In 1968, composer John Cage assembled the book “Notations,” with American artist Alison Knowles, a collection of experimental musical scores by 269 mid-twentieth century composers, from Bernstein, Stravinsky to the Beatles, including this one by William R. Maginnis, Jr.

“The fascination of a composer’s notation is the fascination of the human personality,” writes Aaron Copland. If you know just one piece by avant-garde composer and all-around oracle of indeterminacy John Cage, you know 1952’s 4’33’, which consists, for that length of time, of no deliberately played sounds at all.

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