cagecomp/bibliography

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

Quander, Georg 1982. “Schauplätze für Musik: Tendenzen im amerikanischen Musiktheater der Gegenwart.” In Musiktheater heute: Sechs Kongreßbeiträge: Jahrestagung, Darmstadt, 1982. Ed. by Hellmut Kühn. Mainz: Schott, 105-121.

Quasha, George 2012. “Cage in Principle.” Review of Larson, Kay 2012. PAJ: A Journal of Performance and Art [Baltimore, Maryland] 34, no. 3 (September), no. 102, 47-55.

Quillet, Hélène 1972. “Chroniques.” Review of Cage/Bosseur 1971. Musique en jeu no. 7 (May), 134-135.

Quinn, Paul 1999. “Rattling the Chains of Free Verse.” Review of Perloff, M. 1998. Times Literary Supplement (30 April).

Quinn, Peter 2003. “Chance and the Tolerant Omnivore.” Review of Nicholls 2002c. Times Literary Supplement (26 September).

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

Quinz, Emanuele 2012. “Improving the World: John Cage e le estetiche sonore partecipative.” In Fronzi 2012b, 237-268.

Quist, Pamela Layman 1984. “Indeterminate Form in the Work of Earle Brown.” D.M.A. thesis, Composition: Peabody Institute of The Johns Hopkins University.

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

R.B. 1987. “John Cage à Metz: Les 75 ans du plus actuel des contemporains.” Le Républicain Lorrain [Metz] (23 November).

R.C.M. 1975. Review of Finnadar QD 9006 (recording). High Fidelity/Musical America (March).

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

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

R.G. 1984a. “Arriva John Cage: ‘Sonorizzerà’ un bosco?” Il Secolo XIX [Genova] (28 April).

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

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

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

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

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

Raaijmakers, Dick/Schönberger, Elmer and J.F. Vogelaar 1981. “Verschuivingen in de slagorde.” Raster [Amsterdam] new series no. 19 (1981), 14-58.

Racine, Rober 1997. “Cage/Satie: Le silence vertigineux: Quelques rencontres avec John Cage sans jamais l’avoir regardé dans les yeux.” Circuit [Montréal, Québec] 8, no. 2 (1997), 39-43.

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

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

Radovanović Bojana 2017. “Aria Džona Kejdža sagledana kroz prizmu kontekstualne uslovljenosti.” Zbornik Radova Akademije Umetnosti [Novi Sad] no. 5 (2017), 132-141.

Raffaseder, Hannes/Heindl, Christian 2017. “‘Im Cageschen Sinn ist sowieso alles Musik’.” Österreichische Musikzeitschrift 72, no. 4 (2017), 59-61.

Raffi, Alessandro 1991. “L’abbandono, il tempo, il silenzio: Su alcuni luoghi del pensiero di John Cage.” Musica/Realtà [Milano] 12, no. 35 (August), 53-63.

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

Rahn, John 1994a. “Centers - Dissenters: Music, Religion, and Politics.” Current Musicology no. 56 (1994), 72-85.

Rahn, John 1994b, ed. Perspectives on Musical Aesthetics. New York [etc.]: W.W. Norton, 1994.

Rahtz, Dominic 2008. Review of Kotz 2007. The Art Book [London] 15, no. 3 (August), 35-36.

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

Raine-Reusch, Randy 1994a. “Without Intent.” Musicworks [Toronto, Ontario] no. 57 (Winter), 21-23.

Raine-Reusch, Randy 1994b. “Zero for John Cage.” Musicworks [Toronto, Ontario] no. 57 (Winter), 22.

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

Rainer, Yvonne 2006. Feelings Are Facts: A Life. Cambridge, Massachusetts: MIT Press (MIT Press Writing Art); paperback repr. 2013.

Ramos, Francisco 1993. “Tragedia de la escucha.” Revista de Occidente [Madrid] no. 148 (September), 101-11.

Ramos, Francisco 2004. Review of Mode 24 and Mode 28-29 (recordings). Scherzo [Madrid] 19 (May), 66.

