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Trade in Where the Heart Beats: John Cage, Zen Buddhism, and the Inner Life of Artists for an Amazon Gift Card of up to £0.50, which you can then spend on millions of items across the site. Trade-in values may vary (terms apply). Learn more
I bought this partly to discover more about composer John Cage but mostly to see what it might say about how a creative person could employ Buddhist philosophy in the making of their art. It certainly covers Cage's life and his stance on Buddhism and creativity but I found elements of the text somewhat repetitive and at times almost inpenetrable. However this doesn't mean that I didn't learn anything from the book, I just wished it could have offered more on how to usefully direct one's creative abilities with reference to Buddhist practices.
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John Cage was arguably one of the most fascinating and enigmatic composers of experimental music of the 20th century. In this book, Where the Heart Beats; John Cage, Zen Buddhism, and the Inner Life of Artists, Kay Larson, art critic and Zen Buddhist, looks at Cage’s life and the relationship between his work and Zen Buddhism.
The book is a sort-of-biography, covering Cage’s early life, his student years, and his first forays into composition. A curious man, Cage had begun delving into the works of the Orient, and the turning point in his life, and in his approach to art, came in 1950, when he met D. T. Suzuki, a Japanese author and lecturer who settled in New York City. His earliest book, which had been published in the United States in 1927, came out in a new edition at that time. Suzuki was to start teaching Zen to all and sundry, and Cage absorbed all that he could.
Cage had been involved in many experimental works, including “happenings” and works with what was considered to be non-musical sounds. In the 1940s, he developed the idea of the prepared piano, where he inserted objects and and between the strings of the instrument to give it a more percussive sound. His Sonatas and Interludes for Prepared Piano (Amazon.com, Amazon UK) was his first major work using this technique.
"Wherever we are, what he hear is mostly noise. When we ignore it, it disturbs us. When we listen to it, we find it fascinating."
But the discovery of Zen, along with the I Ching – the Chinese oracle book – which was given to him in 1951 by Christian Wolff, led him to embrace indeterminacy and chance. He was later to use chance operations in all of his compositions.
"I believe that by eliminating purpose, what I call awareness increases.Read more ›
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Easy read with sme nice conection to the beat generation and an American take on modern! Only some way through, so reserve a conclusion! Paperback arrived fine.
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