Pan Yayıncılık.

Cage, John 2015. Diary: How to Improve the World (You Will Only Make Matters Worse). Ed. by Joe Biel and Richard Kraft. Los Angeles: Siglio Press; expanded ed. Catskill, New York: Siglio, 2019 (reviews: Clark, P. 2016; Keane 2017; Rose, D.W. 2017; Siegel, M.B. 2020).

Cage, John 2016. The Selected Letters of John Cage. Ed. by Laura Kuhn. Middletown, Connecticut: Wesleyan University Press (reviews: Clark, P. 2016; Gresser 2018; Gronemeyer 2017; Haskins 2016b; Ivry 2016; Johnson, M. 2016; Keane 2017; Killacky 2017; Kostelanetz 2016b; Macaulay 2016; Molleson 2016; Page, T. 2016; Pearlman 2017; Pfaff 2016; Popova 2016; Rose, D.W. 2017; Simon, J. 2016).

Cage, John 2019. Love, Icebox: Letters from John Cage to Merce Cunningham. Ed. by Laura Kuhn. West Hook, New York: John Cage Trust (review: Siegel, M.B. 2020).

Cage, John 2020. John Cage: A Mycological Foray: Variations on Mushrooms. Ed. by Ananda Pellerin. Essay by Kingston Trinder. Los Angeles, California: Atelier Éditions (limited edition of 500 copies includes supplement Every Mushroom Is a Good Mushroom, a box of postcards with Cage’s mushroom recipes and contributions by others, not included in the regular edition).

Cage, John/Acquafredda, Pietro 1978. “Cosa fa stasera John Cage?” Paese Sera [Roma] (6 July).

Cage, John/Alcaraz, José Antonio 1976. “Interview with John Cage.” Excelsior/Plural [México] no. 56 (May).

Cage, John/Alcaraz, José Antonio s.a. [Interview]. In Hablar de musica: Conversaciones con compositores del continente Americano. México: Universidad Autonoma Metropolitana, Coordinación de Extensión Universitaria (review: Heterofonía 1982).

Cage, John/Alcaraz, José Antonio 1991. “John Cage a los 79 años de edad: ‘preferiría que la religión nos ofreciera más el disfrute de la vida que del paraíso’.” Proceso [México] no. 783 (4 November), 58-59.

Cage, John/Anderson, Laurie 1992. “Taking Chances.” Ed. by Robert Coe. Tricycle [New York] (Summer).

Cage, John/Anonymous 1967. “Questions.” Perspecta [New Haven, Connecticut] no. 11, 65-71; French excerpt as “Extraits d’un échange publié dans Perspects [sic], revue des étudiants en architecture de Yale (1966).” In Cage 1983c, 81-87.

Cage, John/Anonymous 1969. “Interview med John Cage.” A + B: Arkitektur og Billedkunst [København], 32-33.

Cage, John/Anonymous 1970a. “Interview.” Coast FM & Fine Arts (March), 25-31.

Cage, John/Anonymous 1970b. John Cage. Stuttgart: Reflection Press.

Cage, John/Anonymous 1972. “John Cage: Intrapresa & caos.” King Kong International [Milano] 1, no. 1 (January), 3-4.

Cage, John/Anonymous 1974. “Život koji postoje umjetnost: Interview s Johnem Cageom.” Prolog [Zagreb] 6 (1974), 129-138 (review: Nest’ev 1973).

Cage, John/Anonymous 1975. “Empty Words: John Cage Talks Back.” Loka: a Journal from Naropa Institute [Garden City, New York] no. 1 (1975), 96-97; repr. included in Cage 1978b, 217-220; German trans. Zweitschrift [Gießen] no. 2 (September 1976), 29-30; repr. Feedback Papers no. 15 (January 1978), 1-2; repr. Feedback Papers Reprint no. 1-16 (1980), 383-384.

Cage, John/Anonymous 1977. “‘Utilizzando la musica dei treni si possono fare ottimi concerti’.” L’Unità [Roma] (13 December).

Cage, John/Anonymous 1978. “Cagean Esthetics.” In Kostelanetz 1978c, 290-301.

Cage, John/Anonymous 1979. “Kurzinterview mit John Cage.” Neue Hoffnung [Mörfelden-Walldorf] 2, no. 7 (July), 18.

Cage, John/Anonymous 1981. “‘Ich bin wie ein Huhn, dem man den Kopf abgeschlagen hat’: EXIT-Interview mit dem Avantgarde-Künstler.” Exit [Mainz] (1981), 47-58.

Cage, John/Anonymous 1985. “An Interview with John Cage.” Pratt Journal of Architecture 1 (Fall), 50-53.

Cage, John/Anonymous 1987c. “John Cage.” Preface by Laura Kuhn. High Performance [Los Angeles, California] 10, no. 2 <no. 38> (Summer), 20-29.

Cage, John/Anonymous 1987d. “John Cage at 75.” Los Angeles Festival Program.

Cage, John/Anonymous 1988d. “John Cage: ‘An Ocean of Possibilities’.” MOMA no. 48 (Summer).

Cage, John/Anonymous 1988e. “Pedagogy.” In Kostelanetz 1988b, 239-255; repr. as “John Cage on Pedagogy: An Ur-Conversation.” Social Anarchism nr. 14 (1989), 13-29; German as “2 + 2 = 5: Ein Ur-Gespräch über Musikerziehung, Kunst und die Welt.” Trafik [Mülheim] 10, nr. 34 (August 1991), 61-80; Spanish as “Conversando con Cage: Pedagogía.” Arte [Valencia] no. 0 (1992).

Cage, John/Anonymous 1988f. “Réponses.” Trans. Claudia Mendez. Hexagrammes [Paris] no. 3, 117-118.

Cage, John/Anonymous 1988g. “Work in Progress.” Trans. Claudia Mendez. Hexagrammes [Paris] no. 3, 123-125.

Cage, John/Anonymous 1989. “Sports: Mesostics on his name, a translation from the French of Erik Satie’s ‘Sports et divertissements’.” New Observations no. 66 (April), 2-7.

Cage, John/Anonymous 1990. [Untitled], in Cage 1990f, 9-420, passim.

Cage, John/Anonymous 1993a. “Correspondence.” Comp. Julie Lazar. Grand Street 12, no. 1 <no. 45> (Fall), 101-131.

Cage, John/Anonymous 1993b. “La semplicità e il caos.” Trans. Caterina Frizgerald. In Brand and Bianchi 1993, 31-38.

Cage, John/Anonymous 1991. “Mein Lieblingsgeräusch: Kleine Umfrage unter Prominenten im Musikgeschäft.” In Kuhn, R. and Kreutz 1991, 159.

Cage, John/Anonymous 1995. Liner notes for compact disc CRI CD 700. New York: Composers Recordings.

Cage, John/Asche, Gerhart 1972. “‘Ich finde die Tragödie schön bescheuert’.” Bremer Nachrichten (10 May).

Cage, John/Bakewell, Joan 1972. “Music and Mushrooms: John Cage Talks about His Recipes to Joan Bakewell.” Listener [London] 87, no. 2255 (15 June), 800-802.

Cage, John/Barnard, Geoffrey 1980. Conversation without Feldman: A Talk between John Cage & Geoffrey Barnard. Darlinghurst, New South Wales: Black Ram Books; Serbo-Croatian excerpt as “Konverzacija bez Feldmana: Razvogor izmedju Johna Cagea i Geoffreya Barnarda.” In Cage 1981i, 212-218.

Cage, John/Beacco, Enzo 1977. “John Cage anti-gabbie.” La Repubblica [Roma] (2 December), 23.

Cage, John/Bell, Eleanor 1967. “Cage Not To Be Sneezed At.” [Cincinnati?] Post (18 January).

Cage, John/Bergh, Gerhard van den 1992. “Aleatorisches Interview mit John Cage.” Dissonanz = Dissonance no. 32 (May), 26-28.

Cage, John/Berrigan, Ted 1966. “An Interview with John Cage [fictive, but published with Cage’s consent].” Mother [Dallas, Texas] no. 7 (May); repr. in The American Literary Anthology 1: The First Annual Collection of the Best from the Literary Magazines. Ed. by John Hawkes. New York: Farrar, Straus, and Giroux, 1968.

Cage, John/Birkelund, Olivia and Alex Sichel 1984. “Music Without Bars: An Interview with John Cage.” Issues 15, no. 5 (November), 5-7.

Cage, John/Bither, David 1980. “John Cage on Beethoven, Mozart and Bach.” Included in Bither 1980, 54.

Cage, John/Bodin, Lars-Gunnar and Bengt Emil Johnson 1965. “Bandintervju med Cage.” Ord och Bild 74, no. 2.

Cage, John/Bodin, Lars-Gunnar and Bengt Emil Johnson 1966. “Semikolon; Musical Pleasure.” Dansk Musiktidsskrift 41, no. 2 (1966), 36-43.

Cage, John/Boenders, Frans 1980. “Gesprek met John Cage: De cultuur als delta.” In Frans Boenders, Sprekend gedacht. Bussum: Het Wereldvenster, 205-224.

Cage, John/Bonami, Francesco 1991. “John Cage: Il significato è nel respiro possiamo dire ciò che va detto senza comprenderlo.” Flash Art 24, no. 163 (Summer), 65-69.

Cage, John/Bongiorno, Mike 1975. “Il profeta e il burattinaio.” Ed. Carlo Bertocci. Gong [Milano] no. 10 (October); repr. as “Lascia o raddoppia la sua musica strambissima?” In Mogni 1978, 51-55.

Cage, John/Bosseur, Jean-Yves 1971. “Une ouverture sur le théâtre: John Cage.” Le Théâtre [Paris] no. 1 (1971); repr. as “A Paris, juin 1970.” In Bosseur, J.-Y. 1993, 137-146 (review: Quillet 1972).

Cage, John/Bosseur, Jean-Yves 1973. “John Cage: ‘Il faut forger un nouveau mode de communication orale’.” La Quinzaine Littéraire [Paris] no. 176 (1-15 December), 31-32; enlarged repr. as “Autour de John Cage.” Les Lettres Nouvelles no. 1 (February-March 1974), 161-176; repr. as “A Paris, janvier 1973 [sic, recte November].” In Bosseur, J.-Y. 1993, 153-160.

Cage, John/Bosseur, Jean-Yves 1981. “John Cage: Bruxelles, juin 1979: Entretien avec Jean-Yves Bosseur.” Alternatives Théâtrales [Bruxelles] no. 6-7 (January), 100-105; repr. as “A Bruxelles, 13 juni 1979.” In Bosseur, J.-Y. 1993, 161-166.

Cage, John/Boswinkel, W. 1970. “John Cage, componist en idealist: ‘Leren leven met een muggebeet’.” Algemeen Handelsblad (22 June).

Cage, John/Brizzi, Aldo 1985. “Dapprima non era il caso: Intervista a Cage sui suoi anni di apprendistato.” 1985 La Musica [Roma] 1, no. 5 (May), 12-13.

Cage, John/Bronzell, Sean and Ann Suchomski 1983. “Inter-View with John Cage.” Catch Magazine [Galesburg, Illinois], 17-25; repr. in Sumner, Burch, and Sumner 1986, 20-27.

Cage, John/Brown, Anthony 1974. “An Interview with John Cage.” Asterisk [Ann Arbor, Michigan] 1, no. 1 (December), 25-32.

Cage, John/Brunel, Lise 1982. “Avec John Cage.” In Lartigue 1982b, 66-73.

Cage, John/Carreton Cano, Vicente 1992. “Entrevista con Cage: Murmullos que anhelan el silencio.” Atlántica [Las Palmas] no. 4 (1992).

Cage, John/Caux, Daniel 1990. “John Cage en harmonie avec les bruits.” Art Press [Paris] no. 150 (September); repr. as “A Londres, 17 juin 1990.” In Bosseur, J.-Y. 1993, 177-180.

Cage, John/Caux, Daniel 1993. “A Paris, 26 janvier 1986.” In Bosseur, J.-Y. 1993, 167-175.

Cage, John/Caux, Daniel and Jacqueline Caux 1972. “La Monte Young.” Chroniques de l’Art Vivant [Paris] no. 30 (May), 24-30; repr. as “A Paris, 2 juillet 1970.” In Bosseur, J.-Y. 1993, 147-151.

Cage, John/Charles, Daniel 1968. “Soixante réponses à trente questions de Daniel Charles.” Trans. Patricia Revault d’Allonnes. Revue d’Esthétique 21, no. 2-4 (April-December), 9-21; repr. in Cage/Charles 1976, 9-21; English as “Sixty Answers to Thirty-three Questions from Daniel Charles.” In Cage/Charles 1976/1981, 13-27; German as “Sechzig Antworten auf dreiunddreissig Fragen von Daniel Charles.” In Cage/Charles 1976/1984, 11-25; Italian in Cage/Charles 1976/1977; Japanese in Cage/Charles 1976/1982; Spanish as “Sesenta respuestas a treinta y tres preguntas de Daniel Charles.” In Cage/Charles 1976/1981, 11-25.

Cage, John/Charles, Daniel 1976. Pour les oiseaux: Entretiens. Paris: Pierre Belfond (Les bâtisseurs du XXe siècle); repr. Paris: l’Herne, 2002; repr. 2014; English excerpt as “For the Birds.” Trans. Daniel Moshenberg. Semiotext(e) [New York] 3, no. 1 <no. 7> (1978), 24-35; English as For the Birds: John Cage in Conversation with Daniel Charles. Trans. Richard Gardner. Ed. Tom Gora and John Cage. Boston [etc.]: Marion Boyars, 1981; repr. 1982; repr. 2009; excerpt repr. in Petersen, Mignot, and Schampers 1982, 38; German as Für die Vögel: Gespräche mit Daniel Charles. Trans. Birger Ollrogge. Berlin: Merve, 1984 (Internationaler Merve-Diskurs; 122); German excerpt as “‘Das unbekannte benutzen…’: John Cage über David Tudor.” MusikTexte no. 69-70 (April 1997), 47-49; Hungarian (first interview only) as “Beszélgetés John Cage-dzsel.” Trans. Márta Grabócz. Muzsika 29, no. 7 (July 1986), 12-17; Italian as Per gli uccelli: Conversazioni con Daniel Charles. Trans. Walter Marchetti. Milano: Multhipla, 1977; Italian as Per gli uccelli: Conversazioni con Daniel Charles. Trans. and ed. by Davide Bertotti. Torino: Testo & Immagine, 1999 (Controsegni; 2); Japanese as Jon Keiji and Danieru Sharuru, Kotoritachi no tame ni. Trans. Mami Aoyama. Tōkyō: Seidosha, 1982; Spanish as Para los pájaros: Conversaciones con Daniel Charles. Trans. Luis Justo. Caracas: Monte Avila, 1981 (Colección Documentos) (reviews: Åstrand 1977-1978; Bosseur, J.-Y. 1977; Dickinson 1982; Gablik 1983; Harmonie 1977; Henahan 1981; Keyboard 1982; Martin, V. 1981; Mila 1978; Publishers Weekly 1981; Rapoport 1982; Rothstein 1981b; Routh 1981; Sala 1978; Sandow 1981-1982; Washington Post 1981; Whittall 1982).

Cage, John/Cheevers, Anthony 2006. “Europeras and After, Cage with Anthony Cheevers.” In Dickinson 2006a, 227-231.

Cage, John/Christian Science Monitor 1982. “Composer John Cage Interviewed after Manhattan Concert.” Christian Science Monitor [Boston, Massachusetts] (4 May), 19.

Cage, John/Conforti, Mario and Veniero Rizzardi 1991. “Cage il guru.” Il Giornale della Musica [Torino] 7, no. 59 (March), 16-17.

Cage, John/Cope, David H. 1980. “An Interview with John Cage.” Composer Magazine [Hamilton, Ohio] 10-11, no. 1 (1980), 6-22; excerpts repr. in Kostelanetz 1988b, passim.

Cage, John/Corber, Mitch and Arleen Schloss 1990. “Interview with John Cage.” Pitch [New York] 1, no. 4 (Spring), 10-15.

Cage, John/Corbett, John 1992. “The Conversation Game: John Cage Composes His Own Interview.” New Art Examiner [Chicago] 19, no. 9 (19 May); repr. as “John Cage: The Conversation Game.” In Corbett 1994, 181-191.

Cage, John/Cordier, Robert 1973. “Etcetera pour Un jour ou deux.” Had [Paris] (1973).

Cage, John/Cott, Jonathan 1963. “Music Not to Read By: John Cage Interviewed by Jonathan Cott.” Other Minds Audio Archive. https://archive.org/details/CottInterviews.

Cage, John/Daney, Serge and Fargier, Jean-Paul 1982. “John Cage: Concerto pour radio, télévision et orchestre.” Trans. Serge Daney. Cahiers du cinéma no. 334-335 (April), v-vi.

Cage, John/Darter, Tom 1982. “John Cage.” Keyboard 8, no. 9 (September), 18-22, 26-29; repr. Gaudeamus Informatie no. 183 (December 1982), 8-10 and no. 184 (January 1983), 8-11 (Krueger, Blumenfeld, and Hannigan 1982).

Cage, John/De Laiglesia, Juan Carlos 1984. “John Cage: El espectador como artista.” Diario 16 [Madrid] no. 175 (6 May), Disidencias.

Cage, John/De Vree, Freddy 1980. “John Cage veroorzaakt enthousiasme en ontgoocheling.” NRC Handelsblad (16 August), 6.

Cage, John/Degli Esposti, Gianluigi 1977. “La vita è suono.” Il Resto del Carlino [Bologna] (3 December), 4.

Cage, John/Denison, D.C. 1986. “The Interview: John Cage.” Boston Globe (October).

Cage, John/Dickinson, Peter 2006a. “About Musicircus, Cage with Peter Dickinson.” In Dickinson 2006a, 211-216.

Cage, John/Dickinson, Peter 2006b. “John Cage.” In Dickinson 2006a, 25-51.

Cage, John/Diliberto, John 1988. “Conversations with Cage.” Electronic Musician [Nashville, Tennessee] 4, no. 3 (March); repr. Electronic Musician [Emeryville, California] (17 January 2005); German as “Gespräche mit Cage.” Keyboards [Ulm] no. 7 (July 1988), 16-24 (review: Krause 1988).

Cage, John/Du Vignal, Philippe 1972-1973. “Le repas vietnamien de M. Cage.” Art Press [Paris] no. 1 (December-January), 24.

Cage, John/Duckworth, William 1989. “Anything I Say Will Be Misunderstood: An Interview with John Cage.” In Fleming, R. and Duckworth 1989, 15-33; repr. as “John Cage.” In Duckworth 1995, 3-28; Italian as “Conversazione con William Duckworth: Tutto quello che dico verrà frainteso.” Trans. Andrea Cortellessa. In Bonomo and Furghieri 1998, 216-232.

Cage, John/Dufallo, Richard 1989. “John Cage.” In Dufallo 1989, 221-233.

Cage, John/Duffie, Bruce 2016. “Composer John Cage: A Conversation with Bruce Duffie – June 1987.” Sonus [Cambridge, Massachusetts] 36, no. 2 (Spring), 20-39.

Cage, John/Dumm, Robert 1962. “Piano Hammers and Silence.” The Music Magazine 165 (July), 17-18.

Cage, John/Emmerik, Paul van 1991. “‘Ich habe das Gefühl, ständig zuzuhören’.” MusikTexte no. 40-41 (August), 75-83; corrections as “Schwere Fehler.” MusikTexte no. 42 (November), 68.

Cage, John/Fader, Larry A. 2012. 120'00": A Conversation with John Cage. Foreword by Tenzin Robert Thurman. Bridgton, Maine: Ninepoint Publishing (trade edition and limited edition of 50 copies).

Cage, John/Feldman, Morton 1992. “‘… tief in Gedanken’: Radiogespräch vom 9. Juli 1966.” Trans. Gisela Gronemeyer. MusikTexte no. 45 (July), 15-19.

Cage, John/Feldman, Morton 1993. Radio Happenings I-V [English and German]. Trans. Gisela Gronemeyer. Preface by Christian Wolff. Köln: MusikTexte (Edition MusikTexte; 1); 2nd rev. ed. 2015; French as Radio Happenings: Enregistrés à WBAI, New York, juillet 1966-janvier 1967. Trans. Jérôme Orsoni. Paris: Éditions Allia, 2015 (reviews: Gerlich 1994; Hiller, E. 2016; Hodges 1994; Sanio 1994b; Pritchett 2016b).

Cage, John/Feldman, Morton, Bunita Marcus and Francesco Pellizzi 1983. “Conversation with Morton Feldman (Bunita Marcus and Francesco Pellizzi).” Res [Cambridge, Massachusetts] no. 6 (Fall), 112-135; German excerpt as “Conversation with Morton Feldman, John Cage: Nov. 19/83: Ein Gespräch zwischen John Cage, Morton Feldman, Francesco Pellizzi und Bunita Marcus.” Trans. Gisela Gronemeyer. MusikTexte no. 5 (July 1984), 21-27; Italian as “Conversazione con Morton Feldman (Bunita Marcus e Francesco Pellizzi).” Trans. Franco Nasi. In Bonomo and Furghieri 1998, 188-215.

Cage, John/Ferrer, Esther 1979. “John Cage, entre la disciplina matemática y el azar.” El País [Madrid] (17 November), Artes 1, no. 3, 1, 4.

Cage, John/Filliou, Robert 1970. “John Cage.” English and German. In Filliou 1970, 105-111 and 113-118.

Cage, John/Finegan, Don, Ralph Koppel, and Ralph Haskell 1969a. “Choosing Abundance.” North American Review [Boston, Massachusetts] 6 <254, no. 3> (Fall), 9-17; French excerpt as “Choisir l’abondance.” In Cage 1983c, 105-109.

Cage, John/Finegan, Don, Ralph Koppel, and Ralph Haskell 1969b. “Things to Do.” North American Review [Boston, Massachusetts] 6 <254, no. 4> (Winter), 12-16.

Cage, John/Flamm, Matthew 1992. “And Zen I Wrote….” New York Post (9 July), 21.

