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

 

K. 1958. “Musik für drei Radiogeräte.” Düsseldorfer Nachrichten (15 or 16 October).

K. 1975. “Problemreiches Konzert.” Leipziger Volkszeitung (8-9 February).

K.A. 1992. “A World without Noise, Just Sounds.” Newsweek (24 August), 53.

K.D. 1958. “John Cage: Humor und Satire.” Musik und Gesellschaft [Berlin] 8, no. 11 (November), 48-50.

K.K. 1988. Review of Thorofon Capella CTH 2003 (recording). Neue Zeitschrift für Musik 149, no. 11 (November), 41.

K.S. 1968. “Danza moderna y otras herejías.” Analisis (14 August), 38, 40.

Kaaij, Martin 1991. “De charme van meesteroplichter John Cage: ‘Ik heb niets te zeggen en ik zeg het.’” De Groene Amsterdammer (26 June), 32-33.

Kaak, Joachim and Corinna Thierolf 1997. Hanne Darboven – John Cage: Staatsgalerie Moderner Kunst. Ostfildern: Hatje (Kunstwerke; 4); English as Hanne Darboven – John Cage: A Dialogue of Artworks. Ed. by Bayerische Staatsgemäldesammlungen, Pinakothek der Moderne, Munich. Ostfildern: Hatje Cantz, 2000.

Kaczyński, Tadeusz and Andrzej Zborski 1983. Warszawska Jesień = Warsaw Autumn [kalendarium i indeksy Kazimierz Nowacki]. Kraków: Polskie Wydawnictwo Muzyczne.

Kaden, Werner 1995. “Läßt der Reiz nach, kommt die Monotonie.” Freie Presse [Chemnitz] (10 November).

Kaegi, Werner 1969. [Untitled]. As part of “Anthologie.” In Bärtschi et al. 1969, X 3-X 4.

Kagel, Mauricio 1958. “John Cage en Darmstadt.” Buenos Aires Musical (16 October); repr. in Borio and Danuser 1997, vol. 3, 483-484; German as “John Cage in Darmstadt.” Included in Metzger, H.-K. 1999.

Kagel, Mauricio 1969. [Untitled]. As part of “Anthologie.” In Bärtschi et al. 1969, X 4; repr. as “Über J.C.” In Kagel 1975, 87-88; Italian as “Su J.C.” Scena [Milano] 4, no. 5-6 (December 1979).

Kagel, Mauricio 1972. “Meine erste Begegnung mit John Cage.” Kölnische Rundschau (15 September).

Kagel, Mauricio 1975. Tamtam: Monologe und Dialoge zur Musik. Ed. by Felix Schmidt. München [etc.]: R. Piper und Co.

Kager, Reinhard 1992. “Im Strom der Zeit versinken.” Süddeutsche Zeitung [München] (14 October), 14.

Kagiya, Yukinobu 1984. Sati Keiji Dyushan: Hangeijutsu no tōshizu. Tōkyō: Ozawa.

Kagiya, Yukinobu 1985. “Keiji no warai wa….” Gendai Shi Techō [Tōkyō] 28, no. 5 (April), 214-220.

Kahn, Douglas 1987. “The Sound of Music [in German].” Trans. Gertrud Jacquemar, Camilla Nielsen. In Hattinger, Weibel, and Judmayer 1987, 33-43; original English ibid., 44-51.

Kahn, Douglas 1992. “John Cage & John Zorn on Record.” Musicworks [Toronto, Ontario] no. 53 (Summer), 32-37.

Kahn, Douglas 1997a. “John Cage: Silence and Silencing.” Musical Quarterly 81, no. 4 (Winter), 556-598; repr. in Kahn, D. 1999, 161-199.

Kahn, Douglas 1997b. “John Cage und die technische Ausrottung der Stille.” Trans. Sabine Sanio and Gisela Nauck. Positionen [Berlin] nr. 31 (May), 34-39.

Kahn, Douglas 1999. Noise, Water, Meat: A History of Sound in the Arts. Cambridge, Massachusetts [etc.]: MIT Press (reviews: Melo 2002; Publishers Weekly 1999; Sobaskie 2001; Spielmann 2001).

Kahn, Douglas 2013. Earth Sound Earth Signal: Energies and Earth Magnitude in the Arts. Berkeley [etc.]: University of California Press.

Kahn, Douglas and Gregory Whitehead 1992, eds. Wireless Imagination: Sound, Radio and the Avant-Garde. Cambridge, Massachusetts [etc.]: MIT Press (review: Perloff, M. 1994b).

Kahn, Joseph P. 1989. “John Cage and His Shadows.” Boston Globe (20 May), 23, 25.

Kaiser, Antje 1989. Review of Cage 1969b. Beiträge zur Musikwissenschaft [Berlin] 31, no. 2 (1989), 151-152.

Kaiser, Joachim 1960. “Die überwundenen Flügel.” Süddeutsche Zeitung [München] (4 October).

Kaiser, Joachim 1979. “Keine Krise in Donaueschingen.” Süddeutsche Zeitung [München] (23 October), 25.

Kaiser, Joachim 1987. “Bunte Suche nach dem Nicht-Sinn.” Süddeutsche Zeitung [München] (14 December), 32.

Kakalis, Christos 2017. Review of Joseph 2016. Journal of Archictecture 22, no. 2 (March), 359-363.

Kalbacher, Catherine Elmes 1972. “Zen in America.” Ph.D. Diss., University of Michigan, Ann Arbor.

Kalchmair, Ulla 1991a. “Forum neuer und antiquierter Musik.” Salzburger Volkszeitung (6 June).

Kalchmair, Ulla 1991b. “Konsequenzen der Konsequenz.” Salzburger Volkszeitung (8 June).

Kalil, Susie 1994. “Three-Ring Museum.” Houston Press (27 January-2 February), 29-30.

Kallioinen, Ossi 1984. “John Cage Viitasaarella.” Katso [Helsinki] no. 19 (13 May).

Kaltenecker, Martin 2013. Review of Barthel-Calvet 2011. Revue de musicologie [Paris] 99, no. 2 (2013), 362-365.

Kamp, Michiel, Tim Summers and Mark Sweeney 2016, ed. Ludomusicology: Approaches to Video Game Music. Sheffield [etc.]: Equinox Publishing (Genre, Music and Sound).

Kämpfer, Frank 2002. “Berührung zweier Welten: Mike Svoboda und Stefan Hussong konfrontieren Frescobaldi und Cage.” Review of Wergo WER 6655-2 (recording). Neue Zeitschrift für Musik 163, no. 2 (March-April), 58-59.

Kanaseki, Hisao 1985. “Kinoko to ongaku: Jon Keiji o megutte.” Gendai Shi Techō [Tōkyō] 28, no. 5 (April), 200-208.

Kandell, Leslie 1982. “Notes Toward An Uncaged Symphony.” Westsider (11 March).

Kanno, Mieko 2009. “Cage’s Freeman Etudes: Sounding Out.” In Brooks and Vermeire 2009, 43-60.

Kanold, Jürgen 1999. “Gedehnte Augenblicke, verkürzte Wege, gehörte Bilder: Zeit und Raum im Musiktheater.” Neue Zeitschrift für Musik 160, no. 5 (September-October), 34-38.

Kanold, Jürgen 2010. “Man darf sich bewegen.” Neue Zeitschrift für Musik 171, no. 4 (July-August), 77.

Kański, Józef 1988. “Spotkania w Metzu.” Ruch Muzyczny [Kraków] 32 (January).

Kapp, Reinhard 1992. “Cage, John.” In Metzler Komponisten-Lexikon: 340 werkgeschichtliche Porträts. Ed. by Horst Weber. Stuttgart [etc.]: Metzler, 122-130; corrected version in Phren 5.-17. Jahrestagung 1981-1994: Dokumentation Teil I. München: Phren-Verlag, 1994, 47-60; repr. in Metzler Komponisten-Lexikon, 2nd ed. Stuttgart [etc.]: Metzler, 2003, 95-103; repr. in Komponisten: 58 Porträts vom Mittelalter bis zur Gegenwart. Ed. by Horst Weber. Stuttgart [etc.]: Metzler, 2004, 56-66.

Kapp, Reinhard 2002. “‘Performance’ bei Arnold Schönberg und John Cage.” In Die Lehre von der musikalischen Aufführung in der Wiener Schule: Verhandlungen des Internationalen Colloquiums Wien 1995. Ed. by Markus Grassl and Reinhard Kapp. Wien [etc.]: Böhlau, 455-467 (Wiener Veröffentlichungen zur Musikgeschichte; 3).

Kapp, Reinhard 2008. “John Cage und Fluxus – historisch und theoretisch.” In Krones 2008, 159-173.

Kaprow, Allan 1965. “The New Theatre.” Drama Review 10, no. 2 (Winter).

Kaprow, Allan 1966a. Assemblage, Environments & Happenings. New York: Harry N. Abrams.

Kaprow, Allan 1966b. [Untitled]. In idem, Manifestos. New York: Something Else Press, 21-23 (Great Bear Pamphlets).

Kaprow, Allan 1978. “The Education of the Un-Artist, III.” In Kostelanetz 1978c, 398-410.

Kaprow, Allan 1987. [Tribute]. in Kaprow and Solway 1987; repr. as “Right Living: John Cage, 1912-1992.” Drama Review 37, no. 2 (Summer 1993), 12-14.

Kaprow, Allan and Arthur Solway 1987, eds. A Tribute to John Cage. Cincinnati, Ohio: Carl Solway Gallery.

Kaprow, Allan et al. [Carla Henius, Hans Zender, Dieter Schnebel, Heinz-Klaus Metzger, Mauricio Kagel, Joan La Barbara, and Klaus Schöning]/Zeit 1992. “John Cage.” Die Zeit [Hamburg] (21 August), 41, 43; excerpt (Heinz-Klaus Metzger’s statement) repr. as “Antworten auf eine Umfrage der Wochenzeitung Die Zeit aus Anlaß des Todes von John Cage.” In Metzger, H.-K. 2012, 136.

Karbusicky, Vladimir 1983. “Kreative Würstchen.” Der Spiegel [Hamburg] (12 December).

Karkoschka, Erhard 1966. Das Schriftbild der Neuen Musik: Bestandsaufnahme neuer Notationssymbole; Anleitung zu deren Deutung, Realisation und Kritik. Celle: Hermann Moeck; English as Notation in New Music: A Critical Guide to Interpretation and Realisation. Trans. Ruth Koenig. London [etc.]: Universal Edition; New York: Praeger, 1972.

Karkoschka, Erhard 1969. “Das neue Buch: Vielfältige Notationen - oder mehr?” Melos 36 (1969), 424-425.

Karkoschka, Erhard 1971. “Das musikalische Kunstwerk in unserem Jahrhundert.” Das Orchester 19 (1971), 132-137.

Karkoschka, Erhard 1973. “Das neue Buch: Dokumentation als Komposition.” Review of Cage 1971d/1972. Melos 40 (1973), 154-155.

Karl, Andreas 2012. “John Cage und die Freilegung theatraler Potentiale: Von 4'33" zum szenischen Konzert von heute.” Terz [Wien] no. 4 (November).

Karl, Frederick R. 1985. Modern & Modernism. New York: Atheneum.

Karlins, M. William 1981. “Freedom and Control in Twentieth-Century Music.” Triquarterly [Evanston, Illinois] no. 52 (Fall), 244-259.

Karson, Burton L. 1976, ed. ‪Festival Essays for Pauline Alderman: A Musicological Tribute. Provo, Utah: Brigham Young University Press, 1976.

Karst, Karl H. 1982. “Die Aufhebung der Syntax.” Frankfurter Allgemeine (5 July), 22.

Karst, Karl H. 1983. “Porträt in Musik, Sprache, Bildern.” Frankfurter Allgemeine (30 May).

Kasemets, Udo 1961. [Title unknown]. In Beckwith and Kasemets 1961.

Kasemets, Udo 1963a. “Ann Arbor Sets Pace in Contemporary Music.” Toronto Daily Star (16 February), 27.

Kasemets, Udo 1963b. “Music’s ‘Bad Boy,’ John Cage, Is Making Good.” Toronto Daily Star (23 February).

Kasemets, Udo 1962. Review of Cage 1961h. Canadian Music Journal [Toronto, Ontario] 6, no. 4 (Summer), 59, 61, 63, 65, 67, 69.

Kasemets, Udo 1982. “After Roaratorio.” Musicworks [Toronto, Ontario] no. 19 (Spring), 21-23.