Ramos, Francisco 2012. “Escuchando a Cage.” Scherzo [Madrid] 27, no. 276 (July-August), 84-86.

Ramos, Julio 2014. “Disonancia afrocubana: John Cage y las Rítmicas V y VI de Amadeo Roldán.” Revolución y Cultura [La Habana, Cuba] no. 1 (January-March 2014), 52-64; repr. as “Disonancia afrocubana: Amadeo Roldán y John Cage.” Recial [Córdoba, Argentina] 8, no. 12 (November).

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

Ranaldo, Lee/Sharp, Elliott 2013. “Interview: Sonic Youth’s Lee Ranaldo on John Cage.” The Key [Philadelphia, Pennsylvania] (3 January).

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

Randall, James Kirtland 2011. Review of Silverman, K. 2010. New Music Connoisseur 19, no. 1 [Milton of Noth, Huntly] (Spring), 22-27.

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

Raney, Carolyn 1971. “Indeterminacy in Music.” Music: The AGO and RCCO Magazine [New York] 5, no. 7 (July), 23.

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

Rao, Nancy Yunhwa 2005. “Cowell’s Sliding Tone and the American Ultramodernist Tradition.” American Music 23, no. 3 (Fall), 281-323.

Rapko, John 2014. Logro, fracaso, aspiración: Tres intentos de entender el arte contemporáneo. Ed. by Fernando Uhía. Trans. Claudia Montilla. Bogotá, D.C.: Universidad de los Andes, Vicerrectoría de Investigaciones, Ediciones Uniandes; excerpt repr. as Rapko 2015.

Rapko, John 2015. “Eco-Poetics and the Visual Art of John Cage.” San Francisco Art Quarterly [San Francisco, California] no. 19 (February-April), 44-45.

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

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

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

Räsänen, Auli 1983. “Sienestävä Cage ja muita ilmiöitä.” Uusi Suomi [Helsinki] (1 August).

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

Raskin, David 2016. Review of Díaz 2015. Common Knowledge [Durham, North Carlina] 22, no. 2 (May), 313.

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

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

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

Ratliff, Ben 2012. “Listening to the Void, Vital and Profound.” New York Times (22 July).

Räther, Helmut 1992. “John Cage: Schrille Töne gegen die alte Harmonie.” Westfälische Rundschau [Dortmund] (14 August), [4].

Rathert, Wolfgang 1983. “Musik als Philosophie: Ives und Cage in der Nachfolge des Transzendentalismus.” In Der Hang zum Gesamtkunstwerk: Europäische Utopien seit 1800. Supplement to the Berlin station of the exhibition, 22 December 1983-19 February 1984. Ed. by René Block and Anne Marie Freybourg. Berlin: Berliner Künstlerprogramm des DAAD, 53-59.

Rathert, Wolfgang 1995. “Der amerikanische Transzendentalismus.” In Musik und Religion. Ed. by Helga de la Motte-Haber. Laaber: Laaber-Verlag, 189-214; 2nd expanded ed. Darmstadt: Wissenschaftliche Buchgesellschaft, 2003.

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

Rathert, Wolfgang 2013. ‘Dekonstruktion oder Regression: Über ‘Entleerung’ in der Musik des 20. Jahrhunderts.” In The Challenge of the Object: 33rd Congress of the International Committee of the History of Art, Nuremberg, 15th-20th July 2012 = Die Herausforderung des Objekts / CIHA 2012, Nürnberg, Germanisches Nationalmuseum: Congress Proceedings Pt. 4. Ed. by G. Ulrich Großmann and Petra Krutisch. Nürnberg: Verlag des Germanischen Nationalmuseums, 1309-1312 (Wissenschaftliche Beibände zum Anzeiger des Germanischen Nationalmuseums; 32).

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

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

Rausch, Ulrike 1993. “John Cage: der Weg zum Spätwerk.” Magisterarbeit Albert-Ludwigs-Universität Freiburg im Breisgau.

