John Cage Chronological Catalog of Music

compiled by Larry Solomon © 1998, 2002

This catalog may be printed and distributed freely and owes its origin to Josh Ronsen's 1996 list. The new catalog has many corrections, additions, and modifications, thereby containing an abundance of new information, including descriptions of the nature and content of the compositions and scores, information on rhythmic structure, timing of works, the C.F. Peters catalog numbers, names of collaborators, and recording availability. I have also divided Cage's work into five periods and described their content. Internet links are provided for more information.

Go to Cage Alphanumerical Catalog

Useful Net Links on John Cage:

C.F. Peters catalog
Cage Discography
Cage Autobiographical Statement, Silence Archives, and Discography
The John Cage Silence Mailing List
with other links
John Cage Guestbook

Key to Symbols

? = location of this score is unknown
pi = paper imperfections
prepno = prepared piano
* = Cage's notes on the score are in R. Kostelanetz, John Cage: Writer, "Notes on Compositions"
[ ] = timing and Peters edition number; author of text/score used in work
{ } = name of dancer written for, or person dedicated to
( ) = notes about composition; numbers refer to rhythmic structure
||name|| = collaborative composition with named collaborator
! = compact disc available (1998)
@ = commercial recording made

John Cage: born 5 September 1912, Los Angeles, CA died 12 August 1992, New York, NY (stroke)

1. Apprenticeship Period (1932-1938)

During this period Cage studied with Richard Buhlig (1932-33), Henry Cowell and Adolph Weiss (1933-34), and Arnold Schoenberg (1935-36). He used a twelve tone row in Sonata for Clarinet (1933) and developed a 25 note aggregate technique of composition, used in Sonata for Two Voices (1933). The works from this period derive from the Western compositional tradition as Cage sought tools for his compositional technique. Cage himself divided this period into the following: 1. (1933-34) chromatic composition keeping note repetitions as far apart as possible; 2. (1935-38) composition with fixed rhythmic patterns or tone-row fragments.


1932: First Chapter of Ecclesiastes. piano, may be incomplete

1932: Greek Ode. voice and piano [Aeschylus, The Persians], 7 parts: Strophe Alpha, Strophe Beta, Antistrophe Beta, Strophe Gamma, Antistrophe Gamma, Epode

1932: Piano Etudes.

1933: Sonata For Clarinet. 3 movements: 1. Vivace, 2. Lento, 3. Vivace; (uses 12-tone row and row fragments; last mvmt is a retrograde of first)[6' 6753] @!

1933: Solo with Obligato Accompaniment of Two Voices in Canon, and 6 Short Inventions...(uses 25-note non-repeating pitch aggregate) [15' 6752]

1933: Sonata For Two Voices. 3 movements: 1. Allegro, 2. Fugato, 3. Rondo; (for 2 or more instruments; uses 25-note non-repeating pitch aggregate with palindromes) {Richard Buhlig} [6' 6754] @

1933: Three Songs for Voice and Piano. [Gertrude Stein] 1. 20 Years After 2. Is It as It Was 3. At East and Ingredients [67417]

1933: Three Easy Pieces. piano; 1. Round, 2. Duo, 3. Infinite Canon

1934: Allemande. ? clarinet

1934: Composition For 3 Voices. (uses 25-note non-repeating pitch aggregate) [4' 6704]

1934: Counterpoint. ? piano

1934: Duet for Two Flutes. ?

1934: Music for Xenia. ? piano

1934: Six Short Inventions. trios of flute, clar, trp, vln, 2 vlas, cello (revised 1958, uses 25-note non-repeating pitch aggregate) [7' 6749] @

1935: Quartet. for any percussion (isorhythmic patterns; first percussion work) [5' 6789] @!

1935: Quest. piano (only second movement exists) [2' 66757] !

1935: Three Pieces for Flute Duet. 1. Allegro, 2. Andante Cantabile, 3. Grave adagio; (chromatic counterpoint) [6' 6761]

1935: Two Pieces for Piano. [4' 6813] @

1936: String Quartet. ?

1936: Trio. 3 percussion; 1. Allegro, 2. March, 3. Waltz (waltz used in Amores (1943) (fixed rhythms) [12' 6763]

2. Romantic Period (1938-1950)

Works from this period have evocative, romantic titles, like "Daughters of the Lonesome Isle", "The Wonderful Widow of Eighteen Springs", "Mysterious Adventure", and "The Perilous Night". Cage was still involved with music as expression and communication, and in composing ("controlling") sounds. During this period Cage worked with various dancers and dance groups and wrote and performed music for them. He experimented with the correlation of music with dance and was concerned with establishing a structural relation between them. In some works the dance was choreographed first and the music was added later (see notes); in others the music was written first. The dance pieces led to percussion music and the invention of the prepared piano; many works from this period feature this new instrument. He also explored new sounds, incorporating noise into music.

Cage conducted pioneering experiments with electronic music and other new (especially percussion) instruments. He developed a method of composition that subjugated harmony and emphasized rhythmic structure, through the use of squares and square roots that determined the organization of both small and large parts. These structures are self-similar and have the proportional relationships of Golden Sections. Near the end of this period he questioned the traditional Western reasons for making music and searched for a "better" reason, immersing himself in philosophies of East (Hindu [Coomaraswamy] and Zen [Suzuki]) and West (Meister Eckhart).

Cage classified this period in the following categories: (1939-1956) composition within rhythmic structures (the whole having as many parts as each unit has small parts, and these, large and small, in the same proportion); (1938-1951) intentionally expressive composition.


1938: Five Songs for Contralto. vc & pno [Cummings] (unorthodox 12-tone techniques) 1. Little 4-Paws, 2. Little Christmas Tree 3. In Just- 4. Hist Whist 5.Tumbling Hair [12' 6710] @!

1938: Metamorphosis. piano (12-tone row fragments) [15' 6723] @

1938: Music for an Aquatic Ballet. ? percussion

1938: Music for Wind Instruments. 1.Trio: fl, cl & bsn, 2. Duet: oboe and cornet, 3.Quintet: fl, ob, cl, cornet & bsn (12-tone row fragments without variation) [8' 6738] @!

1939: First Construction (in Metal). percussion sextet (rhythm: 16x16: 4,3,2,3,4) [9' 6709] @!

1939: Ho to AA. ? voice

1939: Imaginary Landscape No.1. percussion, muted piano, record player (4x15: 5,5,5) [6' 6716] @!

1939: Marriage at the Eiffel Tower. (incidental music) 2 piano, percussion orchestra; Contents: You are on the first platform of the Eiffel Tower, Wedding March: Ruubbish Music, Everybody is deeeply moved, Bravo (after Trouville Bathing Beauty), Massacre, Photographer's Chase, After Child, Radiograms 1-2, Lion, Help, It's biting me!, Dirge, funeral march and eulogy, 3 o'clock and that ostrich isn't back yet, Quadrille, Oof what a Dance!, Return of the ostrich, But who are these two gentlemen who have just come in to upset the photographer again?, Just in time, the dealer and the collectorleave the Eiffel Tower, Wedding march (exit), Closing time! (after exit), Toccata.

1940: Bacchanale. prepno (first solo for prepared piano) {Syvilla Fort dance} [8' 6784] @!

1940: America Was Promises. ? voice and 2 pianos

1940: Fads and Fancies in the Academy. piano and percussion {Marian van Tuji dance} Contents: I. Axioms, a. The Pupil is eager to learn, b. The pupil is constitutionally lazy, c. We deal with the total child, II. A Short Historical Sketch, a. Reactionaries, Pitched battle, III. Vistas of the Future, a. Pessimist, b. Optimist. [67524] @!

1940: Four Songs of the Moment. ? piano

1940: Imaginary Landscape No. 2. (first version) (disliked by Cage and hence other No.2 (1942)) Records of constant and variable frequency, string piano and percussion, 4 players. @!

1940: Living Room Music. 4 perc, 1.To Begin With, 2. A Story -with voice [Stein], 3. To End With; (for any "instruments" found in a living room) {Xenia, 2nd movement} [6' 6786] @

1940: Second Construction. percussion quartet (4,3,4,5; concludes with a "fugue") [6' 6791] @!

1940: Spiritual. ? piano

1941: Double Music. || Lou Harrison composed 2 (alto and bass) of 4 concurrent parts || [7' 6296] @!

1941: Third Construction. percussion quintet (24x24) {Xenia} [10' 6794] @!

1942: And The Earth Shall Bear Again. prepno {Valerie Bettis and Merce Cunningham} [3' 6811] @!

