Aleatoric Music
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Aleatoric Music
Aleatoric music (also aleatory music or chance music; from the Latin word ''alea'', meaning "dice") is music in which some element of the composition is left to chance, 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. The term became known to European composers through lectures by acoustician Werner Meyer-Eppler at the Darmstadt International Summer Courses for New Music 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 ''Aleatorik'' (noun) and ''aleatorisch'' (adjective), his translator created a new English word, "aleatoric" (rather than using the existing English adjective "aleatory"), which quickly became fashiona ...
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Bundesarchiv B 145 Bild-F004566-0002, Darmstadt, Internationaler Kurs Für Neue Musik
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Salle Gaveau (Paris)
The Salle Gaveau, named after the French piano maker Gaveau, is a classical concert hall in Paris, located at 45-47 rue La Boétie, in the 8th arrondissement of Paris. It is particularly intended for chamber music. Construction The plans for the hall were drawn up by Jacques Hermant in 1905, the year the land was acquired. The construction of the Gaveau building took place from 1906 to 1907. The vocation of this hall was chamber music from the beginning, and its seating capacity was a thousand, just as it is today. The hall was home to a large organ built in 1900 by the Cavaillé-Coll, Mutin-Cavaillé-Coll firm. This instrument with 39 stops (8 on the positive, 12 on the recitative, 12 on the grand organ and 7 on the pedal) was subsequently installed in 1957 in the commune of Saint-Saëns in Normandy. The hall is a concert venue renowned for its exceptional acoustics. Beginnings The hall opened its doors on 3 October 1907 for the concert of the Lehrergesangverein (Teachers' ...
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Graphic Notation (music)
Graphic notation (or graphic score) is the representation of music through the use of visual symbols outside the realm of traditional music notation. Graphic notation became popular in the 1950s, and can be used either in combination with or instead of traditional music notation.Pryer, Anthony. "Graphic Notation." ''The Oxford Companion to Music'', edited by Alison Latham. ''Oxford Music Online''. 12 April 2011 Graphic notation was influenced by contemporary visual art trends in its conception, bringing stylistic components from modern art into music. Composers often rely on graphic notation in experimental music, where standard musical notation can be ineffective. Other uses include pieces where an Aleatoric music, aleatoric or Indeterminacy (music), undetermined effect is desired. One of the earliest pioneers of this technique was Earle Brown, who, along with John Cage, sought to liberate performers from the constraints of notation and make them active participants in the creation ...
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HPSCHD
''HPSCHD'' (pronounced as initials: eɪtʃ-piː-ɛs-siː-eɪtʃ-di:, although Cage himself said the title is "Harpsichord") is a composition for harpsichord and computer-generated sounds by American avant-garde composers John Cage (1912–1992) and Lejaren Hiller (1924–1994). It was written between 1967 and 1969 and was premiered on May 16, 1969, at the Experimental Music Studios at the University of Illinois at Urbana–Champaign. History of composition As part of the commemoration events of the University of Illinois's one hundredth anniversary in 1967, Hiller, head of the computer music department at the time, invited Cage (then a Visiting Associate in the Center for Advanced Studies) to submit two works related to the field of computing technology and chance procedures. Together with a piece called ''Atlas Borealis with Ten Thunderclaps'', Cage submitted the idea for ''HPSCHD'', which had been commissioned by the Swiss harpsichord aficionado Antoinette Vischer. The long and c ...
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Karlheinz Stockhausen
Karlheinz Stockhausen (; 22 August 1928 – 5 December 2007) was a German composer, widely acknowledged by critics as one of the most important but also controversial composers of the 20th and early 21st centuries. He is known for his groundbreaking work in electronic music, for introducing controlled chance ( aleatory techniques) into serial composition, and for musical spatialization. He was educated at the Hochschule für Musik Köln and the University of Cologne, later studying with Olivier Messiaen in Paris and with Werner Meyer-Eppler at the University of Bonn. One of the leading figures of the Darmstadt School, his compositions and theories were and remain widely influential, not only on composers of art music, but also on jazz and popular music. His works, composed over a period of nearly sixty years, eschew traditional forms. In addition to electronic music—both with and without live performers—they range from miniatures for musical boxes through works for s ...
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