Rausch, Ulrike 1996. “Bewegte Stille: Alexander Calder und John Cage: Eine künstlerische Begegnung.” In Buhlmann 1996, 27-38.

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

Rausch, Ulrike 1999b. Grenzgänge: Musik und bildende Kunst im New York der 50er Jahre. Saarbrücken: Pfau (previously Ph.D. Diss., Albert-Ludwigs-Universität Freiburg im Breisgau, 1998) (review: Sanio 2000).

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

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

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

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

Ravenscroft, Brenda 2003. Review of Whittall 2003a. Canadian University Music Review = Revue de Musique des Universités Canadiennes 23, no. 1-2 (2003), 224-227.

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

Raybaud, Antoine 1995. “Cage et C: Poétique de la métamorphose.” Littérature: Larousse [Paris] no. 99 (October), 88-96.

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

Raynor, Henry B. 1985. Review of Chorals and Six Melodies for Violin and Keyboard (music). Music Review 46, 152-153.

Razali, Camellia Siti Maya Mohamed and Marzelan Salleh 2020. “Intercultural Creativity and Exploration through Gamelanistic Elements in Marzelan Salleh’s Puteri Gunung Ledang and John Cage’s Dream.” Música Hodie [Goiânia, Goiás] 20 (December).

Read, David W. 1966. Review of Cage 1961h. Mark Twain Journal [Kirkwood, Missouri] 13, no. 2 (Summer).

Read, Gardner 1969. Review of Concert for Piano and Orchestra (music). Notes 2nd series, 26, no. 2 (December), 351-352.

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

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

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

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

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

Rebhahn, Michael 2012a. “Cage Revisited.” Ensemble Modern Newsletter [Frankfurt am Main] nr. 35 (2012), 20-25.

Rebhahn, Michael 2012b. “Jeder Tag ist ein guter Tag: John Cage in Darmstadt.” Dissonanz = Dissonance [Basel] no. 118 (June), 16-18.

Rebhahn, Michael 2012c. “Die Schwierigkeit, aus dem Rahmen zu fallen: John Cages Vertrauen in die Aura des Kunstwerks.” Neue Zeitschrift für Musik 173, no. 2 (March-April), 20-23.

Rebhahn, Michael 2012d. “We Must Arrange Everything”: Erfahrung, Rahmung und Spiel bei John Cage. Saarbrücken: Pfau Verlag (review: Gresser 2013).

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

Recker, Christine 2005. John Cage: Writer by Chance. München: GRIN Verlag (previously Term Paper, Heinrich-Heine-Universität Düsseldorf, Anglisistisches Institut).

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

Recreation and Amenities Department 1973. Printed Scores of Karlheinz Stockhausen and John Cage. Exhibition catalogue. Middlesbrough: Recreation and Amenities Department.

Redford, John 2007. “John Cage: Rediscovered Pieces.” MLA Newsletter [Middleton, Wisconsin] no. 148 (March-April), 3, 5

Redhead, Lauren 2017. Review of Gottschalk, J. 2016. Music & Letters 98, no. 2 (May), 324-325.

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

Reed, Brian M. 2002. Review of Albright 2000. Modern Language Quarterly [Durham, North Carolina] 63, no. 1 (March), 130-132.

Reeve, Stephen 1976. “Stephen Montague: ICA.” Classical Music (25 December), 14.

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

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

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

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

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

Rehn, Renate 1987. “‘Ein Zirkus des europäischen Musiktheaters’.” Volksblatt Berlin/Spandauer Volksblatt (9 December).

Rehding, Alexander 2015. “The Discovery of Slowness in Music.” In Maas 2015, 206-225.

Reich, Steve 1972. “Music as a Gradual Process.” Source [Sacramento, California] 5, no. 2 <no. 10> (1972), 30; repr. in Reich 1974c; repr. in Austin, L. and Kahn 2011, 317-319.

