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

 

D’Amico, Fedele 1977. “Fischi e pugni: Un successone.” L’Espresso [Roma] (18 December).

D’Amico, Fedele 1978. “Fischiatemi, per carità.” L’Espresso [Roma] (29 January).

D’Amico, Sandro 1954, ed. “Cage, John.” In Enciclopedia dello spettacolo. Roma: Le Maschere, vol. 2, cols. 1466-1467.

D’Harnoncourt, Anne 1982a, ed. John Cage: Scores & Prints. Exhibition catalogue, 25 February-2 May 1982, New York, Whitney Museum of American Art; 11 September-31 October 1982, Philadelphia Museum of Art. New York: Whitney Museum of American Art; Philadelphia, Pennsylvania: Philadelphia Museum of Art.

D’Harnoncourt, Anne 1982b. “John Cage at Seventy: Toward a Chronology.” In D’Harnoncourt 1982a; repr. in Diamond and Hicks 1982, 58-61.

D’Harnoncourt, Anne 1982c. “‘We Have Eyes as well as Ears’.” In D’Harnoncourt 1982a; repr. in Kaprow and Solway 1987, 35a-c; repr. in Kostelanetz 1993f, 319-322; French as “‘Nous avons aussi bien des yeux que des oreilles’.” Trans. Carol Richards. In Charles 1987-1988, 233-235.

D’Harnoncourt, Anne 1993. “Paying Attention.” In Ferguson, R. and Schottlaender 1993; Italian as “Prestare attenzione.” Trans. Erminio Corti. In Bonomo and Furghieri 1998, 429-438.

D’Harnoncourt, Anne and Walter Hopps 1969. Etant donnés: 1º la chute d’eau; 2º le gaz d’éclairage: Reflections on a New Work by Marcel Duchamp. Philadelphia, Pennsylvania: Philadelphia Museum of Art (Philadelphia Museum of Art Bulletin; 64, no. 299-300 [April-September 1969]); repr. 1973; repr. 1987.

D’Harnoncourt, Anne and Kynaston McShine 1973, eds. Marcel Duchamp. New York [etc.]: Museum of Modern Art; repr. München: Prestel, 1989.

D.D.T. 1970. “Le musicircus de John Cage.” L’Hebdo Hara-kiri no. 90 (19 October).

D.S. 1977. “Unico concerto europeo di John Cage a Milano.” Il Messaggero [Roma] (29 November), 3.

D.T. 1980. “‘Roaratorio’ im Schrottparadies.” Theater Rundschau [Bonn] (18 October).

Dack, John 2014. Review of Hünermann and Blumröder 2011. Organised Sound [Cambridge] 19, no. 3 (December), 310-311.

Dadelsen, Hans-Christian von 1978. “Neuerscheinungen-Rezensionen.” Musik und Bildung 10, 738.

Dagens Nyheter 1964. “Cunningham och ryggraden.” Dagens Nyheter [Stockholm] (11 September), 22.

Dahl, Ingolf 1949. “Notes on Cartoon Music.” Film Music Notes [New York] 8, no. 5 (May-June), 3-13.

Dahlberg, Getrude 1965. “Big, Man, Big!” County Citizen [Nyack, New York] (6 October), 7.

Dahlhaus, Carl 1969. “Plädoyer für eine romantische Kategorie: Der Begriff des Kunstwerks in der neuesten Musik.” Neue Zeitschrift für Musik 130, no. 1 (January), 18-22; repr. in Dahlhaus 1978a, 270-278; repr. in Dahlhaus 2005, 216-224; English as “Plea for a Romantic Category: The Concept of the Work of Art in the Newest Music.” In Dahlhaus 1987, 210-219.

Dahlhaus, Carl 1971. “Über den Zerfall des musikalischen Werkbegriffs.” In Beiträge 1970/1971 der Österreichischen Gesellschaft für Musik. Kassel [etc.]: Bärenreiter, 9-26; repr. in Dahlhaus 1978a, 279-290; repr. in Dahlhaus 2005, 231-243; English as “On the Decline of the Concept of the Musical Work.” In Dahlhaus 1987, 220-233.

Dahlhaus, Carl 1972a, ed. “Cage, John.” In Riemann Musiklexikon, 12th ed., Ergänzungsband [1], Personenteil A-K. Mainz [etc.]: Schott, 179-181.

Dahlhaus, Carl 1972b. “Über Sinn und Sinnlosigkeit in der Musik.” In Stephan 1972, 90-99; repr. in Dahlhaus 1978a, 365-373; repr. in Dahlhaus 2005, 253-262.

Dahlhaus, Carl 1978a. Schönberg und andere: Gesammelte Aufsätze zur Neuen Musik. Mainz [etc.]: Schott.

Dahlhaus, Carl 1978b. “Über offene und latente Traditionen in der neuesten Musik.” In Die neue Musik und die Tradition. Ed. by Reinhold Brinkmann. Mainz [etc.]: Schott, 1983, 9-21 (Veröffentlichungen des Instituts für Neue Musik und Musikerziehung Darmstadt; 19); repr. in Dahlhaus 2005, 112-122.

