22:
304:(1955–56), which is Greek for "actions by means of probability". This work contains four sections, characterized by textural and timbral attributes, such as glissandi and pizzicati. At the macroscopic level, the sections are designed and controlled by the composer while the single components of sound are controlled by mathematical theories.
203:(String Quartet No. 3, 1934), which allows the players to arrange the fragments of music in a number of different possible sequences. Cowell also used specially devised notations to introduce variability into the performance of a work, sometimes instructing the performers to improvise a short passage or play
217:
of 1944) used procedures superficially similar to Cowell's, in which different short patterns with specified pitches and rhythm are assigned to several parts, with instructions that they be performed repeatedly at their own speed without coordination with the rest of the ensemble. Some scholars
339:(1951) for piano solo, written on coordinate paper. Time units are represented by the squares viewed horizontally, while relative pitch levels of high, middle, and low are indicated by three vertical squares in each row. The performer determines what particular pitches and rhythms to play.
381:
to mean a work which is fundamentally incomplete, represents an unfinished activity, or points outside of itself. In this sense, a "mobile form" can be either "open" or "closed". An example of a "dynamic, closed" mobile musical composition is
Stockhausen's
294:, an ancient Chinese book which prescribes methods for arriving at random numbers. Because this work is absolutely fixed from performance to performance, Cage regarded it as an entirely determinate work made using chance procedures. On the level of detail,
273:, and use the terms interchangeably. From this point of view, indeterminate or chance music can be divided into three groups: (1) the use of random procedures to produce a determinate, fixed score, (2) mobile form, and (3) indeterminate notation, including
218:
regard the resultant blur as "hardly aleatory, since exact pitches are carefully controlled and any two performances will be substantially the same" although, according to another writer, this technique is essentially the same as that later used by
97:(adjective), his translator created a new English word, "aleatoric" (rather than using the existing English adjective "aleatory"), which quickly became fashionable and has persisted. More recently, the variant "aleatoriality" has been introduced.
74:, and/or some primary element of a composed work's realization is left to the determination of its performer(s). The term is most often associated with procedures in which the chance element involves a relatively limited number of possibilities.
88:
in the beginning of the 1950s. According to his definition, "a process is said to be aleatoric ... if its course is determined in general but depends on chance in detail". Through a confusion of Meyer-Eppler's German terms
322:
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
311:'s KlavierstĂĽck XI (1956) presents nineteen events which are composed and notated in a traditional way, but the arrangement of these events is determined by the performer spontaneously during the performance. In
222:. Depending on the vehemence of the technique, Hovhaness's published scores annotate these sections variously, for example as "Free tempo / humming effect" and "Repeat and repeat ad lib, but not together".
157:, written with Duchamp's sisters Yvonne and Magdeleine for three voices, was first performed at the Manifestation of Dada on 27 March 1920, and was eventually published in 1934. Two of his contemporaries,
1595:
GRAPHITE '06: Proceedings of the 4th
International Conference on Computer Graphics and Interactive Techniques in Australasia and South East Asia, Kuala Lumpur (Malaysia), November 29 – December 2, 2006
555:, and others. Snow used digital samples of acoustic instruments "to merge starkly electronic timbres with acoustically based sounds, an approach developed extensively in his much celebrated music for
307:
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.
248:
in 1960–61), where extensive passages of pitches and rhythms are fully specified, but the rhythmic coordination of parts within the ensemble is subject to an element of chance.
21:
331:(1952) shows lines and rectangles of various lengths and thicknesses that can read as loudness, duration, or pitch. The performer chooses how to read them. Another example is
1705:
110:
Compositions that could be considered a precedent for aleatory composition date back to at least the late 15th century, with the genre of the catholicon, exemplified by the
280:
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. In
571:
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1559:, translated from the seventh German edition (1929) by Marie D. Hottinger. London: G. Bell and Sons, Ltd. Reprinted, New York: Dover Publications, 1950.
183:
is of a different order from Meyer-Eppler's concept. Cage later asked
Duchamp: "How is it that you used chance operations when I was just being born?"
1433:
146:, for which each measure had several possible versions and a procedure for selecting the precise sequence based on the throwing of a number of dice.
1698:
240:, which features 19 elements to be performed in a sequence to be determined in each case by the performer. A form of limited aleatory was used by
559:(1993–2002, 2016–18). Over the course of the series, Snow's often ambient music dissolved distinctions between sound design and musical score."
