"Wasting Time on the Internet" is as aleatory as a fall into the Wikipedia hole.
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The tonal lurching makes "Cardinal" feel whimsical and even a bit aleatory, like a John Cage sonata.
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As he develops the project, he is likely to grow more comfortable and grounded in the aleatory digital space he's created.
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Are the poems in the new volume pure cut-ups à la Tzara and Burroughs, or did Bellamy fiddle with aleatory procedures to improve the results?
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Drips, smears, and spatters compete with swaths of multicolored handmade paper, and large pours of black metallic paint sully the compositions' quasi-Cubist jigsaw shapes with aleatory splats.
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John's objective was to get the audience really LISTENING—and the aleatory conditions of the environment (chance/random events), framed by the sectional time-notations, made up the musical material.
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Chance is supposedly only rendered meaningful through observation of the properties of complex systems (such as information processing) that incorporate the aleatory or unpredictable as one of their functional parameters.
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None of these songs has the controlled intensity of "A Day in thg Life," but the willingness of many restrained musicians to "let go" means that serious aleatory-pop may be on the way.
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The result of Price's reworking of a 2007 artist's talk into an ongoing video series, Redistribution enacts the kind of frenetic, even aleatory mutation that information, culture, and concepts undergo as they circulate through global networked space.
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The quite large aesthetic tent of literary proceduralism includes practices as diverse as Jackson Mac Low's aleatory compositions, OuLiPo's mathematical hijinx, Bernadette Mayer's infamous list of writing experiments, and, more recently, the calculated appropriations of Conceptual Poetry.
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Apted has been frank about the problems with the aleatory, impulsive nature of the original 1964 casting: only four were women; only one represented an ethnic minority; and all but two were drawn from the relative extremes of the class divide.
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For decades bands have agonized over how warm to make this guitar hook, how harshly to play that power chord, which textural mesh would produce what relationship between which theoretical elements, to what degree should the whole thing be tipped over into an aleatory pile of noise.
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A card catalogue (presided over by a model of Nipper the dog, made famous by his gramophone-listening pose) has drawers that trigger small speakers upon opening, playing audio of a Buddhist sermon (labeled "Victor 13557" as in the library catalogue), opera, electronic music, and aleatory tunes based on chance.
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Three works open the show with a splash: Amanda Browder's "Magic Chromacity" (2014) and Jenny Hankwitz's "C'mon, C'mon" (2008) on the north side of the lobby and Frank Owen's "Krater" (2012-13) on the south (a quirky aspect of the space is that it offers equal access to the viewing areas from both the right and left of the entrance, adding an aleatory challenge to the curatorial narrative).
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An aleatory contract is a contract where an uncertain event determines the parties' rights and obligations. For example, gambling, wagering, or betting typically use aleatory contracts. Additionally, another very common type of aleatory contract is an insurance policy.Thomson-Gale Encyclopedia of American Law, courtesy of JrankBlack's Law Dictionary, 7th ed.
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For Deleuze, however, sensibility introduces an aleatory moment into thought's development, making accidentality and contingency conditions for thinking.
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Lousadzak (The Coming of Light), Op. 48, is a 1944 concerto for piano and string orchestra by the American-Armenian composer Alan Hovhaness. The work is known for its use of aleatory that is said to have impressed fellow composers Lou Harrison and John Cage, and anticipated "many soon-to-be-hip" aleatory techniques.
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But his lasting significance occurs as the singular concerns of the artist extend into the aleatory, the multiple, and the collaborative.
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This process slightly alludes to the chance-like aspect of aleatory music, but Dusapin's music is so precisely composed that it cannot truly be aleatoric. Stoïnova writes, "With regard to Dusapin’s music we can observe a principle of auto-organization and complexity in the compositional system through the integration or assimilation of aleatory disturbances."Stoïnova, "Febrile Music", 188.
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These methods include word games, written exercises and different types of improvisation, or algorithms for approaching problems. Aleatory techniques exploiting randomness are also common.
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A form of limited aleatory was used by Witold Lutosławski (beginning with Jeux Vénitiens 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. There has been much confusion of the terms aleatory and indeterminate/chance music. One of Cage's pieces, HPSCHD, itself composed using chance procedures, uses music from Mozart's Musikalisches Würfelspiel, referred to above, as well as original music.
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Some scholars 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 Witold Lutosławski . 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” . In Europe, following the introduction of the expression "aleatory music" by Meyer-Eppler, the French composer Pierre Boulez was largely responsible for popularizing the term . Other early European examples of aleatory music include Klavierstück XI (1956) by Karlheinz Stockhausen, which features 19 elements to be performed in a sequence to be determined in each case by the performer .
