 Having discussed complications, it’s worth returning to the basic idea of “organized sound”. Most theorists note that music does not consist entirely of sounds. Most obviously, much music includes rests. You might think that silence can function only to organize the sounds of music. One counterargument is that an understanding listener listens to the rests, just as she listens to the sounds (Kania 2010). Another is to provide putative cases of music in which the silences are not structural in the way ordinary rests are. John Cage’s 4′33″ is frequently discussed, though there is broad agreement that this piece is not silent—its content is the ambient sounds that occur during its performance. Anyway, both Stephen Davies (1997a) and Andrew Kania (2010) argue that Cage’s piece is not music—Davies because those sounds fail to qualify as organized, Kania because they fail to meet a tonality condition. Kania considers several other contenders for the label of “silent music”, arguing that there are indeed extant examples, most notably Erwin Schulhoff’s “In Futurum” from his Fünf Pittoresken, which predates Cage’s 4′33″ by some 33 years.