Cage, John/Fletcher, Laura and Thomas Moore 1983. “An Interview with John Cage.” Sonus [Cambridge, Massachusetts] 3, no. 2 (Spring), 16-23; repr. as “John Cage in Conversation with Thomas Moore and Laura Fletcher.” In thomasmoore.info (2019).

Cage, John/Ford, Andrew 1993. “Illegal Harmony.” In Ford, A. 1993, 172-184.

Cage, John, Foss, Lukas and Iannis Xenakis 1970. “Short Answers to Difficult Questions.” The Composer 2, no. 2, 39-42.

Cage, John/Fousnaquer, Jacques-Emmanuel 1990. “L’opéra en cage.” L’Humanité [Paris] (4 July).

Cage, John/Frasconi, Miguel 1988. “Interview: John Cage.” Balungan [Oakland, California] 3, no. 2 (October), 19-20.

Cage, John/Freedman, Guy 1976. “An Hour & 4'30" with John Cage: Interview.” Music Journal [New York] 34, no. 10 (December), 6-8, 10 (review: Gefen 1977).

Cage, John/Friedman, Richard 1970. “A Conversation with John Cage.” Pacifica Radio Archives Preservation & Access Project. Los Angeles, California: Pacifica Radio. www.pacificaradioarchives.org.

Cage, John/Frey, T. 1985. “Was ist wirkliche Kunst?” Du [Zürich] no. 7, 80-83.

Cage, John/Fuhrmann, Wolfgang 1991. “Anwalt der mißhandelten Dinge.” Der Standard (5 June), 11.

Cage, John/Furlong, William 1983?. [CHECK title], Audio arts (1983?).

Cage, John/Furman, Maureen 1979. “Zen Composition: An Interview with John Cage.” East West Journal [Brookline, Massachusetts] 9, no. 5 (May), 42-46.

Cage, John/Gagne, Cole and Tracy Caras 1976. “An Interview with John Cage.” New York Arts Journal 1, no. 1 (May), 5-7.

Cage, John/Gagne, Cole and Tracy Caras 1982. “John Cage.” In Gagne and Caras 1982, 69-86.

Cage, John/Gena, Peter 1982. “After Antiquity: John Cage in Conversation with Peter Gena.” In Mayor Byrne’s New Music America ’82, July 5-11. Chicago: CHECK publisher, 7, 9-16; repr. in Gena and Brent 1982, 167-183; Danish (trans. Svend Ravnkilde), Dansk Musiktidsskrift 57, no. 2 (1982-1983), 56-63, 65-66.

Cage, John/Giannì, Emanuelita and Lieselotte Longato 1980. “L’eresia musicale.” Spirali [Milano] 3, no.11 <no. 25> (December), 9-10.

Cage, John/Gibson, Anne 1989. “CBC Interview re Bach.” In Smith, S.S. and DeLio 1989, 55-71; repr. in catalogue Wiener Klassik [1991]; repr. in Cage 1993d, 267-281.

Cage, John/Gillmor, Alan 1976. “Interview with John Cage.” Contact [London] no. 14 (Fall), 18-25; Swedish as “Intervju med John Cage.” Nutida Musik [Stockholm] 21, no. 1 (1977-1978), 13-16.

Cage, John/Gingras, Claude 1961. “2e concert de musique actuelle et conversation avec John Cage.” La Presse [Montréal] (5 August), 13.

Cage, John/Gligo, Nikša 1973. “Ich traf John Cage in Bremen.” Trans. Ken W. Bartlett. Melos 40, 23-29 (Nest’yev 1973).

Cage, John/Goldberg, Jeff 1974. “John Cage Interview: Cage on Everything.” SoHo Weekly News [New York] 1 (12 September), 14.

Cage, John/Goldberg, Jeff 1976. “John Cage: Interviewed by Jeff Goldberg.” Transatlantic Review [London and New York] no. 55-56 (May), 103-110.

Cage, John/Gonzalez, Juan Carlos 1992. “Conversation with John Cage.” In Gonzalez 1992, 72-79.

Cage, John/Gresham, Mark 1991. “When More Than One Voice Sings: A Conversation with John Cage.” Chorus! [Duluth, Georgia] 3, no. 9 (September), 3-5.

Cage, John/Grimes, Ev 1986. “Conversations with American Composers: John Cage.” Music Educators Journal 73 (November), 47-49+.

Cage, John/Gucht, Georges van and Christian Hamouy 1987. “À propos de… John Cage.” Percutact [Strasbourg] no. 7 (1987), 2-5.

Cage, John/Haddad, Yoktan 1990. “An Afternoon with Cage.” Aphorism [Middletown, Connecticut] (Winter), 8-10, 21.

Cage, John/Hamel, Peter Michael 1988. “Peter Michael Hamel im Gespräch mit John Cage.” Musica [Kassel] 42, no. 3 (May-June), 268-270.

Cage, John/Harrison, Joshua 1980. “John Cage: Interview.” Community Arts Newsletter [San Diego, California] 2, no. 2 (February), 1, 6.

Cage, John/Hayman, R(ichard) I. P. 1980. “Correspondence with John Cage.” Ear [New York] 6, no. 1 (November-December), 8.

Cage, John/Helms, Hans G(ünter) 1972. “Conversations with John Cage – Christian Wolff.” English with German trans. Liner notes for phonodiscs EMI 1 C 165-28954-57 Y. Köln: EMI Electrola; enlarged repr. as “John Cage: Gedanken eines progressiven Musikers über die beschädigte Gesellschaft [in English].” Protokolle [Wien] 73, no. 1 (30 January 1974), 70-93; repr. in Metzger, H.-K. and Riehn 1978b, 18-40; repr. as “John Cage: Reflections of a Progressive Composer on a Damaged Society.” Trans. Ian Pepper. October [Cambridge, Massachusetts] no. 82 (Fall 1997), 77-93; French excerpt as “Enfin, Cage vint.” Trans. Benoît Lapouge. La Quinzaine Littéraire [Paris] no. 284 (1-31 August 1978), 12-13 (complete text published as a recording).

Cage, John/Hensel, Bert 1990. “Wer, wann, was.” Darmstädter Echo (26 July), 10.

Cage, John/Hersh, Paul S. 1977. “An Interview with John Cage.” Centerstage [Santa Cruz, California] 1, no. 5 (September), 11-13.

Cage, John/Hertelendy, Paul 1982. “John Cage rolls dice at Cabrillo Music Festival.” San Jose Mercury News (19 August).

Cage, John/Hiu, Pay-uun 1988. “Ik word ziek van unisono boem.” De Volkskrant [Amsterdam] (24 June), Kunst en Cultuur, 7.

Cage, John/Holmes, Thom 1981. “The Cage Interview.” Recordings [Audubon, New Jersey] 3, no. 3 (1981), 2-5.

Cage, John/Hotta, Yoshie 1962. “Zen’ei geijutsu wa doko e iku.” Asahi Jānaru [Tōkyō] (14 October).

Cage, John/Hw 1983. “Maestro knobelt die Noten aus.” Express [Köln] (17 May).

Cage, John/Iimura, Takahiko 1985. “Jon Keiji to no kaiwa.” Gendai Shi Techō [Tōkyō] 28, no. 5 (April), 221-229.

Cage, John/Isenberg, Barbara 1993. “Becoming John Cage.” Los Angeles Times (5 September), Calendar, 4, 89.

Cage, John/Job, Pierre 1978. “Interview aléatoire et dérisoire de John Cage.” Libération (18 May), 17.

Cage, John/Jotterand, Franck 1971. “Leben ist Theater.” Die Weltwoche [Zürich] (22 January), 31.

Cage, John/Jouffroy, Alain and Robert Cordier 1974. “Entendre John Cage, entendre Duchamp.” Opus International [Paris] no. 49 (March), 58-67; repr. included in Jouffroy 2005; German excerpts included in “A propos Marcel Duchamp: Aus der Sicht von 17 Künstlern.” Trans. Caroline Nathusius-Priebe and Friedemann Malsch. In Fischer and Daniels 1988, 282.

Cage, John/Kaczyńsky, Tadeusz 1963. “Wywiad z Johnem Cagem.” Ruch Muzyczny [Kraków] 7, no. 13 (1-15 July), 17.

Cage, John/Katz, Vincent 1990. “John Cage: An Interview.” Print Collector’s Newsletter [New York] 20, no. 6 (January-February), 204-209. http://vincentkatz.net/criticism_cage.htm.

Cage, John/Kirby, Michael and Richard Schechner 1965. “An Interview with John Cage.” Drama Review [New Orleans, Louisiana] 10, no. 2 (Winter), 50-72; repr. in Sandford 1995, 51-71; Dutch as “Een interview met John Cage.” Barbarber [Amsterdam] no. 51 (March 1967), 1-24; partial French trans. as “John Cage converse.” Identités [Nice] no. 13-14 (Winter-Spring 1966); repr. as “La salive.” Le Théâtre [Paris] no. 1 (1968), 205-215; Italian as “Conversazione con Michael Kirby e Richard Schechner.” Trans. Elena Baruchello. In Bonomo and Furghieri 1998, 171-187 (Anderson, Jack 1966; Rockwood 1966).

Cage, John/Kostelanetz, Richard 1968. “‘We Don’t Any Longer Know Who I Was’.” New York Times (17 March), Section 2, D9; enl. repr. as “John Cage.” In Kostelanetz 1968b, 50-63.

Cage, John/Kostelanetz, Richard 1970. “Conversation with John Cage.” In Kostelanetz 1970d, 6-35; Catalan excerpt as “Entrevista a John Cage por Richard Kostelanetz.” Sonograma Magazine [Barcelona] no. 10 (April 2011); French excerpt as “Entretiens avec Richard Kostelanetz (1966).” In Cage 1983c, 18-21, 38-43, 60-65; German as “Gespräch mit John Cage.” In Kostelanetz 1970d/1973, 27-65; Italian as “Conversazione con John Cage.” Trans. Giordano Falzoni. Lo Spettatore Musicale no. 3 (May-June 1971), 2-19; Spanish as “Entrevista a John Cage.” In Kostelanetz 1973, 11-64; excerpts repr. as “Conversación con John Cage.” Figura [Sevilla] no. 2 (Summer 1984), 6-7.

Cage, John/Kostelanetz, Richard 1980. “John Cage in Conversation with Richard Kostelanetz, Mostly About Writing.” New York Arts Journal (1980), 17-22; repr. in Kostelanetz 1981a, 247-273; repr. as “Empty Words.” In Kostelanetz 1996f, 115-132; repr. as “Conversation about Empty Words.” In Kostelanetz 1997f, 136-157; German as “John Cage.” In Kostelanetz 1983, 53-86.

Cage, John/Kostelanetz, Richard 1982. “Talking about ‘Writings through Finnegans Wake’.” Triquarterly [Evanston, Illinois] no. 54 (Spring), 208-216; repr. in Gena and Brent 1982, 142-150; German as “Gespräch über ‘Writings through Finnegans Wake’.” In Kostelanetz 1983, 87-102; repr. in Kostelanetz 1989e, 273-281; repr. in Kostelanetz 1997f, 162-172.

Cage, John/Kostelanetz, Richard 1986. “A Conversation about Radio.” Musical Quarterly 72, no. 2 (1986), 216-227; repr. as “A Conversation about Radio in Twelve Parts.” In Fleming, R. and Duckworth 1989, 270-302; excerpt repr. in Kostelanetz 1988b, 157-164; excerpt repr. as “John Cage on Radio and Audio Tape.” In Lander and Lexier 1990, 289-300; excerpt repr. P-Form [Chicago, Illinois] no. 28 (Summer 1993), 12-13; full repr. in Kostelanetz 1997f, 193-226; excerpt repr. as “A Conversation about Early Works for Radio and Tape.” In Kostelanetz 1996f, 58-78.

Cage, John/Kostelanetz, Richard 1990-1991. [Untitled]. In William Anastasi, Dove Bradshaw, John Cage, Tom Marioni, Robert Rauschenberg, Mark Tobey [exhibition catalog, 8 December 1990-19 January 1991]. New York: Sandra Gering Gallery, [5]-[8]; repr. as “Non-Intention in Visual Art.” In Kostelanetz 1997f, 234-237.

Cage, John/Kozinn, Allan 1992. “A Musical Anarchist (or Liberator) Turns 80.” New York Times (2 July), B3.

Cage, John/Kraglund, John 1982. “John Cage: Musical Pioneer Ready for Roaratorio.” Globe and Mail (29 January), 15.

Cage, John/Kumpf, Hans 1975. “Werkstattgespräch mit John Cage.” Included in Kumpf 1975, 8-9; repr. included in Kumpf 1975/1976, 91-93; repr. included in Kumpf 1975/1981, 91-93.

Cage, John/Kurtz, Bruce 1983. “Otsego Sounds Good to ‘Controversial’ Composer.” Freeman’s Journal (31 August), 7.

Cage, John/Kvaal, Steven A. 1985. “Interview.” City Pages (23 October).

Cage, John/Lange, Art 1978. “Interview with John Cage 10/4/77.” Brilliant Corners [Chicago, Illinois] no. 8 (Winter), 5-14.

Cage, John/Lanza, Alcides 1971. “ … We Need a Good Deal of Silence …” Revista de Letras [Mayagüez] 3, no. 11 (September), 319-332.

Cage, John/Lartigue, Pierre 1978. “Le printemps de Cage.” L’Humanité [Paris] (24 May).

Cage, John/Lebeer, Irmeline 1995. “La vie peut être tellement excellente: Entretien avec John Cage.” Cahiers du Musée National d’Art Moderne no. 52 (Summer), 115-135.

Cage, John/Lee, Ton van der 1988. “John Cage, die zoiets als ‘stilte’ voorkeur en afkeer, … .” Oor [Amsterdam] no. 12 (18 June), 16-19.

Cage, John/Littler, William 1982. “Music’s First Liberator of Noise Hits 70, Still Excited by Random Din.” Toronto Star (27 January), B1, B4.

Cage, John/Lohner, Henning 1989. “John Cage ‘22708 Types’.” Interface 18, 243-256.

Cage, John/Low, Lisa 1985. “Free Association.” Boston Review (July).

Cage, John/Macadams, Lewis 1987. “Composer John Cage’s Chance Encounter with the Big Mind.” L.A. Weekly (28 August-3 September), 46-47, 49.

Cage, John/Malina, János 1986. “Beszélgetés John Cage amerikai zeneszerzővel.” Magyar Hírlap [Budapest] (8 August); extended English version as “Savaria Encounters: An Interview with John Cage.” New Hungarian Quarterly [Budapest] 28, no. 105 (Spring 1987), 214-217.

Cage, John/Mallofré, Albert 1991. “‘La clave está en una tecnología al servicio del hombre’.” La Vanguardia [Barcelona] (17 January), 47.

Cage, John/Marcus, Genevieve 1970. “John Cage: Dean of the Musical Avant-Garde.” Coast FM and Fine Arts [Beverly Hills, California] 11, no. 3 (March); excerpts repr. in Kostelanetz 1988b.

Cage, John/Martin, Holly E. 2013. “The Asian Factor in John Cage’s Aesthetics.” Journal of Black Mountain College Studies 4 (Spring).

Cage, John/Martinengo, Luciano 1978. “(La ricetta del) pane quotidiano.” In Mogni 1978, 13-49.

Cage, John/Martino, Daniele A. and Gianfranco Vinay 1987. “Cage, inventore perpetuo.” Il Giornale della Musica [Torino] 3, no. 20 (September), 2.

Cage, John/Masson, Georges 1981. “John Cage: ‘Les épines du cactus produisent de la musique comme un piano!’.” Le Républicain Lorrain [Metz] (18 November), Grande Région, p. B.

Cage, John/Mattioni, Gloria 1979. “Intervista con John Cage.” Almanacco Musica [Milano] 1, no. 2, 34-35.

Cage, John/Mazo, Joseph H. 1983. “John Cage Quietly Speaks His Piece.” Bergen Sunday Record (13 March).

Cage, John/McElhearn, Kirk 1988. “‘Lettre’ aux inconnus.” Trans. Claudia Mendez. Hexagrammes [Paris] no. 3, 119-122.

Cage, John/McEvilley, Thomas 1992. “In the Form of a Thistle: A Conversation between John Cage and Thomas McEvilley.” Artforum 31, no. 2 (October), 97-101.

Cage, John/McEvilley, Thomas 1993. “A Conversation between John Cage and Thomas McEvilley.” In Dove Bradshaw, Works 1969-1993. New York: Sandra Gering Gallery; repr. in McEvilley 2003, 83+.

Cage, John/McGuire, Eddie and Stephen Arnold 1985. “John Cage in Conversation.” Cencrastus [Edinburgh] no. 21 (Summer), 5-9.

Cage, John/McLane, John 1980. “Interview with John Cage.” Washington Post (18 September).

Cage, John/Metzger, Heinz-Klaus 1987. “John Cage.” Die Opernzeitung Frankfurt no. 1-2 (October-November), 11; repr. (together with Cage/Metzger and Riehn 1987b) as “Zu Europeras 1 & 2.” In Metzger, H.-K. 2012, 169-177.

Cage, John/Metzger, Heinz-Klaus and Rainer Riehn 1987a. [Untitled], passim; repr. as “Fragen – Antworten.” In Metzger, H.-K. and Riehn 1990, 132-137; repr. in Metzger, H.-K. 2012a, 202-206.

Cage, John/Metzger, Heinz-Klaus and Rainer Riehn 1987b. “Zu Europeras 1 & 2.” Die Opernzeitung Frankfurt no. 3 (December), 3-5; repr. (together with Cage/Metzger 1987) in Metzger, H.-K. 2012, 169-177.

Cage, John/Meyer, Peter R. 1992. “Med öppet sinne för nya upptäckter.” Svenska Dagbladet (14 January); repr. as “John Cage.” In Peter R. Meyer, Ljudkonst: En bok om radion som skapande medium. Stockholm: Proprius, 103-108.

Cage, John/Meyer, Thomas 1991. “Über Joyce mit uns selber kommunizieren: John Cage in Zürich in Gespräch.” Trans. Konrad Rudolf Lienert. MusikTexte no. 40-41 (August), 112-113.

Cage, John/Meyer, Thomas 1992. “Der Komponist John Cage in Gespräch mit Thomas Meyer.” Die Bühne [Wien] (September), 65-68.

Cage, John/Mimaroğlu, Ilhan 1965. “John Cage ile.” Varlık [Istanbul] (15 July); Italian (slightly abbreviated) as “John Cage.” Discoteca alta fedeltà [Milano] (November 1965), 29-30.

Cage, John/Mo, Ettore 1977. “E adesso Cage suonerà con un treno.” Corriere della Sera [Milano] (2 December), 3.

Cage, John/Montague, Stephen 1982a. “Cage Interview.” Contact [London] no. 25 (Fall), 30.

Cage, John/Montague, Stephen 1982b. “Significant Silences of a Musical Anarchist.” Classical Music (22 May), 11.

Cage, John/Montague, Stephen 1983. “El compositor a los setenta.” Trans. José Rafael Calva. Pauta [México] 2, no. 5 (January-March 1983), 40-51; original English as “John Cage at Seventy: An Interview.” American Music 3, no. 2 (Summer 1985), 205-216; Italian as “I settant’anni di John Cage: Un’intervista.” Trans. Caterina Colomba. In Fronzi 2012b, 35-50; repr. as Al di là della musica. Ed. by Giacomo Fronzi. Milano [etc.]: Mimesis, 2013 (Minima/Volti; 44) (review: Garzia 2013).

Cage, John/Morera, Daniela 1976. “John Cage: I souni della vita.” Vogue L’Uomo [Milano] no. 45 (March), [140]-[143]; English as “John Cage: The Sounds of Life.” Ibid., insert.

Cage, John/Mottram, Eric 1974. “The Pleasures of Chaos.” Spanner [London] 1, no. 1 (November), 1-15.

Cage, John/Moulis, Michel 1982. “Comme un oracle…” Les Nouvelles d’Orléans (29 October), 29.

Cage, John/Murphy, Jay 1985. “Red Bass Interview: John Cage: The Gospel According to John Cage.” Red Bass [Tallahassee, Florida] no. 8-9 (August), 7.

Cage, John/MusikTexte 1987. “Wir müssen dankbar sein: Für das Leben und den Tod.” MusikTexte no. 22 (December), 4.

Cage, John/Nellhaus, Arlynn 1968. “‘New’ Music a Wirey Maze.” Denver Post (5 July).

Cage, John/Nicholson, George 1997. “‘Cage par lui-même’: Entrevue avec John Cage.” Circuit [Montréal, Québec] 8, no. 2 (1997), 7-17.

Cage, John/Nieminen, Risto 1983. “John Cage marraskuussa 1982: Taide on itsensä työllistämistä.” Synkooppi [Helsinki] 13, no. 2 (15 June), 54-56.

Cage, John/Nocera, Gigliola 1978. “Alla ricerca del silenzio perduto.” Scena [Milano] 3, no. 2 (April), 21-23.

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

Cage, John/Norton, Michael 1985. “Starteck: John Cage.” Computing the Magazine [London] (6 June), 25.

Cage, John/Nyffeler, Max 1970. “Interview mit John Cage [in English].” Dissonanz: Kritische Zeitschrift für Musik [Zürich] no. 6 (September), 2-7; repr. as “Interview with John Cage about Music and Politics.” Beckmesser: Die Seite für neue Musik und Musikkritik, www.beckmesser.info; Italian as “Intervista con John Cage.” Trans. Fulvia Ketoff. Lo spettatore musicale no. 3 (May-June 1971), 19-22.

Cage, John/Oliver, Michael 2006. “Cage with Michael Oliver.” In Dickinson 2006a, 201-207.

Cage, John/Page, Tim 1981. “Conversation on Nothing.” Zone: A Magazine on Contemporary Arts for the Postliterate Consumer (1981); repr. in Tim Page, Music from the Road: Views and Reviews 1978-1991. New York [etc.]: Oxford University Press, 1992.

Cage, John/Page, Tom 1986. “A Conversation with John Cage.” Boulevard 1, no. 3 (Fall), 43-47.

Cage, John/Palmer, John 2015. “Beautiful Music (1990): A Conversation with John Cage.” In Palmer, J. 2015, 22-28.

Cage, John/Parfitt, Matthew 1982. “The Discipline of Disorder.” Mike [Toronto, Ontario] 36, no. 9 (28 January), 5.