1942: The City Wears a Slouch Hat. 6 perc, lp players, narrator; (comp for Kenneth Patchen radio play) [67497R] @!

1942: Credo in Us. perc, lp player or radio, piano, electric buzzer {Cunningham and Jean Erdman dance} [12' 6795] @!

1942: Dance. ? piano

1942: Forever and Sunsmell. voice and 2 percussion [Cummings] {Jean Erdman dance} [5' 6715] @!

1942: Imaginary Landscape No.2 (March No. 1). percussion quintet, electronics {Lou Harrison} [7' 6721] @!

1942: Imaginary Landscape No.3. percussion sextet, contact microphones {Lavinia Schwartz} [3' 6717] @!

1942: In the Name of the Holocaust. prepno {Merce Cunningham dance} [6' 66755] @!

1942: Opening Dance. ? piano

1942: Shimmera. ? prepno

1942: Primitive. string piano {Wilson Williams} [4' 66756] @!

1942: Totem Ancestor, prepno {Cunningham dance} [2' 6762] @!

1942: The Wonderful Widow of Eighteen Springs. (vibrato-less voice and knocking on closed piano) [Joyce] [2'30" 6297] @!

1943: Ad Lib. piano

1943: Amores. prepno & perc (trios); 1. Solo, 2. Trio, 3. Trio, 4. Solo (10x10:3,3,2,2; "to express Hindu erotic & tranquil emotions") {Rue Shaw} [9' 6264] @!

1943: Chess Pieces. piano

1943: Four Dances. piano, percussion and voice {Hanya Holm dance}; publication name of "What we've so proudly hailed"

1943: Meditation. ? prepno (first part identical to Tossed As It Is Untroubled) (1943)

1943: Our Spring Will Come. prepno {Peral Primus dance} [4'30" 66763] @!

1943: She Is Asleep.1.Quartet:12 tom-toms 2. Duet:vce, prepno 3. A Room:prepno or pno [13' 6747, 6746] @!

1943: Tossed As It Is Untroubled. prepno (7x7) {dedicated to Valerie Bettis, Cunningham dance} [3' 6722] @!

1943: Triple-Paced. prepno {Cunningham dance} @!

1943: What We've So Proudly Hailed. tenor, pianos and percussion; later retitled Suite of Four Dances, published as Four Dances; ms: "What so proudly we hail: Music for the dances which were made by Hanya Holm" {Hanya Holm}

1943: A Room. piano or prepno (4,7,2,5; 4,7,2,3,5) [2' 6970] @!

1944: A Book Of Music. two prepnos (2,7,2,3,2,7,2,3,3 at 66 part I, and 5,21,5,7,21,5,7,7 at 176 part II; "expresses feelings") {Robert Fizdale and Arthur Gold} [30' 6702] @!

1944: A Valentine Out of Season. prepno {Xenia Cage} [5' 6766] @!

1944: Crete. piano {Lucretia Cage}

1944: Dad. piano {John Milton Cage, Sr}

1944: Four Walls. voice and piano; Act I: Scenes I-II-III-Dance-IV-Dance-VII (sweet love my throat is gurgling) -VIII; Act II: Scenes IX-X-XI-XII-XIII-XIV; text by Merce Cunningham {Cunningham dance} [60' 66910] @!

1944: Prelude for Meditation. prepno (uses only 4 tones: rhythm:5x5) [1' 6742] @!

1944: Root of an Unfocus. prepno (structure conformed to dance) {dedicated to Merce Cunningham, Cunningham dance} [4' 6743] @!

1944: Spontaneous Earth. prepno {Cunningham dance} [3' 66753] @!

1944: The Perilous Night. (1943-44) prepno [13' 6741] @!

1944: The Unavailable Memory of. prepno {Cunningham dance} [2' 66764] @!

1945: Daughters of the Lonesome Isle. prepno {Jean Erdman dance} [9' 6785] @!

1945: Lidice. ? piano

1945: Mysterious Adventure. prepno (rhythm conforms to dance) {Cunningham dance} [8' 6787] @!

1945: Party Pieces. irginally for unspecified instruments; instrumentation by Robart Hughes: fl, cl, bsn, hrn, pno || jointly written by Cage, Cowell, Harrison and Thompson || [12' 66500]

1945: Soliloquy. piano (modified excerpt from Four Walls {Cunningham dance} (1944))

1945: Thin Cry. ? piano

1945: Three Dances. (1944-45) 2 prepnos (2,5,2; 2,6,2,7,2 at 88; temporal proportions important){Robert Fizdale and Arthur Gold} [22' 6760] @

1945: Experiences I. two pianos (rhythm conforms to dance) {Cunningham dance} [3' 6708a] @!

1946: Encounter. piano; contains 4 movements, the last unfinished

1946: Foreboding.? piano

1946: Ophelia (1946) piano (drama conforming to dance) {Jean Erdman, Jean Erdman dance} [5' 6788] @

1946: Prelude for 6 Instruments in A Minor. piano, flute, bsn, tpt, violin, cello

1946: The Feast. ? piano

1946: Two Pieces for Piano [4' 6814] @

1947: A Chant With Claps. voice and claps {Sidney Cowell} @

1947: Music for Marcel Duchamp. prepno, for Hans Richter film "Dreams that Money Can Buy" [6' 6728] @!

1947: Nocturne for Violin and Piano. ("attempts to dissolve distinction between piano and string sounds"; "atmospheric"; relies on rubato and sustained resonances) [4' 6740] @!

1947: The Seasons, a Ballet in One Act. orchestra or piano ("gamut" technique; [2,2; 1,3; 2,4; 1,3; 1]; intended to express Hindu view of the seasons as quiescence (Winter:2nd 2), creation (Spring::first 3), preservation (summer:4), and destruction (Fall:2nd 3)) {dedicated to Lincoln Kirstein, Cunningham dance} [16' 6744] @!

1948: Dream. piano or viola or ensemble of 4 violas (rhythm conforms to dance; "gamut" & sustained resonances) {Cunningham dance} [8' 6707] @!

1948: Experiences II. voice [Cummings] (rhythm conforms to dance) {Cunningham dance} [6708b] @

1948: In a Landscape. harp or piano ("gamut" & sustained resonances; rhythm conforms to dance) {Louise Lippold dance} [8' 6720] @!

1948: Orestes. piano -fragmentary

1948: Sonatas and Interludes. * (1946-48) prepno (expression of 9 Hindu emotions; sonatas in binary AABB; interludes have no structural repeats, but these relations are exchanged in some parts) {Maro Ajemian} [66' 6755] @!

1948: Suite for Toy Piano. ("gamut"; 7,7,6,6,4; uses only 9 tones) {Cunningham dance} [8' 6758] also: orchestra version by Lou Harrison @!

1950: A Flower. voice and closed piano (rhythm conforms to dance) {Louise Lippold, Louise Lippold dance} [3'20" 6711] @!

1950: Music for "Works of Calder". prepno and recorded sounds (used for film by Herbert Matter about Alexander Calder)

1950: Six Melodies for Violin and Keyboard (Piano). ("gamut"; 3.5,3.5,4,4,3,4) {Josef and Anni Albers} [15' 6748] @!

3. Chance & Indeterminacy (1951-1969)

Cage's probe of Eastern philosophies, and especially Zen, lead him toward self negation, renouncing expression and communication, and to relinquishing control over sounds (and the environment in general). He found that chance was a way to "imitate nature's manner of operation, opening the mind to divine influences", i.e., the indeterminate world of non-intentional sounds. This marks the most radical change in his compositional aesthetics, away from control and expression to chance and indeterminacy. Cage began to use notation to create music that he has "never heard before". This period marks the beginning of Cage's use of the I Ching, or Chinese Book of Changes,for chance operations that determine the notation of the music, thereby releasing his control of sounds. All compositions after 1951 use chance, but not all are indeterminate. He also begins to use new notational systems, where space=time and the notation of paper imperfections (chance). From this time forth dance pieces diminish in number and are created and treated independently, i.e., without compositional correlation other than happening at the same time.

Cage classified this period as follows: (1951) composition using charts and moves thereon; (1951-) composition using chance operations; (1952- ) composition using templates made or found; (1952- ) composition using observation of imperfections in the paper upon which it is written; (1954- ) composition without a fixed relation of parts to score; (1958- ) composition indeterminate of its performance.


