source file: mills2.txt Date: Wed, 4 Dec 1996 09:52:18 -0800 Subject: Learn to read! From: Daniel Wolf <106232.3266@compuserve.com> In _Silence_, Cage is clear: he initially rejected the term _experimental_ music - which was applied by others to his work, and used frequently, for example, in the Columbia-Princeton studio, by Varese, in the Paris Radio Studio and elsewhere - precisely for its association with scientific method. Cage was quite familiar with the language of science, having edited technical publication through the second war and very likely also through his father, a respected engineer and inventor. Cage later accepted the term with a limited definition clearly appropriate to his musical work, and clearly distanced from scientific work. Mr. MacLaren, please learn to _read_ before making criticisms without foundation in fact. I have not made a study of the term´s history, but I do recall several mentions prior to Hiller. For example, the famous Paul Whiteman concert where Gershwin´s _Rhapsody in Blue_ was premiered was titled **An Experiment in Modern Music**! Let´s get back to tuning... tonality anyone? Received: from ns.ezh.nl [137.174.112.59] by vbv40.ezh.nl with SMTP-OpenVMS via TCP/IP; Fri, 6 Dec 1996 03:15 +0100 Received: by ns.ezh.nl; (5.65v3.2/1.3/10May95) id AA22112; Thu, 5 Dec 1996 11:05:53 +0100 Received: from eartha.mills.edu by ns (smtpxd); id XA17230 Received: from by eartha.mills.edu via SMTP (940816.SGI.8.6.9/930416.SGI) for id CAA18191; Thu, 5 Dec 1996 02:05:50 -0800 Date: Thu, 5 Dec 1996 02:05:50 -0800 Message-Id: <961205100103_71670.2576_HHB21-11@CompuServe.COM> Errors-To: madole@ella.mills.edu Reply-To: tuning@eartha.mills.edu Originator: tuning@eartha.mills.edu Sender: tuning@eartha.mills.edu