4′33″ - Knowledge

417: 1067: 502: 694:, as part of a recital of contemporary piano music. The audience saw him sit at the piano and, to mark the beginning of the piece, close the keyboard lid. Some time later he opened it briefly, to mark the end of the first movement. This process was repeated for the second and third movements. Although the audience was enthusiastic about contemporary art, the premiere was met with widespread controversy and scandal, such that Calvin Tomkins notes: "The Woodstock audience considered the piece either a joke or an affront, and this has been the general reaction of most people who have heard it, or heard of it, ever since. Some listeners have been unaware they were hearing it at all". 646:), seemingly "blank" canvases (though painted with white house paint) that in fact change according to varying light conditions in the rooms in which they were hung, the shadows of people in the room and so on. This inspired Cage to use a similar idea, as he later stated, "Actually what pushed me into it was not guts but the example of Robert Rauschenberg. His white paintings ... when I saw those, I said, 'Oh yes, I must. Otherwise I'm lagging, otherwise music is lagging'." In an introduction to an article "On Robert Rauschenberg, Artist, and His Works", John Cage writes: "To Whom It May Concern: The white paintings came first; my silent piece came later." 53: 524:, who introduced the field to the Western World. Thereon, he connected sounds in silence to the notions of "unimpededness and interpenetration". In a 1951/1952 lecture, he defined unimpededness as "seeing that in all of space each thing and each human being is at the center", and interpenetration as the view "that each one of the is moving out in all directions penetrating and being penetrated by every other one no matter what the time or what the space", concluding that "each and every thing in all of time and space is related to each and every other thing in all of time and space". 591: 1101:' underneath each. A note by Cage describes the first performance and mentions that "the work may be performed by any instrumentalist or combination of instrumentalists and last any length of time". In doing so, Cage not only regulates the reading of the score, but also determines the identity of the composition. Conversely to the initial two manuscripts, Cage notes that the premiere organized the movements into the following durations: 33", 2'40" and 1'20", and adds that their length "must be found by chance" performance. The 1403: 1162:. The directions originally consisted of one sentence: "In a situation provided with maximum amplification, perform a disciplined action". At the first performance Cage had to write that sentence. The second performance added four new qualifications to the directions: "the performer should allow any interruptions of the action, the action should fulfill an obligation to others, the same action should not be used in more than one performance, and should not be the performance of a musical composition". 900: 138:. It was composed in 1952 for any instrument or combination of instruments; the score instructs performers not to play their instruments throughout the three movements. It is divided into three movements, lasting 30 seconds, two minutes and 23 seconds, and one minute and 40 seconds, respectively, although Cage later stated that the movements' durations can be determined by the musician. As indicated by the title, the composition lasts four minutes and 33 seconds and is marked by a period of 1249: 1209: 949: 8297: 5036: 280: 819:—in fact, more of an experiment than a composition—is intended to question the very notion of music. Cage believed that "silence is a real note" and "will henceforth designate all the sounds not wanted by the composer". He had the ambition to go beyond what is achievable on a piece of paper by leaving the musical process to chance, inviting the audience to closely monitor the ambient noises characterizing the piece. French musicologist 769: 748:. Thus, even before the performance, the reception of the work is already predetermined by the social setup of the concert. Furthermore, the audience's behavior is limited by the rules and regulation of the concert hall; they will quietly sit and listen to 4′33″ of ambient noise. It is not easy to get a large group of people to listen to ambient noise for nearly five minutes, unless they are regulated by the concert hall etiquette. 8321: 536:. He increasingly began to see silence as an integral part of music since it allows for sounds to exist in the first place—to interpenetrate each other. The prevalence of silence in a composition also allowed the opportunity for contemplation on one's psyche and surroundings, reflecting the Zen emphasis on 851:

Indeed, the perceived silence characterizing Cage's composition is not actually 'silence', but the interference of the ambient sounds made by the audience and environment. To him, any auditory experience containing some degree of sound, and hence can be considered music, countering its frequent label

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concerns duration. According to Cage, duration is the essential building block of all of music. This distinction is motivated by the fact that duration is the only element shared by both silence and sound. As a result, the underlying structure of any musical piece consists of an organized sequence of

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Initially, Batt said he would defend himself against these accusations, stating that "A One Minute Silence" was "a much better silent piece" and that he was "able to say in one minute what Cage could only say in four minutes and 33 seconds". He eventually reached an out-of-court settlement with the

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composers have been striving to produce music that could be separated from any social connections, transcending the boundaries of time and space. In automatism, composers and artists strive to eliminate their role in the creation of work, motivated by the belief that self-expression always includes

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While Cage specifies three movements incorporated in the piece, some later performances included a different number of movements. An example is the recording by the Hungarian Amadinda Percussion Group, consisting of a recording of ambient outdoor bird song in one movement; Frank Zappa's recording

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The Woodstock printed program specifies the lengths 30″, 2′23″ and 1′40″, as does the Kremen manuscript, but the latter versions have a distinguished tempo. In the First Tacet Edition, Cage writes that at the premiere the timings were 33″, 2′40″ and 1′20″, and in the Second Tacet Edition, he adds

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They missed the point. There's no such thing as silence. What they thought was silence, because they didn't know how to listen, was full of accidental sounds. You could hear the wind stirring outside during the first movement. During the second, raindrops began pattering the roof, and during the

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Cage divided the composition into three distinct movements, but this is often disregarded; the piece is silence, and a movement is defined as "sections of a work may be distinguished in terms of style, key and tempo". While there is no perceived distinguishment between the three sections, Cage

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silence—the very opposite of music, which is often defined as "sounds organized by humans", at the very least. However, Cage maintains that his piece is not silence, but the combination of ambient noises heard by the audience, which can be deemed 'music'. Therefore, for the sake of consistency,

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challenges, or rather exploits to a radical extent, the social regiments of the modern concert life etiquette, experimenting on unsuspecting concert-goers to prove an important point. First, the choice of a prestigious venue and the social status of the composer and the performers automatically

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Cage believed that sounds existed in a state of unimpededness, as each one is not hindered by the other due to them being isolated by silence, but also that they interpenetrate each other, since they work in tandem with each other and 'interact' with the silence. Hence, he thought that music is

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called the piece "one of the most misunderstood pieces of music ever written and yet, at times, one of the avant-garde’s best understood as well". He dismissed the idea that 4′33″ was a joke or a hoax, wrote that the theory of Dada and theater have some justification, and said that for him the

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The composition is an indispensable contribution to the Modernist movement and formalized noise music as a genre. Noise music is seen as the anathema to the traditional view of harmony in music, exploiting random sound patterns 'noise' in the process of making music—the "detritus of the music

624:". Cage had gone to a place where he expected total silence, and yet heard sound. "Until I die there will be sounds. And they will continue following my death. One need not fear about the future of music". The realization as he saw it of the impossibility of silence led to the composition of 1040:

indication: '60 = 1/2-inch'. At the end of each sentence, there is information about each movement's duration in minutes and seconds; these are: 'I = 30 seconds', 'II = 2 minutes 23 seconds' and 'III = 1 minute 40 seconds'. Tudor commented: "It's important that you read the score as you're

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as one example to show that knowing about the origin of something influences how one formulates an opinion on it. In this case, one can deem the five minutes of silence in Cage's composition as different than five minutes of ordinary silence, as in a library, as they know where this silence

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joked that he was writing a play in which "a string quartet is playing the most advanced music ever written. It's made up entirely of rests ... Suddenly, the viola man jumps up in a rage and shakes his bow at the first violin. 'Lout', he screams, 'you played that last measure wrong'".

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However, at the time of its conception, Cage felt that a fully silent piece would be incomprehensible, and was reluctant to write it down: "I didn't wish it to appear, even to me, as something easy to do or as a joke. I wanted to mean it utterly and be able to live with it." Painter

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The actions of Tudor in the first performance are often misdescribed so that the lid is explained as being open during the movements. Cage's handwritten score (produced after the first performance) states that the lid was closed during the movements, and opened to mark the spaces

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indication is provided (60), and at the end of each movement the time is indicated in minutes and seconds. In page 4, the note '1 PAGE = 7 INCHES = 56″' is included. The same instructions, timing and indications to the reproduced Woodstock manuscript are implemented.

412:. Great performance artists and improvisers know how to use this expressive tool to a greater and more extensive extent. The exciting silence between two movements—in this environment, itself, music—is more suggestive than the more definite, but less flexible, sound. 237:

greatly influenced modernist music, furthering the genres of noise music and silent music, which—whilst still controversial to this day—reverberate among many contemporary musicians. Cage re-explored the idea of silent composition in two later renditions:

1292:, he inserted a one-minute pause in their February 2002 album "Classical Graffiti" under the authorship 'Batt/Cage'— supposedly to honor the composer. He was then sued by the Mechanical Copyright Protection Society for "plagiarizing Cage's silence . 1731:

that after the premiere, a copy had been made for Irwin Kremen, in which the lengths of the movements were 30″, 2′23″ and 1′40″. Some later performances would not abide by this duration, as seen in Frank Zappa's 1993 recording on the 1993 double-CD

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the audience contributed the bulk of the musical material of the piece. Since the piece consists of exclusively ambient noise, the audience's behavior, their whispers and movements, are essential elements that fill the above-mentioned time buckets.

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composer's heirs in September 2002 and paid an undisclosed six-figure compensation. However, in December 2010, Batt admitted that the alleged legal dispute was a publicity stunt and that he had actually only made a donation of £1,000 to the

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took place among 200 performers, amateur and professional musicians, and artists. The global orchestra, conducted live by Bob Dickinson, via video link, performed the piece in support of the 'Cage Against The Machine' campaign to bring

1131:) (1986) is the same as the First, except that it is printed in Cage's calligraphy, and the explanatory note mentions the Kremen manuscript. It is also classified as EP No. 6777 (i.e., it carries the same catalog number as the first 764:

serves as a radical and extreme illustration of this concept, asking that if the time buckets are the only necessary parts of the musical composition, then what stops the composer from filling them with no intentional sounds?

930:, the composer has no impact in his work, as Cage cannot control the ambient sounds detected by the audience. Hence, the composition is automatic since the musician has no involvement in how the listener interprets it. 198:

is labelled as four minutes and thirty-three seconds of silence, Cage maintains that the ambient noises heard during the performance contribute to the composition. Since this counters the conventional involvement of

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Several versions of the score exist; the four below are the main samples that could be identified. Their shared quality is the composition's duration of four minutes and thirty-three seconds—reflected in the title

728:, is made up of incidental sounds that represent perfectly the tension between "desirable" sound (properly played musical notes) and undesirable "noise" that make up all noise music. It is made of three movements. 616:. Cage entered the chamber expecting to hear silence, but he later wrote: "I heard two sounds, one high and one low. When I described them to the engineer in charge, he informed me that the high one was my 185:

premiered in 1952 and was met with shock and widespread controversy; many musicologists revisited the very definition of music and questioned whether Cage's work qualified as such. In fact, Cage intended

2908: 839:, due to the fact that it creates art from objects that do not serve an artistic function, as silence is often associated with the opposite of music. In fact, Cage's composition draws parallels to the 544:

I've thought of music as a means of changing the mind ... In being themselves, open the minds of people who made them or listened to them to other possibilities that they had previously considered.

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can be understood as the traditional silence of the audience so that it can appreciate the music being played. Music itself is sacrificed, sacrificed to the musicality of the world". For Hegarty,

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is performed. Cage insists that no absolute silence can exist; the perceived silence of his composition is, in fact, not absolute, since many ambient sounds can be heard while it is performed.

1493:, as part of a program exploring "sonic responses" to Cage's work. Another of these 'responses' was the rendition named 'You Can Make Your Own Music', recorded by the Swedish electronic band 4198: 1351:

campaign was dubbed 'Cage Against the Machine'. The creators of the Facebook page hoped that reaching number one would promote Cage's composition and "make December 25 'a silent night'."

1001:'— but there is some discrepancy between the lengths of individual movements, specified in different versions of the score. The causes of this discrepancy are not currently understood. 540:

as means to soothe the mind. As he began to realize the impossibility of absolute silence, Cage affirmed the psychological significance of 'lack of sound' in a musical composition:

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and dedicated to David Tudor – the first to perform the piece. It is currently lost, but Tudor did attempt to recreate the original score, reproduced in William Fetterman's book

756:"time buckets". They could be filled with either sounds, silence or noise; where neither of these elements is absolutely necessary for completeness. In the spirit of his teacher 456:, but he later wrote that he was not aware of Allais' work at the time. Silent compositions of the twentieth century preceding Cage's include the 'In futurum' movement from the 923:

the infiltration of the social standards—that the individual (including the musician) is subjected to from birth—in artistic truth (the message the musician wishes to convey).

3438: 3016: 1428: 314:. It will open with a single idea which I will attempt to make as seductive as the color and shape and fragrance of a flower. The ending will approach imperceptibility. 3277: 396:

Although he was a pioneer of silent music, Cage was not the first to compose it. Others, especially in the first half of the twentieth century, had already published

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Often pronounced simply as 'four thirty-three', but sometimes alternatively as 'four minutes, thirty-three seconds' or 'four minutes and thirty-three seconds'.

