Protest, progress, and (Im)possible Music

William Brooks

doi:10.1080/07494467.2010.587318

Protest, progress, and (Im)possible Music

William Brooks

Music

Research output: Contribution to journal › Article › peer-review

Abstract

A contextual analysis of three compositions—One anti-personnel type-CBU bomb . . . by Philip Corner, ‘Majority’ by Charles Ives, and Lecture on the Weather by John
Cage—reveals that each is ‘impossible’. Each manifests its impossibility in a different domain: moral, physical and perceptual. But the three scores were each resituated by comments made by the composers, independent of the scores; and these comments make these ‘experimental’ works viable as expressions of aspiration rather than mere achievements.

Original language	English
Pages (from-to)	405-411
Number of pages	7
Journal	Contemporary Music Review
Volume	29
Issue number	4
DOIs	https://doi.org/10.1080/07494467.2010.587318
Publication status	Published - Aug 2010

Bibliographical note

Keywords

Cage
Ives
Corner
Experimentalism
American Music
Analysis
Political Music

Access to Document

10.1080/07494467.2010.587318

http://www.tandfonline.com/doi/full/10.1080/07494467.2010.587318

Cite this

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Protest, progress, and (Im)possible Music

Abstract

Bibliographical note

Keywords

Access to Document

Other files and links

Society for American Music

Ives, Cage, and Berio in the 1960s

Orpheus Instituut 20 Years

Cite this

Protest, progress, and (Im)possible Music

Abstract

Bibliographical note

Keywords

Access to Document

Other files and links

Activities

Society for American Music

Ives, Cage, and Berio in the 1960s

Orpheus Instituut 20 Years

Cite this