For what it is worth, I know and have met a number of people who new Cage very well. He was extremely sincere in what he was doing. You don't have to like what he was doing, but you cannot call him a con artist. He could not possibly be more clear with what he is "selling" you. He is completely open and up front about the fact that it is just sound, and there is something really powerful to that type of thinking. At the absolute minimum, it encourages you to give significantly more attention to what your auditory world sounds like, just like you have map of what your visual world looks like. You can hate it. He wasn't lying to anyone, though.
Avant-garde music and art abandons the “limitations” of beauty and aesthetic engagement for the freedom to express oneself in a more sophisticated manner than the simple hoi poloi can grasp. This is what makes us cooler and more advanced.
Cage's work is a great litmus test for open mindedness. If Cage had died after having composed the Sonatas & Interludes For Prepared Piano, he would have been recognized as a significant & innovative composer. Cage's work is vast & various. His published writings are superb & reward re-readings. Accusations of con artist, charlatan, fraud, &c, delineate the dogmatic attitudes and small-mindedness of the accusers. Listen to Roaratorio, look at the score, investigate the recording techniques, the origins of the sound sources, & then try to argue that Cage wasn't a remarkable composer. People who attack Cage's work are stuck in identifications and definitions of what music is supposed to be. Cage opened music up to a vast potential of possibility and futurity, unlike any other composer.
Either love or hate his work says the glib presenter but his output is incredibly various. From very melodic ( Dream, The seasons, sonatas and interludes) to the more conceptual ( 4mins33secs).
IF YOU LIKE WHAT YOU SEE ON "VIDEOCOLLECTABLES," HELP THE CREATOR LAUNCH HIS COMPANION CHANNEL - "VIDEO SCRAPBOOK" ( www.youtube.com/@VideoScrapbookOfOurTimes/ ). THIS IS A CALL TO ACTION. WE NEED 30 SUBSCRIBERS TO BE VIABLE. YOU CAN MAKE THIS MILESTONE A REALITY, WHICH WILL ENCOURAGE MORE UPLOADS. A CLICK COSTS YOU NOTHING BUT A MOMENT OF YOUR TIME. THANK YOU FOR YOUR SUPPORT.
To be a con artist you have to get rich with what you do. This is simply not the case with Cage. As a composer he was somehow interesting in the 40s. After 1950 Cage cannot be considered a composer anymore, and I am sure he would have been offended by such a definition. After 1950 Cage became an interesting music theorist and a philosopher.
"After 1950 Cage became an interesting music theorist and a philosopher." Lots of people have said this, but it isn't true. He was a composer until the day he died, & most certainly wasn't "offended" by being identified as a composer, because that's what he did, he composed music. And your definition of a con artist is also pretty silly. Lots of con artists never "get rich", they simply hustle and scrape by by conning instead of doing something legit.
@@ericmalone3213 Sorry, but you're wrong. If you had read the correspondence between Cage and Boulez (published by Schott) you would know that Cage abhorred the idea of being considered a composer. I suggest you also to read what a con artist is according to the OED.
@@MetamorphoseostouXR I saw Cage at The New England Conservatory not too long before he died. He was there as a composer, listening to his music being performed, & talking about being a composer. If Cage wasn't a composer after 1950, then what was he? A "music theorist" & "philosopher" who composed music? You're a Ding-A-Ling, Man. And you're also rather hilariously literal minded, if you live by dictionary definitions.
@@MetamorphoseostouXR Ah, the Cuckoo has popped out of the Cuckoo Clock again. Is there something "vulgar" about your being a Ding-A-Ling? What's very funny is that when I saw Cage at the New England Conservatory in 1992, during the Q&A, he was accused several times of not being a composer, but rather, a philosopher or theorist. He'd been putting up with that nonsense for decades, & had several very amusing replies. Your misreading of & projection onto the Cage-Boulez correspondence is also very amusing. And you can't substantiate your claims about Cage's "position" after 1950, because they only arise from dogma and rigid thinking. "Roaratorio" (1979), for example, isn't a composition? You're off your nut, Auld Swodge. Cage would roar with laughter at your assertions.
MusicWatch he wrote some nice traditional music early on. He could, but just wasn’t interested. I like this one ua-cam.com/video/RiXdCRAOpuY/v-deo.html
For what it is worth, I know and have met a number of people who new Cage very well. He was extremely sincere in what he was doing. You don't have to like what he was doing, but you cannot call him a con artist. He could not possibly be more clear with what he is "selling" you. He is completely open and up front about the fact that it is just sound, and there is something really powerful to that type of thinking. At the absolute minimum, it encourages you to give significantly more attention to what your auditory world sounds like, just like you have map of what your visual world looks like.