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performing it, so there are these pages you use. So you wait, and then turn the page. I know it sounds very straight, but in the end it makes a difference".

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the composition itself, while 'absolute silence' is the complete lack of sounds, both within and outside the composition—so, silence in the hall in which

416: 227:, as the silence is subject to the individual's interpretation; thereby, one is encouraged to explore their surroundings and themselves, as stipulated by 7048: 3214: 1522:, and the station faced a unique problem; its emergency system—automatically switching on and playing separate music in a period of perceived silence ' 1049:

The Kremen manuscript (1953) is written in graphic, space-time notation—which Cage dubbed "proportional notation"—and dedicated to the American artist

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The third point is that the work of music is defined not only by its content but also by the behavior it elicits from the audience. In the case of

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movement due to the involvement of 'anti-art' objects into art (music), its apparent nonsensical nature, and blatant defiance of the status quo.

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composition is a "thought experiment". He concluded that the idea that 4′33″ is a "Zen practice" "may be the most directly fertile suggestion".

1332: 3141: 760:, Cage managed to emancipate the silence and the noise to make it an acceptable or, perhaps, even an integral part of his music composition. 167:

led him to acknowledge the value of silence in providing an opportunity to reflect on one's surroundings and psyche. Recent developments in

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Therefore, the only method by which the listener can realize artistic truth involves the separation of the musician from their work. In

831:', since, during the performance, the musician is more of an actor than a 'musician', per se. He also notes that it resembles a 2194: 4734: 4720: 3024: 360: 1196:, without actually feeding back". The content of the piece is the electronically amplified sound of the hall and the audience. 378:

recalls Cage presenting a "one-minute-of-silence talk" in front of a window during the late 1940s, while visiting Studio 35 at

3267: 7913: 4679: 4455: 4373: 4347: 4321: 4261: 4219: 4067: 3967: 3902: 3875: 3652: 3601: 3385: 310:. It will be three or four-and-a-half minutes long—those being the standard lengths of "canned" music and its title will be 155:

Many prior musical pieces were largely composed of silence, and silence played a notable role in his prior work, including

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for plagiarism for the 'song' "A One Minute Silence": literally, a minute of silence. To support his crossover ensemble

8341: 7108: 4404: 4384: 4299: 4159: 4136: 4094: 3948: 3929: 3760: 3733: 1569: 326:(1934), composed when Cage was 22, opens with silence, and silence was an important structural element in some of the 290:

The first time Cage mentioned the idea of a piece composed entirely of silence was during a 1947 (or 1948) lecture at

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Another cited influence for this piece came from the field of the visual arts. Cage's friend and sometimes colleague

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to be experimental—to test the audience's attitude to silence and prove that any auditory experience may constitute

5021: 4272: 2059: 1335:. The page was inspired by a similar campaign the year prior, in which a Facebook page set up by English radio DJ 4981: 3078: 1317: 3200: 1703:

This article distinguishes between 'silence' and 'absolute silence'. 'Silence' is defined as the lack of sounds

8062: 8055: 7877: 4922: 3779: 370:(1950) Cage directs the pianist to play a closed instrument, which may be understood as a metaphor of silence. 7654: 1573:

uploaded a video of the piece being performed by a cat, showing that its musician is not required to be human.

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insists that there is, as the variation in ambient sounds between each movement is, in itself, a distinction.

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also bolstered Cage's understanding on silence, which he increasingly began to perceive as impossible after

7084: 5198: 4887: 4775: 4340: 3894: 2629: 807:, the audience felt cheated by having to listen to no composed sounds from the performer. Nevertheless, in 601:'s anechoic chamber, by which he discovered that absolute silence does not exist, inspiring him to compose 483:(1928) mentions a musician conducting "performances consisting largely of silence". In 1947, jazz musician 17: 740:

heightens audience's expectations for the piece. As a result, the listener is more focused, giving Cage's

8155: 8083: 7132: 6917: 4751: 3821: 3617: 3583: 3303: 2430: 4534: 4523: 8361: 8311: 8104: 8013: 4419: 4178: 4086: 3921: 3817: 3386:"BBC orchestra silenced at the Barbican and on Radio 3; John Cage Uncaged: A weekend of musical mayhem" 2548: 1189: 745: 590: 6401: 5487: 4799: 4741: 4727: 4713: 4490: 4336: 4174: 4082: 3917: 3712: 3299: 2625: 873: 1601: 7022: 6568: 5960: 5869: 1545: 1340: 5661: 1745:

also includes wildly different time bands: '35", 1'05", 2'21", 1'02", and 50"', but the number of

1188:, 'One' refers to the number of performers required. The score instructs the performer to build a 1135:). Additionally, a facsimile, reduced in size, of the Kremen manuscript, appeared in July 1967 in 1021:

can be performed for any instrument or combination of instruments. Regarding tempo, it includes a

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Lipov, Anatoly. 2015. "4'33" as the Play of Silent Presence. Stillness, or Anarchy of Silence?"

8325: 8289: 8246: 8097: 7168: 6449: 5881: 5785: 5682: 4767: 3863: 2930: 1631:, "to draw attention to the plight of artists following the lockdown of cultural institutions". 1511: 1074:(1960), including the organization of the composition's movements and a personal note typed by 983:, Cage defined it as "the ability of a piece to be performed in substantially different ways". 662:

third the people themselves made all kinds of interesting sounds as they talked or walked out.

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The campaign received support from several celebrities. It first came into prominence after

8282: 8069: 7925: 6778: 5132: 4847: 3593: 7368: 6813: 3959: 803:, this would consist of widespread dissatisfaction leading up to violent riots. In Cage's 318:

Prior to this, silence had played a major role in several of Cage's works composed before

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failed to reach number one, only peaking at number 21 on the charts; the winning song of

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mentioned it on his Twitter profile. Despite many similar campaigns occurring that year,

1344: 691: 639: 379: 191: 172: 7144: 6408: 8346: 8300: 8111: 8006: 7963: 7901: 7889: 7805: 7480: 7438: 7029: 6764: 6582: 6121: 6107: 6002: 5857: 5833: 5717: 5303: 5058: 5039: 4946: 4930: 4640: 4590: 4565: 4513: 4059: 4006: 3236: 3119: 2202: 2064: 1624: 1475: 1376: 1289: 799: 777: 621: 613: 598: 529: 261: 131: 7829: 7737: 7591: 3112:"At time of writing, Cage Against The Machine has almost 16,000 followers on Facebook" 528:

intrinsically an alternation between sound and silence, especially after his visit to

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What comes closest to its original essence in our musical art today are the pause and

8034: 7937: 7674: 7626: 7598: 7505: 7466: 7431: 7254: 6722: 6694: 6554: 6247: 6163: 6065: 6030: 5797: 5577: 5543: 5016: 4831: 4807: 4759: 4546: 4451: 4369: 4343: 4317: 4295: 4257: 4253: 4234: 4215: 4182: 4155: 4132: 4113: 4090: 4063: 4036: 4010: 3983: 3944: 3925: 3898: 3871: 3844: 3825: 3775: 3756: 3729: 3670: 3648: 3621: 3597: 3564: 3173: 2552: 757: 472:(1949), in which the second and fourth movements are bare twenty minutes of silence. 127: 7340: 5424: 3411: 3142:"Campaigners launch bid to make silent track Christmas No1 ahead of X Factor winner" 1347:" in the week before Christmas 2009 to make it the Christmas number one. Hence, the 8356: 8267: 8260: 7999: 7779: 7688: 7681: 7612: 7514: 7424: 7270: 7180: 7072: 6966: 6959: 6792: 6617: 6575: 6394: 6310: 6205: 6114: 5974: 5946: 5561: 5431: 5396: 5389: 5354: 5269: 5162: 4839: 4783: 4477: 4473: 4469: 4465: 4435: 4409: 4389: 4309: 4207: 4024: 3800: 1561: 1383:

journalist Luke Bainbridge also voiced their support. Ultimately, the rendition of

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was created to encourage residents of the United Kingdom to buy a new rendition of

885:, even though it is inherently no different than five minutes of ordinary silence. 609: 565: 537: 533: 401: 334: 168: 7473: 7375: 6212: 6198: 6191: 6016: 5375: 4393: 4196:

Pritchett, James; Kuhn, Laura & Garrett, Charles Hiroshi (2012). "John Cage".

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Art, Money, Parties: New Institutions in the Political Economy of Contemporary Art

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gave the United Kingdom's first orchestral performance of this work, conducted by

1053:. The movements of the piece are rendered as space between long vertical lines; a 868:, as the individual is invited to ponder their surroundings and psyche. In a 2013 8253: 8204: 8190: 8183: 7744: 7647: 7459: 7452: 7354: 7326: 7319: 7291: 7243: 7096: 7015: 6987: 6882: 6806: 6757: 6645: 6610: 6498: 6491: 6435: 6387: 6296: 6184: 6037: 6009: 5809: 5731: 5724: 5703: 5640: 5598: 5508: 5501: 5459: 5403: 5294: 4855: 4815: 4420:

Interview With MoMA Curator David Platzker About the New Exhibition on John Cage.

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The Ghosts of the Avant-Garde(s): Exercising Experimental Theater and Performance

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as EP No. 6777. It lists the three movements using Roman numbers, with the word '

1010: 794: 561: 461: 444:, consisting of 24 empty measures. Allais was a companion of his fellow composer 441: 421: 266:

ranked the composition eighth in his list of the greatest performance art works.

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by more than 50 artists which had collaborated with the record label, including

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Due to its unique avant-garde style, many musicians and groups have performed

899: 302:. Cage told the audience that he had "several new desires", one of which was: 260:

as Cage's "most famous and controversial creation". In 2013, Dale Eisinger of

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The Humanistic Tradition, Book 6: The Global Village of the Twentieth Century

3579: 1613: 1537: 1309: 1185: 1106: 1037: 1025: 552:, which can be seen as an representation of the concept of interpenetration. 375: 246:(1989). In a 1982 interview, and on numerous other occasions, he stated that 6505: 5410: 5173: 1526:'—interrupted the broadcast, and had to be switched off. On the same day, a 8027: 7865: 7758: 7730: 7665: 7633: 7605: 7570: 7563: 7556: 7521: 7487: 7403: 7361: 7212: 7201: 7191: 7120: 6938: 6910: 6848: 6841: 6827: 6799: 6771: 6736: 6729: 6701: 6687: 6673: 6652: 6561: 6519: 6512: 6352: 6324: 6275: 6261: 6135: 6100: 5995: 5981: 5918: 5845: 5738: 5696: 5494: 5319: 4539: 4528: 4430:

Katschthaler, Karl. 2016. "Absence, Presence and Potentiality: John Cage's

4109: 3439:"We're pitching the silence of John Cage against the noise of Simon Cowell" 3272: 3209: 3169: 3020: 1593: 1577: 1363: 1358: 1079: 1050: 1009:

The original Woodstock manuscript (August 1952) is written in conventional

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Skinner, David; Gillis, Anna Maria; Lifson, Amy (November–December 2012).

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recorded a version of the composition as part of the collaborative album

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The Legacy of Opera: Reading Music Theatre as Experience and Performance

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was conceived around 1947–48, while Cage was working on the piano cycle

8169: 7723: 7494: 7417: 7396: 7277: 6945: 6931: 6680: 6666: 6603: 6526: 6415: 6282: 6219: 6079: 5909: 5710: 5668: 5605: 5262: 5005: 4999: 4871: 4576: 4493:, a composition by Yves Klein featuring both sound and extended silence 1451: 1336: 1172:

In late 1989, three years before his death, Cage revisited the idea of

642:

had produced, in 1951, a series of white paintings (collectively named

484: 465: 445: 3745:

Composing under the Skin: The Music-making Body at the Composer's Desk

827:

is—resulting from the composer's lack of interference in the piece—a '

8218: 8176: 8041: 7751: 6834: 6589: 6456: 6177: 6128: 6093: 5654: 5081: 4938: 4895: 4663: 4601: 4517: 4002: 3644: 3560: 1605: 1486: 1285: 1075: 828: 786: 703: 667: 594: 283: 135: 44: 40: 768: 6058: 5925: 5283: 5244: 5228: 5214: 5105: 4607: 4029:

Inventing Modern: Growing Up with X-Rays, Skyscrapers, and Tailfins

1523: 869: 438:

Marche funèbre composée pour les funérailles d'un grand homme sourd

366: 355: 279: 2282:"From No Such Thing as Silence: John Cage's 4'33" - New Music USA" 1551:

On December 5, 2010, an international simultaneous performance of

744:

the same amount of attention (or perhaps even more) as if it were

7817: 6855: 6317: 5932: 5221: 5205: 5191: 4619: 3999:

Loading the Silence: Australian Sound Art in the Post-Digital Age

3695: 3470:(YouTube). The Late Show with Stephen Colbert. November 17, 2015. 2634: 2431:"This is what REALLY happened at The Rite of Spring riot in 1913" 1694:

According to a reproduction of the original Woodstock manuscript.