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

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

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

Reichardt, Jasia 1968, ed. Cybernetic Serendipity: The Computer and the Arts. Exhibition catalogue, London, Institute of Contemporary Arts, 2 August-20 October 1968. New York [etc.]: Praeger (Studio International Special Issue); rev. repr. 1968.

Reichardt, Jasia et al. [Shuzo Takiguchi, Katsuhiro Yamaguchi, Kinichi Obinata and Shogo Otani] 2009. Experimental Workshop: Japan 1951-58. Exhibition catalogue, Annely Juda Fine Art, 29 October-18 December 2009. London: Annely Juda Fine Art.

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

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

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

Reichert, Klaus 1983. “Dankrede des Wieland-Preisträgers 1983, Klaus Reichert, bei der Verleihung des Preises am 18. Oktober 1983 in Esslingen.” Der Übersetzer [München] 20, no. 11-12 (November-December); repr. Neuland: Ansätze zur Musik der Gegenwart [Bergisch Gladbach] 5 (1984-1985), 371-373.

Reichert, Klaus 1984-1985. “Zur Übersetzung des ‘Alphabet’ von John Cage.” Neuland: Ansätze zur Musik der Gegenwart [Bergisch Gladbach] 5 (1984-1985), 364-365.

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

Reichow, Christa 1980. “Die Gedanken sind frei…” General-Anzeiger [Bonn] (18 October).

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

Reifenscheid, Beate 2015a, ed. Cage/Grygar: Chance Operations & Intention [on the occasion of the exhibition, Koblenz, Ludwig Museum, 1 September-8 November 2015]. Bielefeld [etc.]: Kerber.

Reifenscheid, Beate 2015b. “John Cage und Milan Grygar: Eine Annäherung = John Cage and Milan Grygar: An Approximation.” In Reifenscheid 2015a, 11+.

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

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

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

Rein, Ingrid 1991. “John hat alles verändert…” Süddeutsche Zeitung [München] (24 July), 11.

Reinboud, W. 1992. “Lezersreacties.” Entr’acte 4, no. 9 (November), 5.

Reinecke, Hans-Peter 1969. Das musikalisch Neue und die Neue Musik: Vorträge. Mainz [etc.]: Schott; online-ed. Leipzig [etc.]: Deutsche Nationalbibliothek, 2013.

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

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

Reininghaus, Frieder 1983b. “Musik aus lauter Gaukler-Wörtern.” Süddeutsche Zeitung [München] (30 May), 23.

Reininghaus, Frieder 1987. “Wohlabgeschmecktes Opern-Ragout.” General-Anzeiger [Bonn] (16 December), 11.

Reininghaus, Frieder 1988. “Ein wohlabgeschmecktes Opern-Ragout: John Cages ‘Europeras 1 & 2’ in Frankfurt uraufgeführt.” Neue Zeitschrift für Musik 149, no. 3 (March), 34-36.

Reininghaus, Frieder 1989. “Die Neue Oper: Zum Musiktheater der achtziger Jahre.” Theater heute [Berlin] 30, no. 11 (November), 20-25.

Reininghaus, Frieder 1992a. “Alles Einfache ist schwer.” Deutsches Allgemeines Sonntagsblatt [Hamburg] (21 August), 24.

Reininghaus, Frieder 1992b. “Sanfte Revolution der Musik.” General-Anzeiger [Bonn] (14 August), 12.

Reininghaus, Frieder 1992c. “Von Feldman bis Coleman.” General-Anzeiger [Bonn] (28 December), 15.

Reininghaus, Frieder 2007, ed., in collab. with Florian Lutz and Janka Voigt. Chronik der Musik im 20. Jahrhundert. Laaber: Laaber-Verlag (Handbuch der Musik im 20. Jahrhundert; 13).

Reininghaus, Frieder 2012. “Das andere Lexikon: Musikalische Freiheit – und überhaupt.” Österreichische Musikzeitschrift 67, no. 3 (May-June), 114-115.

Reininghaus, Frieder and Katja Schneider 2004, eds., in collab. with Sabine Sanio. Experimentelles Musik- und Tanztheater. Laaber: Laaber-Verlag (Handbuch der Musik im 20. Jahrhundert; 7).

