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

<P0-S0> Six Melodies is a collection of six pieces for violin and keyboard instrument by John Cage. <P0-S1>  It was composed in 1950, shortly after Cage completed his "String Quartet in Four Parts". <P0-S2>  The work uses the same techniques: the gamut technique and the nested rhythmic proportions. <P0-S3>  First, a fixed number of sonorities (single tones, intervals and aggregates) is prepared, each created independently of the other. <P0-S4>  These sonorities are called gamuts. <P0-S5>  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. <P0-S6>  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). <P0-S7>  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. <P0-S8>  The violinist is instructed in the score to play without vibrato and with minimum weight on the bow. <SEP> <P1-S0> Toshi Ichiyanagi (一柳 慧 , Ichiyanagi Toshi , born 4 February 1933) is a Japanese composer of avant-garde music. <P1-S1>  He studied with Tomojiro Ikenouchi, Kishio Hirao, and John Cage. <SEP> <P2-S0> 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. <P2-S1>  The piece involves the manipulation of electric metronomes, followed by various unspecified sounds and actions. <P2-S2>  It is a very theatrical piece, and reflects Ichiyanagi's affiliation with Fluxus, an experimental art movement from the sixties. <P2-S3>  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. <P2-S4>  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. <P2-S5>  There is no conductor for the performance. <P2-S6>  It has been recorded on the album "Toshi Ichiyanagi: 1960's & 1990's". <P2-S7>  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> <P3-S0> 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. <P3-S1>  She was one of the first artists to adopt the portable video camera Sony Portapak in 1967. <P3-S2>  Kubota is known for constructing sculptural installations with a strong DIY aesthetic, which include sculptures with embedded monitors playing her original videos. <P3-S3>  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. <P3-S4>  She was closely associated with George Brecht, Jackson Mac Low, John Cage, Joe Jones, Nam June Paik, and Ay-O, other members of Fluxus. <P3-S5>  Kubota was deemed "Vice Chairman" of the Fluxus Organization by Maciunas.