1589: 578: 409: 200: 139: 2899:"Revealed: what really happened when a Womble took on John Cage" 1367:

journalist Tom Ewing considered 'Cage Against the Machine' "the

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in the concert hall, so that "the whole hall is on the edge of

881:

originates; hence, they can feel motivated to pay to listen to

475:

Similar ideas had been envisioned in literature. For instance,

204: 4608:

Interview with Kyle Gann about 4'33" on The Next Track podcast

3481: 3268:"Why I'm backing Cage Against the Machine for Christmas No 1" 1098: 1054: 307: 5050: 4632: 4333:

Musical Terms, Symbols and Theory: An Illustrated Dictionary

3789:

Dickinson, Peter (1991). "Reviews of Three Books on Satie".

5612: 5146: 4572: 3943:. New York City: Continuum International Publishing Group. 1816: 1794: 1792: 1609: 1022: 840: 782: 306:

to compose a piece of uninterrupted silence and sell it to

216: 2706: 2704: 2702: 2687: 1284:

In July 2002, Cage's heirs sued British singer-songwriter

4584: 2966: 2962:"Wombles composer Mike Batt's silence legal row 'a scam'" 2935: 2221: 1372: 517: 509: 142:, although ambient sounds contribute to the performance. 1789: 1777: 1032:, and the beginning of each sentence is identified with 1004: 864:

approach implies a profound psychological connection to

350:(1952), a piano piece composed just a few months before 3774:(in French). Paris, France: Union générale d'éditions. 3722:

The Brideshead Generation: Evelyn Waugh and His Friends

2716: 2699: 2582: 2570: 1840: 1623:

closed their last concert before a government-mandated

1093:) (1960) is a typewritten score, originally printed in 4368:. Hartware MedienKunstVerein. Leipzig: Spector Books. 3814:

John Cage's Theatre Pieces: Notations and Performances

3641:

Secretive Silence: John Cage's Performative Aesthetics

3637:

Verschwiegene Stille: John Cages performative Ästhetik

3338:"Various – A Chance Operation – The John Cage Tribute" 2553:"John Cage and the Avant-Garde: The Sounds of Silence" 2394: 1804: 1394: 1316:, in the hope that it would prevent the winner of the 1015:

John Cage's Theatre Pieces: Notations and Performances

298:. At this time, he was working on the cycle for piano 194:, seeing that absolute silence cannot exist. Although 8309: 1828: 1767: 1765: 1735:, amounting to five minutes and fifty-three seconds. 4195: 2384: 2382: 2308: 2252: 2250: 2248: 1899: 564:—a composition without melodic structure or regular 400:, which possibly influenced Cage. As early as 1907, 354:, consists of long silences framing a single, short 7049:

A Sunday Afternoon on the Island of La Grande Jatte

4148:

Experimental Music: Audio Explorations in Australia

3957: 3614:

