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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
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
This concert is held by the Stony Brook University music department and is to perform seven pieces of music written by seven student composers. The concert is performed in Recital Hall of Staller Center in Stony Brook University. Since it is a small hall, audiences are very close to the performers. In fact, it is the first time I am this close to the performers and the sound for me is so clear and powerful that seems like floating in front of my eyes. Among the seven pieces, “Ephemeral Reveries” and “Gekko no mori” are piano solo, “Two Songs for Joey” is in piano and marimba, “Suite” and “Fold Duet No. 1” are in woodwinds, “Elsewhere” is played by string groups, and “e, ee, ree, and I was free” is in vocal. Personally, I like the sound of piano and guitar the best. Therefore, in the latter part I will analysis two pieces in piano, “Gekko no mori” and “Two Songs for Joey”.
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
Stephen Sondheim is a well-known musical theatre composer who has been quite successful with his work. This world-renowned composer has had many prosperous musicals such as West Side Story, Sunday in the Park with George, Assassins, Gypsy, Sweeney Todd, and Into the Woods. These are only a few out of over twenty of the other musicals he has written. This man’s music is very different from music written by other composers. This certain kind of music has a unique sound that has clashing notes, yet is sounds satisfying and appeals to large audiences.
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
The memoir Night by Elie Wiesel gives an in depth view of Nazi Concentration Camps. Growing up in the town of Sighet, Transylvania, Wiesel, a young Jewish boy at the innocent age of 12, whose main focus in life was studying the Kabbalah and becoming closer in his relationship with God. In the memoir, Elie Wiesel reflects back to his stay within a Nazi Concentration Camp in hopes that by sharing his experiences, he could not only educate the world on the ugliness known as the Holocaust, but also to remind people that by remembering one atrocity, the next one can potentially be avoided. The holocaust was the persecution and murder of approximately six million Jew’s by Aldolf Hitler’s Nazi army between 1933 and 1945. Overall, the memoir shows
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
...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.
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.
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
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.
...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)
‘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)
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...