Old page wikitext, before the edit (old_wikitext) | '{{Short description|1952 modernist composition by John Cage}}
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{{Infobox musical composition
| name = 4'33"
| type = [[Modernist]] composition
| composer = [[John Cage]]
| image = [[File:4'33' (John Cage) Original Cover.webp|4'33' (John Cage) Original Cover|300px]]
| image_upright = 1.5
| border = yes
| caption = Original Woodstock manuscript of the composition
| year = 1952
| period = [[Modernist music]]
| duration = 4 minutes and 33 seconds
| movements = Three
| premiere_date = August 29, 1952
| premiere_performers = [[David Tudor]]
}}
'''''4′33″'''''{{Refn|Often pronounced simply as 'four thirty-three', but sometimes alternatively as 'four minutes, thirty-three seconds' or 'four minutes and thirty-three seconds'.{{sfn|Solomon|2002}}|name=Name|group=lower-alpha}} is a [[Modernism (music)|modernist]] composition{{Refn|The labelling of ''4'33"'' as a 'composition' is controversial, as it is ''intrinsically'' silence—the very opposite of music, which is often defined as "sounds organized by humans", at the very least.{{sfn|Arnold|Kramer|2023|page=5}} However, Cage maintains that his piece is not silence, but the combination of ambient noises heard by the audience, which can be deemed 'music'.{{sfn|Kostelanetz|2003|page=70}} Therefore, for the sake of consistency, ''4'33"'' can be considered a 'composition'.|name=Composition|group=lower-alpha}} by American [[experimental music|experimental]] composer [[John Cage]]. It was composed in 1952 for any instrument or combination of instruments; the score instructs performers not to play their instruments throughout the three movements. It is divided into three movements,{{Refn|Cage divided the composition into three distinct movements,{{sfn|Solomon|2002}} but this is often disregarded; the piece is silence, and a movement is defined as "sections of a work [which] may be distinguished in terms of style, key and tempo".{{sfn|Thomsett|2012|page=135}} While there is no perceived distinguishment between the three sections, Cage insists that there is, as the variation in ambient sounds between each movement is, in itself, a distinction.{{sfn|Kostelanetz|2003|page=69–70}}|name=Movement|group=lower-alpha}} lasting 30 seconds, two minutes and 23 seconds, and one minute and 40 seconds, respectively,{{Refn|1=According to a reproduction of the original Woodstock manuscript.{{sfn|Bormann|2005|page=194}}|group=lower-alpha}} although Cage later stated that the movements' durations can be determined by the musician. As indicated by the title, the composition lasts four minutes and 33 seconds and is marked by a period of [[silence]], although ambient sounds contribute to the performance.
''4'33"'' was conceived around 1947–48, while Cage was working on the piano cycle ''[[Sonatas and Interludes]].'' Many prior musical pieces were largely composed of silence, and silence played a notable role in his prior work, including ''Sonatas and Interludes''. His studies on [[Zen Buddhism]] during the late 1940s about [[Aleatoric music|chance music]] led him to acknowledge the value of silence in providing an opportunity to reflect on one's surroundings and psyche. Recent developments in [[contemporary art]] also bolstered Cage's understanding on silence, which he increasingly began to perceive as impossible after [[Robert Rauschenberg|Rauschenberg]]'s ''White Painting'' was first displayed.
''4'33"'' premiered in 1952 and was met with shock and widespread controversy; many musicologists revisited the very definition of music and questioned whether Cage's work qualified as such. In fact, Cage intended ''4'33"'' to be experimental—to test the audience's attitude to silence and prove that any auditory experience may constitute [[definition of music|music]], seeing that absolute silence{{Refn|This article distinguishes between 'silence' and 'absolute silence'. 'Silence' is defined as the lack of sounds ''within'' the composition itself, while 'absolute silence' is the complete lack of sounds, both within and outside the composition—so, silence in the hall in which ''4'33"'' is performed. Cage insists that no absolute silence can exist; the perceived silence of his composition is, in fact, not absolute, since many ambient sounds can be heard while it is performed.{{sfn|Fetterman|1996|page=71}}|name=Absolute silence|group=lower-alpha}} cannot exist. Whilst frequently labelled as four minutes and thirty-three seconds of silence, Cage maintains that the ambient noises heard during the performance contribute to the composition. Since this counters the conventional involvement of [[harmony]] and [[melody]] in music, many musicologists consider ''4'33"'' to be the birth of [[noise music]], and some have likened it to [[Dada]]ist art. ''4'33"'' also embodies the idea of [[Indeterminacy (music)|musical indeterminacy]], as the silence is subject to the individual's interpretation; thereby, one is encouraged to explore their surroundings and themselves, as stipulated by [[Lacanianism]].
''4'33"'' greatly influenced modernist music, furthering the genres of noise music and silent music, which—whilst still controversial to this day—reverberate among many contemporary musicians. Cage re-explored the idea of silent composition in two later renditions: ''0'00"'' (1962) and ''One<sup>3</sup>'' (1989). In a 1982 interview, and on numerous other occasions, he stated that ''4′33″'' was his most important work.<ref name=":2" /> ''[[The New Grove Dictionary of Music and Musicians]]'' describes ''4′33″'' as Cage's "most famous and controversial creation". In 2013, Dale Eisinger of [[Complex (magazine)|''Complex'']] ranked the composition eighth in his list of the greatest performance art works.<ref>{{cite web |last=Eisinger |first=Dale |date=April 9, 2013 |title=The 25 Best Performance Art Pieces of All Time |url=https://www.complex.com/style/2013/04/the-25-best-performance-art-pieces-of-all-time/ |access-date=February 28, 2021 |website=Complex}}</ref>
==Background==
===The concept===
[[File:John Cage (1988).jpg|thumb|[[John Cage]] in 1988]]
The first time Cage mentioned the idea of a piecemannaaanaanaaaannananan entirely of silence was during a 1947 (or 1948) lecture at [[Vassar College]], ''A Composer's Confessions''. At this time, he was working on the cycle for piano ''Sonatas and Interludes''.<ref>{{Harvnb|Pritchett|Kuhn|Garrett|2012}}</ref> Cage told the audience that he had "several new desires", one of which was:
{{blockquote|to compose a piece of uninterrupted silence and sell it to [[Muzak|Muzak Co]]. 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.<ref name="pritchett">{{harvnb|Pritchett|1993|pp=59, 138}}</ref>}}
Prior to this, silence had 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 ''[[Sonatas and Interludes]]'' (1946–48), ''[[Music of Changes]]'' (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 [[ostinato]] pattern. Furthermore, in his songs ''[[The Wonderful Widow of Eighteen Springs]]'' (1942) and ''[[A Flower]]'' (1950) Cage directs the pianist to play a closed instrument, which may be understood as a metaphor of silence.<ref>{{Harvnb|Revill|1993|p=162}}</ref>
However, at the time of its conception, Cage felt that a fully silent piece would be incomprehensible, 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. I wanted to mean it utterly and be able to live with it."<ref name="Revill 1993, 164">{{harvnb|Revill|1993|p=164}}</ref> Painter [[Alfred Leslie]] recalls Cage presenting a "one-minute-of-silence talk" in front of a window during the late 1940s, while visiting Studio 35 at [[New York University]].<ref>{{Cite magazine |last=Stein |first=Judith |author-link=Judith E. Stein |date=January 1, 2009 |title=Interview: Alfred Leslie |url=https://web.archive.org/web/20101204172036/http://www.artinamericamagazine.com/features/interview-alfred-leslie/ |archive-url=https://www.artnews.com/features/interview-alfred-leslie/ |archive-date=December 4, 2010 |access-date=October 8, 2010 |magazine=[[Art in America]] |page=92}}</ref>
=== Precursors ===
{{Further|List of silent musical compositions}}
Although he was a pioneer of silent music, Cage was not the first to compose it. Others, especially in the first half of the twentieth century, had already published [[List of silent musical compositions|related work]], which possibly influenced Cage. As early as 1907, [[Ferruccio Busoni]] delineated the importance of [[atonality]] and silence in music:
{{Blockquote|text=What comes closest to its original essence in our musical art today are the pause and [[fermata]]. Great performance artists and improvisers know how to use this expressive tool to a greater and more extensive extent. The exciting silence between two movements—in this environment, itself, music—is more suggestive than the more definite, but less flexible, sound.<ref name="busoni">{{harvnb|Busoni|1916}}</ref>}}
[[File:Marche funèbre composée pour les funérailles d'un grand homme sourd - Alphonse Allais.jpeg|thumb|365x365px|Sheet music for [[Alphonse Allais|Allais]]' ''Funeral March'', containing no musical notes]]
An example is the ''Funeral March for the Obsequies of a Deaf Man'' (in French: ''Marche funèbre composée pour les funérailles d'un grand homme sourd'') (1897) by [[Alphonse Allais]], consisting of 24 empty measures.<ref>{{Harvnb|Allais|1897|pages=23–26}}</ref> Allais was a companion of his fellow composer [[Erik Satie]],<ref name=":0">{{Harvnb|Liu|2017|p=54}}</ref> and, since Cage admired the latter, the ''Funeral March'' may have motivated him to compose ''4'33"'', but he later wrote that he was not aware of Allais' work at the time.<ref>{{Harvnb|Dickinson|1991|p=406}}</ref> Silent compositions of the twentieth century preceding Cage's include the 'In futurum' movement from the ''Fünf Pittoresken'' (1919) by [[Erwin Schulhoff]]—solely comprising rests—<ref>{{Harvnb|Bek|2001}}</ref> and [[Yves Klein]]'s ''Monotone–Silence Symphony'' (1949), in which the second and fourth movements are bare twenty minutes of silence.<ref name=":0" />
Similar ideas had been envisioned in literature. For instance, [[Harold Acton]]'s prose fable ''Cornelian'' (1928) mentions a musician conducting "performances consisting largely of silence".<ref>{{Harvnb|Carpenter|2009|p=60}}</ref><ref>{{Cite news |date=September 13, 1992 |title=JOHN CAGE; Similar Silence |url=https://www.nytimes.com/1992/09/13/arts/l-john-cage-similar-silence-353092.html |access-date=February 11, 2024 |work=[[The New York Times]]}}</ref> In 1947, jazz musician [[Dave Tough]] joked that he was writing a play in which "a string quartet is playing the most advanced music ever written. It's made up entirely of rests ... Suddenly, the viola man jumps up in a rage and shakes his bow at the first violin. 'Lout', he screams, 'you played that last measure wrong'".<ref>{{Cite news |date=March 16, 1947 |title=New Jazz: 'All or Nothing at All' |newspaper=[[The Washington Post]] |pages=S7}}</ref>
=== Direct influences ===
==== Zen Buddhism ====
[[File:Daisetsu Teitarō Suzuki photographed by Shigeru Tamura.jpg|thumb|300x300px|[[D. T. Suzuki|Daisetz Suzuki]], whose approach to [[Zen|Zen Buddhism]] influenced Cage]]
Since the late 1940s, Cage had been studying [[Zen|Zen Buddhism]], especially through Japanese scholar [[D. T. Suzuki|Daisetz Suzuki]], who introduced the field to the Western World. Thereon, he connected sounds in silence to the notions of "unimpededness and interpenetration".<ref>{{Harvnb|Pritchett|1993|p=74}}</ref> In a 1951/1952 lecture, he defined unimpededness as "seeing that in all of space each thing and each human being is at the center", and interpenetration as the view "that each one of the [things and humans at the center] is moving out in all directions penetrating and being penetrated by every other one no matter what the time or what the space", concluding that "each and every thing in all of time and space is related to each and every other thing in all of time and space".<ref>{{Harvnb|Pritchett|1993|pages=74–75}}</ref>
Cage believed that sounds existed in a state of unimpededness, as each one is not hindered by the other due to them being isolated by silence, but also that they interpenetrate each other, since they work in tandem with each other and 'interact' with the silence. Hence, he thought that music is intrinsically an alternation between sound and silence, especially after his visit to [[Harvard University]]'s [[anechoic chamber]].<ref name=":14">{{Harvnb|Pritchett|1993|p=75}}</ref> He increasingly began to see silence as an integral part of music since it allows for sounds to exist in the first place—to interpenetrate each other. The prevalence of silence in a composition also allowed the opportunity for contemplation on one's psyche and surroundings, reflecting the Zen emphasis on [[meditation music]] as means to soothe the mind.<ref name=":15" /> As he began to realize the impossibility of absolute silence, Cage affirmed the psychological significance of 'lack of sound' in a musical composition:
{{Blockquote|text=I've thought of music as a means of changing the mind ... In being themselves, [sounds] open the minds of people who made them or listened to them to other possibilities that they had previously considered.<ref name="kostelanetz">{{harvnb|Kostelanetz|2003|page=42}}</ref>}}
In 1951, Cage composed the ''Concerto for Prepared Piano and Chamber Orchestra'', which can be seen as an representation of the concept of interpenetration.<ref name=":14" /><ref>{{Harvnb|Nicholls|2002|p=220}}</ref>{{Expansion needed|date=February 2024}}
==== Chance music ====
Cage also explored the concept of [[Aleatoric music|chance music]]—a composition without melodic structure or regular [[Musical notation|notation]].<ref name=":15">{{Harvnb|Burgan|2003|p=52}}</ref> The aforementioned ''Concerto for Prepared Piano'' employs the concepts posited in the [[Ancient Chinese history|Ancient Chinese]] text ''[[I Ching]]''.<ref>{{Harvnb|Nicholls|2002|pages=201–202}}</ref>{{Expansion needed|date=February 2024}}
==== Visit to the anechoic chamber ====
[[File:John Cage in Harvard University's Anechoic Chamber.jpg|thumb|365x365px|[[John Cage|Cage]] sitting in [[Harvard University]]'s anechoic chamber, by which he discovered that absolute silence does not exist, inspiring him to compose ''4'33"'']]
In 1951, Cage visited the [[anechoic chamber]] at [[Harvard University]]. Cage entered the chamber expecting to hear silence, but he later wrote: "I heard two sounds, one high and one low. When I described them to the engineer in charge, he informed me that the high one was my [[nervous system]] in operation, the low one my blood in [[circulatory system|circulation]]".<ref>{{cite news |date=November 24, 2004 |title=A few notes about silence and John Cage |url=http://www.cbc.ca/sask/features/artist/journal2.html |url-status=dead |archive-url=https://web.archive.org/web/20060212191730/http://www.cbc.ca/sask/features/artist/journal2.html |archive-date=February 12, 2006 |publisher=[[Canadian Broadcasting Corporation|CBC]]}}</ref> Cage had gone to a place where he expected total silence, and yet heard sound. "Until I die there will be sounds. And they will continue following my death. One need not fear about the future of music".{{sfn|Cage|1961|p=8}} The realization as he saw it of the impossibility of silence led to the composition of ''4′33″''.
==== ''White Painting'' ====
Another cited influence for this piece came from the field of the visual arts.<ref name="Revill 1993, 164" /> Cage's friend and sometimes colleague [[Robert Rauschenberg]] had produced, in 1951, a series of white paintings (collectively named ''White Painting''), seemingly "blank" canvases (though painted with white house paint) that in fact change according to varying light conditions in the rooms in which they were hung, the shadows of people in the room and so on. This inspired Cage to use a similar idea, as he later stated, "Actually what pushed me into it was not guts but the example of Robert Rauschenberg. His white paintings ... when I saw those, I said, 'Oh yes, I must. Otherwise I'm lagging, otherwise music is lagging'."{{sfn|Kostelanetz|2003|p=71}} In an introduction to an article "On Robert Rauschenberg, Artist, and His Works", John Cage writes: "To Whom It May Concern: The white paintings came first; my silent piece came later."{{sfn|Cage|1961}}
== The composition ==
===Premiere and initial reception ===
{{Quotebox
| quote = They missed the point. There's no such thing as silence. What they thought was silence, because they didn't know how to listen, was full of accidental sounds. You could hear the wind stirring outside during the first movement. During the second, raindrops began pattering the roof, and during the third the people themselves made all kinds of interesting sounds as they talked or walked out.
| author = [[John Cage]]
| source = on the premiere of ''4'33"''{{sfn|Kostelanetz|2003|page=70}}
| align = right
| width = 35%
| fontsize = 87.5%
| bgcolor = light gray
}}
The premiere of the three-movement ''4′33″'' was given by [[David Tudor]] on August 29, 1952, in [[Maverick Concert Hall]], [[Woodstock, New York]], as part of a recital of contemporary piano music. The audience saw him sit at the piano and, to mark the beginning of the piece, close the keyboard lid. Some time later he opened it briefly, to mark the end of the first movement. This process was repeated for the second and third movements.{{Refn|The actions of Tudor in the first performance are often misdescribed so that the lid is explained as being open during the movements. Cage's handwritten score (produced after the first performance) states that the lid was closed during the movements, and opened to mark the spaces between.|group=lower-alpha}} Although the audience was enthusiastic about contemporary art, the premiere was met with widespread controversy and scandal,<ref name="Solomon 1998/2002">{{Harvnb|Solomon|2002}}</ref> such that Calvin Tomkins notes: "The Woodstock audience considered the piece either a joke or an affront, and this has been the general reaction of most people who have heard it, or heard of it, ever since. Some listeners have been unaware they were hearing it at all".<ref>{{Harvnb|Bormann|2005|p=200}}</ref>
=== General reception ===
Music critic [[Kyle Gann]] called the piece "one of the most misunderstood pieces of music ever written and yet, at times, one of the avant-garde’s best understood as well". He dismissed the idea that 4′33″ was a joke or a hoax, wrote that the theory of Dada and theater have some justification, and said that for him the composition is a "thought experiment". He concluded that the idea that 4′33″ is a "Zen practice" "may be the most directly fertile suggestion".<ref>{{cite web |last1=Gann |first1=Kyle |title=From No Such Thing as Silence: John Cage’s 4’33” - New Music USA |url=https://newmusicusa.org/nmbx/from-no-such-thing-as-silence-john-cages-433/ |website=newmusicusa.org |access-date=3 April 2024 |date=1 April 2010 |ref=none}}</ref>
== Analysis ==
The composition is an indispensable contribution to the Modernist movement<ref name="grove">{{harvnb|Pritchett|Kuhn|Garrett|2012}}</ref><ref name=":1">{{Harvnb|Kostelanetz|2003|p=69–71, 86, 105, 198, 218, 231}}</ref> and formalized noise music as a genre.<ref>{{Harvnb|Hegarty|2007|pages=11–12}}</ref><ref>{{Harvnb|Priest|2008|p=59}}</ref> Noise music is seen as the anathema to the traditional view of harmony in music, exploiting random sound patterns 'noise' in the process of making music—the "detritus of the music process".<ref>{{Harvnb|Priest|2008|pages=57–58}}</ref> [[Paul Hegarty (musician)|Paul Hegarty]] notes that: "The silence of the pianist in ''4'33"'' can be understood as the traditional silence of the audience so that it can appreciate the music being played. Music itself is sacrificed, sacrificed to the musicality of the world".<ref name=":3" /> For Hegarty, ''4′33″'', is made up of incidental sounds that represent perfectly the tension between "desirable" sound (properly played musical notes) and undesirable "noise" that make up all noise music.<ref name=":3">{{Harvnb|Hegarty|2007|p=17}}</ref> It is made of three movements.<ref name="grove" /><ref name=":1" />{{Expansion needed|date=February 2024}}
=== Intentions ===
''4′33″'' challenges, or rather exploits to a radical extent, the social regiments of the modern concert life etiquette, experimenting on unsuspecting concert-goers to prove an important point. First, the choice of a prestigious venue and the social status of the composer and the performers automatically heightens audience's expectations for the piece. As a result, the listener is more focused, giving Cage's ''4′33″'' the same amount of attention (or perhaps even more) as if it were [[Symphony No. 9 (Beethoven)|Beethoven's Ninth Symphony]].<ref name="Taruskin 2009, 71">{{harvnb|Taruskin|2009|p=71}}</ref> Thus, even before the performance, the reception of the work is already predetermined by the social setup of the concert. Furthermore, the audience's behavior is limited by the rules and regulation of the concert hall; they will quietly sit and listen to 4′33″ of ambient noise. It is not easy to get a large group of people to listen to ambient noise for nearly five minutes, unless they are regulated by the concert hall etiquette.
The second point made by ''4′33″'' concerns duration. According to Cage, duration is the essential building block of all of music. This distinction is motivated by the fact that duration is the only element shared by both silence and sound. As a result, the underlying structure of any musical piece consists of an organized sequence of "time buckets".{{sfn|Taruskin|2009|p=56}} They could be filled with either sounds, silence or noise; where neither of these elements is absolutely necessary for completeness. In the spirit of his teacher [[Arnold Schoenberg|Schoenberg]], Cage managed to emancipate the silence and the noise to make it an acceptable or, perhaps, even an integral part of his music composition. ''4′33″'' serves as a radical and extreme illustration of this concept, asking that if the time buckets are the only necessary parts of the musical composition, then what stops the composer from filling them with no intentional sounds?<ref name=":4" />
[[File:Duchamp Fountaine.jpg|thumb|[[Marcel Duchamp]]'s ''[[Fountain (Duchamp)|Fountain]]'' (1917): a hallmark of the [[Dada]]ist movement, with which [[John Cage|Cage]]'s composition is associated|237x237px]]
The third point is that the work of music is defined not only by its content but also by the behavior it elicits from the audience.<ref name="Taruskin 2009, 71" /> In the case of [[Igor Stravinsky]]'s ''[[The Rite of Spring|Rite of Spring]]'', this would consist of widespread dissatisfaction leading up to violent riots.<ref>{{Cite web |date=October 15, 2018 |title=This is what REALLY happened at The Rite of Spring riot in 1913 |url=https://www.classicfm.com/composers/stravinsky/news/rite-and-the-riot/ |access-date=February 9, 2024 |website=[[Classic FM (UK)|Classic FM]]}}</ref> In Cage's ''4′33″'', the audience felt cheated by having to listen to no composed sounds from the performer. Nevertheless, in ''4′33″'' the audience contributed the bulk of the musical material of the piece. Since the piece consists of exclusively ambient noise, the audience's behavior, their whispers and movements, are essential elements that fill the above-mentioned time buckets.<ref>{{Harvnb|Harding|2013|pages=78–79}}</ref>
Above all, ''4'33"''—in fact, more of an experiment than a composition—is intended to question the very notion of music. Cage believed that "silence is a real note" and "will henceforth designate all the sounds not wanted by the composer".<ref name=":9">{{Harvnb|Charles|1978|p=261}}</ref> He had the ambition to go beyond what is achievable on a piece of paper by leaving the musical process to chance, inviting the audience to closely monitor the ambient noises characterizing the piece.<ref name=":9" /> French musicologist [[Daniel Charles]] proposes a related theory; ''4′33″'' is—resulting from the composer's lack of interference in the piece—a '[[happening]]', since, during the performance, the musician is more of an actor than a 'musician', per se.<ref>{{Harvnb|Charles|1978|p=69}}</ref><ref name=":10">{{Harvnb|Charles|1978|p=262}}</ref> He also notes that it resembles a [[Marcel Duchamp|Duchamp]]-style [[found object]], due to the fact that it creates art from objects that do not serve an artistic function, as silence is often associated with the opposite of music.<ref name=":10" /><ref name=":11">{{Harvnb|Gann|2010|p=17}}</ref> In fact, Cage's composition draws parallels to the [[Dada]]ist movement due to the involvement of 'anti-art' objects into art (music), its apparent nonsensical nature, and blatant defiance of the status quo.<ref>{{Harnvb|Gann|2010|pages=16–17, 74}}</ref><ref name=":12">{{Harvnb|Skinner|Gillis|Lifson|2012|p=4}}</ref>
=== Silence ===
Indeed, the perceived silence characterizing Cage's composition is not actually 'silence', but the interference of the ambient sounds made by the audience and environment.<ref name=":2">{{Harvnb|Kostelanetz|2003|p=69–70}}</ref> To him, any auditory experience containing some degree of sound, and hence can be considered music,<ref>{{Cite web |last=Gutmann |first=Peter |author-link=Peter Gutmann (journalist) |date=1999 |title=John Cage and the Avant-Garde: The Sounds of Silence |url=http://www.classicalnotes.net/columns/silence.html |access-date=April 4, 2007 |website=Classical Notes}}</ref> countering its frequent label as "four minutes thirty-three seconds of silence".{{sfn|Fetterman|1996|p=69}}{{sfn|Lienhard|2003|p=254}}
=== Psychological impact ===
The [[Lacanianism|Lacanian]] approach implies a profound psychological connection to ''4'33"'', as the individual is invited to ponder their surroundings and psyche.<ref>{{Harvnb|Pluth|Zeiher|2019|pages=75–78}}</ref> In a 2013 [[TED talk]], [[Paul Bloom (psychologist)|psychologist Paul Bloom]] put forward ''4′33″'' as one example to show that knowing about the origin of something influences how one formulates an opinion on it. In this case, one can deem the five minutes of silence in Cage's composition as different than five minutes of ordinary silence, as in a library, as they know where this silence originates; hence, they can feel motivated to pay to listen to ''4'33"'', even though it is inherently no different than five minutes of ordinary silence.<ref>{{Harvnb|Pluth|Zeiher|2019|pages=75–76}}</ref><ref>{{cite web |url=https://www.ted.com/talks/paul_bloom_the_origins_of_pleasure?language=en |title=The origins of pleasure |author=Paul Bloom |author-link=Paul Bloom (psychologist) |website=[[ted.com]]|date=July 27, 2011 }}</ref>
=== Surrealist automatism ===
{{Further information|Surrealist automatism}}[[File:AUTOMATIC DRAWING -BALLETre.jpg|thumb|An example of an [[Surrealist automatism|automatic painting]]|248x248px]]
Some musicologists have argued that ''4′33″'' is an example of [[surrealist automatism]]. Since the [[Romantic Era]] composers have been striving to produce music that could be separated from any social connections, transcending the boundaries of time and space. In automatism, composers and artists strive to eliminate their role in the creation of work, motivated by the belief that self-expression always includes the infiltration of the social standards—that the individual (including the musician) is subjected to from birth—in artistic truth (the message the musician wishes to convey).<ref name=":4" /><ref name=":7">{{Harvnb|Harris|2005|pages=66–67}}</ref>
Therefore, the only method by which the listener can realize artistic truth involves the separation of the musician from their work. In ''4'33"'', the composer has no impact in his work, as Cage cannot control the ambient sounds detected by the audience. Hence, the composition is automatic since the musician has no involvement in how the listener interprets it.<ref name=":4">{{Harvnb|Fiero|1995|pages=97–99}}</ref>
=== Indeterminacy ===
{{Further information|Indeterminacy (music)}}{{This section needs expansion|date=February 2024}}
A pioneer of [[Indeterminacy (music)|musical indeterminacy]], Cage defined it as "the ability of a piece to be performed in substantially different ways".<ref>{{Harvnb|Pritchett|1993|p=108}}</ref>
== Versions ==
===Of the score===
Several versions of the score exist;<ref name="Solomon 1998/2002" /> the four below are the main samples that could be identified. Their shared quality is the composition's duration of four minutes and thirty-three seconds—reflected in the title '''4'33"''<nowiki/>'—<ref name=":6">Published score, [[Edition Peters]] 6777.</ref> but there is some discrepancy between the lengths of individual movements, specified in different versions of the score.{{Refn|The Woodstock printed program specifies the lengths 30″, 2′23″ and 1′40″, as does the Kremen manuscript, but the latter versions have a distinguished tempo. In the First Tacet Edition, Cage writes that at the premiere the timings were 33″, 2′40″ and 1′20″, and in the Second Tacet Edition, he adds that after the premiere, a copy had been made for Irwin Kremen, in which the lengths of the movements were 30″, 2′23″ and 1′40″.{{sfn|Fetterman|1996|page=69–80}} Some later performances would not abide by this duration, as seen in Frank Zappa's 1993 recording on the 1993 double-CD ''A Chance Operation: The John Cage Tribute'', amounting to five minutes and fifty-three seconds.{{sfn|Fetterman|1996|page=83}} |name=Timing|group=lower-alpha}}{{Refn|While Cage specifies three movements incorporated in the piece,{{sfn|Fetterman|1996|page=80}} some later performances included a different number of movements. An example is the recording by the Hungarian Amadinda Percussion Group, consisting of
a recording of ambient outdoor bird song in one movement;{{sfn|Fetterman|1996|page=83}} Frank Zappa's recording also includes wildly different time bands: '35", 1'05", 2'21", 1'02", and 50"', but the number of ''movements'' cannot be identified.{{sfn|Fetterman|1996|page=83}}|name=Movements 2|group=lower-alpha}} The causes of this discrepancy are not currently understood.<ref name="Solomon 1998/2002" />
==== Woodstock manuscript and reproduction ====
The original Woodstock manuscript (August 1952) is written in conventional [[Notation system|notation]] and dedicated to David Tudor – the first to perform the piece. It is currently lost, but Tudor did attempt to recreate the original score, reproduced in William Fetterman's book ''John Cage's Theatre Pieces: Notations and Performances''.<ref>{{Harvnb|Fetterman|1996|p=74}}</ref> The reproduction notes that ''4'33"'' can be performed for any instrument or combination of instruments. Regarding tempo, it includes a [[Clef|treble clef]] [[Staff (music)|staff]] with a 4/4 [[time signature]], and the beginning of each sentence is identified with [[Roman numerals]] and a [[Scale (music)|scale]] indication: '60 [quarter] = 1/2-inch'. At the end of each sentence, there is information about each movement's duration in minutes and seconds; these are: 'I = 30 seconds', 'II = 2 minutes 23 seconds' and 'III = 1 minute 40 seconds'.<ref>{{Harvnb|Bormann|2005|p=194}}</ref> Tudor commented: "It's important that you read the score as you're performing it, so there are these pages you use. So you wait, and then turn the page. I know it sounds very straight, but in the end it makes a difference".<ref>{{Harvnb|Fetterman|1996|p=75}}</ref>
==== Kremen manuscript ====
The Kremen manuscript (1953) is written in graphic, space-time notation—which Cage dubbed "proportional notation"—and dedicated to the American artist [[Irwin Kremen]]. The movements of the piece are rendered as space between long vertical lines; a [[tempo]] indication is provided (60), and at the end of each movement the time is indicated in minutes and seconds. In page 4, the note '1 PAGE = 7 INCHES = 56″' is included. The same instructions, timing and indications to the reproduced Woodstock manuscript are implemented.<ref>{{Harvnb|Fetterman|1996|p=76–78}}</ref><ref>{{Harvnb|Bormann|2005|p=210}}</ref>
==== First Tacet Edition ====
[[File:Excerpt from First Tacet Edition of John Cage's 4'33' (1960).png|thumb|328x328px|An excerpt from the ''First Tacet Edition'' (1960), including the organization of the composition's movements and a personal note typed by [[John Cage|Cage]] describing their duration, dedicated to [[Irwin Kremen]] ]]
The so-called ''First Tacet Edition'' (or ''Typed Tacet Edition'') (1960) is a typewritten score, originally printed in [[Edition Peters]] as EP No. 6777.<ref name=":6" /> It lists the three movements using Roman numbers, with the word '[[tacet]]' underneath each. A note by Cage describes the first performance and mentions that "the work may be performed by any instrumentalist or combination of instrumentalists and last any length of time". In doing so, Cage not only regulates the reading of the score, but also determines the identity of the composition.<ref name=":5">{{Harvnb|Bormann|2005|pages=222–223}}</ref><ref>{{Harvnb|Fetterman|1996|p=79}}</ref> Conversely to the initial two manuscripts, Cage notes that the premiere organized the movements into the following durations: 33", 2'40" and 1'20", and adds that the their length "must be found by chance" performance.<ref>{{Harvnb|Fetterman|1996|p=80}}</ref><ref name=":5" /> The ''First Tacet Edition'' is described in [[Michael Nyman]]'s book ''Experimental Music: Cage and Beyond'', but is not reproduced.<ref>{{Harvnb|Nyman|1974|p=3}}</ref>
==== ''Second Tacet Edition'' ====
The so-called ''Second Tacet Edition'' (or ''Calligraphic Tacet Edition'') (1986) is the same as the First, except that it is printed in Cage's calligraphy, and the explanatory note mentions the Kremen manuscript.<ref>{{Harvnb|Bormann|2005|pages=225–227}}</ref> It is also classified as EP No. 6777 (i.e., it carries the same catalog number as the first ''Tacet Edition'').<ref name=":6" /> Additionally, a facsimile, reduced in size, of the Kremen manuscript, appeared in July 1967 in ''Source'' 1, no. 2:46–54.
=== Of the composition itself ===
==== ''4′33″ No. 2'' ====
In 1962, Cage wrote ''0′00″'', which is also referred to as ''4′33″ No. 2''. The directions originally consisted of one sentence: "In a situation provided with maximum amplification, perform a disciplined action".<ref>{{Harvnb|Craenen|2014|p=58}}</ref> At the first performance Cage had to write that sentence. The second performance added four new qualifications to the directions: "the performer should allow any interruptions of the action, the action should fulfill an obligation to others, the same action should not be used in more than one performance, and should not be the performance of a musical composition".<ref>{{Harvnb|Fetterman|1996|pages=84–89}}</ref>
==== ''One<sup>3</sup>'' ====
In late 1989, three years before his death, Cage revisited the idea of ''4′33″'' one last time. He composed ''One<sup>3</sup>'', the full title of which is ''One<sup>3</sup> = 4′33″ (0′00″) + [G Clef]''. As in all of the [[Number Pieces]], 'One' refers to the number of performers required. The score instructs the performer to build a [[sound reinforcement system|sound system]] in the concert hall, so that "the whole hall is on the edge of [[audio feedback|feedback]], without actually feeding back". The content of the piece is the electronically amplified sound of the hall and the audience.<ref>{{Harvnb|Fetterman|1996|pages=94–95}}</ref>
== Legacy ==
{{This section needs expansion|date=February 2024}}
=== Controversies ===
{{This section needs expansion|date=February 2024}}
== Plagiarism ==
In July 2002, Cage's heirs sued British singer-songwriter [[Mike Batt]] for plagiarism for the 'song' "A One Minute Silence": literally, a minute of silence. To support his crossover ensemble [[The Planets (band)|The Planets]], he inserted a one-minute pause in their February 2002 album "Classical Graffiti" under the authorship 'Batt/Cage'—<ref name=":13">{{Cite news |last=McCormick |first=Neil |date=December 9, 2010 |title=Revealed: what really happened when a Womble took on John Cage |url=http://blogs.telegraph.co.uk/culture/neilmccormick/100049693/revealed-what-really-happened-when-a-womble-took-on-john-cage/ |url-status=live |access-date=February 14, 2024 |work=[[The Daily Telegraph|The Telegraph]]|archive-url=https://web.archive.org/web/20101210221457/http://blogs.telegraph.co.uk/culture/neilmccormick/100049693/revealed-what-really-happened-when-a-womble-took-on-john-cage/ |archive-date=December 10, 2010 }}</ref>supposedly to honor the composer. He was then sued by the Mechanical Copyright Protection Society for "plagiarizing Cage's silence [''4'33"''].<ref name=":13" />
Initially, Batt said he would defend himself against these accusations, stating that "A One Minute Silence" was "a much better silent piece" and that he was "able to say in one minute what Cage could only say in four minutes and 33 seconds".<ref>{{Cite news |date=September 23, 2002 |title=Composer pays for piece of silence |url=https://edition.cnn.com/2002/SHOWBIZ/Music/09/23/uk.silence/ |access-date=February 12, 2024 |work=[[CNN]]}}</ref> He eventually reached an out-of-court settlement with the composer's heirs in September 2002 and paid an undisclosed six-figure compensation.<ref name=":7" /><ref name=":8">{{Cite news |date=December 9, 2010 |title=Wombles composer Mike Batt's silence legal row 'a scam' |url=https://www.bbc.com/news/uk-england-hampshire-11964995 |access-date=February 12, 2024 |work=[[BBC]]}}</ref> However, in December 2010, Batt admitted that the alleged legal dispute was a publicity stunt and that he had actually only made a donation of £1,000 to the ''John Cage Foundation''.<ref name=":8" />
==Christmas number one campaign==
In the week leading up to Christmas 2010, a [[Facebook page]] was created to encourage residents of the United Kingdom to buy a new rendition of ''4′33″'',<ref name="facebook">{{cite web |date=December 2009 |title=John Cage's ''4′33"'' for Christmas Number One 2010 |url=https://www.facebook.com/cageagainstthemachine |access-date=March 1, 2021 |publisher=Facebook}}</ref> in the hope that it would prevent the winner of the [[The X Factor (British series 7)|seventh series of ''The X Factor'']], [[Matt Cardle|Matt Cradle]], from topping the [[UK Singles Chart]] and becoming the [[List of UK Singles Chart Christmas number ones|Christmas number one]].<ref>{{cite web |last=Gilbert |first=Ben |date=October 4, 2010 |title=Cowell's second festive humiliation? |url=http://new.uk.music.yahoo.com/blogs/behind_the_music/27330/cowells-second-festive-humiliation/ |url-status=dead |archive-url=https://web.archive.org/web/20101018232218/http://new.uk.music.yahoo.com/blogs/behind_the_music/27330/cowells-second-festive-humiliation/ |archive-date=October 18, 2010 |access-date=October 28, 2010 |publisher=[[Yahoo! Music]]}}</ref> The page was inspired by a similar campaign the year prior, in which a Facebook page set up by English radio DJ [[Jon Morter]] and his then-wife Tracey, prompting people to buy [[Rage Against the Machine]]'s "[[Killing in the Name]]" in the week before Christmas 2009 to make it the Christmas number one.<ref>{{cite news |date=October 16, 2010 |title=Sound of silence vies to be Christmas number one |url=https://www.telegraph.co.uk/culture/music/rockandpopmusic/8067341/Sound-of-silence-vies-to-be-Christmas-number-one.html |url-status=live |archive-url=https://web.archive.org/web/20101019034320/http://www.telegraph.co.uk/culture/music/rockandpopmusic/8067341/Sound-of-silence-vies-to-be-Christmas-number-one.html |archive-date=October 19, 2010 |access-date=October 28, 2010 |newspaper=[[The Daily Telegraph]] |location=London}}</ref> Hence, the ''4'33"'' campaign was dubbed 'Cage Against the Machine'.<ref>{{cite news |date=October 15, 2010 |title=Silence bids for Christmas number one |url=https://www.irishtimes.com/news/silence-bids-for-christmas-number-one-1.865676 |url-status=live |archive-url=https://web.archive.org/web/20101027093238/http://www.irishtimes.com/newspaper/breaking/2010/1015/breaking30.html |archive-date=October 27, 2010 |access-date=October 28, 2010 |newspaper=[[The Irish Times]]}}</ref><ref>{{cite news |last=Eaton |first=Andrew |date=October 5, 2010 |title=At time of writing, Cage Against The Machine has almost 16,000 followers on Facebook |url=http://scotlandonsunday.scotsman.com/features/Andrew-Eaton-39At-time-of.6562712.jp |access-date=October 28, 2010 |newspaper=[[Scotland on Sunday]] |format=JP}}</ref> The creators of the Facebook page hoped that reaching number one would promote Cage's composition and "make December 25 'a silent night'."<ref>{{cite web |date=October 15, 2010 |title=Campaigners launch bid to make silent track Christmas No1 ahead of X Factor winner |url=https://www.dailyrecord.co.uk/entertainment/music/music-news/campaigners-launch-bid-to-make-silent-1072830 |access-date=November 7, 2019 |work=[[Daily Record (Scotland)|Daily Record]]}}</ref>
The campaign received support from several celebrities. It first came into prominence after [[science writer]] [[Ben Goldacre]] mentioned it on his Twitter profile.<ref>{{cite web |last=Goldacre |first=Ben |author-link=Ben Goldacre |date=July 19, 2010 |title=John Cage's ''4′33"'' for Xmas ... |url=https://twitter.com/bengoldacre/status/18942556433 |access-date=October 28, 2010 |publisher=Twitter}}</ref> Despite many similar campaigns occurring that year, ''[[The Guardian]]'' journalist Tom Ewing considered 'Cage Against the Machine' "the ''only'' effort this year with a hope of [reaching number one]".<ref>{{cite news |last=Ewing |first=Tom |date=September 30, 2010 |title=John Cage's ''4′33"'': the festive sound of a defeated Simon Cowell |url=https://www.theguardian.com/media/2010/sep/30/christmas-no1-facebook-campaign |url-status=live |archive-url=https://web.archive.org/web/20101007002256/http://www.guardian.co.uk/media/2010/sep/30/christmas-no1-facebook-campaign |archive-date=October 7, 2010 |access-date=October 28, 2010 |newspaper=[[The Guardian]] |location=London}}</ref> [[XFM]] DJ [[Eddy Temple-Morris]] and ''The Guardian'' journalist Luke Bainbridge also voiced their support.<ref>{{cite web |last=Temple-Morris |first=Eddy |author-link=Eddy Temple-Morris |date=October 27, 2010 |title=Once more unto the breach dear friends |url=http://eddysays.thecmuwebsite.com/post/Once-more-unto-the-breach-dear-friends.aspx |url-status=dead |archive-url=https://web.archive.org/web/20101112162938/http://eddysays.thecmuwebsite.com/post/Once-more-unto-the-breach-dear-friends.aspx |archive-date=November 12, 2010 |access-date=October 28, 2010 }}</ref><ref>{{cite news |author=Luke Bainbridge |date=December 13, 2010 |title=Why I'm backing Cage Against the Machine for Christmas No 1 |url=https://www.theguardian.com/music/musicblog/2010/dec/13/cage-against-machine-christmas-no-1 |url-status=live |archive-url=https://web.archive.org/web/20110110201052/http://www.guardian.co.uk/music/musicblog/2010/dec/13/cage-against-machine-christmas-no-1 |archive-date=January 10, 2011 |access-date=December 13, 2010 |newspaper=[[The Guardian]] |location=London}}</ref> Ultimately, the rendition of ''4'33"'' failed to reach number one, only peaking at number 21 on the charts; the winning song of ''X Factor'' instead became Christmas number one of 2010.<ref>{{cite web |date=December 25, 2010 |title=Top 40 UK Official Singles Chart |url=https://www.officialcharts.com/charts/singles-chart/20101219/7501/ |access-date=December 19, 2010 |publisher=[[The Official Charts Company|Official Charts]]}}</ref><ref>{{Harvnb|Symonds|Karantonis|2013|p=227}}</ref>
==Notable performances and recordings==
{{Listen
| header = '''John Cage's ''4'33"'' (1952)'''
| filename = 4m33s.ogg
| title = ...
| description = A performance of ''4'33"'' (four minutes and thirty-three seconds of silence)
}}
Due to its unique avant-garde style, many musicians and groups have performed ''4'33"'', featuring in several works such as albums.