Kasemets, Udo 1990. “MuchCage Anyone?” Music Magazine [Toronto, Ontario] 13, no. 4 (1990), 54.

Kasemets, Udo 1992. “Hexagram #14: A Yi Jing Jitterbug Vococtet.” Musicworks [Toronto, Ontario] no. 52 (Spring), 44-49.

Kasemets, Udo 1994. “Tuning of Systems to Systems of Tuning.” Musicworks [Toronto, Ontario] no. 57 (Winter), 24-29.

Kasemets, Udo 1995. “Systems.” Musicworks [Toronto, Ontario] no. 62 (Summer), 6-21.

Kasemets, Udo 1999. “(Re)Reading John Cage.” Musicworks [Toronto, Ontario] no. 75 (Fall), 11-13.

Kasemets, Udo 2005. “Project Symphosium: Listen!” Musicworks [Toronto, Ontario] no. 93 (Fall), 11-12.

Kasemets, Udo/Lill, Märt-Matis 2006. “Vastab Udo Kasemets.” Teater. Muusika. Kino [Tallinn] no. 7 (July), 4-13.

Kasper, Ulrike 2005. Ecrire sur l’eau: L’esthétique de John Cage. Paris: Hermann (Beaux-Livres).

Kass, Ray 1983. “Morris Cole Graves: Vision of the Inner Eye.” In Morris Graves: Vision of the Inner Eye. Ed. by Ray Kass. New York: George Braziller, in association with the Phillips Collection, Washington, D.C. [in conjunction with the exhibition held in Washington, D.C., 9 April-29 May 1983], 19-78.

Kass, Ray 1988. “The Mountain Lake Workshop: The New River Watercolors of John Cage.” Drawing 10, no. 3 (September-October), 53-59; repr. in West 1988, 1-15.

Kass, Ray 1991a. “John Cage am Mountain Lake Workshop: 8.-15. April 1990: Ein Tagebuch.” Trans. Irene Bisang. Du [Zürich] no. 5 (May), 70-72.

Kass, Ray 1991b. “Morris Graves und John Cage in Seattle.” Trans. Clelia Segieth. In Bischoff 1991b, 142-144.

Kass, Ray 1993. “Diario: John Cage, il seminario di Mountain Lake.” In Costa, L. et al. 1993, 779-781.

Kass, Ray 2001.”Diary: Cage’s Mountain Lake Workshop, April 8-15, 1990.” In Bernstein, D.W. and Hatch 2001, 244-259.

Kass, Ray 2011a. “Diaries and Notes: John Cage at the Mountain Lake Workshop.” In Kass 2011b.

Kass, Ray 2011b. The Sight of Silence: John Cage’s Complete Watercolors [exhibition catalogue, New York, National Academy Museum, 12 September 2012-13 January 2013; Roanoke, Virginia, Taubman Museum of Art, 15 February-19 May 2013]. Roanoke, Virginia: Taubman Museum of Art; New York: National Academy Museum; Charlottesville, Virginia: University of Virginia Press (review: Maher 2012).

Kastendieck, Miles 1958. “Cage’s Music Still a Phenomenon.” New York Journal-American (16 May), 12.

Kastendieck, Miles 1964. “Electric Music Wired for Boos.” New York Journal-American (7 February), 18.

Kastlemusick Monthly Bulletin 1980. “Cage and Wuorinen.” Kastlemusick Monthly Bulletin (January), 6.

Katschthaler, Karl 2012-2013. “An der Grenze zum Klang: Synästhesie und Theatralität bei Jennifer Walshe.” Musicologica Austraica [Wien] 31-32 (2012-2013), 221-238.

Katschthaler, Karl 2014. “Zwischen Archiv, Klangkunst und Komposition: Annea Lockwoods A Sound Map of the Danube im Kontext von Grenzen und Grenzüberschreitung.” In Reisen über Grenzen in Zentraleuropa. Ed. by András F. Balogh and Christoph Leitgeb. Wien: Praesens-Verlag, 61-74.

Katschthaler, Karl 2015a. “… A Fortissimo of Agitated Perception…’: Stille als Raum des Hörens in Luigo Nonos Fragmente-Stille, An Diotima.” In Inspirationen II: Aufsätze zu Literatur und Kunst. Ed. by József Fülöp and Szilvia Ritz. Budapest: L’Harmattan, 18-28.

Katschthaler, Karl 2015b. “From Cage to Walshe: Music as Theatre.” In Music on Stage. Ed. by Fiona Jane Schopf. Newcastle-upon-Tyne: Cambridge Scholars Publishing, 125-139.

Katschthaler, Karl 2016. “Absence, Presence and Potentiality: John Cage’s 4'33" Revisited.” In Silence and Absence in Literature and Music. Ed. by Werner Wolf and Walter Bernhart. Leyden: Brill Rodopi, 166-179 (Word & Music Studies; 15).

Katz, Jonathan D. 1999. “John Cage’s Queer Silence; or, How to Avoid Making Matters Worse.” Gay and Lesbian Quarterly [Durham, North Carolina] 5, no. 2 (April), 231-252; repr. in Bernstein, D.W. and Hatch 2001, 41-61.

Katz, Vincent 2003, ed. Black Mountain College: Experiment in Art. Cambridge, Massachusetts: MIT Press.

Kaufman, Michael J. 1973. “When Festival Is 10, Is It Avant-Garde?” New York Times (10 December), 57.

Kaufmann, Dieter 1998. “‘Haltet den Dieb!’: Zu-, An- und Enteignung in der Musik des 20. Jahrhunderts (Von der Variation zum Plagiat).” In Kuret 1998, 106-110.

Kaufmann, Harald 1993. Von innen und außen: Schriften über Musik, Musikleben und Ästhetik. Ed. by Werner Grünzweig and Gottfried Krieger. Hofheim: Wolke-Verlag.

Kaul, Matthias/Eckle, Barbara 2017. “Cage after Cage: Entdeckungen eines Schlagzeugers.” Positionen [Berlin] no. 111 (May), 17-20.

Kaul, Walter 1960. “Avantgardisten als Musicalclowns.” [unidentified newspaper] (29 September).

Kavanaugh, Patrick 1999. “Classical Recordings.” Audio 83 (February), 82-83.

Kawashima, Motoharu 1998. “Akiyoshidai kara eta koto: Keiji-Shokku o koeru mono.” Ongaku Geijutsu (November), 93-94.

Kaya Elivar, Deniz 2015a. “John Cage and His Use of the I Ching Method.” Ph.D. Diss., Istanbul Technical University.

Kaya Elivar, Deniz 2015b. “John Cage ve Music of Changes adlı eserin yorum analizi.” Journal of International Social Research [Samsun, Turkey] 8, no. 39 (August), 384-389.

Kayser, Nils 1958. “Kein Überblick aus dem Netz.” Darmstädter Echo (18 October); repr. included in Metzger, H.-K. 1999.

Kazin, Alfred 1978. New York Jew. New York: Knopf/Random House; repr. New York: Vintage Books, 1979; New York: Syracuse University Press, 1996.

Keane, Tim 2017. “Technician of the Sacred.” Utne Reader [Topeka, Kansas] (Fall).

Kearns, William 1986. Review of DeLio 1984. Sonneck Society Newsletter 12, no. 3 (Fall), 87-88.

Kearns, William 1991. Review of Advance Recordings FGC-22S (recordings). Sonneck Society Bulletin 17, no. 1 (Spring), 40.

Kearns, William et al. [Rob Haskins, Steven Loza, Josephine R.B. Wright, and Ingrid Monson] 2005. “Contemporary Concert Musics.” In Koskoff 2005, 305-340.

Keezer, Ronald 1970. “A Study of Selected Percussion Ensemble Music of the 20th Century [Part I].” Percussionist 8, no. 1 (October), 11-23.

Kehmann, Boris 2006. “Die Avantgarde lebt – Computergesteuert: John Cages Europeras als dreistündiges Happening in Aachen.” Opernwelt 47, no. 5 (May), 24-25.

Keil, Erika 1991. “Ein gigantisches Perpetuum des Opernrepertoires.” Das Vaterland [Luzern] (3 June).

Keil, Werner 1991. “Zeitschriftenlese Musikwissenschaft 1989 (2. Teil).” Musik und Unterricht 2, no. 8 (May), 60-62.

Keil, Werner 2012. Musikgeschichte im Überblick. Paderborn [etc.]: Fink (UTB; 8505; Basiswissen Musik); 2nd rev. ed. 2014; 3rd rev. ed. 2018.

Kelemen, Milko 1981. Klanglabyrinthe: Reflexionen eines Komponisten über die Neue Musik. München: R. Piper & Co. (Serie Piper; 208).

Kell, Richard 1973. “The Great Repression.” British Journal of Aesthetics 13, no. 1 (Winter), 41-46.

Kellein, Thomas 1985. “Intermediäre Tendenzen nach 1945.” In Maur 1985b, 438-443.

Keller, Hans 1964. “From Gershwin to Cage.” Review of Mellers 1964d. Sunday Times (9 August).

Keller, Hans 1973. “Escape from the Cage.” Listener [London] 90, no. 2311 (12 July), 62.

Keller, Hans 1978. “Caged.” Spectator [London] 240, no. 7825 (24 June), 27.

Keller, Hans 1980. Review of Cage 1979c. Spectator [London] 244, no. 7929 (28 June), 19-20.

Keller, Hans 1994. Essays on Music. Cambridge: Cambridge University Press.

Keller, Kjell H. 1972. “Von Luigi Nono bis John Cage.” Schweizerische Musikzeitung = Revue musicale suisse 112, 167-168.

Keller, Peter 1991. “Sänger buhten im Opernhaus.” Züri-Woche (13 June).

Kelly, Ashley Denise 2015. “The Saxophone Symposium:
An Index of the Journal of the North American Saxophone Alliance, 1976-2014.” D.M.A. Diss., Louisiana State University and Agricultural and Mechanical College.

Kelly, Caleb 2009. Cracked Media: The Sound of Malfunction. Cambridge, Massachusetts [etc.]: MIT Press.

Kelly, Caleb 2011, ed. Sound. London: Whitechapel Gallery; Cambridge, Massachusetts: MIT Press.

Kelly, Joan 1961. “Merce Cunningham Presses ‘Beauty’ Too Far, Too Fast.” Ohio Wesleyan Transcript (15 March), 7.

Kelly, Richard 1978. “A Madness to Push the Mind.” Kite (18 January), 4.

Kelterborn, Rudolf 1969. [Untitled]. As part of “Anthologie.” In Bärtschi et al. 1969, X 1.

Kendall, Elizabeth 1980. “ New York.” Ballet News (May), 34.

Kendall, Robert 1990. “Great Performances.” PC/Computing (January), 95-101.

Kenedi, János 1978, ed. Film + zene = filmzene? Irások a filmzenéről. Budapest: Zeneműkiadó.

Kennedy, Chris 2011. “Cage and Duchamp’s Reunion.” Musicworks [Toronto, Ontario] no. 111 (Winter).

Kennedy, Michael 1989. “Roaring Brawl and Lyric Musing.” Sunday Telegraph (26 November).

Kenney, Annson 1973. “Sound-Script Relations and the New Notation.” Artforum 12, no. 1 (September), 38-44.

Kenney, Scott Glen 1972. “Purposeful Purposelessness: Music Style in the Literary Works of John Cage.” Master of Music Thesis, Department of Music, University of Utah, Salt Lake City.

Kennicott, Philip 1990. “Cage and Cunningham.” Dance Magazine (March), 62.

Kennicott, Philip 1992. “Between Noise and Music.” Opera News [New York] 57, no. 7 (19 December), 53.

Kennicott, Philip 1994. “Random Revelry in the Spirit of John Cage.” New York Newsday (26 April).

Kennicott, Philip 2010. “The Fool of Chance.” New Republic (2 December).

Kenyon, Nicholas 1987. “Video Opera Comes of Age.” Observer (26 July), 21.

Kenyon, Nicholas 1990. “Just Like Opera Up for the Cup.” Observer (24 June), 49.

Kenyon, Nicholas 2017. Review of Delphian Records DCD34185 (recordings). Guardian (30 April).

Kepes, Gyorgy 1966, ed. Module, Proportion, Symmetry, Rhythm. New York: George Braziller (Vision + Value); London: Studio Vista, 1966.

Kepler, Harald 1982. “John Cage und der Zen-Buddhismus.” Magisterarbeit Musikwissenschaft, Philipps-Universität Marburg.

Kerkhoven, Belén 2010. “John Cage: Van klank naar toeval.” Eindwerkstuk BA Muziekwetenschap, Universiteit Utrecht.

