존 케이지의 음악이 백남준의 독일시기(1956-1963)에 미친 영향

Abstract

This paper covers a subject of “The Influence of John Cage’s Music in Nam June Paik’s German Period(1956-1963)”. The necessity of the research was recognized in the fact that there is no scholarly research on the artistic relation between John Cage and Nam June Paik in previous studies in Korea. The research was carried out on the question of artistic relation between John Cage and Nam June Paik, focusing on Indeterminacy. This research has a purpose of defining the indeterminacy of Nam Jun Paik, based on John Cage’s philosophy of music and his work. The research method is to conduct literature reviews. In order to understand the meaning of the term “Indeterminacy” used by John Cage, this research examined 「Changes」,「Indeterminacy」, and 「Communication」 on the theme of 『Composition as Process』, the third lecture of John Cage who participated in the ‘Internationale Ferienkurse für Neue Musik, Darmstadt’. For John Cage, the indeterminacy is an anti-artistic strategy to reform the form of music. It originated in Zen enlightenment, which influenced his composition. Nam Jun Paik met John Cage in Darmstadt in 1958. Since then, it had influenced Nam Jun Paik’s avant-garde music during his German period. So, it could be considered that Nam Jun Paik’s musical mentor was John Cage in his German period. In 1963, Nam Jun Paik held his first solo exhibition 《Exposition of Music-Electronic Television》 in Wuppertal. He released ‘13 Experimental TVs’ to the public for the first time. He took note of the artistic feature of indeterminacy in the ‘Experimental TV’. It could be seen that it had a close relationship with John Cage’s (1938). John Cage is seen at the background of the 13 Experimental TVs. Based on the music of John Cage, this research is intended to clarify Nam Jun Paik’s indeterminacy in the Experimental TV.