ریشه های شکل گیری نگارش نُت های گرافیکی در آثار جان کِیج

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Berghaus, Günter, ed. (2000), International futurism in arts and literature (Vol. 13), Walter de Gruyter, Boston.

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Cage,John (1960b), Concert for Piano and Orchestra, Solo for Piano, Edition Peters, No.6758.

Cage, John (1960c), 4’33” for any instrument or combination of instruments, Edition Peters, No.6777.

Cage, John (1961), Silence: lectures and writings, Wesleyan University Press, Middletown, Connecticut.

Cage, John, and Knowles, Alison (1969), Notations, Something Else Press, New York.

Cage, John (1970), Song books: solos for voice 3-92 (2 volume), Henmar Press, New York.

Cage, John (1979), Empty words: writings' 73-'78, Wesleyan University Press, Middletown.

Cage, John (1981), For the birds, Marion Boyars Publishers Ltd, London.

Cage, John )1990), The Charles Eliot Norton Lectures, in I-VI, Harvard University Press, Cambridge, United Kingdom.

Cage, John & Retallack, Joan (1996), Musicage: Cage muses on on Words, Art & Music, University Press of New England, Hanover.

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Gagne, Nicole (2011), Historical Dictionary of Modern and Contemporary Classical Music, Scarecrow Press, Lanham, Maryland.

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Nicholls, David (2002), The Cambridge Companion to John Cage, Cambridge University Press, United Kingdom.

Nyman, Michael (1999), Experimental music: Cage and beyond (Vol. 9), Cambridge University Press, United Kingdom.

Pritchett, James (1996), The Music of John Cage (Vol. 5), Cambridge University Press, United Kingdom.

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Revich, Allan (2007), Fluxus Vision, Lulu.com, United States.

Revill, David (1992), The roaring silence: John Cage: A life, Arcade Publishing, New York.

Russolo, Luigi (1986), The Art of Noises (1913), Barclay Brown, Pendragon Press, New York.

Sachs, Joel (2012), Henry Cowell: A Man Made of Music, Oxford University Press, United Kingdom.

Schaffner, Anna Katharina; Kim Knowles, Ulrich W. Weger and Andrew Michael Roberts (2012),Reading Space in Visual Poetry: New Cognitive Perspectives, Writing Technologies, 4(1), 75-106.

Schankler, Isaac (2012), Cage= 100: Tudor and the Performance Practice of Concert for Piano and Orchestra, New Music Box, September, 5.

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Shingler, Kathrine (2012), Visual-verbal encounters in Cendrars and Delaunay‘s La Prose du Transsibérien, e-France: an on-line Journal of French Studies, Vol. 3, 1-28.

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Temple, Michael (1998), Meetings with Mallarmé: in contemporary French culture, University of Exeter Press, United Kingdom.