Against ‘John Cage Shock’
Rethinking John Cage and the Post-war Avant-garde in Japan
Bibliographic Data
| ID | 21728459 |
|---|---|
| Authors | SERENA YANG (corresponding author) |
| Year | 2021 |
| Volume | 18 |
| Issue | 3 |
| Pages | 341-362 |
| Publication date | 2021-10-01 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | twentieth-century music (JOURNAL) |
| Journal identifiers | ISSN: 1478-5722 • E-ISSN: 1478-5730 |
| Publisher | Cambridge University Press (CUP) (PUBLISHER) |
| DOI | 10.1017/s1478572221000165 |
| OpenAlex | W3209800073 |
| Language | EN |
| Citations received | 2 |
| References cited | 3 |
After Cage and Tudor visited Japan in 1962, the term ‘Cage Shock’ circulated widely among the Japanese public. My interviews with Japanese composers suggest that the term ‘Cage Shock’ oversimplifies the reception of Cage's debut in Japan. Composer Yūji Takahashi stated that Cage would have met Japanese audiences well prepared for his visit by musical trends present in Japan as early as the late 1940s. Building on the statement that the Japanese avant-garde was thriving before Cage visited Japan in 1962, this article aims to deconstruct the term ‘Cage Shock’ by restoring the complexity of the reception of Cage in Japan and by analysing the reasons why critics adopted the term ‘Cage Shock’. I argue that ‘Cage Shock’ has functioned more as a media buzzword that sensationalizes the story of Cage's impact on Japan than as an objective description of Japanese reaction to Cage
Art · Art history · Cage · John Cage · Literature · Musical · Performance art · Physics · Social science · Sociology · Structural engineering · Thriving · Diverse Music Education Insights · Engineering · History · Medicine · Music History and Culture · Musicology and Musical Analysis
| Citations per year | 0.67 |
|---|---|
| Citation span | 2023 - 2023 (1) |
| Highly cited | No |