Writings through John Cage's Music, Poetry, and Art

2535: 1933: 1931: 1489:project were broadcast on Australian radio station 852:as "four minutes thirty-three seconds of silence". 4231:Assimilate: A Critical History of Industrial Music 3047:"Sound of silence vies to be Christmas number one" 1762: 1442:(four minutes and thirty-three seconds of silence) 1339:and his then-wife Tracey, prompting people to buy 4285: 3324: 2379: 2245: 2209: 654: 550:Concerto for Prepared Piano and Chamber Orchestra 8333: 3612:Bernstein, David W.; Hatch, Christopher (2001). 3555:Arnold, Allison E.; Kramer, Jonathan C. (2023). 2233: 1928: 1876:"The 25 Best Performance Art Pieces of All Time" 1697: 1303: 585: 57:Original Woodstock manuscript of the composition 3589:The New Grove Dictionary of Music and Musicians 3265: 3205:: the festive sound of a defeated Simon Cowell" 404:delineated the importance of silence in music: 253:The New Grove Dictionary of Music and Musicians 4286:Symonds, Dominica; Karantonis, Pamela (2013). 3611: 1666:as a 'composition' is controversial, as it is 1627:with a performance of the piece, conducted by 5066: 4648: 4504:What John Cage's silent symphony really means 3235: 1567:On November 17, 2015, the television program 1463:, featuring in several works such as albums. 1391:instead became Christmas number one of 2010. 516:Since the late 1940s, Cage had been studying 434:Funeral March for the Obsequies of a Deaf Man 7988: 7977: 5171: 5160: 5114: 5103: 4629:app, published by the John Cage Trust (2014) 3554: 1783: 1308:In the week leading up to Christmas 2010, a 1142: 346:(1951) closes with an extended silence, and 5242: 4448:Silence and Absence in Literature and Music 4126: 3974: 3843:(2nd ed.). Brown & Benchmark Pub. 2612: 2600: 2322: 2227: 2157: 2151: 1861: 1822: 1798: 1738: 720:notes that: "The silence of the pianist in 5073: 5059: 4655: 4641: 4316:. New York City: Oxford University Press. 4233:. New York City: Oxford University Press. 4212:10.1093/gmo/9781561592630.article.A2223954 3860:No Such Thing as Silence: John Cage's 4′33 3578:Bek, Joseph (2001). "Erwin Schulhoff". In 2624: 1656: 448:, and, since Cage admired the latter, the 4314:Oxford History of Western Music: Volume 5 4274:The Sounds of Silence: John Cage and 4′33 4168: 3811: 3788: 3719: 3687:Entwurf einer neuen Ästhetik der Tonkunst 2896: 2881: 2869: 2821: 2809: 2770: 2758: 2734: 2722: 2710: 2693: 2663: 2576: 2195:"A few notes about silence and John Cage" 2130: 2115: 2103: 2046: 2023: 1910: 1904: 1846: 1733:A Chance Operation: The John Cage Tribute 1472:A Chance Operation: The John Cage Tribute 344:Concerto for prepared piano and orchestra 4330: 4308: 4076: 4023: 3996: 3436: 3361: 3241:"Once more unto the breach dear friends" 3168: 2982: 2588: 2400: 2388: 2325:, pp. 69–71, 86, 105, 198, 218, 231 2304: 2302: 2181: 2169: 1873: 1810: 1580:released a compilation box set entitled 1518:. The performance was broadcast live on 1078:describing their duration, dedicated to 1065: 898: 888: 767: 589: 500: 415: 278: 4270: 4250:The Roaring Silence: John Cage – A Life 3938: 3884: 3769: 3742: 3634: 3467:NOLA The Cat Performs John Cage's 4'33" 3079:"Silence bids for Christmas number one" 3014: 2857: 2845: 2797: 2782: 2746: 2547: 2499: 2484: 2472: 2457: 2373: 2334: 2267: 2256: 1834: 1771: 1678: 1635: 1116: 855: 361:The Wonderful Widow of Eighteen Springs 27:1952 modernist composition by John Cage 14: 8334: 4364:Arns, Inke and Daniels, Dieter. 2012. 4247: 4145: 3911: 3683: 3661: 3647:, Germany: Fink Wilhelm GmbH + Co.KG. 3543: 3437:Lebrecht, Norman (December 11, 2010). 3017:"Cowell's second festive humiliation?" 2911:from the original on December 10, 2010 2892: 2890: 2651: 2495: 2493: 2358: 2346: 2145: 2141: 2139: 2126: 2124: 1996: 1985: 1979: 1937: 1922: 1724: 1061: 620:in operation, the low one my blood in 520:, especially through Japanese scholar 207:in music, many musicologists consider 7914:Six Characters in Search of an Author 5054: 4636: 4129:On Silence: Holding the Voice Hostage 4103: 3968:National Endowment for the Humanities 3838: 3280:from the original on January 10, 2011 3266:Luke Bainbridge (December 13, 2010). 3198: 3109: 3091:from the original on October 27, 2010 3059:from the original on October 19, 2010 2956: 2954: 2833: 2793: 2791: 2676: 2674: 2672: 2647: 2645: 2468: 2466: 2417: 2413: 2411: 2409: 2369: 2367: 2318: 2316: 2299: 2087:"New Jazz: 'All or Nothing at All'". 2007: 2005: 1949: 1857: 1855: 1530:version was recorded by the staff of 1005:Woodstock manuscript and reproduction 4388:, vol. 75, no. 4, pp. 448–462. 4378:Davies, Stephen. 1997. "John Cage's 4228: 4079:The Cambridge Companion to John Cage 3857: 3702: 3372: 3217:from the original on October 7, 2010 2931:"Composer pays for piece of silence" 2897:McCormick, Neil (December 9, 2010). 2523: 2511: 2239: 2215: 1640: 1243: 1203: 1044: 943: 910:Some musicologists have argued that 697: 572:employs the concepts posited in the 491: 4549:further commentary by Peter Gutmann 4152:University of New South Wales Press 4106:Experimental Music: Cage and Beyond 4049: 3577: 2887: 2529: 2505: 2490: 2201:. November 24, 2004. Archived from 2136: 2121: 2035: 2011: 1647: 1395:Notable performances and recordings 1371:effort this year with a hope of ". 1111:Experimental Music: Cage and Beyond 678:The premiere of the three-movement 392:List of silent musical compositions 358:pattern. Furthermore, in his songs 24: 7109:Nude Descending a Staircase, No. 2 4405:Australasian Journal of Philosophy 4385:Australasian Journal of Philosophy 4358: 4277:(revised ed.). Archived from 3966:. Washington D.C., United States: 3692:Sketch of a New Aesthetic of Music 3517:. November 2, 2020. Archived from 3300:"Top 40 UK Official Singles Chart" 2951: 2788: 2669: 2642: 2463: 2406: 2364: 2313: 2309:Pritchett, Kuhn & Garrett 2012 2002: 1900:Pritchett, Kuhn & Garrett 2012 1852: 1675:can be considered a 'composition'. 1570:The Late Show with Stephen Colbert 1560:to 2010 Christmas Number 1 in the 1485:including a 'techno remix' of the 1401: 649: 560:Cage also explored the concept of 452:may have motivated him to compose 25: 8373: 4888:But What About the Noise ... 4497: 4418:Garten, Joel. February 20, 2014. 4127:Pluth, Ed; Zeiher, Cindy (2019). 3507:"Video: Kirill Petrenko conducts 3199:Ewing, Tom (September 30, 2010). 3110:Eaton, Andrew (October 5, 2010). 2536:Skinner, Gillis & Lifson 2012 631: 8319: 8296: 8295: 5035: 5034: 5022:Foundation for Contemporary Arts 4555:of a 2004 orchestral performance 3635:Bormann, Hans-Friedrich (2005). 3499: 3474: 3458: 3430: 3404: 3378: 3366: 3355: 3330: 3318: 3292: 3015:Gilbert, Ben (October 4, 2010). 1874:Eisinger, Dale (April 9, 2013). 1450:Problems playing this file? See 1426: 1247: 1239: 1207: 947: 933: 51: 4982:The Revenge of the Dead Indians 4514:Radio 3 plays 'silent symphony' 4052:Music and the Generosity of God 3997:Kouvaras, Linda Ioanna (2013). 3960:"Humanities Volume 33, Issue 6" 3559:(2nd ed.). United States: 3536: 3259: 3229: 3192: 3162: 3134: 3103: 3071: 3039: 3008: 2923: 2875: 2863: 2851: 2839: 2827: 2815: 2803: 2776: 2764: 2752: 2740: 2728: 2657: 2618: 2606: 2594: 2541: 2517: 2478: 2451: 2423: 2352: 2340: 2328: 2273: 2261: 2187: 2175: 2163: 2109: 2097: 2080: 2052: 2040: 2029: 2017: 1990: 1943: 1916: 1893: 1867: 1714: 1688: 1158:, which is also referred to as 991: 555: 496: 8063:Grosvenor School of Modern Art 8056:Fourth dimension in literature 4478:10.7256/2222-1956.2015.6.16411 4470:10.7256/2222-1956.2015.4.15062 4434:Revisited", pp. 166–179. 3885:Harding, James Martin (2013). 3705:Silence: Lectures and Writings 3550:, Paris, France: P. Ollendorff 2994:for Christmas Number One 2010" 2093:. March 16, 1947. pp. S7. 1147: 1017:. The reproduction notes that 655:Premiere and initial reception 464:—solely comprising rests— and 274: 215:, and some have likened it to 13: 1: 5080: 4662: 4446:and Bernhart, Walter (eds.). 4394:10.1080/00048402.2017.1408664 4341:McFarland & Company, Inc. 4331:Thomsett, Michael C. (2012). 3325:Symonds & Karantonis 2013 1584:featuring interpretations of 1544:in 2009 as a hidden track on 1304:Christmas number one campaign 1279: 1180:, the full title of which is 731: 586:Visit to the anechoic chamber 428:, containing no musical notes 385: 269: 250:was his most important work. 4776:String Quartet in Four Parts 3982:. New York City: Routledge. 3895:University of Michigan Press 3839:Fiero, Gloria Konig (1995). 3720:Carpenter, Humphrey (2009). 3055:. London. October 16, 2010. 2280:Gann, Kyle (April 1, 2010). 2060:"JOHN CAGE; Similar Silence" 1963:. p. 92. Archived from 1756: 1506:On January 16, 2004, at the 1497:as part of their 2000 album 789:'s composition is associated 163:during the late 1940s about 7: 8156:List of avant-garde artists 7133:The Cabinet of Dr. Caligari 4752:Music for an Aquatic Ballet 4524:A quiet night out with Cage 4484: 4271:Solomon, Larry J. (2002) . 4229:Reed, S. Alexander (2013). 3822:Harwood Academic Publishers 3812:Fetterman, William (1996). 3618:University of Chicago Press 3557:What in the World is Music? 1176:one last time. He composed 986: 823:proposes a related theory; 710: 570:Concerto for Prepared Piano 548:In 1951, Cage composed the 10: 8378: 8014:Classical Hollywood cinema 4464:, numbers 4, pp. 436–454, 4398:Dodd, Julian. 2017. "What 4179:Cambridge University Press 4087:Cambridge University Press 3922:Liverpool University Press 3818:Amsterdam, the Netherlands 3684:Busoni, Ferruccio (1916). 1955:"Interview: Alfred Leslie" 1129:Calligraphic Tacet Edition 937: 892: 846: 781:(1917): a hallmark of the 746:Beethoven's Ninth Symphony 608:In 1951, Cage visited the 389: 223:also embodies the idea of 8342:Compositions by John Cage 8277: 7955: 7796: 7664: 7504: 7253: 7242: 7085:Les Demoiselles d'Avignon 7039: 6865: 6425: 5908: 5899: 5776: 5560: 5302: 5293: 5088: 5030: 4992: 4973: 4914: 4690: 4670: 4516:", BBC Online. (includes 4491:Monotone-Silence Symphony 4440:10.1163/9789004314863_011 4414:10.1080/00048409712348031 4337:Jefferson, North Carolina 4175:Cambridge, United Kingdom 4169:Pritchett, James (1993). 4083:Cambridge, United Kingdom 3980:Conversing with John Cage 3918:Liverpool, United Kingdom 3912:Harris, Jonathan (2005). 3713:Wesleyan University Press 3664:Buddhist Faith in America 3544:Allais, Alphonse (1897), 2996:. Facebook. December 2009 2630:"The origins of pleasure" 1625:COVID-19 related lockdown 1619:On October 31, 2020, the 1199: 1143:Of the composition itself 1113:, but is not reproduced. 