Harmony and Form in John Cage's Salon MusicJohn Cage has always been known as a controversial and new age composer. Some say his pieces lack the very structure that makes up classical forms. I argue that John Cage's Living Room Music, despite its instrumentation without fixed pitch, has closing harmonies and is in the style of a baroque suite. This is a strange concept to some because pitch has become a focal point in harmonic analysis when in reality it can be determined simply by ensemble structure and dominant characteristics. The word harmony in this analysis refers to the relationship between different sets of sounds rather than pitch. The setup for this is described in Example 1. Example 1: John Cage's Salon Music, Directions* As you can see in Example 1, the concluding and inconclusive idea is strengthened by having the right hand accented and the left hand unaccented . This establishes that one beat will be stronger and more dominant than another. Another concept that reinforces the idea of ​​harmony is the eight different sounds produced. Each player (four players total) must create two sounds. This does not necessarily mean two instruments but different “heights” that must be established in some form from top to bottom forming a sort of scale. The concept of sound in this work is very general because sound can come from anything. Equipment can range from sofas to beer bottles. The intent of the piece is that it can be performed anywhere by anyone, a concept that is not original to a baroque suite. Previously, suites were performed only in formal settings for people of aristocratic stature. A good quote to summarize the ideology behind the settings comes from Stephen Kenyon, in his article “The Byzantine Suite”. “It was highly organized and stylized music – despite its roots in common soil – and it was not the ordinary kind of music