* [[Frank Zappa]] recorded a version of the composition as part of the collaborative album ''A Chance Operation: The John Cage Tribute'', released by [[Koch Entertainment]] in 1993.<ref>{{Cite web |title=Various – A Chance Operation – The John Cage Tribute |url=https://www.discogs.com/release/764617-Various-A-Chance-Operation-The-John-Cage-Tribute |access-date=February 10, 2024 |website=Discogs}}</ref>
* Several performances of ''4′33″'' including a 'techno remix' of the [[New Waver]] project were broadcast on Australian radio station [[ABC Classic FM]], as part of a program exploring "sonic responses" to Cage's work.<ref>{{Harvnb|Kouvaras|2013}}</ref> Another of these 'responses' was the rendition named 'You Can Make Your Own Music', recorded by the Swedish electronic band [[Covenant (band)|Covenant]] as part of their 2000 album ''[[United States of Mind (album)|United States of Mind]]''.<ref>{{Harvnb|Reed|2013|p=43}}</ref>
* On January 16, 2004, at the [[Barbican Centre]] in London, the [[BBC Symphony Orchestra]] gave the United Kingdom's first orchestral performance of this work, conducted by [[Lawrence Foster]]. The performance was broadcast live on [[BBC Radio 3]], and the station faced a unique problem; its emergency system—automatically switching on and playing separate music in a period of perceived silence '[[dead air]]'—interrupted the broadcast, and had to be switched off.<ref>{{cite web |date=January 12, 2004 |title=BBC orchestra silenced at the Barbican and on Radio 3; John Cage Uncaged: A weekend of musical mayhem |url=https://www.bbc.co.uk/pressoffice/pressreleases/stories/2004/01_january/12/john_cage.shtml |access-date=February 12, 2024 |website=BBC}}</ref> On the same day, a [[tongue-in-cheek]] version was recorded by the staff of ''The Guardian''.<ref>{{Cite news |date=January 16, 2004 |title=The sound of silence |url=https://www.theguardian.com/culture/2004/jan/16/1 |access-date=February 12, 2004 |work=The Guardian}}</ref>
* On December 5, 2010, an international simultaneous performance of ''4′33″'' took place among 200 performers, amateur and professional musicians, and artists. The global orchestra, conducted live by Bob Dickinson, via video link, performed the piece in support of the 'Cage Against The Machine' campaign to bring ''4′33″'' to 2010 Christmas Number 1 in the [[UK Singles Chart]].<ref>{{Cite web |last=Lebrecht |first=Norman |date=December 11, 2010 |title=We're pitching the silence of John Cage against the noise of Simon Cowell |url=https://www.telegraph.co.uk/culture/art/turner-prize/8195729/Were-pitching-the-silence-of-John-Cage-against-the-noise-of-Simon-Cowell.html |access-date=December 17, 2010 |website=[[The Daily Telegraph]]}}</ref>
* On November 17, 2015, the television program ''[[The Late Show with Stephen Colbert]]'' uploaded a video of the piece being performed by a cat, showing that its musician is not required to be human.<ref>{{Cite video |url=https://www.youtube.com/watch?v=YpZekJDrbvc |title=NOLA The Cat Performs John Cage's 4'33" |date=November 17, 2015 |type=YouTube |publisher=The Late Show with Stephen Colbert}}</ref>
* In May 2019, [[Mute Records]] released a compilation box set entitled ''STUMM433'' featuring interpretations of ''4′33″'' by more than 50 artists which had collaborated with the record label, including [[Laibach]], [[Depeche Mode]], [[Cabaret Voltaire (band)|Cabaret Voltaire]], [[Einstürzende Neubauten]], [[Goldfrapp]], [[Moby]], [[Erasure (duo)|Erasure]].<ref>{{Cite web |title=STUMM433 |url=https://mute.com/stumm-433 |access-date=February 12, 2024 |website=Mute Records}}</ref>
* On October 31, 2020, the [[Berlin Philharmonic]] closed their last concert before a government-mandated [[COVID-19 lockdowns|COVID-19 related lockdown]] with a performance of the piece, conducted by [[Kirill Petrenko]], "to draw attention to the plight of artists following the lockdown of cultural institutions".<ref>{{Cite web |date=November 2, 2020 |title=Video: Kirill Petrenko conducts ''4'33"'' by John Cage |url=https://www.berliner-philharmoniker.de/en/news/detail/video-kirill-petrenko-conducts-433-by-john-cage/ |url-status=dead |archive-url=https://web.archive.org/web/20201102190132/https://www.berliner-philharmoniker.de/en/news/detail/video-kirill-petrenko-conducts-433-by-john-cage/ |archive-date=November 2, 2020 |access-date=February 10, 2021 |website=Berliner Philharmoniker}}</ref>
==Notes and references==
=== Explanatory notes ===
{{notelist}}
=== Citations ===
{{Reflist|22em}}
==Bibliography==
{{refbegin|30em}}
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* {{cite book |last=Nicholls| first=David |year=2002 |title=The Cambridge Companion to John Cage |location=[[Cambridge, United Kingdom]] |publisher=[[Cambridge University Press]]. |isbn=978-0521789684}}
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* {{Cite book |last=Reed|first=S. Alexander |title=Assimilate: A Critical History of Industrial Music |publisher=Oxford University Press |year=2013 |isbn=9780199832606 |location=New York City}}
* {{cite book |last=Revill |first=David |year=1993 |title=The Roaring Silence: John Cage – A Life |location=New York City |publisher=[[Arcade Publishing]] |isbn=978-1-55970-220-1}}
* {{cite book |last=Solomon |first=Larry J. |orig-year=1998 |edition=revised |year=2002 |title=The Sounds of Silence: John Cage and 4′33″ |url=http://solomonsmusic.net/4min33se.htm |url-status=dead |archive-url=https://web.archive.org/web/20180109031457/http://solomonsmusic.net/4min33se.htm |archive-date=January 9, 2018}}
* {{Cite book |last1=Symonds |first1=Dominica |title=The Legacy of Opera: Reading Music Theatre as Experience and Performance |last2=Karantonis |first2=Pamela |publisher=Brill Academic Pub |location=[[The Netherlands]]
|year=2013 |isbn=978-9042036918}}
* {{cite book |last=Taruskin |first=Richard |author-link=Richard Taruskin |year=2009 |title=Oxford History of Western Music: Volume 5 |location=New York City |publisher=Oxford University Press |isbn=978-0-19-538630-1}}
* {{Cite book |last=Thomsett |first=Michael C. |title=Musical Terms, Symbols and Theory: An Illustrated Dictionary |publisher=[[McFarland & Company, Inc.]] |year=2012 |isbn=978-0-7864-6757-0 |location=[[Jefferson, North Carolina]]}}
{{refend}}
==Further reading==
* Arns, Inke and Daniels, Dieter. 2012. ''Sounds Like Silence''. Hartware MedienKunstVerein. Leipzig: Spector Books. {{ISBN|978-3-940064-41-7}}
* Davies, Stephen. 1997. "John Cage's ''4′33″'': Is it music?" ''[[Australasian Journal of Philosophy]]'', vol. 75, no. 4, pp. 448–462. {{doi|10.1080/00048402.2017.1408664}}
* Dodd, Julian. 2017. "What ''4′33″'' Is". ''[[Australasian Journal of Philosophy]]''. {{doi|10.1080/00048409712348031}}
* Garten, Joel. February 20, 2014. [https://www.huffpost.com/entry/interview-with-moma-curator_b_4806215 Interview With MoMA Curator David Platzker About the New Exhibition on John Cage.] ''[[The Huffington Post]]''.
* Katschthaler, Karl. 2016. "Absence, Presence and Potentiality: John Cage's ''4′33″'' Revisited", pp. 166–179. {{doi|10.1163/9789004314863_011}}, in [[Werner Wolf|Wolf, Werner]] and Bernhart, Walter (eds.). ''Silence and Absence in Literature and Music''. Leiden: Brill. {{ISBN|978-90-04-31485-6}}
* Lipov, Anatoly. 2015. "4'33" as the Play of Silent Presence. Stillness, or Anarchy of Silence?" ''Culture and Art'', numbers 4, pp. 436–454, {{doi|10.7256/2222-1956.2015.4.15062}} and 6, pp. 669–686, {{doi|10.7256/2222-1956.2015.6.16411}}.
== See also ==
* [[Monotone-Silence Symphony]], a composition by Yves Klein featuring both sound and extended silence
==External links==
*[https://www.bbc.co.uk/news/magazine-12021661 What John Cage's silent symphony really means]", ''BBC News''
*"[http://news.bbc.co.uk/2/hi/entertainment/3401901.stm Radio 3 plays 'silent symphony']", BBC Online. (includes [[RealAudio]] sound file)
*[https://www.theguardian.com/music/2004/jan/18/classicalmusicandopera2 A quiet night out with Cage] from the UK ''[[The Observer|Observer]]''
*[https://www.theguardian.com/music/2004/jan/16/classicalmusicandopera1 The Music of Chance] from the UK ''[[The Guardian|Guardian]]'' newspaper
*[http://www.classicalnotes.net/columns/silence.html The Sounds of Silence] further commentary by Peter Gutmann
*[https://www.ubu.com/film/cage_433.html Video] of a 2004 orchestral performance
'''Audio'''
*[https://interglacial.com/~sburke/stuff/cage_433.html John Cage's ''4′33″''] in [[MIDI]], [[Ogg Vorbis|OGG]], [[Au file format|Au]], and [[WAV]] formats.
*[https://www.npr.org/ramfiles/atc/20000508.atc.08.rmm John Cage's ''4′33″''] from [[National Public Radio]]'s "The 100 most important American musical works of the 20th century" ([[RealAudio]] file format)
*[https://www.thenexttrack.com/126 Interview with Kyle Gann about 4'33" on The Next Track podcast]
'''App'''
*[https://johncage.org/4_33.html John Cage's ''4′33″''] as an [[iPhone]] app, published by the John Cage Trust (2014)
{{John Cage}}
{{Modernism}}
{{Portal bar|Classical music}}
{{Authority control}}
{{DEFAULTSORT:4 33}}
[[Category:Compositions by John Cage]]
[[Category:Postmodern art]]
[[Category:Silence]]
[[Category:1952 compositions]]' |
New page wikitext, after the edit (new_wikitext) | '{{Short description|1952 modernist composition by John Cage}}
{{italic title}}
{{Use mdy dates|date=February 2024}}
{{Use American English|date=November 2014}}
{{Infobox musical composition
| name = 4'33"
| type = [[Modernist]] composition
| composer = [[John Cage]]
| image = [[File:4'33' (John Cage) Original Cover.webp|4'33' (John Cage) Original Cover|300px]]
| image_upright = 1.5
| border = yes
| caption = Original Woodstock manuscript of the composition
| year = 1952
| period = [[Modernist music]]
| duration = 4 minutes and 33 seconds
| movements = Three
| premiere_date = August 29, 1952
| premiere_performers = [[David Tudor]]
}}
'''''4′33″'''''{{Refn|Often pronounced simply as 'four thirty-three', but sometimes alternatively as 'four minutes, thirty-three seconds' or 'four minutes and thirty-three seconds'.{{sfn|Solomon|2002}}|name=Name|group=lower-alpha}} is a [[Modernism (music)|modernist]] composition{{Refn|The labelling of ''4'33"'' as a 'composition' is controversial, as it is ''intrinsically'' silence—the very opposite of music, which is often defined as "sounds organized by humans", at the very least.{{sfn|Arnold|Kramer|2023|page=5}} However, Cage maintains that his piece is not silence, but the combination of ambient noises heard by the audience, which can be deemed 'music'.{{sfn|Kostelanetz|2003|page=70}} Therefore, for the sake of consistency, ''4'33"'' can be considered a 'composition'.|name=Composition|group=lower-alpha}} by American [[experimental music|experimental]] composer [[John Cage]]. It was composed in 1952 for any instrument or combination of instruments; the score instructs performers not to play their instruments throughout the three movements. It is divided into three movements,{{Refn|Cage divided the composition into three distinct movements,{{sfn|Solomon|2002}} but this is often disregarded; the piece is silence, and a movement is defined as "sections of a work [which] may be distinguished in terms of style, key and tempo".{{sfn|Thomsett|2012|page=135}} While there is no perceived distinguishment between the three sections, Cage insists that there is, as the variation in ambient sounds between each movement is, in itself, a distinction.{{sfn|Kostelanetz|2003|page=69–70}}|name=Movement|group=lower-alpha}} lasting 30 seconds, two minutes and 23 seconds, and one minute and 40 seconds, respectively,{{Refn|1=According to a reproduction of the original Woodstock manuscript.{{sfn|Bormann|2005|page=194}}|group=lower-alpha}} although Cage later stated that the movements' durations can be determined by the musician. As indicated by the title, the composition lasts four minutes and 33 seconds and is marked by a period of [[silence]], although ambient sounds contribute to the performance.
''4'33"'' was conceived around 1947–48, while Cage was working on the piano cycle ''[[Sonatas and Interludes]].'' Many prior musical pieces were largely composed of silence, and silence played a notable role in his prior work, including ''Sonatas and Interludes''. His studies on [[Zen Buddhism]] during the late 1940s about [[Aleatoric music|chance music]] led him to acknowledge the value of silence in providing an opportunity to reflect on one's surroundings and psyche. Recent developments in [[contemporary art]] also bolstered Cage's understanding on silence, which he increasingly began to perceive as impossible after [[Robert Rauschenberg|Rauschenberg]]'s ''White Painting'' was first displayed.
''4'33"'' premiered in 1952 and was met with shock and widespread controversy; many musicologists revisited the very definition of music and questioned whether Cage's work qualified as such. In fact, Cage intended ''4'33"'' to be experimental—to test the audience's attitude to silence and prove that any auditory experience may constitute [[definition of music|music]], seeing that absolute silence{{Refn|This article distinguishes between 'silence' and 'absolute silence'. 'Silence' is defined as the lack of sounds ''within'' the composition itself, while 'absolute silence' is the complete lack of sounds, both within and outside the composition—so, silence in the hall in which ''4'33"'' is performed. Cage insists that no absolute silence can exist; the perceived silence of his composition is, in fact, not absolute, since many ambient sounds can be heard while it is performed.{{sfn|Fetterman|1996|page=71}}|name=Absolute silence|group=lower-alpha}} cannot exist. Whilst frequently labelled as four minutes and thirty-three seconds of silence, Cage maintains that the ambient noises heard during the performance contribute to the composition. Since this counters the conventional involvement of [[harmony]] and [[melody]] in music, many musicologists consider ''4'33"'' to be the birth of [[noise music]], and some have likened it to [[Dada]]ist art. ''4'33"'' also embodies the idea of [[Indeterminacy (music)|musical indeterminacy]], as the silence is subject to the individual's interpretation; thereby, one is encouraged to explore their surroundings and themselves, as stipulated by [[Lacanianism]].
''4'33"'' greatly influenced modernist music, furthering the genres of noise music and silent music, which—whilst still controversial to this day—reverberate among many contemporary musicians. Cage re-explored the idea of silent composition in two later renditions: ''0'00"'' (1962) and ''One<sup>3</sup>'' (1989). In a 1982 interview, and on numerous other occasions, he stated that ''4′33″'' was his most important work.<ref name=":2" /> ''[[The New Grove Dictionary of Music and Musicians]]'' describes ''4′33″'' as Cage's "most famous and controversial creation". In 2013, Dale Eisinger of [[Complex (magazine)|''Complex'']] ranked the composition eighth in his list of the greatest performance art works.<ref>{{cite web |last=Eisinger |first=Dale |date=April 9, 2013 |title=The 25 Best Performance Art Pieces of All Time |url=https://www.complex.com/style/2013/04/the-25-best-performance-art-pieces-of-all-time/ |access-date=February 28, 2021 |website=Complex}}</ref>
==Background==
===The concept===
[[File:John Cage (1988).jpg|thumb|[[John Cage]] in 1988]]
The first time Cage mentioned the idea of a piecemannaaanaanaaaannananan entirely of silence was during a 1947 (or 1948) lecture at [[Vassar College]], ''A Composer's Confessions''. At this time, he was working on the cycle for piano ''Sonatas and Interludes''.<ref>{{Harvnb|Pritchett|Kuhn|Garrett|2012}}</ref> Cage told the audience that he had "several new desires", one of which was:
{{blockquote|to compose a piece of uninterrupted silence and sell it to [[Muzak|Muzak Co]]. 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.<ref name="pritchett">{{harvnb|Pritchett|1993|pp=59, 138}}</ref>}}
Prior to this, silence had 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 ''[[Sonatas and Interludes]]'' (1946–48), ''[[Music of Changes]]'' (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 [[ostinato]] pattern. Furthermore, in his songs ''[[The Wonderful Widow of Eighteen Springs]]'' (1942) and ''[[A Flower]]'' (1950) Cage directs the pianist to play a closed instrument, which may be understood as a metaphor of silence.<ref>{{Harvnb|Revill|1993|p=162}}</ref>
However, at the time of its conception, Cage felt that a fully silent piece would be incomprehensible, 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. I wanted to mean it utterly and be able to live with it."<ref name="Revill 1993, 164">{{harvnb|Revill|1993|p=164}}</ref> Painter [[Alfred Leslie]] recalls Cage presenting a "one-minute-of-silence talk" in front of a window during the late 1940s, while visiting Studio 35 at [[New York University]].<ref>{{Cite magazine |last=Stein |first=Judith |author-link=Judith E. Stein |date=January 1, 2009 |title=Interview: Alfred Leslie |url=https://web.archive.org/web/20101204172036/http://www.artinamericamagazine.com/features/interview-alfred-leslie/ |archive-url=https://www.artnews.com/features/interview-alfred-leslie/ |archive-date=December 4, 2010 |access-date=October 8, 2010 |magazine=[[Art in America]] |page=92}}</ref>
=== Precursors ===
{{Further|List of silent musical compositions}}
Although he was a pioneer of silent music, Cage was not the first to compose it. Others, especially in the first parrot of the twentieth century, had already published [[List of silent musical compositions|related work]], which possibly influenced Cage. As early as 1907, [[Ferruccio Busoni]] delineated the importance of [[atonality]] and silence in music:
{{Blockquote|text=What comes closest to its original chicho in our musical art today are the pause and [[fermata]]. Great performance artists and improvisers know how to use this expressive tool to a greater and more fat extent. The exciting silence between two movements—in this environment, itself, music—is more suggestive than the more definite, but less flexible, sound.<ref name="busoni">{{harvnb|Busoni|1916}}</ref>}}
[[File:Marche funèbre composée pour les funérailles d'un grand homme sourd - Alphonse Allais.jpeg|thumb|365x365px|Sheet music for [[Alphonse Allais|Allais]]' ''Funeral March'', containing no musical notes]]
An example is the ''Funeral March for the Obsequies of a Deaf Man'' (in French: ''Marche funèbre composée pour les funérailles d'un grand homme sourd'') (1897) by [[Alphonse Allais]], consisting of 24 empty measures.<ref>{{Harvnb|Allais|1897|pages=23–26}}</ref> Allais was a companion of his fellow composer [[Erik Satie]],<ref name=":0">{{Harvnb|Liu|2017|p=54}}</ref> and, since Cage admired the latter, the ''Funeral March'' may have motivated him to compose ''4'33"'', but he later wrote that he was not aware of Allais' work at the time.<ref>{{Harvnb|Dickinson|1991|p=406}}</ref> Silent compositions of the twentieth century preceding Cage's include the 'In futurum' movement from the ''Fünf Pittoresken'' (1919) by [[Erwin Schulhoff]]—solely comprising rests—<ref>{{Harvnb|Bek|2001}}</ref> and [[Yves Klein]]'s ''Monotone–Silence Symphony'' (1949), in which the second and fourth movements are bare twenty minutes of silence.<ref name=":0" />
Similar ideas had been envisioned in literature. For instance, [[Harold Acton]]'s prose fable ''Cornelian'' (1928) mentions a musician conducting "performances consisting largely of silence".<ref>{{Harvnb|Carpenter|2009|p=60}}</ref><ref>{{Cite news |date=September 13, 1992 |title=JOHN CAGE; Similar Silence |url=https://www.nytimes.com/1992/09/13/arts/l-john-cage-similar-silence-353092.html |access-date=February 11, 2024 |work=[[The New York Times]]}}</ref> In 1947, jazz musician [[Dave Tough]] joked that he was writing a play in which "a string quartet is playing the most advanced music ever written. It's made up entirely of rests ... Suddenly, the viola man jumps up in a rage and shakes his bow at the first violin. 'Lout', he screams, 'you played that last measure wrong'".<ref>{{Cite news |date=March 16, 1947 |title=New Jazz: 'All or Nothing at All' |newspaper=[[The Washington Post]] |pages=S7}}</ref>
=== Direct influences ===
==== Zen Buddhism ====
[[File:Daisetsu Teitarō Suzuki photographed by Shigeru Tamura.jpg|thumb|300x300px|[[D. T. Suzuki|Daisetz Suzuki]], whose approach to [[Zen|Zen Buddhism]] influenced Cage]]
Since the late 1940s, Cage had been studying [[Zen|Zen Buddhism]], especially through Japanese scholar [[D. T. Suzuki|Daisetz Suzuki]], who introduced the field to the Western World. Thereon, he connected sounds in silence to the notions of "unimpededness and interpenetration".<ref>{{Harvnb|Pritchett|1993|p=74}}</ref> In a 1951/1952 lecture, he defined unimpededness as "seeing that in all of space each thing and each human being is at the center", and interpenetration as the view "that each one of the [things and humans at the center] is moving out in all directions penetrating and being penetrated by every other one no matter what the time or what the space", concluding that "each and every thing in all of time and space is related to each and every other thing in all of time and space".<ref>{{Harvnb|Pritchett|1993|pages=74–75}}</ref>
Cage believed that sounds existed in a state of unimpededness, as each one is not hindered by the other due to them being isolated by silence, but also that they interpenetrate each other, since they work in tandem with each other and 'interact' with the silence. Hence, he thought that music is intrinsically an alternation between sound and silence, especially after his visit to [[Harvard University]]'s [[anechoic chamber]].<ref name=":14">{{Harvnb|Pritchett|1993|p=75}}</ref> He increasingly began to see silence as an integral part of music since it allows for sounds to exist in the first place—to interpenetrate each other. The prevalence of silence in a composition also allowed the opportunity for contemplation on one's psyche and surroundings, reflecting the Zen emphasis on [[meditation music]] as means to soothe the mind.<ref name=":15" /> As he began to realize the impossibility of absolute silence, Cage affirmed the psychological significance of 'lack of sound' in a musical composition:
{{Blockquote|text=I've thought of music as a means of changing the mind ... In being themselves, [sounds] open the minds of people who made them or listened to them to other possibilities that they had previously considered.<ref name="kostelanetz">{{harvnb|Kostelanetz|2003|page=42}}</ref>}}
In 1951, Cage composed the ''Concerto for Prepared Piano and Chamber Orchestra'', which can be seen as an representation of the concept of interpenetration.<ref name=":14" /><ref>{{Harvnb|Nicholls|2002|p=220}}</ref>{{Expansion needed|date=February 2024}}
==== Chance music ====
Cage also explored the concept of [[Aleatoric music|chance music]]—a composition without melodic structure or regular [[Musical notation|notation]].<ref name=":15">{{Harvnb|Burgan|2003|p=52}}</ref> The aforementioned ''Concerto for Prepared Piano'' employs the concepts posited in the [[Ancient Chinese history|Ancient Chinese]] text ''[[I Ching]]''.<ref>{{Harvnb|Nicholls|2002|pages=201–202}}</ref>{{Expansion needed|date=February 2024}}
==== Visit to the anechoic chamber ====
[[File:John Cage in Harvard University's Anechoic Chamber.jpg|thumb|365x365px|[[John Cage|Cage]] sitting in [[Harvard University]]'s anechoic chamber, by which he discovered that absolute silence does not exist, inspiring him to compose ''4'33"'']]
In 1951, Cage visited the [[anechoic chamber]] at [[Harvard University]]. Cage entered the chamber expecting to hear silence, but he later wrote: "I heard two sounds, one high and one low. When I described them to the engineer in charge, he informed me that the high one was my [[nervous system]] in operation, the low one my blood in [[circulatory system|circulation]]".<ref>{{cite news |date=November 24, 2004 |title=A few notes about silence and John Cage |url=http://www.cbc.ca/sask/features/artist/journal2.html |url-status=dead |archive-url=https://web.archive.org/web/20060212191730/http://www.cbc.ca/sask/features/artist/journal2.html |archive-date=February 12, 2006 |publisher=[[Canadian Broadcasting Corporation|CBC]]}}</ref> Cage had gone to a place where he expected total silence, and yet heard sound. "Until I die there will be sounds. And they will continue following my death. One need not fear about the future of music".{{sfn|Cage|1961|p=8}} The realization as he saw it of the impossibility of silence led to the composition of ''4′33″''.
==== ''White Painting'' ====
Another cited influence for this piece came from the field of the visual arts.<ref name="Revill 1993, 164" /> Cage's friend and sometimes colleague [[Robert Rauschenberg]] had produced, in 1951, a series of white paintings (collectively named ''White Painting''), seemingly "blank" canvases (though painted with white house paint) that in fact change according to varying light conditions in the rooms in which they were hung, the shadows of people in the room and so on. This inspired Cage to use a similar idea, as he later stated, "Actually what pushed me into it was not guts but the example of Robert Rauschenberg. His white paintings ... when I saw those, I said, 'Oh yes, I must. Otherwise I'm lagging, otherwise music is lagging'."{{sfn|Kostelanetz|2003|p=71}} In an introduction to an article "On Robert Rauschenberg, Artist, and His Works", John Cage writes: "To Whom It May Concern: The white paintings came first; my silent piece came later."{{sfn|Cage|1961}}
== The composition ==
===Premiere and initial reception ===
{{Quotebox
| quote = They missed the point. There's no such thing as silence. What they thought was silence, because they didn't know how to listen, was full of accidental sounds. You could hear the wind stirring outside during the first movement. During the second, raindrops began pattering the roof, and during the third the people themselves made all kinds of interesting sounds as they talked or walked out.
| author = [[John Cage]]
| source = on the premiere of ''4'33"''{{sfn|Kostelanetz|2003|page=70}}
| align = right
| width = 35%
| fontsize = 87.5%
| bgcolor = light gray
}}
The premiere of the three-movement ''4′33″'' was given by [[David Tudor]] on August 29, 1952, in [[Maverick Concert Hall]], [[Woodstock, New York]], as part of a recital of contemporary piano music. The audience saw him sit at the piano and, to mark the beginning of the piece, close the keyboard lid. Some time later he opened it briefly, to mark the end of the first movement. This process was repeated for the second and third movements.{{Refn|The actions of Tudor in the first performance are often misdescribed so that the lid is explained as being open during the movements. Cage's handwritten score (produced after the first performance) states that the lid was closed during the movements, and opened to mark the spaces between.|group=lower-alpha}} Although the audience was enthusiastic about contemporary art, the premiere was met with widespread controversy and scandal,<ref name="Solomon 1998/2002">{{Harvnb|Solomon|2002}}</ref> such that Calvin Tomkins notes: "The Woodstock audience considered the piece either a joke or an affront, and this has been the general reaction of most people who have heard it, or heard of it, ever since. Some listeners have been unaware they were hearing it at all".<ref>{{Harvnb|Bormann|2005|p=200}}</ref>
=== General reception ===
Music critic [[Kyle Gann]] called the piece "one of the most misunderstood pieces of music ever written and yet, at times, one of the avant-garde’s best understood as well". He dismissed the idea that 4′33″ was a joke or a hoax, wrote that the theory of Dada and theater have some justification, and said that for him the composition is a "thought experiment". He concluded that the idea that 4′33″ is a "Zen practice" "may be the most directly fertile suggestion".<ref>{{cite web |last1=Gann |first1=Kyle |title=From No Such Thing as Silence: John Cage’s 4’33” - New Music USA |url=https://newmusicusa.org/nmbx/from-no-such-thing-as-silence-john-cages-433/ |website=newmusicusa.org |access-date=3 April 2024 |date=1 April 2010 |ref=none}}</ref>
== Analysis ==
The composition is an indispensable contribution to the Modernist movement<ref name="grove">{{harvnb|Pritchett|Kuhn|Garrett|2012}}</ref><ref name=":1">{{Harvnb|Kostelanetz|2003|p=69–71, 86, 105, 198, 218, 231}}</ref> and formalized noise music as a genre.<ref>{{Harvnb|Hegarty|2007|pages=11–12}}</ref><ref>{{Harvnb|Priest|2008|p=59}}</ref> Noise music is seen as the anathema to the traditional view of harmony in music, exploiting random sound patterns 'noise' in the process of making music—the "detritus of the music process".<ref>{{Harvnb|Priest|2008|pages=57–58}}</ref> [[Paul Hegarty (musician)|Paul Hegarty]] notes that: "The silence of the pianist in ''4'33"'' can be understood as the traditional silence of the audience so that it can appreciate the music being played. Music itself is sacrificed, sacrificed to the musicality of the world".<ref name=":3" /> For Hegarty, ''4′33″'', is made up of incidental sounds that represent perfectly the tension between "desirable" sound (properly played musical notes) and undesirable "noise" that make up all noise music.<ref name=":3">{{Harvnb|Hegarty|2007|p=17}}</ref> It is made of three movements.<ref name="grove" /><ref name=":1" />{{Expansion needed|date=February 2024}}
=== Intentions ===
''4′33″'' challenges, or rather exploits to a radical extent, the social regiments of the modern concert life etiquette, experimenting on unsuspecting concert-goers to prove an important point. First, the choice of a prestigious venue and the social status of the composer and the performers automatically heightens audience's expectations for the piece. As a result, the listener is more focused, giving Cage's ''4′33″'' the same amount of attention (or perhaps even more) as if it were [[Symphony No. 9 (Beethoven)|Beethoven's Ninth Symphony]].<ref name="Taruskin 2009, 71">{{harvnb|Taruskin|2009|p=71}}</ref> Thus, even before the performance, the reception of the work is already predetermined by the social setup of the concert. Furthermore, the audience's behavior is limited by the rules and regulation of the concert hall; they will quietly sit and listen to 4′33″ of ambient noise. It is not easy to get a large group of people to listen to ambient noise for nearly five minutes, unless they are regulated by the concert hall etiquette.
The second point made by ''4′33″'' concerns duration. According to Cage, duration is the essential building block of all of music. This distinction is motivated by the fact that duration is the only element shared by both silence and sound. As a result, the underlying structure of any musical piece consists of an organized sequence of "time buckets".{{sfn|Taruskin|2009|p=56}} They could be filled with either sounds, silence or noise; where neither of these elements is absolutely necessary for completeness. In the spirit of his teacher [[Arnold Schoenberg|Schoenberg]], Cage managed to emancipate the silence and the noise to make it an acceptable or, perhaps, even an integral part of his music composition. ''4′33″'' serves as a radical and extreme illustration of this concept, asking that if the time buckets are the only necessary parts of the musical composition, then what stops the composer from filling them with no intentional sounds?<ref name=":4" />
[[File:Duchamp Fountaine.jpg|thumb|[[Marcel Duchamp]]'s ''[[Fountain (Duchamp)|Fountain]]'' (1917): a hallmark of the [[Dada]]ist movement, with which [[John Cage|Cage]]'s composition is associated|237x237px]]
The third point is that the work of music is defined not only by its content but also by the behavior it elicits from the audience.<ref name="Taruskin 2009, 71" /> In the case of [[Igor Stravinsky]]'s ''[[The Rite of Spring|Rite of Spring]]'', this would consist of widespread dissatisfaction leading up to violent riots.<ref>{{Cite web |date=October 15, 2018 |title=This is what REALLY happened at The Rite of Spring riot in 1913 |url=https://www.classicfm.com/composers/stravinsky/news/rite-and-the-riot/ |access-date=February 9, 2024 |website=[[Classic FM (UK)|Classic FM]]}}</ref> In Cage's ''4′33″'', the audience felt cheated by having to listen to no composed sounds from the performer. Nevertheless, in ''4′33″'' the audience contributed the bulk of the musical material of the piece. Since the piece consists of exclusively ambient noise, the audience's behavior, their whispers and movements, are essential elements that fill the above-mentioned time buckets.<ref>{{Harvnb|Harding|2013|pages=78–79}}</ref>
Above all, ''4'33"''—in fact, more of an experiment than a composition—is intended to question the very notion of music. Cage believed that "silence is a real note" and "will henceforth designate all the sounds not wanted by the composer".<ref name=":9">{{Harvnb|Charles|1978|p=261}}</ref> He had the ambition to go beyond what is achievable on a piece of paper by leaving the musical process to chance, inviting the audience to closely monitor the ambient noises characterizing the piece.<ref name=":9" /> French musicologist [[Daniel Charles]] proposes a related theory; ''4′33″'' is—resulting from the composer's lack of interference in the piece—a '[[happening]]', since, during the performance, the musician is more of an actor than a 'musician', per se.<ref>{{Harvnb|Charles|1978|p=69}}</ref><ref name=":10">{{Harvnb|Charles|1978|p=262}}</ref> He also notes that it resembles a [[Marcel Duchamp|Duchamp]]-style [[found object]], due to the fact that it creates art from objects that do not serve an artistic function, as silence is often associated with the opposite of music.<ref name=":10" /><ref name=":11">{{Harvnb|Gann|2010|p=17}}</ref> In fact, Cage's composition draws parallels to the [[Dada]]ist movement due to the involvement of 'anti-art' objects into art (music), its apparent nonsensical nature, and blatant defiance of the status quo.<ref>{{Harnvb|Gann|2010|pages=16–17, 74}}</ref><ref name=":12">{{Harvnb|Skinner|Gillis|Lifson|2012|p=4}}</ref>
=== Silence ===
Indeed, the perceived silence characterizing Cage's composition is not actually 'silence', but the interference of the ambient sounds made by the audience and environment.<ref name=":2">{{Harvnb|Kostelanetz|2003|p=69–70}}</ref> To him, any auditory experience containing some degree of sound, and hence can be considered music,<ref>{{Cite web |last=Gutmann |first=Peter |author-link=Peter Gutmann (journalist) |date=1999 |title=John Cage and the Avant-Garde: The Sounds of Silence |url=http://www.classicalnotes.net/columns/silence.html |access-date=April 4, 2007 |website=Classical Notes}}</ref> countering its frequent label as "four minutes thirty-three seconds of silence".{{sfn|Fetterman|1996|p=69}}{{sfn|Lienhard|2003|p=254}}
=== Psychological impact ===
The [[Lacanianism|Lacanian]] approach implies a profound psychological connection to ''4'33"'', as the individual is invited to ponder their surroundings and psyche.<ref>{{Harvnb|Pluth|Zeiher|2019|pages=75–78}}</ref> In a 2013 [[TED talk]], [[Paul Bloom (psychologist)|psychologist Paul Bloom]] put forward ''4′33″'' as one example to show that knowing about the origin of something influences how one formulates an opinion on it. In this case, one can deem the five minutes of silence in Cage's composition as different than five minutes of ordinary silence, as in a library, as they know where this silence originates; hence, they can feel motivated to pay to listen to ''4'33"'', even though it is inherently no different than five minutes of ordinary silence.<ref>{{Harvnb|Pluth|Zeiher|2019|pages=75–76}}</ref><ref>{{cite web |url=https://www.ted.com/talks/paul_bloom_the_origins_of_pleasure?language=en |title=The origins of pleasure |author=Paul Bloom |author-link=Paul Bloom (psychologist) |website=[[ted.com]]|date=July 27, 2011 }}</ref>
=== Surrealist automatism ===
{{Further information|Surrealist automatism}}[[File:AUTOMATIC DRAWING -BALLETre.jpg|thumb|An example of an [[Surrealist automatism|automatic painting]]|248x248px]]
Some musicologists have argued that ''4′33″'' is an example of [[surrealist automatism]]. Since the [[Romantic Era]] composers have been striving to produce music that could be separated from any social connections, transcending the boundaries of time and space. In automatism, composers and artists strive to eliminate their role in the creation of work, motivated by the belief that self-expression always includes the infiltration of the social standards—that the individual (including the musician) is subjected to from birth—in artistic truth (the message the musician wishes to convey).<ref name=":4" /><ref name=":7">{{Harvnb|Harris|2005|pages=66–67}}</ref>
Therefore, the only method by which the listener can realize artistic truth involves the separation of the musician from their work. In ''4'33"'', the composer has no impact in his work, as Cage cannot control the ambient sounds detected by the audience. Hence, the composition is automatic since the musician has no involvement in how the listener interprets it.<ref name=":4">{{Harvnb|Fiero|1995|pages=97–99}}</ref>
=== Indeterminacy ===
{{Further information|Indeterminacy (music)}}{{This section needs expansion|date=February 2024}}
A pioneer of [[Indeterminacy (music)|musical indeterminacy]], Cage defined it as "the ability of a piece to be performed in substantially different ways".<ref>{{Harvnb|Pritchett|1993|p=108}}</ref>
== Versions ==
===Of the score===
Several versions of the score exist;<ref name="Solomon 1998/2002" /> the four below are the main samples that could be identified. Their shared quality is the composition's duration of four minutes and thirty-three seconds—reflected in the title '''4'33"''<nowiki/>'—<ref name=":6">Published score, [[Edition Peters]] 6777.</ref> but there is some discrepancy between the lengths of individual movements, specified in different versions of the score.{{Refn|The Woodstock printed program specifies the lengths 30″, 2′23″ and 1′40″, as does the Kremen manuscript, but the latter versions have a distinguished tempo. In the First Tacet Edition, Cage writes that at the premiere the timings were 33″, 2′40″ and 1′20″, and in the Second Tacet Edition, he adds that after the premiere, a copy had been made for Irwin Kremen, in which the lengths of the movements were 30″, 2′23″ and 1′40″.{{sfn|Fetterman|1996|page=69–80}} Some later performances would not abide by this duration, as seen in Frank Zappa's 1993 recording on the 1993 double-CD ''A Chance Operation: The John Cage Tribute'', amounting to five minutes and fifty-three seconds.{{sfn|Fetterman|1996|page=83}} |name=Timing|group=lower-alpha}}{{Refn|While Cage specifies three movements incorporated in the piece,{{sfn|Fetterman|1996|page=80}} some later performances included a different number of movements. An example is the recording by the Hungarian Amadinda Percussion Group, consisting of
a recording of ambient outdoor bird song in one movement;{{sfn|Fetterman|1996|page=83}} Frank Zappa's recording also includes wildly different time bands: '35", 1'05", 2'21", 1'02", and 50"', but the number of ''movements'' cannot be identified.{{sfn|Fetterman|1996|page=83}}|name=Movements 2|group=lower-alpha}} The causes of this discrepancy are not currently understood.<ref name="Solomon 1998/2002" />
==== Woodstock manuscript and reproduction ====
The original Woodstock manuscript (August 1952) is written in conventional [[Notation system|notation]] and dedicated to David Tudor – the first to perform the piece. It is currently lost, but Tudor did attempt to recreate the original score, reproduced in William Fetterman's book ''John Cage's Theatre Pieces: Notations and Performances''.<ref>{{Harvnb|Fetterman|1996|p=74}}</ref> The reproduction notes that ''4'33"'' can be performed for any instrument or combination of instruments. Regarding tempo, it includes a [[Clef|treble clef]] [[Staff (music)|staff]] with a 4/4 [[time signature]], and the beginning of each sentence is identified with [[Roman numerals]] and a [[Scale (music)|scale]] indication: '60 [quarter] = 1/2-inch'. At the end of each sentence, there is information about each movement's duration in minutes and seconds; these are: 'I = 30 seconds', 'II = 2 minutes 23 seconds' and 'III = 1 minute 40 seconds'.<ref>{{Harvnb|Bormann|2005|p=194}}</ref> Tudor commented: "It's important that you read the score as you're performing it, so there are these pages you use. So you wait, and then turn the page. I know it sounds very straight, but in the end it makes a difference".<ref>{{Harvnb|Fetterman|1996|p=75}}</ref>
==== Kremen manuscript ====
The Kremen manuscript (1953) is written in graphic, space-time notation—which Cage dubbed "proportional notation"—and dedicated to the American artist [[Irwin Kremen]]. The movements of the piece are rendered as space between long vertical lines; a [[tempo]] indication is provided (60), and at the end of each movement the time is indicated in minutes and seconds. In page 4, the note '1 PAGE = 7 INCHES = 56″' is included. The same instructions, timing and indications to the reproduced Woodstock manuscript are implemented.<ref>{{Harvnb|Fetterman|1996|p=76–78}}</ref><ref>{{Harvnb|Bormann|2005|p=210}}</ref>
==== First Tacet Edition ====
[[File:Excerpt from First Tacet Edition of John Cage's 4'33' (1960).png|thumb|328x328px|An excerpt from the ''First Tacet Edition'' (1960), including the organization of the composition's movements and a personal note typed by [[John Cage|Cage]] describing their duration, dedicated to [[Irwin Kremen]] ]]
The so-called ''First Tacet Edition'' (or ''Typed Tacet Edition'') (1960) is a typewritten score, originally printed in [[Edition Peters]] as EP No. 6777.<ref name=":6" /> It lists the three movements using Roman numbers, with the word '[[tacet]]' underneath each. A note by Cage describes the first performance and mentions that "the work may be performed by any instrumentalist or combination of instrumentalists and last any length of time". In doing so, Cage not only regulates the reading of the score, but also determines the identity of the composition.<ref name=":5">{{Harvnb|Bormann|2005|pages=222–223}}</ref><ref>{{Harvnb|Fetterman|1996|p=79}}</ref> Conversely to the initial two manuscripts, Cage notes that the premiere organized the movements into the following durations: 33", 2'40" and 1'20", and adds that the their length "must be found by chance" performance.<ref>{{Harvnb|Fetterman|1996|p=80}}</ref><ref name=":5" /> The ''First Tacet Edition'' is described in [[Michael Nyman]]'s book ''Experimental Music: Cage and Beyond'', but is not reproduced.<ref>{{Harvnb|Nyman|1974|p=3}}</ref>
==== ''Second Tacet Edition'' ====
The so-called ''Second Tacet Edition'' (or ''Calligraphic Tacet Edition'') (1986) is the same as the First, except that it is printed in Cage's calligraphy, and the explanatory note mentions the Kremen manuscript.<ref>{{Harvnb|Bormann|2005|pages=225–227}}</ref> It is also classified as EP No. 6777 (i.e., it carries the same catalog number as the first ''Tacet Edition'').<ref name=":6" /> Additionally, a facsimile, reduced in size, of the Kremen manuscript, appeared in July 1967 in ''Source'' 1, no. 2:46–54.