751:The second point made by 670:, on the premiere of 470:Monotone–Silence Symphony 109: 101: 96: 88: 80: 70: 62: 50: 39: 34: 5870:The Master and Margarita 4680:Works for prepared piano 4077:Nicholls, David (2002). 3770:Charles, Daniel (1978). 3698:, Germany: Insel-Verlag. 3662:Burgan, Michael (2003). 3592:(2nd ed.). London: 1784:Arnold & Kramer 2023 1546:The Chair in the Doorway 1540:released a recording of 1481:Several performances of 1341:Rage Against the Machine 296:A Composer's Confessions 130:composition by American 84:4 minutes and 33 seconds 8163:List of modernist poets 8049:Fourth dimension in art 7225:Meshes of the Afternoon 4204:Oxford University Press 4104:Nyman, Michael (1974). 4050:Liu, Gerard C. (2017). 4033:Oxford University Press 3753:Leuven University Press 3709:Middletown, Connecticut 3515:Berliner Philharmoniker 2613:Pluth & Zeiher 2019 2601:Pluth & Zeiher 2019 1165: 874:psychologist Paul Bloom 686:on August 29, 1952, in 8247:Second Viennese School 7989: 7978: 5882:The Sound and the Fury 5786:In Search of Lost Time 5243: 5172: 5161: 5115: 5104: 5012:Indeterminacy in music 4768:Sonatas and Interludes 4294:: Brill Academic Pub. 4248:Revill, David (1993). 4171:The Music of John Cage 3941:Noise/Music: A History 3939:Hegarty, Paul (2007). 3864:New Haven, Connecticut 3743:Craenen, Paul (2014). 3547:Album primo–avrilesque 3412:"The sound of silence" 1602:Einstürzende Neubauten 1512:BBC Symphony Orchestra 1406: 1182:One = 4′33″ (0′00″) + 1082: 907: 790: 664: 605: 546: 513: 429: 414: 329:Sonatas and Interludes 316: 300:Sonatas and Interludes 287: 157:Sonatas and Interludes 151:Sonatas and Interludes 8226:Reactionary modernism 8149:List of art movements 4598:National Public Radio 4547:The Sounds of Silence 4146:Priest, Gail (2008). 4056:Princeton, New Jersey 3868:Yale University Press 3792:The Musical Quarterly 3616:. Chicago, Illinois: 2205:on February 12, 2006. 1749:cannot be identified. 1500:United States of Mind 1405: 1069: 981:musical indeterminacy 940:Indeterminacy (music) 938:Further information: 916:surrealist automatism 902: 895:Surrealist automatism 893:Further information: 889:Surrealist automatism 785:movement, with which 771: 688:Maverick Concert Hall 659: 593: 568:. The aforementioned 542: 504: 419: 406: 390:Further information: 304: 282: 225:musical indeterminacy 179:was first displayed. 8070:Hanshinkan Modernism 7926:The Threepenny Opera 7842:Pelléas et Mélisande 4848:Apartment House 1776 4707:Imaginary Landscapes 4675:List of compositions 4472:and 6, pp. 669–686, 3976:Kostelanetz, Richard 3772:Gloses sur John Cage 3594:Macmillan Publishers 3247:on November 12, 2010 3239:(October 27, 2010). 3087:. October 15, 2010. 2939:. September 23, 2002 2526:, pp. 16–17, 74 2068:. September 13, 1992 1636:Notes and references 1333:Christmas number one 1298:John Cage Foundation 1154:In 1962, Cage wrote 1125:Second Tacet Edition 1118:Second Tacet Edition 1070:An excerpt from the 856:Psychological impact 508:, whose approach to 8128:International Style 7878:Afternoon of a Faun 7157:Battleship Potemkin 7061:Mont Sainte-Victoir 4880:As Slow as Possible 4535:The Music of Chance 4424:The Huffington Post 4366:Sounds Like Silence 4281:on January 9, 2018. 4177:and New York City: 4108:. London, England: 3891:Ann Arbor, Michigan 3858:Gann, Kyle (2010). 3805:10.1093/mq/75.3.404 3703:Cage, John (1961). 3694:] (in German). 3668:Facts on File, Inc. 3643:] (in German). 3521:on November 2, 2020 3444:The Daily Telegraph 3306:. December 25, 2010 3237:Temple-Morris, Eddy 3052:The Daily Telegraph 3027:on October 18, 2010 2090:The Washington Post 1967:on December 4, 2010 1953:(January 1, 2009). 1621:Berlin Philharmonic 1345:Killing in the Name 1327:, from topping the 1184:. As in all of the 1103:First Tacet Edition 1091:Typed Tacet Edition 1087:First Tacet Edition 1072:First Tacet Edition 1062:First Tacet Edition 692:Woodstock, New York 640:Robert Rauschenberg 380:New York University 324:Duet for Two Flutes 211:to be the birth of 8007:Buddhist modernism 7964:American modernism 7890:The Rite of Spring 5858:The Sun Also Rises 5834:The Magic Mountain 4931:A Year from Monday 4199:Grove Music Online 4131:. Palgrave Pivot. 4060:Palgrave Macmillan 4007:Ashgate Publishing 3418:. January 16, 2004 3392:. January 12, 2004 3150:. October 15, 2010 3120:Scotland on Sunday 2970:. December 9, 2010 2848:, pp. 225–227 2800:, pp. 222–223 2439:. October 15, 2018 2184:, pp. 201–202 2065:The New York Times 1913:, pp. 59, 138 1476:Koch Entertainment 1407: 1377:Eddy Temple-Morris 1318:seventh series of 1259:. You can help by 1219:. You can help by 1083: 959:. You can help by 908: 905:automatic painting 791: 614:Harvard University 606: 599:Harvard University 530:Harvard University 514: 432:An example is the 430: 288: 8362:1952 compositions 8307: 8306: 8035:Experimental film 7951: 7950: 7938:Waiting for Godot 7238: 7237: 5895: 5894: 5798:The Metamorphosis 5048: 5047: 5017:West Coast School 4760:Living Room Music 4456:978-90-04-31485-6 4450:. Leiden: Brill. 4374:978-3-940064-41-7 4349:978-0-7864-6757-0 4323:978-0-19-538630-1 4310:Taruskin, Richard 4263:978-1-55970-220-1 4254:Arcade Publishing 4252:. New York City: 4221:978-1-56159-263-0 4069:978-3-319-69492-4 4031:. New York City: 4025:Lienhard, John H. 3904:978-0-4720-3610-3 3877:978-0-300-13699-9 3724:. United States: 3666:. New York City: 3654:978-3-7705-4147-8 3603:978-1-56159-239-5 3172:(July 19, 2010). 2680:Published score, 2628:(July 27, 2011). 1662:The labelling of 1641:Explanatory notes 1438:A performance of 1433: 1331:and becoming the 1277: 1276: 1237: 1236: 1045:Kremen manuscript 977: 976: 914:is an example of 903:An example of an 698:General reception 492:Direct influences 159:. His studies on 119: 118: 16:(Redirected from 8369: 8324: 8323: 8322: 8315: 8299: 8298: 8270: 8268:Vulgar modernism 8263: 8261:Underground film 8256: 8249: 8242: 8235: 8228: 8221: 8214: 8207: 8200: 8193: 8186: 8179: 8172: 8165: 8158: 8151: 8144: 8137: 8130: 8123: 8114: 8107: 8100: 8093: 8086: 8084:Hippie modernism 8079: 8072: 8065: 8058: 8051: 8044: 8037: 8030: 8023: 8016: 8009: 8002: 8000:Bloomsbury Group 7995: 7994: 7984: 7983: 7973: 7966: 7944: 7943: 7932: 7931: 7920: 7919: 7908: 7907: 7896: 7895: 7884: 7883: 7872: 7871: 7860: 7859: 7848: 7847: 7836: 7835: 7824: 7823: 7812: 7811: 7789: 7782: 7775: 7768: 7761: 7754: 7747: 7740: 7733: 7726: 7719: 7712: 7705: 7698: 7691: 7684: 7677: 7657: 7650: 7643: 7636: 7629: 7622: 7615: 7608: 7601: 7594: 7587: 7580: 7573: 7566: 7559: 7552: 7545: 7538: 7531: 7524: 7517: 7497: 7490: 7483: 7476: 7469: 7462: 7455: 7448: 7441: 7434: 7427: 7420: 7413: 7406: 7399: 7392: 7385: 7378: 7371: 7364: 7357: 7350: 7343: 7336: 7329: 7322: 7315: 7308: 7301: 7294: 7287: 7280: 7273: 7266: 7251: 7250: 7231: 7230: 7219: 7218: 7207: 7206: 7197: 7196: 7187: 7186: 7181:Un Chien Andalou 7175: 7174: 7163: 7162: 7151: 7150: 7145:Ballet Mécanique 7139: 7138: 7127: 7126: 7115: 7114: 7103: 7102: 7091: 7090: 7079: 7078: 7073:The Starry Night 7067: 7066: 7055: 7054: 7032: 7025: 7018: 7011: 7004: 6997: 6990: 6983: 6976: 6969: 6962: 6955: 6948: 6941: 6934: 6927: 6920: 6913: 6906: 6899: 6892: 6885: 6878: 6858: 6851: 6844: 6837: 6830: 6823: 6816: 6809: 6802: 6795: 6788: 6781: 6774: 6767: 6760: 6753: 6746: 6739: 6732: 6725: 6718: 6711: 6704: 6697: 6690: 6683: 6676: 6669: 6662: 6655: 6648: 6641: 6634: 6627: 6620: 6613: 6606: 6599: 6592: 6585: 6578: 6571: 6564: 6557: 6550: 6543: 6536: 6529: 6522: 6515: 6508: 6501: 6494: 6487: 6480: 6473: 6466: 6459: 6452: 6445: 6438: 6418: 6411: 6404: 6402:Toulouse-Lautrec 6397: 6390: 6383: 6376: 6369: 6362: 6355: 6348: 6341: 6334: 6327: 6320: 6313: 6306: 6299: 6292: 6285: 6278: 6271: 6264: 6257: 6250: 6243: 6236: 6229: 6222: 6215: 6208: 6201: 6194: 6187: 6180: 6173: 6166: 6159: 6152: 6145: 6138: 6131: 6124: 6117: 6110: 6103: 6096: 6089: 6082: 6075: 6068: 6061: 6054: 6047: 6040: 6033: 6026: 6019: 6012: 6005: 5998: 5991: 5984: 5977: 5970: 5963: 5956: 5949: 5942: 5935: 5928: 5921: 5906: 5905: 5888: 5887: 5876: 5875: 5864: 5863: 5852: 5851: 5840: 5839: 5828: 5827: 5816: 5815: 5804: 5803: 5792: 5791: 5769: 5762: 5755: 5748: 5741: 5734: 5727: 5720: 5713: 5706: 5699: 5692: 5685: 5678: 5671: 5664: 5657: 5650: 5643: 5636: 5629: 5622: 5615: 5608: 5601: 5594: 5587: 5580: 5573: 5553: 5546: 5539: 5532: 5525: 5518: 5511: 5504: 5497: 5490: 5483: 5476: 5469: 5462: 5455: 5448: 5441: 5434: 5427: 5420: 5413: 5406: 5399: 5392: 5385: 5378: 5371: 5364: 5357: 5350: 5343: 5336: 5329: 5322: 5315: 5300: 5299: 5286: 5279: 5272: 5265: 5258: 5249: 5248: 5238: 5231: 5224: 5217: 5208: 5201: 5194: 5185: 5178: 5177: 5167: 5166: 5163:Der Blaue Reiter 5156: 5149: 5142: 5135: 5128: 5121: 5120: 5110: 5109: 5099: 5075: 5068: 5061: 5052: 5051: 5038: 5037: 4840:Etudes Australes 4784:Music of Changes 4657: 4650: 4643: 4634: 4633: 4382:: Is it music?" 4353: 4327: 4305: 4282: 4267: 4244: 4225: 4202:(8th ed.). 4192: 4165: 4142: 4123: 4100: 4073: 4046: 4020: 3993: 3971: 3954: 3935: 3908: 3881: 3854: 3835: 3808: 3785: 3766: 3739: 3716: 3699: 3680: 3658: 3631: 3607: 3574: 3551: 3531: 3530: 3528: 3526: 3503: 3497: 3496: 3494: 3492: 3478: 3472: 3471: 3462: 3456: 3455: 3453: 3451: 3434: 3428: 3427: 3425: 3423: 3408: 3402: 3401: 3399: 3397: 3382: 3376: 3370: 3364: 3359: 3353: 3352: 3350: 3348: 3334: 3328: 3322: 3316: 3315: 3313: 3311: 3296: 3290: 3289: 3287: 3285: 3263: 3257: 3256: 3254: 3252: 3243:. 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Archived from 3012: 3006: 3005: 3003: 3001: 2986: 2980: 2979: 2977: 2975: 2958: 2949: 2948: 2946: 2944: 2927: 2921: 2920: 2918: 2916: 2894: 2885: 2884:, pp. 94–95 2879: 2873: 2872:, pp. 84–89 2867: 2861: 2855: 2849: 2843: 2837: 2831: 2825: 2819: 2813: 2807: 2801: 2795: 2786: 2780: 2774: 2773:, pp. 76–78 2768: 2762: 2756: 2750: 2744: 2738: 2732: 2726: 2720: 2714: 2708: 2697: 2696:, p. 69–80. 2691: 2685: 2678: 2667: 2661: 2655: 2654:, pp. 66–67 2649: 2640: 2639: 2622: 2616: 2615:, pp. 75–76 2610: 2604: 2603:, pp. 75–78 2598: 2592: 2586: 2580: 2574: 2568: 2567: 2565: 2563: 2545: 2539: 2533: 2527: 2521: 2515: 2509: 2503: 2497: 2488: 2482: 2476: 2470: 2461: 2460:, pp. 78–79 2455: 2449: 2448: 2446: 2444: 2427: 2421: 2420:, pp. 97–99 2415: 2404: 2398: 2392: 2386: 2377: 2371: 2362: 2361:, pp. 57–58 2356: 2350: 2344: 2338: 2337:, pp. 11–12 2332: 2326: 2323:Kostelanetz 2003 2320: 2311: 2306: 2297: 2296: 2294: 2292: 2277: 2271: 2265: 2259: 2254: 2243: 2237: 2231: 2228:Kostelanetz 2003 2225: 2219: 2213: 2207: 2206: 2191: 2185: 2179: 2173: 2167: 2161: 2158:Kostelanetz 2003 2155: 2149: 2143: 2134: 2128: 2119: 2118:, pp. 74–75 2113: 2107: 2101: 2095: 2094: 2084: 2078: 2077: 2075: 2073: 2056: 2050: 2044: 2038: 2033: 2027: 2021: 2015: 2009: 2000: 1999:, pp. 23–26 1994: 1988: 1983: 1977: 1976: 1974: 1972: 1947: 1941: 1935: 1926: 1920: 1914: 1908: 1902: 1897: 1891: 1890: 1888: 1886: 1871: 1865: 1864:, pp. 69–70 1862:Kostelanetz 2003 1859: 1850: 1844: 1838: 1832: 1826: 1825:, p. 69–70. 