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4′33″ (pronounced ' Four minutes, thirty-three seconds' or just ' Four thirty-three' ) is a three- composition by American composer (1912–1992). It was composed in 1952, for any instrument or combination of instruments, and the score instructs the performer(s) not to play their instrument(s) during the entire duration of the piece throughout the three movements. The piece consists of the sounds of the environment that the listeners hear while it is performed, although it is commonly perceived as 'four minutes thirty-three seconds of silence'. The title of the piece refers to the total length in minutes and seconds of a given performance, 4′33″ being the total length of the first public performance. Conceived around 1947–48, while the composer was working on, 4′33″ became for Cage the epitome of his idea that any sounds may constitute. How To Install Apps From Pc To Lumia 510 Nokia. It was also a reflection of the influence of, which Cage studied since the late 1940s. In a 1982 interview, and on numerous other occasions, Cage stated that 4′33″ was, in his opinion, his most important work.

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Describes 4′33″ as Cage's 'most famous and controversial creation'. Contents • • • • • • • • • • • • • History of composition [ ] Background and influences [ ] Silence played a major role in several of Cage's works composed before 4′33″. The Duet for Two Flutes (1934), composed when Cage was 22, opens with silence, and silence was an important structural element in some of the (1946–48), (1951) and Two Pastorales (1951). The Concerto for prepared piano and orchestra (1951) closes with an extended silence, and Waiting (1952), a piano piece composed just a few months before 4′33″, consists of long silences framing a single, short pattern. Furthermore, in his songs (1942) and (1950) Cage directs the pianist to play a closed instrument, which may be understood as a metaphor of silence. The first time Cage mentioned the idea of a piece composed entirely of silence was during a 1947 (or 1948) lecture at, A Composer's Confessions.

Cage told the audience that he had 'several new desires', one of which was to compose a piece of uninterrupted silence and sell it to. It will be three or four-and-a-half minutes long—those being the standard lengths of 'canned' music and its title will be Silent Prayer. It will open with a single idea which I will attempt to make as seductive as the color and shape and fragrance of a flower. The ending will approach imperceptibility. At the time, however, Cage felt that such a piece would be 'incomprehensible in the Western context,' and was reluctant to write it down: 'I didn't wish it to appear, even to me, as something easy to do or as a joke.