Cage treated all heard sound as musical content

Evidence

At the time, I was somewhat familiar with Cage and his philosophy that “everything we hear is music”; I had seen the interview where he sits by an apartment window, rapt at the sound of traffic outside. — Jenny Odell, How to Do Nothing, 367

Categorization

• XREF: Directly builds on the reader’s Deep Listening / soundscape sources about treating the whole sonic world as composition. — connects to: Cage’s silent piece frames ambient noise as the musical content — Jenny Odell, How to Do Nothing: Resisting the…, 366; Silence is not the absence of sound but rather the presence of unintended sounds, as demonstrated by Cage’s 4’33”. — Silence/Nothingness/Emptiness: Following John Cage’s Composition for Museum; Cage’s silence turns out to be not an absence of sound but an opening to unintended yet palpable sounds that saturate our perceptual field. — John Cage and the meaning of his silent piece (+1 more)
• yield-rescued: below the book’s yield-target cutoff, included anyway for connecting to: Cage’s silent piece frames ambient noise as the musical content — Jenny Odell, How to Do Nothing: Resisting the…, 366; Silence is not the absence of sound but rather the presence of unintended sounds, as demonstrated by Cage’s 4’33”. — Silence/Nothingness/Emptiness: Following John Cage’s Composition for Museum; Cage’s silence turns out to be not an absence of sound but an opening to unintended yet palpable sounds that saturate our perceptual field. — John Cage and the meaning of his silent piece (+1 more)

Broader Connections

• Cage’s silent piece frames ambient noise as the musical content #exemplifies (0.92) — Jenny Odell, How to Do Nothing, 366