TitleClassroom lecture and discussion at Ohio University: and, unidentified prepared piano music
NamesMerce Cunningham Dance Company (Associated name)Cage, John (Composer)Ohio University (Host)Cage, John (Speaker)
CollectionMerce Cunningham Dance Foundation Collection. Audio materials
Dates / OriginDate Created: 1970-01-20
Library locationsRodgers and Hammerstein Archives of Recorded SoundShelf locator: *LT-7-A 2363
TopicsCage, JohnMusic and philosophy
GenresLectures
NotesContent: Title provided by cataloger based on audition and handwritten notes on original container. The relationship, if any, between the musical recording and the class discussion is unidentified.Content: Handwritten notes on original container: "Side #1, Wortman - Jan. 1970, Ceramic Kiln, 3 3/4 IPS, 000-68 ; Cage - Jan. 20, 1970, Class Discussion, Dance Studio, 3 3/4 IPS, #70/75-555".Numbering: Donor's inventory number: R131.Venue: Recorded in a dance studio at Ohio University in Athens, Ohio, 1970 January 20.Acquisition: Gift; Merce Cunningham Dance Foundation, 2011-2012.
Physical DescriptionAudiotape reelExtent: 1 audiotape reel (67 minutes) : analog, 3 3/4 ips, half track, mono ; 7 in.Sound quality is good; John Cage's voice is soft yet audible throughout the recording. Other unidentified speakers respond to Cage throughout the recording, and at times they are inaudible due to their distance from the recording microphone.
Description(0:00-8:00) Unidentified musical recording of prepared piano and whistle (or recorder) ; (8:01-8:23) Recording gap with one tone.
(8:24-51:04) Recording begins abruptly with the end of a question [nearly inaudible] from an unidentified speaker during a class discussion in a dance studio at Ohio University; John Cage speaks about the influences of Eastern philosophies on his artistic and personal perspective on modern lifestyles, especially in relation to interconnectedness and natural ecologies; Cage speaks about closed and open plant communities, and how humans impact these; he tells a short anecdote about foraging for wild foods along a thruway; Cage makes an analogy between the language used to describe fungi with musical terms such as songs and noise; his interest in using noise for composition, especially in relation to his earliest performed works for percussion orchestra; Cage identifies some of the percussion instruments, both traditional and unconventional; more on noise, music and the neutral term, sound; short anecdote using an example of Basho's poetry in relation to paying attention to sound in the world; his opinion on race relations, including theories on how to create deeper understanding between people as related to his philosophy of sound; briefly, Cage's perspective on government as informed by his philosophy of music; brief discussion, including unidentified audience questions [low volume but audible], about traditional definitions of music in relation to harmony, use of the human voice and types of singing; he gives an example of how he altered a sound recording of a baby crying and the result; Cage's belief that artistic ideas are applicable and meaningful in other realms, such as the natural world or society; his questioning of conventional dance and musical forms, especially the ABA form as taught by Louis Horst; [ca. 30:23, a brief break in the recording]; more on musical form in relationship to events in his daily life; more on the multiplicity of meanings within language; Cage's interest in challenging audiences with his experimental artistic ideas; briefly, the philosophical influences of Marshall McLuhan and Zen Buddhism; several anecdotes on the artist's intention, including a Chinese folk tale and a Zen Buddhist tale; begins another Buddhist tale [ca. 40:08, a brief break in the recording]; more on the artist's intention in relation to improving the broader human condition and the environment; briefly, his interest in Buckminster Fuller's thinking and work; [unidentified audience speakers respond, very low volume and partially inaudible]; Cage's intention that his music provides openings to experiences; an anecdote on a high school audition experience, his own relationship to his singing voice, and a later composition that he wrote and sang for a Merce Cunningham piece; the state of musical criticism, including his admiration for the writing of critic Virgil Thomson; [microphone movements slightly interfere with recording clarity]; more on the influence of McLuhan's writings; Cage's strategy of ignoring the various criticisms of his work.
Type of ResourceSound recording
IdentifiersRLIN/OCLC: 880675578NYPL catalog ID (B-number): b20211256Universal Unique Identifier (UUID): e4bf8b90-b3fa-0133-e4b1-3c07547a230f
Rights StatementThis item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s).
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