Dahlhaus, Carl 1982. “Ästhetik und Musikästhetik.” In Dahlhaus and La Motte-Haber 1982, 81-108; repr. in Dahlhaus 2000, 586-615.

Dahlhaus, Carl 1984a. “Abkehr vom Materialdenken?” In Algorithmus, Klang, Natur: Abkehr vom Materialdenken? Ed. by Friedrich Hommel. Mainz [etc.]: Schott, 45-55 (Darmstädter Beiträge zur Neuen Musik; 19); repr. in Dahlhaus 2005, 482-494; English as “A Rejection of Material Thinking?” In Dahlhaus 1987, 274-287.

Dahlhaus, Carl 1984b. “John Cage.” In Dahlhaus and Zimmermann 1984, 395-400.

Dahlhaus, Carl 1987. Schoenberg and the New Music: Essays. Trans. Derrick Puffett and Alfred Clayton. Cambridge [etc.]: Cambridge University Press.

Dahlhaus, Carl 2000. Allgemeine Theorie der Musik I: Historik, Grundlagen der Musik, Ästhetik. Ed. by Hermann Danuser. Laaber: Laaber (Gesammelte Schriften; 1).

Dahlhaus, Carl 2005. 20. Jahrhundert: Historik, Ästhetik, Theorie, Oper, Arnold Schönberg. Ed. by Hermann Danuser. Laaber: Laaber (Gesammelte Schriften; 8).

Dahlhaus, Carl and Hans Heinrich Eggebrecht 1978, eds. “Cage, John.” In Brockhaus-Riemann-Musiklexikon: In zwei Bände. Wiesbaden [etc.]: Brockhaus; Schott, vol. 1, A-K, 202-203; rev. addition as Brockhaus-Riemann-Musiklexikon: Ergänzungsband A-Z. Mainz [etc.]: Schott, 1995.

Dahlhaus, Carl and Helga de la Motte-Haber 1982, ed. Systematische Musikwissenschaft. Wiesbaden [etc.]: Akademische Verlagsgesellschaft Athenaion; Laaber-Verlag (Neues Handbuch der Musikwissenschaft; 10); repr. Laaber: Laaber-Verlag, 1997.

Dahlhaus, Carl and Michael Zimmermann 1984, selection and commentary. Musik – zur Sprache gebracht: Musikästhetische Texte aus drei Jahrhunderten. München: Deutscher Taschenbuch Verlag; Kassel [etc.]: Bärenreiter.

Dahn, Yu Jeng 2011. Review of Feisst 2011. American Jewish Archives Journal [Cincinnati, Ohio] 63, no. 2 (2011), 63-64.

Daily Illini 1967. “Musicircus, Panel Today.” Daily Illini [Champaign-Urbana, Illinois] (17 November).

Daily Journal 1966. “Aspen to Host Design Meet Starting Sunday.” Daily Journal [Denver, Colorado] (17 June).

Daily Mail 1964. “The New Ice-Breakers of Modern Ballet.” Daily Mail [London] (28 July).

Daily Reveille 1964. “Cage Speech Is Termed ‘Astounding’.” Daily Reveille [Baton Rouge, Louisiana] (10 January).

Daily Sport 1992. “Fans Fork Out for a Bit of Hush.” Daily Sport [London] (6 February), 3.

Daily Telegraph 1992. “Obituary: John Cage.” Daily Telegraph [London] (14 August), 17.

Dallas, Karl 1982a. “John Cage: Sonatas & Interludes for Prepared Piano.” Music News [London], special edition of Jazz Music News and Folk Music News, [7].

Dallas, Karl 1982b. “John Cage, the Avant Garde, and the Folk Tradition.” Music News [London], special edition of Jazz Music News and Folk Music News, [2].

Dallin, Leon 1974. Techniques of Twentieth-Century Composition, 3rd ed. Dubuque, Iowa: Wm. C. Brown.

Dalmonte, Rossana 2003. “1938-1950: Cage ‘romantico’.” In Ballardini, Cutroneo, and Negri 2003, 13-31.

Dalton, Jody 1988. Review of 29 June 1988 (performance). Ear 13, no. 6 (September), 26-27.

Dalton, Jody 1989. “Cage Honored.” Ear 14, no. 7 (October), 15.

Dalton, Jody 1990. Review of Dufallo 1989 and Kostelanetz 1989e. Ear 14, no. 10 (February), 58.

Daly, Ann 1986. “Viewpoint: Roaratorio: An Irish Circus On Finnegan’s Wake.” High Performance [Los Angeles, California] 9, no. 4 <no. 36> (Winter), 77.

Damian, Jean-Michel 1970a. “John Cage enfin.” Politique Hebdo (22 October), 30.

Damian, Jean-Michel 1970b. Review of 26-27 October 1970 (concert). Politique Hebdo (12 November).

