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Cage's philosophy of music
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Outside of this work having one of most unique example of musical notation that this writer has ever encountered, this work is part of a number of pieces by Cage that emphasized his use of the aspects of machinery, silence, and chance. According to scholar Pritchett, Cage had been using the advanced, percussive technique of prepared piano around 1940 to allow new sound to augment many of his compositions prior to the one in questions; thus making procedure almost mainstream around the time of his works The Perilous Night (1944), A Book of Music (1944), and Three Dances (1945). In addition to this musical advancement, Crumb embraced the concept of silence to best bring weight and saturation to the sounds that happen among a performance, thus providing a more powerful musical aesthetic. Works like 4’33’’ highlighted this notion in his compositional style.
The abstract score is also a nod to the composer’s appreciation of chance within a performance. As with silence, the idea of random, yet highly structured chances in sound
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In the suggested performance notes, one may notice the great deal of space between only the piano and brass choir, yet also between the members of the brass players as well. Sonically, this places a great deal on the harmonic distances within the score whic gives the piece an ethereal and dark timbre amidst the often busy piano lines and brass flourishes. Additionally, the variances in physical space also contributes to a unique performance experience for both the audience members and the musician. This is a technique that is also used and seen in other works by Xenakis, including Terretektorh and Nomos gamma, where he places audience members among the orchestral
The section in the novel night that painted a dark and angry picture of human nature is when the Jews were fleeing Buna and hundreds of them were packed in a roofless cattle car. The Jews were only provided with a blanket that soon became soaked by the snowfall. They spent days in the bitter cold temperatures and all they ate was snow. For these reasons, many suffered and died. When they stopped in German towns, the people stared at that cattle cars filled with soulless bodies. “They would stop and look at [the Jews] without surprise.” It was a regular occasion for the German people to see suffering Jews and not feel pity. The dark and angry picture of human nature was when a German worker “took a piece of bread out of his bag and threw it
Peter Sculthorpe is an Australian composer who is renowned for his experimentation and exploration of ideas and symbolism in his music. His music is a representation of his feelings in response to socio-cultural, political and historical viewpoints. For instance, his String Quartet No. 16 is a representation of the emotions of refugees trapped in detention centres. It consists of five movements entitled Loneliness, Anger, Yearning, Trauma and Freedom. Musical elements such as pitch, duration and other expressive devices show how effectively Sculthorpe evokes the feelings of refugees through each movements, especially the movements Trauma and Freedom.
Tony Horwitz is the author of Midnight Rising: John Brown and The Raid That Sparked The Civil War. Horwitz was born Washington D.C., a graduate of Brown University and Columbia University School of Journalism. Before becoming an author, Horwitz was a newspaper reporter, starting in Indiana. He later became an amazing best selling author, his latest work is Midnight Rising. In the novel, he discusses John Brown’s early life and explains the raid he led into Harpers Ferry, Virginia. Horwitz theorizes how John Brown sparks the Civil War.
However, the most fitting work with the concert theme may be Philip Glass’s String Quartet No. 2. This work is often entitled Company and was originally intended for an adaptation of Samuel Beckett’s prose poem entitled Company. This cross-disciplinary collaboration resulted in Glass extracting material from the theatre score and making it a four movement concert work that could stand alone. This 1983 minimalist work is clearly characteristic of Glass’s style in the repeating arpeggios, harmonic language, and his recognizable rhythmic structure. However, the most important aspect of the work in relationship to the other music on the concert may be its inspiration. While Beckett’s work was the inspiration for the Glass’s music, Beckett was also a collaborator in the creation of the staged work. Like the works of The Brooklyn Rider Almanac, Der Blaue Reiter Almanach, and The Onomatopoetic Project, Philip Glass’s String Quartet No. 2 provides a unique prospective on art through a different medium. This concert is a wonderful example of how music, the visual arts, theatre, and literature can all be used to comment on and inspire one another by simply looking at art through the prospective of all forms of
During the Holocaust many people were severely tortured and murdered. The holocaust caused the death of six million Jewish people, as well as the death of 5 million non-Jewish people. All of the people, who died during this time, died because of the Nazis’: a large hate group composed of extremely Ignoble, licentious, and rapacious people. They caused the prisoners to suffer physically and mentally; thus, causing them to lose all hope of ever being rescued. In the novel Night, by Elie Wiesel, Elie went through so much depression, and it caused him to struggle with surviving everyday life in a concentration camp. While Elie stayed in the concentration camp, he saw so many people get executed, abused, and even tortured. Eventually, Elie lost all hope of surviving, but he still managed to survive. This novel is a perfect example of hopelessness: it does not offer any hope. There are so many pieces of evidence that support this claim throughout the entire novel. First of all, many people lost everything that had value in their life; many people lost the faith in their own religion; and the tone of the story is very depressing.