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1999 The term was a classification developed in later medieval Roman law to cover all contracts whose fulfilment depended on chance, including gambling, insurance, speculative investment and life annuities.J. Franklin, The Science of Conjecture: Evidence and Probability Before Pascal (Baltimore: Johns Hopkins University Press, 2001), ch. 11. Many modern forms of derivatives and options may in some cases also be considered aleatory contracts. For example, the French civil code contains a chapter on aleatory contracts, with specific provisions for gaming (gambling) and life annuities.
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His finest work, Stèle pour Sei Shonagon (1958), for soprano and four instrumental groups, added aleatory elements to a warmer use of twelve-tone technique than that found in Amercœur, combined with a supple rhythmic treatment .
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Ardévol's early compositions fall generally into the style of neoclassicism, but later in his life he began to explore the techniques of aleatory music and serialism. Some of his vocal works praise communism and address other political/revolutionary topics.
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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 fashionable and has persisted . More recently, the variant "aleatoriality" has been introduced .
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Burr Van Nostrand (born 1945) is an American classical composer and cellist. He is known for his avant-garde works which use aleatory and graphic notation and were composed from the 1960s through the 1980s.Guerrieri, Matthew (26 April 2012). "New England’s Prospect: Echolocation". NewMusicBox.
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In other words, Dusapin lets the music go where it will, often evoking aleatory idioms, while still notating everything and maintaining control of his music. He avoids repetition and rejects stability and redundancy in music, which is yet another distinguishing feature of his music.Stoïnova, "Febrile Music", 190.
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The Emergence of Probability has been described as ground- breaking. The philosopher James Franklin argued that Hacking's contention that there was no concept of uncertain evidence before about 1650 is incorrect, as it neglects the extensive Latin scholastic literature on legal evidence and aleatory contracts and on induction.
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This research work lead to his study of the polyrhythmic, micro-macro aleatory works of György Ligeti and Witold Lutosławski. His own work is something of a development of these ideas into a more modern idiom, this is particularly evident in the slow movements of his Violin and Flute Concertos.
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The use of QMU in the simulation process helps to ensure that the stochastic nature of the input variables (due to both aleatory and epistemic uncertainties) as well as the underlying uncertainty in the model are properly accounted for when determining the simulation runs required to establish model credibility prior to accreditation.
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The mathematics of gambling are a collection of probability applications encountered in games of chance and can be included in game theory. From a mathematical point of view, the games of chance are experiments generating various types of aleatory events, the probability of which can be calculated by using the properties of probability on a finite space of events.
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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 Meyer-Eppler, the French composer Pierre Boulez was largely responsible for popularizing the term.
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Aleatory, contrapuntal, and soloistic passages alternating with long timbral blocks are characteristic of his music though the 1960s and 70s, while his last works returned to strong, lyrical melodies, as in the Fourth String Quartet (1983), and finally to a recasting of his earlier nationalist style within freer, contrasting structures, as in his Fifth String Quartet (1988) .
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Fighting for a seat on the lorries, they get separated. Astrid and Karl get aboard the last lorry. Left alone on the road, Thomas is seconded by rag-tag troops into a last-ditch offensive. Fighting alongside a mish-mash of soldiers, including British Free Corps member Harry Stone (Ricci Harnett), he fights for an aleatory success and little respite.
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The cut-up technique (or découpé in French) is an aleatory literary technique in which a written text is cut up and rearranged to create a new text. The concept can be traced to at least the Dadaists of the 1920s, but was popularized in the late 1950s and early 1960s by writer William S. Burroughs, and has since been used in a wide variety of contexts.
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2, however this was an isolated attempt and Macchi soon moved on to adapt newer techniques, reassessing the formal stability that characterized his earlier works (; ). There began a more functional use of more challenging devices, such as aleatory writing in Composizione no. 3 and the transformation of the orchestra into a chorus in Composizione no. 5 (; ). From 1967, Macchi became absorbed in work for television and film.
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Its structure already suggests a true spatial dimension, as a consequence of the equivalence of its obverse and its reverse. The situation becomes more complex, due to the multiplication of different lines, colors and directions. Plexiglass, medium that had provided the possibility of conforming aleatory states, begins to be an impediment and the search for a new way of materializing vibration starts.Brussels Mural, Jesús Soto (1958).
