Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

Dissertation: Hamburg University, 2008 / Includes bibliographical references.

Dissertation: Hamburg University, 2008 / Includes bibliographical references.

Zugl.: Hamburg, University, Diss., 2008.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-06-12T12:41:55Z No. of bitstreams: 1 Gustavo Ferreira Simões.pdf: 8116368 bytes, checksum: 0439c61cff6b118ec6caa1d0492422a2 (MD5) / Made available in DSpace on 2017-06-12T12:41:55Z (GMT). No. of bitstreams: 1 Gustavo Ferreira Simões.pdf: 8116368 bytes, checksum: 0439c61cff6b118ec6caa1d0492422a2 (MD5) Previous issue date: 2017-06-02 / Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq / In 1988, John Cage invented Anarchy, an experimental-writing book in which he praised the lives of anarchist women and men who had influence his anarchist ethicalaesthetical trajectory from mid-1940s to the 1990s. This influence was explicit until the last of his works, entitled “number pieces” (1987-1990), in which he presented what he called the “anarchical harmony”. During the 1940s, John Cage, by then an already famous artist after his “prepared piano”, started experiencing anarchism as a life practice in contact with artists and militants in the Black Mountain College and with The Living Theatre troupe in New York. In 1952, his piece 4’33” appeared as an anarchist-oriented direct action against the musical representations of sounds and in favour of the incorporation of noises excluded from the concert rooms. The following decades, living alongside artists and anarchists in the country side location of Stonypoint, Cage started publishing ‘how to improve the world (you only make matters worse), a diary kept from 1965 to 1982 in which he engaged with Henry David Thoreau’s writings, and antimilitary and ecological concerns. Although absent of almost all biographies and studies on Cage’s work, the artist experimented the anarchism in a fashion Edson Passetti calls “pathway heterotopies”. Beyond the book Anarchy and other explicit antiauthoritarian works, Cage lively experienced anarchy in the singular way he faced his existence, making out of the everyday life an invention in which he affirmed an otherwise path. According to Foucault, the cynical philosophers valued that notion to distinguish their scandalous lives from the other ones that reify regular values and conventions. This dissertation followed this path by establishing the reverberations between John Cage and the contemporary anarchist attitudes / Em 1988, John Cage inventou Anarchy, livro em que, a partir de escritos experimentais, valorizou as vidas de mulheres e homens anarquistas que marcaram seu percurso ético-estético libertário desde meados dos anos 1940 até a década de 1990, quando em seus últimos trabalhos, “number pieces” (1987-1992), apresentou o que denominou “harmonia anárquica”. Foi a partir da coexistência com artistas e militantes na Black Mountain College, no final da década de 1940, assim como em Nova York com o The Living Theatre (TLT), que o artista já conhecido por seu corajoso “piano preparado” passou a elaborar o anarquismo como prática de vida. “4’33” (1952), ação direta contra a representação musical dos sons e em favor da incorporação dos ruídos excluídos pelas salas de concerto, irrompeu empolgada por essa aproximação libertária. Nas décadas seguintes, vivendo ao lado de artistas e anarquistas, afastado da cidade, em Stonypoint, iniciou a publicação de how to improve the world (you only make matters worse) (1965-1982), diário mantido por mais de quinze anos e no qual apresentou a lida com os escritos de Henry David Thoreau, preocupações antimilitares e ecológicas. Apesar de quase ausente das biografias e estudos sobre o trabalho do artista, John Cage experimentou o anarquismo como o que Edson Passetti definiu heterotopias de percurso. Assim, para além de Anarchy e de obras nitidamente antiautoritárias, o artista realizou a anarquia na maneira própria de levar adiante a existência, fazendo da vida também uma invenção, afirmando um caminho outro, noção valorizada pelos filósofos cínicos, segundo Michel Foucault, para diferenciar o traço de vidas escandalosas daquelas que reiteram convenções e valores usuais. Foi este o caminho que esta tese acompanhou, estabelecendo reverberações de John Cage em atitudes anarquistas contemporâneas

Texte remanié de: Dissertation--Philosophische Fakultät III--Berlin--Humboldt-Universität, 2000. / Bibliogr. p. 275-[294].

When John Cage invented the prepared piano in 1940, he created a sound world and body of music unlike anything heard before. The innovative music he wrote for prepared piano requires a completely new approach to performance, and expands our understanding of the piano's capabilities. This study will examine the main prepared piano works by John Cage, with a detailed analysis of the Sonatas and Interludes. Cage's Table of Preparations will be examined to establish an aesthetic rationale for this preparation. Different modes of listening will be explored through a selection of the Sonatas and Interludes recorded in three different technological systems - conventional AB 2.0, surround 5.1, and Disk Jecklin. The latter allows for a true "surround sound" experience as Cage himself might have heard his own pieces. Included is a compact disc of selections from Sonatas and Interludes recorded in each of the three technological systems. / by Inara Ferreira. / Thesis (M.A.)--Florida Atlantic University, 2010. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2010. Mode of access: World Wide Web.

Thesis (M.A.)--York University, 2000. Graduate Programme in Music Composition. / Typescript. Includes bibliographical references (leaves [39-41] of unnumbered sequence at the end. Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pMQ59209.

Thesis (D.M.A.)--University of North Texas, 2004. / System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Mar. 25, 2002, Mar. 10, 2003, Oct. 6, 2003, and Oct. 18, 2004. Includes bibliographical references (p. 54-55).

Orientador: Denise Hortensia Lopes Garcia / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-04T00:43:18Z (GMT). No. of bitstreams: 1 Costa_ValerioFielda_M.pdf: 24512864 bytes, checksum: 59ca8f314d301ff0c51f333fab0e42d6 (MD5) Previous issue date: 2004 / Resumo: Na presente pesquisa foi estudada a obra para piano preparado do compositor norte-americano John Cage (1912-1992), composta durante a década de 40 até 1952, com o intuito de desvendar as implicações sonoras da fixação de objetos entre as cordas do piano no processo de transformação dos sons do instrumento. Para tal foi realizado estudo biográfico do compositor referente ao período de composição das obras estudadas, preparação dessas obras em pianos diversos, realização de comentários sobre resultados sonoros das preparações caso a caso, desenvolvimento de método de preparação de pianos não danoso ao instrumento, além da composição de duas peças para piano preparado ilustrativas dos processos estudados / Mestrado / Musica / Mestre em Música