A rat in a Cage.

Even after his death, John Cage remains a controversial figure. Famously challenging the very notion of what music is, Cage remained on the leading edge of both playful and profound experimentalism for the greater part of his career, collaborating with and influencing generations of composers, writers, dancers, and visual artists. One of his best-known and most sonically intriguing innovations, the prepared piano, had become an almost commonplace compositional resource by the end of the twentieth century. Years before the invention of the synthesizer, he was in the forefront in the exploration of electric and electronic sound sources, using oscillators, turntables, and amplification to musical ends. He pioneered the use of graphic notation and, in employing chance operations to determine musical parameters, was the leading light for one cadre of the avant-garde that included Morton Feldman, Christian Wolff, Earle Brown, and Pauline Oliveros. Cage produced works of "performance art" years before the term was coined, and his 4'33'' (1952) — in which the performers are instructed to remain silent for four minutes and thirty-three seconds — takes a place among the most notorious touchstones of twentieth century music.

Il blog chiude, questo è l'ultimo post; grazie a tutti quelli che hanno scritto, che sono venuti qui, che si sono sfogati, che hanno letto qualcosa di interessante, oppure di assolutamente inutile, 'che a volte la differenza è sottile!
A presto, con un altro medium ( e un altro messaggio? ).

g.