|
Aleatory
Aleatoricism (or aleatorism) is a term for musical compositions and other forms of art resulting from "actions made by chance". The term was first used "in the context of electro-acoustics and information theory" to describe "a course of sound events that is determined in its framework and flexible in detail", by Belgian-German physicist, acoustician, and information theorist Werner Meyer-Eppler. Werner Meyer-Eppler (1955) "Statistische und psychologische Klangprobleme," Elektronische Musik, '' Die Reihe'' I ( Herbert Eimert, ed.) Vienna, p. 22. English translation: Werner Meyer-Eppler (1957) "Statistic and Psychologic Problems of Sound" (Alexander Goehr, transl.). Electronic Music, ''Die Reihe'' 1 (H. Eimert, ed.), pp. 55–61, esp. p. 55. In practical application, in compositions by Mozart and Kirnberger, for instance, the order of the measures of a musical piece were left to be determined by throwing dice, and in performances of music by Pousseur (e.g., ''Répons pour sept ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Aleatoric Music
Aleatoric music (also aleatory music or chance music; from the Latin language, Latin word ''alea'', meaning "dice") is music in which some Aspect of music, element of the composition is left to Randomness, 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 acoustics, acoustician Werner Meyer-Eppler at the Darmstadt New Music Summer School, 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" (ra ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Witold Lutosławski
Witold Roman Lutosławski (; 25 January 1913 – 7 February 1994) was a Polish composer and conductor. Among the major composers of 20th-century classical music, he is "generally regarded as the most significant Polish composer since Szymanowski, and possibly the greatest Polish composer since Chopin". His compositions—of which he was a notable conductor—include representatives of most traditional genres, aside from opera: symphonies, concertos, orchestral song cycles, other orchestral works, and chamber works. Among his best known works are his four symphonies, the Variations on a Theme by Paganini (1941), the Concerto for Orchestra (1954), and his cello concerto (1970). During his youth, Lutosławski studied piano and composition in Warsaw. His early works were influenced by Polish folk music and demonstrated a wide range of rich atmospheric textures. His folk-inspired music includes the Concerto for Orchestra (1954)—which first brought him international renow ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Indeterminate Music
Indeterminacy is a composing approach in which some aspects of a musical work are left open to chance or to the interpreter's free choice. John Cage, a pioneer of indeterminacy, defined it as "the ability of a piece to be performed in substantially different ways". The earliest significant use of music indeterminacy features is found in many of the compositions of American composer Charles Ives in the early 20th century. Henry Cowell adopted Ives's ideas during the 1930s, in works allowing players to arrange the fragments of music in a number of different possible sequences. Beginning in the early 1950s, the term came to refer to the (mostly American) movement which grew up around Cage. This group included the other members of the New York School. In Europe, following the introduction of the expression " aleatory music" by Werner Meyer-Eppler, the French composer Pierre Boulez was largely responsible for popularizing the term. Definition Describing indeterminacy, composer John Cag ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Henri Pousseur
Henri Léon Marie-Thérèse Pousseur (; 23 June 1929 – 6 March 2009) was a Belgian classical composer, teacher, and music theorist. Biography Pousseur was born in Malmedy and studied at the Academies of Music in Liège and in Brussels from 1947 to 1952, where he joined the group called Variations associated with Pierre Froidebise. It was in this group that he first became familiar with the music of Anton Webern and other 20th-century composers. During his period of military service in 1952–53 at Malines, he maintained close contact with André Souris. He encountered Pierre Boulez in 1951 at Royaumont, and this contact inspired his ''Trois chants sacrés'', composed that same year. In 1953, he met Karlheinz Stockhausen, and in 1956 Luciano Berio. A less-well-known influence from his early years was the powerful impression of listening to the music of Anton Bruckner, and he maintained a lifelong interest in medieval and Renaissance music, as well as in extra-European music an ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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, having been called the "father of electronic music", for introducing controlled chance ( aleatory techniques) into serial composition, and for musical spatialization. Stockhausen 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. As 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 musicboth with and without live performersthe ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Random Variable
A random variable (also called random quantity, aleatory variable, or stochastic variable) is a Mathematics, mathematical formalization of a quantity or object which depends on randomness, random events. The term 'random variable' in its mathematical definition refers to neither randomness nor variability but instead is a mathematical function (mathematics), function in which * the Domain of a function, domain is the set of possible Outcome (probability), outcomes in a sample space (e.g. the set \ which are the possible upper sides of a flipped coin heads H or tails T as the result from tossing a coin); and * the Range of a function, range is a measurable space (e.g. corresponding to the domain above, the range might be the set \ if say heads H mapped to -1 and T mapped to 1). Typically, the range of a random variable is a subset of the Real number, real numbers. Informally, randomness typically represents some fundamental element of chance, such as in the roll of a dice, d ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bar (music)
