Point/Counterpoint: John Cage Studies with Arnold Schoenberg

Neff, Severine

doi:10.1080/07494467.2014.998414

Cited by 2 publications

(1 citation statement)

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“…James Tenney (1983Tenney ( /2015 As Goehr noted, Cage often emphasised the importance of his studies with Schoenberg (ca.1935-7). Whilst the impact of this experience for Cage was questioned in the 1990s (Hicks, 1990;Parsons Smith, 1995), its significanceprimarily for his earlier workis now more widely accepted (Bernstein, 2002;Ravenscroft, 2006;Neff, 2014). I aim to show that the logic of Schoenberg's method provided a model that he was able to adapt, and that understood in these terms can be grasped as an evolving project into his later practice.…”

Section: The Work-concept and Its Limitsmentioning

confidence: 94%

Heiner Goebbels and Curatorial Composing after Cage

McKeon

2022

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This Element introduces the notion of curatorial composing to account for certain musical practices that emerged from the 1960s as the founding concepts of music as an art – instituted in the modern era – were systematically dismantled. It raises the key question of how musical value and authority might be produced without recourse to an external principle, origin, transcendental framework, or other foundation. It argues that these practices do not dismiss the issue of value or simply relativise it but shift the paradigm to a curatorial concern for composing public encounters and staging events. The Element shows that Lydia Goehr's elaboration of the work-concept provides a framework that was transformed by John Cage in his work from 0'00” (1962) onwards. The Element then introduces Heiner Goebbels' practice and focus on his role as Artistic Director of the Ruhrtriennale (2012–14), which it argues was an extension of his curatorial composing.

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