=== Of the composition itself ===
==== ''4′33″ No. 2'' ====
In 1962, Cage wrote ''0′00″'', which is also referred to as ''4′33″ No. 2''. The directions originally consisted of one sentence: "In a situation provided with maximum amplification, perform a disciplined action".<ref>{{Harvnb|Craenen|2014|p=58}}</ref> At the first performance Cage had to write that sentence. The second performance added four new qualifications to the directions: "the performer should allow any interruptions of the action, the action should fulfill an obligation to others, the same action should not be used in more than one performance, and should not be the performance of a musical composition".<ref>{{Harvnb|Fetterman|1996|pages=84–89}}</ref>
==== ''One<sup>3</sup>'' ====
In late 1989, three years before his death, Cage revisited the idea of ''4′33″'' one last time. He composed ''One<sup>3</sup>'', the full title of which is ''One<sup>3</sup> = 4′33″ (0′00″) + [G Clef]''. As in all of the [[Number Pieces]], 'One' refers to the number of performers required. The score instructs the performer to build a [[sound reinforcement system|sound system]] in the concert hall, so that "the whole hall is on the edge of [[audio feedback|feedback]], without actually feeding back". The content of the piece is the electronically amplified sound of the hall and the audience.<ref>{{Harvnb|Fetterman|1996|pages=94–95}}</ref>
== Legacy ==
{{This section needs expansion|date=February 2024}}
=== Controversies ===
{{This section needs expansion|date=February 2024}}
== Plagiarism ==
In July 2002, Cage's heirs sued British singer-songwriter [[Mike Batt]] for plagiarism for the 'song' "A One Minute Silence": literally, a minute of silence. To support his crossover ensemble [[The Planets (band)|The Planets]], he inserted a one-minute pause in their February 2002 album "Classical Graffiti" under the authorship 'Batt/Cage'—<ref name=":13">{{Cite news |last=McCormick |first=Neil |date=December 9, 2010 |title=Revealed: what really happened when a Womble took on John Cage |url=http://blogs.telegraph.co.uk/culture/neilmccormick/100049693/revealed-what-really-happened-when-a-womble-took-on-john-cage/ |url-status=live |access-date=February 14, 2024 |work=[[The Daily Telegraph|The Telegraph]]|archive-url=https://web.archive.org/web/20101210221457/http://blogs.telegraph.co.uk/culture/neilmccormick/100049693/revealed-what-really-happened-when-a-womble-took-on-john-cage/ |archive-date=December 10, 2010 }}</ref>supposedly to honor the composer. He was then sued by the Mechanical Copyright Protection Society for "plagiarizing Cage's silence [''4'33"''].<ref name=":13" />
Initially, Batt said he would defend himself against these accusations, stating that "A One Minute Silence" was "a much better silent piece" and that he was "able to say in one minute what Cage could only say in four minutes and 33 seconds".<ref>{{Cite news |date=September 23, 2002 |title=Composer pays for piece of silence |url=https://edition.cnn.com/2002/SHOWBIZ/Music/09/23/uk.silence/ |access-date=February 12, 2024 |work=[[CNN]]}}</ref> He eventually reached an out-of-court settlement with the composer's heirs in September 2002 and paid an undisclosed six-figure compensation.<ref name=":7" /><ref name=":8">{{Cite news |date=December 9, 2010 |title=Wombles composer Mike Batt's silence legal row 'a scam' |url=https://www.bbc.com/news/uk-england-hampshire-11964995 |access-date=February 12, 2024 |work=[[BBC]]}}</ref> However, in December 2010, Batt admitted that the alleged legal dispute was a publicity stunt and that he had actually only made a donation of £1,000 to the ''John Cage Foundation''.<ref name=":8" />
==Christmas number one campaign==
In the week leading up to Christmas 2010, a [[Facebook page]] was created to encourage residents of the United Kingdom to buy a new rendition of ''4′33″'',<ref name="facebook">{{cite web |date=December 2009 |title=John Cage's ''4′33"'' for Christmas Number One 2010 |url=https://www.facebook.com/cageagainstthemachine |access-date=March 1, 2021 |publisher=Facebook}}</ref> in the hope that it would prevent the winner of the [[The X Factor (British series 7)|seventh series of ''The X Factor'']], [[Matt Cardle|Matt Cradle]], from topping the [[UK Singles Chart]] and becoming the [[List of UK Singles Chart Christmas number ones|Christmas number one]].<ref>{{cite web |last=Gilbert |first=Ben |date=October 4, 2010 |title=Cowell's second festive humiliation? |url=http://new.uk.music.yahoo.com/blogs/behind_the_music/27330/cowells-second-festive-humiliation/ |url-status=dead |archive-url=https://web.archive.org/web/20101018232218/http://new.uk.music.yahoo.com/blogs/behind_the_music/27330/cowells-second-festive-humiliation/ |archive-date=October 18, 2010 |access-date=October 28, 2010 |publisher=[[Yahoo! Music]]}}</ref> The page was inspired by a similar campaign the year prior, in which a Facebook page set up by English radio DJ [[Jon Morter]] and his then-wife Tracey, prompting people to buy [[Rage Against the Machine]]'s "[[Killing in the Name]]" in the week before Christmas 2009 to make it the Christmas number one.<ref>{{cite news |date=October 16, 2010 |title=Sound of silence vies to be Christmas number one |url=https://www.telegraph.co.uk/culture/music/rockandpopmusic/8067341/Sound-of-silence-vies-to-be-Christmas-number-one.html |url-status=live |archive-url=https://web.archive.org/web/20101019034320/http://www.telegraph.co.uk/culture/music/rockandpopmusic/8067341/Sound-of-silence-vies-to-be-Christmas-number-one.html |archive-date=October 19, 2010 |access-date=October 28, 2010 |newspaper=[[The Daily Telegraph]] |location=London}}</ref> Hence, the ''4'33"'' campaign was dubbed 'Cage Against the Machine'.<ref>{{cite news |date=October 15, 2010 |title=Silence bids for Christmas number one |url=https://www.irishtimes.com/news/silence-bids-for-christmas-number-one-1.865676 |url-status=live |archive-url=https://web.archive.org/web/20101027093238/http://www.irishtimes.com/newspaper/breaking/2010/1015/breaking30.html |archive-date=October 27, 2010 |access-date=October 28, 2010 |newspaper=[[The Irish Times]]}}</ref><ref>{{cite news |last=Eaton |first=Andrew |date=October 5, 2010 |title=At time of writing, Cage Against The Machine has almost 16,000 followers on Facebook |url=http://scotlandonsunday.scotsman.com/features/Andrew-Eaton-39At-time-of.6562712.jp |access-date=October 28, 2010 |newspaper=[[Scotland on Sunday]] |format=JP}}</ref> The creators of the Facebook page hoped that reaching number one would promote Cage's composition and "make December 25 'a silent night'."<ref>{{cite web |date=October 15, 2010 |title=Campaigners launch bid to make silent track Christmas No1 ahead of X Factor winner |url=https://www.dailyrecord.co.uk/entertainment/music/music-news/campaigners-launch-bid-to-make-silent-1072830 |access-date=November 7, 2019 |work=[[Daily Record (Scotland)|Daily Record]]}}</ref>
The campaign received support from several celebrities. It first came into prominence after [[science writer]] [[Ben Goldacre]] mentioned it on his Twitter profile.<ref>{{cite web |last=Goldacre |first=Ben |author-link=Ben Goldacre |date=July 19, 2010 |title=John Cage's ''4′33"'' for Xmas ... |url=https://twitter.com/bengoldacre/status/18942556433 |access-date=October 28, 2010 |publisher=Twitter}}</ref> Despite many similar campaigns occurring that year, ''[[The Guardian]]'' journalist Tom Ewing considered 'Cage Against the Machine' "the ''only'' effort this year with a hope of [reaching number one]".<ref>{{cite news |last=Ewing |first=Tom |date=September 30, 2010 |title=John Cage's ''4′33"'': the festive sound of a defeated Simon Cowell |url=https://www.theguardian.com/media/2010/sep/30/christmas-no1-facebook-campaign |url-status=live |archive-url=https://web.archive.org/web/20101007002256/http://www.guardian.co.uk/media/2010/sep/30/christmas-no1-facebook-campaign |archive-date=October 7, 2010 |access-date=October 28, 2010 |newspaper=[[The Guardian]] |location=London}}</ref> [[XFM]] DJ [[Eddy Temple-Morris]] and ''The Guardian'' journalist Luke Bainbridge also voiced their support.<ref>{{cite web |last=Temple-Morris |first=Eddy |author-link=Eddy Temple-Morris |date=October 27, 2010 |title=Once more unto the breach dear friends |url=http://eddysays.thecmuwebsite.com/post/Once-more-unto-the-breach-dear-friends.aspx |url-status=dead |archive-url=https://web.archive.org/web/20101112162938/http://eddysays.thecmuwebsite.com/post/Once-more-unto-the-breach-dear-friends.aspx |archive-date=November 12, 2010 |access-date=October 28, 2010 }}</ref><ref>{{cite news |author=Luke Bainbridge |date=December 13, 2010 |title=Why I'm backing Cage Against the Machine for Christmas No 1 |url=https://www.theguardian.com/music/musicblog/2010/dec/13/cage-against-machine-christmas-no-1 |url-status=live |archive-url=https://web.archive.org/web/20110110201052/http://www.guardian.co.uk/music/musicblog/2010/dec/13/cage-against-machine-christmas-no-1 |archive-date=January 10, 2011 |access-date=December 13, 2010 |newspaper=[[The Guardian]] |location=London}}</ref> Ultimately, the rendition of ''4'33"'' failed to reach number one, only peaking at number 21 on the charts; the winning song of ''X Factor'' instead became Christmas number one of 2010.<ref>{{cite web |date=December 25, 2010 |title=Top 40 UK Official Singles Chart |url=https://www.officialcharts.com/charts/singles-chart/20101219/7501/ |access-date=December 19, 2010 |publisher=[[The Official Charts Company|Official Charts]]}}</ref><ref>{{Harvnb|Symonds|Karantonis|2013|p=227}}</ref>
==Notable performances and recordings==
{{Listen
| header = '''John Cage's ''4'33"'' (1952)'''
| filename = 4m33s.ogg
| title = ...
| description = A performance of ''4'33"'' (four minutes and thirty-three seconds of silence)
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Due to its unique avant-garde style, many musicians and groups have performed ''4'33"'', featuring in several works such as albums.
* [[Frank Zappa]] recorded a version of the composition as part of the collaborative album ''A Chance Operation: The John Cage Tribute'', released by [[Koch Entertainment]] in 1993.<ref>{{Cite web |title=Various – A Chance Operation – The John Cage Tribute |url=https://www.discogs.com/release/764617-Various-A-Chance-Operation-The-John-Cage-Tribute |access-date=February 10, 2024 |website=Discogs}}</ref>
* Several performances of ''4′33″'' including a 'techno remix' of the [[New Waver]] project were broadcast on Australian radio station [[ABC Classic FM]], as part of a program exploring "sonic responses" to Cage's work.<ref>{{Harvnb|Kouvaras|2013}}</ref> Another of these 'responses' was the rendition named 'You Can Make Your Own Music', recorded by the Swedish electronic band [[Covenant (band)|Covenant]] as part of their 2000 album ''[[United States of Mind (album)|United States of Mind]]''.<ref>{{Harvnb|Reed|2013|p=43}}</ref>
* On January 16, 2004, at the [[Barbican Centre]] in London, the [[BBC Symphony Orchestra]] gave the United Kingdom's first orchestral performance of this work, conducted by [[Lawrence Foster]]. The performance was broadcast live on [[BBC Radio 3]], and the station faced a unique problem; its emergency system—automatically switching on and playing separate music in a period of perceived silence '[[dead air]]'—interrupted the broadcast, and had to be switched off.<ref>{{cite web |date=January 12, 2004 |title=BBC orchestra silenced at the Barbican and on Radio 3; John Cage Uncaged: A weekend of musical mayhem |url=https://www.bbc.co.uk/pressoffice/pressreleases/stories/2004/01_january/12/john_cage.shtml |access-date=February 12, 2024 |website=BBC}}</ref> On the same day, a [[tongue-in-cheek]] version was recorded by the staff of ''The Guardian''.<ref>{{Cite news |date=January 16, 2004 |title=The sound of silence |url=https://www.theguardian.com/culture/2004/jan/16/1 |access-date=February 12, 2004 |work=The Guardian}}</ref>
* On December 5, 2010, an international simultaneous performance of ''4′33″'' took place among 200 performers, amateur and professional musicians, and artists. The global orchestra, conducted live by Bob Dickinson, via video link, performed the piece in support of the 'Cage Against The Machine' campaign to bring ''4′33″'' to 2010 Christmas Number 1 in the [[UK Singles Chart]].<ref>{{Cite web |last=Lebrecht |first=Norman |date=December 11, 2010 |title=We're pitching the silence of John Cage against the noise of Simon Cowell |url=https://www.telegraph.co.uk/culture/art/turner-prize/8195729/Were-pitching-the-silence-of-John-Cage-against-the-noise-of-Simon-Cowell.html |access-date=December 17, 2010 |website=[[The Daily Telegraph]]}}</ref>
* On November 17, 2015, the television program ''[[The Late Show with Stephen Colbert]]'' uploaded a video of the piece being performed by a cat, showing that its musician is not required to be human.<ref>{{Cite video |url=https://www.youtube.com/watch?v=YpZekJDrbvc |title=NOLA The Cat Performs John Cage's 4'33" |date=November 17, 2015 |type=YouTube |publisher=The Late Show with Stephen Colbert}}</ref>
* In May 2019, [[Mute Records]] released a compilation box set entitled ''STUMM433'' featuring interpretations of ''4′33″'' by more than 50 artists which had collaborated with the record label, including [[Laibach]], [[Depeche Mode]], [[Cabaret Voltaire (band)|Cabaret Voltaire]], [[Einstürzende Neubauten]], [[Goldfrapp]], [[Moby]], [[Erasure (duo)|Erasure]].<ref>{{Cite web |title=STUMM433 |url=https://mute.com/stumm-433 |access-date=February 12, 2024 |website=Mute Records}}</ref>
* On October 31, 2020, the [[Berlin Philharmonic]] closed their last concert before a government-mandated [[COVID-19 lockdowns|COVID-19 related lockdown]] with a performance of the piece, conducted by [[Kirill Petrenko]], "to draw attention to the plight of artists following the lockdown of cultural institutions".<ref>{{Cite web |date=November 2, 2020 |title=Video: Kirill Petrenko conducts ''4'33"'' by John Cage |url=https://www.berliner-philharmoniker.de/en/news/detail/video-kirill-petrenko-conducts-433-by-john-cage/ |url-status=dead |archive-url=https://web.archive.org/web/20201102190132/https://www.berliner-philharmoniker.de/en/news/detail/video-kirill-petrenko-conducts-433-by-john-cage/ |archive-date=November 2, 2020 |access-date=February 10, 2021 |website=Berliner Philharmoniker}}</ref>
==Notes and references==
=== Explanatory notes ===
{{notelist}}
=== Citations ===
{{Reflist|22em}}
==Bibliography==
{{refbegin|30em}}
* {{citation |last=Allais |first=Alphonse |date=1897 |title=Album primo–avrilesque |location=Paris, France |publisher=P. Ollendorff |url=https://gallica.bnf.fr/ark:/12148/btv1b86263801/f29.image}}
* {{Cite book |last1=Arnold |first1=Allison E. |title=What in the World is Music? |last2=Kramer |first2=Jonathan C. |publisher=[[Routledge]] |year=2023 |isbn=9781032341491 |edition=2nd |location=United States}}
* {{Cite Grove |last=Bek |first=Joseph |title=Erwin Schulhoff}}
* {{Cite book |last1=Bernstein |first1=David W. |title= Writings through John Cage's Music, Poetry, and Art |publisher=[[University of Chicago Press]] |last2=Hatch |first2=Christopher |year=2001 |isbn= 0-226-04408-4 |location=Chicago, Illinois}}
* {{Cite book |last=Bormann |first=Hans-Friedrich |title=Verschwiegene Stille: John Cages performative Ästhetik |publisher=Fink Wilhelm GmbH + Co.KG |trans-title=Secretive Silence: John Cage's Performative Aesthetics |year=2005 |isbn=978-3-7705-4147-8 |location=[[Paderborn]], Germany |language=German}}
* {{Cite book |last1=Burgan |first1=Michael |title= Buddhist Faith in America |publisher=[[Facts on File, Inc.]] |year=2003 |isbn= 0-8160-4988-2 |location=New York City}}
* {{Cite book |last=Busoni|first=Ferruccio |title=Entwurf einer neuen Ästhetik der Tonkunst |publisher=Insel-Verlag |trans-title=Sketch of a New Aesthetic of Music |year=1916|url=https://de.wikisource.org/wiki/Entwurf_einer_neuen_%C3%84sthetik_der_Tonkunst/|location=[[Leipzig]], Germany |language=German}}
* {{cite book |last=Cage |first=John |year=1961 |title=Silence: Lectures and Writings |location=[[Middletown, Connecticut]] |publisher=[[Wesleyan University Press]]}}
* {{Cite book |last=Carpenter |first=Humphrey <!--|authorlink=Humphrey Carpenter--> |title=The Brideshead Generation: Evelyn Waugh and His Friends |publisher=[[Faber and Faber]] |year=2009 |isbn=978-0571248339 |location=United States}}
* {{Cite book |last=Craenen|first=Paul |title=Composing under the Skin: The Music-making Body at the Composer's Desk |publisher=[[Leuven University Press]] |year=2014 |isbn=978-9058679741 |location=[[Leuven, Belgium]]}}
* {{Cite book |first=Daniel |last=Charles |title=Gloses sur John Cage |publisher=Union générale d'éditions |year=1978 |isbn=2264008555 |location=Paris, France |language=French}}
* {{cite journal |last=Dickinson |first=Peter |year=1991 |title=Reviews of Three Books on Satie |journal=[[The Musical Quarterly]] |volume=75 |number=3 |pages=404–409 |doi=10.1093/mq/75.3.404}}
* {{cite book |last=Fetterman |first=William |year=1996 |title=John Cage's Theatre Pieces: Notations and Performances |location=[[Amsterdam, the Netherlands]] |publisher=[[Harwood Academic Publishers]] |isbn=3-7186-5642-6}}
* {{Cite book |last=Fiero |first=Gloria Konig |title=The Humanistic Tradition, Book 6: The Global Village of the Twentieth Century |publisher=Brown & Benchmark Pub |year=1995 |isbn=0-6972-4222-6 |edition=2nd}}
* {{Cite book |last=Gann|first=Kyle <!--|authorlink= Kyle Gann--> |title=No Such Thing as Silence: John Cage's 4′33″ |publisher=[[Yale University Press]] |year=2010 |isbn=978-0-300-13699-9 |location=[[New Haven, Connecticut]]}}
* {{Cite book |last=Harding |first=James Martin |title=The Ghosts of the Avant-Garde(s): Exercising Experimental Theater and Performance |publisher=[[University of Michigan Press]] |year=2013 |isbn=978-0-4720-3610-3 |location=[[Ann Arbor, Michigan]]}}
* {{Cite book |last=Harris |first=Jonathan |title= Art, Money, Parties: New Institutions in the Political Economy of Contemporary Art |publisher=[[Liverpool University Press]] |year=2005 |isbn=978-0853237198 |location=[[Liverpool, United Kingdom]]}}
* {{Cite book |last=Hegarty |first=Paul |title=Noise/Music: A History |publisher=Continuum International Publishing Group |year=2007 |isbn=978-0826417275 |location=New York City}}
* {{Cite magazine |last1=Skinner |first1=David |last2=Gillis |first2=Anna Maria | last3=Lifson | first3=Amy |title=Humanities Volume 33, Issue 6 |magazine=Humanities |publisher=[[National Endowment for the Humanities]] |date=November–December 2012 |url=https://www.neh.gov/humanities/back-issues/vol33/issue6 |location=Washington D.C., United States}}
* {{cite book |last=Kostelanetz |first=Richard |author-link=Richard Kostelanetz |year=2003 |title=Conversing with John Cage |location=New York City |publisher=Routledge |isbn=0-415-93792-2}}
* {{cite book |last=Kouvaras |first=Linda Ioanna |year=2013 |title=Loading the Silence: Australian Sound Art in the Post-Digital Age |location=[[Melbourne]] |publisher=[[Ashgate Publishing]] |isbn=9781315592831}}
* {{cite book |last=Lienhard |first=John H. |author-link=John H. Lienhard |year=2003 |title=Inventing Modern: Growing Up with X-Rays, Skyscrapers, and Tailfins |location=New York City|publisher=[[Oxford University Press]]. |isbn=0-19-516032-0}}
* {{cite book |last=Liu| first=Gerard C. |year=2017 |title=Music and the Generosity of God |location=[[Princeton, New Jersey]] |publisher=[[Palgrave Macmillan]]. |isbn=978-3-319-69492-4}}
* {{cite book |last=Nicholls| first=David |year=2002 |title=The Cambridge Companion to John Cage |location=[[Cambridge, United Kingdom]] |publisher=[[Cambridge University Press]]. |isbn=978-0521789684}}
* {{cite book |last=Nyman |first=Michael |year=1974 |title=Experimental Music: Cage and Beyond |location=London, England |publisher=[[Studio Vista]] |isbn=0-289-70182-1}}
* {{Cite book |last1=Pluth |first1=Ed |title=On Silence: Holding the Voice Hostage |last2=Zeiher |first2=Cindy |publisher=Palgrave Pivot |year=2019 |isbn=978-3030281465}}
* {{Cite book |last=Priest |first=Gail |title=Experimental Music: Audio Explorations in Australia |location=Sydney |publisher=[[University of New South Wales Press]] |year=2008 |isbn=978-1921410079}}
* {{cite book |last=Pritchett |first=James |year=1993 |title=The Music of John Cage |location=[[Cambridge, United Kingdom]] and New York City |publisher=[[Cambridge University Press]] |isbn=0-521-56544-8}}
* {{cite Grove|title=John Cage|last1=Pritchett|first1=James|last2=Kuhn|first2=Laura|last3=Garrett|first3=Charles Hiroshi|id=A2223954|year=2012|name-list-style=amp}}
* {{Cite book |last=Reed|first=S. Alexander |title=Assimilate: A Critical History of Industrial Music |publisher=Oxford University Press |year=2013 |isbn=9780199832606 |location=New York City}}
* {{cite book |last=Revill |first=David |year=1993 |title=The Roaring Silence: John Cage – A Life |location=New York City |publisher=[[Arcade Publishing]] |isbn=978-1-55970-220-1}}
* {{cite book |last=Solomon |first=Larry J. |orig-year=1998 |edition=revised |year=2002 |title=The Sounds of Silence: John Cage and 4′33″ |url=http://solomonsmusic.net/4min33se.htm |url-status=dead |archive-url=https://web.archive.org/web/20180109031457/http://solomonsmusic.net/4min33se.htm |archive-date=January 9, 2018}}
* {{Cite book |last1=Symonds |first1=Dominica |title=The Legacy of Opera: Reading Music Theatre as Experience and Performance |last2=Karantonis |first2=Pamela |publisher=Brill Academic Pub |location=[[The Netherlands]]
|year=2013 |isbn=978-9042036918}}
* {{cite book |last=Taruskin |first=Richard |author-link=Richard Taruskin |year=2009 |title=Oxford History of Western Music: Volume 5 |location=New York City |publisher=Oxford University Press |isbn=978-0-19-538630-1}}
* {{Cite book |last=Thomsett |first=Michael C. |title=Musical Terms, Symbols and Theory: An Illustrated Dictionary |publisher=[[McFarland & Company, Inc.]] |year=2012 |isbn=978-0-7864-6757-0 |location=[[Jefferson, North Carolina]]}}
{{refend}}
==Further reading==
* Arns, Inke and Daniels, Dieter. 2012. ''Sounds Like Silence''. Hartware MedienKunstVerein. Leipzig: Spector Books. {{ISBN|978-3-940064-41-7}}
* Davies, Stephen. 1997. "John Cage's ''4′33″'': Is it music?" ''[[Australasian Journal of Philosophy]]'', vol. 75, no. 4, pp. 448–462. {{doi|10.1080/00048402.2017.1408664}}
* Dodd, Julian. 2017. "What ''4′33″'' Is". ''[[Australasian Journal of Philosophy]]''. {{doi|10.1080/00048409712348031}}
* Garten, Joel. February 20, 2014. [https://www.huffpost.com/entry/interview-with-moma-curator_b_4806215 Interview With MoMA Curator David Platzker About the New Exhibition on John Cage.] ''[[The Huffington Post]]''.
* Katschthaler, Karl. 2016. "Absence, Presence and Potentiality: John Cage's ''4′33″'' Revisited", pp. 166–179. {{doi|10.1163/9789004314863_011}}, in [[Werner Wolf|Wolf, Werner]] and Bernhart, Walter (eds.). ''Silence and Absence in Literature and Music''. Leiden: Brill. {{ISBN|978-90-04-31485-6}}
* Lipov, Anatoly. 2015. "4'33" as the Play of Silent Presence. Stillness, or Anarchy of Silence?" ''Culture and Art'', numbers 4, pp. 436–454, {{doi|10.7256/2222-1956.2015.4.15062}} and 6, pp. 669–686, {{doi|10.7256/2222-1956.2015.6.16411}}.
== See also ==
* [[Monotone-Silence Symphony]], a composition by Yves Klein featuring both sound and extended silence
==External links==
*[https://www.bbc.co.uk/news/magazine-12021661 What John Cage's silent symphony really means]", ''BBC News''
*"[http://news.bbc.co.uk/2/hi/entertainment/3401901.stm Radio 3 plays 'silent symphony']", BBC Online. (includes [[RealAudio]] sound file)
*[https://www.theguardian.com/music/2004/jan/18/classicalmusicandopera2 A quiet night out with Cage] from the UK ''[[The Observer|Observer]]''
*[https://www.theguardian.com/music/2004/jan/16/classicalmusicandopera1 The Music of Chance] from the UK ''[[The Guardian|Guardian]]'' newspaper
*[http://www.classicalnotes.net/columns/silence.html The Sounds of Silence] further commentary by Peter Gutmann
*[https://www.ubu.com/film/cage_433.html Video] of a 2004 orchestral performance
'''Audio'''
*[https://interglacial.com/~sburke/stuff/cage_433.html John Cage's ''4′33″''] in [[MIDI]], [[Ogg Vorbis|OGG]], [[Au file format|Au]], and [[WAV]] formats.
*[https://www.npr.org/ramfiles/atc/20000508.atc.08.rmm John Cage's ''4′33″''] from [[National Public Radio]]'s "The 100 most important American musical works of the 20th century" ([[RealAudio]] file format)
*[https://www.thenexttrack.com/126 Interview with Kyle Gann about 4'33" on The Next Track podcast]
'''App'''
*[https://johncage.org/4_33.html John Cage's ''4′33″''] as an [[iPhone]] app, published by the John Cage Trust (2014)
{{John Cage}}
{{Modernism}}
{{Portal bar|Classical music}}
{{Authority control}}
{{DEFAULTSORT:4 33}}
[[Category:Compositions by John Cage]]
[[Category:Postmodern art]]
[[Category:Silence]]
[[Category:1952 compositions]]' |
Parsed HTML source of the new revision (new_html) | '<div class="mw-content-ltr mw-parser-output" lang="en" dir="ltr"><div class="shortdescription nomobile noexcerpt noprint searchaux" style="display:none">1952 modernist composition by John Cage</div>
<p class="mw-empty-elt">
</p>
<style data-mw-deduplicate="TemplateStyles:r1218072481">.mw-parser-output .infobox-subbox{padding:0;border:none;margin:-3px;width:auto;min-width:100%;font-size:100%;clear:none;float:none;background-color:transparent}.mw-parser-output .infobox-3cols-child{margin:auto}.mw-parser-output .infobox .navbar{font-size:100%}body.skin-minerva .mw-parser-output .infobox-header,body.skin-minerva .mw-parser-output .infobox-subheader,body.skin-minerva .mw-parser-output .infobox-above,body.skin-minerva .mw-parser-output .infobox-title,body.skin-minerva .mw-parser-output .infobox-image,body.skin-minerva .mw-parser-output .infobox-full-data,body.skin-minerva .mw-parser-output .infobox-below{text-align:center}html.skin-theme-clientpref-night .mw-parser-output .infobox-full-data div{background:#1f1f23!important;color:#f8f9fa}@media(prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .infobox-full-data div{background:#1f1f23!important;color:#f8f9fa}}</style><table class="infobox vevent haudio"><tbody><tr><th colspan="2" class="infobox-above summary album">4'33"</th></tr><tr><td colspan="2" class="infobox-subheader" style="font-weight:bold;"><a href="/wiki/Modernist" class="mw-redirect" title="Modernist">Modernist</a> composition by <a href="/wiki/John_Cage" title="John Cage">John Cage</a></td></tr><tr><td colspan="2" class="infobox-image"><span typeof="mw:File"><a href="/wiki/File:4%2733%27_(John_Cage)_Original_Cover.webp" class="mw-file-description" title="4'33' (John Cage) Original Cover"><img alt="4'33' (John Cage) Original Cover" src="//upload.wikimedia.org/wikipedia/commons/thumb/8/89/4%2733%27_%28John_Cage%29_Original_Cover.webp/300px-4%2733%27_%28John_Cage%29_Original_Cover.webp.png" decoding="async" width="300" height="392" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/8/89/4%2733%27_%28John_Cage%29_Original_Cover.webp/450px-4%2733%27_%28John_Cage%29_Original_Cover.webp.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/8/89/4%2733%27_%28John_Cage%29_Original_Cover.webp/600px-4%2733%27_%28John_Cage%29_Original_Cover.webp.png 2x" data-file-width="600" data-file-height="784" /></a></span><div class="infobox-caption">Original Woodstock manuscript of the composition</div></td></tr><tr><th scope="row" class="infobox-label">Year</th><td class="infobox-data">1952</td></tr><tr><th scope="row" class="infobox-label">Period</th><td class="infobox-data category"><a href="/wiki/Modernist_music" class="mw-redirect" title="Modernist music">Modernist music</a></td></tr><tr><th scope="row" class="infobox-label">Duration</th><td class="infobox-data">4 minutes and 33 seconds</td></tr><tr><th scope="row" class="infobox-label">Movements</th><td class="infobox-data">Three</td></tr><tr><th colspan="2" class="infobox-header" style="background-color: #eee;">Premiere</th></tr><tr><th scope="row" class="infobox-label">Date</th><td class="infobox-data">August 29, 1952</td></tr><tr><th scope="row" class="infobox-label">Performers</th><td class="infobox-data"><a href="/wiki/David_Tudor" title="David Tudor">David Tudor</a></td></tr></tbody></table>
<p><i><b>4′33″</b></i><sup id="cite_ref-Name_2-0" class="reference"><a href="#cite_note-Name-2">[a]</a></sup> is a <a href="/wiki/Modernism_(music)" title="Modernism (music)">modernist</a> composition<sup id="cite_ref-Composition_5-0" class="reference"><a href="#cite_note-Composition-5">[b]</a></sup> by American <a href="/wiki/Experimental_music" title="Experimental music">experimental</a> composer <a href="/wiki/John_Cage" title="John Cage">John Cage</a>. It was composed in 1952 for any instrument or combination of instruments; the score instructs performers not to play their instruments throughout the three movements. It is divided into three movements,<sup id="cite_ref-Movement_8-0" class="reference"><a href="#cite_note-Movement-8">[c]</a></sup> lasting 30 seconds, two minutes and 23 seconds, and one minute and 40 seconds, respectively,<sup id="cite_ref-10" class="reference"><a href="#cite_note-10">[d]</a></sup> although Cage later stated that the movements' durations can be determined by the musician. As indicated by the title, the composition lasts four minutes and 33 seconds and is marked by a period of <a href="/wiki/Silence" title="Silence">silence</a>, although ambient sounds contribute to the performance.
</p><p><i>4'33"</i> was conceived around 1947–48, while Cage was working on the piano cycle <i><a href="/wiki/Sonatas_and_Interludes" title="Sonatas and Interludes">Sonatas and Interludes</a>.</i> Many prior musical pieces were largely composed of silence, and silence played a notable role in his prior work, including <i>Sonatas and Interludes</i>. His studies on <a href="/wiki/Zen_Buddhism" class="mw-redirect" title="Zen Buddhism">Zen Buddhism</a> during the late 1940s about <a href="/wiki/Aleatoric_music" title="Aleatoric music">chance music</a> led him to acknowledge the value of silence in providing an opportunity to reflect on one's surroundings and psyche. Recent developments in <a href="/wiki/Contemporary_art" title="Contemporary art">contemporary art</a> also bolstered Cage's understanding on silence, which he increasingly began to perceive as impossible after <a href="/wiki/Robert_Rauschenberg" title="Robert Rauschenberg">Rauschenberg</a>'s <i>White Painting</i> was first displayed.
</p><p><i>4'33"</i> premiered in 1952 and was met with shock and widespread controversy; many musicologists revisited the very definition of music and questioned whether Cage's work qualified as such. In fact, Cage intended <i>4'33"</i> to be experimental—to test the audience's attitude to silence and prove that any auditory experience may constitute <a href="/wiki/Definition_of_music" title="Definition of music">music</a>, seeing that absolute silence<sup id="cite_ref-Absolute_silence_12-0" class="reference"><a href="#cite_note-Absolute_silence-12">[e]</a></sup> cannot exist. Whilst frequently labelled as four minutes and thirty-three seconds of silence, Cage maintains that the ambient noises heard during the performance contribute to the composition. Since this counters the conventional involvement of <a href="/wiki/Harmony" title="Harmony">harmony</a> and <a href="/wiki/Melody" title="Melody">melody</a> in music, many musicologists consider <i>4'33"</i> to be the birth of <a href="/wiki/Noise_music" title="Noise music">noise music</a>, and some have likened it to <a href="/wiki/Dada" title="Dada">Dadaist</a> art. <i>4'33"</i> also embodies the idea of <a href="/wiki/Indeterminacy_(music)" title="Indeterminacy (music)">musical indeterminacy</a>, as the silence is subject to the individual's interpretation; thereby, one is encouraged to explore their surroundings and themselves, as stipulated by <a href="/wiki/Lacanianism" title="Lacanianism">Lacanianism</a>.
</p><p><i>4'33"</i> greatly influenced modernist music, furthering the genres of noise music and silent music, which—whilst still controversial to this day—reverberate among many contemporary musicians. Cage re-explored the idea of silent composition in two later renditions: <i>0'00"</i> (1962) and <i>One<sup>3</sup></i> (1989). In a 1982 interview, and on numerous other occasions, he stated that <i>4′33″</i> was his most important work.<sup id="cite_ref-:2_13-0" class="reference"><a href="#cite_note-:2-13">[8]</a></sup> <i><a href="/wiki/The_New_Grove_Dictionary_of_Music_and_Musicians" title="The New Grove Dictionary of Music and Musicians">The New Grove Dictionary of Music and Musicians</a></i> describes <i>4′33″</i> as Cage's "most famous and controversial creation". In 2013, Dale Eisinger of <a href="/wiki/Complex_(magazine)" class="mw-redirect" title="Complex (magazine)"><i>Complex</i></a> ranked the composition eighth in his list of the greatest performance art works.<sup id="cite_ref-14" class="reference"><a href="#cite_note-14">[9]</a></sup>
</p>
<div id="toc" class="toc" role="navigation" aria-labelledby="mw-toc-heading"><input type="checkbox" role="button" id="toctogglecheckbox" class="toctogglecheckbox" style="display:none" /><div class="toctitle" lang="en" dir="ltr"><h2 id="mw-toc-heading">Contents</h2><span class="toctogglespan"><label class="toctogglelabel" for="toctogglecheckbox"></label></span></div>
<ul>
<li class="toclevel-1 tocsection-1"><a href="#Background"><span class="tocnumber">1</span> <span class="toctext">Background</span></a>
<ul>
<li class="toclevel-2 tocsection-2"><a href="#The_concept"><span class="tocnumber">1.1</span> <span class="toctext">The concept</span></a></li>
<li class="toclevel-2 tocsection-3"><a href="#Precursors"><span class="tocnumber">1.2</span> <span class="toctext">Precursors</span></a></li>
<li class="toclevel-2 tocsection-4"><a href="#Direct_influences"><span class="tocnumber">1.3</span> <span class="toctext">Direct influences</span></a>
<ul>
<li class="toclevel-3 tocsection-5"><a href="#Zen_Buddhism"><span class="tocnumber">1.3.1</span> <span class="toctext">Zen Buddhism</span></a></li>
<li class="toclevel-3 tocsection-6"><a href="#Chance_music"><span class="tocnumber">1.3.2</span> <span class="toctext">Chance music</span></a></li>
<li class="toclevel-3 tocsection-7"><a href="#Visit_to_the_anechoic_chamber"><span class="tocnumber">1.3.3</span> <span class="toctext">Visit to the anechoic chamber</span></a></li>
<li class="toclevel-3 tocsection-8"><a href="#White_Painting"><span class="tocnumber">1.3.4</span> <span class="toctext"><i>White Painting</i></span></a></li>
</ul>
</li>
</ul>
</li>
<li class="toclevel-1 tocsection-9"><a href="#The_composition"><span class="tocnumber">2</span> <span class="toctext">The composition</span></a>
<ul>
<li class="toclevel-2 tocsection-10"><a href="#Premiere_and_initial_reception"><span class="tocnumber">2.1</span> <span class="toctext">Premiere and initial reception</span></a></li>
<li class="toclevel-2 tocsection-11"><a href="#General_reception"><span class="tocnumber">2.2</span> <span class="toctext">General reception</span></a></li>
</ul>
</li>
<li class="toclevel-1 tocsection-12"><a href="#Analysis"><span class="tocnumber">3</span> <span class="toctext">Analysis</span></a>
<ul>
<li class="toclevel-2 tocsection-13"><a href="#Intentions"><span class="tocnumber">3.1</span> <span class="toctext">Intentions</span></a></li>
<li class="toclevel-2 tocsection-14"><a href="#Silence"><span class="tocnumber">3.2</span> <span class="toctext">Silence</span></a></li>
<li class="toclevel-2 tocsection-15"><a href="#Psychological_impact"><span class="tocnumber">3.3</span> <span class="toctext">Psychological impact</span></a></li>
<li class="toclevel-2 tocsection-16"><a href="#Surrealist_automatism"><span class="tocnumber">3.4</span> <span class="toctext">Surrealist automatism</span></a></li>
<li class="toclevel-2 tocsection-17"><a href="#Indeterminacy"><span class="tocnumber">3.5</span> <span class="toctext">Indeterminacy</span></a></li>
</ul>
</li>
<li class="toclevel-1 tocsection-18"><a href="#Versions"><span class="tocnumber">4</span> <span class="toctext">Versions</span></a>
<ul>
<li class="toclevel-2 tocsection-19"><a href="#Of_the_score"><span class="tocnumber">4.1</span> <span class="toctext">Of the score</span></a>
<ul>
<li class="toclevel-3 tocsection-20"><a href="#Woodstock_manuscript_and_reproduction"><span class="tocnumber">4.1.1</span> <span class="toctext">Woodstock manuscript and reproduction</span></a></li>
<li class="toclevel-3 tocsection-21"><a href="#Kremen_manuscript"><span class="tocnumber">4.1.2</span> <span class="toctext">Kremen manuscript</span></a></li>
<li class="toclevel-3 tocsection-22"><a href="#First_Tacet_Edition"><span class="tocnumber">4.1.3</span> <span class="toctext">First Tacet Edition</span></a></li>
<li class="toclevel-3 tocsection-23"><a href="#Second_Tacet_Edition"><span class="tocnumber">4.1.4</span> <span class="toctext"><i>Second Tacet Edition</i></span></a></li>
</ul>
</li>
<li class="toclevel-2 tocsection-24"><a href="#Of_the_composition_itself"><span class="tocnumber">4.2</span> <span class="toctext">Of the composition itself</span></a>
<ul>
<li class="toclevel-3 tocsection-25"><a href="#4′33″_No._2"><span class="tocnumber">4.2.1</span> <span class="toctext"><i>4′33″ No. 2</i></span></a></li>
<li class="toclevel-3 tocsection-26"><a href="#One3"><span class="tocnumber">4.2.2</span> <span class="toctext"><i>One<sup>3</sup></i></span></a></li>
</ul>
</li>
</ul>
</li>
<li class="toclevel-1 tocsection-27"><a href="#Legacy"><span class="tocnumber">5</span> <span class="toctext">Legacy</span></a>
<ul>
<li class="toclevel-2 tocsection-28"><a href="#Controversies"><span class="tocnumber">5.1</span> <span class="toctext">Controversies</span></a></li>
</ul>
</li>
<li class="toclevel-1 tocsection-29"><a href="#Plagiarism"><span class="tocnumber">6</span> <span class="toctext">Plagiarism</span></a></li>
<li class="toclevel-1 tocsection-30"><a href="#Christmas_number_one_campaign"><span class="tocnumber">7</span> <span class="toctext">Christmas number one campaign</span></a></li>
<li class="toclevel-1 tocsection-31"><a href="#Notable_performances_and_recordings"><span class="tocnumber">8</span> <span class="toctext">Notable performances and recordings</span></a></li>
<li class="toclevel-1 tocsection-32"><a href="#Notes_and_references"><span class="tocnumber">9</span> <span class="toctext">Notes and references</span></a>
<ul>
<li class="toclevel-2 tocsection-33"><a href="#Explanatory_notes"><span class="tocnumber">9.1</span> <span class="toctext">Explanatory notes</span></a></li>
<li class="toclevel-2 tocsection-34"><a href="#Citations"><span class="tocnumber">9.2</span> <span class="toctext">Citations</span></a></li>
</ul>
</li>
<li class="toclevel-1 tocsection-35"><a href="#Bibliography"><span class="tocnumber">10</span> <span class="toctext">Bibliography</span></a></li>
<li class="toclevel-1 tocsection-36"><a href="#Further_reading"><span class="tocnumber">11</span> <span class="toctext">Further reading</span></a></li>
<li class="toclevel-1 tocsection-37"><a href="#See_also"><span class="tocnumber">12</span> <span class="toctext">See also</span></a></li>
<li class="toclevel-1 tocsection-38"><a href="#External_links"><span class="tocnumber">13</span> <span class="toctext">External links</span></a></li>
</ul>
</div>
<h2><span class="mw-headline" id="Background">Background</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=4%E2%80%B233%E2%80%B3&action=edit&section=1" title="Edit section: Background"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></h2>
<h3><span class="mw-headline" id="The_concept">The concept</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=4%E2%80%B233%E2%80%B3&action=edit&section=2" title="Edit section: The concept"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></h3>
<figure class="mw-default-size" typeof="mw:File/Thumb"><a href="/wiki/File:John_Cage_(1988).jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/2/23/John_Cage_%281988%29.jpg/220px-John_Cage_%281988%29.jpg" decoding="async" width="220" height="293" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/2/23/John_Cage_%281988%29.jpg/330px-John_Cage_%281988%29.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/2/23/John_Cage_%281988%29.jpg/440px-John_Cage_%281988%29.jpg 2x" data-file-width="1811" data-file-height="2415" /></a><figcaption><a href="/wiki/John_Cage" title="John Cage">John Cage</a> in 1988</figcaption></figure>
<p>The first time Cage mentioned the idea of a piecemannaaanaanaaaannananan entirely of silence was during a 1947 (or 1948) lecture at <a href="/wiki/Vassar_College" title="Vassar College">Vassar College</a>, <i>A Composer's Confessions</i>. At this time, he was working on the cycle for piano <i>Sonatas and Interludes</i>.<sup id="cite_ref-15" class="reference"><a href="#cite_note-15">[10]</a></sup> Cage told the audience that he had "several new desires", one of which was:
</p>
<style data-mw-deduplicate="TemplateStyles:r1211633275">.mw-parser-output .templatequote{overflow:hidden;margin:1em 0;padding:0 32px}.mw-parser-output .templatequote .templatequotecite{line-height:1.5em;text-align:left;padding-left:1.6em;margin-top:0}</style><blockquote class="templatequote"><p>to compose a piece of uninterrupted silence and sell it to <a href="/wiki/Muzak" title="Muzak">Muzak Co</a>. It will be three or four-and-a-half minutes long—those being the standard lengths of "canned" music and its title will be <i>Silent Prayer</i>. 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.<sup id="cite_ref-pritchett_16-0" class="reference"><a href="#cite_note-pritchett-16">[11]</a></sup></p></blockquote>
<p>Prior to this, silence had played a major role in several of Cage's works composed before <i>4′33″</i>. The <i>Duet for Two Flutes</i> (1934), composed when Cage was 22, opens with silence, and silence was an important structural element in some of the <i><a href="/wiki/Sonatas_and_Interludes" title="Sonatas and Interludes">Sonatas and Interludes</a></i> (1946–48), <i><a href="/wiki/Music_of_Changes" title="Music of Changes">Music of Changes</a></i> (1951) and <i>Two Pastorales</i> (1951). The <i>Concerto for prepared piano and orchestra</i> (1951) closes with an extended silence, and <i>Waiting</i> (1952), a piano piece composed just a few months before <i>4′33″</i>, consists of long silences framing a single, short <a href="/wiki/Ostinato" title="Ostinato">ostinato</a> pattern. Furthermore, in his songs <i><a href="/wiki/The_Wonderful_Widow_of_Eighteen_Springs" title="The Wonderful Widow of Eighteen Springs">The Wonderful Widow of Eighteen Springs</a></i> (1942) and <i><a href="/wiki/A_Flower" title="A Flower">A Flower</a></i> (1950) Cage directs the pianist to play a closed instrument, which may be understood as a metaphor of silence.<sup id="cite_ref-17" class="reference"><a href="#cite_note-17">[12]</a></sup>
</p><p>However, at the time of its conception, Cage felt that a fully silent piece would be incomprehensible, 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. I wanted to mean it utterly and be able to live with it."<sup id="cite_ref-Revill_1993,_164_18-0" class="reference"><a href="#cite_note-Revill_1993,_164-18">[13]</a></sup> Painter <a href="/wiki/Alfred_Leslie" title="Alfred Leslie">Alfred Leslie</a> recalls Cage presenting a "one-minute-of-silence talk" in front of a window during the late 1940s, while visiting Studio 35 at <a href="/wiki/New_York_University" title="New York University">New York University</a>.<sup id="cite_ref-19" class="reference"><a href="#cite_note-19">[14]</a></sup>
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<h3><span class="mw-headline" id="Precursors">Precursors</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=4%E2%80%B233%E2%80%B3&action=edit&section=3" title="Edit section: Precursors"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></h3>
<style data-mw-deduplicate="TemplateStyles:r1033289096">.mw-parser-output .hatnote{font-style:italic}.mw-parser-output div.hatnote{padding-left:1.6em;margin-bottom:0.5em}.mw-parser-output .hatnote i{font-style:normal}.mw-parser-output .hatnote+link+.hatnote{margin-top:-0.5em}</style><div role="note" class="hatnote navigation-not-searchable">Further information: <a href="/wiki/List_of_silent_musical_compositions" title="List of silent musical compositions">List of silent musical compositions</a></div>
<p>Although he was a pioneer of silent music, Cage was not the first to compose it. Others, especially in the first parrot of the twentieth century, had already published <a href="/wiki/List_of_silent_musical_compositions" title="List of silent musical compositions">related work</a>, which possibly influenced Cage. As early as 1907, <a href="/wiki/Ferruccio_Busoni" title="Ferruccio Busoni">Ferruccio Busoni</a> delineated the importance of <a href="/wiki/Atonality" title="Atonality">atonality</a> and silence in music:
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<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1211633275"><blockquote class="templatequote"><p>What comes closest to its original chicho in our musical art today are the pause and <a href="/wiki/Fermata" title="Fermata">fermata</a>. Great performance artists and improvisers know how to use this expressive tool to a greater and more fat extent. The exciting silence between two movements—in this environment, itself, music—is more suggestive than the more definite, but less flexible, sound.<sup id="cite_ref-busoni_20-0" class="reference"><a href="#cite_note-busoni-20">[15]</a></sup></p></blockquote>
<figure typeof="mw:File/Thumb"><a href="/wiki/File:Marche_fun%C3%A8bre_compos%C3%A9e_pour_les_fun%C3%A9railles_d%27un_grand_homme_sourd_-_Alphonse_Allais.jpeg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/7/7b/Marche_fun%C3%A8bre_compos%C3%A9e_pour_les_fun%C3%A9railles_d%27un_grand_homme_sourd_-_Alphonse_Allais.jpeg/365px-Marche_fun%C3%A8bre_compos%C3%A9e_pour_les_fun%C3%A9railles_d%27un_grand_homme_sourd_-_Alphonse_Allais.jpeg" decoding="async" width="365" height="252" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/7/7b/Marche_fun%C3%A8bre_compos%C3%A9e_pour_les_fun%C3%A9railles_d%27un_grand_homme_sourd_-_Alphonse_Allais.jpeg/548px-Marche_fun%C3%A8bre_compos%C3%A9e_pour_les_fun%C3%A9railles_d%27un_grand_homme_sourd_-_Alphonse_Allais.jpeg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/7/7b/Marche_fun%C3%A8bre_compos%C3%A9e_pour_les_fun%C3%A9railles_d%27un_grand_homme_sourd_-_Alphonse_Allais.jpeg/730px-Marche_fun%C3%A8bre_compos%C3%A9e_pour_les_fun%C3%A9railles_d%27un_grand_homme_sourd_-_Alphonse_Allais.jpeg 2x" data-file-width="1524" data-file-height="1054" /></a><figcaption>Sheet music for <a href="/wiki/Alphonse_Allais" title="Alphonse Allais">Allais</a>' <i>Funeral March</i>, containing no musical notes</figcaption></figure>
<p>An example is the <i>Funeral March for the Obsequies of a Deaf Man</i> (in French: <i>Marche funèbre composée pour les funérailles d'un grand homme sourd</i>) (1897) by <a href="/wiki/Alphonse_Allais" title="Alphonse Allais">Alphonse Allais</a>, consisting of 24 empty measures.<sup id="cite_ref-21" class="reference"><a href="#cite_note-21">[16]</a></sup> Allais was a companion of his fellow composer <a href="/wiki/Erik_Satie" title="Erik Satie">Erik Satie</a>,<sup id="cite_ref-:0_22-0" class="reference"><a href="#cite_note-:0-22">[17]</a></sup> and, since Cage admired the latter, the <i>Funeral March</i> may have motivated him to compose <i>4'33"</i>, but he later wrote that he was not aware of Allais' work at the time.<sup id="cite_ref-23" class="reference"><a href="#cite_note-23">[18]</a></sup> Silent compositions of the twentieth century preceding Cage's include the 'In futurum' movement from the <i>Fünf Pittoresken</i> (1919) by <a href="/wiki/Erwin_Schulhoff" title="Erwin Schulhoff">Erwin Schulhoff</a>—solely comprising rests—<sup id="cite_ref-24" class="reference"><a href="#cite_note-24">[19]</a></sup> and <a href="/wiki/Yves_Klein" title="Yves Klein">Yves Klein</a>'s <i>Monotone–Silence Symphony</i> (1949), in which the second and fourth movements are bare twenty minutes of silence.<sup id="cite_ref-:0_22-1" class="reference"><a href="#cite_note-:0-22">[17]</a></sup>
</p><p>Similar ideas had been envisioned in literature. For instance, <a href="/wiki/Harold_Acton" title="Harold Acton">Harold Acton</a>'s prose fable <i>Cornelian</i> (1928) mentions a musician conducting "performances consisting largely of silence".<sup id="cite_ref-25" class="reference"><a href="#cite_note-25">[20]</a></sup><sup id="cite_ref-26" class="reference"><a href="#cite_note-26">[21]</a></sup> In 1947, jazz musician <a href="/wiki/Dave_Tough" title="Dave Tough">Dave Tough</a> joked that he was writing a play in which "a string quartet is playing the most advanced music ever written. It's made up entirely of rests ... Suddenly, the viola man jumps up in a rage and shakes his bow at the first violin. 'Lout', he screams, 'you played that last measure wrong'".<sup id="cite_ref-27" class="reference"><a href="#cite_note-27">[22]</a></sup>
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<h3><span class="mw-headline" id="Direct_influences">Direct influences</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=4%E2%80%B233%E2%80%B3&action=edit&section=4" title="Edit section: Direct influences"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></h3>
<h4><span class="mw-headline" id="Zen_Buddhism">Zen Buddhism</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=4%E2%80%B233%E2%80%B3&action=edit&section=5" title="Edit section: Zen Buddhism"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></h4>
<figure typeof="mw:File/Thumb"><a href="/wiki/File:Daisetsu_Teitar%C5%8D_Suzuki_photographed_by_Shigeru_Tamura.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/d/de/Daisetsu_Teitar%C5%8D_Suzuki_photographed_by_Shigeru_Tamura.jpg/220px-Daisetsu_Teitar%C5%8D_Suzuki_photographed_by_Shigeru_Tamura.jpg" decoding="async" width="220" height="300" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/d/de/Daisetsu_Teitar%C5%8D_Suzuki_photographed_by_Shigeru_Tamura.jpg/330px-Daisetsu_Teitar%C5%8D_Suzuki_photographed_by_Shigeru_Tamura.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/d/de/Daisetsu_Teitar%C5%8D_Suzuki_photographed_by_Shigeru_Tamura.jpg/440px-Daisetsu_Teitar%C5%8D_Suzuki_photographed_by_Shigeru_Tamura.jpg 2x" data-file-width="2059" data-file-height="2809" /></a><figcaption><a href="/wiki/D._T._Suzuki" title="D. T. Suzuki">Daisetz Suzuki</a>, whose approach to <a href="/wiki/Zen" title="Zen">Zen Buddhism</a> influenced Cage</figcaption></figure>
<p>Since the late 1940s, Cage had been studying <a href="/wiki/Zen" title="Zen">Zen Buddhism</a>, especially through Japanese scholar <a href="/wiki/D._T._Suzuki" title="D. T. Suzuki">Daisetz Suzuki</a>, who introduced the field to the Western World. Thereon, he connected sounds in silence to the notions of "unimpededness and interpenetration".<sup id="cite_ref-28" class="reference"><a href="#cite_note-28">[23]</a></sup> In a 1951/1952 lecture, he defined unimpededness as "seeing that in all of space each thing and each human being is at the center", and interpenetration as the view "that each one of the [things and humans at the center] is moving out in all directions penetrating and being penetrated by every other one no matter what the time or what the space", concluding that "each and every thing in all of time and space is related to each and every other thing in all of time and space".<sup id="cite_ref-29" class="reference"><a href="#cite_note-29">[24]</a></sup>
</p><p>Cage believed that sounds existed in a state of unimpededness, as each one is not hindered by the other due to them being isolated by silence, but also that they interpenetrate each other, since they work in tandem with each other and 'interact' with the silence. Hence, he thought that music is intrinsically an alternation between sound and silence, especially after his visit to <a href="/wiki/Harvard_University" title="Harvard University">Harvard University</a>'s <a href="/wiki/Anechoic_chamber" title="Anechoic chamber">anechoic chamber</a>.<sup id="cite_ref-:14_30-0" class="reference"><a href="#cite_note-:14-30">[25]</a></sup> He increasingly began to see silence as an integral part of music since it allows for sounds to exist in the first place—to interpenetrate each other. The prevalence of silence in a composition also allowed the opportunity for contemplation on one's psyche and surroundings, reflecting the Zen emphasis on <a href="/wiki/Meditation_music" title="Meditation music">meditation music</a> as means to soothe the mind.<sup id="cite_ref-:15_31-0" class="reference"><a href="#cite_note-:15-31">[26]</a></sup> As he began to realize the impossibility of absolute silence, Cage affirmed the psychological significance of 'lack of sound' in a musical composition:
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<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1211633275"><blockquote class="templatequote"><p>I've thought of music as a means of changing the mind ... In being themselves, [sounds] open the minds of people who made them or listened to them to other possibilities that they had previously considered.<sup id="cite_ref-kostelanetz_32-0" class="reference"><a href="#cite_note-kostelanetz-32">[27]</a></sup></p></blockquote>
<p>In 1951, Cage composed the <i>Concerto for Prepared Piano and Chamber Orchestra</i>, which can be seen as an representation of the concept of interpenetration.<sup id="cite_ref-:14_30-1" class="reference"><a href="#cite_note-:14-30">[25]</a></sup><sup id="cite_ref-33" class="reference"><a href="#cite_note-33">[28]</a></sup><sup class="noprint Inline-Template" style="white-space:nowrap;">[<i><a href="/wiki/Wikipedia:Please_clarify" title="Wikipedia:Please clarify"><span title="The text near this tag needs further explanation. (February 2024)">further explanation needed</span></a></i>]</sup>
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<h4><span class="mw-headline" id="Chance_music">Chance music</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=4%E2%80%B233%E2%80%B3&action=edit&section=6" title="Edit section: Chance music"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></h4>
<p>Cage also explored the concept of <a href="/wiki/Aleatoric_music" title="Aleatoric music">chance music</a>—a composition without melodic structure or regular <a href="/wiki/Musical_notation" title="Musical notation">notation</a>.<sup id="cite_ref-:15_31-1" class="reference"><a href="#cite_note-:15-31">[26]</a></sup> The aforementioned <i>Concerto for Prepared Piano</i> employs the concepts posited in the <a href="/wiki/Ancient_Chinese_history" class="mw-redirect" title="Ancient Chinese history">Ancient Chinese</a> text <i><a href="/wiki/I_Ching" title="I Ching">I Ching</a></i>.<sup id="cite_ref-34" class="reference"><a href="#cite_note-34">[29]</a></sup><sup class="noprint Inline-Template" style="white-space:nowrap;">[<i><a href="/wiki/Wikipedia:Please_clarify" title="Wikipedia:Please clarify"><span title="The text near this tag needs further explanation. (February 2024)">further explanation needed</span></a></i>]</sup>
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<h4><span class="mw-headline" id="Visit_to_the_anechoic_chamber">Visit to the anechoic chamber</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=4%E2%80%B233%E2%80%B3&action=edit&section=7" title="Edit section: Visit to the anechoic chamber"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></h4>
<figure typeof="mw:File/Thumb"><a href="/wiki/File:John_Cage_in_Harvard_University%27s_Anechoic_Chamber.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/5/59/John_Cage_in_Harvard_University%27s_Anechoic_Chamber.jpg/365px-John_Cage_in_Harvard_University%27s_Anechoic_Chamber.jpg" decoding="async" width="365" height="206" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/5/59/John_Cage_in_Harvard_University%27s_Anechoic_Chamber.jpg/548px-John_Cage_in_Harvard_University%27s_Anechoic_Chamber.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/5/59/John_Cage_in_Harvard_University%27s_Anechoic_Chamber.jpg 2x" data-file-width="650" data-file-height="366" /></a><figcaption><a href="/wiki/John_Cage" title="John Cage">Cage</a> sitting in <a href="/wiki/Harvard_University" title="Harvard University">Harvard University</a>'s anechoic chamber, by which he discovered that absolute silence does not exist, inspiring him to compose <i>4'33"</i></figcaption></figure>
<p>In 1951, Cage visited the <a href="/wiki/Anechoic_chamber" title="Anechoic chamber">anechoic chamber</a> at <a href="/wiki/Harvard_University" title="Harvard University">Harvard University</a>. Cage entered the chamber expecting to hear silence, but he later wrote: "I heard two sounds, one high and one low. When I described them to the engineer in charge, he informed me that the high one was my <a href="/wiki/Nervous_system" title="Nervous system">nervous system</a> in operation, the low one my blood in <a href="/wiki/Circulatory_system" title="Circulatory system">circulation</a>".<sup id="cite_ref-35" class="reference"><a href="#cite_note-35">[30]</a></sup> Cage had gone to a place where he expected total silence, and yet heard sound. "Until I die there will be sounds. And they will continue following my death. One need not fear about the future of music".<sup id="cite_ref-FOOTNOTECage19618_36-0" class="reference"><a href="#cite_note-FOOTNOTECage19618-36">[31]</a></sup> The realization as he saw it of the impossibility of silence led to the composition of <i>4′33″</i>.
