G10 Chance Music Flashcards
also called indeterminate music.
Chance music
also called aleatoric music
Chance music
“aleatory” comes from the Latin word
alea
alea means “_”
dice
It is a music wherein the process of composing is left to
chance or the performance is left to the musical decisions of
the performer.
chance music
Chance music is a combination of external sounds that
cannot be _ as each happens by chance.
duplicated
Improvised Instruments
Piece always sounds different at every performance
Surroundings, both natural and man-made
Chance music
Types of Chance Music
Chance Music in composition
Chance Music in performance
Chance Music in notation
These chance procedures include
Chance Music in composition
flipping coins, rolling dice,
and other random procedures.
The _ _ are done by the composer in the
process of composition.
(Chance Music in composition)
chance procedures
The end product is a _, _ score
Chance Music in composition
fixed, determinate
the musical decisions are done by the performer.
Chance Music in performance
This type is more improvisatory in nature.
Chance Music in performance
composers gives sets of traditionally notated music to
performers and letting the performer decide the
_ of the events during the performance.
(Chance Music in performance)
arrangement
Performers are given _ _ or _ _
to interpret the same way as traditional notation.
(Chance Music in notation)
graphic notation or verbal directions
In a _ _, performers are given sheets with shapes
and lines of different colors, thicknesses, and size.
(Chance Music in notation)
graphic score
They will then interpret the graphics as _. _ and _.
pitch, dynamics, and
volume
He is an American 20th-century
composer, most famous among chance
music composers.
John Cage
years John Cage lived
1912-1992
Cage’s reason in writing indeterminate
music was to
“liberate the sounds and let them
be themselves.”
Cage’s Famous Works
Music of Changes (1951)
Concert for Piano and Orchestra (premiered 1958)
4’33” (1952)
The piece was written for piano. Cage used the I
Ching method of arriving at random numbers to
make musical decisions like tempo, duration, and
dynamics;
Music of Changes (1951)
Music of Changes year
1951
Comprised of 63 pages of 84 sets of compositions that are to be played at any
duration in any sequence by a solo performer, or any combination of piano,
flute, clarinet, bassoon, trumpet, trombone, tuba, 3 violins, 2 cellos, and a
contrabass.
Concert for Piano and Orchestra (premiered 1958)
The notation uses a system wherein spaces indicate the time. The conductor
acts as a _ on the podium… waving his arms like clock hands.
(Concert for Piano and Orchestra (premiered 1958)
clock
The notes are also of different sizes, which may denote duration, dynamics, or
both.
Concert for Piano and Orchestra (premiered 1958)
when did concery for piano and orchestra premiere?
1958
Written for any instrument.
The piece directs musicians not to play their instruments for four
minutes and thirty-three seconds, as dictated by the title.
The indeterminate element comes from the sounds created by the
audience during the period of silence.
4’33” (1952)
4’33” when
1952
other examples of indeterminate music
“Klavierstück XI”
“Available Forms”
“Intersection No. 2”
other examples of indeterminate music
“Klavierstück XI”
“Available Forms”
“Intersection No. 2”
by Karlheinz Stockhausen: comprised of 19 different parts that are
notated traditionally. The performer decides which sequence the different parts are
to be performed in;
“Klavierstück XI”
by Earle Brown: the conductor decides the order of the events at the
start of the performance; and
“Available Forms”
by Earle Brown: the conductor decides the order of the events at the
start of the performance; and
“Available Forms”
by Earle Brown: the conductor decides the order of the events at the
start of the performance; and
“Available Forms”
by Earle Brown: the conductor decides the order of the events at the
start of the performance; and
“Available Forms”
by Morton Feldman: a piano solo whose score is written on
graphing paper. The horizontal squares determine the time, while the vertical squares
determine the pitch levels. The performer determines the pitches and rhythms.
“Intersection No. 2”
