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“Water Music” by John Cage, the score.
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You can see it isn’t a traditional score
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but it’s far more exact than you’d think.
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You use a stopwatch.
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This is like a timeline.
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Here are the times and here it says
what’s to happen when, when it starts
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and when it ends.
There are piano chords,
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sometimes strange things,
like playing a duck whistle in water,
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here’s a water warbler,
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here you have to shut the keyboard lid,
and a radio should play at all times.
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It has to be set to a specific frequency
and you’ll just have to see what comes out.
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What mattered to him was
that everything has its own sound.
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Not just the conventional
musical instruments that you know,
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but every single object
and also water, of course.
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Pouring water into different receptacles
has its own sound.
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He wanted to mix the artificial instrument
that is a grand piano,
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though slightly altered,
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with the natural sound of water,
which plays an equal part in the music,
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and the technical sound from the radio.
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That’s how he created a collage
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from these three completely
different worlds of sound.
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To prepare a piano
is nothing more than setting it up.
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You put objects in between
the strings to change the sound.
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Cage wrote it all down
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in a very exact way: screws, eraser,
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a coin, a bit of plastic
and God knows what else.
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And he didn’t just write down what,
but also where.
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This is the one-cent sound.
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I don’t use an American cent,
but a European one.
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Nowadays you can rely on the Euro
at least in this respect.
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Earlier preparers had it easier.
If you bought the score
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you got a plastic bag from the publisher
containing all the materials.
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I don’t suppose
it was worth their while,
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so nowadays you only get the score,
and with that
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you go to the hardware store.
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Originally he invented it as a stopgap.
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He’d prepared a work
for percussion ensemble
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to accompany a choreography,
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but at the rehearsals
it turned out the hall was too small.
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There was no room for a percussion
ensemble which was a real problem.
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So as a kind of stopgap
he prepared a small piano with elastics
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to imitate percussion instruments.
Then he got a taste for it
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and composed several,
20 pieces of music for prepared piano,
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sometimes more, sometimes less prepared,
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but always in connection
with dance and choreography,
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usually done by Merce Cunningham.
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The photograph of John Cage
looking out over the rock garden
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is one you see very often.
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What do you think he heard here?
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He would have been listening
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to the sounds of nature, I think.
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The sound of the rain is beautiful today.
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It’s like you’re becoming more and more
immersed in the world of sound.
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When you play Cage I feel the same way.
Beside the sounds
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many moments of silence emerge
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until, ultimately, you hear sound itself.
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The sounds are not so insistent
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as to rob you of air.
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Every single one of them
seems to start existing in free space.
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Just like every single stone here exists
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separate from one another,
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and every rock has its own sound.
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Cage once said
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he wasn’t a composer, didn’t he?
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He didn’t want to be
a composer but a listener.
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He said he wanted to point his antennas
at the sounds of the world
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and listen to them.
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“Composer” is a modern-age term
invented in Europe.
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I suppose
he wanted to free himself of that.
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We Japanese have always
admired Western contemporary music
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and Western modernity,
and have even tried to emulate it.
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If all of this is turned upside down...
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...that’s pretty heavy.
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But there’s an entire world
you can only hear if you do just that.
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If you look at it that way, he is someone
who opened up a new world to us
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and reminded us
of an old world at the same time.
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