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"Available to Our Ears": John Cage a...

Green, John Michael.

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"Available to Our Ears": John Cage and Broadcast Media.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	"Available to Our Ears": John Cage and Broadcast Media./
作者:	Green, John Michael.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2020,
面頁冊數:	190 p.
附註:	Source: Dissertations Abstracts International, Volume: 82-03, Section: A.
Contained By:	Dissertations Abstracts International82-03A.
標題:	Music history. -
電子資源:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28028275
ISBN:	9798672123318

"Available to Our Ears": John Cage and Broadcast Media.
Green, John Michael.

"Available to Our Ears": John Cage and Broadcast Media. - Ann Arbor : ProQuest Dissertations & Theses, 2020 - 190 p.

Source: Dissertations Abstracts International, Volume: 82-03, Section: A.

Thesis (Ph.D.)--University of Rochester, 2020.

This item must not be sold to any third party vendors.

In a 1969 interview with Don Finegan and others, composer John Cage voiced his disdain for electronic broadcast forms, declaring, "I don't keep any records" and "I don't even bother looking at the television anymore. I don't ever listen to the radio. You could say, perhaps, that I'm not a proper member of the twentieth-century society." Despite this attitude, Cage composed for and appeared on various forms of broadcast media throughout his career. In this dissertation, I argue that for Cage, broadcast media were another way for him to engage with and create experiences of indeterminacy. Radio and television presented situations beyond composerly control and their necessarily technology-dependent nature meant embracing mistakes as a kind of unpredictability. Broadcast also satisfied the kind of human coming together that Cage associated with music while media, namely radio and television, provided a kind of abstract space on the airwaves for his musical Happenings.I have structured the dissertation as a series of four case studies, presented in chronological order, which examine performances that included Cage himself. These case studies demonstrate that Cage's broadcast works are as significant as other more well-known or discussed pieces in tracing shifts in his output. I analyze these performances as documented through audio or video recording. In addition, I contextualize these productions with unpublished archival correspondence and other archival material such as press clippings. I also refer to Cage's scores, in both published and manuscript form, to fully appreciate the insights of Cage's work on broadcast media. Chapter 1 considers one of Cage's earliest compositions intended for broadcast media: The City Wears a Slouch Hat and argues that Cage's foregrounding of sound effect and noise upset listeners' expectations of how sound should be used in a radio drama and that Cage's narrative of the work's reception simplified aesthetic and geographic differences. Chapter 2 features Cage's appearance on a network television game show to perform his composition for solo television performer, Water Walk, and argues that by understanding the context of U.S. postwar television, we are able to view Cage's performance as a representation of the musical possibilities of a white, middle-class domestic space-a space distinctly shaped by the very medium on which Cage was appearing. Chapter 3 examines Cage's Roaratorio: An Irish Circus on Finnegans Wake that premiered on various European national radio stations and was the culmination of an undertaking that encompassed many individuals and institutions. Using archival correspondence, I argue that gathering these materials depended not only on Cage's network of friends and acquaintances, both personal and within institutions, but also on a wider awareness of his compositions and philosophy. Chapter 4 considers Cage's performance on Nam June Paik's 1984 satellite television broadcast, Good Morning, Mr. Orwell and argues that this fundraising depended on Cage's fame and the security of his financial position and that the satellite show's production and performance were enabled by Cage's roles both behind and on the screen. Finally, the Epilogue considers contemporary access to these pieces and performances. As digital access to these performances increase, I suggest that Cage's broadcast works will become increasingly influential in determining the popularity of his compositions. By further contextualizing the role of broadcast in Cage's creative practice, we are reminded that it was not an auxiliary aspect of his output, but one that he embraced at each stage of his career.

ISBN: 9798672123318Subjects--Topical Terms:

3342382
Music history.
Subjects--Index Terms:

Broadcast

"Available to Our Ears": John Cage and Broadcast Media.
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520 $a In a 1969 interview with Don Finegan and others, composer John Cage voiced his disdain for electronic broadcast forms, declaring, "I don't keep any records" and "I don't even bother looking at the television anymore. I don't ever listen to the radio. You could say, perhaps, that I'm not a proper member of the twentieth-century society." Despite this attitude, Cage composed for and appeared on various forms of broadcast media throughout his career. In this dissertation, I argue that for Cage, broadcast media were another way for him to engage with and create experiences of indeterminacy. Radio and television presented situations beyond composerly control and their necessarily technology-dependent nature meant embracing mistakes as a kind of unpredictability. Broadcast also satisfied the kind of human coming together that Cage associated with music while media, namely radio and television, provided a kind of abstract space on the airwaves for his musical Happenings.I have structured the dissertation as a series of four case studies, presented in chronological order, which examine performances that included Cage himself. These case studies demonstrate that Cage's broadcast works are as significant as other more well-known or discussed pieces in tracing shifts in his output. I analyze these performances as documented through audio or video recording. In addition, I contextualize these productions with unpublished archival correspondence and other archival material such as press clippings. I also refer to Cage's scores, in both published and manuscript form, to fully appreciate the insights of Cage's work on broadcast media. Chapter 1 considers one of Cage's earliest compositions intended for broadcast media: The City Wears a Slouch Hat and argues that Cage's foregrounding of sound effect and noise upset listeners' expectations of how sound should be used in a radio drama and that Cage's narrative of the work's reception simplified aesthetic and geographic differences. Chapter 2 features Cage's appearance on a network television game show to perform his composition for solo television performer, Water Walk, and argues that by understanding the context of U.S. postwar television, we are able to view Cage's performance as a representation of the musical possibilities of a white, middle-class domestic space-a space distinctly shaped by the very medium on which Cage was appearing. Chapter 3 examines Cage's Roaratorio: An Irish Circus on Finnegans Wake that premiered on various European national radio stations and was the culmination of an undertaking that encompassed many individuals and institutions. Using archival correspondence, I argue that gathering these materials depended not only on Cage's network of friends and acquaintances, both personal and within institutions, but also on a wider awareness of his compositions and philosophy. Chapter 4 considers Cage's performance on Nam June Paik's 1984 satellite television broadcast, Good Morning, Mr. Orwell and argues that this fundraising depended on Cage's fame and the security of his financial position and that the satellite show's production and performance were enabled by Cage's roles both behind and on the screen. Finally, the Epilogue considers contemporary access to these pieces and performances. As digital access to these performances increase, I suggest that Cage's broadcast works will become increasingly influential in determining the popularity of his compositions. By further contextualizing the role of broadcast in Cage's creative practice, we are reminded that it was not an auxiliary aspect of his output, but one that he embraced at each stage of his career.
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