"Kristine Scholz (born in Oława, Poland - once Ohlau in German Silesia) is a German pianist. Scholz studied at Hochschule für Musik und Theater Hamburg with Eckhart Besch and Konrad Richter, as well as Hochschule für Musik Köln with Wilhelm Hecker and Aloys Kontarsky. Since the early seventies, Scholz has made Sweden the base of her pianistic activity."

"Hans Günther Franz Otte (3 December 1926, Plauen - 25 December 2007, Bremen) was a German composer, pianist, radio promoter, and author of many pieces of musical theatre, sound installations, poems, drawings, and art videos. From 1959 to 1984 he served as music director for Radio Bremen. From the early 1960s onwards, Otte frequently presented contemporary experimental American composers in his Bremen radio festival Pro Musica Nova, among them in those days completely unknown people like John Cage, David Tudor, Terry Riley, and La Monte Young. From 1959 on, Otte lived and worked in Bremen, Germany. His catalogue of compositions contains more than 100 works.

Otte had studied in Germany, Italy, and at Yale University in the United States. His teachers included the composer Paul Hindemith and the pianist Walter Gieseking.

Some of Otte's works, especially his extended suites for solo piano, are characterized by very minimal means but are nevertheless quite subtle and sophisticated in their architecture and expression. Das Buch der Klänge (The Book of Sounds, 1979-82) and Stundenbuch (Book of Hours, 1991-98) are his best known pieces in this genre, and Otte often performed them himself. His last public recital was given in Amsterdam in 1999. Recordings of these works, with Otte as performer, are available on CD.

In his works, Otte drew significantly on European and Asian spirituality, integrating various prayers into the fabric of the music.

In 1991 his work "KlangHaus" became a permanent interactive sound installation in the Neues Museum Weserburg Bremen in Bremen, Germany. [...]"

"John Milton Cage Jr. (September 5, 1912 - August 12, 1992) was an American composer, music theorist, writer, philosopher, and artist. A pioneer of indeterminacy in music, electroacoustic music, and non-standard use of musical instruments, Cage was one of the leading figures of the post-war avant-garde. Critics have lauded him as one of the most influential American composers of the 20th century. He was also instrumental in the development of modern dance, mostly through his association with choreographer Merce Cunningham, who was also Cage's romantic partner for most of their lives.

Cage is perhaps best known for his 1952 composition 4′33″, which is performed in the absence of deliberate sound; musicians who present the work do nothing aside from being present for the duration specified by the title. The content of the composition is not "four minutes and 33 seconds of silence," as is often assumed, but rather the sounds of the environment heard by the audience during performance. The work's challenge to assumed definitions about musicianship and musical experience made it a popular and controversial topic both in musicology and the broader aesthetics of art and performance. Cage was also a pioneer of the prepared piano (a piano with its sound altered by objects placed between or on its strings or hammers), for which he wrote numerous dance-related works and a few concert pieces. The best known of these is Sonatas and Interludes (1946-48).

His teachers included Henry Cowell (1933) and Arnold Schoenberg (1933-35), both known for their radical innovations in music, but Cage's major influences lay in various East and South Asian cultures. Through his studies of Indian philosophy and Zen Buddhism in the late 1940s, Cage came to the idea of aleatoric or chance-controlled music, which he started composing in 1951. The I Ching, an ancient Chinese classic text on changing events, became Cage's standard composition tool for the rest of his life. In a 1957 lecture, Experimental Music, he described music as "a purposeless play" which is "an affirmation of life - not an attempt to bring order out of chaos nor to suggest improvements in creation, but simply a way of waking up to the very life we're living"."