Silence: Lectures and Writings, 50th Anniversary EditionWesleyan University Press, 26.06.2012 - 312 Seiten John Cage is the outstanding composer of avant-garde music today. The Saturday Review said of him: "Cage possesses one of the rarest qualities of the true creator- that of an original mind- and whether that originality pleases, irritates, amuses or outrages is irrelevant." "He refuses to sermonize or pontificate. What John Cage offers is more refreshing, more spirited, much more fun-a kind of carefree skinny-dipping in the infinite. It's what's happening now." –The American Record Guide "There is no such thing as an empty space or an empty time. There is always something to see, something to hear. In fact, try as we may to make a silence, we cannot. Sounds occur whether intended or not; the psychological turning in direction of those not intended seems at first to be a giving up of everything that belongs to humanity. But one must see that humanity and nature, not separate, are in this world together, that nothing was lost when everything was given away." |
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... rhythmic structure, sometimes called square—root structure, in which each phrase ofa piece embodies the same rhythmic pro— portions as the entire piece. For instance, his First Construction in Metal (1939) is divided into sections with ...
... rhythmic structure I employed at the time in my musical compositions (Sonatas and Interludes, Three Dances, etc). One of the structural divisions was the repetition, some fourteen times, of a single page in which occurred the refrain ...
... rhythm will be beyond the composer's reach. NEW METHODS WILL BE DISCOVERED, BEARING A DEFINITE RELATION TO SCHOENBERdS ... rhythmic structure of a composition. As soon as these methods are crystallized into one or several widely accepted ...
... structure, then, was a division of actual time by conventional metrical means, meter taken as simply the measurement ... rhythmic structure was as hospitable to nonmusical sounds, noises, as it was to those of the conventional scales and ...
... rhythmic structure. In the case of the structure this number was divided four, three, two, three, four; in the case of the materials the gamuts of sixteen sounds were divided into four groups of four. The plan, as preconceived, was to ...
Inhalt
3 | |
13 | |
35 | |
57 | |
F orerunners of M odern Music 62 | 1943 |
Erik Satie 76 | 1958 |
Edgard Varese 83 | 1965 |
On Robert Rauschenherg Artist and His Work 98 | 1 |
Lecture on Something 128 | 1 |
45 for a Speaker 146 | 1 |
Where Are We Going? and What Are We Doing? 194 | |
Indeterminacg 260 | |