tag:blogger.com,1999:blog-8060605.post4016803857131204677..comments2008-05-08T07:14:26.352+01:00Pliablenoreply@blogger.comBlogger1125tag:blogger.com,1999:blog-8060605.post-33234535951368942372008-05-08T02:39:00.000+01:002008-05-08T02:39:00.000+01:00<I>He was asked, "Mr. Carter, what do you think of John Cage?" and replied "I don't think of John Cage."'</I><BR/><BR/>Hahaha, excellent.<BR/><BR/>Luigi Nono also didn't think highly of Cage's methods either: (from <A HREF="http://music.guardian.co.uk/classical/story/0,,2179407,00.html" REL="nofollow">this article):</A><BR/><BR/><I>The collegiality of the Darmstadt School was short-lived, however. Nono could not tolerate Boulez and Stockhausen's sympathy for the work of John Cage, whose music was the most controversial feature of the 1958 Darmstadt summer school. The following year, Nono denounced Cage's uses of chance and indeterminacy in making compositional decisions as "spiritual suicide". Cage believed that every sound could become music; Nono took the Marxist view that it was the composer's responsibility to recognise that every sound was politically charged by its historical associations.</I><BR/><BR/>I'm certainly no fan of Cage's ideas or his music, but in this case, I'd say: Cage 1, Nono 0.henryhollandhttp://henryholland.livejournal.com/noreply@blogger.com