Cage, John/Petazzi, Paolo 1977. “‘Ogni suono è musica’.” L’Unità [Roma] (2 December).

Cage, John/Peter, Charlotte 1991. “‘Für Béjart könnte ich nicht komponieren’.” Züri-Woche (13 June).

Cage, John/Pinard-Legry, Jean-Luc 1982. “‘Chaque chose est centre de toute la création’.” La Quinzaine Littéraire [Paris] no. 382 (16-30 November), 5-6.

Cage, John/Polakovičová, Viera and Daniel Matej 1992. “Interview with John Cage.” Slovak Music [Bratislava] no. 2 (1992), 43-44.

Cage, John/Polling, Kees 1987. “John Cage: De ongeremde vernieuwingsdrang van een controversieel componist.” Avenue [Amsterdam] 22, no. 11 (November), 167-170, 172.

Cage, John/Postma, Henk 1988. “John Cage waarschuwt Nederlandse muzikant.” Provinciale Zeeuwse Courant [Middelburg] (24 June), 20.

Cage, John/Rasmussen, Karl Aage 1984-1985. “En samtale med John Cage - maj 1984.” Dansk Musiktidsskrift 59, no. 1, 4-15.

Cage, John/Raymond, Silvy Panet and John Roberts 1980. “Some Empty Words with Mr. Cage and Mr. Cunningham.” Performance Magazine [London] no. 7 (August), 4-9.

Cage, John/Reinert, Detlev 1992. “Schweigen in drei Sätzen.” Süddeutsche Zeitung [München] (28 August), Magazin, 16-19.

Cage, John/Retallack, Joan 1991. “Conversation with Joan Retallack.” Aerial [Washington, D.C.] no. 6-7 (1991), 97-130.

Cage, John/Retallack, Joan 1996. Musicage: Cage Muses on Words, Art, Music. Ed. by Joan Retallack. Hanover, New Hampshire: University Press of New England; Italian as Musicage: Conversazioni con Joan Retallack. Trans. Luca Fusari. Milano: Il Saggiatore, 2017; Spanish excerpt as Visual Art: John Cage en conversación con Joan Retallack. Trans. Sebastián Jatz Rawicz. Santiago de Chile: Metales Pesados, 2011; Spanish excerpt as Music: John Cage en conversación con Joan Retallack. Trans. Sebastián Jatz Rawicz. Santiago de Chile: Metales Pesados, 2013; Spanish excerpt as Words: John Cage en conversación con Joan Retallack. Trans. Sebastián Jatz Rawicz. Santiago de Chile: Metales Pesados, 2013 (reviews: Baker, K. 1996; Davies, S. 1999; Knox 1998; Kostelanetz 1996h; Patterson, D.W. 1997; Shultis 1998a).

Cage, John/Reynolds, Roger [and Robert Ashley] 1962. “An Interview with John Cage on the Occasion of the Publication of Silence.” Generation [Ann Arbor, Michigan] (January), 39-51; repr. as “Interview with Roger Reynolds.” In Dunn 1962, 45-52; repr. in Schwartz, E. and Childs 1967, 336-348; expanded ed. 1998, 335-348; French as “Entretien (1961).” Trans. Madeleine Chantoiseau. In Charles 1987-1988, 393-401; German (trans. E. Rahn). In Happenings, Fluxus, Pop Art, Nouveau Réalisme: Eine Dokumentation. Ed. by Jürgen Becker and Wolf Vostell. Reinbek bei Hamburg: Rowohlt, 1965, 157-164 (Rowohlt Paperback; 45); repr. 1966; repr. 1968; repr. in Aktionen: Happenings und Demonstrationen seit 1965: Eine Dokumentation. Ed. by Wolf Vostell. Reinbek bei Hamburg: Rowohlt, 1970, 157-164; Italian included in “Conversazioni con Roger Reynolds.” Trans. Elio Grazioli. In Bonomo and Furghieri 1998, 145-156; Swedish as “Ett samtal.” In Cage 1966e, 118-138.

Cage, John/Reynolds, Roger 1979. “A Conversation.” Musical Quarterly 65, no. 4 (October), 573-594; French as “Une conversation (1977).” Trans. Madeleine Chantoiseau. In Charles 1987-1988, 403-413; Italian included in “Conversazioni con Roger Reynolds.” Trans. Elio Grazioli. In Bonomo and Furghieri 1998, 156-170.

Cage, John/Rivera, Nelson 1993. “En y alrededor de Latinoamérica: Una conversación con John Cage.” Claridad [San Juan, Puerto Rico], En Rojo (1993); extended repr in Rivera 2012a, 58-67; abridged repr. Revolución y Cultura [La Habana, Cuba] no. 1 (January-March 2014), 65-69; extended repr. Boletín Música [La Habana, Cuba] no. 40 (May-August 2015), 69-80.

Cage, John/Rolland, Alain 1981. “Entretien avec John Cage.” Tel Quel no. 90 (Winter), 76-80.

Cage, John/Roth, Moira and William Roth 1973. “John Cage on Marcel Duchamp: An Interview.” Art in America 61, no. 6 (November-December), 72-79; repr. (without footnotes) in Masheck 1975, 151-161; repr. in Roth, Moira and Katz 1998, 71-83; full text rev. and expanded as “An Interview with John Cage (1971).” Ed. by Naomi Sawelson-Gorse. Étant donné [Baby] no. 6 (2005), 136-161; French trans. of the rev. text as Rire et se taire: Sur Marcel Duchamp: Entretien avec Moira Roth & William Roth. Introd. and presented by Moira Roth and Naomi Sawelson. Trans Jérôme Orsoni. Paris: Éditions Allia, 2014; German excerpts included in “A propos Marcel Duchamp: Aus der Sicht von 17 Künstlern.” Trans. Caroline Nathusius-Priebe, Friedemann Malsch. In Fischer and Daniels 1988, 277-282.

Cage, John/Samama, Leo 1988. “John Cage: Ik maak geen muziek maar geluiden.” NRC Handelsblad (23 June), 6.

Cage, John/Sanderson, George and Frank Macdonald 1989. “John Cage [statement].” Included in “A McLuhan Symposium.” In Sanderson and Macdonald 1989, p. 120.

Cage, John/Sandler, Irving 2010. Interview. Included in Millar, J. 2010.

Cage, John/Schaak, Martina 1991. “‘Wir leben in einer magischen Welt’.” Musik & Theater 11, no. 6 (June), 10-13, 15.

Cage, John/Schaardenburg, Lieneke van 1970. “De belangrijkheid van het weer.” Haagse Post (14 July), 51-53.

Cage, John/Schindler, Pauline 1996. “Letters: The Brief Love of John Cage for Pauline Schindler.” Ed. Maureen Mary. Ex Tempore [Edmonton, Alberta] 8, no. 1 (Summer), 1-26.

Cage, John/Schloss, Arleen 1990. “Etwas wie das Wetter.” Trans. Elke Schmitter and Christiane Peitz. Die Tageszeitung [Berlin] (25 June), 17.

Cage, John/Schmidt, Felix 1988. “‘Ich möchte dort leben, wo es die Neue Musik nicht gibt’.” Die Welt (22 February), 9.

Cage, John/Schönberger, Elmer 1978. “‘Ik componeer arme muziek voor arme mensen’: De toevalsmanipulaties van John Cage.” Vrij Nederland (3 June), 17, 19; repr. as “Nonsense and Silence.” In Elmer Schönberger, De wellustige tandarts & andere componisten. Amsterdam: De Bezige Bij, 1985, 132-144.

Cage, John/Schöning, Klaus 1982. “Laughtears: Gespräch über ‘Roaratorio’ = Laughtears: conversation on ‘Roaratorio’ [parallel German and English texts; German trans. Klaus Schöning, Christine Hazlehurst and Peter Behrendsen].” In Cage 1982k, 72-114; excerpts (German only) repr. in Bischoff 1991b, 83-87.

Cage, John/Schöning, Klaus 1983. [Untitled] (excerpts from different interviews), included in Schöning 1983c, passim.

Cage, John/Schöning, Klaus 1984-1985a. “Aus dem Briefwechsel zwischen John Cage und Klaus Schöning zum ‘Alphabet’ (1979/81/82).” In English. Neuland: Ansätze zur Musik der Gegenwart [Bergisch Gladbach] 5 (1984-1985), 374.

Cage, John/Schöning, Klaus 1984-1985b. “Gespräch über ‘James Joyce, Marcel Duchamp, Erik Satie: ein Alphabet’.” Neuland: Ansätze zur Musik der Gegenwart [Bergisch Gladbach] 5 (1984-1985), 375-381.

Cage, John/Sears, David 1981. “Talking with John Cage: The Other Side.” Dance News (March).

Cage, John/Serizawa, Takashi, Rumiko Kanesaka, and Michiko Takagishi 1989. “Interview between John Cage and P3.”

Cage, John/Shapiro, David [and Cynthia McCabe, Lindsay Stamm Shapiro] 1985. “On Collaboration in Art.” Res [Cambridge, Massachusetts] no. 10 (Fall), 103-116.

Cage, John/Shoemaker, Bill 1984. “The Age of Cage.” Down Beat 51, no. 12 (December), 26-29.

Cage, John/Shōno, Susumu 1985. “Nyū Yōku no mori no naka de: Keiji to no ni jikan.” Gendai Shi Techō [Tōkyō] 28, no. 5 (April), 277-284, 286-288.

Cage, John/Sinigaglia, Alberto 1987. “Cage: Non ci sono regole per l’avanguardia.” La Stampa [Torino] (5 May), 27.

Cage, John/Smalley, Roger and David Sylvester 1972. “John Cage talks to Roger Smalley and David Sylvester.” Ed. by Christopher Hobbs and David Sylvester. In Music Now 1972, [7]-[14]; repr. as “John Cage (1966).” In David Sylvester, Interviews with American Artists. London: Chatto and Windus, 2001, 107-130; New Haven, Connecticut [etc.]: Yale University Press, 2001, 107-130; repr. as “Cage with David Sylvester and Roger Smalley.” In Dickinson 2006a, 185-195.

Cage, John/Smith, Geoff and Nicola Walker-Smith 1993. “John Cage.” Music Technology (April), 62-64, 66, 68; repr. in Smith, Ge. and N.W. Smith 1994, 71-84.

Cage, John/Smith, Stuart Saunders 1983. “Interview with John Cage.” Percussive Notes 21, no. 3 (March), Research Edition, 3-7.

Cage, John/Smith, Stuart Saunders 1992. “Having Words with John Cage.” Percussive Notes 30, no. 3 (February), 48, 50-52.

Cage, John/Snyder, Ellsworth J. 1992. “John Cage Discusses Fluxus.” Visible Language [Cincinnati, Ohio] 26, no. 1-2 (1992), 59-68; repr. as “An Interview with John Cage.” In Fluxus: Today and Yesterday. Ed. by Johan Pijnappel. London: Academy Editions, 1993, 15-19 (Art & Design Profile; 28 [part of Art & Design 8, no. 1-3]).

Cage, John/Sommers, Scott 1986. Interview. Public News [Houston, Texas] no. 210 (10 April), 1, 8-9; German as “‘I’d like to be surprised’: John Cage im Gespräch.” Trans. Gisela Gronemeyer. MusikTexte no. 15 (July 1986), 23-26; excerpt repr. as “‘Meine Kunst der Absichtlosigkeit’.” Süddeutsche Zeitung [München] (5-6 September 1987), 16.

Cage, John/Sonntag, Brunhilde 1987. “Brunhilde Sonntag im Gespräch mit John Cage.” Zeitschrift für Musikpädagogik [Regensburg] 12, no. 40 (May).

Cage, John/Spiegel, Laurie 1989. “Klang und Stille.” MusikTexte no. 31 (October), 63.

Cage, John/Stanton, David 1982. “Conversation with a Composer.” Daily Trojan [Los Angeles, California], Southern California Magazine 91, no. 61 (19 April), 20-23, 38; excerpts repr. in Kostelanetz 1988b, passim.

Cage, John/Stein, Jean 1982. “John Cage.” In Stein, J. 1982, 235; repr. 1983, 191-192.

Cage, John/Sterritt, David 1982. “Composer John Cage, Master of Notes – and Sounds.” Christian Science Monitor [Boston, Massachusetts] (5 April).

Cage, John/Sumner, Melody, Kathleen Burch, and Michael Sumner 1986. “Interview with John Cage.” In Sumner, Burch, and Sumner 1986, 15-20.

Cage, John/Suzuki, Daisetsu 1962. “Zen’ei geijutsu no hassō to tenkai.” Trans. Toshi Ichiyanagi. Geijutsu Shinchō (November), 106-111.

Cage, John/Sweeney-Turner, Steve 1990. “John Cage’s Practical Utopias.” Musical Times [London] 131, no. 1771 (September), 469-472; rev. repr. as “Cage-Interview Nr. 1 = No. 1.” Frankfurter Zeitschrift für Musikwissenschaft 4, TM 3 (2001), 1-19.

Cage, John/Sweeney-Turner, Steve 1991. “John Cage and the Glaswegian Circus: An Interview around Musica Nova 1990.” Tempo no. 177 (June), 2-6, 8; differently ed. as “Cage-Interview Nr. 2 = No. 2.” Frankfurter Zeitschrift für Musikwissenschaft 5, TM 1 (2002), 1-12.

Cage, John/Sweeney-Turner, Steve 2003. “Cage-Interview Nr. 3 = No. 3.” Frankfurter Zeitschrift für Musikwissenschaft 6, TM 1 (2003), 1-9.

Cage, John/Szántó, Ted 1978. [Untitled] (excerpts from an interview held in Cologne, December 1977). In Benoist 1978, [48], [92].

Cage, John/Taguiev, Pierre 1970-1971. “Une interview de John Cage par Pierre Taguiev.” VH 101 [Paris] no. 4 (Winter), 30-33.

Cage, John/Takemitsu, Tōru 1982. “Subete no inshū kara nogareru tame ni.” Sōgetsu no. 143 <8> (August); repr. Gendai Shi Techō [Tōkyō] 28, no. 5 (April 1985), 90-97; repr. in Takemitsu Tōru taidanshū. Ed. by Tōru Takemitsu. Tōkyō: TBS Buritanika, 1993.

Cage, John/Tarting, Christian and André Jaume 1980. “Entretiens avec John Cage.” Jazz Magazine [Paris] no. 282 (January), 48-51+.

Cage, John/Teirstein, Alice 1974. “Dance and Music: Interviews at the Keyboard.” Dance Scope no. 8 (Spring-Summer), 18-31.

Cage, John/Terra, Vera 1985. “O profeta do acaso.” Tempos Modernos no. 4 (November), 11.

Cage, John/Tiensuu, Jukka 1983. “Cage toi musiikin piirin koko elävän maailman.” Viitasaaren Seutu (22 June), 10-11.

Cage, John/Timar, Andrew, Miguel Frasconi, and Vid Ingelevics 1981. “A Conversation with John Cage.” Musicworks [Toronto, Ontario] no. 17 (Fall), 10-15.

Cage, John/Torrealta, Luca and Toni Verità 1978. “I rumori della revoluzione.” Lotta Continua [Roma] (8 August); repr. in Mogni 1978, 57-67.

Cage, John/Tuomisto, Matti 1983. “John Cage: Musiikki syntyy rakkaudesta ääneen.” Aamulehti [Tampere] (30 July).

Cage, John/Varga, Bálint András 1979. “John Cage.” In Bálint András Varga, Muzsikusportrék. Budapest: Zeneműkiadó, 20-27.

Cage, John/Varga, Bálint András 1986. “John Cage.” In Bálint András Varga, 3 Kérdés, 82 Zeneszerzö. Budapest: Zeneműkiadó, 1986; rev. English ed. of the book as Three Questions for Sixty-Five Composers. Rochester, New York: University of Rochester Press (Eastman Studies in Music; 85); Woodbridge, Suffolk: Boydell & Brewer, 2011, 40-41; Slovak as “Tri otázky J. Cageovi.” Trans. Astrid Rajterová. Slovenská Hudba [Bratislava] 19, no. 1 (1993), 106-122.

Cage, John/Vater, Regina 1982. “A contestacão musical de John Cage.” Interview [São Paulo] no. 49 (May), 40-41.

Cage, John/Villa, Massimo 1977. “Cage contro le gabbie.” Il Re Nudo [Milano] (December), 58-61.

Cage, John/Volkov [Wolkow], Solomon 1982. “‘Mit Tönen darf alles gemacht werden’.” Die Welt (4 September); differently ed. Dutch as “Gesprek tussen Solomon Volkov (biograaf van Sjostakovitsj) en de componist John Cage.” Vrij Nederland (27 November 1982), 23.

Cage, John/Von Rhein, John 1982. “John Cage Takes a New Music ‘Dip’.” Chicago Tribune (4 July), sec. 6, Arts & Books, p. 5-7.

Cage, John/Wallace, Mike 1958. “How’s That Again?” New York Post (10 June), 47.

Cage, John/Wentz, Brooke 1983. “John Cage.” Upstart (1983), 48-51, 54.

Cage, John/White, Michael John 1982. “King of the Avant-Garde.” Observer (26 September), Colour Supplement, 24-25.

Cage, John/White, Robin 1978. “John Cage: Interview by Robin White at Crown Point Press, Oakland, California, 1978.” View [Oakland, California] 1, no. 1 (April), 2-15.

Cage, John/Wicke, Peter 1988. “John Cage: Musik als Prozeß.” Positionen [Berlin] no. 2 (1988), 3-6; repr. as “Stille als Klangform des Dunkels.” In Partitur der Träume: Über Musik und Klänge. Ed. by Andrea Hoffmann and Kim Riemann. Tübingen: Konkursbuchverlag Claudia Gehrke, 1990, 182-187 (Konkursbuch; 25).

Cage, John/Wijers, Louwrien 1990. “Interview with John Cage.” In Art Meets Science and Spirituality. Ed. by Andreas C. Papadakis. London: Academy Editions, 49-53 (Art & design profile; 21).

Cage, John/Wikshåland, Ståle 1984. “Jeg har ikke holdt på noen hemmeligheter: Interview ved Ståle Wikshåland.” Ballade [Oslo] 8, no. 1 (1984), 14-19.

Cage, John/Williams, Barry Michael 1993. “The Early Percussion Music of John Cage, 1935-1943.” Percussive Notes 31, no. 6 (August), 60-67.

Cage, John/Wolff, Helen 2005. “‘Es wird niemals Stille geben…’: Ein bisher unveröffentlichter Briefwechsel zwischen Helen Wolff und John Cage.” Trans. Gisela Gronemeyer. MusikTexte no. 106 (August), 47-50.

Cage, John/Womack, Bill 1979. “The Music of Contingency: An Interview [introduction Alvin Lucier].” Zero [Los Angeles, California] 3, 66-74.

Cage, John/Wördehoff, Thomas 1991. “‘Ich höre alles – aber mit Vergnügen’.” Die Weltwoche [Zürich] (30 May).

Cage, John/Wulffen, Thomas 1984. “An Interview with John Cage.” New York Berlin 1, no. 1; German Zitty (March 1985); repr. With French and German trans. as Rrose to the Occasion: Ein Gespräch = A Conversation = Une conversation. Trans. Stefan Banz. Nürnberg: Verlag für Moderne Kunst ([Cully, Switzerland]: Kunsthalle Marcel Duchamp; 8), 2012.

Cage, John/Žečević, Božidar 1972. “Planeta urlajućih motora.” Telegram no. 52 (29 September).

Cage, John/Zimmermann, Walter 1976. “John Cage.” In Zimmermann, W. 1976, 47-68; repr. in Zimmermann, W. 1981, 285-292; German (trans. Gabriele Schreimel), in Zimmermann, W. 1981, 293-298; excerpt repr. as “Aus einem Gespräch mit John Cage.” In Zeller 1979a, 15-20.

Cage, John/Zurbrugg, Nicholas 1987. “John Cage Interviewed by Nicholas Zurbrugg.” Eyeline [West End, Queensland, Australia] no. 1 (May), 6-7.

Cage, John/Zwerin, Michael 1966. “A Lethal Measurement.” Village Voice (6 January), 13, 19; repr. in Kostelanetz 1970d, 161-167; German as “Das tödliche Maß: Ein Interview mit dem amerikanischen Komponisten John Cage.” Trans. Manfred Miller. Jazz Podium 16, no. 9 (September 1967), 244-245; German as “Das tödliche Gleichmaß.” In Kostelanetz 1970d/1973, 220-225, 227; Turkish as “Ölümcül Bir Ölçüm.” In Cage 2012b.

Cage, John and Luciano Berio/Sinigaglia, Alberto 1987. “Ai confini dello spazio, ecco la musica.” La Stampa [Torino] (5 May), 27.

Cage, John and Merce Cunningham/Lartigue, Pierre 1983. “Inlets II.” Opéra de Paris no. 13 (December), 29.

Cage, John and Merce Cunningham/Sarraute, Claude 1973. “Cage et Cunningham à l’Opéra.” Le Monde (2 November); repr. included in Michel 1982.

Cage, John and Merce Cunningham/Todd, George and Cockrell, Dale 1981. “Questions Answered and Unanswered.” Middlebury College News Letter [Middlebury, Vermont] 55, no. 2 (Winter), 17-22.

Cage, John and Merce Cunningham/Tōno, Yoshiaki 1976. [Interview]. Ryoko Tsushin (July).

Cage, John, Merce Cunningham, and Peadar Mercier/Dickinson, Peter 2006. “Introducing Roaratorio, Cage, Cunningham, and Peadar Mercier with Peter Dickinson.” In Dickinson 2006a, 217-226.

Cage, John and Dennis Russell Davies/Brown, Anthony 1974. “An Interview with Dennis Russell Davies and John Cage.” Asterisk: A Journal of New Music 1, no. 1 (December), 20-25.

Cage, John and Teeny Duchamp/Bailey, David 1972. “Madame Duchamp.” In Andy Warhol: Transcript of David Bailey’s ATV Documentary. London: Bailey Litchfield; Mathews Miller Dunbar, [54]-[56].