1574:
1111:
1343:
Joe, Jeongwon, and S. Hoon Song. 2002. "Roland
Barthes' 'Text' and Aleatoric Music: Is the Birth of the Reader the Birth of the Listener?".
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1597:, edited by Y. T. Lee, Siti Mariyam Shamsuddin, Diego Gutierrez, and Norhaida Mohd Suaib, 245–250. New York: ACM Press.
1221:, with an introduction by Robert Piencikowski, 26–38. Oxford: Clarendon Press; New York: Oxford University Press, 1991.
122:
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1 ("Electronic Music"): 55–61. Original German edition, 1955, as "Statistische und psychologische
Klangprobleme",
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In Europe, following the introduction of the expression "aleatory music" by Meyer-Eppler, the French composer
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601:
404:. Specific examples of mathematics, statistics, and physics applied to music composition are the use of the
139:
1218:
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There has been much confusion of the terms aleatory and indeterminate/chance music. One of Cage's pieces,
165:, also experimented with chance composition, these works being performed at a Festival Dada staged at the
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319:(1962), the conductor is asked to decide the order of the events at the very moment of the performance.
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Stochastic processes may be used in music to compose a fixed piece or may be produced in performance.
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The earliest significant use of aleatory features is found in many of the compositions of
American
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179:(1951) was "the first composition to be largely determined by random procedures", though his
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The music of the Lord of the rings films: a comprehensive account of Howard Shore's scores
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game, popular in the late 18th and early 19th century. (Such dice games are attributed to
67:
1448:. Music in the 20th Century. Cambridge, New York, Melbourne: Cambridge University Press.
1625:
The
Ambient Century: from Mahler to Trance: The Evolution of Sound in the Electronic Age
2046:
2036:
2031:
1974:
1549:
Kunstgeschichtliche
Grundbegriffe: das Problem der Stilentwicklung in der neueren Kunst
1417:. 1957. "Statistic and Psychologic Problems of Sound", translated by Alexander Goehr.
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288:(1951), for example, the composer selected duration, tempo, and dynamics by using the
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However, "open form" in music is also used in the sense defined by the art historian
226:
1197:, collected and presented by Paule Thévenin, 41–45. Paris: Éditions du Seuil, 1966.
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979:
153:
composed two pieces between 1913 and 1915 based on chance operations. One of these,
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Würfelkomposition: zeitgenössische
Recherche: mit Betrachtungen ĂĽber die Musik 1799
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Principles of Art
History: The Problem of the Development of Style in Later Art
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Examples of extensive aleatoric writing can be found in small passages from
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1217:, collected and presented by Paule Thévenin, translated from the French by
1209:, collected and presented by Paule Thévenin, translated from the French by
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Crossings: Kunst zum Hören und Sehen: Kunsthalle Wien, 29.5.-13. 9.1998
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Chrissochoidis, Ilias, Stavros Houliaras, and Christos Mitsakis. 2005.
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1381:, edited by Cathrin Pichler, 55-61. Ostfildern bei Stuttgart: Cantz.
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Some writers do not make a distinction between aleatory, chance, and
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1664:
257:, itself composed using chance procedures, uses music from Mozart's
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63:
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Rosner, Arnold, and Vance Wolverton. 2001. "Hovhaness , Alan ".
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used probability theories to define some microscopic aspects of
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The term became known to European composers through lectures by
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Music in which some element of the composition is left to chance
1687:
1318:, Op. 48 (score). New York: Peer International Corporation.
1250:, 241–249. Athens: The National and Kapodistrian University.
199:
adopted Ives's ideas during the 1930s, in such works as the
1469:
Rae, Charles Bodman. 2001. "Lutosławski, Witold (Roman)".
1257:"Hovhaness Concerto for 2 Pianos; (3) Pieces for 2 Pianos"
1567:
Formalized Music: Thought and Mathematics in Composition
1279:
An Unlikely Musical Pioneer? Early Aleatory Counterpoint
232:
Other early European examples of aleatory music include
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concert hall, Paris, on 26 May 1920. American composer
1401:. Lanham, Maryland, Toronto, Oxford: Scarecrow Press.
771:
350:
is a term sometimes used for 'mobile' or 'polyvalent'
1493:
The Harvard Concise Dictionary of Music and Musicians
1569:. Bloomington and London: Indiana University Press.
86:
Darmstadt International Summer Courses for New Music
2141:
2065:
2012:
1927:
1812:
1801:
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1640:
The Barrons: Forgotten Pioneers of Electronic Music
1193:, no. 59 (1 November). Reprinted in Pierre Boulez,
1181:. Darmstadt: Edition Tonos. (Second printing 1988.)
