"The Future of Music: Credo" by John Cage

Most inventors of electrical musical instruments have attempted to imitate eighteenth- and nineteenth- century instruments, just as early automobile designers copied the carriage. The Novachord and the Solovox are examples of this desire to imitate the past rather than construct the future. When Theremin provided an instrument with genuinely new possibilities, Thereministes did their utmost to make the instrument sound like some old instrument, giving It a sickeningly sweet vibrato, and performing upon it, with difficulty, masterpieces from the past. Although the instrument is capable of a wide variety of sound qualities, obtained by the turning of a dial, Thereministes act as censors, giving the public those sounds they think the public will like. We are shielded from new sound experiences.

At http://helios.hampshire.edu/~hacu123/papers/cage.html

4'33

http://en.wikipedia.org/wiki/4%E2%80%B233%E2%80%B3

I am sitting in a room with Alvin Lucier and John Cage

I am sitting in a room (Alvin Lucier, 1969).

But what about the noise of crumpling paper which he used to do in order to paint the series of "Papiers froisses" or tearing up paper to make "Papiers dechires?" Arp was stimulated by water (sea, lake, and flowing waters like rivers), forests, for percussion ensemble (John Cage, 1985).