The Art of the Toy Piano 2 (CD/DVD) for toy pianos, toy instruments, piano, voice. JOHN CAGE Suite for Toy Piano. Dream. ERIK GRISWOLD Old MacDonald’s Yellow Submarine. TOBY TWINING An American in Buenos Aires (A Blues Tango) GEORGE CRUMB Put My Little Shoes Away. JEROME KITZKE The Animist Child. ROSS BOLLETER Hymn to Ruin. The list below includes all pages in the category 'Scores featuring the toy piano'.These include both original works and arrangements where the toy piano is either a solo instrument or plays as part of a small instrumental ensemble. → See also: Scores featuring keyboard soloists — Scores featuring the piano — Scores featuring toy instruments. → Sort this list by work type. $22.00 / By John Cage. For toy piano (piano). Published by C.F. Listen to Cage: Suite for Toy Piano on Spotify. John Cage Single 2017 1 songs.

“Tranquility through austerity” had become Cage’s watchword by the time he composed the Suite for Toy Piano in 1948. His new musical heroes were the master miniaturists Webern and Satie and in his polemical addresses to the students he championed their sense of scale against the “deadening” monumentality of Beethoven.

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Cage: “As soon as I began to study oriental philosophy, I introduced it into my music. People then were always pretending that a composer had to have something to say. So what I was saying was nothing more than what I had understood about, first of all, the philosophy of India”
(Interview with Daniel Charles in “For The Birds”).

Drivers aiptek cameras. The toy piano is a very limited instrument; it has not much more than an octave of diatonic notes. Cage starts by restricting this instrument even more, using only five notes in the middle of the instrument. The next three notes expand the note palette until all keys on the toy instrument can be used, and then the final movement reverts back to five notes. The music has an intimate and charming, if somewhat deliberately bland quality.

Cage enjoyed the chiming sound of the toy piano and clearly was predisposed to write for a keyboard that produced, again, hard-edged and unemotional sounds from a limited-note palette. Another factor that obviously predisposed him to write this suite was his major occupation of that year: he had gone to teach at Black Mountain College in North Carolina. (While teaching there in 1944 he had organized an event that is generally acknowledged as the first instance of what two decades later came to be called “a happening.”) His 1948 project was a 25-concert series featuring the music of French composer Erik Satie.

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John Cage (1912–1992, USA) – His initial education was at Los Angeles High School and then, for two years, at Pomona College, which he left in 1930. After a year in Europe dabbling in various arts, Cage came back to Los Angeles in 1931 and began to study composition. His first instruction came from Richard Buhling, and then Henry Cowell, Adolph Weiss and Arnold Schoenberg (in Los Angeles in 1934). Then he began working as a dance accompanist and teacher (UCLA, the Cornish School of the Arts in Seattle). It was here that he first met the dancer Merce Cunningham, with whom he would have a lifelong working relationship, being Musical Advisor for the Merce Cunningham Dance Company until his death. Through dance, Cage was also introduced to the idea of writing music for percussion ensemble, using dancers as musicians. In 1943, he moved to New York City, where his concerts featuring percussion instruments attracted attention, as also the idea of the prepared piano. Alongside this development, Cage was among the first composers to envisage the expansion of sonic possibilitiesimplied by electronic technologies (Imaginary Landscape no.1 in 1939). Towards the end of the 1940s Cage also started to develop anaesthetic of silence, because of his interest in Eastern philosophies, especially Zen Buddhism. The result was music derived, at least in part, from quasi-random decisions – chance operations. In 1952, at Black Mountain College, he presented a theatrical event considered by many to have been the preparation for the first happening.

Over the course of his career, Cage also worked increasingly in non-musical media, especially graphics, writing and poetry.

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His disparate works include Bacchanale for prepared piano (1938), Imaginary Landscape No. 4 for 12 radios (1951), 4’ 33’’ (1952), Fontana Mix for tape (1958), HPSCHD for seven harpsichords, 51 tapes, and non-musical media (1969), Roaratorio (1979), Europeras 1-5 (1987-1991). His books include : Silence (1961), A Year from Monday (1967) and For the Birds (1981).

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Cage was the recipient of many awards and honors, beginning in 1949 with a Guggenheim Fellowship and an Award from the National Academy of Arts and Letters. Cage was elected to the American Academy of Arts and Sciences in 1978, and was inducted into the 50-member American Academy of Arts and Letters in May, 1989.

John Cage
Suite for Toy Piano (1948)
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Cage wrote his Suite for Toy Piano at Black Mountain College in North Carolina for Merce Cunningham’s Diversion. The suite is in 5 short, numbered movements. Obviously it employs a very limited gamut of tones: the nine white keys. It can ostensibly be played on virtually any toy piano, even one with painted black keys. The suite is one of Cage’s most charming and whimsical compositions. It is a humorous and ironic piece, giving exaggerated dynamics that can’t be realized (on a toy piano) from sffz to ppp.