1950: Lecture on Nothing. (speech structured rhythmically with silences)

1950: String Quartet in Four Parts. (1949-50) * Parts: 1. Quietly flowing along, 2. Slowly rocking, 3. Nearly stationary, 4. Quodlibet (2.5,1.5,2,3,6,5,.5,1.5; monodic "gamut" without vibrato; about seasons; contains a canon (Winter) and quodlibet (Spring)) {Lou Harrison} [20' 6757] @!

1951: Concerto for Prepared Piano and Chamber Orchestra. * (3 parts "gamut" chart: 3,2,4; 4,2,3; 5; last mvmt composed with I Ching chance operations; thus, first use of chance ) [22' 6706] @!

1951: Imaginary Landscape No.4 (March No.2).* 12 radios, 24 players (first indeterminate work; chance: I Ching) [4' 6718] @!

1951: Julliard Lecture. 1 speaker, written in same structure as Lecture on Nothing (1950)

1951: Lecture on Something. (speech structured rhythmically with silences)

1951: Music of Changes. * piano (first chance work: I Ching; 4 parts: 3,5,6.75,6.75,5,3.125; space=time notation) {David Tudor} [43' 6256-6259] @!

1951: Sixteen Dances for Soloist and Company of 3. (1950-51) * flute, trumpet, piano, violin, cello, 4 percussionists ("gamut" chart; rhythm conforms to dance) {Cunningham, Cunningham dance} [53' 6792] @!

1951: Two Pastorales. * prepno and two whistles (2,3.5,5.5; space=time notation; chance: I Ching) {Merle Marsiano} [14' 6765] @!

1951: Haiku. (1950-51) piano; 5 parts: For my dear friend, who - What stillness! - The green frog's voice - The river plurabelle - Haiku 5

1952: Black Mountain Piece. (only part is for film projector)

1952: For M.C. and D.T. piano (chance: used charts of Music of Changes; space=time) [1-2' 6713] @

1952: 4'33". any instrument/s (indeterminate; written note by note using chance operations; space=time based on White Paintings of Robert Rauschenberg) {Irwin Kremen} [4'33" 6777a] @!

1952: Imaginary Landscape No.5. * tape of 42 phono records (5x5; I Ching) {dedicated to David Tudor, Jean Erdman dance} [4' 6719] @!

1952: Music for Carillon No.1. * (space=time notation; chance) two versions: 1. 2-octave (1958), 3-octave (1961) {Mary Caroline Richards} [4' 6725] @

1952: Music for Piano 1. * (written in whole notes placed on paper imperfections=chance; space=time) {Paths and Events, JoAnne Melcher dance} [4' 6729] @

1952: Seven Haiku. (1951-52) * piano (used charts to Music of Changes; 5,7,5; space=time) {Elsa, Merle Armitage, Aghavni Uomini, Richard Lippold, Maro Ajemian, Willem de Kooning, Sonia Sekula} [2' 6745] @

1952: Water Music. piano, radio, whistles, water, deck of cards, wooden stick, objects for preparing a piano (space=time; I Ching) [6' 6770]

1952: Waiting. piano (ostinato; space=time) {Louise Lippold dance} [3'30" 6769] @

1952: Williams Mix. * tape (score with directions for making the tape; I Ching) [4' 6774] @

1953: 59 1/2" for a String Player. * (graphic space=time) {Claus Adam} [6776] !

1953: Music for Piano 2 .* (chance; pi) {Louise Lippold, Louise Lippold dance} [4' 6730] @!

1953: Music for Piano 3. * (chance; pi) {Morton Feldman} [6731] @!

1953: Music for Piano 4-19. * (chance; pi) 1 or more pianos; may be played with Music for Piano 21-36; 37-52, 53-68, 69-84 {dedicated to Eta Harich-Schneider, solo "Suite for Five in Space and Time", Cunningham dance} [6732] @!

1953: Music for Piano 20. * (chance; pi) {Jimmy Curley} [6733] @!

1953: Unfinished Work for Voice. unfinished; graphic notation similar to 59 1/2" for a String Player

1953: Unfinished Work for Magnetic Tape. unfinished

1954: 45' for a Speaker. may be played with 31'57.9864 for a Pianist, 34'46.776" for a Pianist, 26'1.1499" for a Straing Player, or 27'10.554" for a Percussionist @

1954: Music for Carillon No.2. * 2-octave version in 1958 (graphic notation, chance; pi) {David Tudor} [2' 62761]

1954: Music for Carillon No.3. * (graphic notation, retrograde inversion of No.2 (No. 2 played upside down))

1954: 31'57.9864" for a Pianist (or harp). * (3,7,2,5,11; space=time; chance & pi) [6780] @!

1954: 34'46.776" for a Pianist. * (3,7,2,5,11; space=time; chance & pi; may be performed with up to 2 pianists, 5 strings, 1 perc, with additional instruments ad lib) may be played with 31'57.9864 for a Pianist, , 26'1.1499" for a String Player, 45' for a Speaker, or 27'10.554" for a Percussionist {Harold Coletta, June, Broadus Erlem Matthew Raimodi, Seymour Barab, Walter Trampler} [6781] @!

1955: Music for Piano 21-36; 37-52. * (16 pcs may be played alone or together; an account of compositional method is in Silence ) [6734] @!

1955: Speech. * 5 radios and news-reader (indeterminate; no master score) [42' 6793]

1955: 26'1.1499" for a String Player. (graphic space=time; chance & pi; see 45' for a Speaker in Silence for more info) [6779] @!

1956: Music for Piano 53-68. (16 Pcs may be played alone or together; an account of compositional method is in Silence) may be played with Music for Piano 21-36; 37-52, 53-68, 69-84 {Gete Sultan} [6735] @!

1956: Music for Piano 69-84. (16 Pcs may be played alone or together; an account of compositional method is in Silence) { Lois and Emile De Antonio} may be played with Music for Piano 4-19, 21-36, 37-52, 53-68 [6736] @!

1956: Radio Music. one to eight radios (chance; solo or ensemble with 1-8 players, one per radio) [6' 6783] @

1956: 27'10.554" for a Percussionist. * (4 percussion groups; space=time; 3,7,2,5,11; chance & pi) may be played with 31'57.9864 for a Pianist, , 26'1.1499" for a String Player, 45' for a Speaker, or 27'10.554" for a Percussionist [6778] @

1957: For Paul Taylor and Anita Dencks. * piano interior and other instruments ad lib [3' 6714] @

1957: Winter Music. * 1-20 pianos (space=time; chance & pi) may be performed with Atlas Eclipticalis and/or Song Books {Robert Rauschenberg and Jasper Johns} [6775] @!

1958: Aria. * voice and other instruments (used Fontana Mix materials) {Cathy Berberian} [9' 6701] @!

1958: Communication. speaker

1958: Concert for Piano and Orchestra. * (no master score; space=time; chance & pi) parts for conductor, piano, 3 vln, 2 vla, vcl, tubas, cl, fl/alto fl, fl/picc, bsn/bar sax, Cb, tbn, tpt: with additional instruments ad lib; any combination or solo allowed. May be performed with Solo for Voice 1, Fontana Mix, Aria, Indeterminacy, Solo for Voice 2, or Song Books. {Antic Meat dance} [6705] @!

1958: Fontana Mix. * tape or any instrument; may be performed with Concert for Piano and Orchestra, Aria, Solo for Voice 2, Songbooks. (tape to be prepared from score; elaborate score preparation by performer; indeterminate) {Luciano Berio and Cathy Berberian} [6712] @

1958: Haiku. no instrumentation; graphic notation {David Tudor}

1958: Music Walk. * piano (1 or more pianists), radios, their voices and other instruments (used Fontana Mix materials) [6739] @!

1958: Solo for Voice 1. * may be performed with Concert for Piano and Orchestra {Arline Carmen} [6750] @

1958: TV Koeln. * piano and additional instruments ad lib [6764] @

1958: Variations I. * any number and kind of instruments (indeterminate; performer makes score) {David Tudor} [6767] @!

1959: Indeterminacy. voice, piano and tape (or stuff) @!

1959: Sounds of Venice. tv's and tapes; bells, boat horns, and a toy that meows like a cat (uses Fontana Mix materials) [6756]

1959: Water Walk. TV performance for soloist, piano, tape, 5 radios, and toy instruments (mechanical fish, duck call, bathtub, etc) [3' 6771]

1960: Cartridge Music. phonograph cartridges, electronics, small items; may be performed with Solo for Voice 2 or Songbooks; title may change to Duet for Cymbal or Piano Duet, depending upon instrumentation (indeterminate) [19' 6703] @!

1960: Duet for Cymbal (see Cartridge Music)

1960: Music for Amplified Toy Pianos. (indeterminate) [6724] @!

