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Subject: Scholarly discussion of the music of John Cage.

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[silence] Re: Re: Music cirsus vs Music for a house


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  • From: Rob Haskins <>
  • To: Clemens Gresser <>
  • Cc: Silence <>
  • Subject: [silence] Re: Re: Music cirsus vs Music for a house
  • Date: Mon, 14 Feb 2011 12:20:51 -0500
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Actually, I'm pretty sure that Cage made a distinction, perhaps in one of his letters, between a Musicircus and a House Full of Music, the latter indicating an event in which different ensembles played in different rooms. (I thought he described this in  Junkerman's article, "nEw / roRms of living together" (in John Cage: Composed in America) but I'm not right.  Presumably the source I'm dimly remembering postdated that event.

Rob

On Mon, Feb 14, 2011 at 2:59 AM, Clemens Gresser <> wrote:
2011/2/14 Dionisis Boukouvalas <>:
> If there are many rooms, could one still call it "music circus", or should
> one call it "music for a house"?

I always had thought of  "A house full of music" (1982) as a
realisation of the "Musicircus" (1968) concept... This is also what
André Chaudron
states at http://www.johncage.info/workscage/housefullofmusic.html
(i.e. relating to sources by David Revill: The Roaring Silence; Paul
van Emmerik: Thema's en Variaties). See also "Musicircus for Children"
(for an online description:
http://www.johncage.info/workscage/musicircuschildren.html).

I think this shows Cage as a pragmatic (not always, but definitely
here): trying to come up with a concept for a large-scale performance
which will involve a high number of people. Whereas the first
Musicircus in the 1960s could make use of the vast space available in
Bremen he needed to use a building with many rooms and a more
"vertical space", on many levels. Maybe one could see it as an
"Apartment House 1982" (as opposed to "Apartment House 1776") - just
that sounds very more divided throughout
an actual building?

Sorry if that doesn't make any sense - I just only had my breakfast... :-)
Clemens

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