Kerman, Joseph 2007. “Sound and Vision.” Review of Ross, A. 2007b. New Republic (31 December).

Kerman, Joseph and Vivian Kerman 1972. Listen. New York: Worth Publishers; 2nd ed. 1976; 3rd ed. 1980; 6th ed. with Gary Tomlinson. Boston: Bedford/St. Martin’s, 2008; 7th ed. 2012; 8th ed. 2015; 8th ed. New York [etc.]: Norton, 2016; brief ed. 1987; 2nd brief ed. 1992; 3rd brief ed. 1996; 4th brief ed. with Gary Tomlinson. Boston: Bedford/St. Martin’s, 2000; 5th brief ed. 2004.

Kermode, Frank 1968. “Modernisms II.” In Bergonzi 1968a, 66-92.

Kermode, Frank 1992. Review of Perloff, M. 1991b. Washington Times (26 April).

Kerner, Leighton 1964. “‘Buzz, Buzz’.” Village Voice (3 September).

Kerner, Leighton 1972. “While the Tin Cans Take 10.” Village Voice (9 November), 42.

Kerner, Leighton 1988. “Ta-Ta.” Village Voice (26 July), 84.

Kessler, Howard 1995. “Rhythmic Cycles and Self-similarity in John Cage’s Concerto for Prepared Piano and Chamber Orchestra, First Movement.” Sonus [Cambridge, Massachusetts] 15, no. 2 (Spring), 113-129.

Kesting, Marianne 1972. “Eine Ästhetik des Zufalls: John Cage, ‘Silence’.” In Marianne Kesting, Auf der Suche nach der Realität: Kritische Schriften zur modernen Literatur. München: Piper, 268-273.

Ketoff, Landa 1983. “‘Attenti ai rumori d’oggi sono quelli la vera musica’.” La Repubblica [Roma] (1-2 May), 32.

Ketoff, Landa 1992a. “I funghi, la macrobiotica e il segreto di un sorriso.” La Repubblica [Roma] (18 August).

Ketoff, Landa 1992b. “Nel canto di John Cage tutti i suoni dei numeri.” La Repubblica [Roma] (27 June), 39.

Ketteler, Rolf 1998. “John Cage und die Musik.” In Danuser and Plebuch 1998, vol. 2, 515-517.

Kettle, David 2010. Review of Wergo WER 6718-2 (recording). Strad 121, no. 1444 (August), 76.

Key, Charles Stevan 1997. “Among Strangers: Protocols of an Occulted Social Type.” Ph.D. Diss., University of California, San Diego.

Key, Susan 2002. “John Cage’s Imaginary Landscape No. 1: Through the Looking Glass.” In Patterson, D.W. 2002b, 105-133.

Key, Susan and Larry Rothe 2001, eds. American Mavericks. Festival program for the eponymous San Francisco Symphony series. Texts about Cage by Michael Steinberg and James Keller. Berkeley [etc.]: University of California Press.

Keyboard 1982. Review of Cage/Charles 1976. Keyboard [San Diego, California] 8 (January), 73.

Keyboard 1985. Review of In a Landscape (score). Keyboard (May).

Keyboard 1987. Review of Meltdown MPA-1 (recording). Keyboard 13 (May), 24.

Keyboard 1992. Obituary. Keyboard (1992), 71.

K-g. 1987. “Cage-Huldigung mit Orgelklängen.” Westdeutsche Allgemeine Zeitung (31 January).

Kholopov, Yurij Nikolaevich 2004. “Vklad Kejdzha v muzykal’noe myshlenie XX veka.” In Kholopov, Tsenova and Pereverzeva 2004, 79-90.

Kholopov, Yurij Nikolaevich, Valeriya Stefanovna Tsenova and Marina Viktorovna Pereverzeva 2004, eds. Dzhon Kejdzh: K 90-letiyu so dnya rozhdeniya: Materialy nauchnoj konferentsii [conference proceedings, Moscow Conservatory, 7 September 2002]. Moskva: Gosudarstvennaya Konservatoriya imeni P.I. Chajkovskogo (Nauchnye trudy Moskovskoj Gosudarstvennoj Konservatorii im. P.I. Chajkovskogo; 46).

KHR 1973. “Faktotum der neuen Musik.” Kronen-Zeitung [Wien] (22 July).

Kiebacher, Michaela 2017. /Zwischen/ als Ort der kreativen EntFaltung: Unterwegs zu einer Aisthetik des Zwischen mit Heidegger und Deleuze & Guattari und Cage. Hamburg: Verlag Dr. Kovač (Schriftenreihe komparative Philosophie und interdisziplinäre Bildung; 6).

Kienzle, Ulrike 1990. “Auf der Suche nach der Vieldeutigkeit der Zeit.” Darmstädter Echo (26 July), 21.

Kijne, Chris 1988. “You’ll Hear Everything, You Won’t Hear a Thing.” VPRO Gids [Hilversum] (25 June-1 July), 8-9.

Killacky, John R. 2017. “When John Cage Composed in Words.” Review of Cage 2016. Gay & Lesbian Review Worldwide [Boston, Massachusetts] 24, no. 1 (January-February), 33-34.

Kilpatrick, Barry 2009. Review of Musikproduktion Dabringhaus und Grimm MDG 613 1510-2 (recording). American Record Guide 72, no. 1 (January-February), 73.

Kim, Chan Ji 2006. “Composer and Choreographer: A Study of Collaborative Compositional Process.” Ph.D. Diss., University of Florida.

Kim, Chung Eun 2018. “Silence in the Music of John Cage, Toru Takemitsu and Salvatore Sciarrino.” Ph.D. Diss., Rutgers, The State University of New Jersey.

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Kolodin, Irving 1958. “Van Cliburn’s Piano, also John Lewis and John Cage.” Saturday Review (31 May), 21.

Kolodin, Irving 1961. “Concert Percussion.” Saturday Review (May).

Kolodin, Irving 1964. “Music for a Visiting Potentate – Otello.” Saturday Review (22 February), 38.

Kolodin, Irving 1968a. “Foss and Feathers.” Saturday Review (26 October), 75.

Kolodin, Irving 1968b. “Miscellaneous LPs.” Saturday Review (28 December), 54.

Kolsteeg, Johan 1991. “Ontmoeting met Pierre Boulez: John Cage en de avant-garde in Europa.” Mens en Melodie 46, no. 2 (February), 92-95, 96-99.

Kolsteeg, Johan 1992. “Essay: Klassieke muziek en massacultuur: klassiek populair.” Mens en Melodie 47 (1992), 169-171.

Kommentare 1961. Kommentare zur Neuen Musik. Köln: DuMont Schauberg, 1961, vol. 1.

Kondō, Jō 1985. “Utsuwa to shite no sekai: Keiji no ongaku ni okeru jikūkan no yōtai.” Gendai Shi Techō [Tōkyō] 28, no. 5 (April), 60-69.

Kondō, Jō 1988. “The Art of Being Ambiguous: From Listening to Composing.” Contemporary Music Review 2, no. 2 (September), 7-29.

Kondō, Jō, Yoriaki Matsudaira and Shūhei Hosokawa 1985. [Title unknown]. Gendai Shisō 13, no. 5 (May).

Kondracki, Mirosław 1963. “List z USA.” Ruch Muzyczny [Kraków] 7, no. 23, 18.

Kondracki, Mirosław 1969. “Blaski i ne dze ‘Warszawskiej Jesieni’.” Ruch Muzyczny [Kraków] 13, no. 23, 15-17.

Kondracki, Mirosław 1970. “Nad ‘Notations’ Johna Cage’a.” Ruch Muzyczny [Kraków] 14, no. 18, 13.

Kondracki, Mirosław 1972a. “A na ‘Jesieni’ wiosennie (II).” Ruch Muzyczny [Kraków] 16, no. 24, 5-10.

Kondracki, Mirosław 1972b. “Sześćdziesiecioletni John Cage.” Ruch Muzyczny [Kraków] 16, no. 18, 5-8.

Kondracki, Mirosław, Marta Stankiewicz and Frits C. Weiland 1979. Internationale Diskographie elektronischer Musik = International Electronic Music Discography = Discographie internationale de la musique électronique. Mainz [etc.]: Schott.

Koning, Renske 1979. “Sonate van Barraqué leert muzikaal denken.” NRC Handelsblad (8 June).

Koning, Renske 1980. “Cage schept nieuwe klankwereld.” NRC Handelsblad (27 May), 6.

Konold, Wulf 1970. “Avantgarde von gestern und heute in Kiel.” Melos 37, no. 6 (June), 244-245.

Konold, Wulf 1971. “Von frühem Cage zu sichtbarer Musik in Kiel.” Melos 38, no. 10 (October), 426-427.

Konold, Wulf 1978. “Drums in Concert.” Melos/Neue Zeitschrift für Musik 4 (1978), 348-349.

Konold, Wulf 1980. “Neue Klänge.” Musica [Kassel] 34 (1980), 178-179.

Kopp, Bernadette 1981. “The Twelve-Tone Techniques of Adolph Weiss.” Ph.D. Diss., Northwestern University, Evanston, Illinois.

Korb, Wolfgang and Friedrich Spangemacher 2001, eds. “Musik im 20. Jahrhundert” 1970-2000: Eine Dokumentation. Saarbrücken: Pfau.

Körber, Till A. 1999. “Gedanken über das Hören anläßlich von Cageerlebnissen.” In Mahnkopf 1999b, 193-201.

Korde, Shirish 1985. “Applications of Contemporary Notation to Ethnomusicological Analysis.” Studies in Music 19 (1985), 114-132.

Korn, Peter Jona 1975. “Des Kaisers neue Klänge: John Cage & Co.” In Peter Jona Korn, Musikalische Umweltverschmutzung: Polemische Variationen über ein unerquickliches Thema. Wiesbaden: Breitkopf & Härtel, 58-64 (reviews: Danler 1976; Wehrle 1976).

Körner, Klaus 1978. “Destruktivismus und Konstruktivismus: Gedanken über John Cage.” Musik und Bildung 10, 477-484.

Korteweg, Ariejan 1987. “Cunningham blijft magnetiserend danser.” De Volkskrant [Amsterdam] (18 September), 9.

Kortsen, Bjarne 1959. “Ny musikk i Darmstadt (1958).” Nordisk Musikkultur 8, no. 18? [København], included in Dansk Musiktidsskrift 34, no. 4 (May), 107-109.

Koshalek, Richard 1993. “Director’s Foreword.” In Ferguson, R. and Schottlaender 1993.

Koshgarian, Richard 1992. American Orchestral Music: A Performance Catalog. Metuchen, New Jersey [etc.]: Scarecrow Press.

Koskoff, Ellen 1984. “Thoughts on Universals in Music.” The World of Music 26, no. 2, 66-87.

Koskoff, Ellen 2005, ed. Music Cultures in the United States: An Introduction. New York [etc.]: Routledge.

Koslow, Francine Amy 1984, ed. Henry David Thoreau as a Source for Artistic Inspiration in the Twentieth Century. Lincoln, Massachusetts: DeCordova and Dana Museum and Park.

Kosman, Joshua 1989. “Sonic Encounters.” San Francisco Chronicle (5 February).

Kosman, Joshua 1992. “Stanford’s Big Splash for Cage.” San Francisco Chronicle (25 January).

Kostelanetz, Richard 1965. Review of Mellers 1964d. Commonweal [New York] (18 June).

Kostelanetz, Richard 1966. Review of Sontag 1966a. Cavalier (June); enl. repr. as “The Susan Sontag Story So Far.” Twentieth Century 174, no. 1032 (First Quarter 1967).

Kostelanetz, Richard 1967a. “Milton Babbitt & John Cage: The Two Extremes of Avant-Garde Music.” New York Times Magazine (15 January), 34-35, 52, 54-55, 57, 59, 62, 64; repr. in Kostelanetz 1989e, 21-30; abridged repr. in Polish, Ameryka [Washington, D.C.] no. 106 (1967), 10-13; Russian, America Illustrated [Washington, D.C.] no. 133 (1967), 10-13; Rumanian, Bulgarian, Hungarian, Czech, Cultural Bulletin [Washington, D.C.] (review: Kirshbaum 1967).

Kostelanetz, Richard 1967b. “Modern Music Criticism and the Literate Layman.” Perspectives of New Music 6, no. 1 (Fall-Winter), 119-133; repr. in Kostelanetz 1989e, 239-256.

Kostelanetz, Richard 1967c. The Story of Great Music: Music of Today. New York: Time-Life Records.