1077:
370:composed a series of influential "mobiles" such as
229:was largely responsible for popularizing the term.
1354:On the Track: A Guide to Contemporary Film Scoring
142:.) These games consisted of a sequence of musical
1399:Other Planets: The Music of Karlheinz Stockhausen
572:The Lord of the Rings: The Fellowship of the Ring
541:. Other film composers using this technique are
261:, referred to above, as well as original music.
1528:The New Grove Dictionary of Music and Musicians
1472:The New Grove Dictionary of Music and Musicians
1377:Lotringer, Sylvère. 1998. "Duchamp Werden". In
1293:The New Grove Dictionary of Music and Musicians
1179:Zur Theorie der offenen Form in der neuen Musik
1151:The Music of the Monsters of Lord of the Rings
1000:Chrissochoidis, Houliaras, & Mitsakis 2005
909:
882:
855:
400:was pioneered by Xenakis, who coined the term
1699:
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1014:"The Stochastic Synthesis of Iannis Xenakis"
948:"The Stochastic Synthesis of Iannis Xenakis"
624:
1809:
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1332:Jacobs, Arthur. 1966. "Admonitoric Note".
1327:, Op. 155 (score). New York: C. F. Peters.
1134:: CS1 maint: location missing publisher (
1439:. 1 July 2014; Accessed 10 December 2020.
894:
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1352:Karlin, Fred, and Rayburn Wright. 2004.
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20:
1356:, second edition. New York: Routledge.
1255:Farach-Colton, Andrew (November 2005).
1065:
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1661:- online version of Mozart's dice game
1244:International Symposium Iannis Xenakis
1205:. English as "Alea" in Pierre Boulez,
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1089:
819:
783:
718:
636:
7:
2149:List of experimental music festivals
207:. Later American composers, such as
1290:Griffiths, Paul. 2001. "Aleatory".
1246:, edited by Anastasia Georgaki and
1215:Stocktakings from an Apprenticeship
843:
507:to produce his scores, such as the
362:is indeterminate or left up to the
2154:List of electronic music festivals
1674:Aleatoric water musical instrument
1659:Mozart's Musikalisches WĂĽrfelspiel
1285:blog site (Accessed 22 June 2010).
14:
1427:1 ("Elektronische Musik"): 22–28.
1638:Stone, Susan. 7 February 2005. "
2088:Experimental musical instrument
1612:. Munich: Akademischer Verlag.
1539:. London: Macmillan Publishers.
1508:Roig-FrancolĂ, Miguel A. 2008.
1483:. London: Macmillan Publishers.
1304:. London: Macmillan Publishers.
2159:List of experimental musicians
1648:. (Accessed 23 September 2008)
1591:Game Enhanced Music Manuscript
1510:Understanding Post-Tonal Music
1:
2133:Electroacoustic improvisation
1531:, second edition, edited by
1475:, second edition, edited by
1296:, second edition, edited by
265:Types of indeterminate music
1623:Prendergast, Mark J. 2000.
772:Rosner & Wolverton 2001
195:in the early 20th century.
163:Georges Ribemont-Dessaignes
2213:
1555:Wölfflin, Heinrich. 1932.
1207:Notes of an Apprenticeship
68:element of the composition
1589:Lieberman, David. 2006. "
1338:107, no. 1479 (May): 414.
548:X-Files: Fight the Future
259:Musikalisches WĂĽrfelspiel
132:Carl Phillip Emanuel Bach
123:Musikalisches WĂĽrfelspiel
1444:Pritchett, James. 1993.
1236:"Set theory in Xenakis'
1191:Nouvelle Revue française
1078:Karlin & Wright 2004
699:NYPL Digital Collections
583:outside of the gates of
503:Xenakis frequently used
416:of points on a plane in
414:statistical distribution
368:Roman Haubenstock-Ramati
120:. A later genre was the
1909:Intelligent dance music
1565:Xenakis, Iannis. 1971.
1551:. Munich, F. Bruckmann.
1512:. Boston: McGraw-Hill.
1323:Hovhaness, Alan. 1958.
674:"Erratum Musical, 1913"
602:Algorithmic composition
140:Wolfgang Amadeus Mozart
32:at Darmstadt, July 1957
1627:. London: Bloomsbury.
1446:The Music of John Cage
1030:10.1162/lmj.2009.19.77
1018:Leonardo Music Journal
1012:Luque, Sergio (2009).
