Question: Which composer who studied under John Cage created a piece which involved the manipulation of electric metronomes?
Context: Richard Bunger Evans, also known as Richard Bunger, (born 1942) is an American composer and pianist who worked with John Cage and subsequently wrote "the classic book on John Cage," "The Well-Prepared Piano".  Evans has composed and performed music for opera and musical theatre, piano, art songs, prepared piano, choral music, string orchestra and chamber music.  Evans continues to compose and perform in these various genres, and is highly respected as an accompanist to singers.  During his 17-year career as a music professor, Evans was named one of two Outstanding Professors of 1981–1982 in the California State University system. 4′33″ (pronounced "Four minutes, thirty-three seconds" or just "Four thirty-three"<ref name="Solomon 1998/2002">Solomon 1998/2002. </ref>) is a three-movement composition by American experimental composer John Cage (1912–1992).  It was composed in 1952, for any instrument or combination of instruments, and the score instructs the performer(s) not to play their instrument(s) during the entire duration of the piece throughout the three movements.  The piece consists of the sounds of the environment that the listeners hear while it is performed, although it is commonly perceived as "four minutes thirty-three seconds of silence".  The title of the piece refers to the total length in minutes and seconds of a given performance, "4′33″" being the total length of the first public performance. American avant-garde composer John Cage (1912–1992) started composing pieces for solo prepared piano around 1938–40.  The majority of early works for this instrument were created to accompany dances by Cage's various collaborators, most frequently Merce Cunningham.  In response to frequent criticisms of prepared piano, Cage cited numerous predecessors (such as Henry Cowell).  In the liner notes for the very first recording of his most highly acclaimed work for prepared piano, "Sonatas and Interludes", Cage wrote: "Composing for the prepared piano is not a criticism of the instrument.  I'm only being practical."  This article presents a complete list of Cage's works for prepared piano, with comments on each composition. John Cage Day was the name given to several events held during 2012, to commemorate the 100th anniversary of the birth of the composer John Cage. Zaj was an experimental music and performance art group formed in 1959 in Milan, Italy by composers and intermedia artists Walter Marchetti and Juan Hidalgo with the support of the American composer John Cage.  The group received major contributions by different artists from the Spanish avant-garde scene, notably from the writer and diplomat José Luis Castillejo and from the interdisciplinary artist Esther Ferrer.  During the 1960s, members of Zaj took part in different Fluxus events organised by George Maciunas.  With the help of John Cage and his agent Mimi Johnson, Zaj also toured in different cities in the United States in the late 1970s.  The group was disbanded in 1993 by Walter Marchetti. Shigeko Kubota (久保田 成子 , Kubota Shigeko ) (2 August 1937 – 23 July 2015) was a Japanese video artist, sculptor and avant-garde performance artist, who mostly lived in New York City.  She was one of the first artists to adopt the portable video camera Sony Portapak in 1967.  Kubota is known for constructing sculptural installations with a strong DIY aesthetic, which include sculptures with embedded monitors playing her original videos.  She was a key member and influence on Fluxus, the international group of avant-garde artists centered on George Maciunas, having been involved with the group since witnessing John Cage perform in Tokyo in 1962 and subsequently moving to New York in 1964.  She was closely associated with George Brecht, Jackson Mac Low, John Cage, Joe Jones, Nam June Paik, and Ay-O, other members of Fluxus.  Kubota was deemed "Vice Chairman" of the Fluxus Organization by Maciunas. Toshi Ichiyanagi (一柳 慧 , Ichiyanagi Toshi , born 4 February 1933) is a Japanese composer of avant-garde music.  He studied with Tomojiro Ikenouchi, Kishio Hirao, and John Cage. The term Number Pieces refers to a body of late compositions (40, or 41 if "Seventeen" was actually composed) by John Cage.  Each piece is named after the number of performers involved: for instance, "Seven" is a piece for seven performers, "One" (read "One Nine") is the ninth work for one performer, and "1O1" is a piece for an orchestra of 101 musicians.  The vast majority of these works were composed using Cage's time bracket technique: the score consists of short fragments (frequently just one note, with or without dynamics) and indications, in minutes and seconds, of when the fragment should start and when it should end.  Time brackets can be fixed (e.g. from 1.15 to 2.00) or flexible (e.g. from anywhere between 1.15 and 1.45, and to anywhere from 2.00 to 2.30). Six Melodies is a collection of six pieces for violin and keyboard instrument by John Cage.  It was composed in 1950, shortly after Cage completed his "String Quartet in Four Parts".  The work uses the same techniques: the gamut technique and the nested rhythmic proportions.  First, a fixed number of sonorities (single tones, intervals and aggregates) is prepared, each created independently of the other.  These sonorities are called gamuts.  Sequences of gamuts are then used to create melodies with harmonic backgrounds that are in no way connected to functional harmony, which Cage sought to avoid.  The collection of gamuts used in "Six Melodies" is nearly identical to the one used in the "String Quartet" (Cage called "Six Melodies" "a postscript" to that work).  The structure of each piece, and that of each phrase, is defined by the same rhythmic pattern: 3 1/2, 3 1/2, 4, 4, 3, 4.  The violinist is instructed in the score to play without vibrato and with minimum weight on the bow. Music for Electric Metronomes is an avant-garde aleatoric composition written in 1960 by Japanese composer Toshi Ichiyanagi for any number of performers between three and eight.  The piece involves the manipulation of electric metronomes, followed by various unspecified sounds and actions.  It is a very theatrical piece, and reflects Ichiyanagi's affiliation with Fluxus, an experimental art movement from the sixties.  The only true scored "instrument" is an electric metronome for each individual player, though the varying sounds and/or actions may involve many different instruments and objects at the discretion of the performer.  Because the graphic notation of score (which is a series of dashes, lines, and numbers in an erratic pattern of connected paths) leaves a lot of room for personal interpretation and expression, each performance is unique, and almost certainly cannot be reproduced.  There is no conductor for the performance.  It has been recorded on the album "Toshi Ichiyanagi: 1960's & 1990's".  In a review of a performance by the S.E.M. Ensemble in 1992 at the Paula Cooper Gallery, the music critic of "The New York Times", Alex Ross, described the piece as "merely a timid, spastic prelude to György Ligeti's monumental "Poème symphonique" for 100 metronomes".
Answer: Toshi Ichiyanagi