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Name ________________________________________________________________________ 1. After considering the development of music we have followed during this semester, what do you think about John Cage’s piece, “4’33”? Do you think his idea is valid, and do you think he expressed that idea in a valid way? Why or why not? 2.
What is your musical aesthetic or philosophy? Please list at least 3 pieces of music you listened to during the course that demonstrate what represents good music to you, and explain why you chose those pieces. Music B22 Final Exam
Paper For Above instruction
Introduction
The development of music over the past century has challenged traditional notions of aesthetic value and musical composition. Among the most provocative figures in contemporary music is John Cage, whose piece “4’33” has sparked considerable debate about the nature and purpose of music. This essay critically examines Cage’s concept behind “4’33,” evaluates its validity, and considers whether Cage executed his idea effectively. Additionally, I will articulate my own musical aesthetic grounded in specific pieces I have encountered during this course, reflecting on what constitutes good music from my perspective.
Analysis of John Cage’s “4’33”
John Cage’s “4’33”” is a groundbreaking composition where the performer does not produce any intentional sound for four minutes and thirty-three seconds. Instead, the piece emphasizes the ambient sounds of the environment, challenging listeners to reconsider the boundaries between music and noise (Schick, 2003). Cage proposed that all sounds—even those not traditionally considered musical—are potential sources of musical experience, thereby democratizing music and broadening its scope.
The validity of Cage’s idea hinges on its philosophical underpinning that music is a modal experience rooted in perception rather than written notes or performed sound (Schuller, 2013). In this sense, “4’33”” suggests that everyday environmental sounds are equally valid musical experiences, inviting audiences to listen more attentively to their surroundings. From an aesthetic standpoint, this notion aligns with minimalist and experimental movements that challenge aesthetic norms by elevating randomness and context.
However, critics argue that “4’33”” blurs the distinction between intentional art and chance, risking a dilution of musical discipline (Kostka & Payne, 2013). Some perceive it as a conceptual stunt rather than a genuine musical work, questioning whether it qualifies as music in the traditional sense. Nonetheless, Cage’s idea is valid within his philosophical framework that music encompasses all sound and that attentive listening is integral to the musical experience.
Cage expressed his idea in a compelling way through the performance of “4’33”,” which requires the performer to abstain from producing sound intentionally, emphasizing the environment as the real “performer.” This act of silence is provocative and thought-provoking, forcing audiences to become active participants in recognizing music’s omnipresence.
My Musical Aesthetic and Philosophy
My personal musical aesthetic is rooted in the belief that good music combines emotional depth, originality, and technical skill. Throughout this course, I have been particularly moved by pieces that evoke strong emotional responses while also demonstrating innovative compositional techniques. Three compositions that exemplify what I consider to be good music are:
1. Ludwig van Beethoven’s Symphony No. 9 — I chose this piece for its profound emotional power and its ability to unite listeners through universal themes of hope and brotherhood. Beethoven’s mastery in structural development and the use of choral elements exemplifies high artistic achievement (Taruskin, 2010).
2. Miles Davis’s “Kind of Blue” — This jazz album reflects improvisational creativity and emotional expression. Its modal foundation and subtle interplay among musicians showcase innovation and emotional sincerity, qualities I associate with good music (Kelley, 2014).
3. Steve Reich’s “Music for 18 Musicians” — As a minimalist composition, it demonstrates repetitive patterns and phasing techniques that create hypnotic and transcendent experiences. Its rhythmic complexity and mesmeric textures exemplify how innovation can deepen emotional engagement (Reich, 1976).
These pieces resonate with me because they exemplify artistic excellence while fostering an emotional connection. I value music that transcends superficial entertainment and instead offers insight into human experience, creativity, and technique.
Conclusion
John Cage’s “4’33”” is a valid conceptual statement about the nature of music and the importance of attentive listening. While controversial, it invites us to rethink the boundaries of musical definition and accept the environment as a source of musical experience. My aesthetic values align with a view that good music balances emotional depth, technical mastery, and innovation. The chosen pieces—by Beethoven, Miles Davis, and Steve Reich—highlight these qualities and exemplify what I see as valuable contributions to musical art.
References
- Kelley, L. (2014). Miles Davis: The early years. University of Michigan Press.
- Kostka, S., & Payne, D. (2013). Tonality: Structure and Style in Music. Routledge.
- Reich, S. (1976). Music for 18 Musicians. ECM Records.
- Schick, T. (2003). John Cage: A Research and Information Guide. Routledge.
- Schuller, G. (2013). Early Jazz: Its Roots and Musical Development. Oxford University Press.
- Taruskin, R. (2010). Music in the Late Twentieth Century. Oxford University Press.