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In his review of the Town Hall premiere for the New York Times, Ross Parmenter foregrounds the size of the spectacle (an audience numbering one thousand), and, with respect to Concert for Piano and Orchestra, his Artaudian metaphors for psychosis (“crazy” and “mixed-up”). In line with other reviews, Parmenter summarizes John Cage’s program note, playing the role of Cage’s public pedagogue. Whereas some high modernists like Milton Babbitt defended their avant-garde practice as a bourgeoning research discipline among institutional circles of specialists, Cage paralleled Allan Kaprow’s emergent practice of centering pedagogical gestures: he repeatedly sought to explain the structure and significance of his work to his audiences. And to do so he used a variety of media—lectures, publications, press releases, program notes, television appearances, and, in this case, newspaper reviews.