Cage, John and Brian Eno/Tannenbaum, Rob 1985. “A Meeting of Sound Minds: John Cage + Brian Eno.” Musician [Marion, Ohio] no. 83 (September), 64-70, 72, 106; Spanish as “John Cage y Brian Eno: Las notas de dos mentes.” Pauta [México] 5, no. 18 (April-June 1986), 28-40.

Cage, John and Morton Feldman/Varga, Bálint András 1986. “These, Antithese, Synthese: Ein Doppelgespräch mit John Cage und Morton Feldman.” Trans. Sigfried Schibli. Neue Zeitschrift für Musik 147, no. 1 (January), 25-27.

Cage, John, Richard Foreman, and Richard Kostelanetz/Marranca, Bonnie 1979. “Art in the Culture.” Performing Arts Journal [New York] 4, no. 1-2 <no. 10-11> (May), 70-84; repr. in Kostelanetz 1997f, 111-124; repr. in Conversations on Art and Performance. Ed. by Bonnie Marranca and Gautam Dasgupta. Baltimore, Maryland: Johns Hopkins University Press, 1999, 114-127; German excerpt as “Das ganze leben mit Kunst durchdringen.” Trans. Marina Spinn. Theater Heute 21, no. 1 (January 1980), 20-24.

Cage, John and John Fullemann 1982. “Montestella d’Ivrea [in Italian and English].” In Masotti, Franco et al. 1982, 34-35.

Cage, John and Gary Goldstein 1992h. That’s Not the Way. Jerusalem: Shalom Yehuda Press.

Cage, John and Lejaren Hiller/Austin, Larry 1968. “HPSCHD.” Source [Sacramento, California] 2, no. 2 <no. 4> (July), 10-19; repr. (preceded by reminiscences by Larry Austin) as “An Interview with John Cage and Lejaren Hiller.” Computer Music Journal 16, no. 4 (Winter 1992), 15-29; repr. in Austin, L. and Kahn 2011, 146-160; Swedish Nutida Musik [Stockholm] 13, no. 4 (1969-1970), 16-25.

Cage, John, Irwin Kremen, and David Tudor/Austin, Larry 1967. “Correspondence and Telephone Conversation with the Editor.” Source [Sacramento, California] 1, no. 2 <no. 2> (July), 55; repr. in Austin, L. and Kahn 2011, 77-78.

Cage, John, Helmut Lachenmann and Heinz-Klaus Metzger 2012. “Gespräch zwischen John Cage, Helmut Lachenmann und Heinz-Klaus Metzger.” In Metzger, H.-K. 2012a, 178-190.

Cage, John and Lois A. Long 1982. Mud Book: How to Make Pies and Cakes. New York: Callaway Editions; London: 12 Duke Street Gallery and David Grob Editions [554 signed and numbered copies]; repr. New York: Harry N. Abrams, 1988; repr. Princeton, New Jersey: Princeton Architectural Press, 2017.

Cage, John and Paul Stephen Miller 1994. “Unabstracted.” Poetry New York no. 7 (Winter), 65-66.

Cage, John and Conlon Nancarrow/Amirkhanian, Charles 1989. “‘Das Universum sollte wie Bach sein, aber es ist wie Mozart’: John Cage und Conlon Nancarrow im Gespräch.” MusikTexte no. 31 (October), 35-45; orig. English text as “‘The Universe Should Be like Bach, But It Is like Mozart’: John Cage and Conlon Nancarrow in Conversation.” World New Music Magazine [Cologne] no. 2 (May 1992), 47-70; Spanish as “‘El universo deberiá ser como Bach, pero es como Mozart’: Conversación.” Pauta [México] 13, no. 50-51 (April-September 1994), 114-139.

Cage, John and Conlon Nancarrow/Soltes, Eva 1982. [Untitled] (excerpts from interview), in Eva Soltes, ‘Conlon Nancarrow: eine audio-visuelle Präsentation produziert von Eva Soltes: fotografiert von Philip Makanna’. Unpublished.

Cage, John and M.C. Richards/Slivka, Rose 1978. “Lifecraft: John Cage and M. C. Richards Talk on Work and Worth / Part 1.” Craft Horizons [New York] 38, no. 8 (December), 28-31.

Cage, John and M.C. Richards/Slivka, Rose 1979. “Lifecraft: John Cage and M. C. Richards Talk on Work and Worth / Part 2.” Craft Horizons [New York] 39, no. 1 (February), 41-43.

Cage, John and William Russell 1939. “Percussion Music and Its Relation to the Modern Dance.” Dance Observer [New York] 6, no. 8 (October), 266, 274.

Cage, John, Roger Shattuck and Alan Gillmor 1982. “Erik Satie: A Conversation.” Contact [London] no. 25 (Fall), 21-26.

Cage, John, Jack Troy and Francis Merritt 1974. “A Cross Section on ‘The Crossing Point’.” Craft Horizons [New York] 34, no. 2 (April), 33, 64-65.

Cage, John and Wolfgang Sterneck 1992. Stille, Bewußtsein und Veränderung. Maintal: KomistA.

Cage, John and Karlheinz Stockhausen/Paik, Nam June 1961. [Conversation]. Ongaku Geijutsu 19; excerpt repr. in Cage 1969a, p. [Bodin]-[Boulez].

Cage, John and Calvin Sumsion 1970. “Not Wanting to Say Anything about Marcel: Plexigram IV.” Source [Sacramento, California] 4, no. 1 <no. 7> (January), 1-17.

Cage, John et al. 1966 [Stanley Kauffmann and others]. “The Changing Audience for the Changing Arts: Panel.” In The Arts: Planning for Change: Twelfth National Conference Associated Councils of the Arts (formerly Arts Councils of America), May 19-21, 1966, New York, New York. New York: Associated Councils of the Arts, 23-52 and passim.

Cage, John et al. 1968 [Stan Brakhage, Jonas Mekas, Stan VanDerBeek]. “Symposium.” Cinema Now [Cincinnati, Ohio] no. 1 (1968), 5-21.

Cage, John et al. 1970. [Two Short Poems]. In Kostelanetz 1970d, 120; repr. with German trans. as “Zwei kurze Gedichte.” In Kostelanetz 1970d/1973, 170.

Cage, John et al. 1972. Biology and the History of the Future. In Waddington 1972, passim.

Cage, John et al. 1986 [Keith Potter, Reinhard Oehlschlägel, Christoph von Blumröder]. “Zbirka kamenova.” In Skladateljske sinteze osamdesetih godina: Muzički biennale Zagreb 1985 = Compositional Syntheses of the Eighties: The Music Biennale Zagreb 1985. Ed. by Marija Božić and Eva Sedak. Trans. Danijel Bućan, Marija Marušić, Eva Sedak, Maja Šoljan, Nada Šoljan, Mihaela Vekarič. Zagreb: Muzički Biennale Zagreb/Zagreb Music Biennale, 43-53; English as “Collection of Rocks.” Ibid., 155-165.

Cage, John et al. 1987, eds. John Cage: Europeras 1 & 2, in 12 different editions. Frankfurt am Main: Stadt Frankfurt am Main, Städtische Bühnen, Oper Frankfurt, unpag.

Cage, John et al. 1992. [Text]. In The Black Mountain Connection: John Cage, Merce Cunningham, Irwin Kremen, M.C. Richards: The Tampa Museum of Art, September 13-November 22, 1992. Tampa, Florida: Museum of Art.

Cage, John et al./Antigonish Review 1988. “A McLuhan Symposium.” Response to request for remarks. Antigonish Review no. 74-75 (summer-fall), 117-126 at 125.

Cage, John et al. [Merce Cunningham, Richard Kostelanetz, Nam June Paik]/Ashton, Dore 1980. “Time and Space Concepts in Music and Visual Art: A Symposium.” In Time and Space Concepts in Art. Ed. by Marilyn Belford and Jerry Herman. New York: Pleiades Gallery, 1-25 (Time and Space; I).

Cage, John et al./Austin, Larry 1969. “Events/Comments: Is New Music Being Used for Political or Social Ends?” Response to questionnaire. Source [Sacramento, California] 3, no. 2 <no. 6> (July), 7-9, 90-91; excerpt repr. in Cage 1993d, 115; full text repr. in Austin, L. and Kahn 2011, 211-219.

Cage, John et al./Dansk musiktidsskrift 1964. “ISCM – for What?” Response to questionnaire. Dansk musiktidsskrift 39 (1964), 108.

Cage, John et al./Everett, Tom 1980. “10 Questions: 270 Answers.” Response to questionnaire. The Composer 10-11, 57-103.

Cage, John et al. [Michael Astor, David Attenborough, J.G. Ballard, Joe Boyd, Sue Braden, William Burroughs, John Calder, Tony Garnett, Julia Kristeva, Michael Kustow, Joe Tilson, Richard Wollheim]/Kermode, Frank 1970. “Is an Elite Necessary?” Listener [London] 84, no. 2171 (5 November), 619-623; repr. as “Cage with Frank Kermode.” In Dickinson 2006a, 196-200.

Cage, John et al./Mainliner 1977. “Creativity.” Mainliner [Los Angeles, California] 21, no. 7 (July), 25-31.

Cage, John et al./Music in Education 1978. “Education?” Anecdote. Music in Education [London] 42, no. 389, 20-21.

Cage, John et al./Nancarrow, Conlon 1994. “Del archivo epistolar de Conlon Nancarrow.” Pauta [México] 13, no. 50-51 (April-September), 140-147.

Cage, John et al./Sers, Philippe 1977. “Faut-il vraiment vénérer Duchamp?” Connaissance des arts no. 229 (January), 46-65.

Cage, John et al. [Ross Lee Finney, William Hellermann, Netty Simons]/Speach, Bernadette 1985. “Reminiscenses.” In Composers’ Forum: 50 Years Retrospective. New York: Composers’ Forum [announcement for 1985-1986 season].

Cage, John et al./Varga, Bálint András 1984. “Three Questions on Music.” New Hungarian Quarterly 25, no. 93, 197+, esp. 198.

Cage, John et al./Vogue Deutsch 1985. “Was ist modern? VOGUE fragt, und 15 Prominente aus Kunst, Kultur und Wissenschaft geben Auskunft!” Response to questionnaire. Vogue Deutsch no. 1 (January), 160-163, Cage on p. 163.

Cage, John et al./Works and Days 1969. “The University and the Arts: Are They Compatible?” Response to questionnaire. Works and Days 1, no. 1 (Spring).

Cage, John et al./Zeit 1982. “Unser anderes Amerika [response to questionnaire].” Die Zeit (11 June), 37.

Cage 1985. Cage. Zagreb: Muzički Biennale, with supplement, [1] p.

Cahill, Sarah 1986. Review of Sumner, Burch, and Sumner 1986. East Bay Arts 1, no. 4 (December).

Cairns, David 1982. “Cage: The Soothing Sound of Silence.” Sunday Times (6 June).

CalArts Today 1982. “Cage/Coleman: Yin and Yang.” CalArts Today 7, no. 3 (January), 1-3.

Calasso, Roberto 1977. “John Cage o il piacere del Vuoto.” Panorama (20 December), 68; repr. in Mogni 1978, 71-74.

Caldwell, Larry 1978. “Show Features Common Sounds.” Daily Camera [Boulder, Colorado] (31 October).

Cale, John 1993. “Come si dice Zen in gallese?” In Costa, L. et al. 1993, 841-843.

Călinescu, Matei 1977. Faces of Modernity: Avant-Garde, Decadence, Kitsch. Bloomington: Indiana University Press; rev. ed. as Five Faces of Modernity: Modernism, Avant-Garde, Decadence, Kitsch, Postmodernism. Durham, North Carolina: Duke University Press, 1987.

Calis, Hein 1983. “Stuk van Cage in kerk onvermoede ervaring.” De Volkskrant [Amsterdam] (30 May).

Callahan, Daniel M. 2012. “The Dancer from the Music: Choreomusicalities in Twentieth-Century American Modern Dance.” Ph.D. Diss., Columbia University.

Callahan, Daniel M. 2018. “The Gay Divorce of Music and Dance: Choreomusicality and the Early Works of Cage-Cunningham.” Journal of the American Musicological Society 71, no. 2 (Summer), 439-525.

Cameron, Catherine M. 1985. “Fighting with Words: An Analysis of Post War Composer Commentary.” Comparative Studies in Society and History 27, no. 3 (July), 430-460.

Cameron, Catherine M. 1996. Dialectics in the Arts: The Rise of Experimentalism in American Music. Westport, Connecticut [etc.]: Praeger.

Cameron, Dan 1993. Review of Ferguson, R. and Schottlaender 1993. Artforum (December), 72.

Camilleri, Lelio 2003. “L’esperienza elettroacustica di John Cage: Astrazione e casualità.” In Ballardini, Cutroneo, and Negri 2003, 133-146.

Campana, Deborah 1981-1982. “New Music America 1982: Chicago, July 5-11, 1982.” Perspectives of New Music 20, no. 1-2 (Fall-Summer), 609-614.

Campana, Deborah (Ann) 1985. “Form and Structure in the Music of John Cage.” Ph.D. Diss., Northwestern University, Evanston, Illinois.

Campana, Deborah 1987-1988. “Le ‘Quatuor à cordes’ de John Cage.” Trans. Daniel Charles. In Charles 1987-1988, 103-109; excerpt of the original English text as “On Cage’s ‘String Quartet in Four Parts’.” In Kostelanetz 1993f, 82-84.

Campana, Deborah 1989a. “A Chance Encounter: The Correspondence between John Cage and Pierre Boulez, 1949-1954.” In Fleming, R. and Duckworth 1989, 209-248.

Campana, Deborah 1989b. “Sound, Rhythm and Structure: John Cage’s Compositional Process before Chance.” Interface 18, no. 1-2 (1989), 223-241.

Campana, Deborah 1993. “Episodios.” Trans. Xabier Meilán. Creación [Madrid] no. 9 (October), 92-96.

Campana, Deborah 2001. “As Time Passes.” In Bernstein, D.W. and Hatch 2001, 120-136.

Campana, Deborah 2012. “Happy New Ears! In Celebration of 100 Years: The State of Research on John Cage. Notes 2nd series, 69, no. 1 (September), 9-22.

Campanino, Mario 2000. “Alea e forma nella poetica di Pierre Boulez.” Musica/Realtà [Lucca] 21, no. 62 (July), 69-78.

Campbell, Charles Lewis 1997. “Investigations of Representational Practices in Mid-Twentieth-Century ‘Avant-Garde’ Works.” Ph.D. Diss., University of Minnesota.

Campbell, Cynthia V. 1992. “LSU Festival to Unlock Cage.” Baton Rouge Morning Advocate [Baton Rouge, Louisiana] (ca. 9 February), 7-8.

Campbell, Francean 1949. “The Cage with the Musical Bars.” San Francisco Chronicle (27 February), This World, 14.

Campbell, Frank 1972. “Notes for Notes.” Notes 2nd series, 28, no. 3 (March), 419-422.

Campbell, Iain 2015. “Experimental Practices of Music and Philosophy in John Cage and Gilles Deleuze.” Ph.D. Diss., Kingston University London.

Campbell, Iain 2017. “John Cage, Gilles Deleuze, and the Idea of Sound.” Parallax [London] 23, no. 3 (2017), 361-378.

Campbell, Iain 2018. Review of Panzner 2015. Deleuze and Guattari Studies [Edinburgh] 12, no. 3 (August), 444-453.

Campbell, Iain 2020. “Sound’s Matter: ‘Deleuzian Sound Studies’ and the Problems of Sonic Materialism.” Contemporary Music Review 39, no. 5 (2020), 618-637.

Campbell, Mariruth 1955. “John Cage, Composer, to Appear Soon in Foundation Concert.” Rockland County Journal News [Nyack, New York] (21 September), 6.

Campbell, Mark Robin 1992. “John Cage’s 4'33": Using Aesthetic Theory to Understand a Musical Notation.” Journal of Aesthetic Education [Champaign, Illinois] 26, no. 1 (Spring), 83-91.

Campbell, Mary 1982. “Merce Cunningham Unveils His ‘Trails’.” Times-Union and Journal [Jacksonville] (28 March).

Campbell, Mary 1987. “Avant-Garde Composer to Celebrate His 75th.” Staten Island Advance [New York] (2 September); slightly differently edited reprints as “Cage Continues Unorthodox Career with Birthday Show.” Monroe News-Star-World [Monroe, Louisiana] (4 September); “John Cage: Composer Avant-Garde.” Desert Sun [Palm Springs, California] (4 September); “Musical Inventor Parties with Circus at 75.” San Gabriel Valley Daily Tribune [San Gabriel, California] (4 September); “John Cage Remains a Musical Innovator as He Reaches 75.” Richmond Times-Dispatch [Richmond, Virginia] (5 September); “Cage Battles Musical Status Quo.” Schenectady Gazette [Schenectady, New York] (7 September).

Campbell, Patricia Shehan 1990. “From Cage to Glass: Lessons for the Late Twentieth Century.” British Journal of Music Education 7, no. 1 (1990), 15-24.

Campbell, R.M. 1977a. “The Best, Worst of Cage.” Seattle Post-Intelligencer (10 September).

Campbell, R.M. 1977b. “Cunningham: Like No Other.” Northwest Arts [Seattle, Washington] 3, no. 7 (23 September), 1.

Campbell, R.M. 1977c. “The Dialogue that Never Was.” Seattle Post-Intelligencer (8 September).

Campbell, R.M. 1977d. “Everybody Collaborates with Merce Cunningham.” Seattle Post-Intelligencer (between 22 August-10 September), 1, 6.

Campbell, R.M. 1983a. “Cage’s Sounds Define the Nature of Music.” Seattle Post-Intelligencer (12 December).

Campbell, R.M. 1983b. “John Cage Talks about Nellie Cornish and a Naked Morris Graves.” Seattle Post-Intelligencer (9 December), What’s Happening, p. 3.

Campbell, R.M. 1987. “Independent Movement, Music.” Los Angeles Times (2 September), section VI, 2.

Campos, Augusto de 1973. “Cage: Chance: Change.” Minas Gerais (8 December), Suplemento Literário, 6-7.

Campos, Augusto de 1979. “A música livre de amanhã.” Review of Cage 1979c. Somtrês [São Paolo] (December), 122.

Campos, Augusto de 1982. “O profeta e guerrilheiro da arte interdisciplinar.” Folha de S. Paulo (5 September), 6.o Caderno, 44.

Campos, Augusto de 1985a. “Cage: Chance: Change.” In Cage 1967o/1985, ix-xxiii.

Campos, Augusto de 1985b. “John Cage, um inventor entre nós.” Folha de São Paulo (5 October), 47.

Campos, Augusto de 1985c. “A música e as idéias de John Cage.” O Estado de São Paulo (5 October), Jornal da Tarde, 5.

Canal 1978. “Ateliers John Cage et Merce Cunningham.” Canal [Paris] (15 April).

Canby, Edward Tatnall 1961. “Pretty Cagey.” Audio 45, no. 10 (October), 12-14, 56, 91-92.

Canby, Edward Tatnall 1969. “Electronic Music Styles.” Audio 53, no. 10 (October), 34+.

Cane, Giampiero 1973. Canto nero: Il free jazz degli anni sessanta. Rimini: Guaraldi; 2nd ed. as Canto nero. Bologna: Cooperative Libraria Universitaria, 1982.

Cane, Giampiero 1993. “Cage e Nono, happy end.” Il Manifesto (22 June), 17.

Cane, Giampiero 1996. “Una finestra aperta a Palermo.” Il Saggiatore Musicale: Rivista semestrale di musicologia 3, no. 1 (1996), 165-70.

Cane, Giampiero and Giovanni Morelli 1976. Musica senze padri: Apprendimento della musica e limiti della pedagogia musicale. Rimini [etc.]: Guaraldi (Ipotesi di cultura; 13).

Canick, Michael 1984. Review of Gena and Brent 1982. Notes 2nd series, 41, no. 1 (September), 49-51.

Canino, Bruno 1972. “La musica per pianoforte di John Cage.” Quaderni della Rassegna musicale 5, 75-96.

Canino, Bruno 2001. “L’evoluzione del concetto di virtuosismo da Busoni alla Nuova Musica.” In Ferruccio Busoni e il pianoforte del Novecento [proceedings of the international conference organized by the Centro Studi Musicali Ferruccio Busoni, 12-14 November 1999, Empoli]. Ed by Marco Vincenzi. Lucca: Libreria Musicale Italiana, 263-270 (Quaderni di Musica/Realtà; 50).

Cannel, Ward 1960. “Is Noise Music to Our Ears?” Redlands Daily Facts [Redlands, California] (30 November), 2.

Cantagrel, Gilles 2003. Les plus beaux manuscrits de la musique classique. Paris: La Martinière; France musiques; German as Musikhandschriften aus 10 Jahrhunderten von Guido von Arezzo bis Karlheinz Stockhausen. Trans. Egbert Baqué. München: Knesebeck, 2005.

Canning, Hugh 1990. “Sound Investment in the New.” Sunday Times (30 September).

Cardew, Cornelius 1961. “Notation – Interpretation, Etc.” Tempo no. 58 (Summer), 21-33.

Cardew, Cornelius 1964. “Cage and Cunningham.” Musical Times [London] 105, no. 1459 (September), 659-660.

Cardew, Cornelius 1969. “Joy and Revolution.” Review of Cage 1969a. Studio International [London] (July-August), 42, 44.

Cardew, Cornelius 1972. “John Cage; Ghost or Monster?” Listener [London] 87, no. 2249 (4 May), 597-598; enl. and ann. repr. in Cardew 1974, 34-40; repr. Leonardo Music Journal 8 (1998), 3-4.

Cardew, Cornelius 1974. Stockhausen Serves Imperialism and Other Articles. London: Latimer.

Cardew, Cornelius 1976. “Wiggly Lines and Wobbly Music.” Studio International [London] 192, no. 984 (November-December), 249-255.

Cardini, Giancarlo 1993. [Untitled]. In Costa, L. et al. 1993, 874.

Cardini, Giancarlo 1999. “Gli usi dell’alea nella musica pianistica di Cage.” Musica/Realtà [Lucca] 20, no. 60 (November), 93-119; repr. in Ballardini, Cutroneo, and Negri 2003, 87-113.