1960: Music for "The Marrying Maiden". (tape used for Jackson MacLow play; indeterminate) [9' 6737]

1960: Piano Duet. (see Cartridge Music)

1960: Solo for Voice 2. 1 or more voices; may be performed with Cartridge Music, Concert for Piano and Orchestra, Fontana Mix, or Songbooks (indeterminate; singer prepares score) [6751] @

1960: Theatre Piece. 1-8 performers (used Fontana Mix materials; indeterminate) [6759a/h]

1960: WBAI. tape machines, record players, amplifier and tone controls in a performance of lectures Indeterminacy, Communication, Where are We Going? And What are we Doing? or Fontana Mix in combionation with Concert for Piano and Orchestra, Aria, etc.; may be performed with Songbooks (graphic notation) [6772]

1960: Where Are We Going? And What Are We Doing?. tapes with or without 1 voice; WBAI may be used as amplifier/tone control score (materials from Cartridge Music) [6773]

1961: Atlas Eclipticalis. orchestra (0-87 performers with or without director) and perhaps electronics (space=time; star atlas); [6782] @!

1961: Lecture on Commitment. voice

1961: Music for Carillon No.4. (electronic feedback; score in whole notes) uses star charts; 3-octave version {Richard K. Winslow} [10' 6727]

1961: Variations II. any number of players, any sound sources (indeterminate) [6768] @!

1962: Music for Piano 85. piano & live electronics @!

1962: 0'00" (4'33" No.2) part 3 of trilogy (see Atlas Eclipticalis) amplified non-musical action(s) {Yoko Ono and Toshi Ichianagi} [6796] @

1963: Variations III. any number of players, any sounds with or without other activities [6797] @!

1963: Variations IV. any number of players, any sounds with or without other activities; trilogy, part 2 (see Atlas Eclipticalis) [6798] @!

1965: Electronic Music for Piano. piano and electronics; uses material from Music for Piano 4-84 [6801]

1965: How to pass kick, fall and run. 1 speaker; uses material from Indeterminacy {Cunningham dance}

1965: Rozart Mix. at least 88 tapes on at least 12 machines with at least 4 performers; may be performed with Songbooks [6800] @

1965: Variations V: 37 remarks re an audio performance. 6 tapes, short-wave radios, oscillators, amplifiers and loudspeakers, as well as objects, contact microphones, other electronic devices and dancers {Mary Sisler, Merce Cunningham dance} [6799]

1966: Variations VI. plurality of sound systems {William and Noma Copley} [6802]

1966: Variations VII, 7 statements re a performance six years before. radios, geiger counters, telephones, et cetera

1967: Music For Carillon No.5. 4-octave ionstrument (time=space, written on an old board, following the grain structure) [6803] @

1967: Music for "Museum Event No. 5". with T. Ichiyanagi, D. Tudor, G. Mumma {Cunningham dance}

1967: Musicircus. event

1967: Newport Mix. tape

1968: Reunion. "What is Teeny Duchamp Doing There?" elecs w chess board game, || written with Tudor, Mumma, Behrman, Cross, Teeny Duchamp ||

1968: 0'00" No. 2. At least 2 players (e.g., chess, domino, scrabble, bridge), contact microphones, amplifiers, and loudspeakers

1968: Socrate, Portrait de Socarte. arr. of Erik Satie's work, for 2 pianos; || written with Arthur Maddox ||{Cunningham dance}

1969: Cheap Imitation. * piano [Socrate, Satie] {Second Hand dance by Merce Cunningham} [35' 6805] @!

1969: HPSCHD. (1967-69) 1-7 harpsichords, 1-51 tapes, slides and/or film, events || composed in collaboration with Lajaren Hiller || {Antoinette Vischer} @

1969: Sound Anonymously Received. 1 whistle blown 1 time, no score

1969: 33 1/3. 12 turntables

4. Words and Environments (1970-1987)

By this time Cage had become a living legend and leader of the avant garde. He gave vent to his interdisciplinary bent, exploring the other arts in addition to music. He painted, wrote words, lectures, and became a concerned environmentalist. He was preoccupied with abstract word pieces, e.g., Finnegan's Wake, and mesostics which blur the distinction between literature and music, and with works named for places and environments he had visited.


1970: 36 Mesostics Re and not Re Marcel Duchamp. 15 of these have been set to melodics, published as Solo for Voice 91 (Songbooks) @!

1970: Mewantemooseicday. event

1970: Mureau. voice, tapes [The Journal, Thoreau] @

1970: Song Books. * voices with or without: 1. electronic transformation, 2. additional instruments, 3. tapes, 4. Requisites, 5. slides (also known as Solos for Voice 3-92) {Cathy Berberian and Simone Rist} [20' 6806] @

1971: Demonstration of the Sounds of the Environment. Listeners walking around the campus of the University of Wisconsin, Milwaukee

1971: Les chants de Maldoror pulverises par l'assistance meme. French crowd of no more than 200 [6809]

1971: Program (KNOBS) for listener. (used with HPSCHD LP)

1971: Sixty-Two Mesostics Re Merce Cunningham. * voice [Changes: Notes on Choreography, Cunningham] [6807]!

1971: WGBH-TV. composer and technicians [6808]

1971: Bird Cage. tapes of Mureau, bird calls and environmental sounds, solo performer [6810]

1971: Cheap Imitation. * orchestra of 24, 59 or 95 players [6805a-c]

1972: Three Pieces of Furniture Music. apparently based on Erik Satie's Musique d'ameublement

1973: Etcetera. * 20 musicians, 3 conductors, tape of forest sounds {Un Jour ou Deux Cunningham dance} [6812]

1973: Exercise. (1973-84) orchestra

1973: Empty Words (1973-78) voice [The Journal, Thoreau] @!

1974: Etudes Australes. * piano {Grete Sultan} [6816a-d] @!

1974: Music for "Westbeth". {Cunningham}

1974: Score. * (40 Drawings by Thoreau), 23 Parts for any instruments and/or voices-Twelve Haiku followed by recording of Dawn at Stony Point, N Y, 8/ 6/74 {Dennis Russell Davies and the Saint Paul Chamber Orchestra} [6813]

1974: Two Pieces for Piano. (revised from 1935 version) @ [6813]

1975: Child of Tree. (Improvisation Ia) amplified percussion made from plant materials {solo Cunningham dance} [66685]

1975: Chorals. violin (derived from Satie material and adapted from Song Books (1970)) [66762] @!

1975: Lecture on the Weather. 12 voices [Thoreau], tape of weather sounds, projections of Thoreau drawings [6817]

1976: Apartment House 1776. orchestra and 4 vocalists; may be performed with Renga [25' 6819] @!

1976: Branches (Improvisation 1b).* amplified pods, cactuses and other plant materials; performed as a solo, it begins with a performance of Child of Tree {Cunningham dance} [66684]

1976: Imitations II (1976) clarinet @

1976: Quartets I-VIII. * 24, 41 or 91 players (part I also known as Music for Concert Band and 12 Amplified Voices) {Serge and Natalie Koussevitzky} [66686-8] @!

1976: Renga. * (1975-76) orchestra {Seiji Ozawa and Boston Symphony Orchestra} [30-40' 6818]

1977: Cheap Imitation. violin [35' 66754] @

1970: Dialog (1970-1985). indeterminate theater piece for 2 performers, various means and props, at least 3 different versions of score exist.

1977: 49 Waltzes for the five Boroughs. 1 or more performers, listeners or producers of tape recordings; indeterminate organic materials @

1977: Freeman Etudes. (1977-80/1989-90) violin {Paul Zukofsky} [66813a-b] @!

1977: Inlets. (Improvisation II) conch shells, water, tape {Merce Cunningham and Morris Graves, Cunningham dance} [66787]

1977: Pools (Improvisation IIa). Conch Shells, water, tape

1977: Telephones and Birds. 3 performers, recordings and telephone announcements {Cunningham dance: "Travelogue"} [30' 66689]

1977: Writing Through Finnegans Wake. [Joyce]

1977: Writing for the Second Time Through Finnegan's Wake. [Joyce] [60']

1978: A Dip in the Lake: * 10 Quicksteps, 62 Waltzes, 56 Marches for Chicago and Vicinity; a list of locations for listener/s, performer/s, or record maker/s [66761] !

1978: Etudes Boreales I-IV. * cello solo and/or piano solo {Jack/Jeanne Kirsteins} [15-20' 66327] @!

