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The correspondence between composer John Cage and Peter Yates represents the third and final part of Cage's most significant exchanges of letters, following those with Pierre Boulez and with David Tudor. Martin Iddon's book is the first volume to collect the complete extant correspondence with his critical friend, thus completing the 'trilogy' of Cage correspondence published by Cambridge. By bringing together more than 100 letters, beginning in 1940 and continuing until 1971, Iddon reveals the dialogue within which many of Cage's ideas were first forged and informed, with particular focus on his developing attitudes to music criticism and aesthetics. The correspondence with Yates represents precisely, in alignment with Cage's fastidious neatness, the part of his letter writing in which he engages most directly with the last part of his famous tricolon, 'composing's one thing, performing's another, listening's a third'.
This article addresses the phenomenon of New Conceptualism, otherwise known as conceptual music, or Konzeptmusik, and locates it within the German new music scene of the last decade. It is suggested that conceptual music may perhaps be a contradiction in terms, representing a nostalgic desire for the semantic strength of conceptual art. In particular the article focuses on Johannes Kreidler's 2009 work, Fremdarbeit, and scrutinises the composer's claim to have ‘outsourced’ the composition of the work to India and China. The significance of this – whether actual or fictional – as an example of globalisation is examined and set within its political and economic context.