In 1948, Cage was completely in alignment with Ananda Coomaraswamy’s severe criticisms of Western art. At the same time, it directly contradicts Cage’s own career, built by playing the role of the brash individualist, modeling himself on artists such as the “Art of Noises” Futurist Luigi Russolo. This conflict is a key factor in the history of Cage’s path in the late 1940s.
“To what end does one write music?” For a composer like John Cage, this was not just a question about the meaning of his work, it was a question about the meaning of his life. It is not surprising, then, that Cage would turn to sources that combined the artistic and the religious to seek out answers.