Damian, Jean-Michel 1973-1974. “Cage et Cunningham à l’Opéra.” Art Press [Paris] no. 8 (December-January), 25.

Damkjær, Camilla 2005. “The Aesthetics of Movement: Variations on Gilles Deleuze and Merce Cunningham.” Ph.D. Diss., Stockholms Universitet; repr. Riga: Lambert Academic Publishing, 2010.

Damus, Martin 1973. Funktionen der bildenden Kunst im Spätkapitalismus: Untersucht anhand der avantgardistischen Kunst der sechziger Jahre. Frankfurt am Main: Fischer-Taschenbuch-Verlag (Fischer-Taschenbücher; 6194).

Dance 1954. “Merce Cunningham and Dance Company.” Dance 28, no. 2 (February), 69-70, 73.

Dance Magazine 1963. “Merce Cunningham Comes to Broadway.” Dance Magazine 37, no. 3 (March), 44-45.

Dance Observer 1953. Review. Dance Observer [New York] 20, no. 7 (August-September), 107.

Dance Observer 1954. “Merce Cunningham Receives Guggenheim Award.” Dance Observer [New York] 21, no. 7 (August-September).

Dandrel, Louis and Jacques Lonchampt 1970. “Une exposition sonore.” Le Monde (15 October), 15.

Daniel, Oliver 1953. “New Recordings.” Bulletin of American Composers Alliance 3, no. 1, 15-16.

Daniel, Oliver 1959. Review of Hoover, K.O. and Cage 1959. Saturday Review (30 May), 54.

Daniel, Oliver 1964. “The Enlivening ‘Avant-Garde’.” Saturday Review (28 March), 50, 61.

Daniel, Oliver 1966. “The Science of Saying Nothing.” Saturday Review (30 April), 63, 74.

Daniel, Oliver 1969. “Loops and Reels.” Saturday Review (12 April), 62-63.

Daniels, Arthur and Laverne Wagner 1975, eds. Music. New York: Holt, Rinehart and Winston.

Daniels, Dieter 2003. “Der Dualismus von Konzept und Technik in Musik und Kunst von Duchamp und Cage bis zur Konzeptkunst.” In Metzger, C. 2003a.

Daniels, Dieter 2012a. “Silence Expanded: The Legacy of 4'33''.” In Schröder, J.H. and Straebel 2012, 213-223.

Daniels, Dieter 2012b. “Your Silence Is Not My Silence.” In Daniels, D. and Arns 2012, 23-38.

Daniels, Dieter 2022. “Silence Expanded (No.2): The Legacy of 4'33" and of 0'00".” Australian Humanities Review [Canberra] no. 70 (November), 43-57.

Daniels, Dieter and Inke Arns 2012, eds. Sounds Like Silence: John Cage 4'33" Silence Today 1912-1952-2012. Exhibition catalogue, Hartware MedienKunstVerein (HMKV) at the Dortmunder U, Leonie-Reygers-Terrasse, Dortmund, 25 August 2012-6 January 2013. Leipzig: Spector Verlag.

Daniels, Stevie 1974. “Empty Words – The Art of Change.” The Lance [Laurinburg, North Carolina] (7 March).

Danler, Karl-Robert 1976. Review of Korn 1975. Das Orchester 24 (1976), 185.

Dannenberg, Peter 1972. “Musik auf der Suche nach sich selbst.” Die Welt (22 December).

Dannenberg, Peter 1973. “Aufgelockerte und sterile Programme.” Neue Musikzeitung 22 (February-March), 4.

Dannenberg, Peter 1975a. “Was hat Colin McPhee mit Cage zu tun?” Neue Musikzeitung 24, no. 5, 21.

Dannenberg, Peter 1975b. “Wege zu Cage.” Stuttgarter Zeitung (23 June).

Danninger, Helmut 1979. “Rituale ums Ich: Erläuterungen zu den Song Books.” In Zeller 1979a, 45-59.

Dansk Musiktidsskrift 1982-1983. “Værkliste - tidlig Cage (1932-1958).” Dansk Musiktidsskrift 57, no. 2 (1982-1983), 79.

Danuser, Hermann 1984. Die Musik des 20. Jahrhunderts. Laaber: Laaber-Verlag (Neues Handbuch der Musikwissenschaft; 7); repr. 1996; repr. 2008.

Danuser, Hermann 1985. “Plädoyer für die amerikanische Moderne.” In Die Musik der fünfziger Jahre: Versuch einer Revision. Ed. by Carl Dahlhaus. Mainz [etc.]: Schott, 21-38 (Veröffentlichungen des Instituts für Neue Musik und Musikerziehung Darmstadt; 26).

Danuser, Hermann 1986a. “John Cage.” In Pipers Enzyklopädie des Musiktheaters: Oper, Operette, Musical, Ballet. Ed. by Carl Dahlhaus, Sieghart Döhring et al. München [etc.]: Piper, vol. 1, 489-491.

