WHY DONT YOU LEAVE A COMMENT???
ALSO PLEASE WACTH THIS VIDEO AS MANY TIMES AS YOU CAN
http://www.youtube.com/watch?v=JNX0-RucQq4&feature=channel_page
PLEASE PASS IT ON TO YOUR FRIENDS AND SUCH
LETS MAKE THE NUMBER OF VIEWS GO UP!!!
the video
"Also while drinkers are catching the game at the"
has Views: 172
but this one has not
John Milton Cage Jr. (September 5, 1912 August 12, 1992) was an American composer. A pioneer of chance music, electronic music and non-standard use of musical instruments, Cage was one of the leading figures of the post-war avant-garde and, in the opinion of many, the most influential American composer of the 20th century.[1][2] He was also instrumental in the development of modern dance, mostly through his association with choreographer Merce Cunningham, who was also Cage's romantic partner for the most of their lives.[3][4]
Cage is perhaps best known for his 1952 composition 4′33″, the three movements of which are performed without a single note being played. The content of 4′33″ is meant to be perceived as the sounds of the environment that the listeners hear while it is performed,[5] rather than merely as four minutes and thirty three seconds of silence,[6] and the piece became one of the most controversial compositions of the twentieth century. Another famous creation of Cage's is the prepared piano (a piano with its sound altered by placing various objects in the strings), for which he wrote numerous dance-related works and a few concert pieces, the most well-known of which is Sonatas and Interludes (194648).[7]
His teachers included Henry Cowell (1933) and Arnold Schoenberg (193335), both known for their radical innovations in music, but Cage's major influences lay in various Eastern cultures. Through his studies of Indian philosophy and Zen Buddhism in the late 1940s, Cage came to the idea of chance-controlled music, which he started composing in 1951. The I Ching, an ancient Chinese classic text on changing events, became Cage's standard composition tool for the rest of his life. In a 1957 lecture, Experimental Music, he described music as "a purposeless play" which is "an affirmation of life not an attempt to bring order out of chaos nor to suggest improvements in creation, but simply a way of waking up to the very life we're living".[8]
In addition to his composing, Cage was also a philosopher, writer, artist, printmaker[9] and an avid amateur mycologist and mushroom collector.
′33″ (pronounced Four minutes, thirty-three seconds or, as the composer himself referred to it, Four, thirty-three[1]) is a three-movement composition[2][3] by American avant-garde composer John Cage (19121992). It was composed in 1952 for any instrument (or combination of instruments), and the score instructs the performer not to play the instrument during the entire duration of the piece throughout the 3 movements (The first 30 seconds, the second 2 minutes and 23 seconds and the third 1 minute and 40 seconds). Although commonly perceived as "four minutes thirty-three seconds of silence",[4][5] the piece actually consists of the sounds of the environment that the listeners hear while it is performed.[6] Over the years, 4′33″ became Cage's most famous and most controversial composition.[2]
Conceived around 19478, while the composer was working on Sonatas and Interludes,[2] 4′33″ became for Cage the epitome of his idea that any sounds constitute, or may constitute, music.[7] It was also a reflection of the influence of Zen Buddhism, which Cage studied since the late 1940s. In a 1982 interview, and on numerous other occasions, Cage stated that 4′33″ was, in his opinion, his most important work.[8]
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Aleatoric music (also aleatory music or chance music; from the Latin word alea, meaning "dice") is music in which some element of the composition is left to chance, and/or some primary element of a composed work's realization is left to the determination of its performer(s). The term is most often associated with procedures in which the chance element involves a relatively limited number of possibilities.
The term became known to European composers through lectures by acoustician Werner Meyer-Eppler at Darmstadt International Summer Courses for New Music in the beginning of the 1950s. According to his definition, "a process is said to be aleatoric ... if its course is determined in general but depends on chance in detail" (Meyer-Eppler 1957, 55).
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That was a tough 5 minutes and 19 seconds. What was the second song played?
0022150mofoOh 2 years ago