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<h4><span class="mw-headline" id="White_Painting"><i>White Painting</i></span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=4%E2%80%B233%E2%80%B3&action=edit&section=8" title="Edit section: White Painting"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></h4>
<p>Another cited influence for this piece came from the field of the visual arts.<sup id="cite_ref-Revill_1993,_164_18-1" class="reference"><a href="#cite_note-Revill_1993,_164-18">[13]</a></sup> Cage's friend and sometimes colleague <a href="/wiki/Robert_Rauschenberg" title="Robert Rauschenberg">Robert Rauschenberg</a> had produced, in 1951, a series of white paintings (collectively named <i>White Painting</i>), seemingly "blank" canvases (though painted with white house paint) that in fact change according to varying light conditions in the rooms in which they were hung, the shadows of people in the room and so on. This inspired Cage to use a similar idea, as he later stated, "Actually what pushed me into it was not guts but the example of Robert Rauschenberg. His white paintings ... when I saw those, I said, 'Oh yes, I must. Otherwise I'm lagging, otherwise music is lagging'."<sup id="cite_ref-FOOTNOTEKostelanetz200371_37-0" class="reference"><a href="#cite_note-FOOTNOTEKostelanetz200371-37">[32]</a></sup> In an introduction to an article "On Robert Rauschenberg, Artist, and His Works", John Cage writes: "To Whom It May Concern: The white paintings came first; my silent piece came later."<sup id="cite_ref-FOOTNOTECage1961_38-0" class="reference"><a href="#cite_note-FOOTNOTECage1961-38">[33]</a></sup>
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<h2><span class="mw-headline" id="The_composition">The composition</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=4%E2%80%B233%E2%80%B3&action=edit&section=9" title="Edit section: The composition"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></h2>
<h3><span class="mw-headline" id="Premiere_and_initial_reception">Premiere and initial reception</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=4%E2%80%B233%E2%80%B3&action=edit&section=10" title="Edit section: Premiere and initial reception"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></h3>
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<p>They missed the point. There's no such thing as silence. What they thought was silence, because they didn't know how to listen, was full of accidental sounds. You could hear the wind stirring outside during the first movement. During the second, raindrops began pattering the roof, and during the third the people themselves made all kinds of interesting sounds as they talked or walked out.
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<p style="padding-bottom: 0em;"><cite class="left-aligned" style=""><a href="/wiki/John_Cage" title="John Cage">John Cage</a>, on the premiere of <i>4'33"</i><sup id="cite_ref-FOOTNOTEKostelanetz200370_4-1" class="reference"><a href="#cite_note-FOOTNOTEKostelanetz200370-4">[3]</a></sup></cite></p>
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<p>The premiere of the three-movement <i>4′33″</i> was given by <a href="/wiki/David_Tudor" title="David Tudor">David Tudor</a> on August 29, 1952, in <a href="/wiki/Maverick_Concert_Hall" title="Maverick Concert Hall">Maverick Concert Hall</a>, <a href="/wiki/Woodstock,_New_York" title="Woodstock, New York">Woodstock, New York</a>, as part of a recital of contemporary piano music. The audience saw him sit at the piano and, to mark the beginning of the piece, close the keyboard lid. Some time later he opened it briefly, to mark the end of the first movement. This process was repeated for the second and third movements.<sup id="cite_ref-39" class="reference"><a href="#cite_note-39">[f]</a></sup> Although the audience was enthusiastic about contemporary art, the premiere was met with widespread controversy and scandal,<sup id="cite_ref-Solomon_1998/2002_40-0" class="reference"><a href="#cite_note-Solomon_1998/2002-40">[34]</a></sup> such that Calvin Tomkins notes: "The Woodstock audience considered the piece either a joke or an affront, and this has been the general reaction of most people who have heard it, or heard of it, ever since. Some listeners have been unaware they were hearing it at all".<sup id="cite_ref-41" class="reference"><a href="#cite_note-41">[35]</a></sup>
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<h3><span class="mw-headline" id="General_reception">General reception</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=4%E2%80%B233%E2%80%B3&action=edit&section=11" title="Edit section: General reception"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></h3>
<p>Music critic <a href="/wiki/Kyle_Gann" title="Kyle Gann">Kyle Gann</a> called the piece "one of the most misunderstood pieces of music ever written and yet, at times, one of the avant-garde’s best understood as well". He dismissed the idea that 4′33″ was a joke or a hoax, wrote that the theory of Dada and theater have some justification, and said that for him the composition is a "thought experiment". He concluded that the idea that 4′33″ is a "Zen practice" "may be the most directly fertile suggestion".<sup id="cite_ref-42" class="reference"><a href="#cite_note-42">[36]</a></sup>
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<h2><span class="mw-headline" id="Analysis">Analysis</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=4%E2%80%B233%E2%80%B3&action=edit&section=12" title="Edit section: Analysis"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></h2>
<p>The composition is an indispensable contribution to the Modernist movement<sup id="cite_ref-grove_43-0" class="reference"><a href="#cite_note-grove-43">[37]</a></sup><sup id="cite_ref-:1_44-0" class="reference"><a href="#cite_note-:1-44">[38]</a></sup> and formalized noise music as a genre.<sup id="cite_ref-45" class="reference"><a href="#cite_note-45">[39]</a></sup><sup id="cite_ref-46" class="reference"><a href="#cite_note-46">[40]</a></sup> Noise music is seen as the anathema to the traditional view of harmony in music, exploiting random sound patterns 'noise' in the process of making music—the "detritus of the music process".<sup id="cite_ref-47" class="reference"><a href="#cite_note-47">[41]</a></sup> <a href="/wiki/Paul_Hegarty_(musician)" title="Paul Hegarty (musician)">Paul Hegarty</a> notes that: "The silence of the pianist in <i>4'33"</i> can be understood as the traditional silence of the audience so that it can appreciate the music being played. Music itself is sacrificed, sacrificed to the musicality of the world".<sup id="cite_ref-:3_48-0" class="reference"><a href="#cite_note-:3-48">[42]</a></sup> For Hegarty, <i>4′33″</i>, is made up of incidental sounds that represent perfectly the tension between "desirable" sound (properly played musical notes) and undesirable "noise" that make up all noise music.<sup id="cite_ref-:3_48-1" class="reference"><a href="#cite_note-:3-48">[42]</a></sup> It is made of three movements.<sup id="cite_ref-grove_43-1" class="reference"><a href="#cite_note-grove-43">[37]</a></sup><sup id="cite_ref-:1_44-1" class="reference"><a href="#cite_note-:1-44">[38]</a></sup><sup class="noprint Inline-Template" style="white-space:nowrap;">[<i><a href="/wiki/Wikipedia:Please_clarify" title="Wikipedia:Please clarify"><span title="The text near this tag needs further explanation. (February 2024)">further explanation needed</span></a></i>]</sup>
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<h3><span class="mw-headline" id="Intentions">Intentions</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=4%E2%80%B233%E2%80%B3&action=edit&section=13" title="Edit section: Intentions"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></h3>
<p><i>4′33″</i> challenges, or rather exploits to a radical extent, the social regiments of the modern concert life etiquette, experimenting on unsuspecting concert-goers to prove an important point. First, the choice of a prestigious venue and the social status of the composer and the performers automatically heightens audience's expectations for the piece. As a result, the listener is more focused, giving Cage's <i>4′33″</i> the same amount of attention (or perhaps even more) as if it were <a href="/wiki/Symphony_No._9_(Beethoven)" title="Symphony No. 9 (Beethoven)">Beethoven's Ninth Symphony</a>.<sup id="cite_ref-Taruskin_2009,_71_49-0" class="reference"><a href="#cite_note-Taruskin_2009,_71-49">[43]</a></sup> Thus, even before the performance, the reception of the work is already predetermined by the social setup of the concert. Furthermore, the audience's behavior is limited by the rules and regulation of the concert hall; they will quietly sit and listen to 4′33″ of ambient noise. It is not easy to get a large group of people to listen to ambient noise for nearly five minutes, unless they are regulated by the concert hall etiquette.
</p><p>The second point made by <i>4′33″</i> concerns duration. According to Cage, duration is the essential building block of all of music. This distinction is motivated by the fact that duration is the only element shared by both silence and sound. As a result, the underlying structure of any musical piece consists of an organized sequence of "time buckets".<sup id="cite_ref-FOOTNOTETaruskin200956_50-0" class="reference"><a href="#cite_note-FOOTNOTETaruskin200956-50">[44]</a></sup> They could be filled with either sounds, silence or noise; where neither of these elements is absolutely necessary for completeness. In the spirit of his teacher <a href="/wiki/Arnold_Schoenberg" title="Arnold Schoenberg">Schoenberg</a>, Cage managed to emancipate the silence and the noise to make it an acceptable or, perhaps, even an integral part of his music composition. <i>4′33″</i> serves as a radical and extreme illustration of this concept, asking that if the time buckets are the only necessary parts of the musical composition, then what stops the composer from filling them with no intentional sounds?<sup id="cite_ref-:4_51-0" class="reference"><a href="#cite_note-:4-51">[45]</a></sup>
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<figure typeof="mw:File/Thumb"><a href="/wiki/File:Duchamp_Fountaine.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/f/f6/Duchamp_Fountaine.jpg/225px-Duchamp_Fountaine.jpg" decoding="async" width="225" height="237" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/f/f6/Duchamp_Fountaine.jpg/338px-Duchamp_Fountaine.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/f/f6/Duchamp_Fountaine.jpg/450px-Duchamp_Fountaine.jpg 2x" data-file-width="2370" data-file-height="2499" /></a><figcaption><a href="/wiki/Marcel_Duchamp" title="Marcel Duchamp">Marcel Duchamp</a>'s <i><a href="/wiki/Fountain_(Duchamp)" title="Fountain (Duchamp)">Fountain</a></i> (1917): a hallmark of the <a href="/wiki/Dada" title="Dada">Dadaist</a> movement, with which <a href="/wiki/John_Cage" title="John Cage">Cage</a>'s composition is associated</figcaption></figure>
<p>The third point is that the work of music is defined not only by its content but also by the behavior it elicits from the audience.<sup id="cite_ref-Taruskin_2009,_71_49-1" class="reference"><a href="#cite_note-Taruskin_2009,_71-49">[43]</a></sup> In the case of <a href="/wiki/Igor_Stravinsky" title="Igor Stravinsky">Igor Stravinsky</a>'s <i><a href="/wiki/The_Rite_of_Spring" title="The Rite of Spring">Rite of Spring</a></i>, this would consist of widespread dissatisfaction leading up to violent riots.<sup id="cite_ref-52" class="reference"><a href="#cite_note-52">[46]</a></sup> In Cage's <i>4′33″</i>, the audience felt cheated by having to listen to no composed sounds from the performer. Nevertheless, in <i>4′33″</i> the audience contributed the bulk of the musical material of the piece. Since the piece consists of exclusively ambient noise, the audience's behavior, their whispers and movements, are essential elements that fill the above-mentioned time buckets.<sup id="cite_ref-53" class="reference"><a href="#cite_note-53">[47]</a></sup>
</p><p>Above all, <i>4'33"</i>—in fact, more of an experiment than a composition—is intended to question the very notion of music. Cage believed that "silence is a real note" and "will henceforth designate all the sounds not wanted by the composer".<sup id="cite_ref-:9_54-0" class="reference"><a href="#cite_note-:9-54">[48]</a></sup> He had the ambition to go beyond what is achievable on a piece of paper by leaving the musical process to chance, inviting the audience to closely monitor the ambient noises characterizing the piece.<sup id="cite_ref-:9_54-1" class="reference"><a href="#cite_note-:9-54">[48]</a></sup> French musicologist <a href="/wiki/Daniel_Charles" title="Daniel Charles">Daniel Charles</a> proposes a related theory; <i>4′33″</i> is—resulting from the composer's lack of interference in the piece—a '<a href="/wiki/Happening" title="Happening">happening</a>', since, during the performance, the musician is more of an actor than a 'musician', per se.<sup id="cite_ref-55" class="reference"><a href="#cite_note-55">[49]</a></sup><sup id="cite_ref-:10_56-0" class="reference"><a href="#cite_note-:10-56">[50]</a></sup> He also notes that it resembles a <a href="/wiki/Marcel_Duchamp" title="Marcel Duchamp">Duchamp</a>-style <a href="/wiki/Found_object" title="Found object">found object</a>, due to the fact that it creates art from objects that do not serve an artistic function, as silence is often associated with the opposite of music.<sup id="cite_ref-:10_56-1" class="reference"><a href="#cite_note-:10-56">[50]</a></sup><sup id="cite_ref-:11_57-0" class="reference"><a href="#cite_note-:11-57">[51]</a></sup> In fact, Cage's composition draws parallels to the <a href="/wiki/Dada" title="Dada">Dadaist</a> movement due to the involvement of 'anti-art' objects into art (music), its apparent nonsensical nature, and blatant defiance of the status quo.<sup id="cite_ref-58" class="reference"><a href="#cite_note-58">[52]</a></sup><sup id="cite_ref-:12_59-0" class="reference"><a href="#cite_note-:12-59">[53]</a></sup>
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<h3><span class="mw-headline" id="Silence">Silence</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=4%E2%80%B233%E2%80%B3&action=edit&section=14" title="Edit section: Silence"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></h3>
<p>Indeed, the perceived silence characterizing Cage's composition is not actually 'silence', but the interference of the ambient sounds made by the audience and environment.<sup id="cite_ref-:2_13-1" class="reference"><a href="#cite_note-:2-13">[8]</a></sup> To him, any auditory experience containing some degree of sound, and hence can be considered music,<sup id="cite_ref-60" class="reference"><a href="#cite_note-60">[54]</a></sup> countering its frequent label as "four minutes thirty-three seconds of silence".<sup id="cite_ref-FOOTNOTEFetterman199669_61-0" class="reference"><a href="#cite_note-FOOTNOTEFetterman199669-61">[55]</a></sup><sup id="cite_ref-FOOTNOTELienhard2003254_62-0" class="reference"><a href="#cite_note-FOOTNOTELienhard2003254-62">[56]</a></sup>
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<h3><span class="mw-headline" id="Psychological_impact">Psychological impact</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=4%E2%80%B233%E2%80%B3&action=edit&section=15" title="Edit section: Psychological impact"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></h3>
<p>The <a href="/wiki/Lacanianism" title="Lacanianism">Lacanian</a> approach implies a profound psychological connection to <i>4'33"</i>, as the individual is invited to ponder their surroundings and psyche.<sup id="cite_ref-63" class="reference"><a href="#cite_note-63">[57]</a></sup> In a 2013 <a href="/wiki/TED_talk" class="mw-redirect" title="TED talk">TED talk</a>, <a href="/wiki/Paul_Bloom_(psychologist)" title="Paul Bloom (psychologist)">psychologist Paul Bloom</a> put forward <i>4′33″</i> as one example to show that knowing about the origin of something influences how one formulates an opinion on it. In this case, one can deem the five minutes of silence in Cage's composition as different than five minutes of ordinary silence, as in a library, as they know where this silence originates; hence, they can feel motivated to pay to listen to <i>4'33"</i>, even though it is inherently no different than five minutes of ordinary silence.<sup id="cite_ref-64" class="reference"><a href="#cite_note-64">[58]</a></sup><sup id="cite_ref-65" class="reference"><a href="#cite_note-65">[59]</a></sup>
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<h3><span class="mw-headline" id="Surrealist_automatism">Surrealist automatism</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=4%E2%80%B233%E2%80%B3&action=edit&section=16" title="Edit section: Surrealist automatism"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></h3>
<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1033289096"><div role="note" class="hatnote navigation-not-searchable">Further information: <a href="/wiki/Surrealist_automatism" title="Surrealist automatism">Surrealist automatism</a></div><figure typeof="mw:File/Thumb"><a href="/wiki/File:AUTOMATIC_DRAWING_-BALLETre.jpg" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/f/f1/AUTOMATIC_DRAWING_-BALLETre.jpg/224px-AUTOMATIC_DRAWING_-BALLETre.jpg" decoding="async" width="224" height="248" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/f/f1/AUTOMATIC_DRAWING_-BALLETre.jpg/336px-AUTOMATIC_DRAWING_-BALLETre.jpg 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/f/f1/AUTOMATIC_DRAWING_-BALLETre.jpg/448px-AUTOMATIC_DRAWING_-BALLETre.jpg 2x" data-file-width="4800" data-file-height="5310" /></a><figcaption>An example of an <a href="/wiki/Surrealist_automatism" title="Surrealist automatism">automatic painting</a></figcaption></figure>
<p>Some musicologists have argued that <i>4′33″</i> is an example of <a href="/wiki/Surrealist_automatism" title="Surrealist automatism">surrealist automatism</a>. Since the <a href="/wiki/Romantic_Era" class="mw-redirect" title="Romantic Era">Romantic Era</a> composers have been striving to produce music that could be separated from any social connections, transcending the boundaries of time and space. In automatism, composers and artists strive to eliminate their role in the creation of work, motivated by the belief that self-expression always includes the infiltration of the social standards—that the individual (including the musician) is subjected to from birth—in artistic truth (the message the musician wishes to convey).<sup id="cite_ref-:4_51-1" class="reference"><a href="#cite_note-:4-51">[45]</a></sup><sup id="cite_ref-:7_66-0" class="reference"><a href="#cite_note-:7-66">[60]</a></sup>
</p><p>Therefore, the only method by which the listener can realize artistic truth involves the separation of the musician from their work. In <i>4'33"</i>, the composer has no impact in his work, as Cage cannot control the ambient sounds detected by the audience. Hence, the composition is automatic since the musician has no involvement in how the listener interprets it.<sup id="cite_ref-:4_51-2" class="reference"><a href="#cite_note-:4-51">[45]</a></sup>
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<h3><span class="mw-headline" id="Indeterminacy">Indeterminacy</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=4%E2%80%B233%E2%80%B3&action=edit&section=17" title="Edit section: Indeterminacy"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></h3>
<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1033289096"><div role="note" class="hatnote navigation-not-searchable">Further information: <a href="/wiki/Indeterminacy_(music)" title="Indeterminacy (music)">Indeterminacy (music)</a></div><style data-mw-deduplicate="TemplateStyles:r1097763485">.mw-parser-output .ambox{border:1px solid #a2a9b1;border-left:10px solid #36c;background-color:#fbfbfb;box-sizing:border-box}.mw-parser-output .ambox+link+.ambox,.mw-parser-output .ambox+link+style+.ambox,.mw-parser-output .ambox+link+link+.ambox,.mw-parser-output .ambox+.mw-empty-elt+link+.ambox,.mw-parser-output .ambox+.mw-empty-elt+link+style+.ambox,.mw-parser-output .ambox+.mw-empty-elt+link+link+.ambox{margin-top:-1px}html body.mediawiki .mw-parser-output .ambox.mbox-small-left{margin:4px 1em 4px 0;overflow:hidden;width:238px;border-collapse:collapse;font-size:88%;line-height:1.25em}.mw-parser-output .ambox-speedy{border-left:10px solid #b32424;background-color:#fee7e6}.mw-parser-output .ambox-delete{border-left:10px solid #b32424}.mw-parser-output .ambox-content{border-left:10px solid #f28500}.mw-parser-output .ambox-style{border-left:10px solid #fc3}.mw-parser-output .ambox-move{border-left:10px solid #9932cc}.mw-parser-output .ambox-protection{border-left:10px solid #a2a9b1}.mw-parser-output .ambox .mbox-text{border:none;padding:0.25em 0.5em;width:100%}.mw-parser-output .ambox .mbox-image{border:none;padding:2px 0 2px 0.5em;text-align:center}.mw-parser-output .ambox .mbox-imageright{border:none;padding:2px 0.5em 2px 0;text-align:center}.mw-parser-output .ambox .mbox-empty-cell{border:none;padding:0;width:1px}.mw-parser-output .ambox .mbox-image-div{width:52px}html.client-js body.skin-minerva .mw-parser-output .mbox-text-span{margin-left:23px!important}@media(min-width:720px){.mw-parser-output .ambox{margin:0 10%}}</style><table class="box-Expand_section plainlinks metadata ambox mbox-small-left ambox-content" role="presentation"><tbody><tr><td class="mbox-image"><span typeof="mw:File"><a href="/wiki/File:Wiki_letter_w_cropped.svg" class="mw-file-description"><img alt="[icon]" src="//upload.wikimedia.org/wikipedia/commons/thumb/1/1c/Wiki_letter_w_cropped.svg/20px-Wiki_letter_w_cropped.svg.png" decoding="async" width="20" height="14" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/1/1c/Wiki_letter_w_cropped.svg/30px-Wiki_letter_w_cropped.svg.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/1/1c/Wiki_letter_w_cropped.svg/40px-Wiki_letter_w_cropped.svg.png 2x" data-file-width="44" data-file-height="31" /></a></span></td><td class="mbox-text"><div class="mbox-text-span">This section <b>needs expansion</b>. You can help by <a class="external text" href="https://en.wikipedia.org/w/index.php?title=4%E2%80%B233%E2%80%B3&action=edit&section=">adding to it</a>. <span class="date-container"><i>(<span class="date">February 2024</span>)</i></span></div></td></tr></tbody></table>
<p>A pioneer of <a href="/wiki/Indeterminacy_(music)" title="Indeterminacy (music)">musical indeterminacy</a>, Cage defined it as "the ability of a piece to be performed in substantially different ways".<sup id="cite_ref-67" class="reference"><a href="#cite_note-67">[61]</a></sup>
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<h2><span class="mw-headline" id="Versions">Versions</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=4%E2%80%B233%E2%80%B3&action=edit&section=18" title="Edit section: Versions"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></h2>
<h3><span class="mw-headline" id="Of_the_score">Of the score</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=4%E2%80%B233%E2%80%B3&action=edit&section=19" title="Edit section: Of the score"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></h3>
<p>Several versions of the score exist;<sup id="cite_ref-Solomon_1998/2002_40-1" class="reference"><a href="#cite_note-Solomon_1998/2002-40">[34]</a></sup> the four below are the main samples that could be identified. Their shared quality is the composition's duration of four minutes and thirty-three seconds—reflected in the title '<i>4'33"</i>'—<sup id="cite_ref-:6_68-0" class="reference"><a href="#cite_note-:6-68">[62]</a></sup> but there is some discrepancy between the lengths of individual movements, specified in different versions of the score.<sup id="cite_ref-Timing_71-0" class="reference"><a href="#cite_note-Timing-71">[g]</a></sup><sup id="cite_ref-Movements_2_73-0" class="reference"><a href="#cite_note-Movements_2-73">[h]</a></sup> The causes of this discrepancy are not currently understood.<sup id="cite_ref-Solomon_1998/2002_40-2" class="reference"><a href="#cite_note-Solomon_1998/2002-40">[34]</a></sup>
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<h4><span class="mw-headline" id="Woodstock_manuscript_and_reproduction">Woodstock manuscript and reproduction</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=4%E2%80%B233%E2%80%B3&action=edit&section=20" title="Edit section: Woodstock manuscript and reproduction"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></h4>
<p>The original Woodstock manuscript (August 1952) is written in conventional <a href="/wiki/Notation_system" title="Notation system">notation</a> and dedicated to David Tudor – the first to perform the piece. It is currently lost, but Tudor did attempt to recreate the original score, reproduced in William Fetterman's book <i>John Cage's Theatre Pieces: Notations and Performances</i>.<sup id="cite_ref-74" class="reference"><a href="#cite_note-74">[66]</a></sup> The reproduction notes that <i>4'33"</i> can be performed for any instrument or combination of instruments. Regarding tempo, it includes a <a href="/wiki/Clef" title="Clef">treble clef</a> <a href="/wiki/Staff_(music)" title="Staff (music)">staff</a> with a 4/4 <a href="/wiki/Time_signature" title="Time signature">time signature</a>, and the beginning of each sentence is identified with <a href="/wiki/Roman_numerals" title="Roman numerals">Roman numerals</a> and a <a href="/wiki/Scale_(music)" title="Scale (music)">scale</a> indication: '60 [quarter] = 1/2-inch'. At the end of each sentence, there is information about each movement's duration in minutes and seconds; these are: 'I = 30 seconds', 'II = 2 minutes 23 seconds' and 'III = 1 minute 40 seconds'.<sup id="cite_ref-75" class="reference"><a href="#cite_note-75">[67]</a></sup> Tudor commented: "It's important that you read the score as you're performing it, so there are these pages you use. So you wait, and then turn the page. I know it sounds very straight, but in the end it makes a difference".<sup id="cite_ref-76" class="reference"><a href="#cite_note-76">[68]</a></sup>
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<h4><span class="mw-headline" id="Kremen_manuscript">Kremen manuscript</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=4%E2%80%B233%E2%80%B3&action=edit&section=21" title="Edit section: Kremen manuscript"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></h4>
<p>The Kremen manuscript (1953) is written in graphic, space-time notation—which Cage dubbed "proportional notation"—and dedicated to the American artist <a href="/wiki/Irwin_Kremen" title="Irwin Kremen">Irwin Kremen</a>. The movements of the piece are rendered as space between long vertical lines; a <a href="/wiki/Tempo" title="Tempo">tempo</a> indication is provided (60), and at the end of each movement the time is indicated in minutes and seconds. In page 4, the note '1 PAGE = 7 INCHES = 56″' is included. The same instructions, timing and indications to the reproduced Woodstock manuscript are implemented.<sup id="cite_ref-77" class="reference"><a href="#cite_note-77">[69]</a></sup><sup id="cite_ref-78" class="reference"><a href="#cite_note-78">[70]</a></sup>
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<h4><span class="mw-headline" id="First_Tacet_Edition">First Tacet Edition</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=4%E2%80%B233%E2%80%B3&action=edit&section=22" title="Edit section: First Tacet Edition"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></h4>
<figure typeof="mw:File/Thumb"><a href="/wiki/File:Excerpt_from_First_Tacet_Edition_of_John_Cage%27s_4%2733%27_(1960).png" class="mw-file-description"><img src="//upload.wikimedia.org/wikipedia/commons/thumb/6/6e/Excerpt_from_First_Tacet_Edition_of_John_Cage%27s_4%2733%27_%281960%29.png/308px-Excerpt_from_First_Tacet_Edition_of_John_Cage%27s_4%2733%27_%281960%29.png" decoding="async" width="308" height="328" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/6/6e/Excerpt_from_First_Tacet_Edition_of_John_Cage%27s_4%2733%27_%281960%29.png/461px-Excerpt_from_First_Tacet_Edition_of_John_Cage%27s_4%2733%27_%281960%29.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/6/6e/Excerpt_from_First_Tacet_Edition_of_John_Cage%27s_4%2733%27_%281960%29.png/615px-Excerpt_from_First_Tacet_Edition_of_John_Cage%27s_4%2733%27_%281960%29.png 2x" data-file-width="724" data-file-height="772" /></a><figcaption>An excerpt from the <i>First Tacet Edition</i> (1960), including the organization of the composition's movements and a personal note typed by <a href="/wiki/John_Cage" title="John Cage">Cage</a> describing their duration, dedicated to <a href="/wiki/Irwin_Kremen" title="Irwin Kremen">Irwin Kremen</a></figcaption></figure>
<p>The so-called <i>First Tacet Edition</i> (or <i>Typed Tacet Edition</i>) (1960) is a typewritten score, originally printed in <a href="/wiki/Edition_Peters" title="Edition Peters">Edition Peters</a> as EP No. 6777.<sup id="cite_ref-:6_68-1" class="reference"><a href="#cite_note-:6-68">[62]</a></sup> It lists the three movements using Roman numbers, with the word '<a href="/wiki/Tacet" title="Tacet">tacet</a>' underneath each. A note by Cage describes the first performance and mentions that "the work may be performed by any instrumentalist or combination of instrumentalists and last any length of time". In doing so, Cage not only regulates the reading of the score, but also determines the identity of the composition.<sup id="cite_ref-:5_79-0" class="reference"><a href="#cite_note-:5-79">[71]</a></sup><sup id="cite_ref-80" class="reference"><a href="#cite_note-80">[72]</a></sup> Conversely to the initial two manuscripts, Cage notes that the premiere organized the movements into the following durations: 33", 2'40" and 1'20", and adds that the their length "must be found by chance" performance.<sup id="cite_ref-81" class="reference"><a href="#cite_note-81">[73]</a></sup><sup id="cite_ref-:5_79-1" class="reference"><a href="#cite_note-:5-79">[71]</a></sup> The <i>First Tacet Edition</i> is described in <a href="/wiki/Michael_Nyman" title="Michael Nyman">Michael Nyman</a>'s book <i>Experimental Music: Cage and Beyond</i>, but is not reproduced.<sup id="cite_ref-82" class="reference"><a href="#cite_note-82">[74]</a></sup>
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<h4><span class="mw-headline" id="Second_Tacet_Edition"><i>Second Tacet Edition</i></span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=4%E2%80%B233%E2%80%B3&action=edit&section=23" title="Edit section: Second Tacet Edition"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></h4>
<p>The so-called <i>Second Tacet Edition</i> (or <i>Calligraphic Tacet Edition</i>) (1986) is the same as the First, except that it is printed in Cage's calligraphy, and the explanatory note mentions the Kremen manuscript.<sup id="cite_ref-83" class="reference"><a href="#cite_note-83">[75]</a></sup> It is also classified as EP No. 6777 (i.e., it carries the same catalog number as the first <i>Tacet Edition</i>).<sup id="cite_ref-:6_68-2" class="reference"><a href="#cite_note-:6-68">[62]</a></sup> Additionally, a facsimile, reduced in size, of the Kremen manuscript, appeared in July 1967 in <i>Source</i> 1, no. 2:46–54.
