Triple Entendre: Furniture Music, Muzak, Muzak-Plus

Notes

Notes Preface 1. Haskins, “Composition (Not Philosophy)” (1996), 216. 2. Herwitz, “The Security of the Obvious” (1988), 785. 3. See the References section for full bibliographical citations. 4. See in this regard Sundstrom, Work Places: The Psychology of the Physical Environment in Offices and Factories (1986). 5. See the References section for full bibliographical citations. 6. Armengaud, ErikSatie (2009),620.“. . .uneréflexionsurl’utilisationdelamusique pour améliorer l’environnement de l’homme et sur la fonctionnalité de la musique.” 7. Ibid., 622. “Satie était évidemment prophétique de toutes les musiques de marketing , capables de stimuler la force de travail de l’ouvrier comme le porte-monnaie du consommateur.” 8. Ibid., 625. (“À bas la musique, vive les sons qui repeignent le monde!”) 9. Kahn, “John Cage: Silence and Silencing” (1997), 556–98. The argument was subsequently integrated to the author’s Noise, Water, Meat: A History of Sound in the Arts (1999). 10. Kahn, “John Cage: Silence and Silencing” (1997), 579. 11. Silverman, Begin Again (2010), 100. 12. Haskins, “Composition (Not Philosophy)” (1996), 217. 13. Bruce Nauman, “Bruce Nauman: The Center of Yourself,” (1975), interview with Jan Butterfield, in Please Pay Attention Please: Bruce Nauman’s Words, Writings and Interviews, edited by Janet Kraynak (Cambridge, Mass.: MIT Press), 174. 14. Pritchett, “What Silence Taught John Cage,” in Julia Robinson (curator), The Anarchy of Silence: John Cage and Experimental Art (2009), 176. Introduction 1. Edgard Varèse’s answer to John Cage’s question about what the music of the future may be in “Possibilities: Edgard Varèse and Alexei Haeiff Questioned by 8 Composers,” Possibilities 1 (Winter 1947/48): 97. 136 notes to introduction 2. Cage, introduction to “Rhythm Etc,” A Year from Monday (1967), 120. “Rhythm Etc,” written in 1961–62, was first published in Gyorgy Kepes, ed., Module, Proportion , Symmetry, Rhythm (New York: George Braziller, 1966) and reprinted with an introduction by Cage, A Year from Monday (1967). Subsequent references to this article are from A Year from Monday. 3. For Cage’s memory of the commission, see Cage, his introduction to “Rhythm Etc,” ibid. 4. On this matter see Revill, The Roaring Silence—John Cage: A Life (1992), 199. 5. Ibid. 6. Cage, “Rhythm Etc,” in Cage, A Year from Monday, 125. 7. Cage, “Diary: How to Improve the World (You Will Only Make Matters Worse) Continued 1973–1982,” in Cage, X: Writings ’79–’82 (1983), 165. 8. Ross Davies, “Muzak’s Stephen Gottlieb,” The New York Times, December 15, 1980, p. 19. 9. Jane Jarvis, “Notes on Muzak,” in Hitchcock, ed., The Phonograph and Our Musical Life (1977), 13. 10. Roger Reynolds, in response to Jane Jarvis, “Notes on Muzak,” in Hitchcock, ed., The Phonograph and Our Musical Life (1977), 16. 11. Satie, Correspondance Presque complète, 396. 12. Mellers, “Erik Satie and the ‘Problem’ of Contemporary Music” (1942), 223. 13. Klein, “Twentieth Century Analysis” (1966), 26. 14. Ibid. 15. Joan Peyser, “Commentary: ‘The Phonograph and Our Musical Life,’” The Musical Quarterly 64, no. 2 (April 1978): 253. 16. See Shlomowitz, “Cage’s Place in the Reception of Satie,” online publication. 17. In 1965, Cage mentioned that “some years ago I gave my collection of Satie to [the pianist] Maro Ajemian, who shares it with other musicians.” Letter to Arthur Hill, May 21, 1965, Collection Northwestern University Library. 18. Of course, Cage’s piece Furniture music etcetera (1980) is a direct reference to Satie’s concept and quotes the latter’s piece of furniture music Tenture de Cabinet Prefectoral (1923). 19. See Kostelanetz, ed., Conversing with Cage, 48. A letter from John Cage to the French composer Robert Caby (1905–1992), sent on September 28, 1949, testifies of Cage’s interest in Satie’s unpublished works [“œuvres inédites”] and notably musique d’ameublement. See Imec, Fonds Satie, “Correspondances autour de Satie,” SAT 5.12. 20. As Cage writes to Virgil Thompson in 1949, “Three important works of Satie still remain utterly hidden: Le Medecin Malgré Lui (the dialogue you often mentioned ); La Musique d’Ameublement (which several say never existed, but yesterday at the Conservatoire I saw a Notebook for it with all the measure[s] marked out and the instrumentation but no notes), and Paul et Virginie.” Letter to Virgil Thomson [July or August 1949] from Paris, France. Collection Yale University Library. 21. See Kostelanetz, ed., Conversing with Cage, 49. notes to introduction 137 22. Ibid. See also Cage, “The First Meeting of...