Danuser, Hermann 1986b. “Vier Kulturen der Musik: Paradigmen der Musikgeschichte des 20. Jahrhunderts.” Neue Zürcher Zeitung, Fernausgabe (18 July), 27-28.

Danuser, Hermann 1987a. “Auf der Suche nach einer nationalen Musikästhetik.” In Danuser, Kämper and Terse 1987, 51-59.

Danuser, Hermann 1987b. “Gegen-Traditionen der Avantgarde.” In Danuser, Kämper and Terse 1987, 101-112.

Danuser, Hermann 1989. “Neue Innerlichkeit in der zeitgenössischen Musik.” Dissonanz = Dissonance no. 22 (November), 4-6.

Danuser, Hermann 1990a. “Innerlichkeit und Äußerlichkeit in der Musikästhetik der Gegenwart.” In Jost 1990, 17-29.

Danuser, Hermann 1990b. “Inspiration, Rationalität, Zufall: Über musikalische Poetik im 20. Jahrhundert.” Archiv für Musikwissenschaft 47 (1990), 87-102.

Danuser, Hermann 1991. “Rationalität und Zufall: John Cage und die experimentelle Musik in Europa.” In Ästhetik im Widerstreit: Interventionen zum Werk von Jean-François Lyotard. Ed. by Wolfgang Welsch and Chistine Pries. Weinheim: Acta Humaniora, 91-105.

Danuser, Hermann 1992a. “Gibt es eine ‘Darmstädter Schule’?” Dissonanz = Dissonance no. 31 (February), 24-27; repr. in Musikkultur in der Bundesrepublik Deutschland: Symposion Leningrad 1990 = Muzykal’naja kul’tura v Federativnoj Respublike Germanija: Simpozium Leningrad 1990. Kassel: Bosse, 1994, 149-166.

Danuser, Hermann 1992b, ed. Musikalische Interpretation. Laaber: Laaber-Verlag (Neues Handbuch der Musikwissenschaft; 11); repr. 1997.

Danuser, Hermann 1993. “Die Postmodernität des John Cage: Der experimentelle Künstler in der Sicht Jean-François Lyotards.” In Wiederaneignung und Neubestimmung: Der Fall ‘Postmoderne’ in der Musik. Ed. by Otto Kolleritsch. Wien [etc.]: Universal Edition (Studien zur Wertungsforschung; 26), 142-159.

Danuser, Hermann, Dietrich Kämper, and Paul Terse 1987, eds. Amerikanische Musik seit Charles Ives: Interpretationen, Quellentexte, Komponistenmonographien. Laaber: Laaber-Verlag. Includes Briner 1987a; Cage 1959j; Danuser 1987a; Fürst-Heidtmann 1987a; Gronemeyer 1987c; La Motte-Haber 1987.

Danuser, Hermann and Tobias Plebuch 1998, eds. Musik als Text. Kassel [etc.]: Bärenreiter, 2 vols.

Darack, Arthur 1957. “Disharmony.” Cincinnati Enquirer (16 February), 11.

Darack, Arthur 1967. “Stone Walls Do Not a Prison Make, Nor Iron Bars, a Cage…” Cincinnati Pictorial Enquirer (9 July), 20-22.

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

Darmstädter Echo 1958. “Statt einer Erwiderung.” Darmstädter Echo (17 September).

Darnielle, John 2016. “There Are Other Forces at Work.” Harper’s Magazine [New York] (January).

Darter, Tom 1982. “The Piano Music of John Cage.” Keyboard 8, no. 9 (September), 23-25.

Darter, Tom 1992. “World View: John Cage 1912-1992.” Keyboard 18 (November), 42-43.

Daseler, Robert 1970. “John Cage Remains a Heretic’s Heretic in Heretical Times (He Has I Ching Computerized).” Middletown Press [Middletown, Connecticut] (10 April), 6-7.

Dasenbrock, Reed Way 1993. Review of Perloff, M. 1991b. Journal of English and Germanic Philology 92, no. 3 (July), 412-414.

Dasilva, Fabio B. and Allan M. Hunchuk 1989. “Musical Spaces: A Phenomenological Analysis of John Cage’s Variations IV.” Music Review 50, no. 3-4 (1989), 281-296.

Dasilva, Fabio B. and Allan M. Hunchuk 1990. “Everywhere and Nowhere: On John Cage and Maurice Merleau-Ponty.” Music Review 51, 307-323.

Daugaard, Solveig 2018. Collaborating with Gertrude Stein: Media Ecologies, Reception, Poetics. Linköping: Linköping University, Department of Culture and Communication (Linköping Studies in Arts and Sciences; 737) (Studies in Language and Culture; 30) (previously Ph.D. Diss., Linköpings Universitet, 2018).

Davenport, Mark 2020. “Paul Williams: The Cage Mix.” Journal of the Society for American Music 14, no. 2 (May), 113-140.