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<h3><span class="mw-headline" id="Of_the_composition_itself">Of the composition itself</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=4%E2%80%B233%E2%80%B3&action=edit&section=24" title="Edit section: Of the composition itself"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></h3>
<h4><span id="4.E2.80.B233.E2.80.B3_No._2"></span><span class="mw-headline" id="4′33″_No._2"><i>4′33″ No. 2</i></span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=4%E2%80%B233%E2%80%B3&action=edit&section=25" title="Edit section: 4′33″ No. 2"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></h4>
<p>In 1962, Cage wrote <i>0′00″</i>, which is also referred to as <i>4′33″ No. 2</i>. The directions originally consisted of one sentence: "In a situation provided with maximum amplification, perform a disciplined action".<sup id="cite_ref-84" class="reference"><a href="#cite_note-84">[76]</a></sup> At the first performance Cage had to write that sentence. The second performance added four new qualifications to the directions: "the performer should allow any interruptions of the action, the action should fulfill an obligation to others, the same action should not be used in more than one performance, and should not be the performance of a musical composition".<sup id="cite_ref-85" class="reference"><a href="#cite_note-85">[77]</a></sup>
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<h4><span class="mw-headline" id="One3"><i>One<sup>3</sup></i></span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=4%E2%80%B233%E2%80%B3&action=edit&section=26" title="Edit section: One3"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></h4>
<p>In late 1989, three years before his death, Cage revisited the idea of <i>4′33″</i> one last time. He composed <i>One<sup>3</sup></i>, the full title of which is <i>One<sup>3</sup> = 4′33″ (0′00″) + [G Clef]</i>. As in all of the <a href="/wiki/Number_Pieces" title="Number Pieces">Number Pieces</a>, 'One' refers to the number of performers required. The score instructs the performer to build a <a href="/wiki/Sound_reinforcement_system" title="Sound reinforcement system">sound system</a> in the concert hall, so that "the whole hall is on the edge of <a href="/wiki/Audio_feedback" title="Audio feedback">feedback</a>, without actually feeding back". The content of the piece is the electronically amplified sound of the hall and the audience.<sup id="cite_ref-86" class="reference"><a href="#cite_note-86">[78]</a></sup>
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<h2><span class="mw-headline" id="Legacy">Legacy</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=4%E2%80%B233%E2%80%B3&action=edit&section=27" title="Edit section: Legacy"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></h2>
<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1097763485"><table class="box-Expand_section plainlinks metadata ambox mbox-small-left ambox-content" role="presentation"><tbody><tr><td class="mbox-image"><span typeof="mw:File"><a href="/wiki/File:Wiki_letter_w_cropped.svg" class="mw-file-description"><img alt="[icon]" src="//upload.wikimedia.org/wikipedia/commons/thumb/1/1c/Wiki_letter_w_cropped.svg/20px-Wiki_letter_w_cropped.svg.png" decoding="async" width="20" height="14" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/1/1c/Wiki_letter_w_cropped.svg/30px-Wiki_letter_w_cropped.svg.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/1/1c/Wiki_letter_w_cropped.svg/40px-Wiki_letter_w_cropped.svg.png 2x" data-file-width="44" data-file-height="31" /></a></span></td><td class="mbox-text"><div class="mbox-text-span">This section <b>needs expansion</b>. You can help by <a class="external text" href="https://en.wikipedia.org/w/index.php?title=4%E2%80%B233%E2%80%B3&action=edit&section=">adding to it</a>. <span class="date-container"><i>(<span class="date">February 2024</span>)</i></span></div></td></tr></tbody></table>
<h3><span class="mw-headline" id="Controversies">Controversies</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=4%E2%80%B233%E2%80%B3&action=edit&section=28" title="Edit section: Controversies"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></h3>
<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1097763485"><table class="box-Expand_section plainlinks metadata ambox mbox-small-left ambox-content" role="presentation"><tbody><tr><td class="mbox-image"><span typeof="mw:File"><a href="/wiki/File:Wiki_letter_w_cropped.svg" class="mw-file-description"><img alt="[icon]" src="//upload.wikimedia.org/wikipedia/commons/thumb/1/1c/Wiki_letter_w_cropped.svg/20px-Wiki_letter_w_cropped.svg.png" decoding="async" width="20" height="14" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/1/1c/Wiki_letter_w_cropped.svg/30px-Wiki_letter_w_cropped.svg.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/1/1c/Wiki_letter_w_cropped.svg/40px-Wiki_letter_w_cropped.svg.png 2x" data-file-width="44" data-file-height="31" /></a></span></td><td class="mbox-text"><div class="mbox-text-span">This section <b>needs expansion</b>. You can help by <a class="external text" href="https://en.wikipedia.org/w/index.php?title=4%E2%80%B233%E2%80%B3&action=edit&section=">adding to it</a>. <span class="date-container"><i>(<span class="date">February 2024</span>)</i></span></div></td></tr></tbody></table>
<h2><span class="mw-headline" id="Plagiarism">Plagiarism</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=4%E2%80%B233%E2%80%B3&action=edit&section=29" title="Edit section: Plagiarism"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></h2>
<p>In July 2002, Cage's heirs sued British singer-songwriter <a href="/wiki/Mike_Batt" title="Mike Batt">Mike Batt</a> for plagiarism for the 'song' "A One Minute Silence": literally, a minute of silence. To support his crossover ensemble <a href="/wiki/The_Planets_(band)" title="The Planets (band)">The Planets</a>, he inserted a one-minute pause in their February 2002 album "Classical Graffiti" under the authorship 'Batt/Cage'—<sup id="cite_ref-:13_87-0" class="reference"><a href="#cite_note-:13-87">[79]</a></sup>supposedly to honor the composer. He was then sued by the Mechanical Copyright Protection Society for "plagiarizing Cage's silence [<i>4'33"</i>].<sup id="cite_ref-:13_87-1" class="reference"><a href="#cite_note-:13-87">[79]</a></sup>
</p><p>Initially, Batt said he would defend himself against these accusations, stating that "A One Minute Silence" was "a much better silent piece" and that he was "able to say in one minute what Cage could only say in four minutes and 33 seconds".<sup id="cite_ref-88" class="reference"><a href="#cite_note-88">[80]</a></sup> He eventually reached an out-of-court settlement with the composer's heirs in September 2002 and paid an undisclosed six-figure compensation.<sup id="cite_ref-:7_66-1" class="reference"><a href="#cite_note-:7-66">[60]</a></sup><sup id="cite_ref-:8_89-0" class="reference"><a href="#cite_note-:8-89">[81]</a></sup> However, in December 2010, Batt admitted that the alleged legal dispute was a publicity stunt and that he had actually only made a donation of £1,000 to the <i>John Cage Foundation</i>.<sup id="cite_ref-:8_89-1" class="reference"><a href="#cite_note-:8-89">[81]</a></sup>
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<h2><span class="mw-headline" id="Christmas_number_one_campaign">Christmas number one campaign</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=4%E2%80%B233%E2%80%B3&action=edit&section=30" title="Edit section: Christmas number one campaign"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></h2>
<p>In the week leading up to Christmas 2010, a <a href="/wiki/Facebook_page" class="mw-redirect" title="Facebook page">Facebook page</a> was created to encourage residents of the United Kingdom to buy a new rendition of <i>4′33″</i>,<sup id="cite_ref-facebook_90-0" class="reference"><a href="#cite_note-facebook-90">[82]</a></sup> in the hope that it would prevent the winner of the <a href="/wiki/The_X_Factor_(British_series_7)" class="mw-redirect" title="The X Factor (British series 7)">seventh series of <i>The X Factor</i></a>, <a href="/wiki/Matt_Cardle" title="Matt Cardle">Matt Cradle</a>, from topping the <a href="/wiki/UK_Singles_Chart" class="mw-redirect" title="UK Singles Chart">UK Singles Chart</a> and becoming the <a href="/wiki/List_of_UK_Singles_Chart_Christmas_number_ones" class="mw-redirect" title="List of UK Singles Chart Christmas number ones">Christmas number one</a>.<sup id="cite_ref-91" class="reference"><a href="#cite_note-91">[83]</a></sup> The page was inspired by a similar campaign the year prior, in which a Facebook page set up by English radio DJ <a href="/wiki/Jon_Morter" title="Jon Morter">Jon Morter</a> and his then-wife Tracey, prompting people to buy <a href="/wiki/Rage_Against_the_Machine" title="Rage Against the Machine">Rage Against the Machine</a>'s "<a href="/wiki/Killing_in_the_Name" title="Killing in the Name">Killing in the Name</a>" in the week before Christmas 2009 to make it the Christmas number one.<sup id="cite_ref-92" class="reference"><a href="#cite_note-92">[84]</a></sup> Hence, the <i>4'33"</i> campaign was dubbed 'Cage Against the Machine'.<sup id="cite_ref-93" class="reference"><a href="#cite_note-93">[85]</a></sup><sup id="cite_ref-94" class="reference"><a href="#cite_note-94">[86]</a></sup> The creators of the Facebook page hoped that reaching number one would promote Cage's composition and "make December 25 'a silent night'."<sup id="cite_ref-95" class="reference"><a href="#cite_note-95">[87]</a></sup>
</p><p>The campaign received support from several celebrities. It first came into prominence after <a href="/wiki/Science_writer" class="mw-redirect" title="Science writer">science writer</a> <a href="/wiki/Ben_Goldacre" title="Ben Goldacre">Ben Goldacre</a> mentioned it on his Twitter profile.<sup id="cite_ref-96" class="reference"><a href="#cite_note-96">[88]</a></sup> Despite many similar campaigns occurring that year, <i><a href="/wiki/The_Guardian" title="The Guardian">The Guardian</a></i> journalist Tom Ewing considered 'Cage Against the Machine' "the <i>only</i> effort this year with a hope of [reaching number one]".<sup id="cite_ref-97" class="reference"><a href="#cite_note-97">[89]</a></sup> <a href="/wiki/XFM" class="mw-redirect" title="XFM">XFM</a> DJ <a href="/wiki/Eddy_Temple-Morris" title="Eddy Temple-Morris">Eddy Temple-Morris</a> and <i>The Guardian</i> journalist Luke Bainbridge also voiced their support.<sup id="cite_ref-98" class="reference"><a href="#cite_note-98">[90]</a></sup><sup id="cite_ref-99" class="reference"><a href="#cite_note-99">[91]</a></sup> Ultimately, the rendition of <i>4'33"</i> failed to reach number one, only peaking at number 21 on the charts; the winning song of <i>X Factor</i> instead became Christmas number one of 2010.<sup id="cite_ref-100" class="reference"><a href="#cite_note-100">[92]</a></sup><sup id="cite_ref-101" class="reference"><a href="#cite_note-101">[93]</a></sup>
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<h2><span class="mw-headline" id="Notable_performances_and_recordings">Notable performances and recordings</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=4%E2%80%B233%E2%80%B3&action=edit&section=31" title="Edit section: Notable performances and recordings"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></h2>
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<div class="side-box-image"><figure class="mw-halign-center" typeof="mw:File"><span><img alt="" src="//upload.wikimedia.org/wikipedia/commons/thumb/8/87/Gnome-mime-sound-openclipart.svg/50px-Gnome-mime-sound-openclipart.svg.png" decoding="async" width="50" height="50" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/8/87/Gnome-mime-sound-openclipart.svg/75px-Gnome-mime-sound-openclipart.svg.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/8/87/Gnome-mime-sound-openclipart.svg/100px-Gnome-mime-sound-openclipart.svg.png 2x" data-file-width="160" data-file-height="160" /></span><figcaption></figcaption></figure></div>
<div class="side-box-text plainlist"><div class="listen-header"><b>John Cage's <i>4'33"</i> (1952)</b></div>
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<div class="listen-file-header"><a href="/wiki/File:4m33s.ogg" title="File:4m33s.ogg">...</a></div>
<div><span typeof="mw:File"><span><audio id="mwe_player_0" controls="" preload="none" class="mw-file-element" width="232" style="width:232px;" data-durationhint="273" data-mwtitle="4m33s.ogg" data-mwprovider="wikimediacommons"><source src="//upload.wikimedia.org/wikipedia/commons/7/7f/4m33s.ogg" type="audio/ogg; codecs="vorbis"" data-width="0" data-height="0" /><source src="//upload.wikimedia.org/wikipedia/commons/transcoded/7/7f/4m33s.ogg/4m33s.ogg.mp3" type="audio/mpeg" data-transcodekey="mp3" data-width="0" data-height="0" /><track src="https://commons.wikimedia.org/w/api.php?action=timedtext&title=File%3A4m33s.ogg&lang=en&trackformat=vtt&origin=%2A" kind="subtitles" type="text/vtt" srclang="en" label="English (en)" data-dir="ltr" /><track src="https://commons.wikimedia.org/w/api.php?action=timedtext&title=File%3A4m33s.ogg&lang=fr&trackformat=vtt&origin=%2A" kind="subtitles" type="text/vtt" srclang="fr" label="français (fr)" data-dir="ltr" /></audio></span></span></div>
<div class="description">A performance of <i>4'33"</i> (four minutes and thirty-three seconds of silence)</div></div></div></div>
<div class="side-box-abovebelow"><hr /><i class="selfreference">Problems playing this file? See <a href="/wiki/Help:Media" title="Help:Media">media help</a>.</i></div>
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<p>Due to its unique avant-garde style, many musicians and groups have performed <i>4'33"</i>, featuring in several works such as albums.
</p>
<ul><li><a href="/wiki/Frank_Zappa" title="Frank Zappa">Frank Zappa</a> recorded a version of the composition as part of the collaborative album <i>A Chance Operation: The John Cage Tribute</i>, released by <a href="/wiki/Koch_Entertainment" title="Koch Entertainment">Koch Entertainment</a> in 1993.<sup id="cite_ref-102" class="reference"><a href="#cite_note-102">[94]</a></sup></li>
<li>Several performances of <i>4′33″</i> including a 'techno remix' of the <a href="/wiki/New_Waver" title="New Waver">New Waver</a> project were broadcast on Australian radio station <a href="/wiki/ABC_Classic_FM" class="mw-redirect" title="ABC Classic FM">ABC Classic FM</a>, as part of a program exploring "sonic responses" to Cage's work.<sup id="cite_ref-103" class="reference"><a href="#cite_note-103">[95]</a></sup> Another of these 'responses' was the rendition named 'You Can Make Your Own Music', recorded by the Swedish electronic band <a href="/wiki/Covenant_(band)" title="Covenant (band)">Covenant</a> as part of their 2000 album <i><a href="/wiki/United_States_of_Mind_(album)" title="United States of Mind (album)">United States of Mind</a></i>.<sup id="cite_ref-104" class="reference"><a href="#cite_note-104">[96]</a></sup></li>
<li>On January 16, 2004, at the <a href="/wiki/Barbican_Centre" title="Barbican Centre">Barbican Centre</a> in London, the <a href="/wiki/BBC_Symphony_Orchestra" title="BBC Symphony Orchestra">BBC Symphony Orchestra</a> gave the United Kingdom's first orchestral performance of this work, conducted by <a href="/wiki/Lawrence_Foster" title="Lawrence Foster">Lawrence Foster</a>. The performance was broadcast live on <a href="/wiki/BBC_Radio_3" title="BBC Radio 3">BBC Radio 3</a>, and the station faced a unique problem; its emergency system—automatically switching on and playing separate music in a period of perceived silence '<a href="/wiki/Dead_air" title="Dead air">dead air</a>'—interrupted the broadcast, and had to be switched off.<sup id="cite_ref-105" class="reference"><a href="#cite_note-105">[97]</a></sup> On the same day, a <a href="/wiki/Tongue-in-cheek" title="Tongue-in-cheek">tongue-in-cheek</a> version was recorded by the staff of <i>The Guardian</i>.<sup id="cite_ref-106" class="reference"><a href="#cite_note-106">[98]</a></sup></li>
<li>On December 5, 2010, an international simultaneous performance of <i>4′33″</i> took place among 200 performers, amateur and professional musicians, and artists. The global orchestra, conducted live by Bob Dickinson, via video link, performed the piece in support of the 'Cage Against The Machine' campaign to bring <i>4′33″</i> to 2010 Christmas Number 1 in the <a href="/wiki/UK_Singles_Chart" class="mw-redirect" title="UK Singles Chart">UK Singles Chart</a>.<sup id="cite_ref-107" class="reference"><a href="#cite_note-107">[99]</a></sup></li>
<li>On November 17, 2015, the television program <i><a href="/wiki/The_Late_Show_with_Stephen_Colbert" title="The Late Show with Stephen Colbert">The Late Show with Stephen Colbert</a></i> uploaded a video of the piece being performed by a cat, showing that its musician is not required to be human.<sup id="cite_ref-108" class="reference"><a href="#cite_note-108">[100]</a></sup></li>
<li>In May 2019, <a href="/wiki/Mute_Records" title="Mute Records">Mute Records</a> released a compilation box set entitled <i>STUMM433</i> featuring interpretations of <i>4′33″</i> by more than 50 artists which had collaborated with the record label, including <a href="/wiki/Laibach" title="Laibach">Laibach</a>, <a href="/wiki/Depeche_Mode" title="Depeche Mode">Depeche Mode</a>, <a href="/wiki/Cabaret_Voltaire_(band)" title="Cabaret Voltaire (band)">Cabaret Voltaire</a>, <a href="/wiki/Einst%C3%BCrzende_Neubauten" title="Einstürzende Neubauten">Einstürzende Neubauten</a>, <a href="/wiki/Goldfrapp" title="Goldfrapp">Goldfrapp</a>, <a href="/wiki/Moby" title="Moby">Moby</a>, <a href="/wiki/Erasure_(duo)" title="Erasure (duo)">Erasure</a>.<sup id="cite_ref-109" class="reference"><a href="#cite_note-109">[101]</a></sup></li>
<li>On October 31, 2020, the <a href="/wiki/Berlin_Philharmonic" title="Berlin Philharmonic">Berlin Philharmonic</a> closed their last concert before a government-mandated <a href="/wiki/COVID-19_lockdowns" title="COVID-19 lockdowns">COVID-19 related lockdown</a> with a performance of the piece, conducted by <a href="/wiki/Kirill_Petrenko" title="Kirill Petrenko">Kirill Petrenko</a>, "to draw attention to the plight of artists following the lockdown of cultural institutions".<sup id="cite_ref-110" class="reference"><a href="#cite_note-110">[102]</a></sup></li></ul>
<h2><span class="mw-headline" id="Notes_and_references">Notes and references</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=4%E2%80%B233%E2%80%B3&action=edit&section=32" title="Edit section: Notes and references"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></h2>
<h3><span class="mw-headline" id="Explanatory_notes">Explanatory notes</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=4%E2%80%B233%E2%80%B3&action=edit&section=33" title="Edit section: Explanatory notes"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></h3>
<style data-mw-deduplicate="TemplateStyles:r1217336898">.mw-parser-output .reflist{font-size:90%;margin-bottom:0.5em;list-style-type:decimal}.mw-parser-output .reflist .references{font-size:100%;margin-bottom:0;list-style-type:inherit}.mw-parser-output .reflist-columns-2{column-width:30em}.mw-parser-output .reflist-columns-3{column-width:25em}.mw-parser-output .reflist-columns{margin-top:0.3em}.mw-parser-output .reflist-columns ol{margin-top:0}.mw-parser-output .reflist-columns li{page-break-inside:avoid;break-inside:avoid-column}.mw-parser-output .reflist-upper-alpha{list-style-type:upper-alpha}.mw-parser-output .reflist-upper-roman{list-style-type:upper-roman}.mw-parser-output .reflist-lower-alpha{list-style-type:lower-alpha}.mw-parser-output .reflist-lower-greek{list-style-type:lower-greek}.mw-parser-output .reflist-lower-roman{list-style-type:lower-roman}</style><div class="reflist reflist-lower-alpha">
<div class="mw-references-wrap"><ol class="references">
<li id="cite_note-Name-2"><span class="mw-cite-backlink"><b><a href="#cite_ref-Name_2-0">^</a></b></span> <span class="reference-text">Often pronounced simply as 'four thirty-three', but sometimes alternatively as 'four minutes, thirty-three seconds' or 'four minutes and thirty-three seconds'.<sup id="cite_ref-FOOTNOTESolomon2002_1-0" class="reference"><a href="#cite_note-FOOTNOTESolomon2002-1">[1]</a></sup></span>
</li>
<li id="cite_note-Composition-5"><span class="mw-cite-backlink"><b><a href="#cite_ref-Composition_5-0">^</a></b></span> <span class="reference-text">The labelling of <i>4'33"</i> as a 'composition' is controversial, as it is <i>intrinsically</i> silence—the very opposite of music, which is often defined as "sounds organized by humans", at the very least.<sup id="cite_ref-FOOTNOTEArnoldKramer20235_3-0" class="reference"><a href="#cite_note-FOOTNOTEArnoldKramer20235-3">[2]</a></sup> However, Cage maintains that his piece is not silence, but the combination of ambient noises heard by the audience, which can be deemed 'music'.<sup id="cite_ref-FOOTNOTEKostelanetz200370_4-0" class="reference"><a href="#cite_note-FOOTNOTEKostelanetz200370-4">[3]</a></sup> Therefore, for the sake of consistency, <i>4'33"</i> can be considered a 'composition'.</span>
</li>
<li id="cite_note-Movement-8"><span class="mw-cite-backlink"><b><a href="#cite_ref-Movement_8-0">^</a></b></span> <span class="reference-text">Cage divided the composition into three distinct movements,<sup id="cite_ref-FOOTNOTESolomon2002_1-1" class="reference"><a href="#cite_note-FOOTNOTESolomon2002-1">[1]</a></sup> but this is often disregarded; the piece is silence, and a movement is defined as "sections of a work [which] may be distinguished in terms of style, key and tempo".<sup id="cite_ref-FOOTNOTEThomsett2012135_6-0" class="reference"><a href="#cite_note-FOOTNOTEThomsett2012135-6">[4]</a></sup> While there is no perceived distinguishment between the three sections, Cage insists that there is, as the variation in ambient sounds between each movement is, in itself, a distinction.<sup id="cite_ref-FOOTNOTEKostelanetz200369–70_7-0" class="reference"><a href="#cite_note-FOOTNOTEKostelanetz200369–70-7">[5]</a></sup></span>
</li>
<li id="cite_note-10"><span class="mw-cite-backlink"><b><a href="#cite_ref-10">^</a></b></span> <span class="reference-text">According to a reproduction of the original Woodstock manuscript.<sup id="cite_ref-FOOTNOTEBormann2005194_9-0" class="reference"><a href="#cite_note-FOOTNOTEBormann2005194-9">[6]</a></sup></span>
</li>
<li id="cite_note-Absolute_silence-12"><span class="mw-cite-backlink"><b><a href="#cite_ref-Absolute_silence_12-0">^</a></b></span> <span class="reference-text">This article distinguishes between 'silence' and 'absolute silence'. 'Silence' is defined as the lack of sounds <i>within</i> the composition itself, while 'absolute silence' is the complete lack of sounds, both within and outside the composition—so, silence in the hall in which <i>4'33"</i> is performed. Cage insists that no absolute silence can exist; the perceived silence of his composition is, in fact, not absolute, since many ambient sounds can be heard while it is performed.<sup id="cite_ref-FOOTNOTEFetterman199671_11-0" class="reference"><a href="#cite_note-FOOTNOTEFetterman199671-11">[7]</a></sup></span>
</li>
<li id="cite_note-39"><span class="mw-cite-backlink"><b><a href="#cite_ref-39">^</a></b></span> <span class="reference-text">The actions of Tudor in the first performance are often misdescribed so that the lid is explained as being open during the movements. Cage's handwritten score (produced after the first performance) states that the lid was closed during the movements, and opened to mark the spaces between.</span>
</li>
<li id="cite_note-Timing-71"><span class="mw-cite-backlink"><b><a href="#cite_ref-Timing_71-0">^</a></b></span> <span class="reference-text">The Woodstock printed program specifies the lengths 30″, 2′23″ and 1′40″, as does the Kremen manuscript, but the latter versions have a distinguished tempo. In the First Tacet Edition, Cage writes that at the premiere the timings were 33″, 2′40″ and 1′20″, and in the Second Tacet Edition, he adds that after the premiere, a copy had been made for Irwin Kremen, in which the lengths of the movements were 30″, 2′23″ and 1′40″.<sup id="cite_ref-FOOTNOTEFetterman199669–80_69-0" class="reference"><a href="#cite_note-FOOTNOTEFetterman199669–80-69">[63]</a></sup> Some later performances would not abide by this duration, as seen in Frank Zappa's 1993 recording on the 1993 double-CD <i>A Chance Operation: The John Cage Tribute</i>, amounting to five minutes and fifty-three seconds.<sup id="cite_ref-FOOTNOTEFetterman199683_70-0" class="reference"><a href="#cite_note-FOOTNOTEFetterman199683-70">[64]</a></sup> </span>
</li>
<li id="cite_note-Movements_2-73"><span class="mw-cite-backlink"><b><a href="#cite_ref-Movements_2_73-0">^</a></b></span> <span class="reference-text">While Cage specifies three movements incorporated in the piece,<sup id="cite_ref-FOOTNOTEFetterman199680_72-0" class="reference"><a href="#cite_note-FOOTNOTEFetterman199680-72">[65]</a></sup> some later performances included a different number of movements. An example is the recording by the Hungarian Amadinda Percussion Group, consisting of
a recording of ambient outdoor bird song in one movement;<sup id="cite_ref-FOOTNOTEFetterman199683_70-1" class="reference"><a href="#cite_note-FOOTNOTEFetterman199683-70">[64]</a></sup> Frank Zappa's recording also includes wildly different time bands: '35", 1'05", 2'21", 1'02", and 50"', but the number of <i>movements</i> cannot be identified.<sup id="cite_ref-FOOTNOTEFetterman199683_70-2" class="reference"><a href="#cite_note-FOOTNOTEFetterman199683-70">[64]</a></sup></span>
</li>
</ol></div></div>
<h3><span class="mw-headline" id="Citations">Citations</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=4%E2%80%B233%E2%80%B3&action=edit&section=34" title="Edit section: Citations"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></h3>
<link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1217336898"><div class="reflist reflist-columns references-column-width" style="column-width: 22em;">
<ol class="references">
<li id="cite_note-FOOTNOTESolomon2002-1"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTESolomon2002_1-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTESolomon2002_1-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFSolomon2002">Solomon 2002</a>.</span>
</li>
<li id="cite_note-FOOTNOTEArnoldKramer20235-3"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEArnoldKramer20235_3-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFArnoldKramer2023">Arnold & Kramer 2023</a>, p. 5.</span>
</li>
<li id="cite_note-FOOTNOTEKostelanetz200370-4"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTEKostelanetz200370_4-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTEKostelanetz200370_4-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFKostelanetz2003">Kostelanetz 2003</a>, p. 70.</span>
</li>
<li id="cite_note-FOOTNOTEThomsett2012135-6"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEThomsett2012135_6-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFThomsett2012">Thomsett 2012</a>, p. 135.</span>
</li>
<li id="cite_note-FOOTNOTEKostelanetz200369–70-7"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEKostelanetz200369–70_7-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFKostelanetz2003">Kostelanetz 2003</a>, p. 69–70.</span>
</li>
<li id="cite_note-FOOTNOTEBormann2005194-9"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEBormann2005194_9-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFBormann2005">Bormann 2005</a>, p. 194.</span>
</li>
<li id="cite_note-FOOTNOTEFetterman199671-11"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEFetterman199671_11-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFFetterman1996">Fetterman 1996</a>, p. 71.</span>
</li>
<li id="cite_note-:2-13"><span class="mw-cite-backlink">^ <a href="#cite_ref-:2_13-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-:2_13-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFKostelanetz2003">Kostelanetz 2003</a>, p. 69–70</span>
</li>
<li id="cite_note-14"><span class="mw-cite-backlink"><b><a href="#cite_ref-14">^</a></b></span> <span class="reference-text"><style data-mw-deduplicate="TemplateStyles:r1215172403">.mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free.id-lock-free a{background:url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-free a{background-size:contain}.mw-parser-output .id-lock-limited.id-lock-limited a,.mw-parser-output .id-lock-registration.id-lock-registration a{background:url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-limited a,body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-registration a{background-size:contain}.mw-parser-output .id-lock-subscription.id-lock-subscription a{background:url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .id-lock-subscription a{background-size:contain}.mw-parser-output .cs1-ws-icon a{background:url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}body:not(.skin-timeless):not(.skin-minerva) .mw-parser-output .cs1-ws-icon a{background-size:contain}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:#d33}.mw-parser-output .cs1-visible-error{color:#d33}.mw-parser-output .cs1-maint{display:none;color:#2C882D;margin-left:0.3em}.mw-parser-output .cs1-format{font-size:95%}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}html.skin-theme-clientpref-night .mw-parser-output .cs1-maint{color:#18911F}html.skin-theme-clientpref-night .mw-parser-output .cs1-visible-error,html.skin-theme-clientpref-night .mw-parser-output .cs1-hidden-error{color:#f8a397}@media(prefers-color-scheme:dark){html.skin-theme-clientpref-os .mw-parser-output .cs1-visible-error,html.skin-theme-clientpref-os .mw-parser-output .cs1-hidden-error{color:#f8a397}html.skin-theme-clientpref-os .mw-parser-output .cs1-maint{color:#18911F}}</style><cite id="CITEREFEisinger2013" class="citation web cs1">Eisinger, Dale (April 9, 2013). <a rel="nofollow" class="external text" href="https://www.complex.com/style/2013/04/the-25-best-performance-art-pieces-of-all-time/">"The 25 Best Performance Art Pieces of All Time"</a>. <i>Complex</i><span class="reference-accessdate">. Retrieved <span class="nowrap">February 28,</span> 2021</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Complex&rft.atitle=The+25+Best+Performance+Art+Pieces+of+All+Time&rft.date=2013-04-09&rft.aulast=Eisinger&rft.aufirst=Dale&rft_id=https%3A%2F%2Fwww.complex.com%2Fstyle%2F2013%2F04%2Fthe-25-best-performance-art-pieces-of-all-time%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3A4%E2%80%B233%E2%80%B3" class="Z3988"></span></span>
</li>
<li id="cite_note-15"><span class="mw-cite-backlink"><b><a href="#cite_ref-15">^</a></b></span> <span class="reference-text"><a href="#CITEREFPritchettKuhnGarrett2012">Pritchett, Kuhn & Garrett 2012</a></span>
</li>
<li id="cite_note-pritchett-16"><span class="mw-cite-backlink"><b><a href="#cite_ref-pritchett_16-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFPritchett1993">Pritchett 1993</a>, pp. 59, 138</span>
</li>
<li id="cite_note-17"><span class="mw-cite-backlink"><b><a href="#cite_ref-17">^</a></b></span> <span class="reference-text"><a href="#CITEREFRevill1993">Revill 1993</a>, p. 162</span>
</li>
<li id="cite_note-Revill_1993,_164-18"><span class="mw-cite-backlink">^ <a href="#cite_ref-Revill_1993,_164_18-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Revill_1993,_164_18-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFRevill1993">Revill 1993</a>, p. 164</span>
</li>
<li id="cite_note-19"><span class="mw-cite-backlink"><b><a href="#cite_ref-19">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFStein2009" class="citation magazine cs1"><a href="/wiki/Judith_E._Stein" title="Judith E. Stein">Stein, Judith</a> (January 1, 2009). <a rel="nofollow" class="external text" href="https://www.artnews.com/features/interview-alfred-leslie/">"Interview: Alfred Leslie"</a>. <i><a href="/wiki/Art_in_America" title="Art in America">Art in America</a></i>. p. 92. Archived from <a rel="nofollow" class="external text" href="https://web.archive.org/web/20101204172036/http://www.artinamericamagazine.com/features/interview-alfred-leslie/">the original</a> on December 4, 2010<span class="reference-accessdate">. Retrieved <span class="nowrap">October 8,</span> 2010</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Art+in+America&rft.atitle=Interview%3A+Alfred+Leslie&rft.pages=92&rft.date=2009-01-01&rft.aulast=Stein&rft.aufirst=Judith&rft_id=https%3A%2F%2Fweb.archive.org%2Fweb%2F20101204172036%2Fhttp%3A%2F%2Fwww.artinamericamagazine.com%2Ffeatures%2Finterview-alfred-leslie%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3A4%E2%80%B233%E2%80%B3" class="Z3988"></span></span>
</li>
<li id="cite_note-busoni-20"><span class="mw-cite-backlink"><b><a href="#cite_ref-busoni_20-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFBusoni1916">Busoni 1916</a></span>
</li>
<li id="cite_note-21"><span class="mw-cite-backlink"><b><a href="#cite_ref-21">^</a></b></span> <span class="reference-text"><a href="#CITEREFAllais1897">Allais 1897</a>, pp. 23–26</span>
</li>
<li id="cite_note-:0-22"><span class="mw-cite-backlink">^ <a href="#cite_ref-:0_22-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-:0_22-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFLiu2017">Liu 2017</a>, p. 54</span>
</li>
<li id="cite_note-23"><span class="mw-cite-backlink"><b><a href="#cite_ref-23">^</a></b></span> <span class="reference-text"><a href="#CITEREFDickinson1991">Dickinson 1991</a>, p. 406</span>
</li>
<li id="cite_note-24"><span class="mw-cite-backlink"><b><a href="#cite_ref-24">^</a></b></span> <span class="reference-text"><a href="#CITEREFBek2001">Bek 2001</a></span>
</li>
<li id="cite_note-25"><span class="mw-cite-backlink"><b><a href="#cite_ref-25">^</a></b></span> <span class="reference-text"><a href="#CITEREFCarpenter2009">Carpenter 2009</a>, p. 60</span>
</li>
<li id="cite_note-26"><span class="mw-cite-backlink"><b><a href="#cite_ref-26">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation news cs1"><a rel="nofollow" class="external text" href="https://www.nytimes.com/1992/09/13/arts/l-john-cage-similar-silence-353092.html">"JOHN CAGE; Similar Silence"</a>. <i><a href="/wiki/The_New_York_Times" title="The New York Times">The New York Times</a></i>. September 13, 1992<span class="reference-accessdate">. Retrieved <span class="nowrap">February 11,</span> 2024</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+New+York+Times&rft.atitle=JOHN+CAGE%3B+Similar+Silence&rft.date=1992-09-13&rft_id=https%3A%2F%2Fwww.nytimes.com%2F1992%2F09%2F13%2Farts%2Fl-john-cage-similar-silence-353092.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3A4%E2%80%B233%E2%80%B3" class="Z3988"></span></span>
</li>
<li id="cite_note-27"><span class="mw-cite-backlink"><b><a href="#cite_ref-27">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation news cs1">"New Jazz: 'All or Nothing at All'<span class="cs1-kern-right"></span>". <i><a href="/wiki/The_Washington_Post" title="The Washington Post">The Washington Post</a></i>. March 16, 1947. pp. S7.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Washington+Post&rft.atitle=New+Jazz%3A+%27All+or+Nothing+at+All%27&rft.pages=S7&rft.date=1947-03-16&rfr_id=info%3Asid%2Fen.wikipedia.org%3A4%E2%80%B233%E2%80%B3" class="Z3988"></span></span>
</li>
<li id="cite_note-28"><span class="mw-cite-backlink"><b><a href="#cite_ref-28">^</a></b></span> <span class="reference-text"><a href="#CITEREFPritchett1993">Pritchett 1993</a>, p. 74</span>
</li>
<li id="cite_note-29"><span class="mw-cite-backlink"><b><a href="#cite_ref-29">^</a></b></span> <span class="reference-text"><a href="#CITEREFPritchett1993">Pritchett 1993</a>, pp. 74–75</span>
</li>
<li id="cite_note-:14-30"><span class="mw-cite-backlink">^ <a href="#cite_ref-:14_30-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-:14_30-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFPritchett1993">Pritchett 1993</a>, p. 75</span>
</li>
<li id="cite_note-:15-31"><span class="mw-cite-backlink">^ <a href="#cite_ref-:15_31-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-:15_31-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFBurgan2003">Burgan 2003</a>, p. 52</span>
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<li id="cite_note-kostelanetz-32"><span class="mw-cite-backlink"><b><a href="#cite_ref-kostelanetz_32-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFKostelanetz2003">Kostelanetz 2003</a>, p. 42</span>
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<li id="cite_note-33"><span class="mw-cite-backlink"><b><a href="#cite_ref-33">^</a></b></span> <span class="reference-text"><a href="#CITEREFNicholls2002">Nicholls 2002</a>, p. 220</span>
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<li id="cite_note-34"><span class="mw-cite-backlink"><b><a href="#cite_ref-34">^</a></b></span> <span class="reference-text"><a href="#CITEREFNicholls2002">Nicholls 2002</a>, pp. 201–202</span>
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<li id="cite_note-35"><span class="mw-cite-backlink"><b><a href="#cite_ref-35">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation news cs1"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20060212191730/http://www.cbc.ca/sask/features/artist/journal2.html">"A few notes about silence and John Cage"</a>. <a href="/wiki/Canadian_Broadcasting_Corporation" title="Canadian Broadcasting Corporation">CBC</a>. November 24, 2004. Archived from <a rel="nofollow" class="external text" href="http://www.cbc.ca/sask/features/artist/journal2.html">the original</a> on February 12, 2006.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.atitle=A+few+notes+about+silence+and+John+Cage&rft.date=2004-11-24&rft_id=http%3A%2F%2Fwww.cbc.ca%2Fsask%2Ffeatures%2Fartist%2Fjournal2.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3A4%E2%80%B233%E2%80%B3" class="Z3988"></span></span>
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<li id="cite_note-FOOTNOTECage19618-36"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTECage19618_36-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFCage1961">Cage 1961</a>, p. 8.</span>
</li>
<li id="cite_note-FOOTNOTEKostelanetz200371-37"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEKostelanetz200371_37-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFKostelanetz2003">Kostelanetz 2003</a>, p. 71.</span>
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<li id="cite_note-FOOTNOTECage1961-38"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTECage1961_38-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFCage1961">Cage 1961</a>.</span>
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<li id="cite_note-Solomon_1998/2002-40"><span class="mw-cite-backlink">^ <a href="#cite_ref-Solomon_1998/2002_40-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Solomon_1998/2002_40-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Solomon_1998/2002_40-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFSolomon2002">Solomon 2002</a></span>
</li>
<li id="cite_note-41"><span class="mw-cite-backlink"><b><a href="#cite_ref-41">^</a></b></span> <span class="reference-text"><a href="#CITEREFBormann2005">Bormann 2005</a>, p. 200</span>
</li>
<li id="cite_note-42"><span class="mw-cite-backlink"><b><a href="#cite_ref-42">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation web cs1">Gann, Kyle (April 1, 2010). <a rel="nofollow" class="external text" href="https://newmusicusa.org/nmbx/from-no-such-thing-as-silence-john-cages-433/">"From No Such Thing as Silence: John Cage's 4'33" - New Music USA"</a>. <i>newmusicusa.org</i><span class="reference-accessdate">. Retrieved <span class="nowrap">April 3,</span> 2024</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=newmusicusa.org&rft.atitle=From+No+Such+Thing+as+Silence%3A+John+Cage%E2%80%99s+4%E2%80%9933%E2%80%9D+-+New+Music+USA&rft.date=2010-04-01&rft.aulast=Gann&rft.aufirst=Kyle&rft_id=https%3A%2F%2Fnewmusicusa.org%2Fnmbx%2Ffrom-no-such-thing-as-silence-john-cages-433%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3A4%E2%80%B233%E2%80%B3" class="Z3988"></span></span>
</li>
<li id="cite_note-grove-43"><span class="mw-cite-backlink">^ <a href="#cite_ref-grove_43-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-grove_43-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFPritchettKuhnGarrett2012">Pritchett, Kuhn & Garrett 2012</a></span>
</li>
<li id="cite_note-:1-44"><span class="mw-cite-backlink">^ <a href="#cite_ref-:1_44-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-:1_44-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFKostelanetz2003">Kostelanetz 2003</a>, p. 69–71, 86, 105, 198, 218, 231</span>
</li>
<li id="cite_note-45"><span class="mw-cite-backlink"><b><a href="#cite_ref-45">^</a></b></span> <span class="reference-text"><a href="#CITEREFHegarty2007">Hegarty 2007</a>, pp. 11–12</span>
</li>
<li id="cite_note-46"><span class="mw-cite-backlink"><b><a href="#cite_ref-46">^</a></b></span> <span class="reference-text"><a href="#CITEREFPriest2008">Priest 2008</a>, p. 59</span>
</li>
<li id="cite_note-47"><span class="mw-cite-backlink"><b><a href="#cite_ref-47">^</a></b></span> <span class="reference-text"><a href="#CITEREFPriest2008">Priest 2008</a>, pp. 57–58</span>
</li>
<li id="cite_note-:3-48"><span class="mw-cite-backlink">^ <a href="#cite_ref-:3_48-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-:3_48-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFHegarty2007">Hegarty 2007</a>, p. 17</span>
</li>
<li id="cite_note-Taruskin_2009,_71-49"><span class="mw-cite-backlink">^ <a href="#cite_ref-Taruskin_2009,_71_49-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Taruskin_2009,_71_49-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFTaruskin2009">Taruskin 2009</a>, p. 71</span>
</li>
<li id="cite_note-FOOTNOTETaruskin200956-50"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTETaruskin200956_50-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFTaruskin2009">Taruskin 2009</a>, p. 56.</span>
</li>
<li id="cite_note-:4-51"><span class="mw-cite-backlink">^ <a href="#cite_ref-:4_51-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-:4_51-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-:4_51-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFFiero1995">Fiero 1995</a>, pp. 97–99</span>
</li>