Cardini, Giancarlo 2012. “‘Non c’è vera libertà nell’approccio di John’.” Alfabeta 2 [Milano] no. 24 (November), supplement AlfaCage.

Carey, Christian 2021. Review of Iddon and Thomas 2020. Tempo no. 295 (January), 117-119.

Carey, David Leslie 1978. “Double Music: A Historio-Analytical Study.” M.A. thesis, University of California, San Diego.

Cargas, Harry James 1981. “University Presses: Some Important Contributions.” Review of Cage 1979c. Catholic Library World 52 (March), 344-345.

Cargill, Simon 1989a. “Huddersfield Town Hall: Roaratorio.” Yorkshire Post (23 November).

Cargill, Simon 1989b. “Silence is Golden.” Huddersfield Daily Examiner (30 November).

Cargill, Simon 1989c. “Silent Might.” Yorkshire Post (20 November).

Cariaga, Daniel 1977. “Informal Festivities in Northern California.” Los Angeles Times (11 September), Calendar, 7.

Cariaga, Daniel 1987. “Cage Series Is Complete at Embassy.” Los Angeles Times (14 September), Section 6, 2.

Carithers, Kirsten L. Speyer 2017. “The Work of Indeterminacy: Interpretive Labor in Experimental Music.” Ph.D. Diss., Northwestern University.

Carl, Gene 1989. “The Prepared Piano: John Cage.” In Raaijmakers 1989a, 28-35.

Carl, Robert 1989. “The Politics of Definition in New Music.” College Music Symposium 29 (1989), 101-114.

Carl, Robert 1995. “Cage: Atlas Eclipticalis.” Fanfare (January-February), 372-374.

Carlin, S. 1977. “ISCM World Music Days.” High Fidelity/Musical America 27 (April), Musical America, 31.

Carlson, Eleanor 1997. Review of Greensye Music 4794 (recording). Sonneck Society Bulletin 23, no. 1, 26.

Caro Mendoza, Hernando 1980. [Untitled]. El Espectador (9 April).

Carolan, Michael and Kevin Dilmore 1988. “Artist’s Performance Stimulates Creativity.” University Daily Kansan (29 April), 1.

Carpenter, Patricia 1967. “The Musical Object.” Current Musicology no. 5 (1967), 56-87.

Carr, Tim 1978. “3 C’s of American Music to Be Featured in Twin Cities Events.” Minneapolis Tribune (30 April), 1D, 10D.

Carrera, Alessandro 1998. “Parabola per chi crede nel caso.” In Bonomo and Furghieri 1998, 34-40.

Carrera, Carlota 1982. “Ballet: Merce Cunningham.” El Mundo (9 March), 5-B.

Carreton Cano, Vicente 1992a. “Cage y España. Notas para una bibliografía española.” Atlántica [Las Palmas] no. 4 (1992).

Carreton Cano, Vicente 1992b. “John Cage o la revelación de la eterna escucha.” Atlántica [Las Palmas] no. 4 (1992).

Carroll, Joanna 1992. “Famous Composer to Perform in Music Festival.” Daily Reveille [Baton Rouge, Louisiana] (ca. 10 February).

Carroll, Mark 2003. Music and Ideology in Cold War Europe. Cambridge [etc.]: Cambridge University Press (Music in the Twentieth Century; 18).

Carroll, Noël 1994. “Cage and Philosophy.” Journal of Aesthetics and Art Criticism 52, no. 1 (Winter), 93-98; repr. in Alperson 1998, 125-130.

Carter, Elliott 1946. “Scores for Graham; Festival at Columbia.” Modern Music 23, no. 1 (Winter), 53-55.

Carter, Elliott 1953. “Illinois Festival – Enormous and Active.” New York Herald Tribune (5 April) , Section 4, p. 5; repr. Bulletin of American Composers Alliance [New York] 3, no. 2 (Summer 1953), 17.

Carter, Elliott 1959. “Current Chronicle.” Musical Quarterly 45, no. 4 (October), 530-541; repr. in Carter 1977, 173-184.

Carter, Elliott 1963. “Letter from Europe.” Perspectives of New Music 1, no. 2 (Spring), 195-205; repr. in Carter 1977, 219-230.

Carter, Elliott 1971. [Untitled]. Included in “Stravinsky (1882-1971): A Composers’ Memorial.” Perspectives of New Music 9, no. 2-10, no. 1 (Fall-Winter), 1-6; repr. in Carter 1977, 301-306.

Carter, Elliott 1977. The Writings of Elliott Carter: An American Composer Looks at Modern Music. Ed. by Else Stone and Kurt Stone. Bloomington, Indiana: Indiana University Press.

Carter, Elliott/Beer, Roland de 1982. “Componeren in de VS: ‘gras kweken in de woestijn’.” De Volkskrant [Amsterdam] (4 June).

Caruso, Michael 1995. “Art, Music Mixtures.” Chestnut Hill Local [Philadelphia, Pennsylvania] (15 June).

Carvalho, Régis de 2018. “Técnicas estendidas para a voz: A vocalidade contemporânea nas obras de Cage, Berio, Ligeti e Schoenberg.” Revista Vórtex [Curitiba] 6, no. 1 (2018), 1-25.

Carwithen, Edward Ralph 1991. “Henry Cowell: Composer and Educator.” Ph.D. Diss., History and Literature, University of Florida.

Casagrande, Christophe 2009. “Qu’est-ce que la musique?” In Christophe Casagrande, L’énergétique musicale: Sept études à travers la création contemporaine: De Varèse à Schaeffer. Paris: l’Harmattan, 105-140 (Univers musical).

Cascone, Kim 1999. Review of Toop, D. 1995. Computer Music Journal [Cambridge, Massachusetts] 23, no. 2 (Summer), 98-99.

Casey, Rob 2016. “Cage and Tudor as Process.” Contemporary Music Review 35, no. 6 (2016), 670-685.

Cash, Debra 2015. “Making a Spectacle of Herself.” Review of Rothfuss 2014. Women’s Review of Books [Philadelphia, Pennsylvania] (May-June).

Caskel, Julian 2015. Review of Schultz, W.-A. 2014. Die Musikforschung 68, no. 4 (2015), 456-458.

Cassaro, James P. 1981. A Bibliography of John Cage. Denton: North Texas State University Music Library.

Castaldi, Paolo/Martinengo, Luciano 1978. “Un’eredità di John Cage?” In Mogni 1978, 75-85; repr. as “Un’eredità di John Cage.” Quaderni di musica nuova no. 3 (1989), 18-25.

Castiglioni, Niccolò 1978. “Cage, il barometro.” In Mogni 1978, 135-137.

Castine, Peter 1996. “Review of John Cage Symposium, Berlin, Germany, Nov. 23-25.” Music Theory Online [Cambridge, Massachusetts] 2, no. 3 (March).

Cater, Percy 1954. “Grand Piano Noise – But Not Music.” Daily Mail [London] (10 November), 5.

Catucci, Stefano 2012. “Una meravigliosa arte di pensare con i suoni.” Alfabeta 2 [Milano] no. 24 (November), supplement AlfaCage.

Caux, Daniel 1970a. “Musique contemporaine: John Cage.” Combat [Paris] (26 October).

Caux, Daniel 1970b. “Qui est John Cage?” Chroniques de l’Art Vivant no. 11 (May-June), 18-23.

Caux, Daniel 1990. “John Cage, La Monte Young et la dissidence musicale d’aujourd’hui.” Art Press (September).

Caux, Daniel 1992. “La musique sans Cage.” Diapason-Harmonie no. 386 (October), 36-38.

Cavicchi, Adriano 1978a. “Cage da camera: Fascino diverso.” Il Resto del Carlino [Bologna] (2 July).

Cavicchi, Adriano 1978b. “Credono che sia un treno ma è un Concerto Grosso.” Il Resto del Carlino [Bologna] (28 June).

Cavicchi, Adriano 1978c. “‘La locomotiva, che stimolo’.” Il Resto del Carlino [Bologna] (3 June).

Cavicchi, Adriano 1978d. “Un silenzio impossibile.” Il Resto del Carlino [Bologna] (30 June).

Cazaban, Costin 1995. Review of Hat Art CD 6159 (recording). Le Monde de la Musique no. 186 (March).

Celant, Germano 1984. “Marcel Duchamp y la Babel de los lenguajes [Spanish and English].” In Moure 1984, 68-79.

Celant, Germano 1999, ed. Merce Cunningham. Exhibition catalogue, Barcelona, Fundació Antoni Tàpies, 5 February-4 April 1999; Porto, Fundação de Serralves, 10 September-7 November 1999; Turin, Castello de Rivoli, 20 January-2 April 2000; Vienna, Museum Moderner Kunst Stiftung Ludwig, 28 April-11 June 2000. Milano: Charta; Barcelona: Fundació Antoni Tàpies (review: Jackson, P. 1999).

Celedón, Gustavo B(órquez) 2015a. “John Cage y la posibilidad de pensar el sonido como acontecimiento: Aproximaciones filosóficas a su obra.” Revista Musical Chilena [Santiago de Chile] 69, no. 223 (January-July), 73-85.

Celedón, Gustavo B(órquez) 2015b. “Políticas del espectro de John Cage: Su obra musical a travès de Jacques Derrida.” Per Musi [Belo Horizonte] no. 32 (2015), 114-136.

Cella, Carlo Maria 1978. “Happy New Ears.” In Mogni 1978, 99-103.

Cella, Carlo Maria 1984. “Il ‘canto’ del profeta Cage.” Il Giorno (7 May).

Central Opera Service Bulletin 1988. Review of Kostelanetz 1988b. Central Opera Service Bulletin 28, no. 4, 70-71.

Centre national d’art et de culture Georges Pompidou 1988. Les années 50 [exhibition catalogue]. Paris: Centre Georges Pompidou.

Cerchio, Bruno 1985. “Cage, John.” In Dizionario enciclopedico universale della musica e dei musicisti: Le biografie. Ed. by Alberto Basso. Torino: Unione Tipografico-Editrice Torinese, vol. 2, 43-45.

Cerha, Gertraud 1987. “New Music in Austria since 1945.” Tempo no. 161-162 (June-September), 36-51.

Cerveró, Joan 2009, ed. John Cage: Paisajes imaginarios, Conciertos & Musicircus = John Cage: Imaginary Landscapes, Concerts & Musicircus [exhibition catalogue, 3 October-28 December 2008; contributions by Joan Cerver, Francisco Ramos, Carmen Pardo, Vicente Carreton Cano and Richard Kostelanetz]. Castelló de la Plana: Espai d’Art Contemporani de Castelló.

Chadabe, Joel 1972. “Le principe du ‘voltage-control’ et ses implications pour le compositeur.” Trans. Françoise Chadabe. Musique en jeu no. 8 (September), 36-40.

Chadabe, Joel 1975. “The Voltage-controlled Synthesizer.” In Appleton and Perera 1975, 138-188.

Chadabe, Joel 1983. Review of Griffiths, P. 1981a. Computer Music Journal 7, no. 3 (Fall), 37-38.

Chadabe, Joel 1997. Electric Sound: The Past and Promise of Electronic Music. Upper Saddle River, New Jersey [etc.]: Prentice-Hall (reviews: Arpel 1997; Burt, W. 1998; Di Scipio 1999a; Omlin 1998).

Chadabe, Joel 2007. “John Cage and Lejaren Hiller’s HPSCHD: A Reminiscence and a New Recording [discusses Electronic Music Foundation EMF Media CD 038 (recording)].” Musicworks [Toronto, Ontario] no. 98 (Summer), 36-43.

Chadwick, Susan 1994. “John Cage’s Circus of Art.” Houston Post (9 January).

Chalupecky, Jindrich 1975. “Tempo zero.” Data [Milano] no. 18 (September-October), 80-87.

Champaign-Urbana Courier 1967. “19 Professors Appointed.” Champaign-Urbana Courier (14 March).

Champaign-Urbana Courier 1969a. “Decade of Computer Music Study Culminating in HPSCHD.” Champaign-Urbana Courier (15 May), 8.

Champaign-Urbana Courier 1969b. “‘HPSCHD’ Screens [photograph].” Champaign-Urbana Courier (15 May), 3.

Chan, Cheong Jan 2013. “The Quest for ‘Newness’ in Jazz: Implications of Cage’s Relationship with Jazz.” Malaysian Music Journal [Tanjung Malim, Perak] 2, no. 2 (December), 22-33.

Chan, Melissa 1993. “A Circus of Art at MOCA.” Rafu Shimpo (15 September).

Chanan, Michael 1970. “Cage’s Naive Cosmology.” Music and Musicians 19 (December), 89.

Chanan, Michael 1999. From Handel to Hendrix: The Composer in the Public Sphere. London [etc.]: Verso (review: Cubitt 2001).

Chang, Sangtae 1998. “Boulez’s Sonatine and the Genesis of His Twelve-Tone Practice.” Ph.D. Diss., University of North Texas.

Chapman, Ernest 1972. “New Music at the Proms.” Musical Events 27 (October), 8-9+.

Chapman, Francesca 1995. “Serendipity, per Chance?” Daily News [Philadelphia, Pennsylvania] (prior to 4 June).

Charles, Daniel 1965. “Entr’acte: ‘Formal’ or ‘Informal’ Music?” Musical Quarterly 51, no. 1 (January), 144-165; repr. in Lang, P.H. and Broder 1966, 144-165; excerpt repr. in Kostelanetz 1970d, 183-186; excerpt in German as “Zwischenspiel: ‘formelle’ und ‘informelle’ Musik.” In Kostelanetz 1970d/1973, 246-248.

Charles, Daniel 1966. “Nature et silence chez John Cage.” In Le langage: Actes du XIIIme Congrès des Sociétés de Philosophie de langue française, Genève, 2-6 août 1966. Neuchâtel: A la Baconnière, vol. 1, 172-174; repr. in Charles 1978c, 15-18.

Charles, Daniel 1967. “Ouverture et indétermination.” La Pensée [Paris] new series no. 135 (October); repr. in Charles 1978c, 19-36.

Charles, Daniel 1968. “L’esthétique du ‘non finito’ chez John Cage.” Revue d’Esthétique 21, no. 2-4 (April-December), 23-26; repr. in Actes du cinquième congres international d’esthétique, Amsterdam, 24-28 août 1964. Ed. by J. Aler. ’s-Gravenhage [etc.]: Mouton, 219-255; repr. in Charles 1978c, 9-13.

Charles, Daniel 1970a. “Cinq oeuvres superposées.” Cahiers de musique de tous les temps no. 52 (December), supplement 2; repr. in Charles 1978c, 121-230.

Charles, Daniel 1970b. “Concert for Piano and Orchestra.” Cahiers de musique de tous les temps no. 52 (December), supplement 2; repr. in Charles 1978c, 131-138.

Charles, Daniel 1970c. “Musicircus.” Cahiers de musique de tous les temps no. 52 (December), supplement 2, 4-6; repr. in Charles 1978c, 151-156.

Charles, Daniel 1970d. “Rozart Mix.” Cahiers de musique de tous les temps no. 52 (December), supplement 2; repr. in Charles 1978c, 139-143.

Charles, Daniel 1970e. “Sonates et Interludes pour piano préparé.” Cahiers de musique de tous les temps no. 52 (December), supplement 2, 6-9; repr. in Charles 1978c, 113-120.

Charles, Daniel 1970f. “Song Books.” Cahiers de musique de tous les temps no. 52 (December), supplement 2, 6-9; repr. in Charles 1978c, 145-150.

Charles, Daniel 1970-1971. “L’empirisme de John Cage.” VH 101 no. 4 (Winter), 20-29; repr. in Charles 1978c, 71-89.

Charles, Daniel 1971a. “Cage et l’expérience du non-vouloir.” La revue musicale 52, no. 276-277, 19-25; repr. as “L’expérience du non-vouloir.” In Charles 1978c, 49-58.

Charles, Daniel 1971b. “L’interprète et le hasard.” Musique en jeu no. 3 (June), 45-51; repr. in Charles 1978c, 37-47.

Charles, Daniel 1971c. “Musique et an-archie.” Bulletin de la Société française de philosophie 65, no. 3 (July-September); repr. in Charles 1978c, 91-109.

Charles, Daniel 1971-1972. “John Cage: La question du silence.” In Bosseur, J.-Y. et al. 1971-1972, 30-38; repr. as “La question du silence.” In Charles 1978c, 59-70.

Charles, Daniel 1972. “A propos des ‘Encuentros de Pamplona’ 1972.” Revue d’Esthétique 25, no. 4, 474-480.

Charles, Daniel 1973a. “L’écriture et le silence: Notes sur Pampelune.” Musique en jeu no. 11 (June), 99-108; repr. in Charles 1978c, 167-182; German as “Über Schrift und Stille: Über Pamplona.” In Charles 1979, 99-120.

Charles, Daniel 1973b. “Etcetera.” Programme de l’Opéra de Paris (October). Paris: l’Opéra de Paris; repr. in Charles 1978c, 157-164.

Charles, Daniel 1974. “Cage et Duchamp: Notes sur les 26 Statements re Duchamp, de John Cage.” L’Arc no. 59 (October-December), 72-79; repr. in Charles 1978c, 183-196; German as “Cage und Duchamp.” In Charles 1979, 121-138.

Charles, Daniel 1975a. “Le présent d’Octavio Paz.” Gradiva [Bruxelles] no. 6-7 (February), 77-93; repr. in Charles 1978c, 197-215.

Charles, Daniel 1975b. “La voix symbole du temps.” L’Autre Scène no. 10; repr. in Charles 1978c, 217-236.

Charles, Daniel 1976a. “Avertissement I.” In Cage/Charles 1976, 58; English as “Foreword I.” In Cage/Charles 1976/1981, 64; German as “Vorwort I.” In Cage/Charles 1976/1984, 68; Italian in Cage/Charles 1976/1977; Japanese in Cage/Charles 1976/1982; Spanish in Cage/Charles 1976/1981, 64.

Charles, Daniel 1976b. “Chronologie cagienne.” In Cage/Charles 1976, 245-254; Spanish as “Cronologia de John Cage.” In Cage/Charles 1976/1981, 305-318.

Charles, Daniel 1976c. “En guise de preface.” In Cage/Charles 1976, 5-6; English as “A Preface by Daniel Charles.” In Cage/Charles 1976/1981, 9; German as “Statt eines Vorworts.” In Cage/Charles 1976/1984, 7; Italian in Cage/Charles 1976/1977; Japanese in Cage/Charles 1976/1982; Spanish as “A manera de prefacio.” In Cage/Charles 1976/1981, 7-8.

Charles, Daniel 1976d. “Gloses sur le Ryoan-ji.” Traverses [Paris] no. 5-6 (September); repr. in Charles 1978c, 269-288; German as “Glossen über den Ryoan-ji.” In Charles 1979, 45-74; Japanese as “Ryōanji sekitei no tame no chūkai.” Trans. Kōzō Watanabe. Gendai Shi Techō [Tōkyō] 28, no. 5 (April 1985), 135-145.

Charles, Daniel 1976e. “John Cage.” In Encyclopédie Mondeurop. Paris: Mondeurop; repr. in Charles 1978c, 251-268; German in Charles 1979, 75-98.

Charles, Daniel 1976f. “Situation de John Cage.” In Journées John Cage La Rochelle (program July); repr. in Charles 1978c, 245-249; German as “Das Los des John Cage.” In Charles 1979, 39-44; Italian as “Musica per omissione.” Trans. Stefania Colpi. In Mogni 1978, 153-157.

Charles, Daniel 1977. “New Music: Utopia and Oblivion.” In Benamou and Caramello 1977, 113-119.

Charles, Daniel 1978a. “Alla ricerca del silenzio perduto: Notes sur le ‘train de John Cage’, 26-28 juin 1978.” Traverses no. 13 (December), 72-84; repr. in Charles 1987-1988, 111-121; German as “Alla ricerca del silenzio perduto: Bemerkungen zum ‘Zug von John Cage’, 26.-28. Juni 1978.” In Charles 1979, 9-38.

Charles, Daniel 1978b. “Différence et simulacre.” Traverses no. 10 (February); German as “Differenz und Simulakrum.” In Charles 1984a, 29-47.

Charles, Daniel 1978c. Gloses sur John Cage. Paris: Union Générale d’Éditions (10/18; Série Esthétique; 1212); rev. and expanded repr. Paris: Desclée de Brouwer, 2002 (reviews: Altuard 1978; Åstrand 1978-1979; Clément 1978).

Charles, Daniel 1978d. “La paume (de) la dent: Aufzeichnungen über Cage und das Vergessen.” Trans. Heinz-Klaus Metzger. In Metzger, H.-K. and Riehn 1978b, 41-50.

Charles, Daniel 1978e. “Pratiques utopiques.” In Le discours utopique [Centre Culturel International (Cerisy-la-Salle, Manche), Colloque, 23 July-1 August 1975, direction, Maurice de Gandillac, Catherine Piron]. Paris: Union générale d’éditions (Collection Bibliothèque 10|18; 1200); repr. in Charles 1978c, 239-243.

Charles, Daniel 1978f. Le temps de la voix. Paris: Editions universitaires Jean-Pierre Delarge (Corps et culture; 9) (previously Ph.D. Diss., “Les musiques nouvelles et la question du temps.” Université Paris X Nanterre, 1977); repr. Paris: Hermann, 2011 (Le Bel aujourd’hui); German excerpt as “Zur Erotik der Stimme oder vom Erotismus, als Musik betrachtet.” In Charles 1979, 139-160.

Charles, Daniel 1979. John Cage oder die Musik ist los. Trans. Eberhard Kienle. Berlin: Merve (Internationaler Merve-Diskurs; 87); repr. 1982.

Charles, Daniel 1980a. “Musique et déraison.” Cahiers Confrontation [Paris] no. 4 (Fall), 149-154.

Charles, Daniel 1980b. “Le retour éternel du timbre.” Revue d’Esthétique new series no. 1-2, 163-170.

Charles, Daniel 1981. “Le timbre, la voix, le temps.” In Pontbriand 1981, 110-117.

Charles, Daniel 1982a. “Au delà de l’aléa.” Traverses no. 24 (February); German as “Jenseits der Aleatorik.” In Charles 1984a, 97-125.