Kostelanetz, Richard 1968a. “New Sound for a Plugged-In Age.” Look 32, no. 1 (9 January), 45.

Kostelanetz, Richard 1968b. The Theatre of Mixed Means: An Introduction to Happenings, Kinetic Environments and Other Mixed Means Presentations. New York: Dial Press; repr. London [etc.]: Pitman, 1970; repr. New York: RK Editions, 1980.

Kostelanetz, Richard 1968-1969. “John Cage: Some Random Remarks.” Denver Quarterly [Denver, Colorado] 3, no. 4 (Winter), 91-103; rev. repr. in Kostelanetz 1970d, 193-207; repr. as “John Cage: A Few Remarks.” In Kostelanetz 1989e, 47-60; rev. repr. as “A Year from Monday.” In Kostelanetz 1996f, 83-98; repr. in Kostelanetz 1997f, 67-80; excerpt as “John Cage: Some Random Remarks.” In Contemporary Literary Criticism, vol. 41. Ed. by Daniel G. Marowski and Roger Matuz. Detroit: Gale Research, 1987, 79-81; German as “Einige Zufallskommentare zu John Cage.” In Kostelanetz 1970d/1973, 254-268; Spanish as “Algunas observaciones misceláneas sobre John Cage.” Sur [Buenos Aires] no. 322-323 (January-April 1970), 167-180.

Kostelanetz, Richard 1969a. “The American Avant-Garde: John Cage.” Stereo Review 22, no. 5 (May), 61-69; repr. in Kostelanetz 1969MASTER, 115-131; repr. as “Fomenter of Radical Consciousness.” In Kostelanetz 1996f, 7-24; repr. in Kostelanetz 1997f, 7-27.

Kostelanetz, Richard 1969b. “Getting Cunningham between Covers.” Review of Cunningham, M. 1968. Ballet Review [New York] 3, no. 2 (December), 53-56; repr. in Kostelanetz 1979b.

Kostelanetz, Richard 1969c. “Inferential Art.” Columbia Forum [New York] 12, no. 2 (Summer), 19-26; repr. in DeNitto 1971, 470-482; repr. in Kostelanetz 1980METAMORPHOSIS; excerpt repr. in Kostelanetz 1970d, 105-109; French as “L’art inférentiel.” Les Lettres Nouvelles [Paris] September-October 1970), 19-44; German excerpt as “Kunst als Folgerung.” In Kostelanetz 1970d/1973, 156-158; Korean, Non Dan [Seoul] 6, no. 1 (July-August 1970).

Kostelanetz, Richard 1969XXXX. Master Minds: Portraits of Contemporary American Artists and Intellectuals. New York: Macmillan; Spanish as USA: Revolución Cultural? Buenos Aires: Rodolfo Alonso Editor, 1972.

Kostelanetz, Richard 1969d. “They All Came to Cage’s Circus.” New York Times (25 May), D23; repr. as “Environmental Abundance.” In Kostelanetz 1970d, 173-177; repr. as “HPSCHD: Environmental Abundance.” In Kostelanetz 1989e, 61-65; repr. in Kostelanetz 1996f, 99-104; repr. in Kostelanetz 1997f, 83-90; German as “Fülle des Environments.” In Kostelanetz 1970d/1973, 234-238.

Kostelanetz, Richard 1970a. “Cagean Poetry.” In Kostelanetz 1970d, 167-169; German as “Cage-Poesie.” In Kostelanetz 1970d/1973, 229-230.

Kostelanetz, Richard 1970b, ed. Imaged Words and Worded Images. New York: Outerbridge and Dienstfrey.

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

Kostelanetz, Richard 1970d, ed. John Cage. New York [etc.]: Praeger (Documentary Monographs in Modern Art); repr. New York: RK Editions, 1974; repr. Harmondsworth: Penguin Books, 1970; repr. London: Allen Lane, 1971; repr. 1974; rev. repr. as John Cage: An Anthology. New York: Da Capo Press, 1991 (A Da Capo Paperback); German as John Cage. Trans. Iris Schnebel, Hans Rudolf Zeller. Köln: M. DuMont Schauberg, 1973 (DuMont Dokumente) (reviews: Amirkhanian 1971; Anuario interamericano 1971; Battye 1971; Beck, R.T. 1973b; Blasl 1976; Briner 1973; Brinkmann 1976; Chase, G. 1972; Choice 1971; Cox 1971; Dickinson 1971; Harrison, M. 1972; Hastings 1971; Hifi-Stereophonie 1974; Holmes 1981a; Instrumentalist 1971; Jazz Journal 1971; KHR 1973; Krellmann 1973b; Krellmann 1973c; M.R. 1973; McLean 1971; Mellers 1971; Music and Musicians 1972; Music Educators Journal 1972; Musical Events 1971; National Observer 1971; Neuer Bücherdienst 1973; Opernwelt 1973; Pauli 1973; Rizzardi 1992b; Saturday Review 1971; Schweizer 1974; Stockhausen 1974; Times Literary Supplement 1972).

Kostelanetz, Richard 1970e. “Preface.” In Kostelanetz 1970d, xv-xvi; German as “Vorwort.” In Kostelanetz 1970d/1973, 19-20.

Kostelanetz, Richard 1971, ed. Human Alternatives: Visions for Us Now. New York: William Morrow & Co (review: Kirkus Reviews 1971).

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

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

Kostelanetz, Richard 1976. “Anarchism: General and Personal.” Cherry Pie (1976); repr. in Kostelanetz 1999, 50.

Kostelanetz, Richard 1977. “Making Music of the Sound of Words.” Review of 1750 Arch Records S-1752 and S Press Tapes 14 (recordings). New York Times (24 July), D22.

Kostelanetz, Richard 1978a. “An ABC of Contemporary Reading.” In Kostelanetz 1978c, 339-376.

Kostelanetz, Richard 1978b. “Contemporary American Esthetics.” In Kostelanetz 1978c, 19-35.

Kostelanetz, Richard 1978c, ed. Esthetics Contemporary. Buffalo, New York: Prometheus Books.

Kostelanetz, Richard 1979a. “Master of Several Arts.” Review of Cage 1978i, Cage 1978j, and Cage 1979c. New York Times Book Review (2 December), Section 7, 48-49; repr. in Kostelanetz 1981a; repr. as “Polyartist’s Poetry.” In Kostelanetz 1997f, 157-162.

Kostelanetz, Richard 1979b. Twenties in the Sixties: Previously Uncollected Critical Essays. Westport, Connecticut: Greenwood Press.

Kostelanetz, Richard 1980a. “Cage History.” SoHo Weekly News [New York] 7, no. 18 (31 January-6 February).

Kostelanetz, Richard 1980XXX. Metamorphosis in the Arts: A Critical History of the 1960’s. New York: Assembling Press, 1980

Kostelanetz, Richard 1980b, ed. Text-Sound Texts. New York: William Morrow & Co.

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

Kostelanetz, Richard 1981b. “The Special Sound of German Radio.” New York Times (13 December), 33.

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

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

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

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

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

Kostelanetz, Richard 1987a, ed. “The Aesthetics of John Cage: A Composite Interview.” Kenyon Review [Gambier, Ohio] new series 9, no. 4 (Fall), 102-130; repr. in Kostelanetz 1988b, 207-239.

Kostelanetz, Richard 1987b, ed. “His Own Music (Part I: To 1970): Ur-Conversation with John Cage Produced by Richard Kostelanetz.” Annotated by John Cage. Perspectives of New Music 25, no. 1-2 (Winter-Summer), 88-106; repr. in Kostelanetz 1988b, 57-80.

Kostelanetz, Richard 1987c, ed. “John Cage.” High Performance 10, no. 2 <no. 38> (1987), 20-29; repr. in Kostelanetz 1988b, 101-132.

Kostelanetz, Richard 1987d. “John Cage as a ‘Hörspielmacher’.” Iowa Review [Iowa City, Iowa] 17, no. 3 (Fall 1987), 111-117; rev. repr. Journal of Musicology 8, no. 2 (Spring 1990), 291-299; repr. Abiko’s Literary Quarterly [Abiko] 3, no. 2 (Late Summer 1991), 43-48; repr. in Kostelanetz 1993f, 213-221; repr. as “Transforming the Hörspiel: The Audio Art of John Cage.” Performance [London] no. 64 (Summer 1991), 29-35; repr. as “Roaratorio: John Cage as a Radio Artist.” In Kostelanetz 1996f, 150-157; repr. as “John Cage as a Radio Artist.” In Kostelanetz 1997f, 181-193; French as “John Cage en tant que ‘Hörspielmacher’.” Trans. Josseline Revel-Mouroz. In Charles 1987-1988, 273-277.

Kostelanetz, Richard 1987e, ed. “John Cage on Writing.” Temblor [North Hollywood, California] no. 4 (1987), 143-151; repr. in Kostelanetz 1988b, 133-156.

Kostelanetz, Richard 1988a. “Anarchy in the USA: The Politics and Principles of John Cage.” Boston Phoenix [Boston, Massachusetts] 17 (30 September), Section 3, 7; repr. as “The Politics of John Cage.” Journal of Art [New York] 1, no. 5 (May 1989), 18; rev. as “Anarchist Art: The Example of John Cage.” City Lights Review [San Francisco, California] 4 (1990), 120-123; repr. as “The Anarchist Art of John Cage (1912-92).” Anarchist Studies [Cambridge] 1, no. 1 (1993), 47-50; repr. as “Anarchist Art.” Fiction International [Canton, New York] no. 28 (Spring 1996), 101-106; repr. The Raven [London] 9, no. 33 (Spring 1996), 93-96; repr. Red and Black [Quaama, New South Wales] no. 26 (Fall 1996), 7-10; repr. as “Anarchist Art: The Example of John Cage.” In Reinventing Anarchy, Again. Ed. by Howard Ehrlich. Edinburgh [etc.]: AK Press, 1996, 293-296; repr. New York Arts [New York] no. 28 (January 1999), 16-17; repr. in Kostelanetz 1999, 159-160; German as “John Cage: Seine Prinzipien und Politik.” Trans. Peter Peterson. Trafik [Mülheim] 10, no. 34 (August 1991), 57-60; Italian as “Il ribelle John Cage.” Trans. Silvia Colombo. Musica/Realtà [Lucca] 23, no. 69 (November 2002), 161-170.

Kostelanetz, Richard 1988b, ed. Conversing with Cage. New York: Limelight Editions; repr. London [etc.]: Omnibus Press, 1989 (A Division of Book Sales); 2nd ed. New York [etc.]: Routledge, 2003; French excerpt (“Precursors”) as “Mozart, Satie, Schoenberg…” Trans. Marc Dachy. L’Infini [Paris] no. 66 (Summer 1999), 20-40; French (full text) as Conversations avec John Cage. Trans. Marc Dachy, in collaboration with Monique Fong, Marianne Guénot-Hovnaian. Paris: Éditions des Syrtes, 2000; German as John Cage im Gespräch: Zu Musik, Kunst und geistigen Fragen unserer Zeit. Trans. Almuth Carstens and Birger Ollrogge. Köln: DuMont, 1989 (DuMont-Taschenbücher; 226); Italian as Lettera a uno sconosciuto. Trans. Franco Masotti. Foreword by Edoardo Sanguineti. Roma: Edizioni Socrates, 1996 (Galleria delle arti); Spanish excerpt as “Conversando con Cage: Pedagogía.” Arte [Valencia] no. 0 (1992) (reviews: Briner 1989; Brooks, W. 1989b; Central Opera Service Bulletin 1988; Dy 1989; E.D. 1989; Ehrler 1990; Gann 1988c; Gollasch 1989; Higgins, D. 1994; Musical America 1988b; Nicholls 1990b; Ovation 1988; Popova 2015; Rizzardi 1992b; Roads 1988; Taruskin 1993; Wolkenkratzer 1989).

Kostelanetz, Richard 1988c, ed. “From Conversing with Cage: Autobiography.” Chicago Review 36, no. 2 (Fall), 37-51; expanded repr. in Kostelanetz 1988b, 1-35.

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

Kostelanetz, Richard 1988dd, ed. “John Cage on his Successors: An Ur-Conversation.” Rampike [Toronto] special issue (1988), 30-33; repr. in Kostelanetz 1988b, 199-206.