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More recently, André Souris (1899–1970) was associated with Surrealism. Zap Mama is a more international group. Henri Pousseur is generally regarded as a member of the Darmstadt School in the 1950s. Pousseur's music employs serialism, mobile forms, and aleatory, often mediating between or among seemingly irreconcilable styles, such as those of Schubert and Webern (Votre Faust), or Pousseur's own serial style and the protest song "We shall overcome" (Couleurs croisées).
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Franklin is the literary executor of David Stove. His 2001 book, The Science of Conjecture: Evidence and Probability Before Pascal, covered the development of thinking about uncertain evidence over many centuries up to 1650. Its central theme was ancient and medieval work on the law of evidence, which developed concepts like half- proof, similar to modern proof beyond reasonable doubt, as well as analyses of aleatory contracts like insurance and gambling.
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Neoclassicism and expressionism came mostly after 1900. Minimalism started much later in the century and can be seen as a change from the modern to post-modern era, although some date post-modernism from as early as ca. 1930. Aleatory, atonality, serialism, musique concrète, electronic music, and concept music were all developed during this century. Jazz and ethnic folk music became important influences on many composers during this century.
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Makoto Moroi was born in Toky], and is the son of Saburō Moroi. He studied composition with Tomojirō Ikenouchi at the Tokyo National University of Fine Arts and Music, graduating in 1952. He also studied Gregorian chant privately with Paul Anouilh, and Renaissance and Baroque music with Eta Harich- Schneider. He was one of the leading composers who introduced Japanese audiences to new musical styles and devices, including twelve-tone technique, serialism, and aleatory music .
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Rochberg's String Quartet No. 3 was immediately controversial. Its aesthetic, which appeared to draw from older tonal music, was heavily criticized by Rochberg's academic colleagues. The composer's work was described by some major critics, such as Andrew Porter of The New Yorker, as “almost irrelevant.” At the time, the new music scene in America was dominated by the strict serialism championed by Milton Babbitt, and aleatory music, as championed by John Cage.
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The combination of Lutosławski's aleatory techniques and his harmonic discoveries allowed him to build up complex musical textures. According to Bodman Rae, in his later works Lutosławski evolved a more mobile, simpler, harmonic style, in which less of the music is played with an ad libitum coordination.The harmonic stasis inherent in Lutosławski's limited aleatorism is discussed by Bodman Rae (1999), p. 84, and his description of this development is discussed in Jacobson, 1996, pp.
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The general effect is that music achieves an immediately open expression, without being constrained by tonal limitations, rhythmic pre-determination, or harmonic rules. Ronald Radano suggests that Coleman's concepts of harmonic unison and harmolodics were influenced by Pierre Boulez's theory of aleatory while Gunther Schuller suggested that harmolodics is based on the superimposition of the same or similar phrases, thus creating polytonality and heterophony.Ronald M. Radano (1994). New Musical Figurations: Anthony Braxton's Cultural Critique, pp.
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More than a hundred of Segerstam's symphonies have been performed. Many of his compositions are influenced by nature, and he is often praised for his contributions to Nordic Music. He developed a personal approach to aleatory composition through a style called "free pulsation" in which musical events interact flexibly in time, with his composition method persistent throughout his œuvre. His fifth string quartet, the 'Lemming' (1970), ushered in his new chapter of post-Expressionistic writing of the 1960s.
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This results in a slow-moving montage that is both temporary and aleatory. The New Yorker noted that "the ghosts of Moholy-Nagy, the Russian Constructivists, and Stan Brakhage haunt[ed]" the show. Raissnia presented a film-performance installation Glean at Gallery Marta Cervera in 2010. The exhibition consisted of Glean, a footage shot with super 8mm film which was hand painted and transferred to 16mm film; a series of oil on canvas; and drawings on graphite.
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Philosophical questions and also points of contact with literary fields, such as Gertrude Stein and Franz Kafka but also John Cage and Morton Feldman foreshadow the territories Tomas Schmit has dealt with in the area of language and signs. They are: indeterminism, chaos and order, aleatory principle and open form. Altogether, the works of Tomas Schmit comprise more posed questions than given answers. The conversations well reflect this open form, which shows the state of flux of things.
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Dusapin rejects the hierarchical, binary forms of most European music, but neither is his music aleatory. Dusapin characterizes the European "hierarchical" form as thinking in terms of variations, so that certain parts are always of more importance than others.Stoïnova, "Febrile Music", 187. Instead of composing in this way, Dusapin seems to compose measure by measure, deciding what he wants to happen next when he gets there.See Dusapin’s quotation on his compositional process in Stoïnova, "Febrile Music", 188.
