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- เผยแพร่เมื่อ 3 พ.ค. 2024
- John Milton Cage Jr. (September 5, 1912 - August 12, 1992) was an American composer and music theorist. A pioneer of indeterminacy in music, electroacoustic music, and non-standard use of musical instruments, Cage was one of the leading figures of the post-war avant-garde. Critics have lauded him as one of the most influential composers of the 20th century.
Etudes Australes is a set of etudes for piano solo by John Cage, composed in 1974-75 for Grete Sultan. It comprises 32 indeterminate pieces written using star charts as source material. The etudes, conceived as duets for two independent hands, are extremely difficult to play. They were followed by two more collections of similarly difficult works: Freeman Etudes for violin (1977-90) and Etudes Boreales (1978) for cello, or piano, or both together.
Book 1:
Etude I - 0:00
Etude II - 3:52
Etude III - 8:14
Etude IV - 12:04
Etude V - 16:06
Etude VI - 20:21
Etude VII - 24:16
Etude VIII - 29:14
Book 2:
Etude IX - 33:03
Etude X - 38:00
Etude XI - 42:22
Etude XII - 46:51
Etude XIII - 50:35
Etude XIV - 54:42
Etude XV - 59:52
Etude XVI - 1:04:13
Book 3:
Etude XVII - 1:09:52
Etude XVIII - 1:14:55
Etude XIX - 1:20:10
Etude XX - 1:25:04
Etude XXI - 1:30:03
Etude XXII - 1:35:23
Etude XXIII - 1:42:12
Etude XXIV - 1:48:18
Book 4:
Etude XXV - 1:54:45
Etude XXVI - 2:01:10
Etude XXVII - 2:07:56
Etude XXVIII - 2:13:25
Etude XXIX - 2:20:15
Etude XXX - 2:27:26
Etude XXXI - 2:34:31
Etude XXXII - 2:41:53
Appendix - 2:46:40
Grete Sultan, piano - เพลง
![ถ้าเธอไม่รักทำไมไม่บอกฉัน - PAPER [ Musicvideo ]](http://i.ytimg.com/vi/pfeBhDda7m4/mqdefault.jpg)
Great for sight-reading practice.
Sadly it's even not good at that. If you want to be better at sight-reading, you need to practice with some material that use pattern recognition. You would profit by far more reading some Clementi work than that non sense.
@@j.thomas1420 I like it...
@@thebeatcreeper I'm not questioning beauty or liking, just reacting about some sight-reading benefit of it.
@@j.thomas1420 Ah ok my bad....
A work in which notes are arranged based on the southern hemisphere constellation map.
It's one of the most random works I know.
It's not correct to call it random. Cage had a very deliberate and decision-based process for putting the notes on the page in the way he did. The set of instructions for performing the piece are quite explicit as well, leaving lots of room for performer variance. You will certainly find other compositions with massive jumps across the full piano that recall some of the gestures here, but I submit to you, if you just turn this on and let it play in the background while you go about your day (which is probably the best way to listen to this, just as when you are walking in the night, you don't continuously look up at the sky, but the stars are always there), you may hear the ways this becomes musical in a novel and rewarding way, unlike dozens of pieces that resemble it.
Enjoy the fact that this is music you don't have to sit piously in the presence of, in an imposed silence and inaction. But it's also not "elevator" music, because it is not just deliberately filling a space with inoffensive Muzak to spare you the awkwardness of sharing a tiny space with people for a few vertical feet. There's a very different sound that "random" produces. I wouldn't be surprised at all to learn that Cage exaggerated the role of chance in the composition here. He's one of the more anal retentive composers about putting his intention on the page. Relaxing that may have been necessary for him, but I suspect he didn't "keep the faith" as much as he polemically claimed. He with this material; he did not just put a piece of plastic over the star charts and notate where the dots fell.
Thank you so much for this score video!
You're very welcome!
CHRIST
Thank you so much for doing this!!
I was at the world premiere of these. Was a big Cage fan 50 years ago. Sitting through the performance was a real chore. There’s no music to be found in them, which is not surprising. I can’t imagine what pleasure and satisfaction there was in its composition or performance.
music fetichism of the day...absolutely nobody liked it...Cage didn't take it seriously, actually.
@@andradas9688 I like it.
@@markusberzborn6346 I wrote in the past tense responding to the original comment about someone attending the premiere. Next time I will make sure I will ask about your preferences. Please, leave your email below. In the meantime, whether you like it or not is not relevant to my observation.
I like it too @@andradas9688
Whether anybody liked it or not is not relevant. Cage did take it seriously.@@andradas9688
wuaw ❤ thanks
And to think that the most popular John Cage piece--by which I mean the one that people don't shut up about--is the one where nothing happens.
Here we are, 71 years later, and you people are still trolling. Clearly, you've not listened to 4'33" if you think it is the one "where nothing happens." It is entirely "what happens."