1978: Il Treno. 3 happenings for prepared trains

1978: Letter to Erik Satie. voice and tape {Walter Marchetti and Juan Hidalgo, Cunningham dance: "Tango"}

1978: Pools. conch shells and tape

1978: Quartet for Concert Band and 12 Amplified Voices. [6820]

1978: Sounday. 10-hour radio event; incorporates Child of Tree, Etudes Australes, and Inlets {Grete Sultan and Paul Zukovsky}

1978: Some of "The Harmony of Maine" (Supply Belcher). organ {Gerd Zacher} [45' 66840] !

1978: Variations VIII. 6 statements re a performance 1967 at Skowhegan, Maine; for any number of players who may produce sounds with the objects they find at the place of performance. [66766]

1979: Concerto Grosso for 4 TV Sets and 12 Radios. *

1979: Hymns and Variations. 12 amplified voices [20' 66812] @

1979: J.Joyce, M.Duchamp, E.Satie:an Alphabet. text with divisions

1979: Paragraphs of Fresh Air. radio and 11 sound sources, 4 operators who also play instruments and a vocalist.

1979: Roaratorio: An Irish Circus on Finnegans Wake. voice, tape, Irish musicians [60'] @!

1979: Silent Environment. installation

1979: Circus On, A means of translating a book into a performance without actors. [66816]

1980: Furniture Music Etcetera. 2 pianos

1980: Improvisation No.3. 4 or more tape players {Cunningham dance: "Duets"}

1980: Litany for the Whale. * 2 voices [66880] @!

1980: Themes and Variations. (1979-80) 1 speaker

1981: Evene/Environne METZment. audience

1981: Food. sop & baritone voices, trumpet, percussion, piano [7' 66886]

1981: 49 Waltzes for the Five Boroughs. piano realization of 1977 composition of same name [66735] @

1981: Thirty Pieces for Five Orchestras. orchestra and 1 or more radios [66879R] @

1982: Alphabet. radio theater with tape; adaptation of 1979 text: James Joyce, Marcel Duchamp, Erik Satie: An Alphabet

1982: Dance/4 Orchestras. * [66911R]

1982: Fifteen Domestic Minutes. letters and radio; 2 speakers (male and female), recordss, all radiophonic

1982: A House Full of Music. students

1982: Improvisation No.4. * (var speed tape players, rev. in 1986) premiered in 1980; scored in 1982 {Fielding Sixes dance} [66954]

1982: Instances of Silence. installation with cassette tapes

1982: Klassik nach Wunsch. radio-happening

1982: Postcard from Heaven. 1-20 harps [66923]

1982: Writing Through the Cantos of Ezra Pound

1983: ear for EAR (Antiphonies). text without words for single voice for at least 2 single voices [66957]

1983: HMCIEX. (1983-84) tape and voice (i.e. Here Comes Everybody MIX)

1983: Mushrooms "et variationes". 1 speaker

1983: Ryoanji. * Solos for Ob, Fl, Cb (optional voc adlib),Vce, Trb with Perc or Orchl Obbligato (1983-85) [66986] @!

1983: Souvenir. organ [12' 66988] @!

1983: Thirty Pieces for String Quartet. [66987] @!

1983: Writing Through Kafka's Die Verwandlung

1984: A Collection of Rocks. choir and orchestra [20' 67041]

1984: Eight Whiskus. * voice [untitles text, Chris Mann] [4' 67051] @!

1964: Haiki. Flute and zoomoozophone. @! [67388]

1984: Improvisation a+b. 3 cl, 3 tbn, 3 perc, voice, 2 cello

1984: Musicircus for Children. 1000 singing children

1984: Music for ________ . * (1984-87) title completed by adding the number of players; parts for fl, ob, cl, tpt, hn, tbn, 4 perc, 2 pno, 2 vl, vla, vcl, voice (Five. * !)( Eight. !) (Three. @!) [30' 67040] @!

1984: Perpetual Tango. piano, derived from [Satie] [67483] @

1984: Mirage Verbal: Writing Through Duchamp's Notes. text

1984: Sonnekus2 . * accompanied low voice [Genesis] (may be performed with Satie caberet songs) [17' 67069] @

1985: ASLSP. * piano [20' 67070] @!

1985: But What About the Noise of Crumpling Paper... * percussion, water, paper [67074] @!

1985: Eight Whiskus. * violin [Chris Mann] [67051a]

1985: Etcetera 2/4 Orchestras. * orchestras with or without 4 conductors and tape of city sounds [30' 67119]

1985: The First Meeting of the Satie Society the Socie satiety the soz sattität. 2 speakers, 1 singer, musicians, 1 or more tapes.

1985: Mirakus2. * voice [Notes, Marcel Duchamp, Alexia Duchamp and Paul Matisse] [9' 67067] @

1985: Nowth Upon Nacht. * voice and closed piano; should be performed after The Wonderful Widow of Eighteen Springs [Joyce] [1' 67039] @

1985: Selkus2. * voice (same as Mirakus2) [9' 67068]

1985: Voiceless Essays. (1985-87) 18 cassette players (material from Essay (1988) w/o vowels)

1985: Writing Through On The Duty of Civil Disobedience. Installation with 18 cassette tapes

1986: Haikai. gamelan [20' 67145]

1986: Hymnkus. wordless voice, vl, vlc, alto fl, alto sax, cl, bsn, tbn, 2 perc, accoordian, 2 pianos [67158] @!

1986: Rocks. radios, TVs, playbacks, cassette machines, and machines emitting fixed sounds.

1986: Thirteen Harmonies. violin and keyboard [38' 67117] !

1986: Wishing Well. 4 speakers

1987: Empty Mind. text for a game of listening

1987: Europeras 1 & 2. (1985-87) 19 singers, 21 musicians, tape [P56100a, 67100]

1987: Organ2/ASLSP. organ [67185]

1987: Truckera. tape for Europeras

1987: Wagner's Ring. film, realized by Franck Scheffer

5. Number Period (1987-1992)

This is Cage's most abstract period, where he titles works simply with numbers which represent the number of players in various ensemble configurations. Most of the works use his "time-bracket notation" which permitted him to generate pieces rapidly and mechanically. There are very few pieces specifically composed for dance.


1987: One. piano [10' 67208] {Juan Allende-Blin} !

1987: Two. piano and flute {Robert Fabbriciani & Carlo Neri} [67176] @

1988: 1O1. orchestra {Boston Symphony Orchestra} [12' 67265] @!

1988: Anarchy. voice [various anarchist writers]

1988: Chessfilmnoise. film, realized by Franck Scheffer

1988: Essay. * computer generated tape [Thoreau] {Points in Space, Cunningham dance}

1988: Music for Four for String Quartet. !

1988: Five. 5 instruments or voices {Wilfried Brennecke and the Wittener Tage} [5' 67214] @!

1988: Five Stone Wind. * percussion w or w/o electronics {Five Stone, Cunningham dance} [55'] @!

1988: I-VI. voice [mesostics from a variety of sources]

1988: Seven. flute, clarinet, percussion, piano, violin, viola and cello {Boston Musica Viva} [20' 67227] !

1988: Time (Three Autokus). 3 texts for a speaker, also version for 12 speakers for the Johns text [Jasper Johns, Buckminster Fuller, John Cage]

1988: Twenty-Three. 13 violins, 5 violas, 5 cellos

1989: composed Improvisation. Steinberger Bass Guitar {Robert Black} [8-16' 67318a] @!

1989: composed Improvisation. snare drum {Stuart Smith} [8-16' 67318b] @!

1989: composed Improvisation. one-sided drums with or without jangles {Glen Velez} [8-16' 67318c] @!

1989: Four. * string quartet {Arditti Quartet} [10-30' 67304] @

1989: Four Solos for Voices. sop, mez, ten, bass (also known as Solos for Voice 93-96) {Electric Phoenix} [15' 67214]

1989: One2. 1 pianist on 1-4 pianos {Margaret Leng Tang}

1989: Sculpures Musicales. 4 performers with electronic instruments [67348]

1989: Stufen: an Autoku for Siegfried Unseld. voice

1989: Swinging. piano [2' 67301]

1989: Three. 3 players having a variety of recorders {Trio Dolce} [67303]

1989: Two2 . * 2 pianos, 4 hands [33' 67302] @!

1990: Europera 3. 6 singers, 2 pianos, 12 victrolas, tape @!

1990: Europera 4. 2 singers, 1 piano, tape @!

1990: Four2. chorus [7' 67368]

1990: Fourteen. piano solo, fl/picc, bass fl, cl, bass cl, hn, tpt, 2 perc, 2 vl, vla, vcl, cb {Werner Bärtschi and Rene Müller} [20'] @!

