La musique indéterminée : une philosophie informelle pour Cage
This essay attempts to draw a parallel between the musician John Cage and the philosopher Ludwig Wittgenstein, the former a composer – if indeed this is the right term – of « sound games » inseparable from everyday settings in which supposedly impure and nonmusical « noises » abound, and the latter...
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2008
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| Accés en línia: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
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cairn-RFEA_117_0050RFEARevue française d’études américaines https://shs.cairn.info/revue-francaise-d-etudes-americaines-2008-3-page-50?lang=fr https://doi.org/10.3917/rfea.117.0050 La musique indéterminée : une philosophie informelle pour Cage Soulez, Antonia2008 « performance »œuvrebruitformalisme/anti-formalismeforme(s)informelinintentionneljeux (de sons)jeux de langage)objetordinaireprocessusSonartworkformformalism/anti-formalisminformalknowing-thatlanguage gamesnoiseobjectordinaryperformanceprocessSoundsound gamessurprise/anticipationunintentionalfre Revue française d’études américaines | 117 | 3 | 2008-12-09 | p. 50-64 | 0397-7870 RFEA_11766 This essay attempts to draw a parallel between the musician John Cage and the philosopher Ludwig Wittgenstein, the former a composer – if indeed this is the right term – of « sound games » inseparable from everyday settings in which supposedly impure and nonmusical « noises » abound, and the latter an inventor of « language games » similarly apprehended in the context of everyday life. A detailed comparison between Cage’s and Wittgenstein’s « pragmatic » rather than « empirical » approaches sheds light on what Cage himself termed his « philosophy », which he equates with a form of « music action » whereby he rebels against the tyranny of the « great form » and the traditional European understanding of musical syntax. This essay reflects on the similar ways in which Cage and Wittgenstein attempt to distance themselves from established notions of harmony, the former by reexamining the nature of musical significance, and the latter by calling into question the notion that words somehow « fit » the world. Cage’s questioning of intention and its role in musical composition is central to the argument.Cairn free access |
| language |
Français |
| format |
Article ou chapitre numérique |
| building |
0/Bibliothèque numérique/ 1/Bibliothèque numérique/Cairn/ |
| topic |
« performance » œuvre bruit formalisme/anti-formalisme forme(s) informel inintentionnel jeux (de sons) jeux de langage) objet ordinaire processus Son artwork form formalism/anti-formalism informal knowing-that language games noise object ordinary performance process Sound sound games surprise/anticipation unintentional |
| spellingShingle |
« performance » œuvre bruit formalisme/anti-formalisme forme(s) informel inintentionnel jeux (de sons) jeux de langage) objet ordinaire processus Son artwork form formalism/anti-formalism informal knowing-that language games noise object ordinary performance process Sound sound games surprise/anticipation unintentional Soulez, Antonia La musique indéterminée : une philosophie informelle pour Cage |
| topic_facet |
« performance » œuvre bruit formalisme/anti-formalisme forme(s) informel inintentionnel jeux (de sons) jeux de langage) objet ordinaire processus Son artwork form formalism/anti-formalism informal knowing-that language games noise object ordinary performance process Sound sound games surprise/anticipation unintentional |
| description |
This essay attempts to draw a parallel between the musician John Cage and the philosopher Ludwig Wittgenstein, the former a composer – if indeed this is the right term – of « sound games » inseparable from everyday settings in which supposedly impure and nonmusical « noises » abound, and the latter an inventor of « language games » similarly apprehended in the context of everyday life. A detailed comparison between Cage’s and Wittgenstein’s « pragmatic » rather than « empirical » approaches sheds light on what Cage himself termed his « philosophy », which he equates with a form of « music action » whereby he rebels against the tyranny of the « great form » and the traditional European understanding of musical syntax. This essay reflects on the similar ways in which Cage and Wittgenstein attempt to distance themselves from established notions of harmony, the former by reexamining the nature of musical significance, and the latter by calling into question the notion that words somehow « fit » the world. Cage’s questioning of intention and its role in musical composition is central to the argument. |
| author |
Soulez, Antonia |
| author_facet |
Soulez, Antonia |
| author_sort |
Soulez, Antonia |
| title |
La musique indéterminée : une philosophie informelle pour Cage |
| title_short |
La musique indéterminée : une philosophie informelle pour Cage |
| title_full |
La musique indéterminée : une philosophie informelle pour Cage |
| title_fullStr |
La musique indéterminée : une philosophie informelle pour Cage |
| title_full_unstemmed |
La musique indéterminée : une philosophie informelle pour Cage |
| title_sort |
la musique indéterminée : une philosophie informelle pour cage |
| publishDate |
2008 |
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| url |
https://ezproxy.univ-orleans.fr/login?url=https://shs.cairn.info/revue-francaise-d-etudes-americaines-2008-3-page-50?lang=fr https://ezproxy.univ-orleans.fr/login?url=https://doi.org/10.3917/rfea.117.0050 |
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