Something like a hidden glimmering”
John Cage and recorded sound
Bibliographic Data
| ID | 14810413 |
|---|---|
| Authors | James Pritchett (0000-0003-2620-7061, corresponding author) |
| Year | 1996 |
| Volume | 15 |
| Issue | 1-2 |
| Pages | 103-108 |
| Publication date | 1996-07-01 |
| Open Access | No |
| Type | ARTICLE |
| Venue | Contemporary Music Review (JOURNAL) |
| Journal identifiers | ISSN: 0749-4467 • E-ISSN: 1477-2256 |
| Publisher | Informa UK Limited (PUBLISHER • GB) |
| DOI | 10.1080/07494469608629692 |
| OpenAlex | W1976907348 |
| Language | EN |
| References cited | 2 |
This essay considers a number of vvorks by John Cage (1912–1992) that have in common the use of recorded sounds: Score (40 drawings by Thoreau) and 23 parts: 22 haiku, Inlets, Williams mix, Fontana mix, Etcetera, Etcetera 2/4 Orchestras, Song books, and Roaratorio. The view point taken is a spiritual one: that recording technology is used in these works as a means of effecting an identification of our souls with the spirits inherent in nature and the world around us. Critical discussion of the works in question take this as a starting point and develop the theme of spirituality in Cage's use of recorded sound
Acoustics · Aesthetics · Art · Art history · Haiku · John Cage · Literature · Performance art · Poetry · Spirituality · Visual arts · Computer Science · Diverse Musicological Studies · Music Technology and Sound Studies · Musicology and Musical Analysis
| Highly cited | No |
|---|