Silence: Lectures and Writings by John Cage
By John Cage
Silence, A 12 months from Monday, M, Empty phrases and X (in this order) shape the 5 components of a sequence of books within which Cage attempts, as he says, to discover a manner of writing which comes from rules, isn't approximately them, yet which produces them. usually those writings comprise mesostics and essays created by means of subjecting the paintings of alternative writers to likelihood techniques utilizing the I Ching (what Cage referred to as writing through).
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Extra resources for Silence: Lectures and Writings
Sample text
Why do they call me a composer, then, If all I do is ask questions? If one of us says that all twelve tones should be in a row and another says they shouldn't, which one of us is right? What if a B Bat, as they say, just comes to me? How can I get it to come to me of itself, not just pop up out of my memory, taste, and psychology? How? Do you know how? And if I did or somebody else did find a way to let a sound be itself, would everybody within earshot be able to listen to it? Why is it so difficult for so many people to listen?
This operation is done roughly, since, through the use of conventional lines and spaces, points falling in the latter are in the majority. Thus it is determined that a point, though not on a line, is actually more nearly so than it is at the center of the adjacent space. S. Eight single coin tosses are made determining the clefs, bass or treble, and inscribed in ink. 601 SILENCE 6. The sixty-four possibilities of the I-Ching are divided by chance operations into three groups relative to three categories: normal (played on the keyboard); muted; and plucked (the two latter played on the strings).
Advice to send it was given. Success was promised, but the need for patience was 66/SILENCE HISTORY OF EXPERIMENTAL MUSIC IN THE UNITED SYAHS/67 Schoenberg or Stravinsky (the twelve tones or the twelve expressed as musical advance. Debussy said quite some time ago, C'Any sounds in any combination and in any succession are henceforth free to be used in a Edgard Varese who fathered forth noise into twentieth-century music. " Paraphrasing the question put to Sri Ramakrishna and the answer he gave, I would ask this: "Why, if everything is possible, do we concern ourselves with history (in oth;-~o~ds with a sense of what is just noises and tones, not exponents subservient to Varese's imagination.