By Christopher Shultis
Christopher Shultis has saw an interesting distinction among John Cage’s affinity for Thoreau and fellow composer Charles Ives’s reference to Emerson. even though either Thoreau and Emerson were known as transcendentalists, they held various perspectives in regards to the dating among nature and humanity and concerning the artist’s position in creativity. Shultis explores the artist’s “sounded” or “silenced” selves—the self that takes regulate of the artistic event as opposed to the one who seeks to coexist with it—and exhibits how spotting this contrast permits a greater figuring out of Cage. He then extends the contrasts among Emerson and Thoreau to differences among goal and projective verse. Having positioned Cage during this experimental culture of tune, poetry, and literature, Shultis bargains provocative interpretations of Cage’s aesthetic perspectives, particularly as they situation the difficulty of non-intention, and addresses a few of his such a lot path-breaking song in addition to numerous experimentally leading edge written works.
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Extra resources for Silencing the Sounded Self: John Cage and the American Experimental Tradition
And I still think that this criticism only fully makes sense when situated inside the historical context in music and poetry that my book describes. One final word about the writing of this book. Because of a performance-related injury, between 1988 and 1993 I was forced to completely redefine myself by becoming a scholar. I stopped being a percussionist in 1994 and instead began teaching academic courses at the University of New Mexico, including music composition, which, strangely, now as I look back on it, is the other half of what I was doing between 1988 and 1993.
3. Christopher Shultis, “Saying Nothing: John Cage and Henry David Thoreau’s Aesthetics of Co-Existence,” in Tijdschrift voor Muziektheorie, vol. 3, no. 3 (November 1998), pp. , in Neue Zeitschrift für Musik, vol. 168, no. –Feb. 2007), pp. 54–58. 4. “Silencing the Sounded Self: John Cage and the Intentionality of Nonintention,” in Musical Quarterly, vol. 79, no. 2 (Summer 1995), pp. 312–350. 5. The best source, referencing much of the important Cage scholarship written between the time of my book’s publication and the present, is Rob Haskins’s critical biography John Cage (London: Reaktion Books, 2012).
John Cage, “Mesostics,” in Ästhetik und Komposition: Zur Aktualität der Darmstädter Ferienkursarbeit (Mainz: Schott Musik International, 1994), English version, pp. 7–11. [ x x v i i i ] I N T R O D U C T I O N TO T H E N E W E D I T I O N 2. ” Thoreau’s translation of “The Transmigrations of the Seven Brahmans,” using S. A. Langlois’s two-volume French translation of the Harivansa, can be found in K. P. , The Writings of Henry D. : Princeton University Press, 1986). 3. Christopher Shultis, “Saying Nothing: John Cage and Henry David Thoreau’s Aesthetics of Co-Existence,” in Tijdschrift voor Muziektheorie, vol.