Charles, Daniel 1982b. “Célébration de John Cage.” In John Cage 1982, [6]-[7]; rev. repr. as “Eloge de l’alphabet.” In Charles 1987-1988, 7-9.

Charles, Daniel 1983a. “Cage (John).” In Encyclopaedia Universalis France. Ed. Jacques Bersani. Paris: Encyclopaedia Universalis, vol. 3.

Charles, Daniel 1983b. “De la performance comme méthode d’éveil.” Revue d’Esthétique new series no. 5, 149-151.

Charles, Daniel 1983c. “L’esthétique du fragment dans la musique contemporaine.” In Universalia 1983: Les événements, les hommes, les problèmes en 1982. Paris: Encyclopaedia Universalis, 437-439.

Charles, Daniel 1983d. “John Cage aux semaines musicales internationales d’Orléans.” Corps écrit no. 6, 203-208.

Charles, Daniel 1984a. Musik und Vergessen. Trans. Gisela Boos, Manfred Hoffmann, Marianne Karbe. Berlin: Merve (Internationaler Merve-Diskurs; 115). Includes Charles 1978b; Charles 1982a.

Charles, Daniel 1984b. “Musique et narrativité (Notes sur le devenir de la musique selon Leonard B. Meyer).” Hors Cadre no. 2 [Saint-Denis] (Spring), 11-25.

Charles, Daniel 1984c. “Le son comme image du temps.” Revue d’Esthétique new series no. 7, 103-108.

Charles, Daniel 1985. “L’esthétique du fragment dans la musique contemporaine.” In Alles und noch viel mehr: Das poetische Abc: Die Katalog-Anthologie der 80er Jahre. Ed. by Gerhard Johann Lischka. Bern: Benteli, 81-85.

Charles, Daniel 1986. “Music Beyond Narcissism: A Glance over the Post Avant-Garde.” The World & I (November), 264-269.

Charles, Daniel 1987a. “‘Ein Ohr allein ist kein Wesen’ (John Cage).” Trans. Gertrud Jacquemar, Camilla Nielsen. In Hattinger, Weibel, and Judmayer 1987, 18-22; English as “‘An Ear Alone is Not a Being’ (John Cage).” Ibid., 23-25; German repr. MusikTexte no. 21 (October 1987), 38-40.

Charles, Daniel 1987b. “Poetik der Gleichzeitigkeit.” Trans. Marc Moser. In Poetik der Gleichzeitigkeit. Ed. by Gerhard Johann Lischka. Bern: Benteli; original French text as “Poétique de la simultanéité.” In Charles 1987-1988, 123-138.

Charles, Daniel 1987c. “Son et temps.” Semiotica 66, no. 1-3, 171-179.

Charles, Daniel 1987-1988, ed. John Cage. Toulouse: Edouard Privat (Revue d’Esthétique; new series no. 13-15) (Albèra 1988a).

Charles, Daniel 1989. Zeitspielräume: Performance, Musik, Ästhetik. Trans. Peter Geble and Michaela Ott. Berlin: Merve (Internationaler Merve-Diskurs; 147).

Charles, Daniel 1989-1990. “De-linearizing Musical Continuity: John Cage’s Aesthetics of ‘Interpenetration without Obstruction’.” Discourse [Bloomington, Indiana] no. 12.1 (Fall-Winter), 28-38; repr. Musicworks [Toronto, Ontario] no. 52 (Spring 1992), 19-23; repr. in Kostelanetz 1993f, 107-116.

Charles, Daniel 1990a. “About John Cage’s ‘Prepared Piano’.” In Bonito Oliva, De Mila and Cerritelli 1990, 453-457; repr. in Kostelanetz 1993f, 46-54.

Charles, Daniel 1990b. “L’incendie de Francfort (Notes sur les Europeras de John Cage).” In Program, Europeras 3 & 4, Festival International des Musiques d’Aujourd’hui de Strasbourg (29-30 September); German as “Der Brand der Frankfurter Oper.” In Charles 1994d, 7-16.

Charles, Daniel 1990c. “La musique au futur antérieur.” Revue d’Esthétique new series no. 17 (1990), 21-29.

Charles, Daniel 1990d. “Das Durcheinander von Proteus: Cage, Heidegger, Bloch.” Basler Magazin (23 June); repr. in Charles 1994d, 139-156.

Charles, Daniel 1990e. “Zeit, Musik, Montage.” Basler Magazin (23 June), 6-7.

Charles, Daniel 1991a. “‘Durchdringung ohne Widerstand’: Sinnlosigkeit jenseits von Unsinn.” Trans. Manfred Saga. In Bischoff 1991b, 35-42.

Charles, Daniel 1991b. “Figuration and Prefiguration: Notes on Some New Graphic Notions.” Trans. Susan Park. In Video Independents. Geneva: Swiss Independent Video; repr. in Kostelanetz 1993f, 248-263.

Charles, Daniel 1991c. “Jô Kondô e John Cage.” Trans. Giovanni Morelli. Rivista Italiana di Musicologia 26, 95-115.

Charles, Daniel 1992. “L’héritage de Erik Satie.” Les Cahiers du CIREM [Rouen] no. 24-25 (June-September), 59-68; German as “Meister des Nicht-Werks: Das Erbe von Erik Satie.” Trans. Susanne Winterfeldt. MusikTexte no. 48 (February 1993), 30-35.

Charles, Daniel 1993a. “L’ascolto poetico secondo John Cage.” Il Verri no. 3-4 (September-December); repr. in Bonomo and Furghieri 1998, 405-414.

Charles, Daniel 1993b. “Dalla musica alla fonografia.” In Costa, L. et al. 1993, 807-815.

Charles, Daniel 1994a. “Anmerkungen zu Cage und Satie.” In Charles 1994d, 83-93.

Charles, Daniel 1994b. “Cage lecteur de Thoreau.” L’Herne [Paris]; German as “Cage als Leser von Thoreau.” In Charles 1994d, 71-82.

Charles, Daniel 1994c. “John Cage, Meister Duchamp, Meister Eckhart: ‘Das Ereignis der Stille’.” In Charles 1994d, 157-158.

Charles, Daniel 1994d. Musketaquid: John Cage, Charles Ives und der Transzendentalismus. Trans. Richard E. Schneider. Berlin: Merve (Internationaler Merve-Diskurs; 186).

Charles, Daniel 1994e. “Über den Transzendentalismus bei John Cage.” In Charles 1994d, 119-138.

Charles, Daniel 1994f. “Über die Nullzeit-Poetik von Cage.” In Charles 1994d, 95-118.

Charles, Daniel 1995-1996. “Musique, visage, silence.” Revue d’Esthétique new series no. 28, 21-35.

Charles, Daniel 1997. “Composer l’imprévisible: Notes sur Cage et les années cinquante.” Circuit [Montréal, Québec] 8, no. 2 (1997), 71-80.

Charles, Daniel 2001. La fiction de la postmodernité selon l’esprit de la musique. Paris: Presses universitaires de France.

Charles, Daniel 2006. “Aesthetics of Silence (About John Cage’s Existential Semiotics of Silence).” In John Cage 2006.

Charles, Daniel and Anne Cauquelin 2003, eds. De la composition: L’après Cage. Paris: J.-M. Place (Revue d’Esthétique new series; 43).

Charleston, John 1969. “HPSCHD: Chaos, Tinkles, Bedlam.” Champaign-Urbana Courier (17 May).

Charlip, Remy 1954. “Composing by Chance: Concerning Merce Cunningham and His Choreography.” Dance Magazine 28, no. 1 (January), 17-19.

Charlip, Remy/Amirkhanian, Charles 1996. “Remy Charlip on John Cage.” Ballet Review [New York] 24, no. 2 (Summer), 21-24.

Chase, Gilbert 1955. America’s Music: From the Pilgrims to the Present. New York: McGraw-Hill; rev. 2nd ed. New York [etc.]: McGraw-Hill, 1966; rev. 3rd ed. Champaign, Illinois: University of Illinois Press, 1987 (Music in American Life); German as Die Musik Amerikas: Von den Anfängen bis zur Gegenwart. Trans. Gisela Bartels. Berlin-Halensee [etc.]: Hesse, 1958.

Chase, Gilbert 1959. Review of Hoover, K.O. and Cage 1959. Notes 2nd series, 17, no. 1 (December), 47-48.

Chase, Gilbert 1966, ed. The American Composer Speaks: A Historical Anthology, 1770-1965. Baton Rouge, Louisiana: Louisiana State University Press.

Chase, Gilbert 1969. “Toward a Total Musical Theatre.” Arts in Society 6, no. 1 (Spring-Summer), 26-37.

Chase, Gilbert 1970a. “A Visit to the Aquarium.” Review of Cage 1969a. Arts in Society 7, no. 1 (Spring), 2-4.

Chase, Gilbert 1970b. “What Is Contemporary?” Arts in Society 7, no. 1 (Spring), 4-9.

Chase, Gilbert 1972. Review of Kostelanetz 1970d. Notes 2nd series, 29, no. 2 (December), 249-251.

Chase, Gilbert 1974. “United States.” In Vinton 1974, 781-788.

Chase, Gilbert 1975. “John Cage.” In The International Cyclopedia of Music and Musicians, 10th ed. Ed. by Oscar Thompson and Bruce Bohle. New York [etc.]: Dodd, Mead, 336-338.

Chase, Stephen and Philip Thomas 2010, eds. Changing the System: The Music of Christian Wolff. Farnham: Ashgate (reviews: Gligo 2012; Heimbecker 2011b; Kim, R.Y. 2012b; Miladinović Prica 2011; Nicholls 2011; Smarzoch 2013a; Thomas, H. 2011).

Chasins, Abram 1972. Music at the Crossroads. New York: Macmillan.

Chatenever, Rick 1982. “Cage’s Found Sound.” Santa Cruz Sentinel (20 August).

Chattanooga Times 1980. Review of Composers Recordings CRI SD 410 (recording). Chattanooga Times [Chattanooga, Tennessee] (20 April), F3.

Cheal, David 2020. “4'33" – John Cage’s Radical Piece Resonates During this Era of Silence.” Review of Mute Records Stumm 433 and CDStumm 433 (recordings). Financial Times [London] (11 May).

Cheever, Julia 1977. “Cabrillo Music Festival.” San Francisco Bay Guardian (25 August), 24.

Cherlin, Michael 2011. Review of Feisst 2011. Music Theory Online [Cambridge, Massachusetts] 17, no. 4 (December).

Chernilla, Lenny 1991. Review of Cage 1990f. Bloomsbury Review (December).

Cherson, Samuel B. 1982a. “Cage, el poliartista.” El Nuevo Día (8 March), Por Dentro.

Cherson, Samuel B. 1982b. “Merce Cunningham en movimiento.” El Nuevo Día (4 March), Por Dentro, 61.

Cherson, Samuel B. 1982c. “Un paso al frente con Cunningham.” El Nuevo Día (9 March), Por Dentro, 34.

Cheung, Floridia 1993. “MOCA Goes ‘Rolywholyover’.” Glen A. Wilson High School (1 October), 4.

Chiari, Giuseppe 1998. “Radio Music.” In Bonomo and Furghieri 1998, 525-530.

Chicago Daily News 1942a. “Arts Club to Hear Unique Orchestra.” Chicago Daily News (20 February).

Chicago Daily News 1942b. “Arts Club to Open 3 New Exhibits with Tea Friday.” Chicago Daily News (27 February).

Chicago Daily News 1942c. “John Cage, Percussionist.” Chicago Daily News (28 February).

Chicago Daily News 1942d. “University Winter Concert.” Chicago Daily News (14 March).

Chicago Daily Tribune 1942. “Novel Concert Arranged for Arts Club March 1.” Chicago Daily Tribune (20 February).

Chicago Sunday Tribune 1942. “Current Music News.” Chicago Sunday Tribune (1 March).

Childs, Barney 1969. “Indeterminacy and Theory: Some Notes.” The Composer [Redondo Beach, California] 1, no. 1 (June), 15-34.

Childs, Barney 1974. “Indeterminacy.” In Vinton 1974, 336-339.

Childs, Barney 1984. Review of Gagne and Caras 1982. American Music 2, no. 3 (Fall), 84-85.

Childs, Barney/Welsh, John P. 1987. “Correspondence.” Interface 16, 117-119.

Chilton, James Gregory 2007. “Non-Intentional Performance Practice in John Cage’s Solo for Sliding Trombone.” D.M.A. Diss., The University of British Columbia.

Chin, Daryl 1989. “Walking on Thin Ice: The Films of Yoko Ono.” The Independent: Film and Video Monthly [New York] 12, no. 3 (April), 19-23.

Chinaev, Vladimir 1991. “Vremya-prostranstvo-mgnovenie: K voprosu o novoj ispolniteľskoj poetike.” Sovetskaya Muzyka no. 7 (July), 31-36.

Chion, Michel and Guy Reibel 1976. Les musiques électroacoustiques. Aix-en-Provence: Edisud.

Chłopecki, Andrzej 1988. “Report on the World Music Days 1987 in W. Germany.” Trans. Maria Harley. ISCM Bulletin SIMC no. 28 (May), 6-11.

Chocrón, Isaac 1973. Review of Cage 1973h. El Nacional [Caracas] (16 September), Septimo Día, 4.

Chocrón, Isaac 1982. “John Cage a los 70.” El Nacional [Caracas] (7 March).

Choice 1971. Review of Kostelanetz 1970d. Choice [Middletown, Connecticut] no. 8 (December), 1336.

Choice 1980. Review of Cage 1979c. Choice [Chicago, Illinois] 16, no. 1 (January), 1452.

Chorpening, Joanne 1953. “Letter to the Editor.” Student Council Newspaper [Urbana, Illinois] 2, no. 3 (22 March).

Chou, Wen-Chung 1971. “Asian Concepts and Twentieth-Century Western Composers.” Musical Quarterly 57, no. 2 (April), 211-229; revised repr. as “Asian Music and Western Composition.” In Vinton 1974, 22-29.

Christensen, Erik 1992-1993. “Sensualiteten og evigheden: Den franske musikforsker Daniel Charles fortæller om ligheder mellem Olivier Messiaen og John Cage.” Dansk Musiktidsskrift 67, no. 5 (1992-1993), 146-149.

Christensen, Erik 1998. “Interruption, Surprise, Disturbance, Interference: A Pluralistic Track in Musical Modernism.” In Kuret 1998, 42-50.

Christensen, Erik 2004. “Overt and Hidden Processes in 20th Century Music.” Axiomathes [Trento] 14, no. 1-3 (March), 97-117.

Christensen, Louis K. 1974. “Editor’s Output.” Numus-West [Mercer Island, Washington] no. 5, 5.

Christian Science Monitor 1981. “Creativity…” Christian Science Monitor [Boston, Massachusetts] (25 March), 18.

Christian Science Monitor 1982. “Letter on Composer John Cage.” Christian Science Monitor [Boston, Massachusetts] (12 May), 22.

Christiansen, Henning 1986. “Über dem Atlantik schien die Sonne: Sonnenaufgang, von Skandinavien aus gesehen.” Trans. Hanns-Georg Reuter. In Gohr and Jablonka 1986, 285-292.

Christov-Bakargiev, Carolyn 1993. “Viaggiamo in aereo, ma pensiamo a cavallo: Un omaggio italiana a John Cage.” In Costa, L. et al. 1993, 733-739.

Christov-Bakargiev, Carolyn, Ludovico Pratesi, and Angela Vettese 1993. “John Cage (1912-1992) in Italia: principali eventi.” In Costa, L. et al. 1993, 851-855.

Chung, Yiu-kwong 1995. “I Ching Compositional System: The Symbolism, Structures, and Orderly Sequence of the Sixty-four Hexagrams as Compositional Determinants.” Ph.D. Diss., City University of New York.

Church, Francis 1988. “Playful Noise Makes Cage Smile.” Richmond News Leader [Richmond, Virginia] (25 October), 33.

Chute, James 1987a. “Cage Shows What Happens When a Composer Really Lets Go.” Orange County Register [Santa Ana, California] (11 September).

Chute, James 1987b. “Cage’s Magic Turns Meal into Music.” Orange County Register [Santa Ana, California] (9 September), E9, E11.

Chute, James 1987c. “Classical.” Orange County Register [Santa Ana, California] (4 September).

Chute, James 1987d. “It’s Music – Really.” Orange County Register [Santa Ana, California] (20 September), L27, L28.

Ciao 2001 1977. “Provocazione Cage.” Ciao 2001 9, no. 51 (25 December), 8.

Cijsouw, Kees 1988a. “De harmonie in de tuin.” Provinciale Zeeuwse Courant [Middelburg] (18 June), 13.

Cijsouw, Kees 1988b. “Kronos en de vreugde van het ambacht.” Provinciale Zeeuwse Courant [Middelburg] (28 June), A.

Cijsouw, Kees 1988c. “Radio Kamerorkest werft terecht met eigentijds profiel.” Provinciale Zeeuwse Courant [Middelburg] (18 June), 13.

Cijsouw, Kees 1988d. “Schijnwerpers op John Cage.” Provinciale Zeeuwse Courant [Middelburg] (9 June), 9.

Cijsouw, Kees 1988e. “Xenakis en Cage als tegenpolen.” Provinciale Zeeuwse Courant [Middelburg] (30 June), A.

Cincinnati Enquirer 1966. “Cage to Be UC Guest Composer.” Cincinnati Enquirer (22 November).

Cincinnati Post 1966. “Avant-Garde’s John Cage UC Composer-in-Residence.” Cincinnati Post [Cincinnati, Ohio] (22 November).

Claessen, Fons et al. [Paul van Enckevort, Antoine Heideveld, Jules Hinssen, Albert Kivits, Richard Kok, Erik van den Oord, Jan Oosting, Cees-Jan Pen, Peter Ramaekers, Juul Schreurs, Geert van Seters, Sietske Smulders-Dane, Véronique Vasseur, Joséphine de Viron, Bowine Wijffels, Marsha Wagner, Nus Waleson] 2017. 4'33": Time for a Circular Economy. Eindhoven [etc.]: Fontys Hogescholen.

Claeys, Simonne 1973. “Niet-conventionele geluidsbronnen als exponent van het muziektheoretisch denken.” Ph.D. Diss., Katholieke Universiteit Leuven.

Claeys, Simonne 1977. “Niet-conventionele geluidsbronnen.” Muziek en Woord [Zaventem] 3 (1977); repr. Gaudeamus informatie no. 126 (September 1977), 14-15.

Claghorn, Charles Eugene 1973. “John Cage.” In Charles Eugene Claghorn, Biographical Dictionary of American Music. West Nyack, New York: Parker Publishing Co., 79.

Claren, Sebastian 2000. Neither: Die Musik Morton Feldmans. Hofheim/Taunus: Wolke (previously Ph.D. Diss., Musicology, Freie Universität Berlin, 1996).

Clark, J. Bunker 1980. “Cage Lecture.” University Daily Kansan (23 October).

Clark, Philip 2006. Review of Feldman, M. 2006. The Wire no. 267 (May), 77.

Clark, Philip 2010a. Review of Another Timbre AT10 (recording). Gramophone 88, no. 1059 (July), 82.

Clark, Philip 2010b. Review of Another Timbre AT10 (recording). The Wire no. 312 (February), 55.

Clark, Philip 2016. “I Have Nothing to Say and I Am Saying It.” Review of Cage 2015 and Cage 2016. London Review of Books 38, no. 24 (15 December).

Clark, Renée Chérie 2000. Review of Simms 1999. Fontes Artis Musicae 47, no. 2-3 (April-September), 209.

Clark, Robert Charles 1970. “Total Control and Chance in Musics: A Philosophical Analysis.” Journal of Aesthetics and Art Criticism 28, no. 3 (Spring), 355-360.

Clark, Sondra Rae 1975. “A Boorish Audience Mars Concert.” Palo Alto Times (22 November).

Clark, Vévé A., Millicent Hodson, and Catrina Neiman 1988. The Legend of Maya Deren: A Documentary Biography and Collected Works. Vol. 1, Part 2. New York: Anthology Film Archives; Film Culture.

Clarke, Clare 2014. “Composing in Maths Week: Stockhausen, Cage and Graphic Scores.” Music Teacher [London] 93, no. 6 (June), 49.

Clarke, Colin 2009. Review of EMI Classics 2344542 (recording). MusicWeb International [Loughton, Essex] (9 May).

Clarke, Colin 2013. Review of Haskins 2012a; Sub Rosa SR 244 (recording); ECM New Series 2268 (recording). Tempo no. 264 (April), 84-85.

Clarke, David 2016. “Musical Indeterminacy and Its Implications for Music Analysis: The Case of Cage’s Solo for Piano.” Music Theory & Analysis [Leuven] 3, no. 2 (October), 170-196.

Clarke, David J. 1988. The Influence of Oriental Thought on Postwar American Painting and Sculpture. New York [etc.]: Garland Publishing (Outstanding Theses in the Fine Arts from British Universities) (previously Ph.D. Diss., Courtauld Institute of Art, 1983).

Clarke, Garry E. 1977. Essays on American Music. Westport, Connecticut [etc.]: Greenwood Press (Contributions in American History; 62).

Clarke, Mary 1964. “The London Scene.” Dance News 45, no. 1 (September).

Clarkson, Austin 1983-1984. “Music and Nature.” The Structurist [Saskatoon, Saskatchewan] no. 23-24 (1983-1984), 56-63.

Clarkson, Austin 2001. “The Intent of the Musical Moment: Cage and the Transpersonal.” In Bernstein, D.W. and Hatch 2001, 62-112.

Classiquenews 2020. Review of Paraty 159183 (recordings). Classiquenews [Châtillon] (July).

Clausius, Katharina 2011. “John Cage’s ‘Whiteness’: Cheap Imitation.” Tempo no. 258 (October), 11-19.

Clavier 1969. Review of Cage 1969a. Clavier 8, no. 2, 6.

Clavier 1974. Review of Bunger 1973. Clavier 13, no. 3 (1974), 6.

Clavier 1976. Review of Etudes Australes (music). Clavier 15, no. 8 (November).

Clavier 1978. Review of Tomato TOM-2-1001 (recording). Clavier 17, no. 8 (November), 7.

Clavier 1981. Review of Two Pieces for Piano (circa 1935) (music). Clavier (April).

