The
Twentieth Century
by Don Robertson
Part Two: Noise
©
2005 by Rising World Entertainment
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An "Era of Noise and
Silence" was ushered in by American composer John Cage.
Noise,
and then silence, was the result of a complete disintegration in
music, and this occurred not only in Western classical music (Edgard
Varèse, John
Cage), but in Jazz (Coltrane,
Sanders, Sun Ra) and Rock (MC Five, Blue Cheer, Greatful Dead)
as well, when "everyone is just doin' their thing” was considered
the ultimate in freedom during the artistic revolution of the
1960s.
It all began with a composer by the name of John
Cage. Cage
studied with composer Arnold Schönberg for a short time
beginning in 1933. He embraced Schönberg's teaching about the
equality of all musical intervals and elaborated by saying “what
distinguishes dissonances from consonances is not a greater or
lesser degree of beauty, but a greater or lesser degree of
comprehensibility.” But
Cage would soon move beyond
Schönberg, who detested Cage and his music.
By 1937, Cage was saying “The present methods of writing
music will be inadequate for the composer who will be faced
with the entire field of sound.”
Cage later
wrote: “…when
Schönberg asked me whether I would devote my life to music, I said,
‘Of course.’ After I had been studying with him for two
years, Schönberg said, ‘In order to write music, you must have a
feeling for harmony.’ I explained to him that I had no feeling
for harmony. He said that I would always encounter an obstacle,
that it would be as though I came to a wall through which I
could not pass. I said, “In that case I will devote my life to
beating my head against that wall.” “Harmony,” Cage wrote in
1954, “is a forced abstract vertical relation which blots out
the spontaneous transmitting nature of each of the sounds forced
into it. It is artificial and unrealistic.”
Around 1951 Cage began to redefine how he composed music, and
that year he wrote his Music of Changes, where he tossed coins to
determine the pitches and rhythmic values of the music. He got
this idea from his student,
Christian Wolff, who had brought him an I Ching, the Chinese Book of Changes, which
was consulted by tossing coins.
Cage was deeply influenced by Buddhist
teachings, and from this influence he defined a set of renunciations. First
was the renunciation of expressivity, then the renunciation of
structural controls, which he would renounce by using chance
operations, a euphemism that he invented for his dice rolling. In 1952, writing about his Music of Changes
(1951), Cage said:
It
is thus possible to make a musical composition the continuity of
which is free of individual taste and memory (psychology) and
also of the literature and “traditions” of the art…Value
judgments are not in the nature of this work as regards either
composition, performance, or listening. The idea of relation
(the idea: 2) being absent, anything (the idea: 1) may happen. A
“mistake” is beside the point, for once anything happens it
authentically is.”
In
other words, don't force your will or your inspiration on the
composition process anymore, just "let it happen." And
thus
Cage began to remove the composer from the process of
composing. “Nothing was lost when everything was given
away. In fact, everything was gained. In musical terms, any
sounds may occur in any combination and in any continuity.”
Schönberg
introduced the freedom from tonality, allowing musicians and
composers to chose freely
from any of the twelve notes of the chromatic scale. Cage went the
distance by admitting any sound into his definition of
music, thus eliminating scales, chords, and other traditional constructs altogether. All sounds were now music. Finally we, the
composers of that generation, could invite people into our bedroom, seat them, and play them a
piece of improvised music by opening and closing drawers on the boudoir.
This was the "freedom" that I witnessed in a
New York City night club during the late 1960s, when members of
Sun Ra's Arkestra
strolled among the tables, each musician playing whatever
he wanted, without regarding the other players. It was the
"freedom" that I witnessed in the 1970s when the
composition class at Sonoma State, then sometimes referred to as
the "touchy/feelly"
college that was located north
of San Francisco, gathered in a large
room and were invited to create musical chaos in the same
manner. It was considered by some to be the music of cosmic
consciousness, but
it was really just a way for the musicians to blow of steam.
Schönberg
invited in the age of freedom
of notes, and ushered in an era of chromatic anarchy; Cage
ushered in the era of noise. Schoenberg had said: get rid of tonality. Cage said: get rid of music.
But perhaps we should give the credit
not to Cage, but to
another for the introduction of noise into the world of music. In fact, Cage
himself gave him credit when he said in 1959 that it was
“Edgard Varèse
who fathered forth noise into twentieth-century music.” Varèse
accepted “all audible phenomena as material proper to
music.” He considered sound as the solid base of music, its raw
material. “The intellectualism of the interval is a factor
which for me has nothing to do with our age and its new
concepts. As obsolete as the artificial versification of a
Banville,” he wrote to Luigi Dallapiccola in 1952.
Cage
was a brilliant man, and his ideas, many based on his own
understanding of Zen Buddhism, are philosophically very
attractive. But the resultant music composed after his
conversion to "chance operations," has little to offer
musically, as it was written to support his philosophy….works
such as his Europeras I & 2 where
the singers sing bits and pieces from the opera repertoire
selected by chance methods, fly across the stage on wires, and a
helium blimp floats off the stage and around the balcony, all
while attentive, beautiful people in evening dress sit
respectfully in the audience, ready to resound with their fully
supportive tumultuous applause. Cage’s music and his philosophy
represented an important era in Western
classical music. He released us from the confines of the
serial music of Schönberg by telling us
that anything was music, and thus set the stage for the return
of tonality, which will come from the ordering of noise.
But
Cage's renovation would not be complete simply by accepting all
sound, or noise, as music. Therefore, he added another element to his philosophical spectrum: silence. Cage's
composition 4’
33” ("four minutes, thirty-three seconds") was composed in
1952. The piece was a result of Cage’s first viewing of the
totally white canvas made by his friend, the painter Robert
Rauschenberg, who called the 1951 work White Painting,
and by Cage's visit to Harvard's anechoic chamber, designed to
eliminate all sound. For the performance of 4'33", a tuxedoed
performer walks onto the
stage, carefully seats himself at a grand piano, opens
the lid, occasionally turns some music pages, but otherwise sits
as quietly as possible for 4 minutes and 33 seconds, after which
he rises,
bows,
and leaves.
On a
number of occasions, Cage indicated that his silent piece 4’33” was his most important work. This clearly
demonstrates that Cage’s main contribution to music was
philosophical, not musical, since silence contains no sound,
let alone music. Cage carefully brought music to an apparent end by
convincing us that traditional music, from Beethoven to Webern, was
invalid, and only by an appreciation of
the randomness of the expression of natural sound, or the lack
of it, could one be in tune with currents of true art and reality. He
lured people into accepting his stylistic methods by use of reasoning, as had
Schönberg when he talked about the “end of harmonic
evolution and tonal melodic
development," i.e., the era of music that proceeded each of these
composers.
Cage
left his mark on the 1970s and 1980s, but the
obvious dead-end that his paradox of silence and noise presented
also opened the door for the return to tonality. Peter Yates, in
his book Twentieth
Century Music,
said it all:
"Music
is born from the ordering of noise."
Thus,
one of the results of the work of John Cage was the rebirth of
the creation of tonal music by members of the next generation of
composers.
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