Experimental Music Notes

The following is a typed version of a page of notes I found in a spiral type notebook about some book I was reading on John Cage. I don’t recall the book (it was a Cage book) and I can’t guarantee the accuracy of the below notes factual accuracy.
I think I wrote these circa 2007. The musical piece and paper mentioned are mostly likely not tasks I will act upon, but worth noting as concepts that influence the sqrt(composition process).

-John Cage’s musical trinity- composing, performing, listening

-Cage’s experimental view vs. Stockhausen’s “avant garde” European Art Composer Idea

-A cool paper topic would be a Cage vs. Stockhausen, a compare and contrast in philosophical ideals and the sense of Cage moving “backwards” (unfocused / untouched) vs. Stockhausen moving “forward”. Do either ever start fresh? How much did each draw off of previous works of the era? Freedom vs. controlled, Freeing vs. Restraining, experimental vs. avant garde, reaction vs connotation.

-Performing artists to check into- Reich Scratch Orchestra, Boulez, Christian Wolff, George Brechts, Gavin Bryars, Christopher Hobbs, John White Feldman

-“Cage based his rhythmic structures on a square root principle, large length have the same relation with the whole as the small lengths”

-Cage Pieces- Imaginary Landscape No.1, No.2; Living Room Music

-Reading whatever passage of whatever book the above notes came from, I wrote a little outline of a conceptual piece in the margin, probably evoked by crossing Stockhausen and Cage known previous works (mostly Music for Helicopters ??).

It is entitled “Music for 37 Balloons” and is in four movements- I. Inflate, II. Relation, III. Deflate, IV. Sweep Up. (That was the end of the notes as written). I can’t recall if there should be mics attached to all the balloons and you follow the ASDR type of overall form or if it was the act of filling and popping the balloons I was going for here.