1990: One3. also titled One3 = 4'33" (0'00")

1990: One4. solo drummer {Fritz Hauser} [7' 67349]

1990: One5 . piano {Ellsworth Snyder} [20' 40" 67356] @!

1990: One6. violin {Jénos Négyesy} [47' 67357]

1990: Scottish Circus. * voices and concurrent traditional Scottish music, 7 performers [67496]

1990: Seven2. bass fl, bass clar, bass trb, 2 perc, vc and cb {Heinz K Metzger & Rainer Riehn} [52' 67351] @!

1990: The Beatles 1962-1970. tape of pianos [The Beatles Songbook] @

1991: Eight. fl, ob, cl, bsn, hn, tpt, tbn, tba [60' 67409]

1991: Europera 5. * 2 voices, piano, player piano, victrola, tape/television/radio [60'] @!

1991: Five2. 3 cl, Eng hn, timp {Mauricio Kagel} [67413] @!

1991: Five3. trombone and quarteto d'archi {James Fulkerson and the Mondriaan Quartet} [67420] @!

1991: Five4 . 2 saxophones and 3 percussions {Stefan Wolpe} [67430] @!

1991: Five5. fl, 2 cl, Bcl, perc {Thomas Nee} [67431] @!

1991: Five Hanau Silence. 5 tapes record at 5 locations (also called Project for Hanau Squatters)

1991: Four3. 2 pianos, violin (or oscillator) & rainsticks [Vexations, Satie] {Cunningham Dance Co., Beach Birds dance} [30' 67407] @!

1991: Four4. * unspecified percussion [72' 67428] {Amadinda Percussion Group}

1991: Four5. 4 saxophones [67429]

1991: Haikai. flute and zoomoozophone [8'] @!

1991: Mozart Mix. 5 cassette players, 25 tapes

1991: One7. performer (first part of Four6)

1991: One8. * cello (may be performed with 108) {Michael Bach} [ 43' 30" 67408]

1991: One9. sho; may be performed with 108 {Mayumi Miyata} [67410]

1991: 103. * orchestra [67433R]

1991: 108. * for Large Orchestra [67414R]

1991: Six. unspecified percussion {Slagwerkgroep den Haag} [67421]

1991: Ten. * chamber ensemble: fl, ob, cl, tbn, perc, piano, 2 vls, vla, vcl {Ives Ensemble} [67432] !

1991: Three2. 3 percussionists {Michael Pugliese} [67412]

1991: Two3. * sho and conch shell/percussion; may be performed with 108 {Mayumi Miyata} [67411]

1991: Two4. violin {Paul Zukofsky} and piano or sho [30' 67418] @!

1991: Two5. * trombone and piano {Hildegard Kleeb and Roland Dahinden} [67419] @!

1992: Eighty. orchestra {Wilheim Andres} [67467R]

1992: Fifty-Eight. brass and wind instruments [46' 67500R] @!

1992: Four6. * 4 performers (first part is One7) {Pauline Oliveros, Joan LaBarbara, William Winant, and Leonard Stein, Cunningham dance} [67469] @!

1992: Muoyce No.2. text and 6 tapes [Joyce]

1992: One10. violin {Mineko Grimmeer sculpture} [67441]

1992: One11. * film; may be performed with 103

1992: One12. improvising voice {Alfonso Fratteggiani Bianchi and the Quaderni perugini di musica contemporanea}

1992: One13. cello (not completed) {Michael Bach}

1992: Otte. violin

1992: Seventeen. (only 4 parts written)

1992: Seventy-Four. * orchestra [67482]

1992: Sixty-Eight. orchestra {Einstalbrecht Steibler and the Sinfonieorchester des Hessischen Rundfunks} [67468R] !

1992: Thirteen. ensemble: fl, ob, cl, bsn, tpt in C, tbn, tba, 2 perc, 2 vl, vla, vcl {Manfred Reichert and the Ensemble 13} [30' 67499] @!

1992: Twenty-Eight. * ensemble {Sinfonieorchester des Saaländisches Rundfunk and the Alte Opera} [677466aR]

1992: Twenty-Nine. * ensemble {Sinfonieorchester des Saaländisches Rundfunk and the Alte Opera} [677466cR]

1992: Twenty-Six. * 26 violins {Sinfonieorchester des Saaländisches Rundfunk and the Alte Opera} [677466bR]

1992: Two6. violin and piano {Ami Flammer/Martine Joste} [20' 67498] @!

John Cage Alphanumeric Cross Reference

More complete information is found in the Chronological Catalog.



0'00" (4'33" No.2) (1962) amplified non-musical action(s)

0'00" No. 2 (1968)

103 (1991) orchestra

108 large orchestra (1991)

1O1. (1988) orchestra

26'1.1499" For a String Player (1955)

27'10.554" For a Percussionist (1956)

31'57.9864" for a Pianist (1954)

33 1/3 (1969) 12 turntables

34'46.776" For a Pianist (1954)

36 Mesostics Re and not Re Marcel Duchamp (1970)

4'33" (1952) piano or any instrument {Irwin Kremen}

45' for a Speaker (1954)

49 Waltzes (1977) indeterminate organic materials

49 Waltzes for the Five Boroughs (1981) piano

59 1/2" For a String Player (1953)

Ad Lib (1943) prepared piano

Allemande (1934) ? clarinet

Alphabet (1982) radio theater with tape

America Was Promises (1940) ? voice and 2 pianos

Amores (1943) prepared piano; 1. Solo, 2. Trio, 3. Trio, 4. Solo

Anarchy (1988) voice [various anarchist writers]

And The Earth Shall Bear Again (1942) prepared piano

Apartment House 1776 (1976) orchestra and 4 vocalists

Aria (1958) voice and other instruments (used Fontana Mix materials) {Cathy Berberian}

ASLSP (1985) piano

Atlas Eclipticalis (1961-62) orchestra and perhaps electronics

Bacchanale (1940) prepared piano {Syvilla Fort dance}

Beatles 1962-1970, The (1990) tape of pianos [The Beatles Songbook]

Bird Cage (1972) tapes, solo performer

Black Mountain Piece (1952) -only part is for film projector

Book Of Music, A (1944) two prepared pianos {Robert Fizdale and Arthur Gold}

Branches (Improvisation 1b) (1976) amplified plant materials

But What About the Noise of Crumpling Paper... (1985) percussion, water, paper

Cartridge Music (1960) phonograph cartridges, electronics, small items

Chant With Claps, A (1947) voice and claps

Cheap Imitation (1969) piano [Socrate, Satie] {Second Hand dance}

Cheap Imitation (1972) orchestra or 24, 59 or 95 players

Cheap Imitation (1977) violin

Chess Pieces (1943) piano

Child of Tree (Improvisation Ia) (1975) amplified plant materials {Solo dance}

Chorals (1975) violin (derived from Satie material and adapted from Song Books) (1970)

Circus On (1979) tape

City Wears a Slouch Hat, The (1942) 6 perc, lp players; comp for K Patchen radio play

Collection of Rocks, A (1984) choir and orchestra

Communication (1958) speaker

composed Improvisation (1989) drums or bass guitar

Composition For 3 Voices (1934)

Concert for Piano and Orchestra (1958) {Antic Meat dance}

Concerto for Prepared Piano and Chamber Orchestra (1951)

Concerto Grosso for 4 TV Sets and 12 Radios (1979)

Counterpoint (1934/1937) ? piano

Credo in Us (1942) percussion, record player, radio, voice {Cunningham and Jean Erdman dance}

Crete (1944) piano

Dad (1944) piano

Dance (1942) ? piano

Dance/4 Orchestras (1982)

Daughters of the Lonesome Isle (1945) prepared piano {Jean Erdman dance}

Demonstration of the Sounds of the Environment (1971, 1973) tape

Dialog (1970-1985)

Dip in the Lake, A : 10 Quicksteps, 62 Waltzes, 56 Marches for Chicago and Vicinity (1978) instruments played at locations or recordings at locations

Double Music (1941) || Lou Harrison composed 2 of 4 concurrent parts ||

Dream (1948) piano or viola {Cunningham dance}

Duet for Cymbal (1960)

Duet for Two Flutes (1934) ?

ear for EAR (Antiphonies) (1983) text without words for single voice

Eight (1991) ensemble

Eight Whiskus (1984) voice [untitled text, Chris Mann]

Eight Whiskus (1985) violin [Chris Mann]