<li id="cite_note-52"><span class="mw-cite-backlink"><b><a href="#cite_ref-52">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.classicfm.com/composers/stravinsky/news/rite-and-the-riot/">"This is what REALLY happened at The Rite of Spring riot in 1913"</a>. <i><a href="/wiki/Classic_FM_(UK)" title="Classic FM (UK)">Classic FM</a></i>. October 15, 2018<span class="reference-accessdate">. Retrieved <span class="nowrap">February 9,</span> 2024</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Classic+FM&rft.atitle=This+is+what+REALLY+happened+at+The+Rite+of+Spring+riot+in+1913&rft.date=2018-10-15&rft_id=https%3A%2F%2Fwww.classicfm.com%2Fcomposers%2Fstravinsky%2Fnews%2Frite-and-the-riot%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3A4%E2%80%B233%E2%80%B3" class="Z3988"></span></span>
</li>
<li id="cite_note-53"><span class="mw-cite-backlink"><b><a href="#cite_ref-53">^</a></b></span> <span class="reference-text"><a href="#CITEREFHarding2013">Harding 2013</a>, pp. 78–79</span>
</li>
<li id="cite_note-:9-54"><span class="mw-cite-backlink">^ <a href="#cite_ref-:9_54-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-:9_54-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFCharles1978">Charles 1978</a>, p. 261</span>
</li>
<li id="cite_note-55"><span class="mw-cite-backlink"><b><a href="#cite_ref-55">^</a></b></span> <span class="reference-text"><a href="#CITEREFCharles1978">Charles 1978</a>, p. 69</span>
</li>
<li id="cite_note-:10-56"><span class="mw-cite-backlink">^ <a href="#cite_ref-:10_56-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-:10_56-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFCharles1978">Charles 1978</a>, p. 262</span>
</li>
<li id="cite_note-:11-57"><span class="mw-cite-backlink"><b><a href="#cite_ref-:11_57-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFGann2010">Gann 2010</a>, p. 17</span>
</li>
<li id="cite_note-58"><span class="mw-cite-backlink"><b><a href="#cite_ref-58">^</a></b></span> <span class="reference-text"><a href="#CITEREFGann2010">Gann 2010</a>, pp. 16–17, 74</span>
</li>
<li id="cite_note-:12-59"><span class="mw-cite-backlink"><b><a href="#cite_ref-:12_59-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFSkinnerGillisLifson2012">Skinner, Gillis & Lifson 2012</a>, p. 4</span>
</li>
<li id="cite_note-60"><span class="mw-cite-backlink"><b><a href="#cite_ref-60">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFGutmann1999" class="citation web cs1"><a href="/wiki/Peter_Gutmann_(journalist)" title="Peter Gutmann (journalist)">Gutmann, Peter</a> (1999). <a rel="nofollow" class="external text" href="http://www.classicalnotes.net/columns/silence.html">"John Cage and the Avant-Garde: The Sounds of Silence"</a>. <i>Classical Notes</i><span class="reference-accessdate">. Retrieved <span class="nowrap">April 4,</span> 2007</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Classical+Notes&rft.atitle=John+Cage+and+the+Avant-Garde%3A+The+Sounds+of+Silence&rft.date=1999&rft.aulast=Gutmann&rft.aufirst=Peter&rft_id=http%3A%2F%2Fwww.classicalnotes.net%2Fcolumns%2Fsilence.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3A4%E2%80%B233%E2%80%B3" class="Z3988"></span></span>
</li>
<li id="cite_note-FOOTNOTEFetterman199669-61"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEFetterman199669_61-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFFetterman1996">Fetterman 1996</a>, p. 69.</span>
</li>
<li id="cite_note-FOOTNOTELienhard2003254-62"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTELienhard2003254_62-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFLienhard2003">Lienhard 2003</a>, p. 254.</span>
</li>
<li id="cite_note-63"><span class="mw-cite-backlink"><b><a href="#cite_ref-63">^</a></b></span> <span class="reference-text"><a href="#CITEREFPluthZeiher2019">Pluth & Zeiher 2019</a>, pp. 75–78</span>
</li>
<li id="cite_note-64"><span class="mw-cite-backlink"><b><a href="#cite_ref-64">^</a></b></span> <span class="reference-text"><a href="#CITEREFPluthZeiher2019">Pluth & Zeiher 2019</a>, pp. 75–76</span>
</li>
<li id="cite_note-65"><span class="mw-cite-backlink"><b><a href="#cite_ref-65">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFPaul_Bloom2011" class="citation web cs1"><a href="/wiki/Paul_Bloom_(psychologist)" title="Paul Bloom (psychologist)">Paul Bloom</a> (July 27, 2011). <a rel="nofollow" class="external text" href="https://www.ted.com/talks/paul_bloom_the_origins_of_pleasure?language=en">"The origins of pleasure"</a>. <i><a href="/wiki/Ted.com" class="mw-redirect" title="Ted.com">ted.com</a></i>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=ted.com&rft.atitle=The+origins+of+pleasure&rft.date=2011-07-27&rft.au=Paul+Bloom&rft_id=https%3A%2F%2Fwww.ted.com%2Ftalks%2Fpaul_bloom_the_origins_of_pleasure%3Flanguage%3Den&rfr_id=info%3Asid%2Fen.wikipedia.org%3A4%E2%80%B233%E2%80%B3" class="Z3988"></span></span>
</li>
<li id="cite_note-:7-66"><span class="mw-cite-backlink">^ <a href="#cite_ref-:7_66-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-:7_66-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFHarris2005">Harris 2005</a>, pp. 66–67</span>
</li>
<li id="cite_note-67"><span class="mw-cite-backlink"><b><a href="#cite_ref-67">^</a></b></span> <span class="reference-text"><a href="#CITEREFPritchett1993">Pritchett 1993</a>, p. 108</span>
</li>
<li id="cite_note-:6-68"><span class="mw-cite-backlink">^ <a href="#cite_ref-:6_68-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-:6_68-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-:6_68-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text">Published score, <a href="/wiki/Edition_Peters" title="Edition Peters">Edition Peters</a> 6777.</span>
</li>
<li id="cite_note-FOOTNOTEFetterman199669–80-69"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEFetterman199669–80_69-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFFetterman1996">Fetterman 1996</a>, p. 69–80.</span>
</li>
<li id="cite_note-FOOTNOTEFetterman199683-70"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTEFetterman199683_70-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTEFetterman199683_70-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-FOOTNOTEFetterman199683_70-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFFetterman1996">Fetterman 1996</a>, p. 83.</span>
</li>
<li id="cite_note-FOOTNOTEFetterman199680-72"><span class="mw-cite-backlink"><b><a href="#cite_ref-FOOTNOTEFetterman199680_72-0">^</a></b></span> <span class="reference-text"><a href="#CITEREFFetterman1996">Fetterman 1996</a>, p. 80.</span>
</li>
<li id="cite_note-74"><span class="mw-cite-backlink"><b><a href="#cite_ref-74">^</a></b></span> <span class="reference-text"><a href="#CITEREFFetterman1996">Fetterman 1996</a>, p. 74</span>
</li>
<li id="cite_note-75"><span class="mw-cite-backlink"><b><a href="#cite_ref-75">^</a></b></span> <span class="reference-text"><a href="#CITEREFBormann2005">Bormann 2005</a>, p. 194</span>
</li>
<li id="cite_note-76"><span class="mw-cite-backlink"><b><a href="#cite_ref-76">^</a></b></span> <span class="reference-text"><a href="#CITEREFFetterman1996">Fetterman 1996</a>, p. 75</span>
</li>
<li id="cite_note-77"><span class="mw-cite-backlink"><b><a href="#cite_ref-77">^</a></b></span> <span class="reference-text"><a href="#CITEREFFetterman1996">Fetterman 1996</a>, p. 76–78</span>
</li>
<li id="cite_note-78"><span class="mw-cite-backlink"><b><a href="#cite_ref-78">^</a></b></span> <span class="reference-text"><a href="#CITEREFBormann2005">Bormann 2005</a>, p. 210</span>
</li>
<li id="cite_note-:5-79"><span class="mw-cite-backlink">^ <a href="#cite_ref-:5_79-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-:5_79-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFBormann2005">Bormann 2005</a>, pp. 222–223</span>
</li>
<li id="cite_note-80"><span class="mw-cite-backlink"><b><a href="#cite_ref-80">^</a></b></span> <span class="reference-text"><a href="#CITEREFFetterman1996">Fetterman 1996</a>, p. 79</span>
</li>
<li id="cite_note-81"><span class="mw-cite-backlink"><b><a href="#cite_ref-81">^</a></b></span> <span class="reference-text"><a href="#CITEREFFetterman1996">Fetterman 1996</a>, p. 80</span>
</li>
<li id="cite_note-82"><span class="mw-cite-backlink"><b><a href="#cite_ref-82">^</a></b></span> <span class="reference-text"><a href="#CITEREFNyman1974">Nyman 1974</a>, p. 3</span>
</li>
<li id="cite_note-83"><span class="mw-cite-backlink"><b><a href="#cite_ref-83">^</a></b></span> <span class="reference-text"><a href="#CITEREFBormann2005">Bormann 2005</a>, pp. 225–227</span>
</li>
<li id="cite_note-84"><span class="mw-cite-backlink"><b><a href="#cite_ref-84">^</a></b></span> <span class="reference-text"><a href="#CITEREFCraenen2014">Craenen 2014</a>, p. 58</span>
</li>
<li id="cite_note-85"><span class="mw-cite-backlink"><b><a href="#cite_ref-85">^</a></b></span> <span class="reference-text"><a href="#CITEREFFetterman1996">Fetterman 1996</a>, pp. 84–89</span>
</li>
<li id="cite_note-86"><span class="mw-cite-backlink"><b><a href="#cite_ref-86">^</a></b></span> <span class="reference-text"><a href="#CITEREFFetterman1996">Fetterman 1996</a>, pp. 94–95</span>
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<li id="cite_note-:13-87"><span class="mw-cite-backlink">^ <a href="#cite_ref-:13_87-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-:13_87-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFMcCormick2010" class="citation news cs1">McCormick, Neil (December 9, 2010). <a rel="nofollow" class="external text" href="http://blogs.telegraph.co.uk/culture/neilmccormick/100049693/revealed-what-really-happened-when-a-womble-took-on-john-cage/">"Revealed: what really happened when a Womble took on John Cage"</a>. <i><a href="/wiki/The_Daily_Telegraph" title="The Daily Telegraph">The Telegraph</a></i>. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20101210221457/http://blogs.telegraph.co.uk/culture/neilmccormick/100049693/revealed-what-really-happened-when-a-womble-took-on-john-cage/">Archived</a> from the original on December 10, 2010<span class="reference-accessdate">. Retrieved <span class="nowrap">February 14,</span> 2024</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Telegraph&rft.atitle=Revealed%3A+what+really+happened+when+a+Womble+took+on+John+Cage&rft.date=2010-12-09&rft.aulast=McCormick&rft.aufirst=Neil&rft_id=http%3A%2F%2Fblogs.telegraph.co.uk%2Fculture%2Fneilmccormick%2F100049693%2Frevealed-what-really-happened-when-a-womble-took-on-john-cage%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3A4%E2%80%B233%E2%80%B3" class="Z3988"></span></span>
</li>
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<li id="cite_note-:8-89"><span class="mw-cite-backlink">^ <a href="#cite_ref-:8_89-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-:8_89-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation news cs1"><a rel="nofollow" class="external text" href="https://www.bbc.com/news/uk-england-hampshire-11964995">"Wombles composer Mike Batt's silence legal row 'a scam'<span class="cs1-kern-right"></span>"</a>. <i><a href="/wiki/BBC" title="BBC">BBC</a></i>. December 9, 2010<span class="reference-accessdate">. Retrieved <span class="nowrap">February 12,</span> 2024</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=BBC&rft.atitle=Wombles+composer+Mike+Batt%27s+silence+legal+row+%27a+scam%27&rft.date=2010-12-09&rft_id=https%3A%2F%2Fwww.bbc.com%2Fnews%2Fuk-england-hampshire-11964995&rfr_id=info%3Asid%2Fen.wikipedia.org%3A4%E2%80%B233%E2%80%B3" class="Z3988"></span></span>
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<li id="cite_note-facebook-90"><span class="mw-cite-backlink"><b><a href="#cite_ref-facebook_90-0">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.facebook.com/cageagainstthemachine">"John Cage's <i>4′33"</i> for Christmas Number One 2010"</a>. Facebook. December 2009<span class="reference-accessdate">. Retrieved <span class="nowrap">March 1,</span> 2021</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=John+Cage%27s+4%E2%80%B233%22+for+Christmas+Number+One+2010&rft.pub=Facebook&rft.date=2009-12&rft_id=https%3A%2F%2Fwww.facebook.com%2Fcageagainstthemachine&rfr_id=info%3Asid%2Fen.wikipedia.org%3A4%E2%80%B233%E2%80%B3" class="Z3988"></span></span>
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<li id="cite_note-91"><span class="mw-cite-backlink"><b><a href="#cite_ref-91">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFGilbert2010" class="citation web cs1">Gilbert, Ben (October 4, 2010). <a rel="nofollow" class="external text" href="https://web.archive.org/web/20101018232218/http://new.uk.music.yahoo.com/blogs/behind_the_music/27330/cowells-second-festive-humiliation/">"Cowell's second festive humiliation?"</a>. <a href="/wiki/Yahoo!_Music" title="Yahoo! Music">Yahoo! Music</a>. Archived from <a rel="nofollow" class="external text" href="http://new.uk.music.yahoo.com/blogs/behind_the_music/27330/cowells-second-festive-humiliation/">the original</a> on October 18, 2010<span class="reference-accessdate">. Retrieved <span class="nowrap">October 28,</span> 2010</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Cowell%27s+second+festive+humiliation%3F&rft.pub=Yahoo%21+Music&rft.date=2010-10-04&rft.aulast=Gilbert&rft.aufirst=Ben&rft_id=http%3A%2F%2Fnew.uk.music.yahoo.com%2Fblogs%2Fbehind_the_music%2F27330%2Fcowells-second-festive-humiliation%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3A4%E2%80%B233%E2%80%B3" class="Z3988"></span></span>
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<li id="cite_note-92"><span class="mw-cite-backlink"><b><a href="#cite_ref-92">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation news cs1"><a rel="nofollow" class="external text" href="https://www.telegraph.co.uk/culture/music/rockandpopmusic/8067341/Sound-of-silence-vies-to-be-Christmas-number-one.html">"Sound of silence vies to be Christmas number one"</a>. <i><a href="/wiki/The_Daily_Telegraph" title="The Daily Telegraph">The Daily Telegraph</a></i>. London. October 16, 2010. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20101019034320/http://www.telegraph.co.uk/culture/music/rockandpopmusic/8067341/Sound-of-silence-vies-to-be-Christmas-number-one.html">Archived</a> from the original on October 19, 2010<span class="reference-accessdate">. Retrieved <span class="nowrap">October 28,</span> 2010</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Daily+Telegraph&rft.atitle=Sound+of+silence+vies+to+be+Christmas+number+one&rft.date=2010-10-16&rft_id=https%3A%2F%2Fwww.telegraph.co.uk%2Fculture%2Fmusic%2Frockandpopmusic%2F8067341%2FSound-of-silence-vies-to-be-Christmas-number-one.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3A4%E2%80%B233%E2%80%B3" class="Z3988"></span></span>
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<li id="cite_note-93"><span class="mw-cite-backlink"><b><a href="#cite_ref-93">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation news cs1"><a rel="nofollow" class="external text" href="https://www.irishtimes.com/news/silence-bids-for-christmas-number-one-1.865676">"Silence bids for Christmas number one"</a>. <i><a href="/wiki/The_Irish_Times" title="The Irish Times">The Irish Times</a></i>. October 15, 2010. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20101027093238/http://www.irishtimes.com/newspaper/breaking/2010/1015/breaking30.html">Archived</a> from the original on October 27, 2010<span class="reference-accessdate">. Retrieved <span class="nowrap">October 28,</span> 2010</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Irish+Times&rft.atitle=Silence+bids+for+Christmas+number+one&rft.date=2010-10-15&rft_id=https%3A%2F%2Fwww.irishtimes.com%2Fnews%2Fsilence-bids-for-christmas-number-one-1.865676&rfr_id=info%3Asid%2Fen.wikipedia.org%3A4%E2%80%B233%E2%80%B3" class="Z3988"></span></span>
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<li id="cite_note-94"><span class="mw-cite-backlink"><b><a href="#cite_ref-94">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFEaton2010" class="citation news cs1">Eaton, Andrew (October 5, 2010). <a rel="nofollow" class="external text" href="http://scotlandonsunday.scotsman.com/features/Andrew-Eaton-39At-time-of.6562712.jp">"At time of writing, Cage Against The Machine has almost 16,000 followers on Facebook"</a> <span class="cs1-format">(JP)</span>. <i><a href="/wiki/Scotland_on_Sunday" title="Scotland on Sunday">Scotland on Sunday</a></i><span class="reference-accessdate">. Retrieved <span class="nowrap">October 28,</span> 2010</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Scotland+on+Sunday&rft.atitle=At+time+of+writing%2C+Cage+Against+The+Machine+has+almost+16%2C000+followers+on+Facebook&rft.date=2010-10-05&rft.aulast=Eaton&rft.aufirst=Andrew&rft_id=http%3A%2F%2Fscotlandonsunday.scotsman.com%2Ffeatures%2FAndrew-Eaton-39At-time-of.6562712.jp&rfr_id=info%3Asid%2Fen.wikipedia.org%3A4%E2%80%B233%E2%80%B3" class="Z3988"></span></span>
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<li id="cite_note-95"><span class="mw-cite-backlink"><b><a href="#cite_ref-95">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.dailyrecord.co.uk/entertainment/music/music-news/campaigners-launch-bid-to-make-silent-1072830">"Campaigners launch bid to make silent track Christmas No1 ahead of X Factor winner"</a>. <i><a href="/wiki/Daily_Record_(Scotland)" title="Daily Record (Scotland)">Daily Record</a></i>. October 15, 2010<span class="reference-accessdate">. Retrieved <span class="nowrap">November 7,</span> 2019</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Daily+Record&rft.atitle=Campaigners+launch+bid+to+make+silent+track+Christmas+No1+ahead+of+X+Factor+winner&rft.date=2010-10-15&rft_id=https%3A%2F%2Fwww.dailyrecord.co.uk%2Fentertainment%2Fmusic%2Fmusic-news%2Fcampaigners-launch-bid-to-make-silent-1072830&rfr_id=info%3Asid%2Fen.wikipedia.org%3A4%E2%80%B233%E2%80%B3" class="Z3988"></span></span>
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<li id="cite_note-96"><span class="mw-cite-backlink"><b><a href="#cite_ref-96">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFGoldacre2010" class="citation web cs1"><a href="/wiki/Ben_Goldacre" title="Ben Goldacre">Goldacre, Ben</a> (July 19, 2010). <a rel="nofollow" class="external text" href="https://twitter.com/bengoldacre/status/18942556433">"John Cage's <i>4′33"</i> for Xmas ..."</a> Twitter<span class="reference-accessdate">. Retrieved <span class="nowrap">October 28,</span> 2010</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=John+Cage%27s+4%E2%80%B233%22+for+Xmas+...&rft.pub=Twitter&rft.date=2010-07-19&rft.aulast=Goldacre&rft.aufirst=Ben&rft_id=https%3A%2F%2Ftwitter.com%2Fbengoldacre%2Fstatus%2F18942556433&rfr_id=info%3Asid%2Fen.wikipedia.org%3A4%E2%80%B233%E2%80%B3" class="Z3988"></span></span>
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<li id="cite_note-97"><span class="mw-cite-backlink"><b><a href="#cite_ref-97">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFEwing2010" class="citation news cs1">Ewing, Tom (September 30, 2010). <a rel="nofollow" class="external text" href="https://www.theguardian.com/media/2010/sep/30/christmas-no1-facebook-campaign">"John Cage's <i>4′33"</i>: the festive sound of a defeated Simon Cowell"</a>. <i><a href="/wiki/The_Guardian" title="The Guardian">The Guardian</a></i>. London. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20101007002256/http://www.guardian.co.uk/media/2010/sep/30/christmas-no1-facebook-campaign">Archived</a> from the original on October 7, 2010<span class="reference-accessdate">. Retrieved <span class="nowrap">October 28,</span> 2010</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Guardian&rft.atitle=John+Cage%27s+4%E2%80%B233%22%3A+the+festive+sound+of+a+defeated+Simon+Cowell&rft.date=2010-09-30&rft.aulast=Ewing&rft.aufirst=Tom&rft_id=https%3A%2F%2Fwww.theguardian.com%2Fmedia%2F2010%2Fsep%2F30%2Fchristmas-no1-facebook-campaign&rfr_id=info%3Asid%2Fen.wikipedia.org%3A4%E2%80%B233%E2%80%B3" class="Z3988"></span></span>
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<li id="cite_note-98"><span class="mw-cite-backlink"><b><a href="#cite_ref-98">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFTemple-Morris2010" class="citation web cs1"><a href="/wiki/Eddy_Temple-Morris" title="Eddy Temple-Morris">Temple-Morris, Eddy</a> (October 27, 2010). <a rel="nofollow" class="external text" href="https://web.archive.org/web/20101112162938/http://eddysays.thecmuwebsite.com/post/Once-more-unto-the-breach-dear-friends.aspx">"Once more unto the breach dear friends"</a>. Archived from <a rel="nofollow" class="external text" href="http://eddysays.thecmuwebsite.com/post/Once-more-unto-the-breach-dear-friends.aspx">the original</a> on November 12, 2010<span class="reference-accessdate">. Retrieved <span class="nowrap">October 28,</span> 2010</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Once+more+unto+the+breach+dear+friends&rft.date=2010-10-27&rft.aulast=Temple-Morris&rft.aufirst=Eddy&rft_id=http%3A%2F%2Feddysays.thecmuwebsite.com%2Fpost%2FOnce-more-unto-the-breach-dear-friends.aspx&rfr_id=info%3Asid%2Fen.wikipedia.org%3A4%E2%80%B233%E2%80%B3" class="Z3988"></span></span>
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<li id="cite_note-99"><span class="mw-cite-backlink"><b><a href="#cite_ref-99">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFLuke_Bainbridge2010" class="citation news cs1">Luke Bainbridge (December 13, 2010). <a rel="nofollow" class="external text" href="https://www.theguardian.com/music/musicblog/2010/dec/13/cage-against-machine-christmas-no-1">"Why I'm backing Cage Against the Machine for Christmas No 1"</a>. <i><a href="/wiki/The_Guardian" title="The Guardian">The Guardian</a></i>. London. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20110110201052/http://www.guardian.co.uk/music/musicblog/2010/dec/13/cage-against-machine-christmas-no-1">Archived</a> from the original on January 10, 2011<span class="reference-accessdate">. Retrieved <span class="nowrap">December 13,</span> 2010</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Guardian&rft.atitle=Why+I%27m+backing+Cage+Against+the+Machine+for+Christmas+No+1&rft.date=2010-12-13&rft.au=Luke+Bainbridge&rft_id=https%3A%2F%2Fwww.theguardian.com%2Fmusic%2Fmusicblog%2F2010%2Fdec%2F13%2Fcage-against-machine-christmas-no-1&rfr_id=info%3Asid%2Fen.wikipedia.org%3A4%E2%80%B233%E2%80%B3" class="Z3988"></span></span>
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<li id="cite_note-100"><span class="mw-cite-backlink"><b><a href="#cite_ref-100">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.officialcharts.com/charts/singles-chart/20101219/7501/">"Top 40 UK Official Singles Chart"</a>. <a href="/wiki/The_Official_Charts_Company" class="mw-redirect" title="The Official Charts Company">Official Charts</a>. December 25, 2010<span class="reference-accessdate">. Retrieved <span class="nowrap">December 19,</span> 2010</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=Top+40+UK+Official+Singles+Chart&rft.pub=Official+Charts&rft.date=2010-12-25&rft_id=https%3A%2F%2Fwww.officialcharts.com%2Fcharts%2Fsingles-chart%2F20101219%2F7501%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3A4%E2%80%B233%E2%80%B3" class="Z3988"></span></span>
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<li id="cite_note-101"><span class="mw-cite-backlink"><b><a href="#cite_ref-101">^</a></b></span> <span class="reference-text"><a href="#CITEREFSymondsKarantonis2013">Symonds & Karantonis 2013</a>, p. 227</span>
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<li id="cite_note-102"><span class="mw-cite-backlink"><b><a href="#cite_ref-102">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.discogs.com/release/764617-Various-A-Chance-Operation-The-John-Cage-Tribute">"Various – A Chance Operation – The John Cage Tribute"</a>. <i>Discogs</i><span class="reference-accessdate">. Retrieved <span class="nowrap">February 10,</span> 2024</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Discogs&rft.atitle=Various+%E2%80%93+A+Chance+Operation+%E2%80%93+The+John+Cage+Tribute&rft_id=https%3A%2F%2Fwww.discogs.com%2Frelease%2F764617-Various-A-Chance-Operation-The-John-Cage-Tribute&rfr_id=info%3Asid%2Fen.wikipedia.org%3A4%E2%80%B233%E2%80%B3" class="Z3988"></span></span>
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<li id="cite_note-103"><span class="mw-cite-backlink"><b><a href="#cite_ref-103">^</a></b></span> <span class="reference-text"><a href="#CITEREFKouvaras2013">Kouvaras 2013</a></span>
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<li id="cite_note-104"><span class="mw-cite-backlink"><b><a href="#cite_ref-104">^</a></b></span> <span class="reference-text"><a href="#CITEREFReed2013">Reed 2013</a>, p. 43</span>
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<li id="cite_note-105"><span class="mw-cite-backlink"><b><a href="#cite_ref-105">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.bbc.co.uk/pressoffice/pressreleases/stories/2004/01_january/12/john_cage.shtml">"BBC orchestra silenced at the Barbican and on Radio 3; John Cage Uncaged: A weekend of musical mayhem"</a>. <i>BBC</i>. January 12, 2004<span class="reference-accessdate">. Retrieved <span class="nowrap">February 12,</span> 2024</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=BBC&rft.atitle=BBC+orchestra+silenced+at+the+Barbican+and+on+Radio+3%3B+John+Cage+Uncaged%3A+A+weekend+of+musical+mayhem&rft.date=2004-01-12&rft_id=https%3A%2F%2Fwww.bbc.co.uk%2Fpressoffice%2Fpressreleases%2Fstories%2F2004%2F01_january%2F12%2Fjohn_cage.shtml&rfr_id=info%3Asid%2Fen.wikipedia.org%3A4%E2%80%B233%E2%80%B3" class="Z3988"></span></span>
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<li id="cite_note-106"><span class="mw-cite-backlink"><b><a href="#cite_ref-106">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation news cs1"><a rel="nofollow" class="external text" href="https://www.theguardian.com/culture/2004/jan/16/1">"The sound of silence"</a>. <i>The Guardian</i>. January 16, 2004<span class="reference-accessdate">. Retrieved <span class="nowrap">February 12,</span> 2004</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Guardian&rft.atitle=The+sound+of+silence&rft.date=2004-01-16&rft_id=https%3A%2F%2Fwww.theguardian.com%2Fculture%2F2004%2Fjan%2F16%2F1&rfr_id=info%3Asid%2Fen.wikipedia.org%3A4%E2%80%B233%E2%80%B3" class="Z3988"></span></span>
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<li id="cite_note-107"><span class="mw-cite-backlink"><b><a href="#cite_ref-107">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFLebrecht2010" class="citation web cs1">Lebrecht, Norman (December 11, 2010). <a rel="nofollow" class="external text" href="https://www.telegraph.co.uk/culture/art/turner-prize/8195729/Were-pitching-the-silence-of-John-Cage-against-the-noise-of-Simon-Cowell.html">"We're pitching the silence of John Cage against the noise of Simon Cowell"</a>. <i><a href="/wiki/The_Daily_Telegraph" title="The Daily Telegraph">The Daily Telegraph</a></i><span class="reference-accessdate">. Retrieved <span class="nowrap">December 17,</span> 2010</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=The+Daily+Telegraph&rft.atitle=We%27re+pitching+the+silence+of+John+Cage+against+the+noise+of+Simon+Cowell&rft.date=2010-12-11&rft.aulast=Lebrecht&rft.aufirst=Norman&rft_id=https%3A%2F%2Fwww.telegraph.co.uk%2Fculture%2Fart%2Fturner-prize%2F8195729%2FWere-pitching-the-silence-of-John-Cage-against-the-noise-of-Simon-Cowell.html&rfr_id=info%3Asid%2Fen.wikipedia.org%3A4%E2%80%B233%E2%80%B3" class="Z3988"></span></span>
</li>
<li id="cite_note-108"><span class="mw-cite-backlink"><b><a href="#cite_ref-108">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation audio-visual cs1"><a rel="nofollow" class="external text" href="https://www.youtube.com/watch?v=YpZekJDrbvc"><i>NOLA The Cat Performs John Cage's 4'33"</i></a> (YouTube). The Late Show with Stephen Colbert. November 17, 2015.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=unknown&rft.btitle=NOLA+The+Cat+Performs+John+Cage%27s+4%2733%22&rft.pub=The+Late+Show+with+Stephen+Colbert&rft.date=2015-11-17&rft_id=https%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3DYpZekJDrbvc&rfr_id=info%3Asid%2Fen.wikipedia.org%3A4%E2%80%B233%E2%80%B3" class="Z3988"></span></span>
</li>
<li id="cite_note-109"><span class="mw-cite-backlink"><b><a href="#cite_ref-109">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://mute.com/stumm-433">"STUMM433"</a>. <i>Mute Records</i><span class="reference-accessdate">. Retrieved <span class="nowrap">February 12,</span> 2024</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Mute+Records&rft.atitle=STUMM433&rft_id=https%3A%2F%2Fmute.com%2Fstumm-433&rfr_id=info%3Asid%2Fen.wikipedia.org%3A4%E2%80%B233%E2%80%B3" class="Z3988"></span></span>
</li>
<li id="cite_note-110"><span class="mw-cite-backlink"><b><a href="#cite_ref-110">^</a></b></span> <span class="reference-text"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://web.archive.org/web/20201102190132/https://www.berliner-philharmoniker.de/en/news/detail/video-kirill-petrenko-conducts-433-by-john-cage/">"Video: Kirill Petrenko conducts <i>4'33"</i> by John Cage"</a>. <i>Berliner Philharmoniker</i>. November 2, 2020. Archived from <a rel="nofollow" class="external text" href="https://www.berliner-philharmoniker.de/en/news/detail/video-kirill-petrenko-conducts-433-by-john-cage/">the original</a> on November 2, 2020<span class="reference-accessdate">. Retrieved <span class="nowrap">February 10,</span> 2021</span>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=unknown&rft.jtitle=Berliner+Philharmoniker&rft.atitle=Video%3A+Kirill+Petrenko+conducts+4%2733%22+by+John+Cage&rft.date=2020-11-02&rft_id=https%3A%2F%2Fwww.berliner-philharmoniker.de%2Fen%2Fnews%2Fdetail%2Fvideo-kirill-petrenko-conducts-433-by-john-cage%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3A4%E2%80%B233%E2%80%B3" class="Z3988"></span></span>
</li>
</ol></div>
<h2><span class="mw-headline" id="Bibliography">Bibliography</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=4%E2%80%B233%E2%80%B3&action=edit&section=35" title="Edit section: Bibliography"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></h2>
<style data-mw-deduplicate="TemplateStyles:r1054258005">.mw-parser-output .refbegin{font-size:90%;margin-bottom:0.5em}.mw-parser-output .refbegin-hanging-indents>ul{margin-left:0}.mw-parser-output .refbegin-hanging-indents>ul>li{margin-left:0;padding-left:3.2em;text-indent:-3.2em}.mw-parser-output .refbegin-hanging-indents ul,.mw-parser-output .refbegin-hanging-indents ul li{list-style:none}@media(max-width:720px){.mw-parser-output .refbegin-hanging-indents>ul>li{padding-left:1.6em;text-indent:-1.6em}}.mw-parser-output .refbegin-columns{margin-top:0.3em}.mw-parser-output .refbegin-columns ul{margin-top:0}.mw-parser-output .refbegin-columns li{page-break-inside:avoid;break-inside:avoid-column}</style><div class="refbegin refbegin-columns references-column-width" style="column-width: 30em">
<ul><li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFAllais1897" class="citation cs2">Allais, Alphonse (1897), <a rel="nofollow" class="external text" href="https://gallica.bnf.fr/ark:/12148/btv1b86263801/f29.image"><i>Album primo–avrilesque</i></a>, Paris, France: P. Ollendorff</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Album+primo%E2%80%93avrilesque&rft.place=Paris%2C+France&rft.pub=P.+Ollendorff&rft.date=1897&rft.aulast=Allais&rft.aufirst=Alphonse&rft_id=https%3A%2F%2Fgallica.bnf.fr%2Fark%3A%2F12148%2Fbtv1b86263801%2Ff29.image&rfr_id=info%3Asid%2Fen.wikipedia.org%3A4%E2%80%B233%E2%80%B3" class="Z3988"></span></li>
<li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFArnoldKramer2023" class="citation book cs1">Arnold, Allison E.; Kramer, Jonathan C. (2023). <i>What in the World is Music?</i> (2nd ed.). United States: <a href="/wiki/Routledge" title="Routledge">Routledge</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/9781032341491" title="Special:BookSources/9781032341491"><bdi>9781032341491</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=What+in+the+World+is+Music%3F&rft.place=United+States&rft.edition=2nd&rft.pub=Routledge&rft.date=2023&rft.isbn=9781032341491&rft.aulast=Arnold&rft.aufirst=Allison+E.&rft.au=Kramer%2C+Jonathan+C.&rfr_id=info%3Asid%2Fen.wikipedia.org%3A4%E2%80%B233%E2%80%B3" class="Z3988"></span></li>
<li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFBek2001" class="citation encyclopaedia cs1">Bek, Joseph (2001). "Erwin Schulhoff". In <a href="/wiki/Stanley_Sadie" title="Stanley Sadie">Sadie, Stanley</a>; <a href="/wiki/John_Tyrrell_(musicologist)" title="John Tyrrell (musicologist)">Tyrrell, John</a> (eds.). <i><a href="/wiki/The_New_Grove_Dictionary_of_Music_and_Musicians" title="The New Grove Dictionary of Music and Musicians">The New Grove Dictionary of Music and Musicians</a></i> (2nd ed.). London: <a href="/wiki/Macmillan_Publishers" title="Macmillan Publishers">Macmillan Publishers</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-56159-239-5" title="Special:BookSources/978-1-56159-239-5"><bdi>978-1-56159-239-5</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=Erwin+Schulhoff&rft.btitle=The+New+Grove+Dictionary+of+Music+and+Musicians&rft.place=London&rft.edition=2nd&rft.pub=Macmillan+Publishers&rft.date=2001&rft.isbn=978-1-56159-239-5&rft.aulast=Bek&rft.aufirst=Joseph&rfr_id=info%3Asid%2Fen.wikipedia.org%3A4%E2%80%B233%E2%80%B3" class="Z3988"></span></li>
<li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFBernsteinHatch2001" class="citation book cs1">Bernstein, David W.; Hatch, Christopher (2001). <i>Writings through John Cage's Music, Poetry, and Art</i>. Chicago, Illinois: <a href="/wiki/University_of_Chicago_Press" title="University of Chicago Press">University of Chicago Press</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-226-04408-4" title="Special:BookSources/0-226-04408-4"><bdi>0-226-04408-4</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Writings+through+John+Cage%27s+Music%2C+Poetry%2C+and+Art&rft.place=Chicago%2C+Illinois&rft.pub=University+of+Chicago+Press&rft.date=2001&rft.isbn=0-226-04408-4&rft.aulast=Bernstein&rft.aufirst=David+W.&rft.au=Hatch%2C+Christopher&rfr_id=info%3Asid%2Fen.wikipedia.org%3A4%E2%80%B233%E2%80%B3" class="Z3988"></span></li>
<li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFBormann2005" class="citation book cs1 cs1-prop-foreign-lang-source">Bormann, Hans-Friedrich (2005). <i>Verschwiegene Stille: John Cages performative Ästhetik</i> [<i>Secretive Silence: John Cage's Performative Aesthetics</i>] (in German). <a href="/wiki/Paderborn" title="Paderborn">Paderborn</a>, Germany: Fink Wilhelm GmbH + Co.KG. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-3-7705-4147-8" title="Special:BookSources/978-3-7705-4147-8"><bdi>978-3-7705-4147-8</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Verschwiegene+Stille%3A+John+Cages+performative+%C3%84sthetik&rft.place=Paderborn%2C+Germany&rft.pub=Fink+Wilhelm+GmbH+%2B+Co.KG&rft.date=2005&rft.isbn=978-3-7705-4147-8&rft.aulast=Bormann&rft.aufirst=Hans-Friedrich&rfr_id=info%3Asid%2Fen.wikipedia.org%3A4%E2%80%B233%E2%80%B3" class="Z3988"></span></li>
<li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFBurgan2003" class="citation book cs1">Burgan, Michael (2003). <i>Buddhist Faith in America</i>. New York City: <a href="/wiki/Facts_on_File,_Inc." class="mw-redirect" title="Facts on File, Inc.">Facts on File, Inc.</a> <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-8160-4988-2" title="Special:BookSources/0-8160-4988-2"><bdi>0-8160-4988-2</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Buddhist+Faith+in+America&rft.place=New+York+City&rft.pub=Facts+on+File%2C+Inc.&rft.date=2003&rft.isbn=0-8160-4988-2&rft.aulast=Burgan&rft.aufirst=Michael&rfr_id=info%3Asid%2Fen.wikipedia.org%3A4%E2%80%B233%E2%80%B3" class="Z3988"></span></li>
<li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFBusoni1916" class="citation book cs1 cs1-prop-foreign-lang-source">Busoni, Ferruccio (1916). <a class="external text" href="https://de.wikisource.org/wiki/Entwurf_einer_neuen_%C3%84sthetik_der_Tonkunst/"><i>Entwurf einer neuen Ästhetik der Tonkunst</i></a> [<i>Sketch of a New Aesthetic of Music</i>] (in German). <a href="/wiki/Leipzig" title="Leipzig">Leipzig</a>, Germany: Insel-Verlag.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Entwurf+einer+neuen+%C3%84sthetik+der+Tonkunst&rft.place=Leipzig%2C+Germany&rft.pub=Insel-Verlag&rft.date=1916&rft.aulast=Busoni&rft.aufirst=Ferruccio&rft_id=https%3A%2F%2Fde.wikisource.org%2Fwiki%2FEntwurf_einer_neuen_%25C3%2584sthetik_der_Tonkunst%2F&rfr_id=info%3Asid%2Fen.wikipedia.org%3A4%E2%80%B233%E2%80%B3" class="Z3988"></span></li>
<li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFCage1961" class="citation book cs1">Cage, John (1961). <i>Silence: Lectures and Writings</i>. <a href="/wiki/Middletown,_Connecticut" title="Middletown, Connecticut">Middletown, Connecticut</a>: <a href="/wiki/Wesleyan_University_Press" title="Wesleyan University Press">Wesleyan University Press</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Silence%3A+Lectures+and+Writings&rft.place=Middletown%2C+Connecticut&rft.pub=Wesleyan+University+Press&rft.date=1961&rft.aulast=Cage&rft.aufirst=John&rfr_id=info%3Asid%2Fen.wikipedia.org%3A4%E2%80%B233%E2%80%B3" class="Z3988"></span></li>
<li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFCarpenter2009" class="citation book cs1">Carpenter, Humphrey (2009). <i>The Brideshead Generation: Evelyn Waugh and His Friends</i>. United States: <a href="/wiki/Faber_and_Faber" class="mw-redirect" title="Faber and Faber">Faber and Faber</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0571248339" title="Special:BookSources/978-0571248339"><bdi>978-0571248339</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Brideshead+Generation%3A+Evelyn+Waugh+and+His+Friends&rft.place=United+States&rft.pub=Faber+and+Faber&rft.date=2009&rft.isbn=978-0571248339&rft.aulast=Carpenter&rft.aufirst=Humphrey&rfr_id=info%3Asid%2Fen.wikipedia.org%3A4%E2%80%B233%E2%80%B3" class="Z3988"></span></li>
<li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFCraenen2014" class="citation book cs1">Craenen, Paul (2014). <i>Composing under the Skin: The Music-making Body at the Composer's Desk</i>. <a href="/wiki/Leuven,_Belgium" class="mw-redirect" title="Leuven, Belgium">Leuven, Belgium</a>: <a href="/wiki/Leuven_University_Press" title="Leuven University Press">Leuven University Press</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-9058679741" title="Special:BookSources/978-9058679741"><bdi>978-9058679741</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Composing+under+the+Skin%3A+The+Music-making+Body+at+the+Composer%27s+Desk&rft.place=Leuven%2C+Belgium&rft.pub=Leuven+University+Press&rft.date=2014&rft.isbn=978-9058679741&rft.aulast=Craenen&rft.aufirst=Paul&rfr_id=info%3Asid%2Fen.wikipedia.org%3A4%E2%80%B233%E2%80%B3" class="Z3988"></span></li>
<li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFCharles1978" class="citation book cs1 cs1-prop-foreign-lang-source">Charles, Daniel (1978). <i>Gloses sur John Cage</i> (in French). Paris, France: Union générale d'éditions. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/2264008555" title="Special:BookSources/2264008555"><bdi>2264008555</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Gloses+sur+John+Cage&rft.place=Paris%2C+France&rft.pub=Union+g%C3%A9n%C3%A9rale+d%27%C3%A9ditions&rft.date=1978&rft.isbn=2264008555&rft.aulast=Charles&rft.aufirst=Daniel&rfr_id=info%3Asid%2Fen.wikipedia.org%3A4%E2%80%B233%E2%80%B3" class="Z3988"></span></li>
<li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFDickinson1991" class="citation journal cs1">Dickinson, Peter (1991). "Reviews of Three Books on Satie". <i><a href="/wiki/The_Musical_Quarterly" title="The Musical Quarterly">The Musical Quarterly</a></i>. <b>75</b> (3): 404–409. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1093%2Fmq%2F75.3.404">10.1093/mq/75.3.404</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=The+Musical+Quarterly&rft.atitle=Reviews+of+Three+Books+on+Satie&rft.volume=75&rft.issue=3&rft.pages=404-409&rft.date=1991&rft_id=info%3Adoi%2F10.1093%2Fmq%2F75.3.404&rft.aulast=Dickinson&rft.aufirst=Peter&rfr_id=info%3Asid%2Fen.wikipedia.org%3A4%E2%80%B233%E2%80%B3" class="Z3988"></span></li>
<li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFFetterman1996" class="citation book cs1">Fetterman, William (1996). <i>John Cage's Theatre Pieces: Notations and Performances</i>. <a href="/wiki/Amsterdam,_the_Netherlands" class="mw-redirect" title="Amsterdam, the Netherlands">Amsterdam, the Netherlands</a>: <a href="/wiki/Harwood_Academic_Publishers" class="mw-redirect" title="Harwood Academic Publishers">Harwood Academic Publishers</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/3-7186-5642-6" title="Special:BookSources/3-7186-5642-6"><bdi>3-7186-5642-6</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=John+Cage%27s+Theatre+Pieces%3A+Notations+and+Performances&rft.place=Amsterdam%2C+the+Netherlands&rft.pub=Harwood+Academic+Publishers&rft.date=1996&rft.isbn=3-7186-5642-6&rft.aulast=Fetterman&rft.aufirst=William&rfr_id=info%3Asid%2Fen.wikipedia.org%3A4%E2%80%B233%E2%80%B3" class="Z3988"></span></li>
<li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFFiero1995" class="citation book cs1">Fiero, Gloria Konig (1995). <i>The Humanistic Tradition, Book 6: The Global Village of the Twentieth Century</i> (2nd ed.). Brown & Benchmark Pub. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-6972-4222-6" title="Special:BookSources/0-6972-4222-6"><bdi>0-6972-4222-6</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Humanistic+Tradition%2C+Book+6%3A+The+Global+Village+of+the+Twentieth+Century&rft.edition=2nd&rft.pub=Brown+%26+Benchmark+Pub&rft.date=1995&rft.isbn=0-6972-4222-6&rft.aulast=Fiero&rft.aufirst=Gloria+Konig&rfr_id=info%3Asid%2Fen.wikipedia.org%3A4%E2%80%B233%E2%80%B3" class="Z3988"></span></li>
<li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFGann2010" class="citation book cs1">Gann, Kyle (2010). <i>No Such Thing as Silence: John Cage's 4′33″</i>. <a href="/wiki/New_Haven,_Connecticut" title="New Haven, Connecticut">New Haven, Connecticut</a>: <a href="/wiki/Yale_University_Press" title="Yale University Press">Yale University Press</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-300-13699-9" title="Special:BookSources/978-0-300-13699-9"><bdi>978-0-300-13699-9</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=No+Such+Thing+as+Silence%3A+John+Cage%27s+4%E2%80%B233%E2%80%B3&rft.place=New+Haven%2C+Connecticut&rft.pub=Yale+University+Press&rft.date=2010&rft.isbn=978-0-300-13699-9&rft.aulast=Gann&rft.aufirst=Kyle&rfr_id=info%3Asid%2Fen.wikipedia.org%3A4%E2%80%B233%E2%80%B3" class="Z3988"></span></li>