1823:Kostelanetz 2003 1820: 1814: 1808: 1802: 1799:Kostelanetz 2003 1796: 1787: 1781: 1775: 1769: 1750: 1742: 1736: 1728: 1722: 1718: 1712: 1701: 1695: 1692: 1686: 1682: 1676: 1660: 1654: 1651: 1598:Cabaret Voltaire 1562:UK Singles Chart 1435: 1434: 1404: 1329:UK Singles Chart 1272: 1269: 1251: 1244: 1232: 1229: 1211: 1204: 1139:1, no. 2:46–54. 1105:is described in 972: 969: 951: 944: 674: 610:anechoic chamber 538:meditation music 534:anechoic chamber 458:Fünf Pittoresken 420:Sheet music for 402:Ferruccio Busoni 335:Music of Changes 169:contemporary art 55: 32: 31: 21: 8377: 8376: 8372: 8371: 8370: 8368: 8367: 8366: 8332: 8331: 8330: 8326:Classical music 8320: 8318: 8310: 8308: 8303: 8294: 8286: 8273: 8266: 8259: 8254:Structural film 8252: 8245: 8238: 8231: 8224: 8217: 8210: 8205:New Objectivity 8203: 8196: 8191:Neo-romanticism 8189: 8184:Neo-primitivism 8182: 8175: 8168: 8161: 8154: 8147: 8140: 8133: 8126: 8119: 8110: 8103: 8096: 8089: 8082: 8075: 8068: 8061: 8054: 8047: 8040: 8033: 8026: 8019: 8012: 8005: 7998: 7987: 7976: 7969: 7962: 7947: 7941: 7935: 7929: 7923: 7917: 7911: 7905: 7899: 7893: 7887: 7881: 7875: 7869: 7863: 7857: 7851: 7845: 7839: 7833: 7830:Verklärte Nacht 7827: 7821: 7815: 7809: 7803: 7792: 7785: 7778: 7771: 7764: 7757: 7750: 7743: 7736: 7729: 7722: 7715: 7708: 7701: 7694: 7687: 7680: 7673: 7660: 7653: 7646: 7639: 7632: 7625: 7618: 7611: 7604: 7597: 7590: 7583: 7576: 7569: 7562: 7555: 7548: 7541: 7534: 7527: 7520: 7513: 7500: 7493: 7486: 7479: 7472: 7465: 7458: 7451: 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6288: 6281: 6274: 6267: 6260: 6253: 6246: 6239: 6232: 6225: 6218: 6211: 6204: 6197: 6190: 6183: 6176: 6169: 6162: 6155: 6148: 6141: 6134: 6127: 6120: 6113: 6106: 6099: 6092: 6085: 6078: 6071: 6064: 6057: 6050: 6043: 6036: 6029: 6022: 6015: 6008: 6001: 5994: 5987: 5980: 5973: 5966: 5959: 5952: 5945: 5938: 5931: 5924: 5917: 5891: 5885: 5879: 5873: 5867: 5861: 5855: 5849: 5843: 5837: 5831: 5825: 5819: 5813: 5807: 5801: 5795: 5789: 5783: 5772: 5765: 5758: 5751: 5744: 5737: 5730: 5723: 5716: 5709: 5702: 5695: 5688: 5681: 5676:Lowell (Robert) 5674: 5667: 5660: 5653: 5646: 5639: 5632: 5625: 5618: 5611: 5604: 5597: 5590: 5583: 5576: 5569: 5556: 5549: 5542: 5535: 5528: 5521: 5514: 5507: 5500: 5493: 5486: 5479: 5472: 5465: 5458: 5451: 5444: 5437: 5430: 5423: 5416: 5409: 5402: 5395: 5388: 5381: 5374: 5367: 5360: 5353: 5346: 5339: 5332: 5325: 5318: 5311: 5289: 5282: 5275: 5268: 5261: 5254: 5241: 5234: 5227: 5220: 5213: 5204: 5197: 5190: 5181: 5170: 5159: 5152: 5145: 5138: 5131: 5124: 5113: 5102: 5095: 5084: 5079: 5049: 5044: 5026: 4988: 4969: 4910: 4856:Etudes Boreales 4816:Cheap Imitation 4686: 4666: 4661: 4500: 4487: 4462:Culture and Art 4361: 4359:Further reading 4356: 4350: 4324: 4302: 4292:The Netherlands 4264: 4241: 4222: 4189: 4162: 4139: 4120: 4097: 4070: 4043: 4017: 3990: 3951: 3932: 3905: 3878: 3851: 3832: 3782: 3763: 3749:Leuven, Belgium 3736: 3726:Faber and Faber 3677: 3655: 3628: 3604: 3571: 3539: 3534: 3524: 3522: 3505: 3504: 3500: 3490: 3488: 3480: 3479: 3475: 3464: 3463: 3459: 3449: 3447: 3435: 3431: 3421: 3419: 3410: 3409: 3405: 3395: 3393: 3384: 3383: 3379: 3371: 3367: 3360: 3356: 3346: 3344: 3336: 3335: 3331: 3323: 3319: 3309: 3307: 3304:Official Charts 3298: 3297: 3293: 3283: 3281: 3264: 3260: 3250: 3248: 3234: 3230: 3220: 3218: 3197: 3193: 3183: 3181: 3167: 3163: 3153: 3151: 3140: 3139: 3135: 3125: 3123: 3114: 3108: 3104: 3094: 3092: 3084:The Irish Times 3077: 3076: 3072: 3062: 3060: 3045: 3044: 3040: 3030: 3028: 3013: 3009: 2999: 2997: 2988: 2987: 2983: 2973: 2971: 2960: 2959: 2952: 2942: 2940: 2929: 2928: 2924: 2914: 2912: 2895: 2888: 2880: 2876: 2868: 2864: 2856: 2852: 2844: 2840: 2832: 2828: 2820: 2816: 2808: 2804: 2796: 2789: 2781: 2777: 2769: 2765: 2757: 2753: 2745: 2741: 2733: 2729: 2721: 2717: 2709: 2700: 2692: 2688: 2679: 2670: 2662: 2658: 2650: 2643: 2623: 2619: 2611: 2607: 2599: 2595: 2587: 2583: 2575: 2571: 2561: 2559: 2557:Classical Notes 2546: 2542: 2534: 2530: 2522: 2518: 2510: 2506: 2498: 2491: 2483: 2479: 2471: 2464: 2456: 2452: 2442: 2440: 2429: 2428: 2424: 2416: 2407: 2399: 2395: 2387: 2380: 2372: 2365: 2357: 2353: 2345: 2341: 2333: 2329: 2321: 2314: 2307: 2300: 2290: 2288: 2286:newmusicusa.org 2279: 2278: 2274: 2266: 2262: 2255: 2246: 2238: 2234: 2226: 2222: 2214: 2210: 2193: 2192: 2188: 2180: 2176: 2168: 2164: 2156: 2152: 2144: 2137: 2129: 2122: 2114: 2110: 2102: 2098: 2086: 2085: 2081: 2071: 2069: 2058: 2057: 2053: 2045: 2041: 2034: 2030: 2022: 2018: 2010: 2003: 1995: 1991: 1984: 1980: 1970: 1968: 1948: 1944: 1936: 1929: 1921: 1917: 1909: 1905: 1898: 1894: 1884: 1882: 1872: 1868: 1860: 1853: 1845: 1841: 1833: 1829: 1821: 1817: 1809: 1805: 1797: 1790: 1782: 1778: 1770: 1763: 1759: 1754: 1753: 1743: 1739: 1729: 1725: 1719: 1715: 1702: 1698: 1693: 1689: 1683: 1679: 1661: 1657: 1652: 1648: 1643: 1638: 1629:Kirill Petrenko 1528:tongue-in-cheek 1516:Lawrence Foster 1510:in London, the 1508:Barbican Centre 1457: 1456: 1448: 1446: 1445: 1444: 1443: 1436: 1427: 1424: 1418: 1408: 1402: 1397: 1306: 1282: 1273: 1267: 1264: 1257:needs expansion 1242: 1233: 1227: 1224: 1217:needs expansion 1202: 1170: 1152: 1145: 1121: 1064: 1047: 1007: 994: 989: 973: 967: 964: 957:needs expansion 942: 936: 897: 891: 858: 849: 795:Igor Stravinsky 734: 713: 700: 676: 666: 657: 652: 650:The composition 636: 588: 574:Ancient Chinese 558: 512:influenced Cage 499: 494: 479:'s prose fable 462:Erwin Schulhoff 442:Alphonse Allais 394: 388: 277: 272: 105:August 29, 1952 75:Modernist music 58: 43:composition by 28: 23: 22: 18:4'33" 15: 12: 11: 5: 8375: 8365: 8364: 8359: 8354: 8352:Postmodern art 8349: 8344: 8329: 8328: 8305: 8304: 8287: 8279: 8278: 8275: 8274: 8272: 8271: 8264: 8257: 8250: 8243: 8236: 8229: 8222: 8215: 8212:Poetic realism 8208: 8201: 8194: 8187: 8180: 8173: 8166: 8159: 8152: 8145: 8142:Late modernity 8138: 8135:Late modernism 8131: 8124: 8117: 8116: 8115: 8108: 8101: 8087: 8080: 8077:High modernism 8073: 8066: 8059: 8052: 8045: 8038: 8031: 8024: 8021:Degenerate art 8017: 8010: 8003: 7996: 7991:Ballets Russes 7985: 7974: 7967: 7959: 7957: 7953: 7952: 7949: 7948: 7946: 7945: 7933: 7921: 7909: 7897: 7885: 7873: 7861: 7849: 7837: 7825: 7813: 7800: 7798: 7794: 7793: 7791: 7790: 7783: 7776: 7769: 7762: 7755: 7748: 7741: 7734: 7727: 7720: 7713: 7706: 7699: 7692: 7685: 7678: 7670: 7668: 7662: 7661: 7659: 7658: 7651: 7644: 7637: 7630: 7623: 7616: 7609: 7602: 7595: 7588: 7581: 7574: 7567: 7560: 7553: 7546: 7539: 7532: 7525: 7518: 7510: 7508: 7502: 7501: 7499: 7498: 7491: 7484: 7477: 7470: 7463: 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6356: 6349: 6342: 6335: 6328: 6321: 6314: 6307: 6300: 6293: 6286: 6279: 6272: 6265: 6258: 6251: 6244: 6237: 6230: 6223: 6216: 6209: 6202: 6195: 6188: 6181: 6174: 6167: 6160: 6153: 6146: 6139: 6132: 6125: 6118: 6111: 6104: 6097: 6090: 6083: 6076: 6069: 6062: 6055: 6048: 6041: 6034: 6027: 6020: 6013: 6006: 5999: 5992: 5985: 5978: 5971: 5964: 5957: 5950: 5943: 5936: 5929: 5922: 5914: 5912: 5903: 5897: 5896: 5893: 5892: 5890: 5889: 5877: 5865: 5853: 5841: 5829: 5822:The Waste Land 5817: 5805: 5793: 5780: 5778: 5774: 5773: 5771: 5770: 5763: 5756: 5749: 5742: 5735: 5728: 5721: 5714: 5707: 5700: 5693: 5686: 5679: 5672: 5665: 5658: 5651: 5644: 5637: 5630: 5623: 5616: 5609: 5602: 5595: 5588: 5581: 5574: 5566: 5564: 5558: 5557: 5555: 5554: 5547: 5540: 5533: 5526: 5519: 5512: 5505: 5498: 5491: 5484: 5477: 5470: 5463: 5456: 5449: 5442: 5435: 5428: 5421: 5414: 5407: 5400: 5393: 5386: 5379: 5372: 5365: 5358: 5351: 5344: 5337: 5330: 5323: 5316: 5308: 5306: 5297: 5291: 5290: 5288: 5287: 5280: 5273: 5266: 5259: 5252: 5251: 5250: 5232: 5225: 5218: 5211: 5210: 5209: 5195: 5188: 5187: 5186: 5179: 5168: 5150: 5143: 5136: 5133:Constructivism 5129: 5122: 5111: 5100: 5092: 5090: 5086: 5085: 5078: 5077: 5070: 5063: 5055: 5046: 5045: 5043: 5042: 5031: 5028: 5027: 5025: 5024: 5019: 5014: 5009: 5003: 4996: 4994: 4990: 4989: 4987: 4986: 4977: 4975: 4971: 4970: 4968: 4967: 4959: 4951: 4943: 4935: 4927: 4918: 4916: 4912: 4911: 4909: 4908: 4900: 4892: 4884: 4876: 4868: 4864:Freeman Etudes 4860: 4852: 4844: 4836: 4828: 4820: 4812: 4804: 4796: 4788: 4780: 4772: 4764: 4756: 4748: 4747: 4746: 4738: 4731: 4724: 4717: 4703: 4694: 4692: 4688: 4687: 4685: 4684: 4683: 4682: 4671: 4668: 4667: 4660: 4659: 4652: 4645: 4637: 4631: 4630: 4611: 4610: 4605: 4588: 4557: 4556: 4550: 4544: 4532: 4521: 4510: 4499: 4498:External links 4496: 4495: 4494: 4486: 4483: 4482: 4481: 4458: 4428: 4416: 4396: 4376: 4360: 4357: 4355: 4354: 4348: 4328: 4322: 4306: 4301:978-9042036918 4300: 4283: 4268: 4262: 4245: 4239: 4226: 4220: 4193: 4187: 4166: 4161:978-1921410079 4160: 4143: 4138:978-3030281465 4137: 4124: 4118: 4101: 4096:978-0521789684 4095: 4074: 4068: 4047: 4041: 4021: 4015: 3994: 3988: 3972: 3955: 3950:978-0826417275 3949: 3936: 3931:978-0853237198 3930: 3909: 3903: 3882: 3876: 3855: 3849: 3836: 3830: 3809: 3799:(3): 404–409. 3786: 3780: 3767: 3762:978-9058679741 3761: 3740: 3735:978-0571248339 3734: 3717: 3700: 3681: 3675: 3659: 3653: 3632: 3626: 3609: 3602: 3580:Sadie, Stanley 3575: 3569: 3552: 3540: 3538: 3535: 3533: 3532: 3498: 3473: 3457: 3429: 3403: 3377: 3365: 3354: 3329: 3317: 3291: 3258: 3228: 3191: 3161: 3133: 3102: 3070: 3038: 3007: 2981: 2950: 2922: 2886: 2882:Fetterman 1996 2874: 2870:Fetterman 1996 2862: 2850: 2838: 2826: 2822:Fetterman 1996 2814: 2810:Fetterman 1996 2802: 2787: 2775: 2771:Fetterman 1996 2763: 2759:Fetterman 1996 2751: 2739: 2735:Fetterman 1996 2727: 2723:Fetterman 1996 2715: 2711:Fetterman 1996 2698: 2694:Fetterman 1996 2686: 2682:Edition Peters 2668: 2664:Pritchett 1993 2656: 2641: 2617: 2605: 2593: 2591:, p. 254. 2581: 2577:Fetterman 1996 2569: 2549:Gutmann, Peter 2540: 2528: 2516: 2504: 2489: 2477: 2462: 2450: 2422: 2405: 2393: 2378: 2363: 2351: 2339: 2327: 2312: 2298: 2272: 2260: 2244: 2232: 2220: 2208: 2186: 2174: 2162: 2150: 2135: 2131:Pritchett 1993 2120: 2116:Pritchett 1993 2108: 2104:Pritchett 1993 2096: 2079: 2051: 2047:Carpenter 2009 2039: 2028: 2024:Dickinson 1991 2016: 2001: 1989: 1978: 1960:Art in America 1942: 1927: 1915: 1911:Pritchett 1993 1903: 1892: 1866: 1851: 1847:Fetterman 1996 1839: 1837:, p. 194. 