John Cage produced and published works within the traditional confines of art-music while at the same time continously testing – and occasionally breaking – the limits of the concept «musical work». Subject to scorn form Pierre Boulez (among others), Cage nevertheless maintained a fruitfull dialogue with the European tradition. Drawing on contemporary theoretical research, this article surveys Cage’s production of «works», while paying attention to the history behind this fuzzy concept.

Keywords: John Cage, musical work-concept, Pierre Boulez, Lydia Goehr