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More than Meets the Ear: An Account of the Shared (Ac)counts of Cage and Stravinsky
- TDR: The Drama Review
- The MIT Press
- Volume 59, Number 2, Summer 2015 (T226)
- pp. 92-102
- Article
- Additional Information
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.