Post by Laudanum Productions on Apr 23, 2013 3:09:43 GMT -5
Source: en.wikipedia.org/wiki/Indeterminacy_(music)
In its most fully realized and utilized form, indeterminacy in music sees an aesthetic endeavour that (1) strives to dissolve any fixed properties of music's sound into a fluid process and (2) do away with the traditional control of the composer over the material. In its most radical form, all sounds have equal value: sounds chosen by the composer, sounds chosen by the performer, and all of the unforeseen and unpredictable sounds that surround us every day. Indeterminacy, in this view, is philosophically opposed to aleatoric music in which the indeterminate element was kept under careful control by the composer, usually by offering the performers a limited number of possibilities from which to choose.
Indeterminacy in music can be divided into three groups:
(1) The first group includes scores in which the chance element is involved only in the process of composition, so that every parameter is fixed before their performance.
(2) In the second type of indeterminate music, chance elements involve the performance. Notated events are provided by the composer, but their arrangement is left to the determination of the performer. This is the only true type of indeterminate music according to John Cage's definition in which he imparts that for a piece of music to be truly indeterminate, the performance would always be different as opposed to being something arrived at through chance methods and the performance then remaining fixed.
(3) The greatest degree of indeterminacy is reached by the third type of indeterminate music, where traditional musical notation is replaced by visual or verbal signs suggesting how a work can be performed, for example in Graphic score pieces.
These are the three groups in which indeterminacy within music can be displayed. Now, the ways in which a composer comes to his decisions compositionally are to be thought of as different and apart from these groupings. For how do many creative ideas come to you? And when you sit and ponder their arrival and why they sparked an interest within you, do you come closer to the significance of chance?
The idea is to let random principles control the flow and construction of the piece. And another question: What does this mean? Where does the interest in removing your intent for the outcome stem from? Why is it a philosophy?
And the ultimate question: Why is indeterminacy the truest and most pure art form?
In its most fully realized and utilized form, indeterminacy in music sees an aesthetic endeavour that (1) strives to dissolve any fixed properties of music's sound into a fluid process and (2) do away with the traditional control of the composer over the material. In its most radical form, all sounds have equal value: sounds chosen by the composer, sounds chosen by the performer, and all of the unforeseen and unpredictable sounds that surround us every day. Indeterminacy, in this view, is philosophically opposed to aleatoric music in which the indeterminate element was kept under careful control by the composer, usually by offering the performers a limited number of possibilities from which to choose.
Indeterminacy in music can be divided into three groups:
(1) The first group includes scores in which the chance element is involved only in the process of composition, so that every parameter is fixed before their performance.
(2) In the second type of indeterminate music, chance elements involve the performance. Notated events are provided by the composer, but their arrangement is left to the determination of the performer. This is the only true type of indeterminate music according to John Cage's definition in which he imparts that for a piece of music to be truly indeterminate, the performance would always be different as opposed to being something arrived at through chance methods and the performance then remaining fixed.
(3) The greatest degree of indeterminacy is reached by the third type of indeterminate music, where traditional musical notation is replaced by visual or verbal signs suggesting how a work can be performed, for example in Graphic score pieces.
These are the three groups in which indeterminacy within music can be displayed. Now, the ways in which a composer comes to his decisions compositionally are to be thought of as different and apart from these groupings. For how do many creative ideas come to you? And when you sit and ponder their arrival and why they sparked an interest within you, do you come closer to the significance of chance?
The idea is to let random principles control the flow and construction of the piece. And another question: What does this mean? Where does the interest in removing your intent for the outcome stem from? Why is it a philosophy?
And the ultimate question: Why is indeterminacy the truest and most pure art form?