4 33 By John Cage Essay

For the music industry, Simon and Garfunkel, musical rock artists during this time, wrote “Sound of Silence” in 1966. This song displayed sequences of guitar, bass, and drums and quickly became a pop hit due to the increased tempo, in which Simon and Garfunkel only found out about after it was recorded.

Writer and composer, Aaron Copland, in his book, “How We Listen,” divides listening into three planes: the sensuous, the expressive and the sheerly musical. Copland argues throughout the work that “[listeners] can deepen [their] understanding of music only by being a more conscious and aware listener.” (Copland, 15) Copland’s strategy of breaking the text up with the three planes of listening helps the reader understand his message in a more complete way.

The great and respected Aaron Copland was an American composer known for his ballad scores. In his essay, “How We Listen To Music” Copland wanted avid music listeners to realize that you can not just be dazed. His mind had sorted out three planes of listening for us: the sensuous plane, the expressive plane, and the sheerly musical plane. He simply defined each plane, illustrating it, and then contrasts between the three. With this people will be a cautious of their music surroundings.

This speech is Karl Paulnack’s welcoming address for incoming freshman students. He addresses that music isn’t apart of arts and entertainment rather music is an invisible force that helps us piece ourselves together. Paulnack believes that music is an essential part of life and goes to prove it by telling his experiences with it. He describes the first moment he truly understood music and the impact it has on people. Paulnack portrays the day after 9/11 after he struggles to find any meaning in being a pianist. After a long time of questioning himself he observes the city and notices something. He sees that in this time of grief and sadness people are singing. From this he learned that music is a form of expression, it allows people to express their feelings when they have no other words to describe them. Paulnack goes on to describe what he says was the most important concert of his life. He and a friend were playing a concert at a nursing home. During their performance, one man began to cry, it was at that time Paulnack knew the man was a veteran. After Paulnack and his friend finished the piece, they announced that the piece they were playing was Aaron Copland's Sonata, which was a work

In the variety of occasions we tend to listen in a different way and process the sounds that reach us in a different manner. Our main purpose can be to obtain information, engage in a conversation, or just enjoy the sounds we hear (Types of Listening). In the book ‘In Silence: Lectures and Writings’ John Cage argues that we hear mostly noise, which disturbs us when we ignore it and we find it fascinating if we listen to it. Also according to Cage when we make music we just organize the sound, combining different noises from the surroundings, manipulating their frequencies and creating rhythms. (Cage, J. 1961)

Utilizing the groundwork proposed by this essay, we can expand to research other texts in which music seems to function as a form of communication. In doing so, we can study the similarities and differences between the mechanism as a way to arrive at a larger claim about the role of nonverbal communication amongst humans. With this new claim, we can begin to understand to recognize other forms of communication that may not appear as readily accessible and challenging, in order to ensure that we do not neglect the music of emotion another person may be performing in their own

Without the human intention, perception, and interpretation of sound, then the existence of music would be imaginary. Music includes talking words in a way that the person creates a sound that is made with the intention of being music (Deutsch, Diana 10-13, Justus & Timothy., 33-40). Besides, people can perceive silence and sound and put them together so as to call the outcome music. In Bakan’s fourth proposition, he identifies the approach as the Human Intention and Perception (HIP) approach (Resnicow, Joel E., 10-22). In other words, the proposition tries to suggest that music is inseparable from the makers; or more specifically the people who perceive and experience it. Bakan gives numerous examples to show that music is a product of human intention and perception. This paper conducts research and gives appropriate examples to show that music is only identified as music if the person is making it has the intention for their words to be music.

As Alex Ross describes, “Cage love[s] noise” (366). This should be why he decided to alter his piano in a “conceptually violent” and unusual way for Sonatas and Interludes. Though, Cage’s aim was not pure violence, as we are pleased by the “soft sounds” instead of being “battered by some unholy racket” (Ross, 366). I

Rather than a musical composition or visual installation, the work 4’33’’ is a concept in art history. Therefore, I think there is no need to separate music and visual art. To be honest, 4’33’’ is the silence within 4’33’’ that presents ideas to the audience. Cage

Music and the sounds that surround us have a way of affecting us before we even enter this world. David Burrows, a music teacher at New York University explains this concept by saying “An unborn child may startle in the womb at the sound of a door slamming shut. The rich, warm cacophony of the womb has been recorded: the mother’s heartbeat and breathing are among the earliest indicators babies have the existence of a world beyond their own skin.” (Storr). This is something a person never outgrows. Whether we intend on it happening or not, the sounds by which we are surrounded affect our mental patterns. Nevertheless, music has the ability to help us heal emotionally and combat our current mental state.

Barry Jenkins’s 2016 film, Moonlight, is a work that is characterized by its silences, both in what is unsaid, as well as the unresolved nature of many of its central tensions. In the film, silence functions to emphasize the interiority of the film’s subject, and to make the audience aware of itself. Such strategic use of absence recalls John Cage's groundbreaking composition, 4'33; a work that is distinguished by its lack of any audible musical accompaniment. For many, the piece is reflective of Cage's sexual identity as a gay man; the silence functioning as a metaphor for the “closet” (Katz 241). The scholar Jonathan Katz has pushed against such a totalizing reading of Cage's oeuvre, by noting that silence was part of his larger aesthetic and religious practices, and thusly cannot be considered as simply an aural manifestation of the closet (242). Katz argues that, "Silence was much more than conventionally unmusical; it provided a route toward an active challenge of the assumptions and prejudices that gave rise to homophobic oppression in the first place. For Cage, silence was an ideal form of resistance, carefully attuned to the requirements of the cold war consensus, at least in its originary social-historical context." (241).

Richard Taruskin’s essay helps expound on John Cage’s notion of autonomous art. He writes that, Cage brought about the true aesthetics of Western art in what he calls to ‘its purest peak.’ Taruskin also relates to Cage’s work as having a notion of ‘purposeful purposelessness.’ Cage’s work was in itself a form of autonomous art because of its hallowedness and special modes of performance, like the piece 4’33”. In addition, there is a middle man who interfaces the audience

Maya Angelou's I Know Why the Caged Bird Sings Maya shields herself against the confusion of St. Louis by reading fairy-tales and telling herself that she does not intend on staying there anyway. Vivian works in a gambling parlor at night. Maya pities Mr. Freeman because he spends his days at home waiting for Vivian to return. Maya begins sleeping at night with Vivian and Mr. Freeman because she suffers from nightmares. One morning after Vivian has left the bed and the house,

This can be overwhelming to the listener. Knowing when and how much to utilize silence is part of listening, one of the key skills of any musician. “Just because you can’t hear it doesn’t mean it’s not music”

Music is one of the greatest human creations (DeNora, 2000). It plays an integral role in human society worldwide irrelevant of race, gender, age, wealth or well-being (Kemper & Danhauer, 2005). Indeed according to Batt-Rawden (2010), playing different music in diverse situations can introduce listeners to the desired and relevant atmosphere. In most circumstances, music is played to entertain people, but it can also form part of an accompaniment in sad situations. Music is often the fulcrum that influences the listener by creating a unique ambience and atmosphere (Bernatzky, Presh, Anderson, & Panksepp, 2011). Chamorro-Premuzic and Furnham, (2007) adds that music can be a medium to enhance communication,