>> Chris M.> Nonetheless, you heard *the piece*. If there is a 2-bar
>> rest in the middle of the first movement of a symphony, say, you
>> don't stop hearing the symphony during the silence. Cage's piece
>> pushes that fact to the limit.
>
> Queries: When does one not hear the Cage piece? (01)
Obviously, when one is not attending (or attending to) a performance
of it. (02)
> Does a deaf person hear the piece? (03)
While in attendance? I'm inclined to say no, as it seems to me the
possibility of sound is essential to hearing the piece. But as with
most real world phenomena, there are fuzzy cases where there may not
be a definite answer. (04)
> Does a person in another city hear it? (05)
No more than she hears any performance in another city. (06)
> Someone asleep? (07)
No more than anyone else who's asleep. (08)
> How many times does one hear the piece during a lifetime? (09)
How many times does one hear, say, Handel's Messiah? Obviously as
many times as one attends a performance of it. (010)
> When does a performance of the piece begin and end? (011)
Obviously it begins at the beginning; given the nature of the piece
it seems to me it begins when the performer gives some sort of
internal nod and, of course, ends 4'33" later. The same sort of
vagueness attends the performance of most any piece of music. (012)
Your questions betray a radically extensionalist view of music, Jay
-- you seem to be suggesting that a performance of Cage's piece is
identical with any 4'33" interval of silence. (013)
> What is the sound of one hand clapping? (014)
Obviously you don't watch The Simpsons. :-) (015)
> "No entity without identity." (016)
Ah, confirmation of your extensionalism! (017)
-chris (018)
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