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This test consists of 5 multiple choice questions, 5 short answer questions, and 10 short essay questions.

Multiple Choice Questions

1. When was "Experimental Music" first presented?
(a) 1939.
(b) 1954.
(c) 1957.
(d) 1945.

2. Who said, "John, I dearly love you, but I can't bear another minute"?
(a) Romaine Brooks..
(b) Louise Bourgeois.
(c) Jeanne Reynal.
(d) Lee Bontecou.

3. Each line of text in "Composition as Process--1: Changes" was meant to be read in what time period?
(a) Five seconds.
(b) One second.
(c) Two seconds.
(d) Half of a second.

4. Cage and his wife moved to New York from where?
(a) New Orleans.
(b) Richmond.
(c) Chicago.
(d) Boston.

5. Cage had a method for bringing about unpredictability where he tossed how many coins?
(a) Two coins.
(b) Six coins.
(c) Three coins.
(d) Four coins.

Short Answer Questions

1. Who composed "Exercises de piano"?

2. What was the occupation of the person Cage thanks at the end of his foreword?

3. A portion of "Composition as Process--3: Communication" was published in what publication?

4. In what state was "The Future of Music: Credo" first printed?

5. Who asked Cage why he did not give a conventional and informative lecture?

Short Essay Questions

1. Why does Cage say that compositions indeterminate with respect to their performance are by definition experimental?

2. How did painter Willem de Kooning respond when asked what painters of the past had influenced him?

3. What does Cage say about Varese in relation to the present nature of music?

4. Describe the anecdote used at the conclusion of "Composition as Process--2: Indeterminacy" about Dr. Suzuki.

5. What does Cage believe the future holds for sounds that are heard on a regular basis?

6. How does Cage go about exploring the work of each composer he mentions in "Composition as Process--2: Indeterminacy"?

7. What does Cage comment on in the article "Forerunners of Modern Music"?

8. How much concern do Cage and his colleagues seem to have about how their work is perceived and received by its hearers?

9. How does Cage feel about writing his article about Erik Satie, as portrayed in the article?

10. In "Experimental Music: Doctrine," how does Cage respond when asked what he had to say about rhythm?

(see the answer keys)

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