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

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

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

Reisinger 1961. “Koncert Kölnskih gostiju [cartoon].” Vjesnik [Zagreb] (24 May).

Reißinger, Marianne 1987a. “Cage-Uraufführung nun im Dezember.” Abendzeitung [München] (13 November).

Reißinger, Marianne 1987b. “Münchens ‘Ring’ als Pausenfüller.” Abendzeitung [München] (19 November).

Reiter, Susan 1982. “Cunningham’s Fatal Attraction.” Los Angeles Times (4 April), Calendar, 69.

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

Renaud, Mitch 2014. Review of Goddard, Halligan and Spelman. Intersections [Toronto, Ontario] 34, no. 1-2 (2014), 224-228.

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

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

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

Reportero 1982. “Semana John Cage.” El Reportero [San Juan, Puerto Rico] (2 March), 17.

Repubblica 1984. “E a Torino 15 giorni con John Cage.” La Repubblica [Roma] (29-30 April).

Républicain Lorrain 1981. “Ces compositeurs qui font leur ‘petite cuisine’.” Le Républicain Lorrain [Metz] (18 November), 1.

Rescigno, Eduardo, Ettore Proserpio, and Dino Fabbri 1967-1969, eds. La musica moderna. Milano: Fratelli Fabbri Editori.

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

Restagno, Enzo 1984a. “Festival Cage.” La Stampa [Torino] (28 April).

Restagno, Enzo 1984b. “Un grande Cage che fa discutere.” La Stampa [Torino] (7 May).

Restagno, Enzo 1984c. “Suoni di John Cage.” La Stampa [Torino] (16 May).

Restany, Pierre 1963. “Une tentative américaine de synthèse de l’information artistique: Les happenings.” Domus [Milano] no. 405 (August), 35-42.

Restany, Pierre 1978. “L’autre face de l’art: Le jeu existentiel [in French, English, Italian].” Domus no. 581 (April), 41-47.

Restany, Pierre 1979. L’autre face de l’art. Paris: Galilée, 1979; Spanish as La otra cara del arte. Buenos Aires: Rosenberg-Rita, 1982 (Teoría artística y estética).

Resto del Carlino 1978. “Un treno per far musica.” Il Resto del Carlino [Bologna] (3 June).

Reszler, André 1973. L’esthétique anarchiste. Paris: Presses universitaires de France.

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

Retallack, Joan 1993. “Uncagedwords: John Cage in Dialogue with Chance.” In Ferguson, R. and Schottlaender 1993; repr. in Retallack 2003c, 222-242.

Retallack, Joan 1994a. “Poethics of a Complex Realism.” In Perloff, M. and Junkerman 1994b, 242-273; repr. in Retallack 2003c, 196-221.

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

Retallack, Joan 2003a. “Geometries of Attention.” In Retallack 2003c, 175-180.

Retallack, Joan 2003b. “Fig. 1, Ground Zero, Fig. 2: John Cage – May 18, 2005.” In Retallack 2003c, 181-195.

Retallack, Joan 2003c. The Poethical Wager. Berkeley [etc.]: University of California Press.

Retallack, Joan 2015. “The Radical Curiosity of John Cage – Is the Word ‘Music’ Music?” Contemporary Music Review 34, no. 5-6 (October-December), 373-384.

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

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

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

Revill, David 1992. The Roaring Silence: John Cage, A Life. New York: Arcade Publishing; London: Bloomsbury Publishing; 2nd ed. New York: Arcade Publishing, 2014; German as Tosende Stille: Eine John-Cage-Biographie. Trans. Hanns Thenhors-Esch. München [etc.]: List, 1995 (reviews: Alburger 1996a; Brooks, W. 1997; Driver 1993; Gratzer 1997; Griffiths, P. 1992; Hodges 1992; Kostelanetz 1993e; Nicholls 1993d; Nofze 1996; Taruskin 1993; Voermans 1992a).

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