1827: 1815: 1813:, p. 135. 1803: 1788: 1776: 1760: 1758: 1755: 1752: 1751: 1737: 1723: 1713: 1696: 1687: 1677: 1655: 1645: 1644: 1642: 1639: 1637: 1634: 1633: 1632: 1617: 1574: 1565: 1549: 1535: 1504: 1491:ABC Classic FM 1479: 1474:, released by 1447: 1437: 1425: 1420: 1419: 1410: 1409: 1400: 1399: 1398: 1396: 1393: 1356:science writer 1305: 1302: 1281: 1278: 1275: 1274: 1254: 1252: 1241: 1238: 1235: 1234: 1214: 1212: 1201: 1198: 1169: 1164: 1151: 1146: 1144: 1141: 1123:The so-called 1120: 1115: 1095:Edition Peters 1085:The so-called 1063: 1060: 1046: 1043: 1034:Roman numerals 1030:time signature 1006: 1003: 993: 990: 988: 985: 975: 974: 954: 952: 935: 932: 890: 887: 857: 854: 848: 845: 821:Daniel Charles 800:Rite of Spring 773:Marcel Duchamp 733: 730: 712: 709: 699: 696: 658: 656: 653: 651: 648: 644:White Painting 635: 633:White Painting 630: 618:nervous system 587: 584: 557: 554: 522:Daisetz Suzuki 506:Daisetz Suzuki 498: 495: 493: 490: 387: 384: 340:Two Pastorales 292:Vassar College 276: 273: 271: 268: 177:White Painting 117: 116: 111: 107: 106: 103: 99: 98: 94: 93: 90: 86: 85: 82: 78: 77: 72: 68: 67: 64: 60: 59: 56: 48: 47: 37: 36: 26: 9: 6: 4: 3: 2: 8374: 8363: 8360: 8358: 8355: 8353: 8350: 8348: 8345: 8343: 8340: 8339: 8337: 8327: 8317: 8316: 8313: 8302: 8292: 8291: 8290:Postmodernism 8285: 8284: 8276: 8269: 8265: 8262: 8258: 8255: 8251: 8248: 8244: 8241: 8237: 8234: 8233:Metamodernism 8230: 8227: 8223: 8220: 8216: 8213: 8209: 8206: 8202: 8199: 8198:New Hollywood 8195: 8192: 8188: 8185: 8181: 8178: 8174: 8171: 8167: 8164: 8160: 8157: 8153: 8150: 8146: 8143: 8139: 8136: 8132: 8129: 8125: 8122: 8118: 8113: 8109: 8106: 8102: 8099: 8095: 8094: 8092: 8091:Impressionism 8088: 8085: 8081: 8078: 8074: 8071: 8067: 8064: 8060: 8057: 8053: 8050: 8046: 8043: 8039: 8036: 8032: 8029: 8025: 8022: 8018: 8015: 8011: 8008: 8004: 8001: 7997: 7993: 7992: 7986: 7982: 7981: 7975: 7972: 7968: 7965: 7961: 7960: 7958: 7954: 7940: 7939: 7934: 7928: 7927: 7922: 7916: 7915: 7910: 7904: 7903: 7898: 7892: 7891: 7886: 7880: 7879: 7874: 7868: 7867: 7862: 7856: 7855: 7850: 7844: 7843: 7838: 7832: 7831: 7826: 7820: 7819: 7814: 7808: 7807: 7802: 7801: 7799: 7795: 7788: 7784: 7781: 7777: 7774: 7770: 7767: 7763: 7760: 7756: 7753: 7749: 7746: 7742: 7739: 7735: 7732: 7728: 7725: 7721: 7718: 7714: 7711: 7707: 7704: 7700: 7697: 7693: 7690: 7686: 7683: 7679: 7676: 7672: 7671: 7669: 7667: 7663: 7656: 7652: 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5884: 5883: 5878: 5872: 5871: 5866: 5860: 5859: 5854: 5848: 5847: 5842: 5836: 5835: 5830: 5824: 5823: 5818: 5812: 5811: 5806: 5800: 5799: 5794: 5788: 5787: 5782: 5781: 5779: 5775: 5768: 5764: 5761: 5757: 5754: 5750: 5747: 5743: 5740: 5736: 5733: 5729: 5726: 5722: 5719: 5715: 5712: 5708: 5705: 5701: 5698: 5694: 5691: 5687: 5684: 5680: 5677: 5673: 5670: 5666: 5663: 5659: 5656: 5652: 5649: 5645: 5642: 5638: 5635: 5631: 5628: 5624: 5621: 5617: 5614: 5610: 5607: 5603: 5600: 5596: 5593: 5589: 5586: 5582: 5579: 5575: 5572: 5568: 5567: 5565: 5563: 5559: 5552: 5548: 5545: 5541: 5538: 5534: 5531: 5527: 5524: 5520: 5517: 5513: 5510: 5506: 5503: 5499: 5496: 5492: 5489: 5485: 5482: 5478: 5475: 5471: 5468: 5464: 5461: 5457: 5454: 5450: 5447: 5443: 5440: 5436: 5433: 5429: 5426: 5422: 5419: 5415: 5412: 5408: 5405: 5401: 5398: 5394: 5391: 5387: 5384: 5380: 5377: 5373: 5370: 5366: 5363: 5359: 5356: 5352: 5349: 5345: 5342: 5338: 5335: 5331: 5328: 5324: 5321: 5317: 5314: 5310: 5309: 5307: 5305: 5301: 5298: 5296: 5295:Literary arts 5292: 5285: 5281: 5278: 5274: 5271: 5267: 5264: 5260: 5257: 5253: 5247: 5246: 5240: 5239: 5237: 5236:Neoplasticism 5233: 5230: 5226: 5223: 5219: 5216: 5212: 5207: 5203: 5202: 5200: 5199:Functionalism 5196: 5193: 5189: 5184: 5180: 5176: 5175: 5169: 5165: 5164: 5158: 5157: 5155: 5154:Expressionism 5151: 5148: 5144: 5141: 5137: 5134: 5130: 5127: 5126:Ashcan School 5123: 5119: 5118: 5112: 5108: 5107: 5101: 5098: 5094: 5093: 5091: 5087: 5083: 5076: 5071: 5069: 5064: 5062: 5057: 5056: 5053: 5041: 5033: 5032: 5029: 5023: 5020: 5018: 5015: 5013: 5010: 5007: 5004: 5001: 4998: 4997: 4995: 4991: 4984: 4983: 4979: 4978: 4976: 4972: 4965: 4964: 4960: 4957: 4956: 4952: 4949: 4948: 4944: 4941: 4940: 4936: 4933: 4932: 4928: 4925: 4924: 4920: 4919: 4917: 4913: 4906: 4905: 4904:Number Pieces 4901: 4898: 4897: 4893: 4890: 4889: 4885: 4882: 4881: 4877: 4874: 4873: 4869: 4866: 4865: 4861: 4858: 4857: 4853: 4850: 4849: 4845: 4842: 4841: 4837: 4834: 4833: 4829: 4826: 4825: 4821: 4818: 4817: 4813: 4810: 4809: 4805: 4802: 4801: 4797: 4794: 4793: 4789: 4786: 4785: 4781: 4778: 4777: 4773: 4770: 4769: 4765: 4762: 4761: 4757: 4754: 4753: 4749: 4744: 4743: 4739: 4737: 4736: 4732: 4730: 4729: 4725: 4723: 4722: 4718: 4716: 4715: 4711: 4710: 4709: 4708: 4704: 4701: 4700: 4699:Constructions 4696: 4695: 4693: 4689: 4681: 4678: 4677: 4676: 4673: 4672: 4669: 4665: 4658: 4653: 4651: 4646: 4644: 4639: 4638: 4635: 4628: 4624: 4623: 4618: 4617: 4616: 4615: 4609: 4606: 4603: 4599: 4595: 4594: 4589: 4586: 4582: 4578: 4574: 4570: 4569: 4564: 4563: 4562: 4561: 4554: 4551: 4548: 4545: 4542: 4541: 4536: 4533: 4531: 4530: 4525: 4522: 4519: 4515: 4511: 4509: 4505: 4502: 4501: 4492: 4489: 4488: 4479: 4475: 4471: 4467: 4463: 4459: 4457: 4453: 4449: 4445: 4441: 4437: 4433: 4429: 4426: 4425: 4421: 4417: 4415: 4411: 4407: 4406: 4401: 4397: 4395: 4391: 4387: 4386: 4381: 4377: 4375: 4371: 4367: 4363: 4362: 4351: 4345: 4342: 4338: 4334: 4329: 4325: 4319: 4315: 4311: 4307: 4303: 4297: 4293: 4289: 4284: 4280: 4276: 4275: 4269: 4265: 4259: 4255: 4251: 4246: 4242: 4240:9780199832606 4236: 4232: 4227: 4223: 4217: 4213: 4209: 4205: 4201: 4200: 4194: 4190: 4188:0-521-56544-8 4184: 4180: 4176: 4172: 4167: 4163: 4157: 4153: 4149: 4144: 4140: 4134: 4130: 4125: 4121: 4119:0-289-70182-1 4115: 4111: 4107: 4102: 4098: 4092: 4088: 4084: 4080: 4075: 4071: 4065: 4061: 4057: 4053: 4048: 4044: 4042:0-19-516032-0 4038: 4034: 4030: 4026: 4022: 4018: 4016:9781315592831 4012: 4008: 4004: 4000: 3995: 3991: 3989:0-415-93792-2 3985: 3981: 3977: 3973: 3969: 3965: 3961: 3956: 3952: 3946: 3942: 3937: 3933: 3927: 3923: 3919: 3915: 3910: 3906: 3900: 3896: 3892: 3888: 3883: 3879: 3873: 3869: 3865: 3861: 3856: 3852: 3850:0-6972-4222-6 3846: 3842: 3837: 3833: 3831:3-7186-5642-6 3827: 3823: 3819: 3815: 3810: 3806: 3802: 3798: 3794: 3793: 3787: 3783: 3777: 3773: 3768: 3764: 3758: 3754: 3750: 3746: 3741: 3737: 3731: 3727: 3723: 3718: 3714: 3710: 3706: 3701: 3697: 3693: 3689: 3688: 3682: 3678: 3676:0-8160-4988-2 3672: 3669: 3665: 3660: 3656: 3650: 3646: 3642: 3638: 3633: 3629: 3627:0-226-04408-4 3623: 3619: 3615: 3610: 3605: 3599: 3595: 3591: 3590: 3585: 3584:Tyrrell, John 3581: 3576: 3572: 3570:9781032341491 3566: 3562: 3558: 3553: 3549: 3548: 3542: 3541: 3520: 3516: 3512: 3511:by John Cage" 3510: 3502: 3487: 3483: 3477: 3469: 3468: 3461: 3446: 3445: 3440: 3433: 3417: 3413: 3407: 3391: 3387: 3381: 3374: 3369: 3363: 3362:Kouvaras 2013 3358: 3343: 3339: 3333: 3327:, p. 227 3326: 3321: 3305: 3301: 3295: 3279: 3275: 3274: 3269: 3262: 3246: 3242: 3238: 3232: 3216: 3212: 3211: 3206: 3204: 3201:"John Cage's 3195: 3179: 3178:for Xmas ..." 3177: 3174:"John Cage's 3171: 3170:Goldacre, Ben 3165: 3149: 3148: 3143: 3137: 3122: 3121: 3113: 3106: 3090: 3086: 3085: 3080: 3074: 3058: 3054: 3053: 3048: 3042: 3026: 3022: 3018: 3011: 2995: 2993: 2990:"John Cage's 2985: 2969: 2968: 2963: 2957: 2955: 2938: 2937: 2932: 2926: 2910: 2906: 2905: 2904:The Telegraph 2900: 2893: 2891: 2883: 2878: 2871: 2866: 2859: 2854: 2847: 2842: 2835: 2830: 2823: 2818: 2811: 2806: 2799: 2794: 2792: 2785:, p. 210 2784: 2779: 2772: 2767: 2760: 2755: 2749:, p. 194 2748: 2743: 2736: 2731: 2725:, p. 80. 2724: 2719: 2713:, p. 83. 2712: 2707: 2705: 2703: 2695: 2690: 2683: 2677: 2675: 2673: 2666:, p. 108 2665: 2660: 2653: 2648: 2646: 2637: 2636: 2631: 2627: 2621: 2614: 2609: 2602: 2597: 2590: 2589:Lienhard 2003 2585: 2579:, p. 69. 2578: 2573: 2558: 2554: 2550: 2544: 2537: 2532: 2525: 2520: 2513: 2508: 2502:, p. 262 2501: 2496: 2494: 2486: 2481: 2475:, p. 261 2474: 2469: 2467: 2459: 2454: 2438: 2437: 2432: 2426: 2419: 2414: 2412: 2410: 2403:, p. 56. 2402: 2401:Taruskin 2009 2397: 2390: 2389:Taruskin 2009 2385: 2383: 2375: 2370: 2368: 2360: 2355: 2348: 2343: 2336: 2331: 2324: 2319: 2317: 2310: 2305: 2303: 2287: 2283: 2276: 2270:, p. 200 2269: 2264: 2258: 2253: 2251: 2249: 2241: 2236: 2230:, p. 71. 2229: 2224: 2217: 2212: 2204: 2200: 2196: 2190: 2183: 2182:Nicholls 2002 2178: 2172:, p. 220 2171: 2170:Nicholls 2002 2166: 2159: 2154: 2147: 2142: 2140: 2132: 2127: 2125: 2117: 2112: 2105: 2100: 2092: 2091: 2083: 2067: 2066: 2061: 2055: 2048: 2043: 2037: 2032: 2026:, p. 406 2025: 2020: 2013: 2008: 2006: 1998: 1993: 1987: 1982: 1966: 1962: 1961: 1956: 1952: 1951:Stein, Judith 1946: 1940:, p. 164 1939: 1934: 1932: 1925:, p. 162 1924: 1919: 1912: 1907: 1901: 1896: 1881: 1877: 1870: 1863: 1858: 1856: 1849:, p. 71. 1848: 1843: 1836: 1831: 1824: 1819: 1812: 1811:Thomsett 2012 1807: 1801:, p. 70. 