964:10.1162/lmj.2009.19.77
952:Leonardo Music Journal
946:Luque, Sergio (2009).
327:pieces. Earle Brown's
271:indeterminacy in music
33:
2180:20th century in music
1325:Meditation on Orpheus
1277:Fisher, Lynn. 2010. "
535:' score for the film
406:statistical mechanics
354:, where the order of
309:Karlheinz Stockhausen
238:Karlheinz Stockhausen
26:Karlheinz Stockhausen
24:
2093:Experimental luthier
1803:Experimental popular
1608:Pimmer, Hans. 1997.
1415:Meyer-Eppler, Werner
1102:Adams, Doug (2010).
695:"Manifestation Dada"
581:Watcher in the Water
211:(beginning with his
2014:Extended techniques
1489:Randel, Don Michael
1080:, pp. 430–436.
910:Joe & Song 2002
883:Joe & Song 2002
856:Joe & Song 2002
579:encounter with the
565:employed aleatoric
432:normal distribution
113:Missa cuiusvis toni
82:Werner Meyer-Eppler
2190:Experimental music
2118:Sound installation
1965:Free improvisation
1857:Deconstructed club
1715:Experimental music
1545:Wölfflin, Heinrich
1437:Grove Music Online
1195:Relevés d'apprenti
868:Roig-FrancolĂ 2008
760:Farach-Colton 2005
649:Roig-FrancolĂ 2008
337:Intersection No. 2
317:Available forms II
242:Witold Lutosławski
220:Witold Lutosławski
149:The French artist
136:Franz Joseph Haydn
34:
2167:
2166:
2103:Progressive music
2083:Data sonification
2008:
2007:
1867:Experimental rock
1825:Avant-garde metal
1575:978-0-253-32378-1
1335:The Musical Times
1211:Herbert Weinstock
1113:978-0-7390-7157-1
625:Meyer-Eppler 1957
511:series including
379:Heinrich Wölfflin
118:Johannes Ockeghem
2202:
2185:Postmodern music
2142:Events and lists
2066:Related concepts
1990:Progressive jazz
1862:Experimental pop
1820:Avant-garde jazz
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1781:Musique concrete
1764:Acousmatic music
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402:stochastic music
398:Stochastic music
392:Stochastic music
286:Music of Changes
275:graphic notation
244:(beginning with
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106:Early precedents
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234:KlavierstĂĽck XI
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159:Francis Picabia
155:Erratum Musical
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1585:
1582:
1580:
1579:
1562:
1561:
1560:
1541:
1522:
1505:
1485:
1466:
1441:
1429:
1411:
1395:Maconie, Robin
1391:
1374:
1349:
1340:
1329:
1320:
1306:
1287:
1274:
1252:
1231:
1187:Boulez, Pierre
1183:
1170:
1163:
1162:
1141:
1112:
1094:
1082:
1070:
1058:
1004:
992:
938:
936:, p. 185.
926:
914:
912:, p. 269.
899:
897:, p. 108.
895:Pritchett 1993
887:
885:, p. 268.
872:
870:, p. 280.
860:
858:, p. 264.
848:
836:
824:
812:
808:Hovhaness 1958
800:
796:Hovhaness 1944
788:
776:
764:
752:
748:Griffiths 2001
735:
731:Lotringer 1998
723:
711:
686:
665:
653:
651:, p. 340.
