Piano for no hands

November 15, 2012 05:00 PM | 0 0 comments | 11 11 recommendations | email to a friend | print
Most of John Cage’s music comes preloaded with a preposterous philosophical challenge of some kind. Cage the playful instigator, the experimental trickster, must have loved the sound — the actual sound — of people arguing over what is and what is not music. It is hard not to view the intellectual hubbub that attends his work — the debates, the defenses, the visceral disgust, the dense rationales — as a movement of the work itself, part of the tune, as it were: words like rain on the roof.
Comments-icon Post a Comment
No Comments Yet

Comment Guidelines
Note: The above are comments from the readers. In no way do they represent the view of Ulster Publishing.