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. . . I was given a job at the
Cornish School in Seattle.
It was there that I discovered what I called micro-macrocosmic rhythmic
structure. The large parts of a composition had the same proportion as
the phrases of a single unit. Thus an entire piece had that number of measures
that had a square root. This rhythmic structure could be expressed with
any sounds, including noises, or it could be expressed not as sound and
silence but as stillness and movement in dance. It was my response to
Schoenberg’s structural harmony. . . .
John Cage
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