This article reflects on the nature of the creative act in relation to the everyday world. In opposition to the formalist conception of the artistic work as anautonomous object, during the 20th century various authors tried to spotlight the dialectical relationship established between art and life. Particularly important was John Cage, who started, from Dadaism, a profound transformation in the field of experimental music. His thinking had a greatinfluence on several generations of musicians and sound artists. A case particularly revealing is Llorenç Barber, interdisciplinary artist and composer. Its proposals, which developed outside of the traditional concert rite, intend todilute the artistic work in its context. These are essentially shared listening situations in everyday environments. From among its creations, the ‘plurifocal’ concerts for city stand out: gigantic compositions designed for each urban layout, which acquire a dimension of art public. The objective ofthe musician is to intervene artistically the common space to be returned to the community in the form of collective celebration. Ultimately, through the study of the work and thinking of Barber, this text aims to explore the boundaries between music and life.
The Composer John Cage’s Experimental Music and the Problems of the American Musical AvantGarde of the 20th Century