Eighty (1992) orchestra

Electronic Music for Piano (1965) piano and electronics

Empty Mind (1987) text for a game of listening

Empty Words (1973-78) voice [The Journal, Thoreau]

Encounter (1946) piano

Essay (1988) computer generated tape [Thoreau] {Points in Space dance}

Etcetera (1973) 20 musicians, 3 conductors, tape of forrest sounds {Un Jour ou Deux dance}

Etcetera 2/4 Orchestras (1985) orchestras and tape of city sounds

Etudes Australes (1974) piano (Grete Sultan)

Etudes Boreales I-IV (1978) cello solo and/or piano solo {Jack/Jeanne Kirsteins}

Europera 3 (1990) 6 singers, 2 pianos, 12 victrolas, tape

Europera 4 (1990) 2 singers, 1 piano, tape

Europera 5 (1991) 2 voices, piano, victrola, tape/television/radio

Europeras 1 & 2 (1987) 19 singers, 21 musicians, tape

Evene/Environne METZment (1981) audience

Exercise (1973-84) orchestra

Experiences I (1945) two pianos {Cunningham dance}

Experiences II (1948) voice [Cummings] {Cunningham dance}

Fads and Fancies in the Academy (1940) piano and percussion

Feast, The (1946) ? piano

Fifteen Domestic Minutes (1982) letters and radio

Fifty-Eight (1992) brass and wind instruments

First Chapter of Ecclesiastes (1932) piano

First Construction (in Metal) (1939) percussion sextet

Five (1988) 5 instruments or voices

Five Hanau Silence (1991) 5 tapes record at 5 locations -also called

Five Songs for Contralto (1938) vc & pno [Cumming] 1. Little 4-Paws, 2. Little Christmas Tree 3. In Just- 4. Hist Whist 5.Tumbling Hair

Five Stone Wind (1988) percussion w or w/o electronics {Five Stone dance}

Five2 (1991) ensemble

Five3 (1991) trombone and quarteto d'archi

Five4 (1991) 2 saxophones and 3 percussions

Five5 (1991) ensemble

Flower, A (1950) voice and closed piano {Louise Lippold dance}

Fontana Mix (1958) tape or any instrument

Food (1981) soprano & baritone voices, trumpet, percussion, piano

For M.C. and D.T. (1952) piano -used charts to Music of Changes

For Paul Taylor and Anita Dencks (1957) piano interior or other instruments

Foreboding (1946) ? piano

Forever and Sunsmell (1942) voice and 2 percussion [Cummings] {Jean Erdman dance}

Four (1989) string quartet

Four Dances (1943) piano, percussion and voice

Four Solos for Voices (1989) sop, mez, ten, bass

Four Songs of the Moment (1940) ? piano

Four Walls (1944) voice and piano

Four2 (1990) chorus

Four3 (1991) 2 pianos, violin (or oscillator), and rainsticks -[Vexations, Satie] {Beach Birds dance}

Four4 (1991) percussion @!

Four5 (1991) 4 saxophones

Four6 (1992) 4 performers (first part is One7) {Cunningham dance}

Fourteen (1990) ensemble

Freeman Etudes (1977-80/1989-90) violin {Paul Zukofsky}

Furniture Music Etcetera (1980) 2 pianos

Greek Ode (1932) voice and piano [Aeschylus, The Persians]

Haikai (1986) gamelan

Haikai (1991) flute and zoomoozophone

Haiku (1951) piano

HMCIEX (1983-84) tape and voice; i.e. Here Comes Everybody MIX

Ho to AA (1939) ? voice

House Full of Music, A (1982) students

HPSCHD (1969) harpsichords, tapes, slides, events || written with Lajaren Hiller ||

Hymnkus (1986) alto flute, clarinet, bassoon, trombone, 2 pianos

Hymns and Variations (1979) 12 amplified voices

Il Treno (1978) 3 happenings for prepared trains

Imaginary Landscape No.1 (1939) percussion, prepared piano, record player

Imaginary Landscape No.2 (1940) (disliked by Cage and hence other No.2) (1942)

Imaginary Landscape No.2 (March) (1942) percussion quintet, electronics {Lou Harrison}

Imaginary Landscape No.3 (1942) percussion sextet, contact microphones

Imaginary Landscape No.4 (March No.2) (1951) 12 radios (24 players)

Imaginary Landscape No.5 (1952) tape of 42 records

Imitations II (1976) clarinet

Improvisation (1984) ensemble

Improvisation No.3 (1980) 4 tape players

Improvisation No.4 (1982) variable speed tape players, revised in 1986{Fielding Sixes dance}

In a Landscape (1948) harp or piano {Louise Lippold dance}

Indeterminacy (1959) voice, piano and tape (or stuff)

Inlets (Improvisation II) (1977) conch shells, water, tape {Cunningham dance}

Instances of Silence (1982) installation with cassette tapes

In the Name of the Holocaust (1942) prepared piano

I-VI (1988) voice [mesostics from a variety of sources]

J.Joyce, M.Duchamp, E.Satie:an Alphabet (1979) text with divisions

Klassik nach Wunsch, Radiohappening (1982)

Lecture on Commitment (1961) voice

Lecture on the Weather (1975) 12 voices [Thoreau], tape of weather sounds, projections of Thoreau drawings

Les chants de Maldoror pulverises par l'assistance meme (1971) French crowd of no more than 200

Letter to Erik Satie (1978) voice and tape

Lidice (1945) ? piano

Litany for the Whale (1980) 2 voices

Living Room Music (1940) 4 perc 1.To Begin, 2. A Story -with voice [Stein], 3.Melody/To End With

Marriage at the Eiffel Tower (1939/1936) piano, trombone, percussion orchestra

Meditation (1943) ? prepared piano -first part identical to Tossed As It Is Untroubled (1943)

Metamorphosis (1938) piano

Mewantemooseicday (1970) event

Mirakus2 (1985) voice [Marcel Duchamp, Notes (1983), Alexia Duchamp and Paul Matisse]

Mozart Mix (1991) 5 cassette players, 25 tapes

Muoyce No.2 (1992) text and 6 tapes [Joyce]

Mureau (1970) voice, tapes [The Journal, Thoreau]

Mushrooms "et variationes" (1983)

Music for "The Marrying Maiden" (1960) tape and stuff (used for Jackson MacLow play)

Music for "Works of Calder" (1950) prepared piano and recorded sounds

Music For ________ . (title completed by adding the number of players) (1984-87)

Music for Amplified Toy Pianos (1960)

Music for an Aquatic Ballet (1938) ?

Music for Carillon No.1 (1952)

Music for Carillon No.2 (1954)

Music for Carillon No.3 (1954) ( Retrograde Inversion of No.2)

Music for Carillon No.4 (1961)

Music for Carillon No.5 (1967)

Music for Four for String Quartet (1987-88)

Music for Marcel Duchamp (1947) prepno, for Hans Richter film "Dreams that Money Can Buy"

Music for Piano 1 (1952) {Paths and Events, JoAnne Melchen dance}

Music for Piano 2 (1953) {Louise Lippold dance}

Music for Piano 20 (1953)

Music for Piano 21-36; 37-52 (1955)

Music for Piano 3 (1953)

Music for Piano 4-19 (1953) {Solo Suite in Space and Time/Suite for 5 dance}

Music for Piano 53-68 (1956)

Music for Piano 69-84 (1956)

Music for Piano 85. (1962) piano and live electronics

Music for "Museum Event no. 5" (1967)

Music for "Westbeth" (1974)

Music for Wind Instruments (1938) 1.Trio: fl, cl & bsn, 2. Duet: oboe and cornet, 3.Quintet: fl, ob, cl, cornet & bsn

Music for Xenia (1934) ? piano

Music of Changes (1951) piano

Music Walk (1958) piano(s) and radios or recordings -used Fontana Mix materials

Musicircus for Children (1984) 1000 singing children

Musicirus (1967) event

Mysterious Adventure (1945) prepared piano

Newport Mix (1967) tape

Nocturne for Violin and Piano (1947)

Nowth Upon Nacht (1985) voice and closed piano [Joyce]

One (1987) piano

One2 (1990) piano

One3 (1989); also titled One3 = 4'33" (0'00")

One4 (1990) percussion

One5 (1990) piano

One6 (1990) violin {Jnos Ngyesy} @!

One7 (1991) performer -first part of Four6

One8 (1991) cello -may be performed with 108 {Michael Bach}

One9 (1991) sho

One10 (1992) violin-for Mineko Grimmeer sculpture @!