The idea of silence explains that there is nothing to hear, nothing to create vibrations for a person’s ear drums to feel. ‘Silence’ only occurs in space where there remains no medium for the vibrations to travel through. However, here on Earth, air and water remain the mediums, therefore, I can concur with Cage in that there exists “no such thing as silence”. Comparing this philosophy with the definition of what music should be, then “Mr. Cage’s work fails totally” (Rockwell). Several of Cage’s works were just long periods of silence. If you played a John Cage CD, you might as well have put it in the machine and not even pressed play (Rockwell). Music is supposed to entertain people with its lovely melodies and colorful moods. However, John Cage’s music did not entertain people, it allowed people to entertain themselves. Listening closely to what surrounded them, people need to work for their entertainment, not mindlessly listen to music somebody has already composed. In a way, Cage created an entire new perspective on the way music is seen and
An artwork will consist of different elements that artists bring together to create different forms of art from paintings, sculptures, movies and more. These elements make up what a viewer sees and to help them understand. In the painting Twilight in the Wilderness created by Frederic Edwin Church in 1860 on page 106, a landscape depicting a sun setting behind rows of mountains is seen. In this painting, Church used specific elements to draw the viewer’s attention directly to the middle of the painting that consisted of the sun. Church primarily uses contrast to attract attention, but it is the different aspects of contrast that he uses that makes the painting come together. In Twilight in the Wilderness, Church uses color, rhythm, and focal
This is a response to the video The Thousand and One Nights. The Thousand and One Nights is a book of stories. One of the main characters in the story was Scheherazade. Scheherazade is queen, storyteller, the wife of Shahryar, and the daughter of Vizier. The premise of the story is when faced with a challenge, for things to change sometimes someone has to step up and do something different.
...died hands buffet and slap His head and a scorner spits in His Face. The slapping hands are frozen in mid-air and thus trigger associations with regard to noise. This association with noise is also shown in the scorner’s spit and how it suddenly stops before it reaches Christ’s halo: In order to perceive a sound in its reality, we require the space of silence, not of carnival. Glasmeier believes that this is precisely what John Cage does in 4’33’’. There is a suggestion of noise in Cage’s work just like in Angelico’s. The performer of 4’33’’ approaches the instrument three times, giving the instrument the possibility of noise without the reality of that noise: the viewer becomes the performer, imagining how that noise may be articulated. This is just like how a blank sheet of music still embodies music without ever being played; it triggers associations with sound.
The proliferation of graphic scores emerging in Europe and America from the mid-1950s has had a profound impact on musical thought, broadening links between performers and composers, audiences and art forms. Exploration of notational methods based on graphics flourished rapidly and diversely during the fifties and sixties, primarily as a trend amongst young radicals. So many composers producing scores of this kind used a personal vocabulary of symbols – often creating different notation systems for each work – that the effectiveness of their approaches in realising a sonic concept can be assessed only on a case-by-case basis. But the significance of early graphic scores does not depend entirely on how they sound; rather it lies in their capacity to accommodate or even to generate new forms, techniques and mediums, and to challenge notions of what constitutes a musical composition. In addition, these works demonstrate that notation can extend beyond instructional functionality to allow for prominent interpretive and aleatoric elements, and can harbour an intrinsic aesthetic value of its own, apparent before a single note is sounded.
Summary: "The Cage" by Ruth Minsky Sender is a book about a teenage girl who was separated from her mother and brothers when the nazis captured them and sent them to a concentration camp. While she was in the concentration camp, she got sick and one of the Nazi guards took her to a hospital, but they had to go througgh several hospitals because they didn't take jews. After her operation, the doctor had to teach her how to write with her left hand because she couldn't write with her right hand. A russian commander helped her out by giving her food and baths, and she gave her a job that wasn't as hard as the other "prisoners" had. She lived off her mother's quote, "When there is life, there is hope." She believed that and she got through the
‘Do not forget that the melody is the Idea, the outline; as much as it is the form and the subject matter of a work. The harmony is an illumination, an exhibition of the object, its reflection…’(3)
Starting with “A collectors piece indeed,” this motif is accompanied by a series of eerie and mysterious chords played at a soft dynamic by very few instruments. Along with the minor tonality of this phrase this motif establishes a mysterious and ominous atmosphere and in doing so it eludes and foreshadows the coming events of the musical. Furthermore, whilst the audience may not yet identify this theme with the phantom, Lloyd Webbers uses the above techniques and the excruciatingly slow tempo to associate this motif with a sense of danger and mystery. This early establishment of a key motif proves essential, as this recurring motif later signifies the presence of The Phantom, and thus a great sense of danger and
...nd was his nervous system operating and the lower pitched one was his blood circulating. The realization of the impossibility of silence led Cage to the composition of his most famous piece, 4’ 33”, in which the musician sits at the piano in silence, lifting and closing the lid ever so often while watching a timer. Cage said after his experience in the anechoic chamber, “Until I die there will be sounds. And they will continue following my death. One need not fear about the future of music.” (1)
By as early as 1937 Cage was introducing the use of intentional and unintentional noise and electrically produced sounds in music. He did this by using your everyday household items such as pots and pans even brake drums to produce sounds and turn them into music. He was the first composer to give noise equal status to musical tone. He is said to have created an early piece "Imaginary Landscapes No. 1" by using muted piano, cymbal, and frequency test recordings. As if this doesn't sound weird enough the frequency test recordings were played on variable speed turntables. This was John Cage's style. He later went on to use the sounds of percussion on household furniture, he used various items such as the human body, conch shells, and kitchen sounds like chopping vegetables. He was also known for using amplified sounds like a crumpling paper, e...