Clavier 1992. [Obituary]. Clavier 31, no. 8, 47.

Clavier 2005. Review of Mode 106 (recording). Clavier (July-August).

Clemens, E. 1990. “Länge statt Meditation.” Tagespost [Speyer] (30 July), 10.

Clément, Catherine 1978. “Des notes qui tombent bien.” Review of Charles 1978c. Le Matin de Paris (8 May).

Clementi, Aldo 1978. “A John.” In Mogni 1978, 149-151.

Clements, Andrew 1992. “John Cage.” Financial Times (14 August), 9.

Clements, Andrew 2002. Review of Harmonia Mundi USA HMU 907279. Musikproduktion Dabringhaus und Grimm MDG 613 0795-2. Musikproduktion Dabringhaus und Grimm MDG 613 0796-2. Musikproduktion Dabringhaus und Grimm MDG 613 0797-2 (recordings). Guardian (2 August).

Clements, Andrew 2021. Review of Another Timbre AT178x4 (recordings). Guardian (26 August).

Clements, Andrew 2023. Review of Erato 5419-76964-4 and Erato 5419-77826-6 (recordings). Guardian [London] (16 November).

Clements, Dominy 2007. Review of Dickinson 2006a. MusicWeb International [Loughton, Essex] (7 February).

Clements, Dominy 2010a. Review of Atoll Records ATCD309 (recording). MusicWeb International [Loughton, Essex] (10 March).

Clements, Dominy 2010b. Review of Col legno WWE 1CD 20292 (recording). MusicWeb International [Loughton, Essex] (10 July).

Clements, Dominy 2015. Review of New World Records 80763-2 (recording). MusicWeb International [Loughton, Essex] (May).

Clements, Manos M. 1989. “Strathmore’s Happening, Avant-Garde ‘Cage-Fest’.” The Journal [Rockville, Maryland] (12 May), B9.

Cleveland Orchestra 1970. “Atlas Eclipticalis.” Cleveland Orchestra Program Notes (11 April), 1000-1007.

Clinchy, Evans 1951. “Silence, Sound in Compositions Are Stressed.” Hartford Times (14 March).

Close, Roy M. 1974. “‘Twelve Haiku’ Premiere Gets Mixed Reactions.” Minneapolis Star (30 September).

Close, Roy M. 1975. “Music Creator Cage Finds His Ideas in Nature.” Minneapolis Star (18 April), 5B.

Close, Roy M. 1978a. “Cage Composes Music Revolutions.” Minneapolis Star (28 April), 1C, 4C.

Close, Roy M. 1978b. “Cunningham-Cage ‘Event’ Well-Planned.” Minneapolis Star (17 October).

Close, Roy M. 1981a. “Buzz, Hiss, Rumble are Sounds of Musical Event.” St. Paul Dispatch (17 April), 14A.

Close, Roy M. 1981b. “Cunningham ‘Event’ Ends Stay Here.” St. Paul Dispatch (4 May).

Close, Roy M. 1981c. “John Cage Sits for a Hologram.” St. Paul Dispatch (16 April), 1B, 10B.

Close, Roy M. 1981d. “New Cunningham Work Takes Romantic Turn with Precision.” St. Paul Pioneer Press (27 April), 10F.

Close, Roy M. 1991. “The Future of Music: The Fifties and Sixties in Retrospect.” In Breakthroughs: Avant-Garde Artists in Europe and America, 1950-1990. Ed. by John Howell. New York: Rizzoli, 75-79.

Clothier, Peter 1979. “Toward Tranquility: Empty Words: Los Angeles County Museum of Art.” Artweek [Oakland, California] 10, no. 15 (14 April), 1, 16.

Cobussen, M(arcel) A. 1993. “Blue Rondo à la Turk: Een queeste naar postmoderne tendensen in de muziek.” Doctoraalscriptie [M.A. thesis], Erasmus Universiteit, Rotterdam.

Cobussen, Marcel 2002. “Deconstruction in Music.” Ph.D. Diss., Erasmus University, Rotterdam.

Cockrell, Dale 2009. Review of Horowitz 2005/2007. Journal of the Society for American Music 3, no. 2 (May), 243-246.

Coco, David 1992. “LSU Guest Composer John Cage, near 80, Still Challenging Limits.” Sunday Advocate [Baton Rouge, Louisiana] (16 February), 3E.

Codeghini, Gianluca 1998. “Disperdere ciò che esiste allo stato riunito.” In Bonomo and Furghieri 1998, 580-581.

Coe, Robert 1985. Dance in America. New York: E.P. Dutton.

Coe, Robert 1986. “John Cage: A New Culture.” On the Next Wave [New York] 4, no. 1 (1986), 9-12.

Coelho, João Marcos 1982. “Discografia quase inacessível.” Folha de S. Paulo (5 September), 6.o Caderno, 44.

Coenen, Alcedo 1982. “Muziekfestival te Metz.” Pfefpah [Amsterdam] 1, no. 2 (January), 17-23.

Coenen, Alcedo 1985. “Orgelmuziek niet misplaatst in kerk.” De Waarheid (2 August), 6.

Coenen, Alcedo 1987. “John Cage: The Wonderful Widow of Eighteen Springs/Nowth upon Nacht.” In I Ursula Oppens; II Oppens - Uitti - Pacey - Van Tassel - Douwes. Ed. by Music Research Centre in collab. with De IJsbreker. Amsterdam: Holland Festival, 16-17.

Coffey III, Edward John 2005. “The Gentle Guerrilla: Composing Transmission in the Performing Arts.” Ph.D. Diss., Princeton University.

Cogan, Robert 1993. “In Memoriam: John Cage.” Sonus [Cambridge, Massachusetts] 13, no. 2 (Spring), 3-5.

Cogan, Robert and Pozzi Escot 1976. Sonic Design: The Nature of Sound and Music. Englewood Cliffs, New Jersey: Prentice-Hall.

Cogno, Enrico 1978a. “Il silenzio perduto di John Cage in un viaggio-happening felliniano.” Il Tempo [Roma] (28 June).

Cogno, Enrico 1978b. “Il viaggio di Cage.” Il Tempo [Roma] (29 June).

Cohen-Lévinas, Danielle 1987. La voix au delà du chant. Paris: Maule.

Cohn, Arthur 1959-1960. Review of George Avakian KO8Y-1499-1504 (recording). American Record Guide 26, 954-957.

Cohn, Arthur 1961-1962. “Real Percussion Music.” Review of Time Records Series 2000 58000 and Time Records Series 2000 S/8000 (recordings). American Record Guide 28, 662-663.

Cohn, Arthur 1963-1964. “It May Scratch, but the Music is Not for Boring.” Review of Time Records Series 2000 58003 and Time Records Series 2000 S/8003 (recordings). American Record Guide 30, 195.

Cohn, Arthur 1967-1968. “Voices Vocoded: Validity or Vaudeville?” Review of CBS Odyssey 32 16 0155, CBS Odyssey 32 16 0156, and Columbia S 34-61066 (recordings). American Record Guide 34, 1088-1089.

Cohn, Stuart 1995. Review of Civic Classics 0001 (recording). Los Angeles Times (17 December).

Colazzo, Cosimo 1995. Review of Bigazzi 1993. Nuova Rivista Musicale Italiana 29, no. 1 (January-March), 146-147.

Colazzo, Salvatore 1995. “Ascoltare.” Nuova Rivista Musicale Italiana 29 (1995), 681-700.

Colazzo, Salvatore 2002. “Dell’ascolto.” Musica Theorica Spectrum [Milano] no. 2-3 (May-September), 16-31.

Cole, Hugo 1972a. “An Easy Composure.” Guardian (22 May).

Cole, Hugo 1972b. “John Cage.” Guardian (11 May).

Cole, Hugo 1972c. “Musicircus.” Guardian (19 December).

Cole, Hugo 1974. Sounds and Signs: Aspects of Musical Notation. London [etc.]: Oxford University Press.

Cole, Hugo 1978. “John Cage.” Guardian (14 June), 10.

Cole, Hugo 1992. “Calmly Breaking the Sound Barrier.” Guardian Weekly (23 August), 27.

Cole, Hugo and Dale Harris 1992. “Breaking the Sound Barrier.” Guardian (14 August), 23.

Coleman, Ray 1984. John Lennon. London [etc.]: Sidgwick & Jackson; repr. London [etc.]: Futura, 1985.

Coles, Joanna 1992. “Paying a Price for Golden Silence.” Guardian (6 February).

Colker, David 1987. “Right Crowd, But the Wrong Cage.” Los Angeles Herald Examiner (8 September).

Collaer, Paul 1955. La musique moderne 1905-1955. Bruxelles: Elsevier; rev. ed. 1958; English as A History of Modern Music. Trans. Sally Abeles. Cleveland, Ohio [etc.]: World Publishing Co., 1961; German as Geschichte der modernen Musik. Stuttgart: A. Kröner, 1963.

College of Fine Arts 1988. “Cage Unleashes Artistic Energy.” College of Fine Arts [Albuquerque, New Mexico] 1, no. 1 (Summer), 1, 3.

Collin, Françoise 1979. [Title unknown]. La Relève [Bruxelles] (22 June).

Collins, Nick and Julio d’Escrivan 2007, eds. The Cambridge Companion to Electronic Music. Cambridge: Cambridge University Press (Cambridge Companions to Music) (reviews: Barnhart 2009; Iddon 2008; Johansson 2009; Maconie 2009; Whalley 2009; Zaki 2009).

Collins, Nicolas 2006. Handmade Electronic Music: The Art of Hardware Hacking. New York [etc.]: Routledge; 2nd ed. 2009.

Collins, Nicolas 2007. “Live Electronic Music.” In Collins, Nick and d’Escrivan 2007, 38-54.

Collins, Nicolas 2012a. “Grazing the Buffet: The Musical Menu after Cage.” In Schröder, J.H. and Straebel 2012, 135-142.

Collins, Nicolas 2012b. “Resonance Comes between Notes and Noise.” Leonardo Music Journal 22 (2012), 85-88.

Collis, Adam 2017. “Ryoki Ikeda and the Prioritising of Space over Time in Musical Discourse.” Organised Sound 22, no. 3 (December), 378-384.

Colomé, Delfín 1993a. “Cronología.” Creación [Madrid] no. 9 (October), 102-105.

Colomé, Delfín 1993b. “Discografía y bibliografía.” Creación [Madrid] no. 9 (October), 106.

Colorado Daily 1962. “But Is It Jazz?” Colorado Daily [Boulder, Colorado] (8 February), 1.

Commanday, Robert 1968. “Composing with the Camera.” San Francisco Chronicle (10 November), This World.

Commanday, Robert 1972. “Decline and Fade of Chance Music?” San Francisco Chronicle (11 April).

Commanday, Robert 1977a. “Cabrillo Festival’s Dynamic Director.” San Francisco Chronicle (23 August).

Commanday, Robert 1977b. “Something to Cheer About.” San Francisco Chronicle (22 August).

Commanday, Robert 1979. “Oakland Symphony Sticks to Standards.” San Francisco Chronicle (16 March).

Commanday, Robert 1983. “A Brave Medley of American Composers.” Review of Rockwell 1983a. Review (20 March), 18.

Comment 1962. “John Cage Jolts Harmony with Buckets and Brake Drum Sounds.” Comment [Los Angeles, California] 32, no. 8 (14 March), 3.

Compositores de América 1962. “John Cage [in Spanish and English].” Compositores de América: Datos biográficos y catálogos de sus obras = Composers of the Americas: Biographical Data and Catalogs of Their Work [Washington, D.C.] 8, 46-58.

Computer Music Journal 1992. “John Cage: 1912-1992.” Computer Music Journal 16, no. 4 (Winter), 11.

Condé, Gérard 1976. “John Cage sur son île à La Rochelle.” Le Monde (6 July), 11.

Condé, Gérard 1977. “Les silences de John Cage.” Le Monde (29 January), 1, 25.

Condé, Gérard 1978. “Le dialogue interrompu.” Le Monde (10 May).

Condé, Gérard 1981a. “Assault on the Senses.” Guardian Weekly (5 February).

Condé, Gérard 1981b. “‘Roaratorio’, de Cage: Des sons pour ne rien dire.” Le Monde (24 January), 22.

Condé, Gérard 1982. “Opiniâtrement.” Le Monde (25 September), 22.

Conde, Yago 2000. Arquitectura de la indeterminación. Barcelona: Actar; English as Architecture of Indeterminacy. Trans. Paul Hammond. Ed. by Bea Goller. Barcelona: Actar, 2000.

Cone, Edward T. 1967. “What Is a Composition?” Current Musicology, no. 5 (1967), 101-107.

Cone, Edward T. 1968. Musical Form and Musical Performance. New York: Norton.

Confluent 1972. “John Cage.” Confluent [Rennes] no. 36 (December), [9].

Confluent 1976. “Voya Toncitch + John Cage.” Confluent [Rennes] new series no. 18 (January), 5.

Constanti, Sophie 1995. “Roll the Dice and Take Your Chances.” Independent Weekend (21 October), Arts, 3.

Conte, Joseph 1991. Unending Design: The Forms of Postmodern Poetry. Ithaca, New York [etc.]: Cornell University Press.

Contemporary Authors 1965. “Cage, John (Milton, Jr.).” In Contemporary Authors. Detroit: Gale Research Co., vol. 13-14, 74; first revision in Contemporary Authors: A Bio-Bibliographical Guide to Current Authors and Their Works. Ed. by Clare D. Kinsman. Detroit, Michigan: Gale Research Co., 1985, vol. 13-16, 131-132.

Conti, Viana 1978. “Lasciar-essere … i suoni.” Corriere Mercantile [Genova] (7 July), 3.

Converse, Margaret 1967a. “Cage Plans Music Circus.” Daily Illini [Champaign-Urbana, Illinois] (11 November), 1.

Converse, Margaret 1967b. “Chaotic Order of John Cage.” Daily Illini [Champaign-Urbana, Illinois] (11 November), Spectrum, 9.

Cook, Nicholas and Anthony Pople 2004, eds. The Cambridge History of Twentieth-Century Music. Cambridge [etc.]: Cambridge University Press (Cambridge History of Music).

Cook, Nick 1969. “Festivals: Camden.” Musical Times [London] 110, no. 1517 (July), 762.

Cook, Nick 1970. “Reports: Cambridge.” Musical Times [London] 111, no. 1523 (January), 69.

Cook, Susan C. 1987. “Radio: Who’s Making the Decisions?” Ear 12, no. 3 (May), 9.

Cooke, Mervyn 1998. “New Horizons in the Twentieth Century.” In Rowland 1998, 192-208.

Coons, Lauren Valerie 2017. “Indeterminacy as Social Practice in Contemporary Art Music.” M.M. Thesis, The University of New Mexico, Albuquerque.

Cooper, David 2007. Review of Wierzbicki 2005. Journal of Film Music [Claremont, California] 2, no. 1 (Fall), 79-81.

Cooper, Martin 1974, ed. The Modern Age, 1890-1960. London [etc.]: Oxford University Press (Oxford History of Music; 10).

Cope, David H. 1971. New Directions in Music. Dubuque, Iowa: Wm. C. Brown; expanded 2nd ed. 1976; 3rd ed. 1981; 4th ed. 1984; 5th ed. 1989; 6th ed. Madison, Wisconsin: Brown & Benchmark, 1993; 7th ed. Prospect Heights, Illinois: Waveland Press, 2001.

Cope, David H. 1991. Computers and Musical Style. Oxford [etc.]: Oxford University Press (Computer Music and Digital Audio Series).

Copeland, Roger 1979. “The Politics of Perception.” New Republic (November); extended repr. Contact Quarterly [Northampton, Massachusetts] 6, no. 2 (Winter 1981), 16-23.

Copeland, Roger 1986. “Mixing and Matching Is Enlivening the Arts.” New York Times (5 October).

Copeland, Roger 2002. “Merce Cunningham and the Aesthetic of Collage.” Drama Review [Cambridge, Massachusetts] 46, no. 1 (Spring), 11-28.

Copeland, Roger 2004. Merce Cunningham: The Modernizing of Modern Dance. New York [etc.]: Routledge.

Copland, Aaron 1948. “The New ‘School’ of American Composers.” New York Times Magazine (14 March), 18, 51-54.

Copland, Aaron 1960a. “America’s Young Men of Music.” Music and Musicians [London] 9 (December), 11+.

Copland, Aaron 1960b. Copland on Music. New York: Doubleday & Co.

Copland, Aaron 1968. “The Music of Chance.” In Aaron Copland, The New Music: 1900-1960, rev. ed. of Our New Music [1941]. New York: W.W. Norton; London: Macdonald & Co., 1968.

Copland, Aaron and Vivian Perlis 1989. Copland: Since 1943. New York: St. Martin’s Press.

Corbett, John (Christopher) 1993. Review of Hat Art CD 2-6095 and Hat Art CD 6101 (recordings). Down Beat 60, no. 2 (February), 39.

Corbett, John 1994. Extended Play: Sounding Off from John Cage to Dr. Funkenstein. Durham, North Carolina [etc.]: Duke University Press (reviews: Durant 1995; Franklin, B.V. 1995; Neue Zeitschrift 1999; Sweeney Turner 1994).

Corbett, John 1996. “Imaginary Landscapers.” Review of Hat Art CD 6179 (recording). Down Beat 63, no. 7 (July), 57.

Corbett, John 2000. “Experimental Oriental: New Music and Other Others.” In Born and Hesmondhalgh 2000, 163-186.

Corbeil, Carole 1982. “Celtic Festival Brings Spirit of Joyce to Toronto.” Globe and Mail (25 January), 15.

Cordero Avila, Julio 1982a. “Empieza mañana en UPR la Semana de John Cage.” El Mundo (28 February), 10-B.

Cordero Avila, Julio 1982b. “Novedosa coreografía de Cunningham.” El Mundo (5 March), B.

Cordes, Joan Kunselman 1976. “A New American Development in Music: Some Characteristic Features Extending from the Legacy of Charles Ives.” Ph.D. Diss., Louisiana State University and Agricultural and Mechanical College, Baton Rouge.

Cork Examiner 1967. Review of Cage 1967o. Cork Examiner (1967 or after).

Cormier, Ramona 1975. “Indeterminancy [sic] and Aesthetic Theory.” Journal of Aesthetics and Art Criticism 33, no. 3 (Spring), 285-292.

Corner, Philip 1971. “Happy Birthday, John!” Revista de Letras [Mayagüez] 3, no. 11 (September), 341-362.

Corner, Philip 1987-1988. “Gamelan Cage noncage.” In Charles 1987-1988, 140-141.

Corner, Philip 1998. “Gamelan Corners.” In Bonomo and Furghieri 1998, 577-579.

Corner, Philip 2012. “The Only Silence is Noise; The Only Noise is Music.” Alfabeta 2 [Milano] no. 24 (November), supplement AlfaCage.

Cornish, Nellie C(entennial) 1964. Miss Aunt Nellie: The Autobiography of Nellie C. Cornish. Ed. by Ellen Van Volkenburg Browne and Edward Nordhoff Beck. Seattle: University of Washington Press.

Corre, Christian 1987-1988. “Ives selon Cage ou de la citation à l’indétermination.” In Charles 1987-1988, 143-153.

Correo Dominical 1976. “Sobre música, con un insulto para Ford.” El Correo Dominical [Lima, Peru] (January).

Corriere della Sera 1978. “Finito il viaggio del convoglio sonoro di Cage.” Corriere della Sera [Milano] (30 June).

Corriere della Sera 1992. “Cage: "Io, un anarchico in musica e in politica"', Corriere della Sera [Milano] (25 June), 37.

Corrin, Lisa Graziose and Corinne Granof 2016, eds. A Feast of Astonishments: Charlotte Moorman and the Avant-Garde, 1960s-1980s. Exhibition catalogue, Block Museum of Art, Northwestern University, 16 January-17 July 2016; Grey Art Gallery, New York University, 8 September-10 December 2016; and Museum der Moderne Salzburg, 4 March-18 June 2017. Evanston, Illinois: Northwestern University Press.

Corzani, Valerio 1992. “Il tempo-zero in Cage e le sue valenze fenomenologiche.” Quaderni Perugini di Musica Contemporanea no. 52-57 (June), 27-35.

Cosmelli, Carlo 2012. “Music of Changes, il punto di vista di un fisico.” Alfabeta 2 [Milano] no. 24 (November), supplement AlfaCage.

Cossé, Peter 1972. “Viel Licht und wenig neue Klänge - die Avantgarde gibt sich audiovisuell.” Wiesbadener Kurier (28 October).

Cossé, Peter 1991. “Cage, Time-Length Pieces.” Fono-Forum [Bielefeld] no. 11, 132.

Costa, Leonardo et al. 1993, eds. La Biennale di Venezia: XLV esposizione internazionale d’arte: punti cardinali dell’arte. Venezia: Marsilio.

Costa, Marcos 1968. “John Cage: ¿Neo-dada o budismo zen?” La Vanguardia Española (9 June), 57.

Costa, Rogério Luiz Moraes 2009. “A idéia de jogo em obras de John Cage e no ambiente da livre improvisação.” Per Musi [Belo Horizonte] no. 19 (January-June), 83-90.

Costa, Valério Fiel da 2009. “Da indeterminação à invariância: Considerações sobre morfologia musical a partir de peças de caráter aberto.” Ph.D. Diss., Universidade Estadual de Campinas.

Coston, Evelyn Andrews 1964. “Listening to Modern Music: A Sourcebook for the College Teacher.” Ph.D. Diss., Columbia University, New York.

Cotte, Jean 1970a. “2.000 personnes envahissent la scène pour John Cage.” France-Soir (28 October), 15.

Cotte, Jean 1970b. “En renouant avec le classique la musique contemporaine a trouvé un large succès populaire à Paris.” France-Soir (3 November), 15.

Cotte, Jean 1970c. “Une folle semaine de musique contemporaine aux Halles.” France-Soir (9 October), 13.

Cotte, Jean 1970d. “Malgré 5000 spectateurs le ‘Musicircus’ de John Cage est un échec.” France-Soir (29 October).

Coughlin, Peter 1995. Review of New Albion NA 070 (recording). Piano Today (May-June), 70.