One11 (1992) film

One12 (1992) improvising voice

One13 (1992) cello - not completed {Michael Bach}

Opening Dance (1942) ? piano

Ophelia (1946) piano {Jean Erdman dance}

Orestes (1948) piano -fragmentary

Organ2/ASLSP (1987) organ

Otte (1992) violin

Our Spring Will Come (1943) piano

Paragraphs of Fresh Air (1979) radio

Party Pieces (1945) || jointly written by Cage, Cowell, Harrison and Thompson ||

Pastorales (see Two Pastorales)

Perilous Night, The (1944) prepared piano

Perpetual Tango (1984) piano

Piano Duet (1960)

Piano Etudes (1932)

Pools (Improvisation IIa) (1978) conch shells and tape

Postcard from Heaven (1982) 1-20 harps

Prelude for 6 Instruments in A Minor (1946)

Prelude for a Meditation (1944) prepared piano

Primitive (1942) prepared piano

Program (KNOBS) for listener (1971)-used with HPSCHD LP

Project for Hanau Squatters

Quartet (1935) for any percussion

Quartet for Concert Band and 12 Amplified Voices (1978)

Quartets I-VIII (1976) 24, 41 or 91 players - part I also known as Music for Concert Band and 12 Amplified Voices

Quest (1935) piano -only second movement exists

Radio Music (1956) one to eight radios

Renga (1976) orchestra

Reunion (1968) elecs w chess board gate w/Tudor, Mumma, Behrman, Cross, Teeny, Duchamp

Roaratorio: An Irish Circus on Finnegans Wake (1979) voice, tape, Irish musicians

Rocks (1986) percussion

Room, A (1943) piano or prepared piano

Root of an Unfocus (1944) prepared piano {Cunningham dance}

Rozart Mix (1965) tape

Ryoanji (1983-85)  Solos for Ob, Fl, Cb (optional voc adlib),Vce, Trb with Perc or Orchl Obbligato

Score (1974) (40 Drawings by Thoreau), 23 Parts for any instruments and/or voices-Twelve Haiku followed by recording of Dawn at Stony Point, N Y, 8/ 6/74

Scottish Circus (1990) concurrent traditional Scottish music

Sculpures Musicales (1989) 4 performers with electronic instruments

Seasons, The a Ballet in One Act (1947) orchestra or piano {Cunningham dance}

Second Construction (1940) percussion quartet

Selkus2 (1984) voice [same as Mirakus2]

Seven (1988) flute, clarinet, percussion, piano, violin, viola and cello

Seven Haiku (1952) piano (used charts to Music of Changes)

Seven2 (1990) bass flute, bass clarinet, bass trombone, two percussionists, cello and contrabass

Seventeen (1992) -only 4 parts written

Seventy-Four (1992) orchestra

She Is Asleep (1943);1. Quartet-12 tom-toms 2. Duet-vce, pre pno 3. A Room-pre pno or pno

Shimmera (1942) ? prepared piano

Silent Environment (1979) installation

Six (1991) percussion @!

Six Melodies for Violin and Keyboard (Piano) (1950)

Six Short Inventions (1934) trios of flute, clar, trp, vln, 2 vlas, cello -revised 1958

Sixteen Dances (1951) flute, trumpet, piano, violin, cello, 4 percussionists {Cunningham dance}

Sixty-Eight (1992) orchestra

Sixty-Two Mesostics Re Merce Cunningham (1971) voice [Changes: Notes on Choreography, Cunningham]

Socrate, Portrait de Socrate (1968) arr. of Erik Satie's work, for 2 pianos

Soliloquy (1945) piano -modified excerpt from Four Walls (1944)

Solo for Cello (1957-58)

Solo for Sliding Trombone (1957-58)

Solo for Voice (1958)

Solo for Voice 2 (1960)

Solo with Obligato Accompaniment of Two Voices in Canon, and Six Short Inventions on the Subjects of the Solo (1933)

Some of "The Harmony of Maine" (Supply Belcher) (1978) organ

Sonata for Clarinet (1933)

Sonata For Two Voices (1933)

Sonatas and Interludes (1948) prepared piano

Song Books (Solos for Voice 3-92) (1970) voice, electronics, events

Sonnekus2 (1985) voice [Genesis] (may be performed with Satie caberet songs )

Sound Anonymously Received (1969) any instruments

Sounday (1978) 10-hour radio event

Sounds of Venice (1959) tv's and tapes; bells, boat horns, and a toy that meows like a cat

Souvenir (1983) organ

Speech (1955) 5 radios and speaker

Spiritual (1940) ? piano

Spontaneous Earth (1944) prepared piano

String Quartet (1936) ?

String Quartet in Four Parts (1950)

Stufen: an Autoku for Siegfried Unseld (1989) voice

Suite for Toy Piano (1948) {Cunningham dance}

Swinging (1989) piano

Telephones and Birds (1977) 3 performers, recordings and telephone announcements

Ten (1991) chamber ensemble

Theatre Piece (1960) 1-8 performers (used Fontana Mix materials)

Thin Cry (1945) ? piano

Third Construction (1941) percussion quintet

Thirteen (1992) ensemble

Thirteen Harmonies (1986) violin and keyboard

Thirty Pieces for Five Orchestras (1981)

Thirty Pieces for String Quartet (1983)

Three (1989) 3 recorders

Three Composed Improvisations (1989) drums or bass guitar

Three Dances (1945) 2 prepared pianos {Robert Fizdale and Arthur Gold}

Three Easy Pieces (1933) piano

Three Pieces for Flute Duet (1935)

Three Pieces of Furniture Music (1972) apparently based on Erik Satie's musique d'ammeublement

Three Songs for Voice and Piano (1933) [Stein] 1. 20 Years After 2. Is It as It Was 3. At East and Ingredients

Three2 (1991) 3 percussionists @!

Time (Three Autokus) (1988) 3 texts for a speaker

Tossed As It Is Untroubled (1943) prepared piano

Totem Ancestor (1942) prepared piano {Cunningham dance}

Trio (1936) percussion Allegro/March/Waltz -waltz used in Amores (1943)

Triple-Paced (1943) prepared piano

Truckera (1987) tape for Europeras

TV Koeln (1958) piano

Twenty-Eight (1992) ensemble

Twenty-Nine (1992) ensemble

Twenty-Six (1992) 26 violins

Twenty-Three (1988) 13 violins, 5 violas, 5 cellos @!

Two (1987) piano and flute

Two Pastorales (1951) prepared piano and two whistles

Two Pieces for Piano (1935)

Two Pieces for Piano (1946)

Two Pieces for Piano (1974) (revised from 1934 version)

Two2 (1989) 2 pianos, 4 hands

Two3 (1991) sho {Mayumi Miyata} and conch shell/percussion

Two4 (1991) violin {Paul Zukofsky} and piano or sho

Two5 (1991) trombone and piano

Two6 (1992) violin and piano {Ami Flammer/Martine Joste}

Unavailable Memory of, The (1944) prepared piano

Unfinished Work for Magnetic Tape (1953) (unfinished)

Unfinished Work for Voice (1953) (unfinished)

Valentine Out of Season, A (1944) prepared piano

Variations I (1958) any instruments

Variations II (1961) ensemble

Variations III (1963)

Variations IV (1963) no instruments specified, only locations

Variations V (1965) percussion and tape

Variations VI (1966)

Variations VII (1966) radios, geiger counters, telephones, et cetera

Variations VIII (1978)

Voiceless Essays (1985-87) 18 cassette players (material from Essay (1987) w/o vowels)

Waiting (1952) piano { dance}

Waltzes for the Five Boroughs (see 49 Waltzes)

Water Music (1952) piano, radio, whistles, water, deck of cards

Water Walk (1959) tv and tape; mechanical fish, duck call, bathtub, etc

WBAI (1960) machines

WGBH-TV (1971) composer and technicians

What We've So Proudly Hailed (1943) voice, 2 pianos and percussion

Where Are We Going? And What Are We Doing? (1960) tapes/voice

Whiskus, Eight (see Eight Whiskus)

Williams Mix (1952) tape

Winter Music (1957) 1-20 pianos

Wishing Well (1986) 4 speakers

Wonderful Widow of Eighteen Springs, The (1942) Voice and closed piano [Joyce]

Writing for the Second Time Through Finnegan's Wake (1977) [Joyce]

Writing Through Duchamp's Notes (1984)

Writing Through Finnegans Wake (1977) [Joyce]

Writing Through Kafka's Die Verwandlung (1983)

Writing Through On The Duty of Civil Disobedience (1985)

Writing Through the Cantos of Ezra Pound (1982)

  

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