You can hate it. He wasn't lying to anyone, though.
Convention is often a barrier that one must overcome to acquire a true sense of unrestrained self-expression.
Avant-garde music and art abandons the “limitations” of beauty and aesthetic engagement for the freedom to express oneself in a more sophisticated manner than the simple hoi poloi can grasp. This is what makes us cooler and more advanced.
Cage's work is a great litmus test for open mindedness. If Cage had died after having composed the Sonatas & Interludes For Prepared Piano, he would have been recognized as a significant & innovative composer. Cage's work is vast & various. His published writings are superb & reward re-readings. Accusations of con artist, charlatan, fraud, &c, delineate the dogmatic attitudes and small-mindedness of the accusers. Listen to Roaratorio, look at the score, investigate the recording techniques, the origins of the sound sources, & then try to argue that Cage wasn't a remarkable composer. People who attack Cage's work are stuck in identifications and definitions of what music is supposed to be. Cage opened music up to a vast potential of possibility and futurity, unlike any other composer.
Either love or hate his work says the glib presenter but his output is incredibly various.
From very melodic ( Dream, The seasons, sonatas and interludes) to the more conceptual ( 4mins33secs).
IF YOU LIKE WHAT YOU SEE ON "VIDEOCOLLECTABLES," HELP THE CREATOR LAUNCH HIS COMPANION CHANNEL - "VIDEO SCRAPBOOK" ( www.youtube.com/@VideoScrapbookOfOurTimes/ ). THIS IS A CALL TO ACTION. WE NEED 30 SUBSCRIBERS TO BE VIABLE. YOU CAN MAKE THIS MILESTONE A REALITY, WHICH WILL ENCOURAGE MORE UPLOADS. A CLICK COSTS YOU NOTHING BUT A MOMENT OF YOUR TIME. THANK YOU FOR YOUR SUPPORT.
Wise words from Cage. What was the telephone work?
To be a con artist you have to get rich with what you do.
This is simply not the case with Cage.
As a composer he was somehow interesting in the 40s. After 1950 Cage cannot be considered a composer anymore, and I am sure he would have been offended by such a definition. After 1950 Cage became an interesting music theorist and a philosopher.
"After 1950 Cage became an interesting music theorist and a philosopher." Lots of people have said this, but it isn't true. He was a composer until the day he died, & most certainly wasn't "offended" by being identified as a composer, because that's what he did, he composed music. And your definition of a con artist is also pretty silly. Lots of con artists never "get rich", they simply hustle and scrape by by conning instead of doing something legit.
@@ericmalone3213 Sorry, but you're wrong. If you had read the correspondence between Cage and Boulez (published by Schott) you would know that Cage abhorred the idea of being considered a composer. I suggest you also to read what a con artist is according to the OED.
@@MetamorphoseostouXR I saw Cage at The New England Conservatory not too long before he died. He was there as a composer, listening to his music being performed, & talking about being a composer. If Cage wasn't a composer after 1950, then what was he? A "music theorist" & "philosopher" who composed music? You're a Ding-A-Ling, Man. And you're also rather hilariously literal minded, if you live by dictionary definitions.
@@ericmalone3213 As usual, ignorant people don't take long to get vulgar. Adieu.
@@MetamorphoseostouXR Ah, the Cuckoo has popped out of the Cuckoo Clock again. Is there something "vulgar" about your being a Ding-A-Ling? What's very funny is that when I saw Cage at the New England Conservatory in 1992, during the Q&A, he was accused several times of not being a composer, but rather, a philosopher or theorist. He'd been putting up with that nonsense for decades, & had several very amusing replies. Your misreading of & projection onto the Cage-Boulez correspondence is also very amusing. And you can't substantiate your claims about Cage's "position" after 1950, because they only arise from dogma and rigid thinking. "Roaratorio" (1979), for example, isn't a composition? You're off your nut, Auld Swodge. Cage would roar with laughter at your assertions.
If one is unaware of the Avant Guard, one has no chance of participating or understanding this conversation.
same channel that did the guy that speaks insanely fast!!
Sound is 🎶
👍👍
Cage was a charlatan: execute.
Too bad- he's already dead
not one skerric of talent or ingenuity - that's the trouble - dribble and stand back
MusicWatch he wrote some nice traditional music early on. He could, but just wasn’t interested. I like this one
ua-cam.com/video/RiXdCRAOpuY/v-deo.html
My god you are so uninformed!! Have a couple drinks my friend, you'll be ok. OMFG...
Definitely a con artist!
Why? Because the music doesn’t fit your narrative to what music should be?
“The music is not in the notes, but in the silence between them” - Mozart