Coulter, Tony 1989. Review of Adda 581043 (recording). Ear 14, no. 4 (June), 60.

Courir, Duilio 1977. “John Cage ha giocato da solo il suo concerto.” Corriere della Sera [Milano] (4 December), 22.

Couroux, Marc 1997. “Daring the Wilderness: The Music of James Harley.” Musicworks [Toronto, Ontario] no. 69 (December), 42-50.

Courtway, Matthew 1987. Review of Sumner, Burch, and Sumner 1986. Magical Blend (1987).

Cousinou, Olivier 1986. “La poésie technologique.” Les Nouvelles Affiches de Marseille (9 July), 5.

Covell, Grant Chu 2006. “1951 and Cage’s Music of Changes.” La Folia [Boston, Massachusetts] (April).

Covell, Roger (David) 1974. “Salutary Deviation.” Sydney Morning Herald (ca. February).

Covell, Roger David 1975. “The Cage Unbarred: How to Use New Music and New Methods of Notating Music to Break the Barriers of Music’s Isolation as a Subject.” Australian Journal of Music Education no. 17 (October), 3-7; repr. as “The Cage Unbarred: Breaking the Barriers of Music’s Isolation as a Subject.” In Challenges in Music Education. Ed. by Frank Callaway. Perth: University of Western Australia, 1976, 189-195.

Cowell, Henry 1930. New Musical Resources. New York: Alfred A. Knopf, 1930; 2nd ed. with additional remarks by Joscelyn Godwin. New York: Something Else Press, 1969; repr. ed. David Nicholls. Cambridge [etc.]: Cambridge University Press, 1996.

Cowell, Henry 1934. “Double Counterpoint.” Dune Forum [Oceano, California] 1, no. 3 (15 March); repr. in Kostelanetz 1993f, 18-21.

Cowell, Henry 1940. “Drums along the Pacific.” Modern Music 18, no. 1 (November-December), 46-49.

Cowell, Henry 1952. “Current Chronicle: New York.” Musical Quarterly 38, no. 1 (January), 123-136; abridged repr. in Kostelanetz 1970d, 94-105; repr. as “Current Chronicle (January 1952).” Musical Quarterly 75, no. 4 (Winter 1991), 132-143; German as “Tageschronik.” In Kostelanetz 1970d/1973, 125-128, 149-155.

Cowell, Henry 1987. “Selected Correspondence to Lou Harrison: 1935-1965.” In Garland 1987a, 30-36.

Cowell, Sydney 1987. [Untitled]. In Garland 1987a, 29.

Cowley, Julian 2021. Review of Another Timbre AT178x4 (recordings). The Wire [London] no. 451 (September).

Cox 1971. Review of Kostelanetz 1970d. Music Journal [New York] 29 (April), 68-69.

Cox 1972. Review of Deutsche Grammophon SLPM 137 009 and Deutsche Grammophon SLPM 139 442 (recordings). Music Journal [New York] 30 (December), 63-64.

Cox, Christoph and Daniel Warner 2004, eds. Audio Culture: Readings in Modern Music. New York [etc.]: Continuum (reviews: DeLaurenti 2006; Landy 2005).

Cox, Christopher 1999. Review of Mode 57 (recording). Pulse! (October).

Cox, David 1960. Review of Hoover, K.O. and Cage 1959. Musical Times [London] 101, no. 1403 (January), 25-26.

Cox, Frank 1999. “Über John Cage.” Trans. Christiane Tewinkel. In Mahnkopf 1999b, 35-57.

Cox, Geoffrey 2017. “‘There Must Be a Poetry of Sound That None of Us Knows…’: Early British Documentary Film and the Prefiguring of musique concrète.” Organised Sound 22, no. 2 (August), 172-186.

Cox, Gerald Paul 2011. “Collaged Codes: John Cage’s Credo in Us.” Ph.D. Diss., Case Western Reserve University, Cleveland, Ohio.

Cox, Harvey 1969. Feast of Fools: A Theological Essay on Feast and Fantasy. Cambridge, Massachusetts: Harvard University Press.

Cox, Paul 2011. Review of DeLio 2009. American Music 29, no. 1 (Spring), 113-116.

Craft, Robert 1974. Prejudices in Disguise. New York: Alfred A. Knopf.

Cramer, Florian 2005. Words Made Flesh: Code, Culture, Imagination. Ed. by Matthew Fuller. Rotterdam: Piet Zwart Institute.

Crampton, Myles Lee 1985. “‘Choice, Chance and Change – The Artist as Chameleon’: John Cage and Language, Writings and Compositions, c. 1958-84.” MA Thesis, University of Keele.

Crane, Diane 1987. The Transformation of the Avant-Garde: The New York Art World, 1940-1945. Chicago [etc.]: University of Chicago Press.

Crane, Joe 1993. “The Flawless Piper.” Folk Roots 14, no. 12 <no. 120> (June), 27, 29, 45.

Crawford, Hedley 1971. “Music Reviews.” NATS Bulletin 27, no. 4 (May-June), 39.

Crawford, Richard 2001. America’s Musical Life: A History. New York [etc.]: W.W. Norton & Co.; paperback repr. 2005 (reviews: Hitchcock 2003; Horowitz 2001; Lezard 2005; Luebke 2006; Nicholls 2002f; Kirkus Reviews 2001; Publishers Weekly 2001; Starr 2002).

Crawford, Robert 1995. Review of Perloff, M. 1991b. Review of English Studies 46, no. 181 (February), 133-134.

Crescendo & Jazz Music 1992-1993. Obituary. Crescendo & Jazz Music [Ilford, Essex] 29, no. 6 (December-January), 3-25.

Crespo, Angel 1971. “John Cage, sonidos y pájaros.” Revista de Letras [Mayagüez] 3, no. 11 (September), 375-376.

Cresti, Renzo 1980. Review of Cage 1971e and Monastra 1979. Antologia Vieusseux no. 59 (July-September), 99-101.

Cresti, Renzo 1982. Franco Donatoni: Studio monografico sulla musica e la poetica di Franco Donatoni in relazione alle problematiche filosofiche e musicali dagli anni ’50 ad oggi. Milano: Edizioni Suvini Zerboni.

Cresti, Renzo 1983. Review of Cage 1979c. Antologia Vieusseux [Firenze] no. 69, 109-110.

Cresti, Renzo 1986. “John Cage e la poetica del caso.” Quaderni della Civica Scuola di musica [Milano] no. 13 (December), 32-38.

Cresti, Renzo 1992. “John Cage compie 80 anni.” Il pasquino musicale [Firenze], 3-4.

Crichton, Michael 1983. Electronic Life: How to Think about Computers. New York: Alfred A. Knopf.

Crilly, Ciarán 2014. Review of Potter, C. 2013. Modern & Contemporary France [Abingdon] 22, no. 4 (2014), 561-562.

Crisp, Clement 1985. “Cunningham/Sadler’s Wells.” Financial Times (15 May).

Crisp, Clement 1987. “Merce Cunningham/BBC TV and Prom.” Financial Times (21 July), 17.

Crisp, Deborah 1999. Review of Rowland 1998. Musicology Australia 22 (1999), 72-73.

Crispin, Darla May 2007. “Some Noisy Ruminations on Susan Sontag’s ‘Aesthetics of Silence’.” In Losseff and Doctor 2007, 127-140.

Crnković, Gordana P. 1994. “Utopian America and the Language of Silence.” In Perloff, M. and Junkerman 1994b, 167-187.

Crooks, Edward James 2011. “John Cage’s Entanglement with the Ideas of Coomaraswamy.” Ph.D. Diss., Music, University of York.

Crooks, Edward 2013. “Perilous Nights and Shaggy Nags: The Influence of Joseph Campbell on John Cage.” Journal of Black Mountain College Studies [Asheville, North Carolina] 4 (April).

Crofton, Ian and Donald Fraser 1985, comp. A Dictionary of Musical Quotations. New York: Schirmer Books (A Division of Macmillan).

Croset, Pierre-Jean 1987-1988. “Sur un tambour d’eau.” In Charles 1987-1988, 155.

Cross, Anthony 1968. “The Significance of Aleatoricism in Twentieth-Century Music.” Music Review 29, no. 4 (1968), 305-322; repr. in Hays 1972, 389-410.

Cross, Charles R. 1984. “A Chance Encounter with John Cage.” To Be Announced [Seattle, Washington] no. 5 (Winter), 8-10.

Cross, Jonathan 1998. The Stravinsky Legacy. Cambridge [etc.]: Cambridge University Press (Music in the Twentieth Century).

Cross, Lowell M. (Merlin) 1967, comp. A Bibliography of Electronic Music. Toronto, Ontario: University of Toronto Press.

Cross, Lowell M. 1968. “Electronic Music, 1948-1953.” Perspectives of New Music 7, no. 1 (Fall-Winter), 32-65.

Cross, Lowell M. 1970. “Audio/Video/Laser.” Source [Sacramento, California] 4, no. 2 <no. 8> (July), 26-36; excerpt repr. in Austin, L. and Kahn 2011, 269-272.

Cross, Lowell M. 1974. “Tudor, David.” In Vinton 1974, 768-769.

Cross, Lowell M. 1999. “Reunion: John Cage, Marcel Duchamp, Electronic Music, and Chess.” Leonardo Music Journal 9, no. 7 (December), 35-42; rev. and expanded in French as “Reunion: John Cage, Marcel Duchamp, la musique électronique et les échecs.” Trans. Monique Fong. Etant donné [Baby] no. 6 (2005), 66-77; Spanish (original text) as “Reunión: John Cage, Marcel Duchamp, música electrónica y ajedrez.” Trans. Carmen Pardo Salgado. Olobo [Cuenca] no. 2 (2001); repr. Sul Ponticello [Madrid] 1st series no. 6 (January 2005).

Cross, Lowell M. 2001. “Remembering David Tudor: A 75th Anniversary Memoir [first half only].” Musicworks [Toronto, Ontario] no. 79 (Spring 2001), 25-31; full text Frankfurter Zeitschrift für Musikwissenschaft 4, TM 1 (2001), 1-35.

Crowley, Robert 1955. “Dancer Gives New Concepts to Art.” Oregon Journal (20 or 21 November).

Crozier, Richard 1999. Review of Rowland 1998. British Journal of Music Education 16, no. 2 (July), 215-221.

Cruikshank, Judith 1987. “Merce Cunningham.” Times (22 July).

Cruise, Malcolm 1989. “Roaratorio.” Huddersfield Daily Examiner (23 November).

Crump, Melanie Austin 2008. “When Words Are Not Enough: Tracing the Development of Extended Vocal Techniques in Twentieth-Century America.” D.M.A. Diss., The University of North Carolina at Greensboro.

Crutchfield, Will 1985. “Music: Catskill Festival.” New York Times (26 August), C11.

Csengery, Kristóf 1988. “Langyos fürdő: Korunk Zenéje ’88.” Muzsika 31, no. 12 (December), 31-32.

Cseres, Jozef 1992. “Between the Horizontal and Vertical Lines.” Slovak Music [Bratislava] no. 2 (1992), 48-49.

Cseres, Jozef, Katalin Székely, Antoni Michnik, and Alexander Ivashkin 2013. “John Cage in US: On John Cage’s Influence among Czecho-Slovakian Artists.” In Székely 2013a, 76-83, 200, 207, 238, 241.

Cseres, Jozef and Georg Weckwerth 2012, eds. Membra Disjecta for John Cage: Wanting to Say Something About John = Membra Disjecta pro Johna Cage: Chceme říct něco o Johnovi. Texts by Jozef Cseres, Robert Ashley and Petr Kotík. Trans. Jozef Cseres. Praha [etc.]: Dox Prague; Galerie Výtvarného Umění v Ostravě [exhibition catalogue, Freiraum Quartier21 International, MuseumsQuartier Wien, 17 February-6 May 2012; Dox Centre for Contemporary Art, Prague = Centrum Současného Umění Dox, Praha, 25 May-20 August 2012; The Gallery of Fine Arts in Ostrava = Galerie Výtvarného Umění v Ostravě, 3 October-25 November 2012].

Cubitt, Sean 2001. Review of Chanan 1999. Leonardo [Cambridge, Massachusetts] 34, no. 2 (April), 163-164.

Cudd, Patti J. 1998. “A Percussion Module.” D.M.A. thesis, University of California, San Diego.

Cuervo, Adriana P. 2008. Review of Hall, P. and Sallis 2004. American Archivist 71, no. 1 (2008), 68-70.

Culver, Andrew 1978. “John Cage at 65.” Montreal Star (14 January), E5.

Culver, Andrew 1992. “A Note and a Table in the 10th Year.” Musicworks [Toronto, Ontario] no. 52 (Spring), 24-26; partial, rev. repr. as “Cage Computer Programs.” In Ferguson, R. and Schottlaender 1993.

Culver, Andrew 1994. “Muoyce: Performance Note.” In Perloff, M. and Junkerman 1994b, 49.

Culver, Andrew 1997. “En pensant à Cage avec le Québec en tête.” Trans. Johanne Rivest. Circuit [Montréal, Québec] 8, no. 2 (1997), 45-51.

Culver, Andrew/Alburger, Mark 1997. “A ‘Cagey’ Interview with Andrew Culver.” 20th-Century Music 4, no. 1 (January), 9-17.

Cum Notis Variorum 1989a. “Announcements.” Cum Notis Variorum [Berkeley, California] no. 135 (September), 16.

Cum Notis Variorum 1989b. “Opening the Mind to Experience.” Cum Notis Variorum [Berkeley, California] no. 136 (October), 7-8, 17-18.

Cum Notis Variorum 1989c. “Varia.” Cum Notis Variorum [Berkeley, California] no. 134 (July-August), 10.

Cuni, Amelia 2011. “Chance Generated Ragas in Solo for Voice 58: A Dhrupad Singer Performs John Cage.” Journal of the Indian Musicological Society [Mumbai] 41 (2011-2012), 127-154.

Cunningham, Bill 1990. “Saluting Artists and Their Patrons [photographs].” New York Times (29 April), 51.

Cunningham, Carl 1983. “Music: John Cage Retrospective.” Houston Post (13 April), 4B.

Cunningham, Merce 1968. Changes: Notes on Choreography. Ed. Frances Starr. New York [etc.]: Something Else Press; repr. New York: The Song Cave, 2019, limited ed. (reviews: Kostelanetz 1969b; Siegel, M.B. 2020; Smoliar 1970).

Cunningham, Merce 1982a. “Artist’s Life.” Keynote 6, no. 7 (September), 32; repr. as “Music and Dance.” In Kostelanetz 1993f, 338-340.

Cunningham, Merce 1982b. “A Collaborative Process between Music and Dance.” Triquarterly [Evanston, Illinois] no. 54 (Spring), 173-186; repr. in Gena and Brent 1982, 107-120; repr. in Kostelanetz 1992aa; French as “Un processus de collaboration entre la musique et la danse.” Trans. Carol Richards. In Charles 1987-1988, 157-168.

Cunningham, Merce 1982c. “Pour rester éveillé.” Trans. Philippe Mikriamos. In Festival d’automne à Paris. Ed. by Jean-Pierre Léonardini, Marie Collin and Joséphine Markovits. Paris: Temps Actuels, 167-169.

Cunningham, Merce 1987. “Merce Cunningham on Merce Cunningham.” In Films and Videotapes. New York: Cunningham Dance Foundation, [1987?].

Cunningham, Merce/Anonymous 1983. “Exit-Interview mit Merce Cunningham.” Exit [Mainz] no. 4 (October).

Cunningham, Merce/Bucher, Eva 1991. “Spitzbübisch, experimentierfreudig – wie eh und je.” Tages-Anzeiger [Zürich] (19 June).

Cunningham, Merce/Dickinson, Peter 2006. “Merce Cunningham.” In Dickinson 2006a, 52-66.

Cunningham, Merce/Franklin, Paul B. 2005. “Merce on Marcel: An Interview with Merce Cunningham.” Etant donné [Baby] no. 6 (2005).

Cunningham, Merce/Hollings, Ken 2006. “Dancing to the Music of Time.” Wire no. 271 (September), 30-35.

Cunningham, Merce/Khor, Christine 1986. “Maverick of Dance.” Straits Times [Singapore] (21 June), section II, pp. 1, 28.

Cunningham, Merce/Kuhn, Laura 1998. “Interview.” In Art Performs Life: Merce Cunningham, Meredith Monk, Bill T. Jones. Exhibition catalogue, Minneapolis, Minnesota, Walker Art Center, 28 June-20 September 1998. Minneapolis, Minnesota [etc.]: Walker Art Center, 1998, 22+; repr. as “Cunningham + Cage.” Ballet Review [New York] 26, no. 3 (Fall), 81-98.

Cunningham, Merce/Lamoree, Jhim 1994. “Dans is als een oceaan.” Knack [Brussel] (18 May), 86-88, 91.

Cunningham, Merce/Lesschaeve, Jacqueline 1980. Le danseur et la danse: Entretiens avec Jacqueline Lesschaeve. Paris: Pierre Belfond; rev. and enl. English ed. as The Dancer and the Dance: Merce Cunningham in Conversation with Jacqueline Lesschaeve. New York [etc.]: Marion Boyars, 1985; repr. 1991; repr. 1999; German as Der Tänzer und der Tanz: Gespräche mit Jacqueline Lesschaeve. Trans. Elisabeth Brockmann. Frankfurt am Main: Dieter Fricke, 1986; Italian as Il danzatore e la danza: Colloqui con Jacqueline Lesschaeve. Trans. Flavia Concina Bouvet. Torino: EDT, 1990 (reviews: Feldman, E. 1986; Giannì 1980; Leukert 1988).

Cunningham, Merce/Longato, Lieselotte 1980. “Sentieri dell’invenzione.” Spirali [Milano] 3, no.11 <no. 25> (December), 63.

Cunningham, Merce/Monk, Meredith 1997. “Cunningham and the Freedom in Precision.” New York Times (7 September).

Cunningham, Merce/Nocera, Gigliola 1978. “Merce Cunningham: Lavorare insieme per essere indipendenti.” Scena [Milano] 3, no. 2 (April), 26-27.

Cunningham, Merce/Porzio, Michele 1991. “‘Gioco a scacchi con il corpo’.” Il Giornale della Musica [Torino] 7, no. 64 (September), 2.

Cunningham, Merce/Salzman, Eric 1994. “Er war der ernsteste Humorist der Welt.” Trans. Friederike Lamberty. Neue Zeitschrift für Musik 155, no. 5 (September), 19-22.

Cunningham, Merce/Siegel, Marcia B. 1990. “A Conversation with Merce Cunningham.” Dance Ink [New York] 1, no. 1 (May-June), 5-9.

Cunningham, Merce/Vaughan, David 1980. “Merce Cunningham Talks.” Soho Weekly News 7, no. 20 (13 February), 12-13.

Cuno, James 1987, ed. Foirades/Fizzles: Echo and Allusion in the Art of Jasper Johns [exhibition catalogue, 20 September-15 November 1987]. Los Angeles, California: Grunwald Center for the Graphic Arts, Wight Art Gallery, University of California, Los Angeles (review: Vaughn 1989).

Cuomo, Vincenzo 1992. C’è dell’io in questo mondo? Per un’estetica non simbolica. Roma: Aracne (Ars inveniendi; 12).

Cuomo, Vincenzo 2013. “Il silenzio e la domanda: Su John Cage.” In Cuomo and Distaso 2013, 61-75.

Cuomo, Vincenzo and Leonardo V. Distaso 2013, eds. La ricerca di John Cage: Il caso, il silenzio, la natura. Foreword by Giampiero Moretti. Afterword by Fabrizio Lomonaco. Milano [etc.]: Mimesis (Filosofie; 278).

Curjel, Hans 1954. “Neue Musik ‘kommt an’.” Die Weltwoche [Zürich] (29 October), 5.

Curjel, Hans 1955. “Cage oder das wohlpräparierte Klavier.” Melos 22, no. 4 (April), 97-100.

Curran, Alvin 2012. “Riflessioni sul centenario.” Alfabeta 2 [Milano] no. 24 (November), supplement AlfaCage.

Curran, Alvin/Bernstein, David W. 2010. “An American in Rome: Conversations with Alvin Curran.” In Margoni Tortora 2010, 109-201.

Current Biography 1961. “Cage, John (Milton, Jr.).” Current Biography 22, no. 8 (September), 17-19.

Current Biography Yearbook 1961. “Cage, John.” Current Biography Yearbook 22 (1961), 90-92.

Curreri, Enrico 2018. “Nurturing Attentional Skills in Acute Pediatric Psychiatry through Avant-Garde Musical Interventions.” Music Therapy Perspectives [Oxford] 36, no. 2 (Fall), 243-256.

Curtis, Anthony 1991. “A Passion for Chess, Art and Music.” Financial Times (22 January).

Curto, Justin 2019. “John Cage’s Treasures Are Hiding in Plain Sight.” Chicago Reader [Chicago, Illinois] (4 April).

Cusack, Carole M. 2019. Review of Butlin 2012. Literature and Aesthetics [Sydney] 29, no. 1 (2019), 171-172.

Cusack, Margaret, Chuck Hain, and Ed Sejud 1967. “Musicircus [photographs].” Daily Illini [Champaign-Urbana, Illinois] (18 November), 1-2.

Cusack, Peter 2012. “No, It’s Not All Music.” In Schröder, J.H. and Straebel 2012, 179-182.

Cutler, Chris 1995. “Plunderphonics, o saccheggiofonia.” Musica/Realtà [Lucca] 16, no. 51 (November), 53-109.

Cutroneo, Aldo 2003. “Prefazione.” In Ballardini, Cutroneo, and Negri 2003, vii-viii.

Cuvelier, Pascaline 1992. “Glose de Styles.” Libération (27 June).

Cvejić, Bojana 2004. Otvoreno delo u muzici: Boulez/Stockhausen/Cage. Beograd, Studentski Kulturni Centar (Edicija Muzika).

Cvejić, Bojana 2007. Izvan muzičkog dela: Performativna praksa Erika Satija, Džona Kejdža, Fluksusa, La Monta Janga, Džona Zorna. Sremski Karlovci-Novi Sad: Izdavačka knjižarnica Zorana Stojanovića.