@@talastra nah. im a music graduate, sat through a couple lectures about 4'33'', read a few scholarly papers on that, sat through at least 10 concerts of the piece. I can conclude it being only a philosophical statement. Music wise, nothing happens and certainly not a musical composition.
What you gonna do? say im trolling because I am not like one of you plebs?
@@KinkyLettuce You certainly do sound like someone who went through the gratuitous fire of a music education. But an education is never a guarantee of insight. The most baseless thing you say is that 4'33" is not a composition. Provide your definition of a composition. As a (in this case including setting a context for stochastic aspects), , , (most often for music, the effect is labelled as "emotion" but that's certainly not the only possibility; sometimes the effect is political, self-promoting, in the interest of the piece itself, or as an answer to the set of questions the piece asks), and , 4'33" most assuredly is a composition. "Music wise, nothing happens." You trolling here, as your education certainly informed you (whether you retained the information for the final or not) that music is (under the notion of art as "the gratuitous addition of an aesthetic element"). It is clear you want music to be something less, and it bothers you when it's not.
Lastly, when you call it a "philosophical statement," (1) I wonder how you would distinguish any composition from a "philosophical statement" [Art of Fugue is not a philosophical statement? the majority of the vast dreary repertoire of the Romantics are not philosophical statements] and (2) would ask how much of the empirical experimentation into the parameters of music, especially in the 20th century, you would throw under the bus "philosophical statement" where "music wise, nothing happens."
I'm pretty sure you don't listen to only one song over and over and over, utterly disinterested in whatever else music might be capable of. What is usually violently rejected by the startlingly conservative prudes of musical academia as "not music" (whether a half-step key modulation, a musical use of parallel fifths, things derided as "dissonance") is often gradually enshrined as musical orthodoxy. Experimentation and novelty in the parameters of the music of Christendom has been continuous, no matter how much the pundits get their panties in a twist about it. In the twentieth century, partly from exhaustion, partly from the atrocities of Christendom in two world wars and the Holocaust, it became necessary to widen the parameters of experimentation. Like all experimentation, the interesting failures are more informative than the predictable successes. So, unless you are opposed to all change in music, requiring it only to repeat itself endlessly in the same mood, then your denunciation of 4'33" is not only wrong-headed but contrary to what you otherwise claim to want.
Nobody says you have to like the piece. Maybe you're just a homophobe. But of all the people who often sound like a stochastic Cage composition, there is a compositional deliberation that never stops being musical, and that's not something you can say about Sorabji, Nancarrow, Fernyhough, serialism, Reich, Glass (just to throw out a tendentious semi-list). The basic problem is that you have forgotten how to listen. And when 4'33" reminds you what that means, you
apparently become supercilious and peevish.
Now, go sit in a corner and listen to the piece again.
@@talastra nah. Not a musical composition. You are buying into the "concept over substance" bs like every single one of those plebs
Are you saying you can't give a definition of "composition" even after being a graduate student? @@KinkyLettuce
Good to count sheep to
And remember, around some of these notes, live might exist.
2:20:42 just found E triple flat
I like why it is so easy to distinguish one etude from the other 🤣
Карта звнздного неба переложенная на нотный стан. Слушать с улыбкой
ON THE RIGHT SIDE OF THE MODERN GRAND STAFF MUSICK NOTATION SYSTEM YOU WRITE TIMEMACHINE DOWN THE PAGE. :) THERE, YOU ARE NOW ALLLLL SET.
SO, THEN WHAT I DO IS TAKE JOHN CAGE ETUDES AUSTRALES, AND COMPOSE BACKWARDS INTO BOOK IV. YOU'RE RIGHT. TOTALLY. WHAT A TOTALLY COOLEST IDEA EVER DEAR EVERYBODY. :)
I didn't think it was possible for me to dislike all the etudes in a set of etudes. Props to John Cage lol.
I wonder how the harmony is constructed
The compositional approach "permitted the writing of a music which was not based on harmony, but it permitted harmonies to enter into such a nonharmonic music. How could you express that in political terms? It would permit that attitude expressed socially. It would permit institutions or organizations, groups of people, to join together in a world which was not nationally divided"
This is a piece that should’ve only really been performed by midi.
Exact performance of the score is not a goal of the piece. The way it varies from performance to performance, and performer to performer, is a political aspect of the piece. A "canonical" performance on MIDI (or anywhere) is contrary to its spirit.
@@talastra nah. It should be midi because the piece does not express an emotional story or feelings. It’s just an experimental piece and should be played as so
It doesn't express an emotional story or feelings that you recognize. You call something that's not an emotional story or feelings not a piece--sure. That's one way to imagine music. You say it's "just" an experimental piece and should be played as such; that's exactly what it's doing and is happening in this recording (or any other of it). A MIDI would, at best, be one more example.