Kostelanetz, Richard 1988e. “John Cage’s First Opera, Written by the Numbers.” New York Times (10 July), Sunday Arts & Leisure, 25, 30; repr. as “John Cage, 75, Writes First ‘Great American’ Opera.” New Art Examiner [Chicago, Illinois] 16 (December 1988); expanded repr. Northwest Review [Eugene, Oregon] 27, no. 2 (1989), 127-136; repr. as “Europera: John Cage, 75, Creates an American Opera.” In Kostelanetz 1989e, 67-76; repr. as “Europera: Before and After.” In Kostelanetz 1996f, 133-145; repr. in Kostelanetz 1997f, 91-105; Portuguese as “Estreia a opera de John Cage.” O Globo [Rio de Janeiro] (14 July 1988).

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

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

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

Kostelanetz, Richard 1989c. “John Cage’s Early Piano Music.” In Kostelanetz 1989e, 37-41; repr. in Kostelanetz 1979b; repr. in Kostelanetz 1996f, 51-54; repr. in Kostelanetz 1997f, 51-56.

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

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

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

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

Kostelanetz, Richard 1990c. “A Modern Master’s Poème Concrète.” Review of Cage 1990f. Journal of Art [New York] 3, no. 3 (December); abridged repr. New Letters Review of Books [Kansas City, Missouri] 4, no. 4 (Summer 1991), 1; expanded repr. Notes 2nd series, 47, no. 4 (June 1991), 1144-1146; repr. Intent 2, no. 4-3, no. 1 (Winter-Spring 1991); repr. Poetry Nippon [Tokyo] no. 97-98 (Spring 1992), 12-15; repr. as “From Harvard (!): John Cage’s Longest and Best Poem.” Poetry Flash [Berkeley, California] no. 234 (September 1992), 13; repr. as “John Cage’s Longest and Best Poem.” In Kostelanetz 1993f, 297-300; repr. as “I-VI.” In Kostelanetz 1996f, 146-149; repr. as “John Cage’s Longest and Best Poem.” In Kostelanetz 1997f, 175-178; German as “Wie ein Stück Musik: Zu Cages neuester Dichtung.” Trans. Barbara Basting. Du [Zürich] no. 5 (May 1991), 75.

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

Kostelanetz, Richard 1992aa, ed. Merce Cunningham: Dancing in Space and Time. Chicago: Chicago Review Press (A Cappella Books); repr. New York: Da Capo Press, 1998.

Kostelanetz, Richard 1992ab. “John Cage.” Exquisite Corpse [Baltimore, Maryland] no. 39 (1992), 3.

Kostelanetz, Richard 1992b. “John Cage, Inventor.” Liberty 6, no. 2 (November); repr. Anarchy [Columbia, Missouri] 12, no. 1 (Winter 1993); repr. in Richard Kostelanetz 1993aa; repr. in Kostelanetz 1996f, 3-6; repr. in Kostelanetz 1997f, 3-7.

Kostelanetz, Richard 1992-1993. “John Cage’s Indeterminacy Then and Now.” American Book Review [Boulder, Colorado] 14, no. 4 (December-January); repr. as “Indeterminacy.” In Kostelanetz 1996f, 79-82; repr. as “Indeterminacy Then and Now.” In Kostelanetz 1997f, 131-136.

Kostelanetz, Richard 1992c. “Not Wanting to Say Anything New about John Cage.” Hybrid 1, no. 1 (November-December), 33-34; repr. in Kostelanetz 1997f, 27-47.

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

Kostelanetz, Richard 1993aa. A Dictionary of the Avant-Gardes. Chicago: Chicago Review Press, 1993; Pennington, New Jersey: A Cappella; rev. 2nd ed. New York: Schirmer, 2000; repr. New York [etc.]: Routledge, 2001; 3rd ed. New York: Routledge, 2019; London [etc.]: Routledge; Taylor & Francis Group, 2019.

Kostelanetz, Richard 1993b. “Not Wanting to Say Anything about John Cage (1912-1992).” Chicago Review 38, no. 4 (1993), 169-180.

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

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

Kostelanetz, Richard 1993e. “A Riot of Errors.” Review of Revill 1992. Ballet Review [New York] 21, no. 1 (Spring), 9-10; repr. Notes 2nd series, 49, no. 4 (June 1993), 1492-1494; repr. in Kostelanetz 1997f, 289-292.

Kostelanetz, Richard 1993f, ed. Writings about John Cage. Ann Arbor: University of Michigan Press (review: Higgins, D. 1994).

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

Kostelanetz, Richard 1994b. “A Note on Marjorie Perloff’s Cage Criticism.” Review of Perloff, M. 1991b. Disturbed Guillotine [Minneapolis, Minnesota] no. 1 (1994), 10-11; repr. in Kostelanetz 1997f, 299-301.

Kostelanetz, Richard 1994c. On Innovative Performance(s): Three Decades of Reflections on Alternative Theater. Jefferson, North Carolina [etc.]: McFarland & Co.

Kostelanetz, Richard 1994d. “Recent Thoughts about John Cage.” Musicworks [Toronto, Ontario] no. 59 (Summer), 50; repr. in Kostelanetz 1997f, 281-285.

Kostelanetz, Richard 1995XX. “I Saw John Cage at Madison Square Garden.” Liberty [Port Townsend, Washington] 8, no. 5 (May), 63.

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

Kostelanetz, Richard 1995b. “The Song Books Score: A Neglected Cagean Masterpiece.” Arshile [Los Angeles, California] no. 4 (1995), 14-18; repr. in Kostelanetz 1996f, 110-114; repr. in Kostelanetz 1997f, 297-240.

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

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

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

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

Kostelanetz, Richard 1996f. John Cage (Ex)plain(ed). New York: Schirmer Books; London: Prentice Hall International.

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Metken, Günter 1987. Documenta 8: Führer durch die Ausstellung. Kassel: Weber und Weidemeyer, 69-70; English trans. of excerpt as “John Cage - Essay.” Documenta Press 8 no. 4 (August 1987), 14.

Metzer, David 1992. Review of Nicholls 1990a. American Music 10, no. 3 (Fall), 373-376.

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

Metzer, David 2006. “Modern Silence.” Journal of Musicology 23, no. 3 (Summer), 331-374.

Metzer, David 2009. Musical Modernism at the Turn of the Twenty-First Century. Cambridge [etc.]: Cambridge University Press, 2009.

Metzger, Christoph 2003a, ed. Conceptualisms in Musik, Kunst und Film. Saarbrücken: Pfau (reviews: Dibelius 2005; Drees 2004).

Metzger, Christoph 2003b. “Conceptualisms versus Concept Art.” In Metzger, C. 2003a.

Metzger, Christoph 2010. “Kulturelle Interferenzen – mediale Geschichten mit Klang: Die New Yorker Künstlerin Renée Green.” Neue Zeitschrift für Musik 171, no. 1 (2010), 56-57.

Metzger, Christoph 2011. John Cage: Abstract Music: Zwölf Vorlesungen. Saarbrücken: Pfau (review: Barthelmes 2012).

Metzger, Heinz-Klaus s.a. “Marx, Steiner, Cage is anarchism anachronized?” Fluxus: German & Scandinavian Yearbox 3 (s.a.).

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

Metzger, Heinz-Klaus 1959a. “Gescheiterte Begriffe in Theorie und Kritik der Musik.” Die Reihe [Wien] no. 5 (1959), 41-49; repr. in Kommentare 1961, 197+; repr. in Metzger, H.-K. 1980, 277-293; English as “Abortive Concepts in the Theory and Criticism of Music.” Die Reihe [Bryn Mawr, Pennsylvania] no. 5 (1961), 21+.

Metzger, Heinz-Klaus 1959b. “John Cage o della liberazione.” Trans. Sylvano Bussotti. Incontri Musicali [Milano] no. 3 (August), 16-31; repr. in Bonomo and Furghieri 1998, 273-286; repr. as “John Cage o la musica liberata.” In Fronzi 2012b, 51-68; English as “John Cage, or Liberated Music.” Trans. Ian Pepper. October [Cambridge, Massachusetts] no. 82 (Fall 1997), 48-61; repr. in Robinson, Julia 2011, 1-16; French as “John Cage: Musique laissée en liberté.” Trans. J. Lioret, Dominique Bosseur, and Jean-Yves Bosseur. In Bosseur, J.-Y. et al. 1971-1972, 15-29; original German as “John Cage oder die freigelassene Musik.” In Bärtschi et al. 1969, M 1-M 7; repr. in Dibelius 1969, 133-149; repr. in Metzger, H.-K. and Riehn 1978b, 5-17; repr. in Metzger, H.-K. 2012a, 9-22; Serbian as “Džon Kejdž ili oslobođena muzika.” Treći program [Beograd] no. 12 (1972), 403-416; Swedish as “John Cage: Frigiven musik.” Nutida Musik [Stockholm] 10, no. 3-4 (1966-1967), 44-51.

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

Metzger, Heinz-Klaus 1962. “John Cage.” Ruch Muzyczny [Kraków] 6, no. 13, 16-18.

Metzger, Heinz-Klaus 1965a. “A propos des sources sonores.” Mardi-samedi no. 6 (July).

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

Metzger, Heinz-Klaus 1966a. “Die Bremer Tage ‘Pro Musica’ 1966.” Die Weltwoche [Zürich] (May).

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

Metzger, Heinz-Klaus 1967. “Ein Durchbruch im Musikleben der Schweiz.” Die Weltwoche [Zürich] (18 August); repr. in Metzger, H.-K. 2012a, 23-25.

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

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

Metzger, Heinz-Klaus 1970a. “Technische und ästhetische Anarchie.” Opernwelt (Jahrbuch), 90-91.

Metzger, Heinz-Klaus 1970b. “Das totale Klavier.” In Patkowski and Skrzyńka 1970, unpag.

Metzger, Heinz-Klaus 1972. “Versuch über prärevolutionäre Musik = Essay on Prerevolutionary Music.” Liner notes for phonodisc set EMI 1 C 165-28954-957 Y. Köln: EMI Electrola; repr. in Metzger, H.-K. 2012a, 27-61.

Metzger, Heinz-Klaus 1978. “Anarchie durch Negation der Zeit oder Probe einer Lektion wider die Moral: Hebel - Adorno - Cage (Variations I).” In Metzger, H.-K. and Riehn 1978b, 147-154; repr. in Metzger, H.-K. 2012a, 70-77; Italian as “L’anarchia mediante la negazione del tempo ovvero saggio di una lezione contro la morale.” In Costa, L. et al. 1993, 829-833.

Metzger, Heinz-Klaus 1979a. “Cage’s Variations VIII: Kein Erfahrungsbericht.” In Zeller 1979a, 22-25; repr. in Metzger, H.-K. and Riehn 1990, 260-263; repr. in Metzger, H.-K. 2012a, 78-81.

Metzger, Heinz-Klaus 1979b. “Gegen die Bestätigung des Bestehenden: John Cages irreversible Lektion.” Neue Musikzeitung 28, no. 4 (August-September), 3; repr. (together with Metzger, H.-K. 1979c) as “Negation der Negation der Negation: John Cages irreversible Lektion.” In Metzger, H.-K. 2012a, 82-90.

Metzger, Heinz-Klaus 1979c. “Negation der Negation der Negation…: John Cages irreversible Lektion.” Neue Musikzeitung 28, no. 5 (October-November), 3; repr. (together with Metzger, H.-K. 1979b) as “Negation der Negation der Negation: John Cages irreversible Lektion.” In Metzger, H.-K. 2012a, 82-90.

Metzger, Heinz-Klaus 1980. Musik wozu: Literatur zu Noten. Ed. by Rainer Riehn. Frankfurt am Main: Suhrkamp.

Metzger, Heinz-Klaus 1981. “Réaction: Aller et retour.” Spirales [Paris] no. 10 (December), 27-29.

Metzger, Heinz-Klaus 1983a. “Musik in der ‘unterhaltenen Gesellschaft’.” Interface 12, 379-388; English as “Music in the Entertained Society.” Ibidem, 65-73; French as “La musique dans la société de divertissement.” Ibidem, 215-224.

Metzger, Heinz-Klaus 1983b. “Das Unbekannte in der Musik: Versuch über die Kompositionen von Giacinto Scelsi.” In Giacinto Scelsi. Ed. by Heinz-Klaus Metzger and Rainer Riehn. München: text + kritik (Musik-Konzepte; 31), 11-23.

Metzger, Heinz-Klaus 1985. “Zum Begriff des Experimentellen in der Musik.” Zeitschrift für Experimentelle Musik [München] no. 2 (March), 29-48; repr. in Metzger, H.-K. 2012a, 91-105.

