Question: Which composer who studied under John Cage created a piece which involved the manipulation of electric metronomes?

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. <SEP> 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.  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.  The piece involves the manipulation of electric metronomes, followed by various unspecified sounds and actions.  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". <SEP> 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. <SEP> 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.