Cage John. Annotated postcard invitation to Oskar Fischinger, 1937. William Moritz Collection at the Center for Visual Music, Los Angeles.
Cage John. “Brief History of this Field of Music,” schematic diagram, ca. 1935; “Guggenheim Application and Bibliography”; “Bibliography of Articles etc., on Percussion Music, Electrical Music, Synthetic Music, or Composers Thereof.” Series V, “Ephemera,” folder “Experimental Music and Percussion,” John Cage Collection, Northwestern University Music Library, Evanston, IL.
Cage John. “The Future of Music: Credo,” 1961, corrected typescript. Series 1, box 5, folder 13, John Cage Papers, Wesleyan University Special Collections and Archives, Middletown, CT.
Cage John. Interview with Thomas Hines, 21 and 23 May 1992. Getty Research Institute, 2002. M.40.
Cage John. Letters to Henry Cowell, 16 August and 27 September 1940. Box 2, folder 5, New York Public Library, Cowell Collection.
Cage John. Interview with Irving Sandler, 1967. Box 4, folder 12, Irving Sandler Papers, Getty Research Institute, 2000.M.43.
Cage John. Letter to Alexej von Jawlensky, n.d. (1935). Alexej von Jawlensky-Archiv, Lorcano. Facsimile and translation in Müller, “It Is a Long, Long Road,” 273–74.
Cage John. Letters to Pauline Schindler, 3 June 1935, 24 May 1935, 3 June 1935. Getty Research Institute Special Collections, Los Angeles.
Cage John. Letters to Adolph Weiss, March 1935. Transcribed in William Bernard George, Adolph Weiss, Ph.D. diss., University of Iowa, 1971.
Cage John. Letters to Peter Yates, 24 December 1940 and 13 January 1941. MSS 14, box 3, folder 1, Peter Yates Papers, Mandeville Special Collections, University of California at San Diego.
Cage John. Manuscript, n.d. MSS 14, box 3, folder 2, Peter Yates Papers, Mandeville Special Collections, University of California at San Diego.
Cage John. “Mesostic for Elfriede Fischinger,” 8 May 1980. Center for Visual Music, Elfriede Fischinger Collection, Los Angeles.
Cage John. Transcription of “Organized Sound for the Sound Film”; manuscript and typescript drafts “Credo.” Series V: Ephemera, folder: “1940,” John Cage Collection, Northwestern University Music Library, Evanston, IL.
Cage John M. Sr. Letter to Dr. John P Hagen, Naval Research Laboratory, Washington, D.C., 6 October 1956. Series IV, Correspondence, box 2, folder 3, item 13, John Cage Collection, Northwestern University Music Library, Evanston, IL.
Cage John M. Sr. “The Rape of Common Sense,” ca. 1930. Private publication, manuscript held by the John Cage Trust.
Cage Xenia. Note Card to John Cage, 22 November 1976. John Cage Trust.
Fischinger Oskar. Contract with Solomon R. Guggenheim, 18 June 1943. Account no. 786445, folder 10. Hilla Rebay Non-Objective Film Collection, Guggenheim Museum Archives, New York City.
Fischinger Oskar. Letter to John Cage, 20 May 1943. Fischinger Collection, Center for Visual Music, Los Angeles.
Fischinger Oskar. Undated score. Fischinger Collection at the Center for Visual Music, Los Angeles.
Garve Renata. Letter to John and Xenia Cage, 25 August 1941. Box 62, folder 1, David Tudor Papers, Getty Research Institute.
Scheyer Galka. Letter to Alexej von Jawlensky, 8 February 1935. Galka Scheyer Papers, Norton Simon Museum, Pasadena, CA, J1935–2.
Schoenberg Arnold. Signed and annotated course announcement sent to Galka Scheyer. Folder “Arnold Schoenberg,” doc. 6. Galka Scheyer Papers, Norton Simon Museum, Pasadena, CA.
Sturdy Herbert. “Articles of Incorporation of Sturdy Cage Projects, Inc.,” 2 March 1935, Corporation No. 162010; “Certificate of Election to Wind Up and Dissolve Sturdy-Cage Projects Inc.,” filed 29 December 1964. California Secretary of State, Business Programs Division, Certification and Records, Sacramento.
Sturdy Herbert. Letter to General Quesada, 23 November 1957. Series I, box 2, folder 3, item 16. John Cage Collection, Northwestern University Music Library, Evanston, IL.
Antheil George. “Music Tomorrow.” transition 10 (January 1928): 123–26.
Brougher Kerry, Strick Jeremy, Wiseman Ari, and Zilczer Judith, eds. Visual Music: Synaesthesia in Art and Music since 1900. New York: Thames and Hudson, 2005.
Cage John. “A Composer's Confessions.” Reprinted in John Cage: Writer, ed. Kostelanetz Richard, 37. New York: Limelight, 1993.
Cage John. For the Birds: John Cage in Conversation with Daniel Charles. Ed.Gora Tom and Cage John. Boston: Marion Boyars, 1981.
Cage John. John Cage: An Anthology. Ed. Kostelanetz Richard. New York: Da Capo, 1970.
Cage John. John Cage Selected Correspondence. Ed.Kuhn Laura and Silverman Kenneth. Middletown, CT: Wesleyan University Press, Forthcoming.
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Cage John M., Sr. “Electron Beam Tube.” U.S. Patent No. 2,225,330 (Schenectady, NY, assigned to General Electric Co.), filed 22 April 1939, issued 17 December 1940.
Cage John M., Sr. “Invisible Ray Vision System.” U.S. Patent No. 2,395,099, filed July 6, 1935, issued 19 February 1946.
Cage John M., Sr. “Ultra Short Wave System.” U.S. Patent No. 2,190,511 (Schenectady, NY, assigned to General Electric Co.), filed 1 March 1938, issued 13 February 1940.
Chávez Carlos. Toward a New Music. New York: Da Capo Press, 1937.
Fischinger Oskar. “Sounding Ornaments.” Deutsche Allgemeine Zeitung, 8 July 1932. Reprinted and translated in William Moritz, Optical Poetry: The Life and Work of Oskar Fischinger, 179–80. Bloomington: Indiana University Press, 2004.
George William Bernard. Adolph Weiss. Ph.D. diss., University of Iowa, 1971.
Hewlett William R. “Variable Frequency Oscillator.” U.S. Patent No. 2,268,872, filed 11 July, 1939, issued 6 January 1942.
Hewlett William R., and Cage John M.. “Direct Current Amplifier and Modulator Therefor.” U.S. Patent No. 3,014,135 (assigned to Hewlett-Packard Co.), filed 4 March 1957, issued 19 December 1961.
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