Sound Of Silence Essay Civil Rights Essay Topics
He spoke of being “for more new sounds.” Taking his inspiration from Luigi Russolo and the Futurists of the early twentieth century, Cage enthusiastically embraced the use of percussion instruments as a way of expanding the realm of music to include sounds that more accurately reflected the nature of the industrial culture he observed around him: The above quotation comes from Cage’s 1937 essay “The future of music: Credo.” This essay strikes many of the themes for which Cage would become famous: that sounds are just sounds, all equally valid; that a composer acts as an experimenter, discovering new sonic possibilities; that it is important to use twentieth-century technologies to create twentieth-century music. Beginning in the late 1930s, Cage structured all of his compositions in the dimension of time: phrases and sections of particular lengths.
What is missing in this early essay, however, is the identification of silence as the underlying rationale for these positions. will be faced not only with the entire field of sound but also with the entire field of time. In “The future of music: Credo,” he envisioned the manipulation of time arising from the techniques of film composers, but in reality his reliance on time as a basis for structure arose from his work with dancers.
He then closed and reopened the lid one more time, sitting silently this time for one minute and forty seconds. Part of what makes the drama so compelling is the utter simplicity of the concept. All this takes place in a Western concert hall setting, lending a historical and artistic gravity to the proceedings that begs us to put this act into some kind of weighty context, fraught with importance.
The piece can be difficult for audiences (just as the empty room in the exhibition might have been).
And then when we actually set to work, a kind of avalanche came about which corresponded not at all with that beauty which had seemed to appear to us as an objective. “Ah, the silent piece,” they might have said to themselves, smiling.
But these visitors would have known that this is an exhibition about John Cage, and hence the empty room would make sense.
Without any context, visitors would have been quite baffled by this, perhaps thinking that they had taken a wrong turn, that someone made a mistake, or (for those who like adventure) that a daring theft had taken place.
Well what we do is go straight on; that way lies, no doubt, a revelation. People do not go to a museum to look at blank walls, to walk through empty galleries.
He was profiled in the Chicago Daily News: “People call it noise?
In an essay from 1939, he describes his percussion music in violent terms: At the present stage of revolution, a healthy lawlessness is warranted. Not only hitting, but rubbing, smashing, making sound in every possible way.
Experiment must necessarily be carried on by hitting anything? He gained some notoriety and fame, first in San Francisco and then Chicago.
He returned to the prepared piano (a piano with objects inserted between the strings to alter the sound), an instrument that he had invented some years earlier but had hardly touched during his percussion orchestra period.
Musically, Cage was on his own in the city, and the prepared piano provided a way of composing for percussive sounds without the need for many instruments or even another performer.