It's time for - Challenge #14 -!

**wrayer** · 08-07-2007, 07:10 AM

Originally Posted by KE Peace

What is the sound of one hand not clapping?

The sound of the applause at any of my composition's premieres!

**SeanHannifin** · 08-07-2007, 08:59 PM

Originally Posted by Prince of Music

Actually John Cage's 4'33" isn't written for piano, but for any solo or combination of instruments.

I tried reorchestrating it for no instruments, but it was too hard...

Orchestration books just won't touch that area...

**klassical** · 08-07-2007, 09:20 PM

fyi; 4'33" - Prince of Music is correct. I have the score right here....

It consists of a single page with the following written on it:

I
TACET
II
TACET
III
TACET

NOTE: The title of this work is the total length in minutes and seconds of
its performance. At Woodstock, N.Y., August 29, 1952, the title was 4'33"
and the three parts were 33", 2' 40", and 1' 20". It was performed by David
Tudor, pianist, who indicated the beginnings of parts by closing, the endings
by opening, the keyboard lid. However, the work may be performed by any
instrumentalist or combination of instrumentalists and last any length of time.

FOR IRWIN KREMSEN JOHN CAGE

Copyright 1960 by Henmar Press inc. 373 Park Ave So, NYC 16, NY

**wrayer** · 08-07-2007, 10:07 PM

Originally Posted by klassical

fyi; 4'33" - Prince of Music is correct. I have the score right here....

It consists of a single page with the following written on it:

I
TACET
II
TACET
III
TACET

NOTE: The title of this work is the total length in minutes and seconds of
its performance. At Woodstock, N.Y., August 29, 1952, the title was 4'33"
and the three parts were 33", 2' 40", and 1' 20". It was performed by David
Tudor, pianist, who indicated the beginnings of parts by closing, the endings
by opening, the keyboard lid. However, the work may be performed by any
instrumentalist or combination of instrumentalists and last any length of time.

FOR IRWIN KREMSEN JOHN CAGE

Copyright 1960 by Henmar Press inc. 373 Park Ave So, NYC 16, NY

Ah, but you all miss the point: It is the reversal of roles from the performer as audience and the audience as performer. The sounds of the audience become the composition. It is the genius of Cage (or his humor) to reverse the roles. There is no form. The form is the 'alleatoric' response of the audience, all for the benefit of the solo performer(s).

**SeanHannifin** · 08-08-2007, 06:37 AM

Originally Posted by klassical

Kind of silly that nothing can be copyrighted...

**Raymond62** · 08-08-2007, 07:16 AM

Originally Posted by AlanPerkins

LOL Randy!

I am sure that's precisely what Raymond was saying - he was so strict, he even used GPO for the RESTS - the blank parts between the music - you know the silence!I am pretty sure he was making a joke.

You hit the nail on the head!!!!

.. and about that John Cage stuff: may he rest in all his pieces.

Raymond

**diligamus** · 08-08-2007, 12:45 PM

Originally Posted by AlanPerkins

I am sure that's precisely what Raymond was saying - he was so strict, he even used GPO for the RESTS.

Wooo

**wrayer** · 08-08-2007, 03:04 PM

Yes, Tom you are right. And, in my studies of Cage you or who ever said it here, was correct in saying it was a joke on John Cage's part. He never took seriously what he did (well, not always.) Neat twist in the musical idiom of listener and audience.

Now, on with Challenge #14...

Any one else done? I am, and will submit shortly. I hate deadlines, so I always get done early. I was hated in grad school because I would always submit my compositions in ink on or before their due date. (Back in the day of vellum and drafting pens!)

**Leaf** · 08-08-2007, 03:09 PM

I find Cage's work to be very inspirational. I'm going to submit a request for a grant to create something that will change the way we hear a woodwind instrument. If i recieve it, i'll drill about fifty extra holes in a clarinet with a size #30 drillbit and trim about a half of an inch off the reed. If my calculations are correct, it will no longer sound like an ordinary clarinet, but will sound like air, or like air blowing though a dammaged instrument. I'll blow air though it while standing in front of some open sheetmusic on a stand. When people see it and hear it, and get that look on their face wondering if i'm crazy or something, i can say "You don't get it, do you?"

**wrayer** · 08-08-2007, 03:15 PM

Originally Posted by Leaf

I find Cage's work to be very inspirational. I'm going to submit a request for a grant to create something that will change the way we hear a woodwind instrument. If i recieve it, i'll drill about fifty extra holes in a clarinet with a size #30 drillbit and trim about a half of an inch off the reed. If my calculations are correct, it will no longer sound like an ordinary clarinet, but will sound like air, or like air blowing though a dammaged instrument. I'll blow air though it while standing in front of some open sheetmusic on a stand. When people see it and hear it, and get that look on their face wondering if i'm crazy or something, i can say "You don't get it, do you?"

You know, I think that's the best use of a clarinet I've heard yet!