Silence. John Cage

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      them. He turned to

      his friends and said,

      “Why do you think

      that man is stand-

      ing up there on

      that hill?” One said,

      “He must be up

      there because it’s

      cooler there and

      he’s enjoying

      the breeze.” He turned

      to another

      and repeated

      his question, “Why

      do you think that

      man’s standing up

      there on that hill?”

      The second said,

      “Since the hill is

      elevated

      above the rest

      of the land, he

      must be up there

      in order to

      see something in

      the distance.” And

      the third said, “He

      must have lost his

      friend and that is

      why he is stand-

      ing there alone

      on that hill.” Af-

      ter some time walk-

      ing along, the

      men came up the

      hill and the one

      who had been stand-

      ing there was still

      there: standing there.

      They asked him to

      say which one was

      right concerning

      his reason for

      standing where he

      was standing. ¶“What

      reasons do you

      have for my stand-

      ing here?” he asked.

      “We have three,” they

      answered. “First, you

      are standing up

      here because it’s

      cooler here and

      you are enjoy-

      ing the breeze. Second,

      since the hill

      is eleva-

      ted above the

      rest of the land,

      you are up here

      in order to

      see something in

      the distance. Third,

      you have lost your

      friend and that is

      why you are stand-

      ing here alone

      on this hill. We

      have walked this way;

      we never meant

      to climb this hill;

      now we want an

      answer: Which one

      of us is right?”

      ¶The man answered,

      “I just stand.” ¶When

      I was studying

      with Schoenberg

      one day as he was

      writing some

      counterpoint to

      show the way to

      do it, he used

      an eraser.

      And then while he

      was doing this

      he said, “This end

      of the pencil

      is just as im-

      portant as the

      other end.” I

      have several

      times in the course

      of this lecture

      mentioned ink. Com-

      posing, if it

      is writing notes,

      is then actu-

      ally writing,

      and the less one

      thinks it’s thinking

      the more it be-

      comes what it is:

      writing. Could mu-

      sic be composed

      (I do not mean

      improvised) not

      writing it in

      pencil or ink?

      The answer is

      no doubt Yes and

      the changes in

      writing are pro-

      phetic. The So-natas and In-terludes were com- posed by playing the piano, listening to differences, making a choice, roughly writing it in pencil; later this sketch

      was copied, but

      again in pen-

      cil. СКАЧАТЬ