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In 2013 they began their work in horror films with Mike Flanaghan and Blumhouse Productions including Oculus, which The Irish Times said, "Andy and Taylor Newton's dynamic combination of simple melodic fragments, aleatory noise (broken glass, metal scrapes) and a solemn choir gradually inject the seriously spooky Oculus with nerve-shredding suspense and skin-crawling dread," and Ouija: Origin of Evil. They have since gone on to score multiple horror genre projects for film and television.
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The bounds are coincident for values of x below 0 and above 24. The bounds may have almost any shape, including step functions, so long as they are monotonically increasing and do not cross each other. A p-box is used to express simultaneously incertitude (epistemic uncertainty), which is represented by the breadth between the left and right edges of the p-box, and variability (aleatory uncertainty), which is represented by the overall slant of the p-box.
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Inspired by John Cage, Venetian Games is notable for its use of limited aleatory techniques. In Venetian Games, Lutosławski determined the overall form and harmonic boundaries, yet he left the realization of the exact contrapuntal and harmonic details up to chance in performance. The indeterminate character produces aleatoric counterpoint, which is a type of sound mass. The score of the first movement contains eight boxed musical events labeled A-B-C-D-E-F-G-H.
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He began incorporating elements of serialism and musique concrete in the 1950s, and wrote for increasingly larger orchestral forces. Shibata accepted a professorship at Tokyo University of the Arts in 1959, where he remained until 1969, and while there his compositions incorporated aspects of aleatory music. He wrote pieces which used graphic or artistic scoring notations and made use of microtonal sonorities. From 1973 he composed theater works which combined elements of Japanese folk music with European-derived song structures.
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Although the compositional methods are clearly experimental, involving, for example, aleatory methods, there is a marked emphasis on the melody in many pieces. Some of his earlier piano works, such as Saltaire Melody (1977) and Trace (1980), have become favourites with the public. Formative influences on Skempton's music included the works of Erik Satie, John Cage and Morton Feldman. For example, A Humming Song (1967), an early piano piece composed before Skempton started lessons with Cardew, is a miniature with static, gentle sound.
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The Fig. 3.A shows the spectrum of EMI noise shape of voltage output for RPWM with the switching frequency implemented in one Buck- Converter, and in accordance with CISPR A standard. It shows the spectrogram of EMI noise shape of voltage output for an RPWM, where it is possible to note (also in Fig. 3. A) that aleatory process inserts the continuous EMI noise shape, in low-frequencies, the EMI noise shape follows oscillatory mode with their noise value decreasing across the spectrum. Fig. 3.
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Unmeasured or non-measured prelude is a prelude in which the duration of each note is left to the performer. Typically the term is used for 17th century harpsichord compositions that are written without rhythm or metre indications, although various composers of the Classical music era were composing small preludes for woodwind instruments using non-measured notation well into the 19th century. The form resurfaced in the aleatory music of the 20th century, where various other aspects of performance are also left to free interpretation.
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Impromptu preaching is a sermon technique where the preacher exhorts the congregation without any previous preparation. It can be aided with a reading of a Bible passage, aleatory opened or not, or even without any scriptural reference. Impromptu preaching was practiced by the Christian apostles. The Bible says that the Holy Spirit gives disciples the inspiration to speak: Matthew 10:16-20 :16: Behold, I send you forth as sheep in the midst of wolves: be ye therefore wise as serpents, and harmless as doves.
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In probability and statistics, a random variable, random quantity, aleatory variable, or stochastic variable is described informally as a variable whose values depend on outcomes of a random phenomenon. The formal mathematical treatment of random variables is a topic in probability theory. In that context, a random variable is understood as a measurable function defined on a probability space that maps from the sample space to the real numbers. This graph shows how random variable is a function from all possible outcomes to real values.
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Oratorio profano (1974) for three narrators, three instrumental chamber groups, four orchestras, four timpani, organ, and tape was premiered in 1979. Radić here used his usual models of simulation of folk and popular music, as well as those known from the history of avant-gardes such as Aleatory, performance, sound poetry, and electronic media. In this work, the composer reached for citations in piano pieces by Alexander Scriabin and Igor Stravinsky. Radić commented on this work: “Oratorio was not a turning-point in my work as it may have seemed to some….