David, Beverly R. 1977. “Cage’s Mureau: Another Revolution.” American Poetry Review 6, no. 4 (July-August), 44-46.

Davidian, Teresa Maria 2000. “From Crawford to Cage: Parallels and Transformations.” Musical Quarterly 84, no. 4 (Winter), 664-695.

Davidović, Dalibor 2015. “Branches = Veje.” In English. Musikološki zbornik [Ljubljana] 51, no. 2 (2015), 9-25.

Davidson, Audrey 1972. “The Games John Cage Plays.” Michigan Academician 4, no. 3 (Winter), 269-280; repr. in Audrey Davidson, Substance and Manner: Studies in Music and the Other Arts. Saint Paul, Minnesota: Hiawatha Press, 1977, 73+.

Davidson, Michael 1999. Review of Perloff, M. 1998. Boston Review [Cambridge, Massachusetts] (April-May).

Davidson, Susan 2004. “Focusing an Instinct: The Collecting of Peggy Guggenheim.” In Davidson, S. and Rylands 2004, 53+.

Davidson, Susan and Philip Rylands 2004, eds. Peggy Guggenheim & Frederick Kiesler: The Story of the Art of This Century. New York: Guggenheim Museum Publications.

Davies, Hugh 1968. Répertoire international des musiques électroacoustiques = International Electronic Music Catalog. Cambridge, Massachusetts [etc.]: M.I.T. Press.

Davies, Hugh 1974. “Electronic Music: History and Development.” In Vinton 1974, 212-216.

Davies, Hugh 2001. “Gentle Fire: An Early Approach to Live Electronic Music.” Leonardo Music Journal 11 (2001), 53-60.

Davies, Laurence 1971. Paths to Modern Music: Aspects of Music from Wagner to the Present Day. London: Barrie & Jenkins; New York: Charles Scribner’s Sons.

Davies, Peter Maxwell 1964. “The Young Composer in America.” American Scholar 33, no. 4 (Fall), 620, 622, 624, 626, 628; repr. Tempo no. 72 (Spring 1965), 2-6.

Davies, Stephen 1997. “John Cage’s 4'33'': Is It Music?” Australasian Journal of Philosophy [Melbourne, Victoria] 75, no. 4 (1997), 448-462; repr. in Stephen Davies, Themes in the Philosophy of Music. Oxford [etc.]: Oxford University Press, 2003, 11-29 (reviews: Brown, L.B. 2005; DeBellis 2004; Gritten 2004; Reybrouck 2006; Sharpe 2004).

Davies, Stephen 1999. Review of Cage/Retallack 1996. Journal of Aesthetics and Art Criticism 57, no. 1 (Winter), 93-94.

Davies, Stephen 2007. “Musikalisches Verstehen.” Trans. Matthias Vogel. In Musikalischer Sinn: Beiträge zu einer Philosophie der Musik. Ed. by Alexander Becker and Matthias Vogel. Frankfurt am Main: Suhrkamp, 25-79 (Suhrkamp-Taschenbuch Wissenschaft; 1826).

Davis, Bob and Randy Lyman 1988. “The Hub: Where Computers Jam.” Ear 13, no. 1 (March), 14-15.

Davis, Douglas M. 1969. “The Expanding Arts: Why Armchair Critics Must Go.” National Observer (1969).

Davis, James 2019. Review of Iverson 2019. Music & Letters 100, no. 4 (November), 749-753.

Davis, Peter 1977. “How to Improve the World (John Cage). ” The Bucknellian [Lewisburg, Pennsylvania] (11 March), unpag.

Davis, Peter G. 1978. “‘Y New Music’ for Voice.” New York Times (1 February).

Davis, Peter G. 1982. “Uncaged Spirits.” New York 15, no. 13 (29 March), 80-81.

De Antonio, Emile F. 1956. “Pianist Cage Coming But No Doll’s Arm.” Boston Herald (18 April), 15.

De Barros, Paul 1984. “At New Music America, A Wide Range of Experimental Sounds.” Philadelphia Inquirer (14 April), E8.

De Benedictis, Angela Ida 2006. Review of Boulez/Cage 1976/2002 and 2006 (Italian). Il Saggiatore Musicale [Firenze] 13, no. 1 (2006), 165-174.

De Gramont, Sanche 1963. “Breaking the Sound Barrier: Music to Have Nightmares By.” New York Herald Tribune (21 July), 1, 4.

De Gregori, Paolo 1974. “John Cage.” Super Sound [Rome] (1 July), 10.

De la Vega, A(urelio) 1967. “Avant Garde Music at the American Art Biennal of Cordoba.” Inter-American Institute for Musical Research: Yearbook = Instituto Interamericano de Investigación Musical: Anuario 3, 99-100.

De Mey, Thierry 1997. “‘How to know the dancer from the dance…’.” In De la différence des arts. Ed. Jean Lauxerois and Peter Szendy. Paris: L’Harmattan; Centre Georges Pompidou, 173-184.

