If you go through enough generations of analog copies of a recording of that performance, you get 4'33" of noise.

I hear what you are saying. But isn't it interesting... If I play a solo over "Ask Me Now", the Monk estate doesn't own it, but I don't think I "own" it either. But if I did it on a recording made by Monk, with his group, I think then he owns it, depending on the recording contract I sign (which is usually like a gig - I get paid for the recording once, like a gig, but I don't own it) But if I play in his band one night at a club and he hears my solo and digs some section of it and makes a tune out of that, note for note-- I can make no claim against him, because it was an improvised solo. But what I'm wondering, and it is really strange, is it different in John Cage's work because he's claiming to own the idea of framing what sounds randomly occur in that space in his composition as music? (I mean, if he made a recording of the concert)If this is true, then there's an interesting article to be written about you-know-what as it relates to classical and jazz and what each represents and the kinds of entitlements offered by our culture as a result of these pervasive race issues. Thank you! I'd never thought of this idea before as it relates to John Cage and jazz improv and ownership. It is certainly something to think about. Cheers!