641:
629:
616:
614:
611:
610:
609:
604:
599:
592:
589:
528:
525:
519:, and founded
474:Siegfried Palm
393:
390:
344:
341:
333:Morton Feldman
296:Iannis Xenakis
266:
263:
246:Jeux VĂ©nitiens
209:Alan Hovhaness
201:Mosaic Quartet
188:
185:
151:Marcel Duchamp
107:
104:
102:
99:
66:in which some
44:aleatory music
15:
13:
10:
9:
6:
4:
3:
2:
2208:
2207:
2196:
2193:
2191:
2188:
2186:
2183:
2181:
2178:
2177:
2175:
2160:
2157:
2155:
2152:
2150:
2147:
2146:
2144:
2140:
2134:
2131:
2129:
2126:
2124:
2121:
2119:
2116:
2114:
2113:Sound collage
2111:
2109:
2106:
2104:
2101:
2099:
2096:
2094:
2091:
2089:
2086:
2084:
2081:
2079:
2076:
2074:
2071:
2070:
2068:
2064:
2058:
2055:
2053:
2050:
2048:
2045:
2043:
2040:
2038:
2035:
2033:
2030:
2028:
2025:
2023:
2020:
2019:
2017:
2015:
2011:
2001:
1998:
1996:
1993:
1991:
1988:
1986:
1983:
1981:
1978:
1976:
1973:
1971:
1968:
1966:
1963:
1961:
1958:
1956:
1953:
1951:
1948:
1946:
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1941:
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1936:
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1767:
1765:
1762:
1761:
1760:
1757:
1755:
1752:
1750:
1747:
1743:
1742:indeterminacy
1740:
1739:
1738:
1735:
1734:
1732:
1728:
1720:
1716:
1709:
1704:
1702:
1697:
1695:
1690:
1689:
1686:
1680:
1676:
1671:
1669:
1668:
1667:Indeterminacy
1663:
1660:
1657:
1656:
1652:
1647:
1646:
1641:
1637:
1634:
1633:0-7475-4213-9
1630:
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1622:
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1618:3-929115-90-5
1615:
1611:
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1603:1-59593-564-9
1600:
1596:
1592:
1588:
1587:
1583:
1576:
1572:
1568:
1563:
1558:
1554:
1553:
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1546:
1542:
1538:
1534:
1533:Stanley Sadie
1530:
1529:
1523:
1519:
1518:0-07-293624-X
1515:
1511:
1506:
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1501:0-674-00978-9
1498:
1494:
1490:
1486:
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1477:Stanley Sadie
1474:
1473:
1467:
1463:
1462:0-521-56544-8
1459:
1455:
1454:0-521-41621-3
1451:
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1442:
1438:
1435:
1434:"Snow, Mark".
1430:
1426:
1422:
1421:
1416:
1412:
1408:
1407:0-8108-5356-6
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1388:
1387:3-89322-443-2
1384:
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1375:
1371:
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1367:
1363:
1362:0-415-94135-0
1359:
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1350:
1346:
1341:
1337:
1336:
1330:
1326:
1321:
1317:
1316:
1311:
1307:
1303:
1299:
1298:Stanley Sadie
1295:
1294:
1288:
1284:
1280:
1275:
1264:
1263:
1258:
1253:
1249:
1248:Makis Solomos
1245:
1241:
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1232:
1228:
1227:0-19-311210-8
1224:
1220:
1219:Stephen Walsh
1216:
1212:
1208:
1204:
1203:2-02-001930-2
1200:
1196:
1192:
1188:
1184:
1180:
1176:
1172:
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1168:
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1152:
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1142:
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1123:
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1109:
1105:
1098:
1095:
1091:
1086:
1083:
1079:
1074:
1071:
1067:
1062:
1059:
1047:
1043:
1039:
1035:
1031:
1027:
1023:
1019:
1015:
1008:
1005:
1001:
996:
993:
981:
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973:
969:
965:
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957:
953:
949:
942:
939:
935:
930:
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923:
922:Wölfflin 1915
918:
915:
911:
906:
904:
900:
896:
891:
888:
884:
879:
877:
873:
869:
864:
861:
857:
852:
849:
845:
840:
837:
834:, p. 72.
833:
828:
825:
821:
816:
813:
809:
804:
801:
797:
792:
789:
785:
780:
777:
773:
768:
765:
761:
756:
753:
749:
744:
742:
740:
736:
732:
727:
724:
721:, p. 17.
720:
715:
712:
700:
696:
690:
687:
675:
669:
666:
662:
657:
654:
650:
645:
642:
638:
633:
630:
627:, p. 55.
