http://opac.berlin.bard.edu//cgi-bin/koha/opac-search.pl?q=ccl=pb%3AHenmar%20Press%20Inc.&format=rss2
9050Ryoanji ISBN
http://opac.berlin.bard.edu//cgi-bin/koha/opac-detail.pl?biblionumber=8959
By John Cage.
New York City; Henmar Press Inc. 1983
. 2 p.
]]>http://opac.berlin.bard.edu//cgi-bin/koha/opac-detail.pl?biblionumber=8959Ryoanji ISBN
http://opac.berlin.bard.edu//cgi-bin/koha/opac-detail.pl?biblionumber=8958
By John Cage.
New York City; Henmar Press Inc. 1984
. 17 p.
]]>http://opac.berlin.bard.edu//cgi-bin/koha/opac-detail.pl?biblionumber=89584' 33" ISBN
http://opac.berlin.bard.edu//cgi-bin/koha/opac-detail.pl?biblionumber=8960
By John Cage.
New York; Henmar Press, Inc. 2012
. 35 p.
, This edition includes all previously published versions of 4'33" - both typed and calligraphic versi, as well as the edition in proportional notation created for Irwin Kremen, to whom Cage had dedicated the piece.
]]>http://opac.berlin.bard.edu//cgi-bin/koha/opac-detail.pl?biblionumber=8960Variations IV ISBN
http://opac.berlin.bard.edu//cgi-bin/koha/opac-detail.pl?biblionumber=8962
By John Cage.
New York, Henmar Press, Inc. 1963
, This piece is the second in a group that included Atlas Eclipticalis as the first piece and 0'00" as the third. Variations IV is intended for any number of players producing any sounds by any means, "with or without other activities." It is dedicated to Peter Pesic.
]]>http://opac.berlin.bard.edu//cgi-bin/koha/opac-detail.pl?biblionumber=89624' 33" ISBN
http://opac.berlin.bard.edu//cgi-bin/koha/opac-detail.pl?biblionumber=8961
By John Cage.
New York, Henmar Press, Inc. 1962
, This is the third and final work in a series corresponding to the 3 lines of Haiku poetry. For further details, see Variations IV.
]]>http://opac.berlin.bard.edu//cgi-bin/koha/opac-detail.pl?biblionumber=8961Ryoanji (Voice) ISBN
http://opac.berlin.bard.edu//cgi-bin/koha/opac-detail.pl?biblionumber=8963
By John Cage.
New York Henmar Press Inc. 1983
. 19 pages
, Each two pages represent a "garden" of sounds. The glissandi are to be played smoothly and as much as is possible like sound events in nature rather than sounds in music. The dynamics, not given, are to be soft rather than loud, as a rule, a rule that has exceptions. The pieces is for bass solo (shown below in the part as a solid line) ____ , with vocalise ad libitum (the straight horizontal lines, below, represent the staff) and prerecorded parts. These latter are ......, __ __, and _ . _ . Each part is to have its own sound system.
]]>http://opac.berlin.bard.edu//cgi-bin/koha/opac-detail.pl?biblionumber=8963Variations V ISBN
http://opac.berlin.bard.edu//cgi-bin/koha/opac-detail.pl?biblionumber=8964
By John Cage.
U.S.A. Henmar Press Inc. 1965
. 3 pages
]]>http://opac.berlin.bard.edu//cgi-bin/koha/opac-detail.pl?biblionumber=8964Ryoanji (Oboe) ISBN
http://opac.berlin.bard.edu//cgi-bin/koha/opac-detail.pl?biblionumber=8966
By John Cage.
New York Henmar Press Inc. 1985
. 17 pages
, Each two pages represent a "garden" of sounds. The glissandi are to be played smoothly and as much as is possible like sound events in nature rather than sounds in music. The dynamics, not given, are to be soft rather than loud, as a rule, a rule that has exceptions. The pieces is for bass solo (shown below in the part as a solid line) ____ , with vocalise ad libitum (the straight horizontal lines, below, represent the staff) and prerecorded parts. These latter are ......, __ __, and _ . _ . Each part is to have its own sound system.
]]>http://opac.berlin.bard.edu//cgi-bin/koha/opac-detail.pl?biblionumber=8966Fontana Mix ISBN
http://opac.berlin.bard.edu//cgi-bin/koha/opac-detail.pl?biblionumber=8965
Henmar Press Inc. 1960
. 10 sheets of paper, 11 transparencies and Instructions
, 17 minutes of material, to be used in any time length, longer or shorter; the score may also be used to provide a part or parts for any instrument or combination of instruments. (see also: ARIA, CONCERT, SOLO FOR VOICE 2, WBAI)
]]>http://opac.berlin.bard.edu//cgi-bin/koha/opac-detail.pl?biblionumber=8965