De Mille, Charlotte 2011, ed. Music and Modernism, c. 1849-1950. Newcastle upon Tyne: Cambridge Scholars Publishing.

De Pirro, Carlo 1993. “Nono-Cage in crescendo.” La Nuova Venezia (22 June), 41.

De Roeck, Jef 1987. “Dansen is bewegen.” De Standaard [Groot Bijgaarden] (16 September), 7.

De Schauensee, Max 1959. Review of Hoover, K.O. and Cage 1959. Opera News 24, no. 5 (December), 30.

De Souza, Jonathan 2008. “Reassessing the Emergence of Indeterminate Music.” British Postgraduate Musicology [Cambridge] 9 (February).

De Visscher, Eric 1984. “Le son et l’écrit chez John Cage: Propositions pour une sémiotique musicale.” Licentiate thesis [thèse de licencie], Université Catholique de Louvain-la-Neuve.

De Visscher, Eric 1987. “Continuing the Experimental Tradition….” Perspectives of New Music 25, no. 1-2 (Winter-Summer), 490-492.

De Visscher, Eric 1987-1988. “‘I welcome whatever happens next’: La musique récente de John Cage.” In Charles 1987-1988, 177-185.

De Visscher, Eric 1989a. “Par hasard, par Henri Pousseur.” Revue belge de musicologie = Belgisch tijdschrift voor muziekwetenschap 43, 123-133.

De Visscher, Eric 1989b. “‘There’s no such thing as silence…’: John Cage’s Poetics of Silence.” Interface 18, 257-268; repr. in Kostelanetz 1993f, 117-133; German as “‘So etwas wie Stille gibt es nicht…’: John Cages Poetik der Stille.” MusikTexte no. 40-41 (August 1991), 48-54; corrections MusikTexte no. 42 (November 1991), 71; repr. in Blomann and Sielecki 1997, 191-201.

De Visscher, Eric 1990a. “John Cage’s Europeras 3 & 4 at the Almeida Festival, London.” Musicworks [Toronto, Ontario] no. 48 (Fall), 53-54.

De Visscher, Eric 1990b. “Very Special Records from Germany.” Musicworks [Toronto, Ontario] no. 47 (Summer), 44-45.

De Visscher, Eric 1991a. “Ansätze zum Dialog Europa-USA: Das belgische Festival ‘Ars Musica’.” MusikTexte no. 39 (April), 57.

De Visscher, Eric 1991b. “Duchamp the Composer.” Musicworks [Toronto, Ontario] no. 50 (Summer), 58.

De Visscher, Eric 1991c. “John Cage und die Idee der Harmonik.” Positionen [Berlin] no. 6-7 (1991), 23-28; English as “John Cage and the Idea of Harmony.” Musicworks [Toronto, Ontario] no. 52 (Spring 1992), 50-56.

De Visscher, Eric 1991d. “Times and Silences: Some Speculative Remarks.” Musicworks [Toronto, Ontario] no. 50 (Summer), 37-39.

De Visscher, Eric 1992a. “Adieu John Cage.” Le Soir [Bruxelles] (17 August), 2.

De Visscher, Eric 1992b. “Die Künstlergruppe ‘Les incohérents’ und die Vorgeschichte zu 4'33".” In Schädler and Zimmermann 1992b, 71-76.

De Visscher, Eric 1992c. “‘No fixed relations’: A propos du film Cage-Cunningham d’Elliot Caplan.” Revue d’esthétique new series no. 22 (1992), 105, 108-110.

De Visscher, Eric 1992d. “A Special Hommage to John Cage.” Musicworks [Toronto, Ontario] no. 52 (Spring), 4.

De Visscher, Eric 1994. “A Few Short Anecdotes about John Cage.” Musicworks [Toronto, Ontario] no. 58 (Spring), 47.

De Visscher, Eric 1995. “James Pritchett: The Music of John Cage.” Musicworks [Toronto, Ontario] no. 61 (Spring), 83-84.

De Vree, Freddy 1982. “John Cage zeventig jaar.” Muziek en Woord [Zaventem] 8, no. 88 (January), 21.

Deane, Patrick 1992. “Justified Radicalism: A.R. Ammons with a Glance at John Cage.” Papers on Language & Literature 28 (1992), 206-222.

Deane, Raymond 1982. “Founding Father: Raymond Deane Reflects on John Cage at 70.” Sound Post 10 (October-November).

Dearborn, Mary V. 2004. Mistress of Modernism: The Life of Peggy Guggenheim. Boston, Massachusetts [etc.]: Houghton Mifflin.

Dearborn, P.A. 1946. “Prepared Piano.” Photograph with caption text. PM [New York] (10 December).

Dearling, Robert, Celia Dearling and Brian Rust 1976. The Guinness Book of Music: Facts and Feats. Enfield, Middlesex: Guinness Superlatives.

DeBell, Jeff 1988. “Chance Operation.” Roanoke Times & World-News (11 April), Extra, 1, 3.