In musical notation, a bar (or measure) is a segment of music bounded by vertical lines, known as bar lines (or barlines), usually indicating one or more recurring beats. The length of the bar, measured by the number of note values it contains, is normally indicated by the time signature. Types of bar lines Regular bar lines consist of a thin vertical line extending from the top line to the bottom line of the staff, sometimes also extending between staves in the case of a grand staff or a family of instruments in an orchestral score. A ''double bar line'' (or ''double bar'') consists of two single bar lines drawn close together, separating two sections within a piece, or a bar line followed by a thicker bar line, indicating the end of a piece or movement. Note that ''double bar'' refers not to a type of ''bar'' (i.e., measure), but to a type of ''bar line''. Typically, a double bar is used when followed by a new key signature, whether or not it marks the beginning of a ne ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Die Reihe
''Die Reihe'' () was a German-language music academic journal, edited by Herbert Eimert and Karlheinz Stockhausen and published by Universal Edition (Vienna) between 1955 and 1962 (). An English edition was published, under the original German title, between 1957 and 1968 by the Theodore Presser Company ( Bryn Mawr) in association with Universal Edition (London) (). A related book series titled "Bücher der Reihe" was begun, but only one title ever appeared in it, Herbert Eimert's ''Grundlagen der musikalischen Reihentechnik''. Origin The journal, whose title means "The Row" or "The Series", owes its genesis to the founding of the Studio for Electronic Music of the Nordwestdeutscher Rundfunk (NWDR) in Cologne (later WDR) under the influence of Werner Meyer-Eppler, and the realisation that technology was becoming an important element in the work of younger composers. The contributions from composers working in the studio were frequently based on their projects there, and in th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Aesthetics
Aesthetics (also spelled esthetics) is the branch of philosophy concerned with the nature of beauty and taste (sociology), taste, which in a broad sense incorporates the philosophy of art.Slater, B. H.Aesthetics ''Internet Encyclopedia of Philosophy,'' , accessed on 15 September 2024. Aesthetics examines values about, and Critical thinking, critical judgments of, artistic taste and preference. It thus studies how Artist, artists imagine, create, and perform works of art, as well as how people use, enjoy, and criticize art. Aesthetics considers why people consider certain things beautiful and not others, as well as how objects of beauty and art can affect our moods and our beliefs. Aesthetics tries to find answers to what exactly is art and what makes good art. It considers what happens in our minds when we view Visual arts, visual art, listen to music, read poetry, enjoy delicious food, and engage in large artistic projects like creating and experiencing plays, fashion shows ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
21st-century Classical Music
21st-century Western classical music is art music in the contemporary classical tradition that has been produced since the year 2000. A loose and ongoing period, 21st-century classical music is defined entirely by the calendar and does not refer to a musical style in the sense of Baroque or Romantic music. Many elements of the previous century have been retained, including postmodernism, polystylism, and eclecticism, which seek to incorporate elements of all styles of music irrespective of whether these are "classical" or not—these efforts represent a slackening differentiation between the various musical genres. Important influences include rock, pop, jazz, and the dance traditions associated with these. The combination of classical music and multimedia is another notable practice in the 21st century; the Internet and its related technology are important resources in this respect. Attitudes towards female composers are also changing. Artificial intelligence is also bein ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
20th-century Classical Music
20th-century classical music is Western art music that was written between the years 1901 and 2000, inclusive. Musical style diverged during the 20th century as it never had previously, so this century was without a dominant style. Modernism, impressionism, and post-romanticism can all be traced to the decades before the turn of the 20th century, but can be included because they evolved beyond the musical boundaries of the 19th-century styles that were part of the earlier common practice period. Neoclassicism and expressionism came mostly after 1900. Minimalism started later in the century and can be seen as a change from the modern to postmodern era, although some date postmodernism from as early as about 1930. Aleatory, atonality, serialism, ''musique concrète'', and electronic music were all developed during the century. Jazz and ethnic folk music became important influences on many composers during this century. History At the turn of the century, music was characteristi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
