Inlets john cage biography
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Cage, John
Biography
Born: September 05, 1912 - Los Angeles, California, U.S.A
Died: August 12, 1992 - New York City
Country: Los Angeles, California, U.S.A
Studies: Pomona College, California, UCLA
Teachers: Richard Buhlig, A. Weiss, A. Schoenberg
Mention: Inducted into the Percussive Arts Society (1999) PAS Hall of Fame[1]
John Cage, in full John Milton Cage, Jr. (born September 5, 1912, Los Angeles, California, U.S.—died August 12, 1992, New York, New York), American avant-garde composer whose inventive compositions and unorthodox ideas profoundly influenced mid-20th-century music.
The son of an inventor, Cage briefly attended Pomona College and then traveled in Europe for a time. Returning to the United States in 1931, he studied music with Richard Buhlig, Arnold Schoenberg, Adolph Weiss, and Henry Cowell. While teaching in Seattle (1938–40), Cage organized percussion ensembles to perform his compositions. He also experimented with works for dance,
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John Cage
American avant-garde composer (1912–1992)
This article is about the composer. For other people with the same name, see John Cage (disambiguation).
John Cage | |
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Cage in 1988 | |
| Born | John Milton Cage Jr. (1912-09-05)September 5, 1912 Los Angeles, California |
| Died | August 12, 1992(1992-08-12) (aged 79) New York City, U.S. |
| Alma mater | Pomona College |
| Occupations | |
| Spouse | |
| Partner | Merce Cunningham |
John Milton Cage Jr. (September 5, 1912 – August 12, 1992) was an American composer and music theorist. A pioneer of indeterminacy in music, electroacoustic music, and non-standard use of musical instruments, Cage was one of the leading figures of the post-war avant-garde. Critics have lauded him as one of the most influential composers of the 20th century.[1][2][3][4] He was also instrumental in the development of modern dance, mostly through his association with choreographer Merce Cunningham,
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Modern music: Cage — Number Pieces
A "modern" heading — that inom chose to use here many years ago — can certainly seem out of place when it comes to Cage, as Cage almost comes to define the nascent postmodern (or at least some senses of the postmodern) in music. After all, he moved beyond a focus on "musical argument" (or technical exhibition of musical phenomena & even natural impressionism...) into notions of "stilling the mind...." And such notions can seem especially relevant in the contemporary era — noting further that Cage isn't really "contemporary" anymore, as he's become a historical figure... — featuring its near-constant noise & harassment... especially the ubiquitous "messaging" of marketing & propaganda. Cage is more about instantiation than messaging, though, and that's basically where I enter this project.
Cage is actually a relatively well-known composer. Or rather, inom should