It's absolutely clear that you cannot hear the difference between this piece and a lot of post-WWII experimental music. I suggest you listen more negligently. You might start to hear it then. The piece is neither random nor precious.@@LisztAddict
@@talastra Okay, I guess I should
Bro listened to Feldman one too many times
I think you have that backward.
wau
Masterpiece
🤨🤨🤨🤨🤨🤨🤨🤨🤨🤨🤨🤨🤨🤨🤨🤨🤨🤨🤨🤨🤨🤨🤨🤨🤨🤨🤨🤨🤨🤨🤨🤨🤨🤨
HAHAHAHAHAHA
Pareidolia 101
I always wonder why Cage was allowed to get away with mocking true composers like this.
Actually, besides that he is a composer in the truest sense of the word, it is the people who imitate the appearance of his works, and not the intention, that are the trolls and mockers.
@@talastra you are coping so hard, going from posts to posts to defend the fuck out of this shit. Hilarious actually
@@KinkyLettuce Says the person following me.
so good...
sodelicious.......................................
Cage's Etudes Australes is very dull and vapid. If you want to hear piano etudes that aren't as dull as this, I recommend listening to Ligeti's Piano Etudes instead. Ligeti's Etudes are smaller in number compared to Cage's Etudes, but they have more quality over quantity.
Absolutely. The difference is that, no matter how complex his music was, Ligeti always kept the audience's perception and emotional reaction at the center of his approach to composing. Cage, along with Boulez, Stockhausen, and some others, was too obsessed with his own ideas and neglected the audience.
@@alans98989Inagree, althoughI find Licht, for example, not to ignore the audience's perspective
@@nicolafiorillo4048 Licht is one of the most visceral and emotionally affecting operas ever written in my opinion.
@@alans98989 Cage neglected the audience; that's why he arranged a piece composed by the audience?
@@alans98989 I will give you an important clue. Put this music on a stereo in your place, then go about your day. Leave and come back. Nap. Ride your stationary bike. Above all, give up your pretense that "organized sound" exists merely to gratify your self-obsession or requires your continuous attention. It's easy enough to understand why people don't understand what Cage is attempting, here and in other works (especially happenings). For sure, you are expected to sit in a pious silence while the presence of Ligetti flows over you in a concert hall. And it would be a rough haul to do that with those or these etudes, especially as it's not even how these must be listened to. Certainly what you say can apply to Boulez and Stockhausen (and pretty much all of the New Complexity hacks and Sorabji, even Glass and Reich often enough). I don't deny that those composers were composers. And I don't deny that I find them uninteresting to engage. In the same way, there's not much to be gotten out of 15 Jackson Pollock paintings. One truly is enough; repetitions are just treading water and hawking product. Cage didn't have that problem or that habit. If you unfetter your mind around what can (or can't be) music, and especially how music should be experienced, and what the role of music is or could be in completely prosaic everyday life, then you may begin to grasp what's happening here. 4'33" is where it starts, just as "As Slow as Possible" starts with a rest that lasts 2 years. Again, if you can't wrap your head around the import of that, I don't know what.
Nooooo
Marre de tous ces compositeurs depressifs.
The world of wasting paper and pencil.
Including what you do. Excluding this lol
Every composer born after 1950 is indebted to John Cage, he will be remembered for hundreds of years after his death. Let’s see how long you last.
@@diallobanksmusic”lets see how long you last” LMAOOOO
@@diallobanksmusic that's a lot of damage
@@diallobanksmusicof course he is remebered, its hard to forget all this nonsense noise
La pire époque. Esthétique complètement dépassée. Sorry John...
Trouvez-vous que l'esthétique musicale, dans sa globalité complexe, soit meilleure aujourd'hui ? Permettez-moi d'émettre quelques doutes légitimes.
^^@@anastasiavinogradova_composer
Na kotalela bankombo mpe minoko oyo basaleli awa, ezali mpenza koyebisa ete Lifalanse eyokani na jaded mpe Russe ayebi ete crise oyo ezali kosalema lelo ezali somo mingi.
John Cage is lacking composer's talent... His music is not viable.
Honestly, dude. Peak ignorance. One can always question the methods of a composer, but there are few people in the history of "western" musical composition to so articulately and capaciously ask questions of Music and then identify adequate forms for expressing and answering those questions (all the more so in an era when everything was being tested in Music). No one. I'm not sure a single Romantic composer ever comes close to this mark. Yes, Bach rarely invented a new form, but he filled it in with a precision and detail of composition that is still astonishing; the Classical era folks give us empty forms. All Schoenberg could do was polemically shit on Music (in frustration), and while people like Glass and Reich bought into it (in modified form) (and later epigones even more grotesquely), the Russians at least were wise to that shit, and realized serialism could be applied as a resource in music, but not comprises a basis for it. Some of Shostakovich's symphonies are a case in point, along with Gubaidulina, Ustvolkaya, Schnittke, and perhaps no one more in detail than Shchedrin.
Just put the music on and go about your day. That's how one listens to this, not sitting at your computer (or in a concert hall) piously paying attention, hoping that the stuff your ego demands as music should hit your ears. It's completely daft to complain that a banana is not a taco. And then, as you become attuned to listening to your listening, you may begin to notice the "music of the spheres" in the air around you, even when the Etudes Australes aren't playing.