Metzger, Heinz-Klaus 1987. “Europas Oper: Notizen zu John Cages Europeras 1 & 2 = Europe’s Opera: Notes on John Cage’s Europeras 1 & 2.” Trans. Jeremy Gaines and Doris Jones. In Cage et al. 1987, [24]-[53]; German repr. in Metzger, H.-K. and Riehn 1990, 72-82; repr. in Metzger, H.-K. 2012a, 113-122; English repr. in Kostelanetz 1993f, 229-242.

Metzger, Heinz-Klaus 1989a. “Einige kompositorische Folgen Mahlers.” In Gustav Mahler. Ed. by Heinz-Klaus Metzger and Rainer Riehn. München: text + kritik, 304-315 (Musik-Konzepte; Sonderband).

Metzger, Heinz-Klaus 1989b. “Der Musik Gottfried Michael Koenigs an dem Rand geschrieben.” In Metzger, H.-K. and Riehn 1989, 3-12.

Metzger, Heinz-Klaus 1990. “Die integre Desintegration: Zu Cages Thirty Pieces for String Quartet.” In Metzger, H.-K. and Riehn 1990, 138-143; repr. in Metzger, H.-K. 2012a, 106-112.

Metzger, Heinz-Klaus 1991. “Anarchie als ästhetische Kategorie.” In Kolleritsch 1991, 9-18; repr. in Metzger, H.-K. 2012a, 123-132.

Metzger, Heinz-Klaus 1992a. “Die Aufhebung der Ordnung.” Die Tageszeitung (14 August), 3.

Metzger, Heinz-Klaus 1992b, comp. John Cage: [sic]. Ed. by Wolfgang Becker-Carsten. Köln: Westdeutscher Rundfunk.

Metzger, Heinz-Klaus 1992c. “John Cage entkam: Zu seinem Tode am 12. August.” Freitag [Berlin] (21 August), 9; repr. in Metzger, H.-K. 2012a, 133-135.

Metzger, Heinz-Klaus 1992d. “Über Tod, Urteil, One¹¹ und 103.” In Metzger, H.-K. 1992b, 5-16; repr. in Metzger, H.-K. 2012a, 137-145; Italian as “John Cage: A proposito di morte, giudizio, One11 e 103.” Musica/Realtà [Modena] 14, no. 40 (April), 83-91.

Metzger, Heinz-Klaus 1993. “Quinto parametro.” Trans. Chiara Furiani. In Brand and Bianchi 1993, 27-29.

Metzger, Heinz-Klaus 1994. “Zu Cages geschichtlichen Eingriffen.” Neue Zeitschrift für Musik 155, no. 5 (September), 10-15.

Metzger, Heinz-Klaus 1996. “Brief an Lothar Knessl.” In Stephan, Rudolf et al. 1996; repr. in Metzger, H.-K. 2012a, 146-147.

Metzger, Heinz-Klaus 1997. “Das Musiktheater John Cages.” Ed. Andreas Meyer. In Borio and Danuser 1997, vol. 3, 254-266.

Metzger, Heinz-Klaus 1998. “4'33".” Frankfurter Allgemeine (25 September), 43; repr. in Kleines Wörterbuch der Tonkunst: In einundzwanzig Lieferungen und mit einer Zugabe, vol. 1. Ed. by Wolfgang Sandner. Salzburg [etc.]: Residenz-Verlag, 1999; repr. as “Teildauern der Gesamtstille: 4'33" von John Cage.” In Reininghaus 2007, 121; repr. in Metzger, H.-K. 2012a, 148-149.

Metzger, Heinz-Klaus 1999, ed. “Kritiken und Kontroversen zu Cage und Darmstadt 1958.” Trans. Heinz-Klaus Metzger, Kunsu Shim, and Gerhard Stäbler. In Metzger, H.-K. and Riehn 1999, 175-183.

Metzger, Heinz-Klaus 2011. “‘Earth’s No Escape from Heaven’: Aufklärung und Mystik bei John Cage: Eine Dialektik?” In Hören & Denken: Neue Musik und Philosophie. Ed. by Marion Demuth and Jörn Peter Hiekel. Mainz [etc.]: Schott, 2011, 75-86 (Edition Neue Zeitschrift für Musik); repr. in Metzger, H.-K. 2012a, 156-166.

Metzger, Heinz-Klaus 2012a. Die freigelassene Musik: Schriften zu John Cage. Ed. by Rainer Riehn and Florian Neuner. Wien: Klever Verlag (Klever Essay) (reviews: Röhring 2012b; Stock 2012; Ullmann 2012a).

Metzger, Heinz-Klaus 2012b. “John Cage und die Konsequenzen.” In Metzger, H.-K. 2012a, 167.

Metzger, Heinz-Klaus 2012c. “Das Radio als Musikinstrument.” In Metzger, H.-K. 2012a, 62-69.

Metzger, Heinz-Klaus 2012d. “Zu Atlas Eclipticalis, Winter Music und Cartridge Music.” In Metzger, H.-K. 2012a, 26.

Metzger, Heinz-Klaus 2012e. “Zu Cages Etudes Australes und Bachs Goldberg-Variationen.” In Metzger, H.-K. 2012a, 153-155.

Metzger, Heinz-Klaus 2012f. “Zu Cages Werken für Violoncello solo.” In Metzger, H.-K. 2012a, 150-152.

Metzger, Heinz-Klaus/Jungheinrich, Hans-Klaus 1987. “‘Ich halte jedenfalls an der Idee der Moderne fest’: Von Adorno lernen; ein Gespräch mit Heinz-Klaus Metzger.” In Nicht versöhnt: Musikästhetik nach Adorno. Ed. by Hans-Klaus Jungheinrich. Kassel: Bärenreiter, 68-90.

Metzger, Heinz-Klaus and Rainer Riehn 1978a. “Editorial.” In Metzger, H.-K. and Riehn 1978b, 3-4.

Metzger, Heinz-Klaus and Rainer Riehn 1978b, eds. John Cage. München: text + kritik (Musik-Konzepte; Sonderband); rev. repr. as John Cage I. München: text + kritik, 1990 (Musik-Konzepte; Sonderband) (reviews: Angermann 1991; Åstrand 1978-1979; Briner 1978; Dadelsen 1978; Ehrismann 1991a; Koch, G.R. 1978; Koch, G.R. 1990; Musikhandel 1978; Neue Zürcher Zeitung 1978; Rizzardi 1992b; Ruch Muzyczny 1979; Schiffer 1982; Schreiber, U. 1978; Wagner, M. 1990).

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

Metzger, Heinz-Klaus and Rainer Riehn 1986, eds. Morton Feldman. München: text + kritik (Musik-Konzepte; 48-49).

Metzger, Heinz-Klaus and Rainer Riehn 1989, eds. Gottfried Michael Koenig. München: text + kritik (Musik-Konzepte; 66).

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

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

Metzger, Heinz-Klaus and Rainer Riehn/Feuchtner, Bernd 1987. “‘Es ist für uns eine Art Experiment’.” Neue Zeitschrift für Musik 148, no. 12 (December), 33-37.

Metzger, Heinz-Klaus et al. [Dieter Schnebel, Frank Schneider, Jakob Ullmann, Water Zimmermann]/Naujocks, Carolin 1993. “Cage kontrovers: Kultfigur, Maß kompositorischer Wahrheit oder Mißverständnis?” Positionen [Berlin] no. 15 (May), 38-45; excerpt repr. in Metzger, H.-K. 2012a, 195-201.

Metzmacher, Ingo 2005. Keine Angst vor neuen Tönen: Eine Reise in die Welt der Musik. Berlin: Rowohlt; 2nd ed. 2005; 3rd ed. 2005; 4th ed. 2005; Dutch as Wie is er bang voor nieuwe klanken? Persoonlijke ontmoetingen met de muziek van de twintigste eeuw. Trans. Anthony Fiumara. Amsterdam: Cossee, 2005 (reviews: Burkhardt 2005; Gassmann 2005; Heidenreich 2005; Jungheinrich 2005; Stäbler, M. 2005).

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Meyer, Burkhard 1987a. “Klänge zum langen Nachklingen [unpublished sermon, 20 September, mimeographed].” Kassel: Karlskirche.

Meyer, Burkhard 1987b. “Klangraum [unpublished sermon, 9 August, mimeographed].” Kassel: Karlskirche.

Meyer, Burkhard 1987c. “Klangreise [unpublished sermon, 14 June, mimeographed].” Dutch as “Toonklankreis.” English as “Sound Journey.” Trans. Richard Podger. Kassel: Karlskirche.

Meyer, Eric 1994a. “John Cage, or about Art and Life.” BAFA Newsletter [Baha’i Association for the Arts] (March), 17-18.

Meyer, Eric 1994b. “Twentieth-Century Interaction between Music and the Visual Arts.” BAFA Newsletter [Baha’i Association for the Arts] (March), 16-17.

Meyer, Felix 1998, ed. Settling New Scores. New York: Pierpont Morgan Library.

Meyer, Leonard B(unce) 1960. “Art by Accident.” Horizon 3 (September), 30, 32+.

Meyer, Leonard B. 1963. “The End of the Renaissance? Notes on the Radical Empiricism of the Avant-Garde.” Hudson Review [New York] 16, no. 2 (Summer), 169-186; repr. in Meyer, L.B. 1967, 68-84; repr. in Bergonzi 1968a.

Meyer, Leonard B. 1967. Music, the Arts, and Ideas: Patterns and Predictions in Twentieth-Century Culture. Chicago [etc.]: University of Chicago Press; rev. repr. 1994.

‪Meyer, Leonard B. 1973. Explaining Music: Essays and Explorations. Berkeley [etc.]: University of California Press; repr. Chicago [etc.]: University of Chicago Press, 1978.

Meyer, Leonard B. 1989. Style and Music: Theory, History and Ideology. Philadelphia: University of Pennsylvania Press (Studies in the Criticism and Theory of Music); repr. Chicago: University of Chicago Press, 1996 (Studies in the Criticism and Theory of Music).

Meyer, Petra Maria 1997. Gedächtniskultur des Hörens: Medientransformation von Beckett über Cage bis Mayröcker. Düsseldorf: Parerga (review: Fricke, S. 1999c).

Meyer, Thomas 1992. “Ein wirkliches Märchen: John im Glück.” Tages-Anzeiger [Zürich] (14 August), 11.

Meyer, Thomas 2005. “Cheap Imitation: Notizen über das Billige in der Musik.” Neue Zeitschrift für Musik 166, no. 6 (November-December), 18-21.

Meyer, Thomas 2018. Review of Mösch 2017. Neue Zeitschrift für Musik 179, no. 1 (2018), 76.

Meyer-Denkmann, Gertrud 1963. “In Oldenburg hat die Avantgarde viele Anhänger.” Melos 30 (1963), 56.

Meyer-Denkmann, Gertrud 1964. “Oldenburg stellt Musica-Viva-Konzerte ein.” Melos 31 (1964), 66-67.

Meyer-Denkmann, Gertrud 1972. Struktur und Praxis Neuer Musik im Unterricht: Experiment und Methode. Wien: Universal Edition (Rote Reihe; 43). Dutch as Structuur en praktijk van het moderne muziekonderwijs: Experiment en methode. Trans. P. Berghout. Groningen: Wolters-Noordhoff, 1975.

Meyer-Denkmann, Gertrud 1997. “Still und fast anonym: Erinnerung an David Tudor.” MusikTexte no. 69-70 (April), 50.

Meyer-Denkmann, Gertrud 2002. “Begegnungen mit John Cage 1958-1991.” In Rautmann and Schalz 2002a, 94-101.

Meyer-Hoffmann, Hans-Georg 1995. “Einseins, Zufall, Zeitphilosophie.” Review of ITM 950031 (recording). Neue Musikzeitung 44 (April-May), 23.

Meyers, Emerson 1975. Review of Nyman 1974. American Music Teacher 25, no. 1 (September-October), 44-45.

Mezger, Martin 1991. “Orchester ohne Dirigent.” Esslinger Zeitung (2 December).

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Middleton, Richard 1975. Review of Nyman 1974. Music & Letters 56, no. 1 (January), 85-86.

Middletown Press 1960. “Wesleyan Featuring Two Operas.” Middletown Press [Middletown, Connecticut] (3 November).

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Mifflin, M. 1982. “M. Hauser, U. Molinaro, D. Rimmer, B. Benderson, John Cage: Dreams and the Writer.” Dreamworks [New York] 2, no. 4, 255-259.

Mifflin, Margot 1983. “The Well-Tempered Dance.” Elle (March), 218, 220.

