John Cage: Quotes about music

“Wherever we are, what we hear is mostly noise. When we ignore it, it disturbs us. When we listen to it, we find it fascinating. The sound of a truck at fifty miles per hour. Static between the stations. Rain. We want to capture and control these sounds, to use them not as sound effects but as musical instruments. Every film studio has a library of "sound effects" recorded on film. With a film phonograph it is now possible to control the amplitude and frequency of any one of these sounds and to give to it rhythms within or beyond the reach of the imagination. Given four film phonographs, we can compose and perform a quartet for explosive motor, wind, heartbeat, and landslide.”

John Cage

Quote of John Cage, in: 'The Future of Music: Credo' (1937); in: 'Silence: lectures and writings by Cage, John', Publisher Middletown, Conn. Wesleyan University Press, June 1961, V.
1930s

Music , Imagination

“If you develop an ear for sounds that are musical it is like developing an ego. You begin to refuse sounds that are not musical and that way cut yourself off from a good deal of experience.”

John Cage

Music , Way

“Which is more musical, a truck passing by a factory or a truck passing by a music school?
Are the people inside the school musical and the ones outside unmusical?”

John Cage

"Communication", the third of the Composition as a Process lectures, John Cage gave in Darmstadt in 1958 and published in Silence.
1950s

People , School , Music

“Everything we do is music.”

John Cage

Source: Classical Composer, From: 4'33"

Music

“Until I die there will be sounds. And they will continue following my death. One need not fear about the future of music.”

John Cage

Quote of "Experimental Music", John Cage (1957)
1950s

Death , Fear , Music , Future

“I remember loving sound before I ever took a music lesson. And so we make our lives by what we love.”

John Cage

"Lecture on Nothing" (1949)
1940s

Love , Music

“When I hear what we call music, it seems to me that someone is talking. And talking about his feelings, or about his ideas of relationships. But when I hear traffic, the sound of traffic — here on Sixth Avenue, for instance — I don't have the feeling that anyone is talking. I have the feeling that sound is acting. And I love the activity of sound... I don't need sound to talk to me.”

John Cage

Quote of Cage, in an interview with Miroslav Sebestik, 1991; in Listen, documentary by Miroslav Sebestik. ARTE France Développement, 2003; as quoted on Wikipedia, note 54
1990s

Love , Music , Feeling , Idea

“I imagine that as contemporary music goes on changing in the way that I'm changing it what will be done is to more and more completely liberate sounds from abstract ideas about them and more and more exactly to let them be physically uniquely themselves. This means for me: knowing more and more not what I think a sound is but what it actually is in all of its acoustical details and then letting this sound exist, itself, changing in a changing sonorous environment.”

John Cage

1952, quoted in Classic Essays on Twentieth-Century Music, ISBN 0028645812
1950s

Music , Way , Imagination , Idea

“I believe that the use of noise to make music will continue and increase until we reach a music produced through the use of electrical instruments which will make available for musical purposes any and all sounds that can be heard. Photoelectric, film and mechanical mediums for the synthetic production of music will be explored.”

John Cage

Quote of John Cage, in: 'The Future of Music: Credo' (1937); SILENCE 3-4
1930s

Music

“…WHEREAS, IN THE PAST, THE POINT OF DISAGREEMENT HAS BEEN BETWEEN DISSONANCE AND CONSONANCE, IT WILL BE, IN THE IMMEDIATE FUTURE, BETWEEN NOISE AND SO-CALLED MUSICAL SOUNDS.
THE PRESENT METHODS OF WRITING MUSIC, PRINCIPALLY THOSE WHICH EMPLOY HARMONY AND ITS REFERENCE TO PARTICULAR STEPS IN THE FIELD OF SOUND, WILL BE INADEQUATE FOR THE COMPOSER, WHO WILL BE FACED WITH THE ENTIRE FIELD OF SOUND.”

John Cage

Quote of John Cage, in: 'The Future of Music: Credo' (1937); SILENCE; lectures and writings by Cage, John', Publisher Middletown, Conn. Wesleyan University Press, June 1961, CREDO/3
1930s

Music , Past , Future

“We are living in a period in which many people have changed their mind about what the use of music is or could be for them. Something that doesn't speak or talk like a human being, that doesn't know its definition in the dictionary or its theory in the schools, that expresses itself simply by the fact of its vibrations. People paying attention to vibratory activity, not in reaction to a fixed ideal performance, but each time attentively to how it happens to be this time, not necessarily two times the same. A music that transports the listener to the moment where he is.”

John Cage

Quote of John Cage: the last lines of his 'Autobiographical Statement', April, 1990 http://www.johncage.org/autobiographical_statement.html
1990s

People , School , Music , Change

“I can't speak or write German, but I'am overjoyed because I have bought one of your pictures. Now it is in me. I write music. You are my teacher.”

John Cage

Quote from his letter to Jawlensky, early Februari 1935; as cited in 'The shape of the Future 3: Art' in Where the Heart Beats: John Cage, Zen Buddhism, and the Inner Life of Artists, by Kay Larson, Penguin 2012, p. unknown
Cage bought one of the small 'Head' paintings of Jawlensky, via his art-agent Galka E. Scheyer who showed Cage some paintings of Jawlensky early 1935, and sold his choice very cheap for 25 dollars; Cage was then 25 years old and strongly inspired by images, as he told Scheyer and wrote Jawlensky
1930s

Music , Teachers

“So it was that I gave about 1949 my 'Lecture on Nothing' at the Artists' Club on Eighth Street in New York City (started by Robert Motherwell), which predated the popular one associated with Philip Pavia, Bill de Kooning, et al. ). This 'Lecture on Nothing' was written in the same rhythmic structure I employed at the time in my musical compositions (Sonatas and Interludes, Three Dances, etc.). One of the structural divisions was the repetition, some fourteen times, of a single page in which occurred the refrain, 'If anyone is sleepy let him go to sleep.' Jeanne Reynal, I remember, stood up part way through, screamed, and then said, while I continued speaking, 'John, I dearly love you, but I can't bear another minute.' She then walked out. Later, during the question period, I gave one of six previously prepared answers regardless of the question asked. This was a reflection of my engagement in Zen.”

John Cage

Quote in: 'Silence: lectures and writings by John Cage'; publisher Middletown, Conn. Wesleyan University Press, June 1961, Foreword/ix
1960s

Love , Music , Way , Question

“David Tudor and I went to Hilversum in Holland to make a recording for the Dutch radio. We arrived at the studio early and there was some delay. To pass the time, we chatted with the engineer who was to work with us. He asked me what kind of music he was about to record. Since he was a Dutchman I said, 'It may remind you of the work of Mondrian.' When the session was finished and the three of us were leaving the studio, I asked the engineer what he thought of the music we had played. He said, 'It reminded me of the work of Mondrian.”

John Cage

Quote from 'Lecture on Nothing', (c. 1949), in 'Silence: lectures and writings by John Cage; Publisher Middletown, Conn. Wesleyan University Press, June 1961, p. 127
this lecture had been prepared some years earlier, but was not printed until 1959, when it appeared in 'It Is', ed. Philip Pavia
1950s

Music , Time

“I certainly had no feeling for harmony, and Schoenberg thought that that would make it impossible for me to write music. He said, 'You'll come to a wall you won't be able to get through.' I said, 'Well then, I'll beat my head against that wall.' I quite literally began hitting things, and developed a music of percussion that involved noises.”

John Cage

Quote from an interview in Observer magazine (1982), repeated on several occasions
1980s

Music , Feeling