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Accessed 11-20-2017Hair, Ross. Ronald Johnson's Modernist Collage Poetry () Other poets often associated with the Black Mountain are Cid Corman (1924–2004) and Theodore Enslin (born 1925), but they are perhaps correctly viewed as direct descendants of the Objectivists. One-time Black Mountain College resident, composer John Cage (1912–1992), along with Jackson Mac Low (1922–2004), wrote poetry based on chance or aleatory techniques. Inspired by Zen, Dada and scientific theories of indeterminacy, they were to prove to be important influences on the 1970s U.S avant-garde.
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112–13 This development first appeared in the brief Epitaph for oboe and piano,Bodman Rae (1999), p. 145 around the time Lutosławski was struggling to find the technical means to complete his Third Symphony. In chamber works for just two instrumentalists the scope for aleatory counterpoint and dense harmonies is significantly less than for orchestra,Bodman Rae (1999), pp. 146–47 but these developments also influenced his orchestral style in late works including the Piano Concerto, Chantefleurs et Chantefables, Chain 2 and the Fourth Symphony, which require mostly conventional coordination.
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At the time, it attracted the attention of André Lichnerowicz, then engaged in studies at the University of Lyon. It found some use in a variety of unforeseen applications: stochastic poetry, stochastic art, colour classification, aleatory music, architectural symbolism, etc. The notational system directly and logically encodes the binary representations of the digits in a hexadecimal (base sixteen) numeral. In place of the Arabic numerals 0–9 and letters A–F currently used in writing hexadecimal numerals, it presents sixteen newly devised symbols (thus evading any risk of confusion with the decimal system).
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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 so-called New York School: Earle Brown, Morton Feldman and Christian Wolff. Others working in this way included the Scratch Orchestra in the United Kingdom (1968 until the early 1970s) and the Japanese composer Toshi Ichiyanagi (born 1933). 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 (; ).
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Baur was one of the last composers of the old school. After the war, he remained faithful to his teacher Jarnach's conservative stance, and never became an extreme avant- gardist . Widespread recognition as a composer came comparatively late. Béla Bartók was his strongest stylistic influence at first, but in the 1950s he began to use twelve-tone technique. Anton Webern’s music became his model in works such as the Third String Quartet (1952), the Quintetto sereno for wind quintet (1958)—which also uses aleatory techniques—the Sonata for two pianos (1957), and the Ballata romana (1960) .
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The April 1st availability date was a giveaway that this was just another April Fool's Day joke. In theory however, if the device did exist it could have operated as described. Aleatory or chance operations were tools that 20th Century Music composers would use in their pieces to introduce random elements or "found objects" into performances of their works. Radio broadcasts in particular were largely unpredictable, plus they added elements of noise, static and different signals fading in and out as you would tune into different stations that would be used as texture in these pieces.
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87 In his orchestral music, these problems of notation were not so difficult, because the instructions on how and when to proceed are given by the conductor. Lutosławski's called this technique of his mature period "limited aleatorism".Stucky (1981), 109 This controlled freedom given to the individual musicians is contrasted with passages where the orchestra is asked to synchronise their parts; the score for these passages is notated conventionally using bars (measures) and time signatures. Both Lutosławski's harmonic and aleatory processes are illustrated by example 1, an excerpt from Hésitant, the first movement of the Symphony No. 2.
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Charles Edward Ives (; October 20, 1874May 19, 1954) was an American modernist composer, one of the first American composers of international renown.. His music was largely ignored during his early life, and many of his works went unperformed for many years. Later in life, the quality of his music was publicly recognized, and he came to be regarded as an "American original". He was also among the first composers to engage in a systematic program of experimental music, with musical techniques including polytonality, polyrhythm, tone clusters, aleatory elements, and quarter tones. His experimentation foreshadowed many musical innovations that were later more widely adopted during the 20th century.
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Because contracts of insurance have many features in common with wagers, insurance contracts are often distinguished in law as agreements in which either party has an interest in the "bet-upon" outcome beyond the specific financial terms. e.g.: a "bet" with an insurer on whether one's house will burn down is not gambling, but rather insurance – as the homeowner has an obvious interest in the continued existence of his/her home independent of the purely financial aspects of the "bet" (i.e. the insurance policy). Nonetheless, both insurance and gambling contracts are typically considered aleatory contracts under most legal systems, though they are subject to different types of regulation.