Mijnheer, Jaco 1988a. “Oefeningen in feilloosheid.” De Holland Festival Dagkrant (19 June), 1.

Mijnheer, Jaco 1988b. “Schroeven & Bouten.” De Holland Festival Dagkrant (21 June), 2.

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Mila, Massimo 1976. Review of Brindle 1975. Nuova Rivista Musicale Italiana 10 (1976), 289-292.

Mila, Massimo 1978. “Il profeta seccatore.” La Stampa [Torino] (20 January).

Mila, Massimo 1984. “Cage, barzelette foniche d’altri tempi.” La Stampa [Torino] (17 May).

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Miladinović Prica, Ivana 2011. Review of Chase, S. and Thomas 2010. Tacet [Mulhouse] no. 1 (December).

Miladinović Prica, Ivana 2013. ‘Yugo-Cage: Cage’s Reception and the Different New Music in Serbia and Former Yugoslavia.” In Székely 2013a, 14-23.

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Miles, Stephen 2010. “Seeing Cage, Hearing Beuys.” TDR: The Drama Review 54, no. 2 (Summer), 126-154.

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Mili, Isabelle 1990b. “Un lion sur la scène.” La Tribune de Genève (13 September), 47.

Mili, Isabelle 1991. “John Cage: L’opéra sans chef.” La Tribune de Genève (29-30 June).

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Miller, C.K. 1962. Review of Cage 1961h. Library Journal 87 (15 February), 772.

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Miller, David P. 2003. “The Shapes of Indeterminacy: John Cage’s Variations I and Variations II.” Frankfurter Zeitschrift für Musikwissenschaft 6 (2003), 18-45; corrections 65.

Miller, David P. 2009. “Indeterminacy and Performance Practice in Cage’s Variations.” American Music 27, no. 1 (Spring), 60-86.

Miller, Donald 1970. “Dance Company Thrills Audience.” Pittsburgh Post-Gazette (9 March).

Miller, Leta E. 2000. “The Art of Noise: John Cage, Lou Harrison, and the West Coast Percussion Ensemble.” In Perspectives on American Music, 1900-1950. Ed. by Michael Saffle. New York [etc.]: Garland, 215-263 (Essays in American Music; 2107).

Miller, Leta E. 2001. “Cage, Cunningham, and Collaborators: The Odyssey of Variations V.” Musical Quarterly 85, no. 3 (Fall), 545-567.

Miller, Leta E. 2002a. “Cage’s Collaborations.” In Nicholls 2002c, 151-168.

Miller, Leta E. 2002b. “Cultural Intersections: John Cage in Seattle (1938-1940).” In Patterson, D.W. 2002b, 47-82; German (slightly abridged) as “Experimentierfreudiges Umfeld: John Cage in Seattle (1938 bis 1940).” Trans. Monika Lichtenfeld. MusikTexte no. 106 (August 2005), 31-45.

Miller, Leta E. 2006. “Henry Cowell and John Cage: Intersections and Influences, 1933-1941.” Journal of the American Musicological Society 59, no. 1 (Spring), 47-111.

Miller, Leta E. en Fredric Lieberman 1998. Lou Harrison: Composing a World. Oxford University Press; rev. as Composing a World: Lou Harrison, Musical Wayfarer. Urbana [etc.]: University of Illinois Press, 2004 (review: Wire 2006).

Miller, Leta E. and Fredric Lieberman 2006. Lou Harrison. Urbana [etc.]: University of Illinois Press.

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Music 1975. Review of Nyman 1974. Music: The A.G.O. and R.C.C.O. Magazine 9 (September), 10.

Music and Musicians 1969. Review of Cage 1969a. Music and Musicians 18 (December), 67-68.

Music and Musicians 1972. Review of Kostelanetz 1970d. Music and Musicians 20 (April), 50-51.

Music and Musicians 1974. Review of Nyman 1974. Music and Musicians 23 (November), 24-25.

Music Educators Journal 1970a. “Cage Wins Arts Award.” Music Educators Journal 57, no. 1 (September), 21.

Music Educators Journal 1970b. “Premieres.” Music Educators Journal 57, no. 1 (September), 80.

Music Educators Journal 1972. Review of Kostelanetz 1970d. Music Educators Journal 58 (January), 79-81+.

Music Educators Journal 1975. Review of Nyman 1974. Music Educators Journal 61 (May), 79-80+.

Music Educators Journal 1976. “Premieres.” Music Educators Journal 63 (September), 23.

Music Educators Journal 1979. “Premieres.” Music Educators Journal 66 (December), 9.

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Music Journal 1970. “Things You Should Know: Premieres.” Music Journal [New York] 28 (May), 16.

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Music Magazine 1962. Review of Cage 1961h. Music Magazine and Musical Courier 164 (June), 55.

Music Now 1972. Music Now Presents John Cage & David Tudor in First British Performances of Their Own Works [program 22 May]. London: Music Now.

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Musical America 1956. “John Cage Group.” Musical America 76 (June), 19.

Musical America 1959. “Contemporary Music by Cage and Varèse.” Musical America 79 (May), 30.

Musical America 1960. “New London/Annual Dance Festival.” Musical America (October), 27.

Musical America 1983. Review of Rockwell 1983a. Musical America 33, no. 7 (July), 16-17.

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Musical America 1988b. Review of Kostelanetz 1988b. Musical America 108, no. 4, 30-31.

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Musical Courier 1955. “David Tudor and John Cage.” Musical Courier 151 (15 January), 21.

Musical Courier 1960a. “Composers’ Showcase.” Musical Courier 161 (May), 36.

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Musical Events 1967. “John Cage Scores Again.” Musical Events [London] 22 (February), 31-32.

Musical Events 1971. Review of Kostelanetz 1970d. Musical Events [London] 26 (August), 11-12.

Musical Events 1973. Review of Cage 1961h. Musical Events [London] 28 (November), 12+.

Musical Opinion 1959. Review of Hoover, K.O. and Cage 1959. Musical Opinion and Music Trade Review [London] 83, 171.

Musik und Bildung 1975. Review of Zimmerschied 1974b. Musik und Bildung 7 (January), 39.

Musikhandel 1974. Review of Zimmerschied 1974b. Musikhandel 25, no. 7 (1974), 346.

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Musikhandel 1978. Review of Metzger and Riehn 1978b. Musikhandel 29, 262.

Musikhandel 1987. “Uraufführungen.” Musikhandel 38, 258.

MusikTexte 1988. “Dichtung.” MusikTexte no. 23 (February), 60.

Musique et Radio 1962. Review of Hoover, K.O. and Cage 1959. Musique et Radio [Paris] 52 (December), 403.

Muziek en Woord 1982. “Cage 70.” Muziek en Woord [Zaventem] 8, no. 96 (September), 17.

My 1963. “Long Play.” Frankfurter Allgemeine (21 September), 2.

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N.K. 1950. “American Dance Festival.” Dance Observer [New York] 17, no. 7 (August-September), 102-104.

N.K. 1951a. “Jean Erdman and Company.” Dance Observer [New York] 18, no. 3 (March), 42.

N.K. 1951b. “Merce Cunningham and Company.” Dance Observer [New York] 18, no. 3 (March), 41-42.

N.P. 1952. “Contemporary Piano Music.” Musical America 72, no. 7 (May), 26.

N.Sf. 1985. “Komponisten als Hörspielmacher.” Neue Zürcher Zeitung (26 September).

N.Sf. 1987. “Hommage für John Cage: 24 Stunden nonstop im WDR-Radio.” Neue Zürcher Zeitung (12 February).

Naarding, Roel 1988. “Glasgerinkel en bordengekletter is ook muziek.” Parool (23 June), 13.

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Nagan, Doron 1988b. “Muziek Cage vereist een innerlijke rust.” Algemeen Dagblad [Rotterdam] (10 November), 6.

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Nakai, You 2016. “On the Instrumental Natures of David Tudor’s Music.” Ph.D. Diss., New York University.

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Nanz, Dieter A(ndreas) 2002. Review of Utz 2002. Dissonanz = Dissonance no. 75 (June), 48.

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

Napolitano, Ernesto and Tito Tonietti 1974. “Il concerto è morto (note sull’improvvisazione).” Nuova Rivista Musicale Italiana 8, no. 3 (July-September), 394-399.

Nathan, Hans 1969. “American Panoramas of Twentieth Century Music.” Review of Austin, W.W. 1966, Salzman 1967, and Yates 1967. American Choral Review 11, no. 4 (1969), 3-12.

National Catholic Reporter 1967. Review of Cage 1967o. National Catholic Reporter (1967).

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National Observer 1971. Review of Kostelanetz 1970d. National Observer 10 (25 January), 23.

National-Zeitung 1960. “An Saiten und Nerven gezerrt.” National-Zeitung [Basel] (1 October).

Nattiez, Jean-Jacques 1977. “Under What Conditions Can One Speak of the Universals of Music? = A quelles conditions peut-on parler d’universaux de la musique?” The World of Music 19, no. 1-2, 92-116.

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Nattiez, Jean-Jacques 1990. “Cage/Boulez: Un chapitre de l’histoire de la musique.” In Boulez/Cage 1990, 13-37; English as “Cage and Boulez: A Chapter of Music History.” In Boulez/Cage 1990/1993, 3-24.

Nattiez, Jean-Jacques 1993. Le combat de Chronos et d’Orphée: Essais. Paris: Christian Bourgois (Collection Musique/Passé/Présent).

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Nauck, Gisela 1986. Review of Neuland: Ansätze zur Musik der Gegenwart. Musik und Gesellschaft [Berlin] 36, no. 10 (1986), 546-548.

Nauck, Gisela 1990a. “‘Enthäutung’ von Oper.” Musik und Gesellschaft [Berlin] 40 (1990), 445-446.

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

Nauck, Gisela 1992. “John Cage: Medienkompositionen, Videos und Audiovisuelle Ausstellung in München.” Positionen [Berlin] no. 11 (May), 47.

Nauck, Gisela 1994. “Donaueschinger Musiktage 1994.” Positionen [Berlin] no. 21 (November), 54, 56-57.

Nauck, Gisela 1995. “Ferment and New Departures: The Last Generation of East German Composers.” Contemporary Music Review 12, no. 1 (1995), 41-75.

Nauck, Gisela 1997. “Spiegel Donaueschingen.” Positionen [Berlin] no. 33 (November), 50.

Nauert, Paul Charles 1997. “Timespan Formation in Nonmetric, Posttonal Music.” Ph.D. Diss., Columbia University, New York.

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Nazione 1991. “Le musiche di John Cage.” La Nazione [Firenze] (11 September), Umbria, III.

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Nee, Thomas 1980b. “Concert for Piano and Orchestra.” In Faculty 1980, [18], [20]-[22].

Neff, Severine 2014. “Point/Counterpoint: John Cage Studies with Arnold Schoenberg.” Contemporary Music Review 33, no. 5-6 (October-December), 451-482.

Négyesy, János/Hajdu, Georg 2007. “Interview with János Négyesy.” Georg Hajdu: Personal Website (29 March).

Neidhöfer, Christoph 1998. “Beobachtungen zum Tempo bei John Cage vor 1950.” In Dünki and Haefeli 1998, 87-111.

Nelson, Boris 1986. “Composer John Cage’s Innovations Perplexing.” The Blade [Toledo, Ohio] (19 October), sec. A, p. [21].

Nelson, Catherine 1995. Review of Mode 37 (recording). Strad 106, no.1258 (February), 199.

Nelson, Catherine 2001. Review of Mode 88 (recording). The Strad 112 (March).

Nelson, Diane 1987. “An Introduction to John Cage’s Music for the Solo Prepared Piano.” American Music Teacher 36, no. 3, 42-43+.

Nelson, Mark Douglas 1995. “Quieting the Mind, Manifesting Mind: The Zen Buddhist Roots of John Cage’s Early Chance-Determined and Indeterminate Compositions.” Ph.D. Diss., Princeton University.

Nelson, Mark D. 1999. “Enacting Process: Cage, Zen Buddhism, and Indeterminacy.” Open Space Magazine [Red Hook, New York] no. 1 (Spring), 64-74.

Nesterenko, Oksana 2017. “‘Open Work’ One Step Further: From John Cage to John Zorn.” Perspectives of New Music 55, no. 2 (Summer), 199-217.

Nest’yev, Izrail’ Vladimirovich 1973. “Antimuzyka pod flagom ‘anarkhii’.” Sovetskaya Muzyka [Moskva] 37, no. 9 (September), 127-130; Croatian as “Antiglazba pod zastavom ‘anarhije’.” Prolog [Zagreb] 6 (1974), 140-142; German as “Antimusik im Zeichen der ‘Anarchie’: Zu einem Interview mit John Cage.” Trans. Dagmar Beck. Musik und Gesellschaft [Berlin] 24 (1974), 209-212.

