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From the second half of the 20th century on, the Gymnopédies were often erroneously described as part of Satie's body of furniture music, perhaps because of John Cage's interpretation of them.
Gymnopédie also appears as an infrequently used word in 19th-century France, to the point it might have been perceived as a neologism by many.
Being coerced to mention his profession, Satie, lacking any recognisable professional occupation, presented himself as a "gymnopaedist", supposedly in an attempt to outwit the director.
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It was, however, already mentioned in Jean-Jacques Rousseau's Dictionnaire de Musique (Paris: Duchesne, 1775), where Gymnopédie is described as "" (an air or chant to which young female Lacedaemonians danced nude) (vol 1, p. The Gymnopédies are the first compositions with which Erik Satie tried to cut himself loose from the conventional 19th century "salon music" environment of his father and stepmother.
In September 1887, Satie composed three sarabandes (Trois Sarabandes), taking a quote from Contamine's La Perdition by way of introduction. Satie apparently used the word "gymnopédiste" (gymnopaedist), before having written a note of his later famous gymnopédies.
In 1998, he won an ARIA Music Award for Song of the Year for "No Aphrodisiac" (co-written with Tim Freedman and Matt Ford).