Abstract
Abstract Although chance, or the removal of personal influence from the compositional method, did not play a part in John Cage's work until 1951 when he began to use the / Ching to make artistic decisions, techniques used during the 1930s anticipate those associated with chance operations. In this study, analyses of the following works will illustrate how these techniques point to his eventual use of chance: Solo with Obbligato Accompaniment of Two Voices in Canon, and Six Short Inventions on the Subjects of the Solo (1933–34); Quartet for percussion (1935); and Imaginary Landscape No. 1(1939).
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