626:
621:
618:
612:
608:
605:
603:
600:
598:
595:
594:
590:
588:
586:
582:
578:
574:
573:
568:
564:
560:
558:
554:
550:
549:
544:
540:
539:
534:
533:John Williams
526:
524:
522:
518:
514:
510:
506:
501:
499:
495:
491:
490:
485:
484:
479:
475:
471:
470:
465:
461:
457:
453:
449:
445:
444:Markov chains
441:
437:
433:
429:
425:
421:
420:
415:
411:
407:
403:
399:
391:
389:
387:
386:
380:
375:
373:
372:Interpolation
369:
365:
361:
357:
353:
352:musical forms
349:
342:
340:
338:
334:
330:
329:December 1952
326:
325:graphic score
320:
318:
314:
310:
305:
303:
302:
297:
293:
292:
287:
283:
278:
276:
272:
264:
262:
260:
256:
255:
249:
247:
243:
239:
235:
230:
228:
227:Pierre Boulez
223:
221:
216:
215:
210:
206:
202:
198:
194:
186:
184:
182:
181:indeterminacy
178:
177:
172:
168:
164:
160:
156:
152:
147:
145:
141:
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133:
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125:
124:
119:
115:
114:
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100:
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83:
80:
75:
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41:
38:
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28:lecturing on
27:
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2195:Music theory
1805:music genres
1736:
1725:contemporary
1666:
1665:John Cage's
1643:
1624:
1609:
1594:
1566:
1556:
1548:
1537:John Tyrrell
1526:
1509:
1492:
1481:John Tyrrell
1470:
1445:
1424:
1418:
1398:
1378:
1353:
1345:Muzikologija
1344:
1333:
1324:
1313:
1302:John Tyrrell
1291:
1282:
1266:. Retrieved
1260:
1243:
1237:
1214:
1206:
1194:
1190:
1178:
1166:
1165:
1155:, retrieved
1150:
1144:
1103:
1097:
1085:
1073:
1066:Xenakis 1971
1061:
1049:. Retrieved
1021:
1017:
1007:
995:
983:. Retrieved
955:
951:
941:
934:Maconie 2005
929:
917:
890:
863:
851:
839:
832:Boehmer 1967
827:
815:
810:, p. 2.
803:
798:, p. 3.
791:
779:
767:
755:
726:
714:
702:. Retrieved
698:
689:
677:. Retrieved
668:
661:Boehmer 1967
656:
644:
632:
620:
597:Aleatoricism
577:Fellowship's
570:
563:Howard Shore
561:
556:
546:
536:
530:
516:
512:
508:
502:
497:
487:
481:
467:
464:group theory
459:
455:
447:
439:
435:
427:
419:Diamorphoses
417:
409:
408:of gases in
401:
395:
383:
376:
371:
346:
336:
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321:
316:
306:
299:
289:
285:
279:
268:
258:
252:
250:
245:
231:
224:
212:
204:
200:
197:Henry Cowell
193:Charles Ives
190:
187:Modern usage
174:
167:Salle Gaveau
154:
148:
121:
111:
109:
94:
90:
76:
55:
48:chance music
47:
43:
39:
36:
35:
18:
2057:Turntablism
2000:Witch house
1960:Drone metal
1749:Avant-garde
1090:Platte 2014
820:Boulez 1957
784:Fisher 2010
733:, p. .
719:Randel 2002
637:Jacobs 1966
575:during the
567:composition
557:The X-Files
469:Nomos Alpha
452:game theory
448:Analogiques
428:Achorripsis
424:constraints
410:Pithoprakta
313:Earle Brown
301:Pithoprakta
277:and texts.
126:or musical
95:aleatorisch
93:(noun) and
79:acoustician
70:is left to
58:, meaning "
50:; from the
2174:Categories
2128:Soundscape
2052:Scordatura
2022:3rd bridge
1985:Industrial
1950:Avant-funk
1892:noise rock
1847:Avant-punk
1842:Avant-prog
1830:Post-metal
1769:Tape music
1347:2:263–281.
1262:Gramophone
1157:2022-01-18
704:26 January
679:26 January
613:References
527:Film music
478:set theory
422:, minimal
236:(1956) by
205:ad libitum
2108:Sound art
1995:Punk jazz
1970:Free jazz
1902:post-rock
1897:post-punk
1877:math rock
1872:krautrock
1837:Avant-pop
1737:Aleatoric
1645:NPR Music
1456:(cloth);
1425:Die Reihe
1420:Die Reihe
1364:(cloth);
1315:Lousadzak
1130:cite book
1122:657600945
958:: 77–84.
543:Mark Snow
505:computers
460:Stratégie
364:performer
356:movements
348:Open form
282:John Cage
214:Lousadzak
171:John Cage
91:Aleatorik
37:Aleatoric
2073:Cymatics
1980:Hyperpop
1945:Art rock
1940:Art punk
1882:neo-prog
1852:Biomusic
1813:By style
1723:Related
1547:. 1915.
1491:. 2002.
1397:. 2005.
1312:. 1944.
1177:. 1967.
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972:40926355
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591:See also
388:(1959).
374:(1958).
360:sections
144:measures
1955:Ambient
1935:Art pop
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1914:Neofolk
1887:no wave
1776:Minimal
1679:YouTube
1268:June 4,
1167:Sources
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291:I Ching
101:History
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1975:Glitch
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517:Atrées
492:, and
440:Atrées
430:, the
385:Zyklus
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489:Eonta
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