Abstract

Despite John Cage’s well-recounted distance from Stravinsky, the composer of Le Sacre du printemps used a systematic methodology to generate empty structures when composing his 1913 masterpiece. Both composers’ connection to dance accounts for this shared interest in a super-sensorial platform of counts upon which diverse materials can be positioned.

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Additional Information

ISSN
1531-4715
Print ISSN
1054-2043
Pages
pp. 92-102
Launched on MUSE
2015-05-30
Open Access
No
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