{"id":2331,"date":"2011-02-01T22:25:47","date_gmt":"2011-02-01T21:25:47","guid":{"rendered":"http:\/\/www.maurograziani.org\/wordpress\/?p=2331"},"modified":"2025-08-22T18:13:31","modified_gmt":"2025-08-22T16:13:31","slug":"in-the-name-of-the-holocaust","status":"publish","type":"post","link":"https:\/\/maurograziani.org\/wordpress\/archives\/2331","title":{"rendered":"In The Name of the Holocaust"},"content":{"rendered":"<p>John Cage &#8211; In The Name of the Holocaust (1942), for prepared piano.<\/p>\n<p>Like much of Cage&#8217;s early dance music (this to accompany a piece by Merce Cunningham), <em>In the Name of the Holocaust<\/em> was written for what Cage would later refer to as a &#8216;prepared piano&#8217;: a piano with screws, bolts, or other materials placed between certain strings to create a percussive effect.<\/p>\n<p>The music features a number of new piano techniques, many of which Cage borrowed from his teacher Henry Cowell: notes held open for resonance, muted and plucked strings, and clusters played with the arm and flat of the hand. The title references World War II and comes from a pun on the Catholic liturgical phrase &#8220;In the Name of the Holy Ghost&#8221; found in James Joyce&#8217;s novel Finnegans Wake.<\/p>\n<p>John Cage &#8211; <a href=\"https:\/\/maurograziani.org\/wordpress\/wp-content\/cage_holocaust.mp3\">In The Name of the Holocaust<\/a> (1942), Margaret Leng Tan, piano<\/p>\n<div class=\"related-posts\">\n<div id=\"related-posts-MRP_all\" class=\"related-posts-type\">\n<h3>RELATED:<\/h3>\n<ul>\n<li><a href=\"https:\/\/maurograziani.org\/wordpress\/archives\/4925\">Organ2\/ASLSP (2015 check)<\/a><\/li>\n<\/ul><\/div>\n<\/div>","protected":false},"excerpt":{"rendered":"<p>John Cage &#8211; In The Name of the Holocaust (1942), for prepared piano. Like much of Cage&#8217;s early dance music (this to accompany a piece by Merce Cunningham), In the Name of the Holocaust was written for what Cage would &hellip; <a href=\"https:\/\/maurograziani.org\/wordpress\/archives\/2331\">Continua a leggere<span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[210],"tags":[604],"class_list":["post-2331","post","type-post","status-publish","format-standard","hentry","category-strumentale-mus","tag-cage"],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/maurograziani.org\/wordpress\/wp-json\/wp\/v2\/posts\/2331"}],"collection":[{"href":"https:\/\/maurograziani.org\/wordpress\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/maurograziani.org\/wordpress\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/maurograziani.org\/wordpress\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/maurograziani.org\/wordpress\/wp-json\/wp\/v2\/comments?post=2331"}],"version-history":[{"count":1,"href":"https:\/\/maurograziani.org\/wordpress\/wp-json\/wp\/v2\/posts\/2331\/revisions"}],"predecessor-version":[{"id":17535,"href":"https:\/\/maurograziani.org\/wordpress\/wp-json\/wp\/v2\/posts\/2331\/revisions\/17535"}],"wp:attachment":[{"href":"https:\/\/maurograziani.org\/wordpress\/wp-json\/wp\/v2\/media?parent=2331"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/maurograziani.org\/wordpress\/wp-json\/wp\/v2\/categories?post=2331"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/maurograziani.org\/wordpress\/wp-json\/wp\/v2\/tags?post=2331"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}