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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... possible sense. Skimming is inherently discouraged. The technique makes one regard each word independently, much as Cage's music invites attention to each sepa— rate sound. Would these words have so sunk into our souls had they been ...
... possible, do we concern ourselves with history (in other words, with a sense of what is necessary to be done at a particular time)?' And I would answer, 'In order to thicken the plot'” (p. 68). But to thicken the plot was Sri ...
... possible for the utter strangeness of what—is to dawn on us. Only when the strangeness of what—is forces itself upon us does it awaken and invite our wonder.”l4 A consequent sticking point in cages writings is the suggestion that all ...
... possible to make a connection between the two, but neither Dada nor Zen is a fixed tangible. They change; and in quite different ways in different places and times, they invigorate action. What was Dada in the 1920's is now, with the ...
... possible to control the amplitude and frequency of any one of these sounds and to give to it rhythms within or beyond the reach of the imagination. Given four film phonographs, we can compose and perform a quartet for explosive motor ...
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 | |