Quote:
Originally Posted by cygnusdei
There is a danger in attributing nature to art. The sea is blue, the spiral of the nautilus shell is logarithmic, the sound of a thunder is powerful. They make you think. But it is unnecessary and in fact incorrect to regard them as art.
If background noises could speak, perhaps they themselves would object to being called art, just as a rhombus would being called a square, and a harpsichord would being called a piano.
I'm not interested in changing anyone's mind, and Cage himself must have anticipated rejection of his idea. But empty gestures like these are totally underwhelming.
To borrow an analogy from algebra: a polynomial can have trivial and non-trivial solutions. The trivial solutions are there, but they are .... trivial. The non-trivial solutions are much more interesting and important.
There are much more interesting and important things to consider in music. Swooning over trivialities is simply misguided.
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Admittedly art has to have some aspect of humanity involved for it to be true art. It is incorrect however to say that 4'33" does not have this humanity, that it cannot be seen as true art. By forcing an audience to listen to background noise and not take it for granted, Cage is making a philosophical statement and encouraging contemplation about our world. This adds the humanity that makes this true art - art that challenges the role of music and sound.
He is therefore getting to the absolute foundations and basic principles of music and what it actually is. How can such a fundamental question behind music and composition - what is music? - be regarded as trivial? No one is saying that 4'33" is a composition, but by presenting it as one, the underlying philosophical message becomes clearer.
To argue on your terms though, and look at the presented analogy of algebra, despite any trivial (but it must be said that trivial has different connotations mathematically and artistically) solutions found in a problem not always being the "interesting" solutions, they are still present, and true understanding of a problem can only come when they are confronted. 4'33" confronts similar issues involving music. Sound, which is always present, yet as background noise often unimportant is the basic principle of music. Is the role of a composer not at its simplest to craft this sound as seen fit? 4'33" confronts the foundation of sound, the "trivial" aspects and in this way allows greater understanding of the wider "problem" of music.