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"John Cage was involved with academic courses at the New School for Social Research for ten years between 1950 and 1960.  From 1950 until 1956, he was invited to take part in academic discussions and to undertake performances of his works by fellow composer, critic, and faculty member, Henry Cowell."

"This essay was written for the catalog of the exhibition "John Cage and Experimental Art: The Anarchy of Silence" at the Museu d'Art Contemporani de Barcelona."

"I'm a huge fan of Joan La Barbara. Her LP The Voice Is The Original Instrument is one of my favorite documents of the 1970's NY avant-garde. La Barbara is a master of advanced vocal technique. In addition to her own remarkable creative output, she's had a long career working with many of the greatest names in avant-garde composition - John Cage, Robert Ashley, Morton Feldman, Philip Glass, Alvin Lucier, Gordon Mumma, David Behrman, David Tudor, and her husband Morton Subotnick. In my wanderings around the internet I've come across some of her wonderful scores and images of performances etc. I thought I'd pass them along. To see and learn more visit her website.   Voice Piece: One-Note Internal Resonance Investigation (1975)   Persistence of Memory (2009)   Circular Song (1975)   In the Shadow and Act of the Haunting Place (1995)   Performing in Berlin 1981   With Gordon Mumma and David Behrman in 1974   Working on Philip Glass' Einstein on the Beach in 1976   In 1974 with Philip Glass Ensemble with Dickie Landry, Richard Peck and Jon Gibson   With David Tudor, Paris 1974   With Dana Reitz and Phill Niblock (1975)   Playing chess with John Cage   Performing in 1976   Performing in 1976   In the studio with Morton Subotnick in 1984 Share this: TwitterFacebook Related at home with morton subotnick and joan la barbara January 29, 2016 Liked by 1 person joan la barbara's voice is the original instrument reissued by arc light editions May 4, 2016 Liked by 2 people on the early immersive music of joan la barbara, via mode records April 2, 2018 Liked by 2 people Post navigation Rising Tones Cross (Full Film)at home with morton subotnick and joan la barbara 2 thoughts on "the beauty of joan la barbara (scores and photographs)" Feminatronic February 9, 2016 at 8:46 pm Reblogged this on Feminatronic and commented: Something a little different as my Todays Discovery is this webs

"This essay was written for the catalog of the exhibition "John Cage and Experimental Art: The Anarchy of Silence" at the Museu d'Art Contemporani de Barcelona. "

Blog accompaniment (with media) to "Searching for Silence John Cage's art of noise." by Alex Ross from the New Yorker. http://www.newyorker.com/reporting/2010/10/04/101004fa_fact_ross

"John Cage, Jem Finer, and playing music as slow and long as possible "

"An organ recital of a piece by the composer began in 2001 and will run until 2640. This weekend, listeners gathered to hear its 14th chord change."

"How do you play a picture? Composers and artists from John Cage to Brian Eno have experimented with notation to create extraordinary visual scores that rival the best contemporary art. Here, Notations21's Theresa Sauer introduces a selection of her favourites. "

"Here's an interesting lecture philosopher Christoph Cox gave recently (January 18) in connection with a sound intervention by Andrea Hornick in the Collection Gallery of Barnes Foundation. The lecture, entitled "A brief history of sound art" explores pretty much what its name suggests, going from historical works and artists to relations between sound and other art forms. The philosopher "traces the history of sound art from the invention of audio recording in the late 19th century to the genre-bending compositions of John Cage to the explosion of sound installation in the 1960s. Cox surveys a range of sonic practices, revealing how they resemble and resist approaches in the visual arts.""

"Visual Record: The Materiality of Sound in Print investigates how artists since the 1970s have employed print-based processes to examine the relationship between sound and its visual representation. The exhibition features 15 artists, including Terry Adkins, John Cage, Bethany Collins, Christian Marclay, Glenn Ligon, Dario Robleto, and Audra Wolowiec, among others. "

"Cornelius Cardew was a fascinating figure. Both in his life, and through his music, he posed questions with which I find myself in equal sympathy and conflict. He is undeniably one of the most important figures in the Post-War British avant-garde. Cardew, by all accounts, was a prodigy. During his early twenties he worked at the highest levels of performance. In 1958 (age 22) he won a scholarship to study at the Studio for Electronic Music in Cologne, and was promptly asked by Karlheinz Stockhausen to serve as his assistant. Stockhausen's recollections of Cardew are drenched in respect. He was one of the few people whom he allowed to work on his scores unsupervised. During the late 50's, influenced by John Cage and other members of his generation, Cardew abandoned Serialism and began to compose scores utilizing indeterminacy and experiment. It was this period of his work for which he is most remembered, and from which Treatise (our subject) comes. In 1967 he joined the iconic free-improvisation collective AMM with Lou Gare, Eddie Prévost, Keith Rowe and Christopher Hobbs, which advanced his sense of compositional possibility. The following year with Howard Skempton and Michael Parsons he formed the equally important Scratch Orchestra, which grew into a large ensemble, preforming over the following four years."

"What is "sound art"? Should we define it within the context of experimental music or the visual arts or both? While the term first came into being in the 1980s, sound in the visual arts has a far longer history, ranging from Modernist experiments with synesthesia to the avant-garde exploits of Dada and Futurism. Sound art also has a distinctly musical heritage, emerging from the compositional experiments of John Cage, Tony Conrad, La Monte Young, Maryanne Amacher, and Pauline Oliveros, among others. This conversation will serve as the keynote to an all-day interdisciplinary conference on sound art and experimental music."

"After his friend Toru Takemitsu, Toshi Ichiyanagi is one of the most famous Japanese composers of the 20th century. He was an early member of Fluxus and a student of both Aaron Copeland and John Cage, but unlike most of his contemporaries with similar pedigrees, he is largely unknown outside of the country of birth. His important contributions to Fluxus have been largely lost within the long shadow of historical revisionism. Like the efforts of many of his peers, they are somewhat obscured by the success of his first wife Yoko Ono."

On the seventieth anniversary of the first performance of Cage's 4'33", this issue of Australian Humanities Review features a collection of essays by authors from a range of humanities disciplines who have been willing to adventurously think about, theorise or creatively experiment with the legacy of Cage's work, which, whether praised, censured or misunderstood, has had an undeniable influence on the music and performance that came after it. In the time since its first performance, the aesthetic, cultural and conceptual reach of Cage's 4'33" has been immense. Cage's experimental oeuvre (music, writings, teaching) is internationally significant, having been exported from America to the world, including Australia. The special section includes short essays by Shayne Bowden, Rachel Campbell and James Hazel Maher, Kim Cunio, Dieter Daniels, Richard Elliott, Daniel Fishkin, Mack Hagood, Peter Jaeger, Douglas Kahn, Caleb Kelly, Sally Macarthur, Julian Murphet, David Toop, Shelley Trower and Stephen Whittington.