<li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFHarding2013" class="citation book cs1">Harding, James Martin (2013). <i>The Ghosts of the Avant-Garde(s): Exercising Experimental Theater and Performance</i>. <a href="/wiki/Ann_Arbor,_Michigan" title="Ann Arbor, Michigan">Ann Arbor, Michigan</a>: <a href="/wiki/University_of_Michigan_Press" title="University of Michigan Press">University of Michigan Press</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-4720-3610-3" title="Special:BookSources/978-0-4720-3610-3"><bdi>978-0-4720-3610-3</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Ghosts+of+the+Avant-Garde%28s%29%3A+Exercising+Experimental+Theater+and+Performance&rft.place=Ann+Arbor%2C+Michigan&rft.pub=University+of+Michigan+Press&rft.date=2013&rft.isbn=978-0-4720-3610-3&rft.aulast=Harding&rft.aufirst=James+Martin&rfr_id=info%3Asid%2Fen.wikipedia.org%3A4%E2%80%B233%E2%80%B3" class="Z3988"></span></li>
<li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFHarris2005" class="citation book cs1">Harris, Jonathan (2005). <i>Art, Money, Parties: New Institutions in the Political Economy of Contemporary Art</i>. <a href="/wiki/Liverpool,_United_Kingdom" class="mw-redirect" title="Liverpool, United Kingdom">Liverpool, United Kingdom</a>: <a href="/wiki/Liverpool_University_Press" title="Liverpool University Press">Liverpool University Press</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0853237198" title="Special:BookSources/978-0853237198"><bdi>978-0853237198</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Art%2C+Money%2C+Parties%3A+New+Institutions+in+the+Political+Economy+of+Contemporary+Art&rft.place=Liverpool%2C+United+Kingdom&rft.pub=Liverpool+University+Press&rft.date=2005&rft.isbn=978-0853237198&rft.aulast=Harris&rft.aufirst=Jonathan&rfr_id=info%3Asid%2Fen.wikipedia.org%3A4%E2%80%B233%E2%80%B3" class="Z3988"></span></li>
<li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFHegarty2007" class="citation book cs1">Hegarty, Paul (2007). <i>Noise/Music: A History</i>. New York City: Continuum International Publishing Group. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0826417275" title="Special:BookSources/978-0826417275"><bdi>978-0826417275</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Noise%2FMusic%3A+A+History&rft.place=New+York+City&rft.pub=Continuum+International+Publishing+Group&rft.date=2007&rft.isbn=978-0826417275&rft.aulast=Hegarty&rft.aufirst=Paul&rfr_id=info%3Asid%2Fen.wikipedia.org%3A4%E2%80%B233%E2%80%B3" class="Z3988"></span></li>
<li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFSkinnerGillisLifson2012" class="citation magazine cs1">Skinner, David; Gillis, Anna Maria; Lifson, Amy (November–December 2012). <a rel="nofollow" class="external text" href="https://www.neh.gov/humanities/back-issues/vol33/issue6">"Humanities Volume 33, Issue 6"</a>. <i>Humanities</i>. Washington D.C., United States: <a href="/wiki/National_Endowment_for_the_Humanities" title="National Endowment for the Humanities">National Endowment for the Humanities</a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Ajournal&rft.genre=article&rft.jtitle=Humanities&rft.atitle=Humanities+Volume+33%2C+Issue+6&rft.date=2012-11%2F2012-12&rft.aulast=Skinner&rft.aufirst=David&rft.au=Gillis%2C+Anna+Maria&rft.au=Lifson%2C+Amy&rft_id=https%3A%2F%2Fwww.neh.gov%2Fhumanities%2Fback-issues%2Fvol33%2Fissue6&rfr_id=info%3Asid%2Fen.wikipedia.org%3A4%E2%80%B233%E2%80%B3" class="Z3988"></span></li>
<li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFKostelanetz2003" class="citation book cs1"><a href="/wiki/Richard_Kostelanetz" title="Richard Kostelanetz">Kostelanetz, Richard</a> (2003). <i>Conversing with John Cage</i>. New York City: Routledge. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-415-93792-2" title="Special:BookSources/0-415-93792-2"><bdi>0-415-93792-2</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Conversing+with+John+Cage&rft.place=New+York+City&rft.pub=Routledge&rft.date=2003&rft.isbn=0-415-93792-2&rft.aulast=Kostelanetz&rft.aufirst=Richard&rfr_id=info%3Asid%2Fen.wikipedia.org%3A4%E2%80%B233%E2%80%B3" class="Z3988"></span></li>
<li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFKouvaras2013" class="citation book cs1">Kouvaras, Linda Ioanna (2013). <i>Loading the Silence: Australian Sound Art in the Post-Digital Age</i>. <a href="/wiki/Melbourne" title="Melbourne">Melbourne</a>: <a href="/wiki/Ashgate_Publishing" title="Ashgate Publishing">Ashgate Publishing</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/9781315592831" title="Special:BookSources/9781315592831"><bdi>9781315592831</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Loading+the+Silence%3A+Australian+Sound+Art+in+the+Post-Digital+Age&rft.place=Melbourne&rft.pub=Ashgate+Publishing&rft.date=2013&rft.isbn=9781315592831&rft.aulast=Kouvaras&rft.aufirst=Linda+Ioanna&rfr_id=info%3Asid%2Fen.wikipedia.org%3A4%E2%80%B233%E2%80%B3" class="Z3988"></span></li>
<li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFLienhard2003" class="citation book cs1"><a href="/wiki/John_H._Lienhard" title="John H. Lienhard">Lienhard, John H.</a> (2003). <i>Inventing Modern: Growing Up with X-Rays, Skyscrapers, and Tailfins</i>. New York City: <a href="/wiki/Oxford_University_Press" title="Oxford University Press">Oxford University Press</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-19-516032-0" title="Special:BookSources/0-19-516032-0"><bdi>0-19-516032-0</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Inventing+Modern%3A+Growing+Up+with+X-Rays%2C+Skyscrapers%2C+and+Tailfins&rft.place=New+York+City&rft.pub=Oxford+University+Press.&rft.date=2003&rft.isbn=0-19-516032-0&rft.aulast=Lienhard&rft.aufirst=John+H.&rfr_id=info%3Asid%2Fen.wikipedia.org%3A4%E2%80%B233%E2%80%B3" class="Z3988"></span></li>
<li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFLiu2017" class="citation book cs1">Liu, Gerard C. (2017). <i>Music and the Generosity of God</i>. <a href="/wiki/Princeton,_New_Jersey" title="Princeton, New Jersey">Princeton, New Jersey</a>: <a href="/wiki/Palgrave_Macmillan" title="Palgrave Macmillan">Palgrave Macmillan</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-3-319-69492-4" title="Special:BookSources/978-3-319-69492-4"><bdi>978-3-319-69492-4</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Music+and+the+Generosity+of+God&rft.place=Princeton%2C+New+Jersey&rft.pub=Palgrave+Macmillan.&rft.date=2017&rft.isbn=978-3-319-69492-4&rft.aulast=Liu&rft.aufirst=Gerard+C.&rfr_id=info%3Asid%2Fen.wikipedia.org%3A4%E2%80%B233%E2%80%B3" class="Z3988"></span></li>
<li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFNicholls2002" class="citation book cs1">Nicholls, David (2002). <i>The Cambridge Companion to John Cage</i>. <a href="/wiki/Cambridge,_United_Kingdom" class="mw-redirect" title="Cambridge, United Kingdom">Cambridge, United Kingdom</a>: <a href="/wiki/Cambridge_University_Press" title="Cambridge University Press">Cambridge University Press</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0521789684" title="Special:BookSources/978-0521789684"><bdi>978-0521789684</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Cambridge+Companion+to+John+Cage&rft.place=Cambridge%2C+United+Kingdom&rft.pub=Cambridge+University+Press.&rft.date=2002&rft.isbn=978-0521789684&rft.aulast=Nicholls&rft.aufirst=David&rfr_id=info%3Asid%2Fen.wikipedia.org%3A4%E2%80%B233%E2%80%B3" class="Z3988"></span></li>
<li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFNyman1974" class="citation book cs1">Nyman, Michael (1974). <i>Experimental Music: Cage and Beyond</i>. London, England: <a href="/wiki/Studio_Vista" title="Studio Vista">Studio Vista</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-289-70182-1" title="Special:BookSources/0-289-70182-1"><bdi>0-289-70182-1</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Experimental+Music%3A+Cage+and+Beyond&rft.place=London%2C+England&rft.pub=Studio+Vista&rft.date=1974&rft.isbn=0-289-70182-1&rft.aulast=Nyman&rft.aufirst=Michael&rfr_id=info%3Asid%2Fen.wikipedia.org%3A4%E2%80%B233%E2%80%B3" class="Z3988"></span></li>
<li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFPluthZeiher2019" class="citation book cs1">Pluth, Ed; Zeiher, Cindy (2019). <i>On Silence: Holding the Voice Hostage</i>. Palgrave Pivot. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-3030281465" title="Special:BookSources/978-3030281465"><bdi>978-3030281465</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=On+Silence%3A+Holding+the+Voice+Hostage&rft.pub=Palgrave+Pivot&rft.date=2019&rft.isbn=978-3030281465&rft.aulast=Pluth&rft.aufirst=Ed&rft.au=Zeiher%2C+Cindy&rfr_id=info%3Asid%2Fen.wikipedia.org%3A4%E2%80%B233%E2%80%B3" class="Z3988"></span></li>
<li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFPriest2008" class="citation book cs1">Priest, Gail (2008). <i>Experimental Music: Audio Explorations in Australia</i>. Sydney: <a href="/wiki/University_of_New_South_Wales_Press" title="University of New South Wales Press">University of New South Wales Press</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1921410079" title="Special:BookSources/978-1921410079"><bdi>978-1921410079</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Experimental+Music%3A+Audio+Explorations+in+Australia&rft.place=Sydney&rft.pub=University+of+New+South+Wales+Press&rft.date=2008&rft.isbn=978-1921410079&rft.aulast=Priest&rft.aufirst=Gail&rfr_id=info%3Asid%2Fen.wikipedia.org%3A4%E2%80%B233%E2%80%B3" class="Z3988"></span></li>
<li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFPritchett1993" class="citation book cs1">Pritchett, James (1993). <i>The Music of John Cage</i>. <a href="/wiki/Cambridge,_United_Kingdom" class="mw-redirect" title="Cambridge, United Kingdom">Cambridge, United Kingdom</a> and New York City: <a href="/wiki/Cambridge_University_Press" title="Cambridge University Press">Cambridge University Press</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/0-521-56544-8" title="Special:BookSources/0-521-56544-8"><bdi>0-521-56544-8</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Music+of+John+Cage&rft.place=Cambridge%2C+United+Kingdom+and+New+York+City&rft.pub=Cambridge+University+Press&rft.date=1993&rft.isbn=0-521-56544-8&rft.aulast=Pritchett&rft.aufirst=James&rfr_id=info%3Asid%2Fen.wikipedia.org%3A4%E2%80%B233%E2%80%B3" class="Z3988"></span></li>
<li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFPritchettKuhnGarrett2012" class="citation encyclopaedia cs1">Pritchett, James; Kuhn, Laura & Garrett, Charles Hiroshi (2012). "John Cage". <i><a href="/wiki/The_New_Grove_Dictionary_of_Music_and_Musicians#Grove_Music_Online_and_Oxford_Music_Online" title="The New Grove Dictionary of Music and Musicians">Grove Music Online</a></i> (8th ed.). <a href="/wiki/Oxford_University_Press" title="Oxford University Press">Oxford University Press</a>. <a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1093%2Fgmo%2F9781561592630.article.A2223954">10.1093/gmo/9781561592630.article.A2223954</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-56159-263-0" title="Special:BookSources/978-1-56159-263-0"><bdi>978-1-56159-263-0</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=bookitem&rft.atitle=John+Cage&rft.btitle=Grove+Music+Online&rft.edition=8th&rft.pub=Oxford+University+Press&rft.date=2012&rft_id=info%3Adoi%2F10.1093%2Fgmo%2F9781561592630.article.A2223954&rft.isbn=978-1-56159-263-0&rft.aulast=Pritchett&rft.aufirst=James&rft.au=Kuhn%2C+Laura&rft.au=Garrett%2C+Charles+Hiroshi&rfr_id=info%3Asid%2Fen.wikipedia.org%3A4%E2%80%B233%E2%80%B3" class="Z3988"></span></li>
<li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFReed2013" class="citation book cs1">Reed, S. Alexander (2013). <i>Assimilate: A Critical History of Industrial Music</i>. New York City: Oxford University Press. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/9780199832606" title="Special:BookSources/9780199832606"><bdi>9780199832606</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Assimilate%3A+A+Critical+History+of+Industrial+Music&rft.place=New+York+City&rft.pub=Oxford+University+Press&rft.date=2013&rft.isbn=9780199832606&rft.aulast=Reed&rft.aufirst=S.+Alexander&rfr_id=info%3Asid%2Fen.wikipedia.org%3A4%E2%80%B233%E2%80%B3" class="Z3988"></span></li>
<li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFRevill1993" class="citation book cs1">Revill, David (1993). <i>The Roaring Silence: John Cage – A Life</i>. New York City: <a href="/wiki/Arcade_Publishing" title="Arcade Publishing">Arcade Publishing</a>. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-1-55970-220-1" title="Special:BookSources/978-1-55970-220-1"><bdi>978-1-55970-220-1</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Roaring+Silence%3A+John+Cage+%E2%80%93+A+Life&rft.place=New+York+City&rft.pub=Arcade+Publishing&rft.date=1993&rft.isbn=978-1-55970-220-1&rft.aulast=Revill&rft.aufirst=David&rfr_id=info%3Asid%2Fen.wikipedia.org%3A4%E2%80%B233%E2%80%B3" class="Z3988"></span></li>
<li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFSolomon2002" class="citation book cs1">Solomon, Larry J. (2002) [1998]. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20180109031457/http://solomonsmusic.net/4min33se.htm"><i>The Sounds of Silence: John Cage and 4′33″</i></a> (revised ed.). Archived from <a rel="nofollow" class="external text" href="http://solomonsmusic.net/4min33se.htm">the original</a> on January 9, 2018.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Sounds+of+Silence%3A+John+Cage+and+4%E2%80%B233%E2%80%B3&rft.edition=revised&rft.date=2002&rft.aulast=Solomon&rft.aufirst=Larry+J.&rft_id=http%3A%2F%2Fsolomonsmusic.net%2F4min33se.htm&rfr_id=info%3Asid%2Fen.wikipedia.org%3A4%E2%80%B233%E2%80%B3" class="Z3988"></span></li>
<li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFSymondsKarantonis2013" class="citation book cs1">Symonds, Dominica; Karantonis, Pamela (2013). <i>The Legacy of Opera: Reading Music Theatre as Experience and Performance</i>. <a href="/wiki/The_Netherlands" class="mw-redirect" title="The Netherlands">The Netherlands</a>: Brill Academic Pub. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-9042036918" title="Special:BookSources/978-9042036918"><bdi>978-9042036918</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=The+Legacy+of+Opera%3A+Reading+Music+Theatre+as+Experience+and+Performance&rft.place=The+Netherlands&rft.pub=Brill+Academic+Pub&rft.date=2013&rft.isbn=978-9042036918&rft.aulast=Symonds&rft.aufirst=Dominica&rft.au=Karantonis%2C+Pamela&rfr_id=info%3Asid%2Fen.wikipedia.org%3A4%E2%80%B233%E2%80%B3" class="Z3988"></span></li>
<li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFTaruskin2009" class="citation book cs1"><a href="/wiki/Richard_Taruskin" title="Richard Taruskin">Taruskin, Richard</a> (2009). <i>Oxford History of Western Music: Volume 5</i>. New York City: Oxford University Press. <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-19-538630-1" title="Special:BookSources/978-0-19-538630-1"><bdi>978-0-19-538630-1</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Oxford+History+of+Western+Music%3A+Volume+5&rft.place=New+York+City&rft.pub=Oxford+University+Press&rft.date=2009&rft.isbn=978-0-19-538630-1&rft.aulast=Taruskin&rft.aufirst=Richard&rfr_id=info%3Asid%2Fen.wikipedia.org%3A4%E2%80%B233%E2%80%B3" class="Z3988"></span></li>
<li><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><cite id="CITEREFThomsett2012" class="citation book cs1">Thomsett, Michael C. (2012). <i>Musical Terms, Symbols and Theory: An Illustrated Dictionary</i>. <a href="/wiki/Jefferson,_North_Carolina" title="Jefferson, North Carolina">Jefferson, North Carolina</a>: <a href="/wiki/McFarland_%26_Company,_Inc." class="mw-redirect" title="McFarland & Company, Inc.">McFarland & Company, Inc.</a> <a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-0-7864-6757-0" title="Special:BookSources/978-0-7864-6757-0"><bdi>978-0-7864-6757-0</bdi></a>.</cite><span title="ctx_ver=Z39.88-2004&rft_val_fmt=info%3Aofi%2Ffmt%3Akev%3Amtx%3Abook&rft.genre=book&rft.btitle=Musical+Terms%2C+Symbols+and+Theory%3A+An+Illustrated+Dictionary&rft.place=Jefferson%2C+North+Carolina&rft.pub=McFarland+%26+Company%2C+Inc.&rft.date=2012&rft.isbn=978-0-7864-6757-0&rft.aulast=Thomsett&rft.aufirst=Michael+C.&rfr_id=info%3Asid%2Fen.wikipedia.org%3A4%E2%80%B233%E2%80%B3" class="Z3988"></span></li></ul>
</div>
<h2><span class="mw-headline" id="Further_reading">Further reading</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=4%E2%80%B233%E2%80%B3&action=edit&section=36" title="Edit section: Further reading"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></h2>
<ul><li>Arns, Inke and Daniels, Dieter. 2012. <i>Sounds Like Silence</i>. Hartware MedienKunstVerein. Leipzig: Spector Books. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-3-940064-41-7" title="Special:BookSources/978-3-940064-41-7">978-3-940064-41-7</a></li>
<li>Davies, Stephen. 1997. "John Cage's <i>4′33″</i>: Is it music?" <i><a href="/wiki/Australasian_Journal_of_Philosophy" title="Australasian Journal of Philosophy">Australasian Journal of Philosophy</a></i>, vol. 75, no. 4, pp. 448–462. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1080%2F00048402.2017.1408664">10.1080/00048402.2017.1408664</a></li>
<li>Dodd, Julian. 2017. "What <i>4′33″</i> Is". <i><a href="/wiki/Australasian_Journal_of_Philosophy" title="Australasian Journal of Philosophy">Australasian Journal of Philosophy</a></i>. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1080%2F00048409712348031">10.1080/00048409712348031</a></li>
<li>Garten, Joel. February 20, 2014. <a rel="nofollow" class="external text" href="https://www.huffpost.com/entry/interview-with-moma-curator_b_4806215">Interview With MoMA Curator David Platzker About the New Exhibition on John Cage.</a> <i><a href="/wiki/The_Huffington_Post" class="mw-redirect" title="The Huffington Post">The Huffington Post</a></i>.</li>
<li>Katschthaler, Karl. 2016. "Absence, Presence and Potentiality: John Cage's <i>4′33″</i> Revisited", pp. 166–179. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.1163%2F9789004314863_011">10.1163/9789004314863_011</a>, in <a href="/wiki/Werner_Wolf" title="Werner Wolf">Wolf, Werner</a> and Bernhart, Walter (eds.). <i>Silence and Absence in Literature and Music</i>. Leiden: Brill. <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><a href="/wiki/ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <a href="/wiki/Special:BookSources/978-90-04-31485-6" title="Special:BookSources/978-90-04-31485-6">978-90-04-31485-6</a></li>
<li>Lipov, Anatoly. 2015. "4'33" as the Play of Silent Presence. Stillness, or Anarchy of Silence?" <i>Culture and Art</i>, numbers 4, pp. 436–454, <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.7256%2F2222-1956.2015.4.15062">10.7256/2222-1956.2015.4.15062</a> and 6, pp. 669–686, <link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1215172403"><a href="/wiki/Doi_(identifier)" class="mw-redirect" title="Doi (identifier)">doi</a>:<a rel="nofollow" class="external text" href="https://doi.org/10.7256%2F2222-1956.2015.6.16411">10.7256/2222-1956.2015.6.16411</a>.</li></ul>
<h2><span class="mw-headline" id="See_also">See also</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=4%E2%80%B233%E2%80%B3&action=edit&section=37" title="Edit section: See also"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></h2>
<ul><li><a href="/wiki/Monotone-Silence_Symphony" title="Monotone-Silence Symphony">Monotone-Silence Symphony</a>, a composition by Yves Klein featuring both sound and extended silence</li></ul>
<h2><span class="mw-headline" id="External_links">External links</span><span class="mw-editsection"><span class="mw-editsection-bracket">[</span><a href="/w/index.php?title=4%E2%80%B233%E2%80%B3&action=edit&section=38" title="Edit section: External links"><span>edit</span></a><span class="mw-editsection-bracket">]</span></span></h2>
<ul><li><a rel="nofollow" class="external text" href="https://www.bbc.co.uk/news/magazine-12021661">What John Cage's silent symphony really means</a>", <i>BBC News</i></li>
<li>"<a rel="nofollow" class="external text" href="http://news.bbc.co.uk/2/hi/entertainment/3401901.stm">Radio 3 plays 'silent symphony'</a>", BBC Online. (includes <a href="/wiki/RealAudio" title="RealAudio">RealAudio</a> sound file)</li>
<li><a rel="nofollow" class="external text" href="https://www.theguardian.com/music/2004/jan/18/classicalmusicandopera2">A quiet night out with Cage</a> from the UK <i><a href="/wiki/The_Observer" title="The Observer">Observer</a></i></li>
<li><a rel="nofollow" class="external text" href="https://www.theguardian.com/music/2004/jan/16/classicalmusicandopera1">The Music of Chance</a> from the UK <i><a href="/wiki/The_Guardian" title="The Guardian">Guardian</a></i> newspaper</li>
<li><a rel="nofollow" class="external text" href="http://www.classicalnotes.net/columns/silence.html">The Sounds of Silence</a> further commentary by Peter Gutmann</li>
<li><a rel="nofollow" class="external text" href="https://www.ubu.com/film/cage_433.html">Video</a> of a 2004 orchestral performance</li></ul>
<p><b>Audio</b>
</p>
<ul><li><a rel="nofollow" class="external text" href="https://interglacial.com/~sburke/stuff/cage_433.html">John Cage's <i>4′33″</i></a> in <a href="/wiki/MIDI" title="MIDI">MIDI</a>, <a href="/wiki/Ogg_Vorbis" class="mw-redirect" title="Ogg Vorbis">OGG</a>, <a href="/wiki/Au_file_format" title="Au file format">Au</a>, and <a href="/wiki/WAV" title="WAV">WAV</a> formats.</li>
<li><a rel="nofollow" class="external text" href="https://www.npr.org/ramfiles/atc/20000508.atc.08.rmm">John Cage's <i>4′33″</i></a> from <a href="/wiki/National_Public_Radio" class="mw-redirect" title="National Public Radio">National Public Radio</a>'s "The 100 most important American musical works of the 20th century" (<a href="/wiki/RealAudio" title="RealAudio">RealAudio</a> file format)</li>
<li><a rel="nofollow" class="external text" href="https://www.thenexttrack.com/126">Interview with Kyle Gann about 4'33" on The Next Track podcast</a></li></ul>
<p><b>App</b>
</p>
<ul><li><a rel="nofollow" class="external text" href="https://johncage.org/4_33.html">John Cage's <i>4′33″</i></a> as an <a href="/wiki/IPhone" title="IPhone">iPhone</a> app, published by the John Cage Trust (2014)</li></ul>
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transparent;border:none;box-shadow:none;padding:0;">v</abbr></a></li><li class="nv-talk"><a href="/wiki/Template_talk:John_Cage" title="Template talk:John Cage"><abbr title="Discuss this template" style=";background: #bfe0bf;;background:none transparent;border:none;box-shadow:none;padding:0;">t</abbr></a></li><li class="nv-edit"><a href="/wiki/Special:EditPage/Template:John_Cage" title="Special:EditPage/Template:John Cage"><abbr title="Edit this template" style=";background: #bfe0bf;;background:none transparent;border:none;box-shadow:none;padding:0;">e</abbr></a></li></ul></div><div id="John_Cage" class="fn" style="font-size:114%;margin:0 4em"><a href="/wiki/John_Cage" title="John Cage">John Cage</a></div></th></tr><tr><td class="navbox-abovebelow" colspan="2" style="background: #EEEEEE;"><div>
<ul><li><a href="/wiki/List_of_compositions_by_John_Cage" title="List of compositions by John Cage">List of compositions</a>
<ul><li><a href="/wiki/Works_for_prepared_piano_by_John_Cage" title="Works for prepared piano by John Cage">Works for prepared piano</a></li></ul></li></ul>
</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%;background: #EEEEEE;">Music</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em">
<ul><li><i><a href="/wiki/Construction_(Cage)" title="Construction (Cage)">Constructions</a></i> (1939–41)</li>
<li><i><a href="/wiki/Imaginary_Landscape" title="Imaginary Landscape">Imaginary Landscapes</a></i>
<ul><li><i><a href="/wiki/Imaginary_Landscape_No._1" title="Imaginary Landscape No. 1">No. 1</a></i></li>
<li><i><a href="/wiki/Imaginary_Landscape_No._2_(March_No._1)" title="Imaginary Landscape No. 2 (March No. 1)">No. 2</a></i></li>
<li><i><a href="/wiki/Imaginary_Landscape_No._3" title="Imaginary Landscape No. 3">No. 3</a></i></li>
<li><i><a href="/wiki/Imaginary_Landscape_No._4_(March_No._2)" title="Imaginary Landscape No. 4 (March No. 2)">No. 4</a></i></li>
<li><i><a href="/wiki/Imaginary_Landscape_No._5" title="Imaginary Landscape No. 5">No. 5</a></i> (1939–52)</li></ul></li>
<li><i><a href="/wiki/Music_for_an_Aquatic_Ballet" title="Music for an Aquatic Ballet">Music for an Aquatic Ballet</a></i> (1938)</li>
<li><i><a href="/wiki/Living_Room_Music" title="Living Room Music">Living Room Music</a></i> (1940)</li>
<li><i><a href="/wiki/Sonatas_and_Interludes" title="Sonatas and Interludes">Sonatas and Interludes</a></i> (1946–48)</li>
<li><i><a href="/wiki/String_Quartet_in_Four_Parts" title="String Quartet in Four Parts">String Quartet in Four Parts</a></i> (1950)</li>
<li><i><a href="/wiki/Music_of_Changes" title="Music of Changes">Music of Changes</a></i> (1951)</li>
<li><i><a class="mw-selflink selflink">4′33″</a></i> (1952)</li>
<li><i><a href="/wiki/27_minutes_10.554_seconds" title="27 minutes 10.554 seconds">27' 10.554"</a></i> (1956)</li>
<li><i><a href="/wiki/Variations_(Cage)" title="Variations (Cage)">Variations</a></i> (1958–67)</li>
<li><i><a href="/wiki/Cheap_Imitation" title="Cheap Imitation">Cheap Imitation</a></i> (1969)</li>
<li><i><a href="/wiki/HPSCHD" title="HPSCHD">HPSCHD</a></i> (1969)</li>
<li><i><a href="/wiki/Song_Books_(Cage)" title="Song Books (Cage)">Song Books</a></i> (1970)</li>
<li><i><a href="/wiki/Etudes_Australes" title="Etudes Australes">Etudes Australes</a></i> (1974–75)</li>
<li><i><a href="/wiki/Apartment_House_1776" title="Apartment House 1776">Apartment House 1776</a></i> (1976)</li>
<li><i><a href="/wiki/Etudes_Boreales" title="Etudes Boreales">Etudes Boreales</a></i> (1978)</li>
<li><i><a href="/wiki/Freeman_Etudes" title="Freeman Etudes">Freeman Etudes</a></i> (1977–90)</li>
<li><i><a href="/wiki/Roaratorio" title="Roaratorio">Roaratorio</a></i> (1979)</li>
<li><i><a href="/wiki/As_Slow_as_Possible" title="As Slow as Possible">As Slow as Possible</a></i> (1985/1987)</li>
<li><i><a href="/wiki/But_what_about_the_noise..." title="But what about the noise...">But what about the noise...</a></i> (1986)</li>
<li><i><a href="/wiki/Europeras" title="Europeras">Europeras</a></i> (1987–91)</li>
<li><i><a href="/wiki/Number_Pieces" title="Number Pieces">Number Pieces</a></i> (1987–92)</li></ul>
</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%;background: #EEEEEE;">Books</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em">
<ul><li><i><a href="/wiki/Silence:_Lectures_and_Writings" title="Silence: Lectures and Writings">Silence</a></i> (1961)</li>
<li><i><a href="/wiki/A_Year_from_Monday" title="A Year from Monday">A Year from Monday</a></i> (1968)</li>
<li><i><a href="/wiki/Notations" title="Notations">Notations</a></i> (1969)</li>
<li><i><a href="/wiki/M_(John_Cage_book)" title="M (John Cage book)">M</a></i> (1973)</li>
<li><i><a href="/wiki/Empty_Words" title="Empty Words">Empty Words</a></i> (1979)</li>
<li><i><a href="/wiki/X_(Cage_book)" title="X (Cage book)">X</a></i> (1983)</li></ul>
</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%;background: #EEEEEE;">Depictions</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em">
<ul><li><i><a href="/wiki/The_Revenge_of_the_Dead_Indians" title="The Revenge of the Dead Indians">The Revenge of the Dead Indians</a></i> (1993)</li></ul>
</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%;background: #EEEEEE;">Related</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em">
<ul><li><a href="/wiki/Crete_Cage" title="Crete Cage">Crete Cage</a> (mother)</li>
<li><a href="/wiki/Xenia_Cage" title="Xenia Cage">Xenia Cage</a> (wife)</li>
<li><a href="/wiki/Indeterminacy_(music)" title="Indeterminacy (music)">Indeterminacy in music</a></li>
<li><a href="/wiki/West_Coast_School" title="West Coast School">West Coast School</a></li>
<li><a href="/wiki/Foundation_for_Contemporary_Arts" title="Foundation for Contemporary Arts">Foundation for Contemporary Arts</a></li></ul>
</div></td></tr><tr><td class="navbox-abovebelow" colspan="2" style="background: #EEEEEE;"><div>
<ul><li><span class="noviewer" typeof="mw:File"><span title="Category"><img alt="" src="//upload.wikimedia.org/wikipedia/en/thumb/9/96/Symbol_category_class.svg/16px-Symbol_category_class.svg.png" decoding="async" width="16" height="16" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/9/96/Symbol_category_class.svg/23px-Symbol_category_class.svg.png 1.5x, //upload.wikimedia.org/wikipedia/en/thumb/9/96/Symbol_category_class.svg/31px-Symbol_category_class.svg.png 2x" data-file-width="180" data-file-height="185" /></span></span> <a href="/wiki/Category:Compositions_by_John_Cage" title="Category:Compositions by John Cage">Category</a></li></ul>
</div></td></tr></tbody></table></div>
<div class="navbox-styles"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1061467846"></div><div role="navigation" class="navbox" aria-labelledby="Modernism" style="padding:3px"><table class="nowraplinks mw-collapsible mw-collapsed navbox-inner" style="border-spacing:0;background:transparent;color:inherit"><tbody><tr><th scope="col" class="navbox-title" colspan="2"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1063604349"><div class="navbar plainlinks hlist navbar-mini"><ul><li class="nv-view"><a href="/wiki/Template:Modernism" title="Template:Modernism"><abbr title="View this template" style=";;background:none transparent;border:none;box-shadow:none;padding:0;">v</abbr></a></li><li class="nv-talk"><a href="/wiki/Template_talk:Modernism" title="Template talk:Modernism"><abbr title="Discuss this template" style=";;background:none transparent;border:none;box-shadow:none;padding:0;">t</abbr></a></li><li class="nv-edit"><a href="/wiki/Special:EditPage/Template:Modernism" title="Special:EditPage/Template:Modernism"><abbr title="Edit this template" style=";;background:none transparent;border:none;box-shadow:none;padding:0;">e</abbr></a></li></ul></div><div id="Modernism" style="font-size:114%;margin:0 4em"><a href="/wiki/Modernism" title="Modernism">Modernism</a></div></th></tr><tr><th scope="row" class="navbox-group" style="width:1%">Movements</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">
<ul><li><span class="nowrap"><a href="/wiki/Acmeist_poetry" title="Acmeist poetry">Acmeism</a></span></li>
<li><span class="nowrap"><span title="French-language text"><i lang="fr"><a href="/wiki/Art_Deco" title="Art Deco">Art Deco</a></i></span></span></li>
<li><span class="nowrap"><span title="French-language text"><i lang="fr"><a href="/wiki/Art_Nouveau" title="Art Nouveau">Art Nouveau</a></i></span></span></li>
<li><span class="nowrap"><a href="/wiki/Ashcan_School" title="Ashcan School">Ashcan School</a></span></li>
<li><span class="nowrap"><a href="/wiki/Constructivism_(art)" title="Constructivism (art)">Constructivism</a></span></li>
<li><span class="nowrap"><a href="/wiki/Cubism" title="Cubism">Cubism</a></span></li>
<li><span class="nowrap"><a href="/wiki/Dada" title="Dada">Dada</a></span></li>
<li><span class="nowrap"><a href="/wiki/Expressionism" title="Expressionism">Expressionism</a></span>
<ul><li><span class="nowrap"><span title="German-language text"><i lang="de"><a href="/wiki/Der_Blaue_Reiter" title="Der Blaue Reiter">Der Blaue Reiter</a></i></span></span></li>
<li><span class="nowrap"><span title="German-language text"><i lang="de"><a href="/wiki/Die_Br%C3%BCcke" title="Die Brücke">Die Brücke</a></i></span></span></li>
<li><span class="nowrap"><a href="/wiki/Expressionist_music" title="Expressionist music">Music</a></span></li></ul></li>
<li><span class="nowrap"><a href="/wiki/Fauvism" title="Fauvism">Fauvism</a></span></li>
<li><span class="nowrap"><a href="/wiki/Functionalism_(architecture)" title="Functionalism (architecture)">Functionalism</a></span>
<ul><li><span class="nowrap"><a href="/wiki/Bauhaus" title="Bauhaus">Bauhaus</a></span></li></ul></li>
<li><span class="nowrap"><a href="/wiki/Futurism" title="Futurism">Futurism</a></span></li>
<li><span class="nowrap"><a href="/wiki/Imagism" title="Imagism">Imagism</a></span></li>
<li><span class="nowrap"><a href="/wiki/Lettrism" title="Lettrism">Lettrism</a></span></li>
<li><span class="nowrap"><a href="/wiki/Neoplasticism" title="Neoplasticism">Neoplasticism</a></span>
<ul><li><span class="nowrap"><span title="Dutch-language text"><i lang="nl"><a href="/wiki/De_Stijl" title="De Stijl">De Stijl</a></i></span></span></li></ul></li>
<li><span class="nowrap"><a href="/wiki/Orphism_(art)" title="Orphism (art)">Orphism</a></span></li>
<li><span class="nowrap"><a href="/wiki/Surrealism" title="Surrealism">Surrealism</a></span></li>
<li><span class="nowrap"><a href="/wiki/Symbolism_(arts)" title="Symbolism (arts)">Symbolism</a></span></li>
<li><span class="nowrap"><a href="/wiki/Synchromism" title="Synchromism">Synchromism</a></span></li>
<li><span class="nowrap"><a href="/wiki/Tonalism" title="Tonalism">Tonalism</a></span></li></ul>
</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="/wiki/The_arts#Literary_arts" title="The arts">Literary arts</a></th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"></div><table class="nowraplinks navbox-subgroup" style="border-spacing:0"><tbody><tr><th scope="row" class="navbox-group" style="width:1%"><a href="/wiki/Literary_modernism" title="Literary modernism">Literature</a></th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em">
<ul><li><span class="nowrap"><a href="/wiki/Guillaume_Apollinaire" title="Guillaume Apollinaire">Apollinaire</a></span></li>
<li><span class="nowrap"><a href="/wiki/Djuna_Barnes" title="Djuna Barnes">Barnes</a></span></li>
<li><span class="nowrap"><a href="/wiki/Samuel_Beckett" title="Samuel Beckett">Beckett</a></span></li>
<li><span class="nowrap"><a href="/wiki/Andrei_Bely" title="Andrei Bely">Bely</a> </span></li>
<li><span class="nowrap"><a href="/wiki/Andr%C3%A9_Breton" title="André Breton">Breton</a></span></li>
<li><span class="nowrap"><a href="/wiki/Hermann_Broch" title="Hermann Broch">Broch</a> </span></li>
<li><span class="nowrap"><a href="/wiki/Mikhail_Bulgakov" title="Mikhail Bulgakov">Bulgakov</a></span></li>
<li><span class="nowrap"><a href="/wiki/Anton_Chekhov" title="Anton Chekhov">Chekhov</a></span></li>
<li><span class="nowrap"><a href="/wiki/Joseph_Conrad" title="Joseph Conrad">Conrad</a></span></li>
<li><span class="nowrap"><a href="/wiki/Alfred_D%C3%B6blin" title="Alfred Döblin">Döblin</a></span></li>
<li><span class="nowrap"><a href="/wiki/E._M._Forster" title="E. M. Forster">Forster</a></span></li>
<li><span class="nowrap"><a href="/wiki/William_Faulkner" title="William Faulkner">Faulkner</a></span></li>
<li><span class="nowrap"><a href="/wiki/Gustave_Flaubert" title="Gustave Flaubert">Flaubert</a></span></li>
<li><span class="nowrap"><a href="/wiki/Ford_Madox_Ford" title="Ford Madox Ford">Ford</a></span></li>
<li><span class="nowrap"><a href="/wiki/Andr%C3%A9_Gide" title="André Gide">Gide</a></span></li>
<li><span class="nowrap"><a href="/wiki/Knut_Hamsun" title="Knut Hamsun">Hamsun</a></span></li>
<li><span class="nowrap"><a href="/wiki/Jaroslav_Ha%C5%A1ek" title="Jaroslav Hašek">Hašek</a></span></li>
<li><span class="nowrap"><a href="/wiki/Ernest_Hemingway" title="Ernest Hemingway">Hemingway</a></span></li>
<li><span class="nowrap"><a href="/wiki/Hermann_Hesse" title="Hermann Hesse">Hesse</a></span></li>
<li><span class="nowrap"><a href="/wiki/James_Joyce" title="James Joyce">Joyce</a></span></li>
<li><span class="nowrap"><a href="/wiki/Franz_Kafka" title="Franz Kafka">Kafka</a></span></li>
<li><span class="nowrap"><a href="/wiki/Arthur_Koestler" title="Arthur Koestler">Koestler</a></span></li>
<li><span class="nowrap"><a href="/wiki/D._H._Lawrence" title="D. H. Lawrence">Lawrence</a></span></li>
<li><span class="nowrap"><a href="/wiki/Thomas_Mann" title="Thomas Mann">Mann</a></span></li>
<li><span class="nowrap"><a href="/wiki/Katherine_Mansfield" title="Katherine Mansfield">Mansfield</a></span></li>
<li><span class="nowrap"><a href="/wiki/Filippo_Tommaso_Marinetti" title="Filippo Tommaso Marinetti">Marinetti</a></span></li>
<li><span class="nowrap"><a href="/wiki/Robert_Musil" title="Robert Musil">Musil</a></span></li>
<li><span class="nowrap"><a href="/wiki/John_Dos_Passos" title="John Dos Passos">Dos Passos</a> </span></li>
<li><span class="nowrap"><a href="/wiki/Andrei_Platonov" title="Andrei Platonov">Platonov</a> </span></li>
<li><span class="nowrap"><a href="/wiki/Katherine_Anne_Porter" title="Katherine Anne Porter">Porter</a></span></li>
<li><span class="nowrap"><a href="/wiki/Marcel_Proust" title="Marcel Proust">Proust</a></span></li>
<li><span class="nowrap"><a href="/wiki/Gertrude_Stein" title="Gertrude Stein">Stein</a></span></li>
<li><span class="nowrap"><a href="/wiki/Italo_Svevo" title="Italo Svevo">Svevo</a></span></li>
<li><span class="nowrap"><a href="/wiki/Miguel_de_Unamuno" title="Miguel de Unamuno">Unamuno</a> </span></li>
<li><span class="nowrap"><a href="/wiki/Virginia_Woolf" title="Virginia Woolf">Woolf</a></span></li></ul>
</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="/wiki/Modernist_poetry" title="Modernist poetry">Poetry</a></th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em">
<ul><li><span class="nowrap"><a href="/wiki/Anna_Akhmatova" title="Anna Akhmatova">Akhmatova</a></span></li>
<li><span class="nowrap"><a href="/wiki/Richard_Aldington" title="Richard Aldington">Aldington</a></span></li>
<li><span class="nowrap"><a href="/wiki/W._H._Auden" title="W. H. Auden">Auden</a></span></li>
<li><span class="nowrap"><a href="/wiki/Constantine_P._Cavafy" title="Constantine P. Cavafy">Cavafy</a></span></li>
<li><span class="nowrap"><a href="/wiki/Blaise_Cendrars" title="Blaise Cendrars">Cendrars</a></span></li>
<li><span class="nowrap"><a href="/wiki/Hart_Crane" title="Hart Crane">Crane</a></span></li>
<li><span class="nowrap"><a href="/wiki/H.D." title="H.D.">H.D.</a></span></li>
<li><span class="nowrap"><a href="/wiki/Robert_Desnos" title="Robert Desnos">Desnos</a></span></li>
<li><span class="nowrap"><a href="/wiki/T._S._Eliot" title="T. S. Eliot">Eliot</a></span></li>
<li><span class="nowrap"><a href="/wiki/Paul_%C3%89luard" title="Paul Éluard">Éluard</a></span></li>
<li><span class="nowrap"><a href="/wiki/Odysseas_Elytis" title="Odysseas Elytis">Elytis</a></span></li>
<li><span class="nowrap"><a href="/wiki/Stefan_George" title="Stefan George">George</a></span></li>
<li><span class="nowrap"><a href="/wiki/Max_Jacob" title="Max Jacob">Jacob</a></span></li>
<li><span class="nowrap"><a href="/wiki/Federico_Garc%C3%ADa_Lorca" title="Federico García Lorca">Lorca</a></span></li>
<li><span class="nowrap"><a href="/wiki/Amy_Lowell" title="Amy Lowell">Lowell (Amy)</a></span></li>
<li><span class="nowrap"><a href="/wiki/Robert_Lowell" title="Robert Lowell">Lowell (Robert)</a></span></li>
<li><span class="nowrap"><a href="/wiki/St%C3%A9phane_Mallarm%C3%A9" title="Stéphane Mallarmé">Mallarmé</a></span></li>
<li><span class="nowrap"><a href="/wiki/Marianne_Moore" title="Marianne Moore">Moore</a></span></li>
<li><span class="nowrap"><a href="/wiki/Wilfred_Owen" title="Wilfred Owen">Owen</a></span></li>
<li><span class="nowrap"><a href="/wiki/Fernando_Pessoa" title="Fernando Pessoa">Pessoa</a></span></li>
<li><span class="nowrap"><a href="/wiki/Ezra_Pound" title="Ezra Pound">Pound</a></span></li>
<li><span class="nowrap"><a href="/wiki/Rainer_Maria_Rilke" title="Rainer Maria Rilke">Rilke</a></span></li>
<li><span class="nowrap"><a href="/wiki/Giorgos_Seferis" title="Giorgos Seferis">Seferis</a></span></li>
<li><span class="nowrap"><a href="/wiki/Wallace_Stevens" title="Wallace Stevens">Stevens</a></span></li>
<li><span class="nowrap"><a href="/wiki/Dylan_Thomas" title="Dylan Thomas">Thomas</a></span></li>
<li><span class="nowrap"><a href="/wiki/Tristan_Tzara" title="Tristan Tzara">Tzara</a></span></li>
<li><span class="nowrap"><a href="/wiki/Paul_Val%C3%A9ry" title="Paul Valéry">Valéry</a></span></li>
<li><span class="nowrap"><a href="/wiki/William_Carlos_Williams" title="William Carlos Williams">Williams</a></span></li>
<li><span class="nowrap"><a href="/wiki/W._B._Yeats" title="W. B. Yeats">Yeats</a></span></li></ul>
</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Works</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em">
<ul><li><span class="nowrap"><i><a href="/wiki/In_Search_of_Lost_Time" title="In Search of Lost Time">In Search of Lost Time</a></i> <span style="font-size:85%;">(1913–1927)</span></span></li>
<li><span class="nowrap"><i><a href="/wiki/The_Metamorphosis" title="The Metamorphosis">The Metamorphosis</a></i> <span style="font-size:85%;">(1915)</span></span></li>
<li><span class="nowrap"><i><a href="/wiki/Ulysses_(novel)" title="Ulysses (novel)">Ulysses</a></i> <span style="font-size:85%;">(1922)</span></span></li>
<li><span class="nowrap"><i><a href="/wiki/The_Waste_Land" title="The Waste Land">The Waste Land</a></i> <span style="font-size:85%;">(1922)</span></span></li>
<li><span class="nowrap"><i><a href="/wiki/The_Magic_Mountain" title="The Magic Mountain">The Magic Mountain</a></i> <span style="font-size:85%;">(1924)</span></span></li>
<li><span class="nowrap"><i><a href="/wiki/Mrs_Dalloway" title="Mrs Dalloway">Mrs Dalloway</a></i> <span style="font-size:85%;">(1925)</span></span></li>
<li><span class="nowrap"><i><a href="/wiki/The_Sun_Also_Rises" title="The Sun Also Rises">The Sun Also Rises</a></i> <span style="font-size:85%;">(1926)</span></span></li>
<li><span class="nowrap"><i><a href="/wiki/The_Master_and_Margarita" title="The Master and Margarita">The Master and Margarita</a></i> <span style="font-size:85%;">(1928–1940)</span></span></li>
<li><span class="nowrap"><i><a href="/wiki/The_Sound_and_the_Fury" title="The Sound and the Fury">The Sound and the Fury</a></i> <span style="font-size:85%;">(1929)</span></span></li></ul>
</div></td></tr></tbody></table><div></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="/wiki/Visual_arts" title="Visual arts">Visual arts</a></th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"></div><table class="nowraplinks navbox-subgroup" style="border-spacing:0"><tbody><tr><th scope="row" class="navbox-group" style="width:1%"><a href="/wiki/Modern_art" title="Modern art">Painting</a></th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em">