DeBell, Jeff 1989. “Chance Encounters.” Roanoke Times & World News (5 June), Extra 1, 3.

DeBellis, Mark 2004. Review of Davies, S. 2003. Mind [Oxford] 113, no. 452 (October), 747-750.

DeCamp, Carol 1948. “DeCamp Discusses Cage, Shahn; Their Approach to Art.” Vassar Chronicle 5, no. 20 (6 March), 3-4.

Decatur Sunday Herald and Review 1969. “Avant Garde Music Concert Set for U of I.” Decatur Sunday Herald and Review (11 May).

Deckenbrock, Nikolaus 1985a. “Satie-Workshop in Bonn.” Fono-Forum (June).

Deckenbrock, Nikolaus 1985b. “Von der zufälligen Langeweile.” General-Anzeiger [Bonn] (2 April), 15.

Decker, Annie de 1989. “Baudouin Oosterlynck.” Artefactum no. 31 (November-December), 16-18.

Decker, Edith 1993. “Die visuelle Musik Nam June Paiks.” In Film und Musik. Ed. by Helga de la Motte-Haber. Mainz: Schott, 37-42 (Veröffentlichungen des Instituts für neue Musik und Musikerziehung Darmstadt; 34).

Declercq, Joost 1985. “In het park van de eenentwintigste eeuw.” Muziek & Woord 11, no. 127 (April), 29.

Decoust, Michel/Anonymous 1972. “Interview de Michel Decoust.” In Bosseur, J.-Y. et al. 1971-1972, 8-14.

Decroupet, Pascal 1992. “Via Varèse.” In La Motte-Haber 1992, 28-40.

Decroupet, Pascal 1995. “Renverser la vapeur…: Zu Musikdenken und Kompositionen von Boulez in den fünfziger Jahren.” In Pierre Boulez. Ed. by Heinz-Klaus Metzger and Rainer Riehn. München: text + kritik, 112-131 (Musik-Konzepte; 89-90).

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Feldman, Morton 1967. “Avant Garde: Progress or Stalemate?” New York Times (5 March), D 27; Swedish as “Avantgarde: Utveckling eller stillstånd.” Nutida Musik [Stockholm] 32, no. 4 (1988-1989), 20-21.

Feldman, Morton 1967-1968. “Varken - eller.” Nutida Musik [Stockholm] 11, no. 5-6, 45-46; original English text as “Neither/Nor.” Included in Cage et al./Austin 1969, 7-8; repr. (with German trans. Peter Behrendsen as “Weder/noch”) in Feldman 1985, 79-81.

Feldman, Morton 1968. “Give my regards to Eighth Street.” Art News Annual (1968); repr. Art in America 59, no. 2 (March-April 1971), 96-99; repr. with German trans. Peter Behrendsen as “Grüß’ mir die ‘Eighth Street’.” In Morton Feldman, Essays. Ed. by Walter Zimmermann. Kerpen: Beginner Press, 1985, 71-78.

Feldman, Morton 1968-1969a. “Konstens ängslan.” Nutida Musik [Stockholm] 12, no. 3, 36-41; original English text as “The Anxiety of Art.” Art in America 61, no. 5 (September-October 1973), 88-93; repr. with German trans. Peter Behrendsen as “Die Angst vor der Kunst.” In Feldman 1985, 83-96.

Feldman, Morton 1968-1969b. “Mellan kategorierna.” Nutida Musik [Stockholm] 12, no. 4, 25-27; original English text as “Between Categories.” The Composer 1, no. 2 (September 1969), 73-77; repr. New Observations no. 67 (May 1989), 6-8; repr. in Feldman 2000, 83-89; French as “Entre des categories.” Trans. Dominique Bosseur. Musique en jeu no. 1 (November 1970), 22-26; repr. with German trans. Gisela Gronemeyer as “Zwischen den Kategorien (Between Categories).” In Feldman 1985, 82-84.

Feldman, Morton 1969b. “Un problema di composizione.” Trans. Franca Lerici. Il Verri: Rivista di Letteratura [Milano] 4th series no. 30 (July), 68-70; original English text as “A compositional problem.” Neue Musik [München], special issue as Originalbeiträge Musik/Film/Dia/Licht-Festival. Kunstprogramm Olympische Spiele München 1972, 35; repr. with German as “Ein kompositorisches Problem.” Trans. Peter Behrendsen. In Morton Feldman, Essays. Ed. by Walter Zimmermann. Kerpen: Beginner Press, 1985, 113-114 (review: Vlad 1970).

Feldman, Morton 1981. “Crippled Symmetry.” Res [Cambridge, Massachusetts] no. 2 (Fall), 91-103.

Feldman, Morton 1982. “Mehr Licht.” Trans. John Gabriel and Sabine Gabriel. In Krüger 1982, [10]-[11]; repr. (with original English text), in Feldman 1985, 120-121; repr. as “More Light = Mehr Licht.” In Budisavljevic 1992, 14-15; French as “Plus de lumière.” Trans. Carol Richards. In Charles 1987-1988, 191.