Nettl, Bruno 1977. “On the Question of Universals = A propos des universaux.” The World of Music 19, no. 1-2, 2-12.

Neubauer, Hans 1990. “König im Reich der Anarchie.” Mindener Tageblatt (29 September).

Neubauer, Hans-Joachim 1993. “‘…frei von Harmonie’: Hörspiele von Dieter Schnebel, Mauricio Kagel und John Cage.” In Autoren-Musik: Sprache im Grenzbereich der Künste. Ed. by Heinz-Klaus Metzger, Rainer Riehn, and Günter Peters. München: Text + Kritik, 66-89 (Musik-Konzepte; 81).

Neubauer, Simon 1975. “Musik ganz frei von Emotionen.” Weser-Kurier [Bremen] (17 June or later).

Neubauer, Simon 1982. “‘Wünsche meinem werk alles Gute’.” Weser-Kurier [Bremen] (5 May).

Neubauer, Simon and Manfred Züghart 1966. “Nutzlose Proben aufs Exempel.” Weser-Kurier [Bremen] (9 May).

Neue Kronen-Zeitung 1991. “Klangmobile als Cage-Ehrenspalier.” Neue Kronen-Zeitung (1 June).

Neue Musikzeitung 1975. Review of Zimmerschied 1974b. Neue Musikzeitung 24, no. 2 (1975), 18.

Neue Musikzeitung 1980. Review of Fürst-Heidtmann 1979. Neue Musikzeitung 29, no. 2 (April-May), 43.

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

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

Neue Musikzeitung 1988. Review of Edition Michael Frauenlob Bauer MFB 014-015 (recording). Neue Musikzeitung 37 (August-September), 36.

Neue Musikzeitung 2002. Review of Utz 2002. Neue Musikzeitung 51 (May), 50.

Neue Zeitschrift 1999. Review of Corbett 1994. Neue Zeitschrift für Musik 160, no. 4 (July-August), 36-37.

Neue Zürcher Zeitung 1978. Review of Metzger, H.-K. and Riehn 1978b. Neue Zürcher Zeitung (11 June), 27.

Neuer Bücherdienst 1973. Review of Kostelanetz 1970d. Neuer Bücherdienst [Wien] (Spring).

Neues Österreich 1959. “Tumulte im Mozart-Saal des Wiener Konzerthauses.” Neues Österreich [Wien] (21 November).

Neufeld, Jane 1980a. “Composer to Speak Tonight on 20th Century.” University Daily Kansan [Lawrence, Kansas] (30 September).

Neufeld, Jane 1980b. “Talk Draws Unexpected Attendance.” University Daily Kansan [Lawrence, Kansas] (2 October), 9.

Neuhoff, Hans 1994. “How Musical is Cage? Kulturanthropologische Reflexionen über den Zufall in der Musik.” Neue Zeitschrift für Musik 155, no. 5 (September), 44-47.

Neukirchen, Alfons 1982. “Dialog zwischen West und Ost.” Rheinische Post [Düsseldorf] (1 May).

Neuner, Florian 2009. Review of Feldman, M. 2008. Positionen [Berlin] no. 81 (November), 53-54.

Neuner, Florian 2012. “Nachwort.” In Metzger, H.-K. 2012a, 211-218.

Neunzig, Hans A. 1991. Meilensteine der Musik. Dortmund: Harenberg, vol. III.

Nevitt, Barrington and Maurice McLuhan 1995, eds. Who Was Marshall McLuhan? Exploring a Mosaic of Impressions. Toronto, Ontario: Stoddart.

New Statesman 1964. [Untitled]. New Statesman [London] (31 July).

New York Herald Tribune 1943. “‘League’ Giving Novel Program Sunday, Feb. 7.” New York Herald Tribune (31 January).

New York Herald Tribune 1948. “4th Composers’ Forum Saturday at Columbia.” New York Herald Tribune (18 January).

New York Herald Tribune 1952a. “The Musical Scene.” New York Herald Tribune (4 May).

New York Herald Tribune 1952b. Review of 12 October 1952 (concert). New York Herald Tribune (13 October).

New York Herald Tribune 1963. “In the Lively Arts.” New York Herald Tribune (11 September), 1.

New York Post 1954. “Stiff Necks Strain to Dig Long-Hair Beat.” New York Post (16 December), 27.

New York Post 1958. “Music of John Cage Heard at Town Hall.” New York Post (16 May), 37.

New York Post 1970. “NYU Series Lists 60 Public Events.” New York Post (1 September).

New York State School Music News 1977 or later. [Review of Cheap Imitation (Violin) (score)]. New York State School Music News (1977 or later).

New York Times 1941. [Announcement]. New York Times (6 April).

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

New York Times 1949a. “Guggenheim Awards to 144 in U.S., Canada.” New York Times (11 April).

New York Times 1949b. “New York Winners of 1949 Arts and Letters Grants.” New York Times (14 May).

New York Times 1951. “Art Film Festival in Woodstock Ends.” New York Times (4 September).

New York Times 1954a. “Guggenheim Fund Grants $1,000,000.” New York Times (3 May).

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

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

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

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

New York Times 1964. “John Cage Invented Submarine Devices.” New York Times (5 January).

New York Times 1965. “French-American Festival.” New York Times (24 July), 12.

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

New York Times 1969. “Festival Blending Music, Dance, Drama and Film Opens in Tokyo.” New York Times (5 February).

New York Times 1971. “Music Is Modern at Warsaw Fete.” New York Times (29 September).

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

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

New York Times 1976. “‘Little’ Magazine Gets a Big Boost At Gotham Mart.” New York Times (9 January), 21.

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

New York Times 1983. “Concert: Brooklyn Orchestra in ‘Meet the Moderns’ Series.” New York Times (13 November), Section 1, p. 78.

New York World-Telegram 1942a. “Bach, Beethoven, Brahms and Beer.” New York World-Telegram (6 March).

New York World-Telegram 1942b. “They Break Beer Bottles Now to Make Music in Chicago.” New York World-Telegram (2 March), 15.

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

New Yorker 1965. “Mycophiles.” New Yorker (9 January), 22-24.

New Yorker 1973. “Long Birthday.” New Yorker (24 February), 32-33.

New Yorker 1978. “The Mercists.” New Yorker (3 April), 115-116.

New Yorker 1980. Review of 10 December 1979 and between late December 1979 and 4 February 1980 (concerts). New Yorker (4 February).

New Yorker 1982. “Cage.” New Yorker (29 March), 40-41.

New Yorker 1984. “The Grand Harp Event.” New Yorker (8 October), 36-37.

New Yorker 1989. “Mushrooms.” New Yorker (25 December), 34-35.

New Yorker 1992. “Music.” New Yorker (31 August), 18.

New Yorker 2010. Review of Gann 2010. New Yorker (2010).

Newall, Robert H. 1977. “Cage’s ‘Composition’ a Hit.” Bangor Daily News [Maine] (18 March), 7.

Newlin, Dika 1979. Review of Cage 1979c. Library Journal 104 (1 October), 2103.

Newlin, Dika 1982. Review of Cage 1982m. Library Journal 107, 1100.

News-Gazette 1969a. “HPSCHD Stage Is Set [photograph].” News-Gazette (16 May), Section 1, p. 6.

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

Newsweek 1963a. “Is It Music?” Newsweek (2 September), 53.

Newsweek 1963b. “Music Marathon.” Newsweek (23 September), 95.

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

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

Newsweek 1967. “Sound, Silence, Time.” Includes review of Cage 1967o. Newsweek (25 December), 50-51.

Ngiao, Tzu-Eng 2013. “John Cage’s Atlas Eclipticalis: Paving the Way to Anthropocentric Processual Creation.” Malaysian Music Journal [Tanjung Malim, Perak] 2, no. 2 (December), 74-89.

Nichol, B.P. 1969. Review of Cage 1969a. Canadian Forum 48, no. 578 (March), 284-285.

Nicholls, David (Roy) 1990a. “‘The Future of Music: Credo’: The Development of a Philosophy of Experimentation in the Early Works of John Cage.” In David Nicholls, American Experimental Music, 1890-1940. Cambridge [etc.]: Cambridge University Press, 175-217 (previously Ph.D. Diss., “Musicology New and Experimental Compositional Techniques in American Music from Charles Ives to the Second World War,” Cambridge University, 1985) (reviews: Gann 1990b; Griffiths, P. 1990; Metzer 1992; Oja 1991b; Stiller 1991).

Nicholls, David 1990b. Review of Kostelanetz 1988b. Music & Letters 71, no. 3 (August), 446-447.

Nicholls, David 1993a. “Getting Rid of the Glue: The Music of the New York School.” Journal of American Studies 27, no. 3 (December), 335-353; repr. in Johnson, S. 2002, 17-56.

Nicholls, David 1993b. Review of Fleming, R. and Duckworth 1989. Music & Letters 74, no. 1 (February), 130-131.

Nicholls, David 1993c. Review of Landy 1991. Music & Letters 74, no. 2 (May), 314-315.

Nicholls, David 1993d. Review of Revill 1992. Music & Letters 74, no. 4 (November), 625-626.

Nicholls, David 1994. Review of Pritchett 1993. BBC Music Magazine 2, no. 11 (July), 56-57.

Nicholls, David 1995. Review of Pritchett 1993. Music & Letters 76, no. 1 (February), 128-131.

Nicholls, David 1996. “Transethnicism and the American Experimental Tradition.” Musical Quarterly 80, no. 4 (Winter), 569-594.

Nicholls, David 1998. “Avant-Garde and Experimental Music.” In The Cambridge History of American Music. Ed. by David Nicholls. Cambridge [etc.]: Cambridge University Press, 517-534 (review: Skowron 2005).

Nicholls, David 1999a. “Reaching beyond the West: Asian Resonances in American Radicalism.” American Music 17, no. 2, 125-128.

Nicholls, David 1999b. Review of Shultis 1998c. Music & Letters 80, no. 4 (November), 658-659.

Nicholls, David 2002a. “The American Quartet.” In The Twentieth Century String Quartet. Ed. Douglas Jarman. Todmorden: Arc Publications, 109-121.

Nicholls, David 2002b. “Cage and America.” in Nicholls 2002c, 3-19.

Nicholls, David 2002c, ed. The Cambridge Companion to John Cage. Cambridge [etc.]: Cambridge University Press (Cambridge Companions to Music) (Haskins 2004b; Music Teacher 2003; Quinn, Peter 2003; Stefanou 2003a; Stefanou 2003b; Whittall 2003b).

Nicholls, David 2002d. “EC=JC²: John Cage as Exemplary Creator.” Frankfurter Zeitschrift für Musikwissenschaft 5 (2002), 76-85.

Nicholls, David 2002e. “Getting Rid of the Glue: The Music of the New York School.” In Johnson, S. 2002, 17-56.

Nicholls, David 2002f. Review of Crawford, Richard 2001. Journal of the Royal Musical Association 127, no. 2 (2002), 321-324.

Nicholls, David 2002g. “Towards Infinity: Cage in the 1950s and 1960s.” In Nicholls 2002c, 100-108.

Nicholls, David 2003. Review of Bernstein, D.W. and Hatch 2001; Patterson, D.W. 2002b. Music & Letters 84, no. 2 (May), 335-336.

Nicholls, David 2004. “Brave New Worlds: Experimentalism between the Wars.” In Cook and Pople 2004, 210-227.

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

Nicholls, David 2007. John Cage. Urbana [etc.]: University of Illinois Press (American Composers); Spanish as John Cage. Trans. Gabriel Menéndez. Madrid [etc.]: Turner, 2009 (Música) (reviews: Andersson 2008; Ertan 2010; Fox, C. 2008; Perry, M. 2008).

Nicholls, David 2010. “Cage and the Ultramodernists.” American Music 28, no. 4 (Winter), 492-500.

Nicholls, David 2011. Review of Chase, S. and Thomas 2010. Music & Letters 92, no. 4 (November), 690-691.

Nicholls, David 2012a. “‘Each … Is at the Center’: Thoughts on a Cagean View of (Music) History.” Contemporary Music Review 31, no. 1 (February), 91-109; Polish as “‘Każdy (…) jest w centrum’: Przemyślenia na temat Cage’owskiej wizji historii (muzyki).” Trans. Konrad Szulga. In Kutnik 2015a, 117-140.

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