<ul><li><span class="nowrap"><a href="/wiki/Josef_Albers" title="Josef Albers">Albers</a></span></li>
<li><span class="nowrap"><a href="/wiki/Jean_Arp" title="Jean Arp">Arp</a></span></li>
<li><span class="nowrap"><a href="/wiki/Balthus" title="Balthus">Balthus</a></span></li>
<li><span class="nowrap"><a href="/wiki/George_Bellows" title="George Bellows">Bellows</a></span></li>
<li><span class="nowrap"><a href="/wiki/Umberto_Boccioni" title="Umberto Boccioni">Boccioni</a></span></li>
<li><span class="nowrap"><a href="/wiki/Pierre_Bonnard" title="Pierre Bonnard">Bonnard</a></span></li>
<li><span class="nowrap"><a href="/wiki/Constantin_Br%C3%A2ncu%C8%99i" title="Constantin Brâncuși">Brâncuși</a></span></li>
<li><span class="nowrap"><a href="/wiki/Georges_Braque" title="Georges Braque">Braque</a></span></li>
<li><span class="nowrap"><a href="/wiki/Alexander_Calder" title="Alexander Calder">Calder</a></span></li>
<li><span class="nowrap"><a href="/wiki/Mary_Cassatt" title="Mary Cassatt">Cassatt</a></span></li>
<li><span class="nowrap"><a href="/wiki/Paul_C%C3%A9zanne" title="Paul Cézanne">Cézanne</a></span></li>
<li><span class="nowrap"><a href="/wiki/Marc_Chagall" title="Marc Chagall">Chagall</a></span></li>
<li><span class="nowrap"><a href="/wiki/Giorgio_de_Chirico" title="Giorgio de Chirico">Chirico</a></span></li>
<li><span class="nowrap"><a href="/wiki/Camille_Claudel" title="Camille Claudel">Claudel</a></span></li>
<li><span class="nowrap"><a href="/wiki/Salvador_Dal%C3%AD" title="Salvador Dalí">Dalí</a></span></li>
<li><span class="nowrap"><a href="/wiki/Edgar_Degas" title="Edgar Degas">Degas</a></span></li>
<li><span class="nowrap"><a href="/wiki/Willem_de_Kooning" title="Willem de Kooning">Kooning</a></span></li>
<li><span class="nowrap"><a href="/wiki/Robert_Delaunay" title="Robert Delaunay">Delaunay</a></span></li>
<li><span class="nowrap"><a href="/wiki/Sonia_Delaunay" title="Sonia Delaunay">Delaunay</a></span></li>
<li><span class="nowrap"><a href="/wiki/Charles_Demuth" title="Charles Demuth">Demuth</a></span></li>
<li><span class="nowrap"><a href="/wiki/Otto_Dix" title="Otto Dix">Dix</a></span></li>
<li><span class="nowrap"><a href="/wiki/Theo_van_Doesburg" title="Theo van Doesburg">Doesburg</a></span></li>
<li><span class="nowrap"><a href="/wiki/Marcel_Duchamp" title="Marcel Duchamp">Duchamp</a></span></li>
<li><span class="nowrap"><a href="/wiki/Raoul_Dufy" title="Raoul Dufy">Dufy</a></span></li>
<li><span class="nowrap"><a href="/wiki/James_Ensor" title="James Ensor">Ensor</a></span></li>
<li><span class="nowrap"><a href="/wiki/Max_Ernst" title="Max Ernst">Ernst</a></span></li>
<li><span class="nowrap"><a href="/wiki/Paul_Gauguin" title="Paul Gauguin">Gauguin</a></span></li>
<li><span class="nowrap"><a href="/wiki/Alberto_Giacometti" title="Alberto Giacometti">Giacometti</a></span></li>
<li><span class="nowrap"><a href="/wiki/Vincent_van_Gogh" title="Vincent van Gogh">van Gogh</a></span></li>
<li><span class="nowrap"><a href="/wiki/Natalia_Goncharova" title="Natalia Goncharova">Goncharova</a></span></li>
<li><span class="nowrap"><a href="/wiki/Juan_Gris" title="Juan Gris">Gris</a></span></li>
<li><span class="nowrap"><a href="/wiki/George_Grosz" title="George Grosz">Grosz</a></span></li>
<li><span class="nowrap"><a href="/wiki/Hannah_H%C3%B6ch" title="Hannah Höch">Höch</a></span></li>
<li><span class="nowrap"><a href="/wiki/Edward_Hopper" title="Edward Hopper">Hopper</a></span></li>
<li><span class="nowrap"><a href="/wiki/Frida_Kahlo" title="Frida Kahlo">Kahlo</a></span></li>
<li><span class="nowrap"><a href="/wiki/Wassily_Kandinsky" title="Wassily Kandinsky">Kandinsky</a></span></li>
<li><span class="nowrap"><a href="/wiki/Ernst_Ludwig_Kirchner" title="Ernst Ludwig Kirchner">Kirchner</a></span></li>
<li><span class="nowrap"><a href="/wiki/Paul_Klee" title="Paul Klee">Klee</a></span></li>
<li><span class="nowrap"><a href="/wiki/Oskar_Kokoschka" title="Oskar Kokoschka">Kokoschka</a></span></li>
<li><span class="nowrap"><a href="/wiki/Fernand_L%C3%A9ger" title="Fernand Léger">Léger</a></span></li>
<li><span class="nowrap"><a href="/wiki/Ren%C3%A9_Magritte" title="René Magritte">Magritte</a></span></li>
<li><span class="nowrap"><a href="/wiki/Kazimir_Malevich" title="Kazimir Malevich">Malevich</a></span></li>
<li><span class="nowrap"><a href="/wiki/%C3%89douard_Manet" title="Édouard Manet">Manet</a></span></li>
<li><span class="nowrap"><a href="/wiki/Franz_Marc" title="Franz Marc">Marc</a></span></li>
<li><span class="nowrap"><a href="/wiki/Henri_Matisse" title="Henri Matisse">Matisse</a></span></li>
<li><span class="nowrap"><a href="/wiki/Jean_Metzinger" title="Jean Metzinger">Metzinger</a></span></li>
<li><span class="nowrap"><a href="/wiki/Joan_Mir%C3%B3" title="Joan Miró">Miró</a></span></li>
<li><span class="nowrap"><a href="/wiki/Amedeo_Modigliani" title="Amedeo Modigliani">Modigliani</a></span></li>
<li><span class="nowrap"><a href="/wiki/Piet_Mondrian" title="Piet Mondrian">Mondrian</a></span></li>
<li><span class="nowrap"><a href="/wiki/Claude_Monet" title="Claude Monet">Monet</a></span></li>
<li><span class="nowrap"><a href="/wiki/Henry_Moore" title="Henry Moore">Moore</a></span></li>
<li><span class="nowrap"><a href="/wiki/Edvard_Munch" title="Edvard Munch">Munch</a></span></li>
<li><span class="nowrap"><a href="/wiki/Emil_Nolde" title="Emil Nolde">Nolde</a></span></li>
<li><span class="nowrap"><a href="/wiki/Georgia_O%27Keeffe" title="Georgia O'Keeffe">O'Keeffe</a></span></li>
<li><span class="nowrap"><a href="/wiki/Francis_Picabia" title="Francis Picabia">Picabia</a></span></li>
<li><span class="nowrap"><a href="/wiki/Pablo_Picasso" title="Pablo Picasso">Picasso</a></span></li>
<li><span class="nowrap"><a href="/wiki/Camille_Pissarro" title="Camille Pissarro">Pissarro</a></span></li>
<li><span class="nowrap"><a href="/wiki/Man_Ray" title="Man Ray">Ray</a></span></li>
<li><span class="nowrap"><a href="/wiki/Odilon_Redon" title="Odilon Redon">Redon</a></span></li>
<li><span class="nowrap"><a href="/wiki/Pierre-Auguste_Renoir" title="Pierre-Auguste Renoir">Renoir</a></span></li>
<li><span class="nowrap"><a href="/wiki/Auguste_Rodin" title="Auguste Rodin">Rodin</a></span></li>
<li><span class="nowrap"><a href="/wiki/Henri_Rousseau" title="Henri Rousseau">Rousseau</a></span></li>
<li><span class="nowrap"><a href="/wiki/Egon_Schiele" title="Egon Schiele">Schiele</a></span></li>
<li><span class="nowrap"><a href="/wiki/Georges_Seurat" title="Georges Seurat">Seurat</a></span></li>
<li><span class="nowrap"><a href="/wiki/Paul_Signac" title="Paul Signac">Signac</a></span></li>
<li><span class="nowrap"><a href="/wiki/Alfred_Sisley" title="Alfred Sisley">Sisley</a></span></li>
<li><span class="nowrap"><a href="/wiki/Chaim_Soutine" class="mw-redirect" title="Chaim Soutine">Soutine</a></span></li>
<li><span class="nowrap"><a href="/wiki/Edward_Steichen" title="Edward Steichen">Steichen</a></span></li>
<li><span class="nowrap"><a href="/wiki/Alfred_Stieglitz" title="Alfred Stieglitz">Stieglitz</a></span></li>
<li><span class="nowrap"><a href="/wiki/Henri_de_Toulouse-Lautrec" title="Henri de Toulouse-Lautrec">Toulouse-Lautrec</a></span></li>
<li><span class="nowrap"><a href="/wiki/%C3%89douard_Vuillard" title="Édouard Vuillard">Vuillard</a></span></li>
<li><span class="nowrap"><a href="/wiki/Grant_Wood" title="Grant Wood">Wood</a></span></li></ul>
</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="/wiki/Modernist_film" title="Modernist film">Film</a></th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em">
<ul><li><span class="nowrap"><a href="/wiki/Chantal_Akerman" title="Chantal Akerman">Akerman</a> </span></li>
<li><span class="nowrap"><a href="/wiki/Robert_Aldrich" title="Robert Aldrich">Aldrich</a></span></li>
<li><span class="nowrap"><a href="/wiki/Michelangelo_Antonioni" title="Michelangelo Antonioni">Antonioni</a></span></li>
<li><span class="nowrap"><a href="/wiki/Tex_Avery" title="Tex Avery">Avery</a></span></li>
<li><span class="nowrap"><a href="/wiki/Ingmar_Bergman" title="Ingmar Bergman">Bergman</a></span></li>
<li><span class="nowrap"><a href="/wiki/Robert_Bresson" title="Robert Bresson">Bresson</a></span></li>
<li><span class="nowrap"><a href="/wiki/Luis_Bu%C3%B1uel" title="Luis Buñuel">Buñuel</a></span></li>
<li><span class="nowrap"><a href="/wiki/Marcel_Carn%C3%A9" title="Marcel Carné">Carné</a></span></li>
<li><span class="nowrap"><a href="/wiki/John_Cassavetes" title="John Cassavetes">Cassavetes</a></span></li>
<li><span class="nowrap"><a href="/wiki/Charlie_Chaplin" title="Charlie Chaplin">Chaplin</a></span></li>
<li><span class="nowrap"><a href="/wiki/Ren%C3%A9_Clair" title="René Clair">Clair</a></span></li>
<li><span class="nowrap"><a href="/wiki/Jean_Cocteau" title="Jean Cocteau">Cocteau</a></span></li>
<li><span class="nowrap"><a href="/wiki/Jules_Dassin" title="Jules Dassin">Dassin</a></span></li>
<li><span class="nowrap"><a href="/wiki/Maya_Deren" title="Maya Deren">Deren</a></span></li>
<li><span class="nowrap"><a href="/wiki/Alexander_Dovzhenko" title="Alexander Dovzhenko">Dovzhenko</a></span></li>
<li><span class="nowrap"><a href="/wiki/Carl_Theodor_Dreyer" title="Carl Theodor Dreyer">Dreyer</a></span></li>
<li><span class="nowrap"><a href="/wiki/Blake_Edwards" title="Blake Edwards">Edwards</a></span></li>
<li><span class="nowrap"><a href="/wiki/Sergei_Eisenstein" title="Sergei Eisenstein">Eisenstein</a></span></li>
<li><span class="nowrap"><a href="/wiki/Jean_Epstein" title="Jean Epstein">Epstein</a></span></li>
<li><span class="nowrap"><a href="/wiki/Rainer_Werner_Fassbinder" title="Rainer Werner Fassbinder">Fassbinder</a></span></li>
<li><span class="nowrap"><a href="/wiki/Federico_Fellini" title="Federico Fellini">Fellini</a></span></li>
<li><span class="nowrap"><a href="/wiki/Robert_J._Flaherty" title="Robert J. Flaherty">Flaherty</a></span></li>
<li><span class="nowrap"><a href="/wiki/John_Ford" title="John Ford">Ford</a></span></li>
<li><span class="nowrap"><a href="/wiki/Samuel_Fuller" title="Samuel Fuller">Fuller</a></span></li>
<li><span class="nowrap"><a href="/wiki/Abel_Gance" title="Abel Gance">Gance</a></span></li>
<li><span class="nowrap"><a href="/wiki/Jean-Luc_Godard" title="Jean-Luc Godard">Godard</a></span></li>
<li><span class="nowrap"><a href="/wiki/Alfred_Hitchcock" title="Alfred Hitchcock">Hitchcock</a></span></li>
<li><span class="nowrap"><a href="/wiki/John_Hubley" title="John Hubley">Hubley</a></span></li>
<li><span class="nowrap"><a href="/wiki/Chuck_Jones" title="Chuck Jones">Jones</a></span></li>
<li><span class="nowrap"><a href="/wiki/Buster_Keaton" title="Buster Keaton">Keaton</a></span></li>
<li><span class="nowrap"><a href="/wiki/Stanley_Kubrick" title="Stanley Kubrick">Kubrick</a></span></li>
<li><span class="nowrap"><a href="/wiki/Lev_Kuleshov" title="Lev Kuleshov">Kuleshov</a></span></li>
<li><span class="nowrap"><a href="/wiki/Akira_Kurosawa" title="Akira Kurosawa">Kurosawa</a></span></li>
<li><span class="nowrap"><a href="/wiki/Fritz_Lang" title="Fritz Lang">Lang</a></span></li>
<li><span class="nowrap"><a href="/wiki/Joseph_Losey" title="Joseph Losey">Losey</a></span></li>
<li><span class="nowrap"><a href="/wiki/Ida_Lupino" title="Ida Lupino">Lupino</a></span></li>
<li><span class="nowrap"><a href="/wiki/Chris_Marker" title="Chris Marker">Marker</a></span></li>
<li><span class="nowrap"><a href="/wiki/Vincente_Minnelli" title="Vincente Minnelli">Minnelli</a></span></li>
<li><span class="nowrap"><a href="/wiki/F._W._Murnau" title="F. W. Murnau">Murnau</a></span></li>
<li><span class="nowrap"><a href="/wiki/Yasujir%C5%8D_Ozu" title="Yasujirō Ozu">Ozu</a></span></li>
<li><span class="nowrap"><a href="/wiki/G._W._Pabst" title="G. W. Pabst">Pabst</a></span></li>
<li><span class="nowrap"><a href="/wiki/Vsevolod_Pudovkin" title="Vsevolod Pudovkin">Pudovkin</a></span></li>
<li><span class="nowrap"><a href="/wiki/Nicholas_Ray" title="Nicholas Ray">Ray (Nicholas)</a></span></li>
<li><span class="nowrap"><a href="/wiki/Satyajit_Ray" title="Satyajit Ray">Ray (Satyajit)</a></span></li>
<li><span class="nowrap"><a href="/wiki/Alain_Resnais" title="Alain Resnais">Resnais</a></span></li>
<li><span class="nowrap"><a href="/wiki/Jean_Renoir" title="Jean Renoir">Renoir</a></span></li>
<li><span class="nowrap"><a href="/wiki/Tony_Richardson" title="Tony Richardson">Richardson</a></span></li>
<li><span class="nowrap"><a href="/wiki/Roberto_Rossellini" title="Roberto Rossellini">Rossellini</a></span></li>
<li><span class="nowrap"><a href="/wiki/Douglas_Sirk" title="Douglas Sirk">Sirk</a></span></li>
<li><span class="nowrap"><a href="/wiki/Victor_Sj%C3%B6str%C3%B6m" title="Victor Sjöström">Sjöström</a></span></li>
<li><span class="nowrap"><a href="/wiki/Josef_von_Sternberg" title="Josef von Sternberg">Sternberg</a></span></li>
<li><span class="nowrap"><a href="/wiki/Andrei_Tarkovsky" title="Andrei Tarkovsky">Tarkovsky</a></span></li>
<li><span class="nowrap"><a href="/wiki/Jacques_Tati" title="Jacques Tati">Tati</a></span></li>
<li><span class="nowrap"><a href="/wiki/Ji%C5%99%C3%AD_Trnka" title="Jiří Trnka">Trnka</a></span></li>
<li><span class="nowrap"><a href="/wiki/Fran%C3%A7ois_Truffaut" title="François Truffaut">Truffaut</a></span></li>
<li><span class="nowrap"><a href="/wiki/Agn%C3%A8s_Varda" title="Agnès Varda">Varda</a></span></li>
<li><span class="nowrap"><a href="/wiki/Dziga_Vertov" title="Dziga Vertov">Vertov</a></span></li>
<li><span class="nowrap"><a href="/wiki/Jean_Vigo" title="Jean Vigo">Vigo</a></span></li>
<li><span class="nowrap"><a href="/wiki/Orson_Welles" title="Orson Welles">Welles</a></span></li>
<li><span class="nowrap"><a href="/wiki/Robert_Wiene" title="Robert Wiene">Wiene</a></span></li>
<li><span class="nowrap"><a href="/wiki/Ed_Wood" title="Ed Wood">Wood</a></span></li></ul>
</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="/wiki/Modern_architecture" title="Modern architecture">Architecture</a></th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em">
<ul><li><span class="nowrap"><a href="/wiki/Marcel_Breuer" title="Marcel Breuer">Breuer</a></span></li>
<li><span class="nowrap"><a href="/wiki/Gordon_Bunshaft" title="Gordon Bunshaft">Bunshaft</a></span></li>
<li><span class="nowrap"><a href="/wiki/Antoni_Gaud%C3%AD" title="Antoni Gaudí">Gaudí</a></span></li>
<li><span class="nowrap"><a href="/wiki/Walter_Gropius" title="Walter Gropius">Gropius</a></span></li>
<li><span class="nowrap"><a href="/wiki/Hector_Guimard" title="Hector Guimard">Guimard</a></span></li>
<li><span class="nowrap"><a href="/wiki/Victor_Horta" title="Victor Horta">Horta</a></span></li>
<li><span class="nowrap"><a href="/wiki/Friedensreich_Hundertwasser" title="Friedensreich Hundertwasser">Hundertwasser</a></span></li>
<li><span class="nowrap"><a href="/wiki/Philip_Johnson" title="Philip Johnson">Johnson</a></span></li>
<li><span class="nowrap"><a href="/wiki/Louis_Kahn" title="Louis Kahn">Kahn</a></span></li>
<li><span class="nowrap"><a href="/wiki/Le_Corbusier" title="Le Corbusier">Le Corbusier</a></span></li>
<li><span class="nowrap"><a href="/wiki/Adolf_Loos" title="Adolf Loos">Loos</a></span></li>
<li><span class="nowrap"><a href="/wiki/Konstantin_Melnikov" title="Konstantin Melnikov">Melnikov</a></span></li>
<li><span class="nowrap"><a href="/wiki/Erich_Mendelsohn" title="Erich Mendelsohn">Mendelsohn</a></span></li>
<li><span class="nowrap"><a href="/wiki/Pier_Luigi_Nervi" title="Pier Luigi Nervi">Nervi</a></span></li>
<li><span class="nowrap"><a href="/wiki/Richard_Neutra" title="Richard Neutra">Neutra</a></span></li>
<li><span class="nowrap"><a href="/wiki/Oscar_Niemeyer" title="Oscar Niemeyer">Niemeyer</a></span></li>
<li><span class="nowrap"><a href="/wiki/Gerrit_Rietveld" title="Gerrit Rietveld">Rietveld</a></span></li>
<li><span class="nowrap"><a href="/wiki/Eero_Saarinen" title="Eero Saarinen">Saarinen</a></span></li>
<li><span class="nowrap"><a href="/wiki/Rudolf_Steiner" title="Rudolf Steiner">Steiner</a></span></li>
<li><span class="nowrap"><a href="/wiki/Louis_Sullivan" title="Louis Sullivan">Sullivan</a></span></li>
<li><span class="nowrap"><a href="/wiki/Vladimir_Tatlin" title="Vladimir Tatlin">Tatlin</a></span></li>
<li><span class="nowrap"><a href="/wiki/Ludwig_Mies_van_der_Rohe" title="Ludwig Mies van der Rohe">Mies</a></span></li>
<li><span class="nowrap"><a href="/wiki/Frank_Lloyd_Wright" title="Frank Lloyd Wright">Wright</a></span></li></ul>
</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Works</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em">
<ul><li><span class="nowrap"><i><a href="/wiki/A_Sunday_Afternoon_on_the_Island_of_La_Grande_Jatte" title="A Sunday Afternoon on the Island of La Grande Jatte">A Sunday Afternoon on the Island of La Grande Jatte</a></i> <span style="font-size:85%;">(1886)</span></span></li>
<li><span class="nowrap"><i><a href="/wiki/Mont_Sainte-Victoire_(C%C3%A9zanne)" title="Mont Sainte-Victoire (Cézanne)">Mont Sainte-Victoir</a></i> <span style="font-size:85%;">(1887)</span></span></li>
<li><span class="nowrap"><i><a href="/wiki/The_Starry_Night" title="The Starry Night">The Starry Night</a></i> <span style="font-size:85%;">(1889)</span></span></li>
<li><span class="nowrap"><i><a href="/wiki/Les_Demoiselles_d%27Avignon" title="Les Demoiselles d'Avignon">Les Demoiselles d'Avignon</a></i> <span style="font-size:85%;">(1907)</span></span></li>
<li><span class="nowrap"><i><a href="/wiki/Dance_(Matisse)" title="Dance (Matisse)">The Dance</a></i> <span style="font-size:85%;">(1909–1910)</span></span></li>
<li><span class="nowrap"><i><a href="/wiki/Nude_Descending_a_Staircase,_No._2" title="Nude Descending a Staircase, No. 2">Nude Descending a Staircase, No. 2</a></i> <span style="font-size:85%;">(1912)</span></span></li>
<li><span class="nowrap"><i><a href="/wiki/Black_Square_(painting)" class="mw-redirect" title="Black Square (painting)">Black Square</a></i> <span style="font-size:85%;">(1915)</span></span></li>
<li><span class="nowrap"><i><a href="/wiki/The_Cabinet_of_Dr._Caligari" title="The Cabinet of Dr. Caligari">The Cabinet of Dr. Caligari</a></i> <span style="font-size:85%;">(1920)</span></span></li>
<li><span class="nowrap"><i><a href="/wiki/Ballet_M%C3%A9canique" title="Ballet Mécanique">Ballet Mécanique</a></i> <span style="font-size:85%;">(1923)</span></span></li>
<li><span class="nowrap"><i><a href="/wiki/Battleship_Potemkin" title="Battleship Potemkin">Battleship Potemkin</a></i> <span style="font-size:85%;">(1925)</span></span></li>
<li><span class="nowrap"><i><a href="/wiki/Metropolis_(1927_film)" title="Metropolis (1927 film)">Metropolis</a></i> <span style="font-size:85%;">(1927)</span></span></li>
<li><span class="nowrap"><i><a href="/wiki/Un_Chien_Andalou" title="Un Chien Andalou">Un Chien Andalou</a></i> <span style="font-size:85%;">(1929)</span></span></li>
<li><span class="nowrap"><a href="/wiki/Villa_Savoye" title="Villa Savoye">Villa Savoye</a> <span style="font-size:85%;">(1931)</span></span></li>
<li><span class="nowrap"><a href="/wiki/Fallingwater" title="Fallingwater">Fallingwater</a> <span style="font-size:85%;">(1936)</span></span></li>
<li><span class="nowrap"><i><a href="/wiki/Citizen_Kane" title="Citizen Kane">Citizen Kane</a></i> <span style="font-size:85%;">(1941)</span></span></li>
<li><span class="nowrap"><i><a href="/wiki/Meshes_of_the_Afternoon" title="Meshes of the Afternoon">Meshes of the Afternoon</a></i> <span style="font-size:85%;">(1943)</span></span></li></ul>
</div></td></tr></tbody></table><div></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="/wiki/Performing_arts" title="Performing arts">Performing<br />arts</a></th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em"></div><table class="nowraplinks navbox-subgroup" style="border-spacing:0"><tbody><tr><th scope="row" class="navbox-group" style="width:1%"><a href="/wiki/Modernism_(music)" title="Modernism (music)">Music</a></th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em">
<ul><li><span class="nowrap"><a href="/wiki/George_Antheil" title="George Antheil">Antheil</a></span></li>
<li><span class="nowrap"><a href="/wiki/B%C3%A9la_Bart%C3%B3k" title="Béla Bartók">Bartók</a></span></li>
<li><span class="nowrap"><a href="/wiki/Alban_Berg" title="Alban Berg">Berg</a></span></li>
<li><span class="nowrap"><a href="/wiki/Luciano_Berio" title="Luciano Berio">Berio</a></span></li>
<li><span class="nowrap"><a href="/wiki/Nadia_Boulanger" title="Nadia Boulanger">Boulanger</a></span></li>
<li><span class="nowrap"><a href="/wiki/Pierre_Boulez" title="Pierre Boulez">Boulez</a></span></li>
<li><span class="nowrap"><a href="/wiki/Aaron_Copland" title="Aaron Copland">Copland</a></span></li>
<li><span class="nowrap"><a href="/wiki/Claude_Debussy" title="Claude Debussy">Debussy</a></span></li>
<li><span class="nowrap"><a href="/wiki/Henri_Dutilleux" title="Henri Dutilleux">Dutilleux</a></span></li>
<li><span class="nowrap"><a href="/wiki/Morton_Feldman" title="Morton Feldman">Feldman</a></span></li>
<li><span class="nowrap"><a href="/wiki/Henryk_G%C3%B3recki" title="Henryk Górecki">Górecki</a></span></li>
<li><span class="nowrap"><a href="/wiki/Paul_Hindemith" title="Paul Hindemith">Hindemith</a></span></li>
<li><span class="nowrap"><a href="/wiki/Arthur_Honegger" title="Arthur Honegger">Honegger</a></span></li>
<li><span class="nowrap"><a href="/wiki/Charles_Ives" title="Charles Ives">Ives</a></span></li>
<li><span class="nowrap"><a href="/wiki/Leo%C5%A1_Jan%C3%A1%C4%8Dek" title="Leoš Janáček">Janáček</a></span></li>
<li><span class="nowrap"><a href="/wiki/Gy%C3%B6rgy_Ligeti" title="György Ligeti">Ligeti</a></span></li>
<li><span class="nowrap"><a href="/wiki/Witold_Lutos%C5%82awski" title="Witold Lutosławski">Lutosławski</a></span></li>
<li><span class="nowrap"><a href="/wiki/Darius_Milhaud" title="Darius Milhaud">Milhaud</a></span></li>
<li><span class="nowrap"><a href="/wiki/Luigi_Nono" title="Luigi Nono">Nono</a></span></li>
<li><span class="nowrap"><a href="/wiki/Harry_Partch" title="Harry Partch">Partch</a></span></li>
<li><span class="nowrap"><a href="/wiki/Luigi_Russolo" title="Luigi Russolo">Russolo</a></span></li>
<li><span class="nowrap"><a href="/wiki/Erik_Satie" title="Erik Satie">Satie</a></span></li>
<li><span class="nowrap"><a href="/wiki/Pierre_Schaeffer" title="Pierre Schaeffer">Schaeffer</a></span></li>
<li><span class="nowrap"><a href="/wiki/Arnold_Schoenberg" title="Arnold Schoenberg">Schoenberg</a></span></li>
<li><span class="nowrap"><a href="/wiki/Alexander_Scriabin" title="Alexander Scriabin">Scriabin</a></span></li>
<li><span class="nowrap"><a href="/wiki/Karlheinz_Stockhausen" title="Karlheinz Stockhausen">Stockhausen</a></span></li>
<li><span class="nowrap"><a href="/wiki/Richard_Strauss" title="Richard Strauss">Strauss</a></span></li>
<li><span class="nowrap"><a href="/wiki/Igor_Stravinsky" title="Igor Stravinsky">Stravinsky</a></span></li>
<li><span class="nowrap"><a href="/wiki/Karol_Szymanowski" title="Karol Szymanowski">Szymanowski</a></span></li>
<li><span class="nowrap"><a href="/wiki/Edgard_Var%C3%A8se" title="Edgard Varèse">Varèse</a></span></li>
<li><span class="nowrap"><a href="/wiki/Heitor_Villa-Lobos" title="Heitor Villa-Lobos">Villa-Lobos</a></span></li>
<li><span class="nowrap"><a href="/wiki/Anton_Webern" title="Anton Webern">Webern</a></span></li>
<li><span class="nowrap"><a href="/wiki/Kurt_Weill" title="Kurt Weill">Weill</a></span></li></ul>
</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="/wiki/Modernist_theatre" title="Modernist theatre">Theatre</a></th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em">
<ul><li><span class="nowrap"><a href="/wiki/Maxwell_Anderson" title="Maxwell Anderson">Anderson</a></span></li>
<li><span class="nowrap"><a href="/wiki/Jean_Anouilh" title="Jean Anouilh">Anouilh</a></span></li>
<li><span class="nowrap"><a href="/wiki/Antonin_Artaud" title="Antonin Artaud">Artaud</a></span></li>
<li><span class="nowrap"><a href="/wiki/Samuel_Beckett" title="Samuel Beckett">Beckett</a></span></li>
<li><span class="nowrap"><a href="/wiki/Bertolt_Brecht" title="Bertolt Brecht">Brecht</a></span></li>
<li><span class="nowrap"><a href="/wiki/Anton_Chekhov" title="Anton Chekhov">Chekhov</a></span></li>
<li><span class="nowrap"><a href="/wiki/Henrik_Ibsen" title="Henrik Ibsen">Ibsen</a></span></li>
<li><span class="nowrap"><a href="/wiki/Alfred_Jarry" title="Alfred Jarry">Jarry</a></span></li>
<li><span class="nowrap"><a href="/wiki/Georg_Kaiser" title="Georg Kaiser">Kaiser</a></span></li>
<li><span class="nowrap"><a href="/wiki/Maurice_Maeterlinck" title="Maurice Maeterlinck">Maeterlinck</a></span></li>
<li><span class="nowrap"><a href="/wiki/Vladimir_Mayakovsky" title="Vladimir Mayakovsky">Mayakovsky</a></span></li>
<li><span class="nowrap"><a href="/wiki/Se%C3%A1n_O%27Casey" title="Seán O'Casey">O'Casey</a></span></li>
<li><span class="nowrap"><a href="/wiki/Eugene_O%27Neill" title="Eugene O'Neill">O'Neill</a></span></li>
<li><span class="nowrap"><a href="/wiki/John_Osborne" title="John Osborne">Osborne</a></span></li>
<li><span class="nowrap"><a href="/wiki/Luigi_Pirandello" title="Luigi Pirandello">Pirandello</a></span></li>
<li><span class="nowrap"><a href="/wiki/Erwin_Piscator" title="Erwin Piscator">Piscator</a></span></li>
<li><span class="nowrap"><a href="/wiki/August_Strindberg" title="August Strindberg">Strindberg</a></span></li>
<li><span class="nowrap"><a href="/wiki/Ernst_Toller" title="Ernst Toller">Toller</a></span></li>
<li><span class="nowrap"><a href="/wiki/Frank_Wedekind" title="Frank Wedekind">Wedekind</a></span></li>
<li><span class="nowrap"><a href="/wiki/Thornton_Wilder" title="Thornton Wilder">Wilder</a></span></li>
<li><span class="nowrap"><a href="/wiki/Stanis%C5%82aw_Ignacy_Witkiewicz" title="Stanisław Ignacy Witkiewicz">Witkiewicz</a></span></li></ul>
</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="/wiki/Modern_dance" title="Modern dance">Dance</a></th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em">
<ul><li><span class="nowrap"><a href="/wiki/George_Balanchine" title="George Balanchine">Balanchine</a></span></li>
<li><span class="nowrap"><a href="/wiki/Merce_Cunningham" title="Merce Cunningham">Cunningham</a></span></li>
<li><span class="nowrap"><a href="/wiki/Sergei_Diaghilev" title="Sergei Diaghilev">Diaghilev</a></span></li>
<li><span class="nowrap"><a href="/wiki/Isadora_Duncan" title="Isadora Duncan">Duncan</a></span></li>
<li><span class="nowrap"><a href="/wiki/Michel_Fokine" title="Michel Fokine">Fokine</a></span></li>
<li><span class="nowrap"><a href="/wiki/Loie_Fuller" title="Loie Fuller">Fuller</a></span></li>
<li><span class="nowrap"><a href="/wiki/Martha_Graham" title="Martha Graham">Graham</a></span></li>
<li><span class="nowrap"><a href="/wiki/Hanya_Holm" title="Hanya Holm">Holm</a></span></li>
<li><span class="nowrap"><a href="/wiki/L%C3%A9onide_Massine" title="Léonide Massine">Massine</a></span></li>
<li><span class="nowrap"><a href="/wiki/Vaslav_Nijinsky" title="Vaslav Nijinsky">Nijinsky</a></span></li>
<li><span class="nowrap"><a href="/wiki/Ted_Shawn" title="Ted Shawn">Shawn</a></span></li>
<li><span class="nowrap"><a href="/wiki/Anna_Sokolow" title="Anna Sokolow">Sokolow</a></span></li>
<li><span class="nowrap"><a href="/wiki/Ruth_St._Denis" title="Ruth St. Denis">St. Denis</a></span></li>
<li><span class="nowrap"><a href="/wiki/Helen_Tamiris" title="Helen Tamiris">Tamiris</a></span></li>
<li><span class="nowrap"><a href="/wiki/Grete_Wiesenthal" title="Grete Wiesenthal">Wiesenthal</a></span></li>
<li><span class="nowrap"><a href="/wiki/Mary_Wigman" title="Mary Wigman">Wigman</a></span></li></ul>
</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Works</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em">
<ul><li><span class="nowrap"><i><a href="/wiki/Don_Juan_(Strauss)" title="Don Juan (Strauss)">Don Juan</a></i> <span style="font-size:85%;">(1888)</span></span></li>
<li><span class="nowrap"><i><a href="/wiki/Ubu_Roi" title="Ubu Roi">Ubu Roi</a></i> <span style="font-size:85%;">(1896)</span></span></li>
<li><span class="nowrap"><i><a href="/wiki/Verkl%C3%A4rte_Nacht" title="Verklärte Nacht">Verklärte Nacht</a></i> <span style="font-size:85%;">(1899)</span></span></li>
<li><span class="nowrap"><i><a href="/wiki/Pell%C3%A9as_et_M%C3%A9lisande_(opera)" title="Pelléas et Mélisande (opera)">Pelléas et Mélisande</a></i> <span style="font-size:85%;">(1902)</span></span></li>
<li><span class="nowrap"><i><a href="/wiki/Salome_(opera)" title="Salome (opera)">Salome</a></i> <span style="font-size:85%;">(1905)</span></span></li>
<li><span class="nowrap"><i><a href="/wiki/The_Firebird" title="The Firebird">The Firebird</a></i> <span style="font-size:85%;">(1910)</span></span></li>
<li><span class="nowrap"><i><a href="/wiki/Afternoon_of_a_Faun_(Nijinsky)" title="Afternoon of a Faun (Nijinsky)">Afternoon of a Faun</a></i> <span style="font-size:85%;">(1912)</span></span></li>
<li><span class="nowrap"><i><a href="/wiki/The_Rite_of_Spring" title="The Rite of Spring">The Rite of Spring</a></i> <span style="font-size:85%;">(1913)</span></span></li>
<li><span class="nowrap"><i><a href="/wiki/Fountain_(Duchamp)" title="Fountain (Duchamp)">Fountain</a></i> <span style="font-size:85%;">(1917)</span></span></li>
<li><span class="nowrap"><i><a href="/wiki/Six_Characters_in_Search_of_an_Author" title="Six Characters in Search of an Author">Six Characters in Search of an Author</a></i> <span style="font-size:85%;">(1921)</span></span></li>
<li><span class="nowrap"><i><a href="/wiki/The_Threepenny_Opera" title="The Threepenny Opera">The Threepenny Opera</a></i> <span style="font-size:85%;">(1928)</span></span></li>
<li><span class="nowrap"><i><a href="/wiki/Waiting_for_Godot" title="Waiting for Godot">Waiting for Godot</a></i> <span style="font-size:85%;">(1953)</span></span></li></ul>
</div></td></tr></tbody></table><div></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Related</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">
<ul><li><span class="nowrap"><a href="/wiki/American_modernism" title="American modernism">American modernism</a></span></li>
<li><span class="nowrap"><a href="/wiki/Armory_Show" title="Armory Show">Armory Show</a></span></li>
<li><span class="nowrap"><span title="French-language text"><i lang="fr"><a href="/wiki/Avant-garde" title="Avant-garde">Avant-garde</a></i></span></span></li>
<li><span class="nowrap"><span title="French-language text"><i lang="fr"><a href="/wiki/Ballets_Russes" title="Ballets Russes">Ballets Russes</a></i></span></span></li>
<li><span class="nowrap"><a href="/wiki/Bloomsbury_Group" title="Bloomsbury Group">Bloomsbury Group</a></span></li>
<li><span class="nowrap"><a href="/wiki/Buddhist_modernism" title="Buddhist modernism">Buddhist modernism</a></span></li>
<li><span class="nowrap"><a href="/wiki/Classical_Hollywood_cinema" title="Classical Hollywood cinema">Classical Hollywood cinema</a></span></li>
<li><span class="nowrap"><a href="/wiki/Degenerate_art" title="Degenerate art">Degenerate art</a></span></li>
<li><span class="nowrap"><a href="/wiki/Ecomodernism" title="Ecomodernism">Ecomodernism</a></span></li>
<li><span class="nowrap"><a href="/wiki/Experimental_film" title="Experimental film">Experimental film</a></span></li>
<li><span class="nowrap"><a href="/wiki/Film_noir" title="Film noir">Film noir</a></span></li>
<li><span class="nowrap"><a href="/wiki/Fourth_dimension_in_art" title="Fourth dimension in art">Fourth dimension in art</a></span></li>
<li><span class="nowrap"><a href="/wiki/Fourth_dimension_in_literature" title="Fourth dimension in literature">Fourth dimension in literature</a></span></li>
<li><span class="nowrap"><a href="/wiki/Grosvenor_School_of_Modern_Art" title="Grosvenor School of Modern Art">Grosvenor School of Modern Art</a></span></li>
<li><span class="nowrap"><a href="/wiki/Hanshinkan_Modernism" title="Hanshinkan Modernism">Hanshinkan Modernism</a></span></li>
<li><span class="nowrap"><a href="/wiki/High_modernism" title="High modernism">High modernism</a></span></li>
<li><span class="nowrap"><a href="/wiki/Counterculture_of_the_1960s" title="Counterculture of the 1960s">Hippie modernism</a></span></li>
<li><span class="nowrap"><a href="/wiki/Impressionism" title="Impressionism">Impressionism</a></span>
<ul><li><span class="nowrap"><a href="/wiki/Impressionism_in_music" title="Impressionism in music">Music</a></span></li>
<li><span class="nowrap"><a href="/wiki/Impressionism_(literature)" title="Impressionism (literature)">Literature</a></span></li>
<li><span class="nowrap"><a href="/wiki/Post-Impressionism" title="Post-Impressionism">Post-</a></span></li></ul></li>
<li><span class="nowrap"><a href="/wiki/Incoherents" title="Incoherents">Incoherents</a></span></li>
<li><span class="nowrap"><a href="/wiki/International_Style" title="International Style">International Style</a></span></li>
<li><span class="nowrap"><a href="/wiki/Late_modernism" title="Late modernism">Late modernism</a></span></li>
<li><span class="nowrap"><a href="/wiki/Late_modernity" title="Late modernity">Late modernity</a></span></li>
<li><span class="nowrap"><a href="/wiki/List_of_art_movements" title="List of art movements">List of art movements</a></span></li>
<li><span class="nowrap"><a href="/wiki/List_of_avant-garde_artists" title="List of avant-garde artists">List of avant-garde artists</a></span></li>
<li><span class="nowrap"><a href="/wiki/List_of_modernist_poets" title="List of modernist poets">List of modernist poets</a></span></li>
<li><span class="nowrap"><a href="/wiki/Maximalism" title="Maximalism">Maximalism</a></span></li>
<li><span class="nowrap"><a href="/wiki/Modernity" title="Modernity">Modernity</a></span></li>
<li><span class="nowrap"><a href="/wiki/Neo-primitivism" class="mw-redirect" title="Neo-primitivism">Neo-primitivism</a></span></li>
<li><span class="nowrap"><a href="/wiki/Neo-romanticism" title="Neo-romanticism">Neo-romanticism</a></span></li>
<li><span class="nowrap"><a href="/wiki/New_Hollywood" title="New Hollywood">New Hollywood</a></span></li>
<li><span class="nowrap"><a href="/wiki/New_Objectivity" title="New Objectivity">New Objectivity</a></span></li>
<li><span class="nowrap"><a href="/wiki/Poetic_realism" title="Poetic realism">Poetic realism</a></span></li>
<li><span class="nowrap"><a href="/wiki/Postmodern_music" title="Postmodern music">Postmodern music</a></span></li>
<li><span class="nowrap"><a href="/wiki/Postmodernism" title="Postmodernism">Postmodernism</a></span>
<ul><li><span class="nowrap"><a href="/wiki/Postmodernist_film" title="Postmodernist film">Film</a></span></li>
<li><span class="nowrap"><a href="/wiki/Postmodern_television" title="Postmodern television">Television</a></span></li></ul></li>
<li><span class="nowrap"><a href="/wiki/Pulp_noir" title="Pulp noir">Pulp noir</a></span></li>
<li><span class="nowrap"><a href="/wiki/Reactionary_modernism" title="Reactionary modernism">Reactionary modernism</a></span></li>
<li><span class="nowrap"><a href="/wiki/Metamodernism" title="Metamodernism">Metamodernism</a></span></li>
<li><span class="nowrap"><a href="/wiki/Remodernism" title="Remodernism">Remodernism</a></span></li>
<li><span class="nowrap"><a href="/wiki/Second_Viennese_School" title="Second Viennese School">Second Viennese School</a></span></li>
<li><span class="nowrap"><a href="/wiki/Structural_film" title="Structural film">Structural film</a></span></li>
<li><span class="nowrap"><a href="/wiki/Underground_film" title="Underground film">Underground film</a></span></li>
<li><span class="nowrap"><a href="/wiki/Vulgar_auteurism" title="Vulgar auteurism">Vulgar modernism</a></span></li></ul>
</div></td></tr><tr><td class="navbox-abovebelow" colspan="2"><div><div style="position:absolute;">← <b><a href="/wiki/Template:Romanticism" title="Template:Romanticism">Romanticism</a></b></div>
<span class="noviewer" typeof="mw:File"><span title="Category"><img alt="" src="//upload.wikimedia.org/wikipedia/en/thumb/9/96/Symbol_category_class.svg/16px-Symbol_category_class.svg.png" decoding="async" width="16" height="16" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/9/96/Symbol_category_class.svg/23px-Symbol_category_class.svg.png 1.5x, //upload.wikimedia.org/wikipedia/en/thumb/9/96/Symbol_category_class.svg/31px-Symbol_category_class.svg.png 2x" data-file-width="180" data-file-height="185" /></span></span> <a href="/wiki/Category:Modernism" title="Category:Modernism">Category</a></div></td></tr></tbody></table></div>
<style data-mw-deduplicate="TemplateStyles:r1130092004">.mw-parser-output .portal-bar{font-size:88%;font-weight:bold;display:flex;justify-content:center;align-items:baseline}.mw-parser-output .portal-bar-bordered{padding:0 2em;background-color:#fdfdfd;border:1px solid #a2a9b1;clear:both;margin:1em auto 0}.mw-parser-output .portal-bar-related{font-size:100%;justify-content:flex-start}.mw-parser-output .portal-bar-unbordered{padding:0 1.7em;margin-left:0}.mw-parser-output .portal-bar-header{margin:0 1em 0 0.5em;flex:0 0 auto;min-height:24px}.mw-parser-output .portal-bar-content{display:flex;flex-flow:row wrap;flex:0 1 auto;padding:0.15em 0;column-gap:1em;align-items:baseline;margin:0;list-style:none}.mw-parser-output .portal-bar-content-related{margin:0;list-style:none}.mw-parser-output .portal-bar-item{display:inline-block;margin:0.15em 0.2em;min-height:24px;line-height:24px}@media screen and (max-width:768px){.mw-parser-output .portal-bar{font-size:88%;font-weight:bold;display:flex;flex-flow:column wrap;align-items:baseline}.mw-parser-output .portal-bar-header{text-align:center;flex:0;padding-left:0.5em;margin:0 auto}.mw-parser-output .portal-bar-related{font-size:100%;align-items:flex-start}.mw-parser-output .portal-bar-content{display:flex;flex-flow:row wrap;align-items:center;flex:0;column-gap:1em;border-top:1px solid #a2a9b1;margin:0 auto;list-style:none}.mw-parser-output .portal-bar-content-related{border-top:none;margin:0;list-style:none}}.mw-parser-output .navbox+link+.portal-bar,.mw-parser-output .navbox+style+.portal-bar,.mw-parser-output .navbox+link+.portal-bar-bordered,.mw-parser-output .navbox+style+.portal-bar-bordered,.mw-parser-output .sister-bar+link+.portal-bar,.mw-parser-output .sister-bar+style+.portal-bar,.mw-parser-output .portal-bar+.navbox-styles+.navbox,.mw-parser-output .portal-bar+.navbox-styles+.sister-bar{margin-top:-1px}</style><div class="portal-bar noprint metadata noviewer portal-bar-bordered" role="navigation" aria-label="Portals"><span class="portal-bar-header"><a href="/wiki/Wikipedia:Contents/Portals" title="Wikipedia:Contents/Portals">Portal</a>:</span><ul class="portal-bar-content"><li class="portal-bar-item"><span typeof="mw:File"><span><img alt="" src="//upload.wikimedia.org/wikipedia/commons/thumb/2/2b/Audio_a.svg/21px-Audio_a.svg.png" decoding="async" width="21" height="12" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/commons/thumb/2/2b/Audio_a.svg/32px-Audio_a.svg.png 1.5x, //upload.wikimedia.org/wikipedia/commons/thumb/2/2b/Audio_a.svg/42px-Audio_a.svg.png 2x" data-file-width="800" data-file-height="460" /></span></span> <a href="/wiki/Portal:Classical_music" title="Portal:Classical music">Classical music</a></li></ul></div>
<div class="navbox-styles"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1129693374"><link rel="mw-deduplicated-inline-style" href="mw-data:TemplateStyles:r1061467846"><style data-mw-deduplicate="TemplateStyles:r1038841319">.mw-parser-output .tooltip-dotted{border-bottom:1px dotted;cursor:help}</style></div><div role="navigation" class="navbox authority-control" aria-labelledby="Authority_control_databases_frameless&#124;text-top&#124;10px&#124;alt=Edit_this_at_Wikidata&#124;link=https&#58;//www.wikidata.org/wiki/Q12030#identifiers&#124;class=noprint&#124;Edit_this_at_Wikidata" style="padding:3px"><table class="nowraplinks hlist mw-collapsible autocollapse navbox-inner" style="border-spacing:0;background:transparent;color:inherit"><tbody><tr><th scope="col" class="navbox-title" colspan="2"><div id="Authority_control_databases_frameless&#124;text-top&#124;10px&#124;alt=Edit_this_at_Wikidata&#124;link=https&#58;//www.wikidata.org/wiki/Q12030#identifiers&#124;class=noprint&#124;Edit_this_at_Wikidata" style="font-size:114%;margin:0 4em"><a href="/wiki/Help:Authority_control" title="Help:Authority control">Authority control databases</a> <span class="mw-valign-text-top noprint" typeof="mw:File/Frameless"><a href="https://www.wikidata.org/wiki/Q12030#identifiers" title="Edit this at Wikidata"><img alt="Edit this at Wikidata" src="//upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png" decoding="async" width="10" height="10" class="mw-file-element" srcset="//upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/15px-OOjs_UI_icon_edit-ltr-progressive.svg.png 1.5x, //upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/20px-OOjs_UI_icon_edit-ltr-progressive.svg.png 2x" data-file-width="20" data-file-height="20" /></a></span></div></th></tr><tr><th scope="row" class="navbox-group" style="width:1%">International</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em">
<ul><li><span class="uid"><a rel="nofollow" class="external text" href="https://viaf.org/viaf/176029536">VIAF</a></span></li></ul>
</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">National</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em">
<ul><li><span class="uid"><a rel="nofollow" class="external text" href="https://d-nb.info/gnd/4632870-1">Germany</a></span></li>
<li><span class="uid"><a rel="nofollow" class="external text" href="http://olduli.nli.org.il/F/?func=find-b&local_base=NLX10&find_code=UID&request=987007318210505171">Israel</a></span></li>
<li><span class="uid"><a rel="nofollow" class="external text" href="https://id.loc.gov/authorities/no2001048823">United States</a></span></li>
<li><span class="uid"><a rel="nofollow" class="external text" href="https://aleph.nkp.cz/F/?func=find-c&local_base=aut&ccl_term=ica=aun2013742310&CON_LNG=ENG">Czech Republic</a></span></li></ul>
</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Other</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em">
<ul><li><span class="uid"><span class="rt-commentedText tooltip tooltip-dotted" title="4′33″"><a rel="nofollow" class="external text" href="https://musicbrainz.org/work/7ff8ec8a-8bc3-400a-a6ae-3263bfa39198">MusicBrainz work</a></span></span></li></ul>
</div></td></tr></tbody></table></div></div>' |