1800: 1795: 1793: 1785: 1780: 1773: 1768: 1766: 1761: 1748: 1741: 1734: 1727: 1717: 1710: 1706: 1700: 1691: 1681: 1674: 1669: 1668:intrinsically 1665: 1659: 1650: 1646: 1630: 1626: 1622: 1618: 1615: 1611: 1607: 1603: 1599: 1595: 1591: 1587: 1583: 1579: 1576:In May 2019, 1575: 1572: 1571: 1566: 1563: 1559: 1554: 1550: 1547: 1543: 1539: 1538:Living Colour 1536: 1533: 1529: 1525: 1521: 1517: 1513: 1509: 1505: 1502: 1501: 1496: 1492: 1488: 1484: 1480: 1477: 1473: 1469: 1466: 1465: 1464: 1462: 1455: 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7936: 7924: 7912: 7900: 7888: 7876: 7866:The Firebird 7864: 7852: 7840: 7828: 7816: 7804: 7223: 7213:Citizen Kane 7211: 7202:Fallingwater 7192:Villa Savoye 7179: 7167: 7155: 7143: 7131: 7121:Black Square 7119: 7107: 7095: 7083: 7071: 7059: 7047: 6939:Le Corbusier 6867:Architecture 5880: 5868: 5856: 5846:Mrs Dalloway 5844: 5832: 5820: 5808: 5796: 5784: 5669:Lowell (Amy) 4980: 4961: 4953: 4945: 4937: 4929: 4921: 4902: 4894: 4886: 4878: 4870: 4862: 4854: 4846: 4838: 4830: 4822: 4814: 4806: 4798: 4791: 4790: 4782: 4774: 4766: 4758: 4750: 4740: 4733: 4726: 4719: 4712: 4705: 4697: 4621: 4620:John Cage's 4613: 4612: 4604:file format) 4592: 4591:John Cage's 4567: 4566:John Cage's 4559: 4558: 4538: 4537:from the UK 4527: 4526:from the UK 4507: 4461: 4447: 4444:Wolf, Werner 4431: 4422: 4403: 4399: 4383: 4379: 4365: 4332: 4313: 4287: 4279:the original 4273: 4249: 4230: 4197: 4170: 4147: 4128: 4110:Studio Vista 4105: 4078: 4051: 4028: 3998: 3979: 3963: 3940: 3913: 3886: 3859: 3840: 3813: 3796: 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Retrieved 3519:the original 3514: 3508: 3501: 3491:February 12, 3489:. Retrieved 3486:Mute Records 3485: 3476: 3466: 3460: 3450:December 17, 3448:. Retrieved 3442: 3432: 3422:February 12, 3420:. Retrieved 3416:The Guardian 3415: 3406: 3396:February 12, 3394:. Retrieved 3389: 3380: 3375:, p. 43 3368: 3357: 3347:February 10, 3345:. Retrieved 3341: 3332: 3320: 3310:December 19, 3308:. Retrieved 3294: 3284:December 13, 3282:. Retrieved 3273:The Guardian 3271: 3261: 3249:. Retrieved 3245:the original 3231: 3219:. Retrieved 3210:The Guardian 3208: 3202: 3194: 3182:. Retrieved 3175: 3164: 3152:. Retrieved 3147:Daily Record 3145: 3136: 3124:. Retrieved 3118: 3105: 3093:. Retrieved 3082: 3073: 3061:. Retrieved 3050: 3041: 3029:. Retrieved 3025:the original 3021:Yahoo! Music 3010: 2998:. Retrieved 2991: 2984: 2974:February 12, 2972:. Retrieved 2965: 2943:February 12, 2941:. Retrieved 2934: 2925: 2915:February 14, 2913:. Retrieved 2902: 2877: 2865: 2860:, p. 58 2858:Craenen 2014 2853: 2846:Bormann 2005 2841: 2829: 2824:, p. 80 2817: 2812:, p. 79 2805: 2798:Bormann 2005 2783:Bormann 2005 2778: 2766: 2761:, p. 75 2754: 2747:Bormann 2005 2742: 2737:, p. 74 2730: 2718: 2689: 2659: 2633: 2620: 2608: 2596: 2584: 2572: 2560:. Retrieved 2556: 2543: 2531: 2519: 2514:, p. 17 2507: 2500:Charles 1978 2487:, p. 69 2485:Charles 1978 2480: 2473:Charles 1978 2458:Harding 2013 2453: 2441:. Retrieved 2434: 2425: 2396: 2391:, p. 71 2376:, p. 17 2374:Hegarty 2007 2354: 2349:, p. 59 2342: 2335:Hegarty 2007 2330: 2289:. Retrieved 2285: 2275: 2268:Bormann 2005 2263: 2257:Solomon 2002 2235: 2223: 2218:, p. 8. 2211: 2203:the original 2189: 2177: 2165: 2160:, p. 42 2153: 2148:, p. 52 2133:, p. 75 2111: 2106:, p. 74 2099: 2088: 2082: 2072:February 11, 2070:. Retrieved 2063: 2054: 2049:, p. 60 2042: 2031: 2019: 2014:, p. 54 1992: 1981: 1969:. Retrieved 1965:the original 1958: 1945: 1918: 1906: 1895: 1885:February 28, 1883:. Retrieved 1879: 1869: 1842: 1835:Bormann 2005 1830: 1818: 1806: 1786:, p. 5. 1779: 1772:Solomon 2002 1746: 1740: 1732: 1726: 1716: 1708: 1704: 1699: 1690: 1680: 1672: 1667: 1663: 1658: 1649: 1594:Depeche Mode 1585: 1581: 1578:Mute Records 1568: 1557: 1552: 1541: 1532:The Guardian 1531: 1498: 1482: 1471: 1460: 1458: 1449: 1439: 1413: 1412:John Cage's 1411: 1388: 1384: 1381:The Guardian 1380: 1368: 1364:The Guardian 1362: 1359:Ben Goldacre 1353: 1348: 1320:The X Factor 1319: 1313: 1307: 1297: 1294: 1283: 1265: 1261:adding to it 1256: 1225: 1221:adding to it 1216: 1190:sound system 1181: 1177: 1173: 1171: 1166: 1159: 1155: 1153: 1148: 1136: 1132: 1128: 1124: 1122: 1117: 1110: 1102: 1090: 1086: 1084: 1080:Irwin Kremen 1071: 1051:Irwin Kremen 1048: 1018: 1014: 1008: 998: 995: 992:Of the score 978: 965: 961:adding to it 956: 927: 925: 920:Romantic Era 918:. Since the 911: 909: 882: 877: 876:put forward 865: 859: 850: 837:found object 824: 816: 814: 808: 804: 798: 792: 776: 761: 752: 750: 741: 736: 735: 725: 721: 718:Paul Hegarty 714: 701: 679: 677: 671: 665: 660: 643: 637: 632: 625: 607: 602: 577: 569: 562:chance music 559: 556:Chance music 549: 547: 543: 526: 518:Zen Buddhism 515: 510:Zen Buddhism 497:Zen Buddhism 480: 477:Harold Acton 474: 469: 457: 453: 449: 440:) (1897) by 437: 436:(in French: 433: 431: 425: 407: 398:related work 395: 372: 365: 359: 351: 347: 343: 342:(1951). The 339: 333: 327: 323: 319: 317: 311: 305: 299: 295: 289: 262: 257: 251: 247: 243: 239: 234: 233: 220: 208: 195: 187: 182: 181: 176: 173:Rauschenberg 165:chance music 161:Zen Buddhism 156: 149: 145: 144: 132:experimental 122: 121: 120: 29: 8283:Romanticism 8240:Remodernism 8121:Incoherents 7980:Avant-garde 7971:Armory Show 7578:Maeterlinck 7481:Villa-Lobos 7467:Szymanowski 7446:Stockhausen 7383:Lutosławski 7101:(1909–1910) 5901:Visual arts 5874:(1928–1940) 5790:(1913–1927) 5313:Apollinaire 5277:Synchromism 5117:Art Nouveau 4955:Empty Words 4883:(1985/1987) 4800:27' 10.554" 4520:sound file) 3251:October 28, 3221:October 28, 3184:October 28, 3154:November 7, 3126:October 28, 3095:October 28, 3063:October 28, 3031:October 28, 2836:, p. 3 2652:Harris 2005 2538:, p. 4 2443:February 9, 2359:Priest 2008 2347:Priest 2008 2146:Burgan 2003 1997:Allais 1897 1986:Busoni 1916 1938:Revill 1993 1923:Revill 1993 1520:BBC Radio 3 1468:Frank Zappa 1325:Matt Cradle 1290:The Planets 1160:4′33″ No. 2 1149:4′33″ No. 2 1028:with a 4/4 1023:treble clef 815:Above all, 684:David Tudor 622:circulation 597:sitting in 364:(1942) and 338:(1951) and 332:(1946–48), 275:The concept 242:(1962) and 229:Lacanianism 213:noise music 114:David Tudor 8336:Categories 8170:Maximalism 8105:Literature 7780:Wiesenthal 7682:Cunningham 7675:Balanchine 7655:Witkiewicz 7627:Strindberg 7613:Pirandello 7585:Mayakovsky 7460:Stravinsky 7432:Schoenberg 7244:Performing 7169:Metropolis 6960:Mendelsohn 6765:Rossellini 6758:Richardson 6569:Fassbinder 6555:Eisenstein 6492:Cassavetes 6248:Modigliani 6122:Goncharova 6108:Giacometti 5502:Dos Passos 5304:Literature 5263:Surrealism 5174:Die Brücke 5006:Xenia Cage 5000:Crete Cage 4974:Depictions 4872:Roaratorio 4832:Song Books 4808:Variations 4150:. Sydney: 3964:Humanities 3781:2264008555 3482:"STUMM433" 3276:. London. 3213:. London. 2834:Nyman 1974 2626:Paul Bloom 2436:Classic FM 2418:Fiero 1995 1971:October 8, 1452:media help 1337:Jon Morter 1280:Plagiarism 758:Schoenberg 732:Intentions 716:process". 485:Dave Tough 466:Yves Klein 460:(1919) by 446:Erik Satie 386:Precursors 270:Background 256:describes 110:Performers 8347:Durations 8219:Pulp noir 8177:Modernity 8042:Film noir 7766:St. Denis 7689:Diaghilev 7425:Schaeffer 7348:Hindemith 7320:Dutilleux 7292:Boulanger 7097:The Dance 6793:Tarkovsky 6786:Sternberg 6618:Hitchcock 6534:Dovzhenko 6450:Antonioni 6395:Stieglitz 6234:Metzinger 6185:Kokoschka 6164:Kandinsky 5578:Aldington 5571:Akhmatova 5488:Marinetti 5481:Mansfield 5432:Hemingway 5270:Symbolism 5089:Movements 5082:Modernism 4939:Notations 4907:(1987–92) 4899:(1987–91) 4896:Europeras 4867:(1977–90) 4843:(1974–75) 4811:(1958–67) 4771:(1946–48) 4745:(1939–52) 4702:(1939–41) 4664:John Cage 4602:RealAudio 4543:newspaper 4518:RealAudio 4003:Melbourne 3645:Paderborn 3561:Routledge 3373:Reed 2013 2524:Gann 2010 2512:Gann 2010 2240:Cage 1961 2216:Cage 1961 1757:Citations 1747:movements 1606:Goldfrapp 1487:New Waver 1286:Mike Batt 829:happening 704:Kyle Gann 668:John Cage 481:Cornelian 284:John Cage 136:John Cage 134:composer 128:modernist 89:Movements 45:John Cage 41:Modernist 8301:Category 7902:Fountain 7806:Don Juan 7745:Nijinsky 7641:Wedekind 7620:Piscator 7515:Anderson 7439:Scriabin 7355:Honegger 7009:Sullivan 6995:Saarinen 6988:Rietveld 6981:Niemeyer 6953:Melnikov 6883:Bunshaft 6814:Truffaut 6779:Sjöström 6723:Pudovkin 6695:Minnelli 6660:Kurosawa 6653:Kuleshov 6583:Flaherty 6409:Vuillard 6388:Steichen 6346:Rousseau 6311:Pissarro 6290:O'Keeffe 6255:Mondrian 6206:Malevich 6199:Magritte 6171:Kirchner 6115:van Gogh 6066:Doesburg 6045:Delaunay 6038:Delaunay 5961:Brâncuși 5947:Boccioni 5910:Painting 5760:Williams 5683:Mallarmé 5599:Cendrars 5509:Platonov 5467:Lawrence 5460:Koestler 5397:Flaubert 5390:Faulkner 5355:Bulgakov 5284:Tonalism 5245:De Stijl 5229:Lettrism 5215:Futurism 5106:Art Deco 5040:Category 5002:(mother) 4587:formats. 4540:Guardian 4529:Observer 4508:BBC News 4485:See also 4312:(2009). 4027:(2003). 3978:(2003). 3586:(eds.). 3278:Archived 3215:Archived 3089:Archived 3057:Archived 3000:March 1, 2909:Archived 2562:April 4, 2551:(1999). 2291:April 3, 2036:Bek 2001 2012:Liu 2017 1721:between. 1582:STUMM433 1524:dead air 1495:Covenant 1478:in 1993. 1389:X Factor 1194:feedback 1109:'s book 1011:notation 987:Versions 870:TED talk 862:Lacanian 778:Fountain 711:Analysis 566:notation 367:A Flower 356:ostinato 308:Muzak Co 97:Premiere 81:Duration 8357:Silence 7956:Related 7818:Ubu Roi 7773:Tamiris 7759:Sokolow 7738:Massine 7606:Osborne 7599:O'Neill 7592:O'Casey 7550:Chekhov 7536:Beckett 7522:Anouilh 7506:Theatre 7453:Strauss 7411:Russolo 7390:Milhaud 7369:Janáček 7341:Górecki 7334:Feldman 7313:Debussy 7306:Copland 7264:Antheil 7002:Steiner 6925:Johnson 6904:Guimard 6897:Gropius 6744:Resnais 6646:Kubrick 6576:Fellini 6562:Epstein 6548:Edwards 6513:Cocteau 6499:Chaplin 6471:Bresson 6464:Bergman 6443:Aldrich 6436:Akerman 6381:Soutine 6353:Schiele 6304:Picasso 6297:Picabia 6227:Matisse 6101:Gauguin 6073:Duchamp 6031:Kooning 6010:Claudel 6003:Chirico 5996:Chagall 5989:Cézanne 5982:Cassatt 5954:Bonnard 5940:Bellows 5933:Balthus 5810:Ulysses 5732:Stevens 5725:Seferis 5544:Unamuno 5383:Forster 5362:Chekhov 5327:Beckett 5256:Orphism 5222:Imagism 5206:Bauhaus 5192:Fauvism 5097:Acmeism 4993:Related 4923:Silence 3696:Leipzig 3342:Discogs 3180:Twitter 2635:ted.com 1880:Complex 1614:Erasure 1590:Laibach 847:Silence 841:Dadaist 835:-style 833:Duchamp 783:Dadaist 579:I Ching 410:fermata 348:Waiting 286:in 1988 263:Complex 217:Dadaist 201:harmony 140:silence 8312:Portal 7942:(1953) 7930:(1928) 7918:(1921) 7906:(1917) 7894:(1913) 7882:(1912) 7870:(1910) 7858:(1905) 7854:Salome 7846:(1902) 7834:(1899) 7822:(1896) 7810:(1888) 7787:Wigman 7717:Graham 7710:Fuller 7703:Fokine 7696:Duncan 7648:Wilder 7634:Toller 7571:Kaiser 7543:Brecht 7529:Artaud 7488:Webern 7474:Varèse 7404:Partch 7376:Ligeti 7299:Boulez 7271:Bartók 7229:(1943) 7217:(1941) 7205:(1936) 7195:(1931) 7185:(1929) 7173:(1927) 7161:(1925) 7149:(1923) 7137:(1920) 7125:(1915) 7113:(1912) 7089:(1907) 7077:(1889) 7065:(1887) 7053:(1886) 7030:Wright 7016:Tatlin 6974:Neutra 6876:Breuer 6842:Welles 6828:Vertov 6751:Renoir 6702:Murnau 6688:Marker 6681:Lupino 6639:Keaton 6625:Hubley 6611:Godard 6597:Fuller 6541:Dreyer 6520:Dassin 6478:Buñuel 6374:Sisley 6367:Signac 6360:Seurat 6332:Renoir 6150:Hopper 6052:Demuth 5975:Calder 5968:Braque 5919:Albers 5886:(1929) 5862:(1926) 5850:(1925) 5838:(1924) 5826:(1922) 5814:(1922) 5802:(1915) 5753:Valéry 5739:Thomas 5704:Pessoa 5648:George 5641:Elytis 5634:Éluard 5620:Desnos 5592:Cavafy 5562:Poetry 5523:Proust 5516:Porter 5418:Hamsun 5376:Döblin 5369:Conrad 5341:Breton 5320:Barnes 5140:Cubism 5008:(wife) 4985:(1993) 4966:(1983) 4958:(1979) 4950:(1973) 4942:(1969) 4934:(1968) 4926:(1961) 4891:(1986) 4875:(1979) 4859:(1978) 4851:(1976) 4835:(1970) 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