Imaginary Landscape No. 1
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Imaginary Landscape No. 1
''Imaginary Landscape No. 1'' is a composition for records of constant and variable frequency, large chinese cymbal and string piano by American composer John Cage and the first in the series of Imaginary Landscapes. It was composed in 1939. Composition John Cage wrote this composition while he was living in Seattle, earning money by making music for dancers, such as '' Music for an Aquatic Ballet''. Having studied for some time with Arnold Schoenberg in the past drew him closer to serial organization into his studies regarding temporal structure. In Seattle, he had the chance to experiment with the different possibilities of the prepared piano, which allowed him to create new percussive sonorities without having to use several instruments and performers. At this time, Henry Cowell, a pioneer in advanced avant-garde techniques for the piano (such as plucking the strings from the inside, using clusters, etc.), was his mentor. However, even though percussion was fairly establi ...
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John Cage
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 Extended technique, 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. He was also instrumental in the development of modern dance, mostly through his association with choreographer Merce Cunningham, who was also Cage's romantic partner for most of their lives. Cage's teachers included Henry Cowell (1933) and Arnold Schoenberg (1933–35), both known for their radical innovations in music, but Cage's major influences lay in various Eastern world, East and South Asia, South Asian cultures. Through his studies of Indian philosophy and Zen Buddhism in the late 1940s, Cage came to the idea of Aleatoric music, aleatoric or Indeterminism#Philosophy, chance-controlled music, which ...
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