I was born in 1995 TT_TT. His music helps me when I go into psychotic states something that even my favorite songs by other artists and composers can't. His sonatas and interludes are able to ground me back to earth and almost reprogram my brain. Also his voice is so soothing.

Though, that jab at Marxism at the end was out of place, and inappropriate. Noone can be perfect, of course.

en.wikipedia.org/wiki/Takehisa_Kosugi

@@kanon0853 thank you!

satie's musique d'ameublement

The author asked to make a list is "Beckett," probably Samuel Beckett. He then says that "Finnegan's Wake" isn't on the list. In fact [James] Joyce isn't on the list, because he is in a class by himself. Is the the spot you're talking about?

satie's musique d'ameublement

I think is some part or rendition of Thirteen Harmonies. When i was younger I rejected Cage, but this piece made my glad dont know why

No it isnt, dont really know what is that piece

Since 2017 I've spent a bit of time trying to figure this out myself... I wonder about it again every six, nine, twelve months. It is almost certainly one of Cage's Number Pieces, where the number/title indicates the number of players/instruments. The remarkably beautiful one-minute excerpt seems to include flute, oboe (maybe clarinet??), horn (maybe trombone??), violin (one or two), viola, cello... Tell me if you hear anything different. According to en.wikipedia.org/wiki/Number_Pieces#Six_to_Twenty the only number pieces with similar instrumentation are: SEVEN for flute, clarinet, percussion, piano, violin, viola and cello TEN for flute, oboe, clarinet, trombone, percussion, piano, 2 violins, viola and cello THIRTEEN for flute, oboe, clarinet in B-flat, bassoon, trumpet in C, tenor trombone, tuba, two percussionists, 2 violins, viola and cello FOURTEEN for flute/piccolo, bass flute, clarinet, bass clarinet, horn, trumpet, two percussionists, bowed piano, 2 violins, viola, cello and double bass It's feasible we'd hear no percussion or piano in a one-minute excerpt, but to not hear 5-7 of the players...? Not sure about that. So-what recordings of these would have existed when the film was made? SEVEN is from May 1988, TEN from October-November, 1991, THIRTEEN from May 1992, FOURTEEN from 1990. web.archive.org/web/20070731140134/www.johncage.info/workscage/seven.html web.archive.org/web/20080416154330/www.johncage.info/workscage/ten.html web.archive.org/web/20070823190237/www.johncage.info/workscage/thirteen.html web.archive.org/web/20080416153213/www.johncage.info/workscage/fourteen.html There's also SIXTEEN which was scrapped and never published, but perhaps the filmmaker had access to an unreleased (rehearsal?) recording of it? web.archive.org/web/20070731135047/www.johncage.info/workscage/sixteen.html The sound quality and mixing sounds very similar to the two IVES ENSEMBLE albums with SEVEN, TEN, and FOURTEEN, but I haven't found this particular moment anywhere. It also sounds similar to ENSEMBLE 13's two recordings of THIRTEEN, but again I couldn't find this moment... These recordings were released around the time of composition, which was also when much of this documentary was being filmed. Later, in 2006, THE BARTON WORKSHOP released an album including Fourteen, Seven, Ten, Three²... So, that was also out before the film was released in 2012. Anyone else have any other ideas?

HAHAHAHAHA

he is saying it: "to make it susceptable to devine influences".

For someone like me who is susceptible to extreme feelings of being overwhelmed and anxiety, I find Cage’s philosophy to be not just fascinating but also incredibly valuable. Quietening the mind is something that’s necessary for me to retain control of my emotions and mental well-being, especially during the stress-provoked outbursts that I’m prone to having, so I have to disagree with your sentiment.

Maybe then the world won't seem so random.

hes not recreating randomness, hes allowing the randomness to be expressed through his work

the world is actually full of people imposing their will on others. the use of chance procedure in composition is a way to direct the attention towards the sounding phenomena, instead of the composer's intention.