More than Meets the Ear: An Account of the Shared (Ac)counts of Cage and Stravinsky
Kay Festa · TDR/The Drama Review · 2015
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.