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Feldman, Morton/Borradori, Giovanna 1986. “‘Una liaison tra Webern e Cage’: Conversazione con Morton Feldman.” Music/Realtà 7, no. 19 (April), 53-66.

Feldman, Morton/Bosseur, Jean-Yves 1968. “A l’écart des grandes villes.” Revue d’Esthétique 21, no. 2-4 (April-December), 3-8.

Feldman, Morton/Gena, Peter 1982. “H.C.E. (Here Comes Everybody): Morton Feldman in Conversation with Peter Gena.” Triquarterly [Evanston, Illinois] no. 54 (Spring), 122-144; repr. in Gena and Brent 1982, 51-73; German excerpt as “H.C.E. (Here Comes Everybody): Morton Feldman im Gespräch mit Peter Gena (Auszüge).” In Kölner Gesellschaft 1983, 14-26.

Feldman, Morton/Laycock, Jolyon and David Charlton 1967. “An Interview with Morton Feldman.” Opus [Nottingham, England] 2 (Spring), 18-20.

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Feldman, Phyllis 1957. “Reviewer Lauds Dance Performance.” Antioch College Record [Yellow Springs, Ohio] (17 May).

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Ferrari, Aldo 1978b. “E quando vorrà suonare un Boeing?” Il Resto del Carlino [Bologna] (28 June).

Ferrari, Luc/Robindoré, Brigitte 1998. “Luc Ferrari: Interview with an Intimate Iconoclast.” Computer Music Journal 22, no. 3 (Fall), 8-16.

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Feuchtner, Bernd 1993a. “Eine menschliche Uhr.” Der Tagesspiegel (19-20 May), 17.

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Henahan, Donal 1976b. “Music: Cage’s ‘Renga’ Gives Lift to Festival of Modern Works.” New York Times (29 October), C9.

Henahan, Donal 1976c. “A ‘Ruptured Duck’ That Just Will Not Fly.” New York Times (15 August).

Henahan, Donal 1978a. “Cage’s Works Played in His Honor.” New York Times (25 April).

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Johnson, Tom 1973bC. “Toward a Music for the Planet Earth.” Village Voice (4 January), 31; repr. as “Music for the Planet Earth.” In Johnson, Tom 1989, 56-59.

Johnson, Tom 1975a. “Cage Meets Thoreau.” Village Voice (20 October), 90; repr. as “John Cage’s ‘Empty Words’.” In Johnson, Tom 1989, 188-191.

Johnson, Tom 1975b. “John Cage: Music from Stars.” Village Voice (3 February), 105-106; repr. in Johnson, To. 1989, 166-169.

Johnson, Tom 1976a. “How to Perform John Cage.” Village Voice (9 February), 82.

Johnson, Tom 1976b. “John Cage Goes to Boston: A Bicentennial Premiere.” Village Voice (11 October), 86; repr. in Johnson, Tom 1989, 247-249.

Johnson, Tom 1976c. “New Music.” High Fidelity/Musical America 26, no. 3 (March), MA-14-MA-15.

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Johnson, Tom 1978b. “The Content of John Cage.” Village Voice (9 January), 54.

Johnson, Tom 1979a. “Looking at Music.” Village Voice (3 December), 88.

Johnson, Tom 1979b. “John Cage and Other Dance Accompanists.” Village Voice (20 August), 74-75.

Johnson, Tom 1979-1980. “John Cage, Musician and Poet.” Dance Chronicle 3, 483-485.

Johnson, Tom 1980. “Cage, Higgins, Mac Low, Tamia.” Village Voice (3-9 December), 90; excerpt repr. as “John Cage’s Themes and Variations.” In Johnson, Tom 1989, 461-462.

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Johnson, Tom 1981c. “Newsing News.” Village Voice (3-9 June), 72.

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Johnston, Ben and Benjamin Boretz 1972. “Communications.” Perspectives of New Music 10, no. 2 (Spring-Summer), 175-177.

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Jones, Phil 1984. Review of DeLio 1984. Tempo no. 151 (December), 43-44.

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Journal du Centre 1971. “Il faut se jeter à l’eau… et apprendre à nager.” Le Journal du Centre [Nevers] (18 October).

Journal du Var 1981. “Merce Cunningham pour la dernière fois à Toulon.” Le Journal du Var/Var Matin Republique [Nice] (26 July).

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Jungheinrich, Hans-Klaus 1981. “Die Verunsicherung eines Bahnhofs.” Frankfurter Rundschau (1 December); repr. Stuttgarter Nachrichten (2 December).

Jungheinrich, Hans-Klaus 1981-1982. “Die Verunsicherung eines Bahnhofs.” Neue Musikzeitung (December-January).

Jungheinrich, Hans-Klaus 1982a. “Alles ist nichts und etwas ist mehr.” Frankfurter Rundschau (28 April).

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