507:, has many different meanings such as dice, game of dice, risk, danger, bad surprise, and chance. Most composers using aleatory referred to the meaning of chance, but some composers referred to meanings like risk (for instance Evangelisti) and dice (Henri Pousseur composed a piece called Répons pour sept musiciens, 1960, where performers throw dice for sheets of music and cues, a procedure similar to pieces by Kirnberger or Mozart in which the order of the measures is determined by throwing a dice.). Many composers thought they dealt with chance and created chance compositions when they allowed for greater performance flexibility. None of them used chance operations as Cage did. Since many composers were skeptical about "pure" chance and mere accident they came up with the idea of "controlled chance" and "limited aleatorism" (preferred by Lutosławski).
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at the same time, they were completely responsible for the overall shape of the work. Aleatory music is sometimes treated as a synonym of indeterminate music (indeterminacy) but the latter term was preferred by John Cage and meant not only performance liberties but also the use of chance element in the process of composition. Although aleatoricism is an extremely different musical concept than serialism, the end result of both ideas may sound surprisingly alike.
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The term aleatory was popularized in Europe by Pierre Boulez means a musical result of actions made by chance ("alea" is Latin for "dice") or choice. The composers offered the players, for example, choices of route through the fragments of their work, allowed them to join these elements freely but,
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The concept of 'aleatory' was preferred by
European composers, among them Pierre Boulez, Witold Lutosławski and Franco Evangelisti. It was first used by Werner Meyer-Eppler in the context of electro-acoustics and information theory for describing a course of sound events that is determined in its
167:, 1960), musicians threw dice "for sheets of music and cues". However, more generally in musical contexts, the term has had varying meanings as it was applied by various composers, and so a single, clear definition for aleatory music is defied. The term was popularised by the musical composer
332:. While Boulez purposefully composed his pieces to allow the performer certain liberties with regard to the sequencing and repetition of parts, Cage often composed through the application of chance operations without allowing the performer liberties.
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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
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in 1955 to describe a course of sound events that is "determined in general but depends on chance in detail". When his article was published in
English, the translator mistakenly rendered his German noun
534:, ed.) Vienna, p. 22. English translation: Werner Meyer-Eppler (1957) "Statistic and Psychologic Problems of Sound" (Alexander Goehr, transl.). Electronic Music,
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to describe "a new approach that explicitly includes stochastic (re-) configuration of individual structural elements — that is to say 'chance.'"
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from 1954 to 1956, and put these ideas into practice for the first time in his electronic composition
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Speculating on the Moment: The
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of a musical piece were left to be determined by throwing dice, and in performances of music by
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applied the term "aleatory" in this sense to his own pieces to distinguish them from the
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framework and flexible in detail.(6) Aleatory, a word derived from the Latin
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Aleatoric techniques are sometimes used in contemporary film music, e.g., in
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Keller, Sean; Jaeger, Heinrich (2015-10-19). "Aleatory
Architectures".
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La récriture: formes, enjeux, valeurs autour du nouveau roman
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Another composer of aleatory music was the German composer
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Surrealist automatism § Automatic drawing and painting
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36, No. 1 (Winter 1998): 97–142. Citation on 99–100.
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384:Aesthetics
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270:See also:
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