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Although in 1955 he had produced a musique concrète composition in Biological Transformation, the radical change came with the chamber pieces Situacija (1963) and Silhuete (1964) and the orchestral Differentiations (1964), all of which exhibit his assimilation of 12-note and aleatory procedures. Štuhec's skill is particularly evident in miniatures such as the Minikoncert, where his writing is at its most delicate and the textures are almost always crystal clear. A later group of orchestral works extending his textural techniques, notably the concertos and the three Entuziazmi pieces, display a vivid imagination and a strong rhythmic momentum. Also among his works are two operas, Zupanova Micka (1948) and Moon Dawn (1973).
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Helman, "The Devils of Loudun," 83. While the smaller ensembles predominate through the work, Penderecki resources to the full ensemble resonance for dramatic effect, emphasizing this way the most emotionally charged scenes, such as the exorcisms of the Ursuline nuns and the death of Grandier. The orchestration is written in cut-out score format, that is with very little metrical guidelines, very few rests, and includes some aleatory effects of notes and tone-clouds in approximate pitches. Penderecki's work- method at the time was to develop his musical ideas in various colored pencils and inks, although the final score does not use color-coding.
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These early sections show the influence of The Cantos, though Zukofsky was to further develop his own style and voice as A progressed. The 1930s also saw him continue his involvement in Marxist politics, an interest that went back to his college friendship with Whittaker Chambers. Although he would continue to write short poems and prose works, notably the 1963 Bottom: On Shakespeare, the completion of A was to be the major concern of the remainder of Zukofsky's writing life. As the poem progressed, formal considerations tended to be foregrounded more and more, with Zukofsky applying a wide range of devices and approaches, from the sonnet to aleatory or random composition.
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As with Rodin’s sculptures, the title was chosen after the piece was finished, and implies no literary or programmatic inspiration for the music. In his Symphony No. 1 in C, Ching explored to the limit many techniques of the Classical four-movement symphony. In his second symphony, he explored the possibilities of a consciously anti-Classical approach, fragmented, and avoiding fluid textures in favour of abrupt shifts between extreme moods. There are also aleatory passages (where fragments are freely played by individual players without measure or fixed beat), but unity is sought through the pre-Classical passacaglia technique (variations built around fixed melodic units).
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Electronic Music Studio of the WDR, October 1994 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. A critic calls him "one of the great visionaries of 20th-century music". He is known for his groundbreaking work in electronic music, for introducing controlled chance (aleatory techniques or aleatoric musical 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.
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Althusser and Navarro exchanged letters until February 1987, and he also wrote a preface in July 1986 for the resulting book, Filosofía y marxismo, a collection of her interviews with Althusser that was released in Mexico in 1988. These interviews and correspondence were collected and published in France in 1994 as Sur la philosophie. In this period he formulated his "materialism of the encounter" or "aleatory materialism", talking to Breton and Navarro about it, that first appeared in Écrits philosophiques et politiques I (1994) and later in the 2006 Verso book Philosophy of the Encounter. In 1987, after Althusser underwent an emergency operation because of the obstruction of the esophagus, he developed a new clinical case of depression.
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During his studies at the Belgrade Music Academy and in accordance with the Department of Composition and Orchestration curriculum requirements, Maksimović composed works of a prevalent neoclassical provenance. Following his graduation, he became involved with the concepts of the so-called Polish Composers’ School (New Polish School). During this period, the works of Witold Lutosławski, specifically compositions based on principles of Aleatory and the use of clusters, became particularly attractive for Maksimović. After acquiring the compositional techniques of Polish composers’ and applying them in his own works, in 1975 Maksimović shifted his musical language and turned to inspiration found in (Serbian) tradition, ‘returning’ to modal idiom and simplicity, with occasionally heightened language by the use of clusters.
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And though we now know "Wohltemperierte" to be not > synonymous with "equal-tempered", nevertheless it is from The Well-Tempered > Clavier that we have come to date the practical interchangeability of the > twelve tonalities. For this reason, Souvenir des Ming strives for its > apotheosis through the ‘Ming music’ par excellence of the Bach fugue. Twice > it parades its Baroque antecedents via the time-honoured circle of fifths > sans Pythagorean comma—first, all the way down all twelve steps midway > through Fugue II, and then all the way up towards the final aleatory > stretto, in a juggernaut of cumulative four-bar phrases.Programme brochure > for Shanghai Philharmonic Orchestra concert, Shanghai International Arts > Festival, 17 November 2006.
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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 Missa cuiusvis toni of Johannes Ockeghem. A later genre was the Musikalisches Würfelspiel or musical dice game, popular in the late 18th and early 19th century. (One such dice game is attributed to Wolfgang Amadeus Mozart.) These games consisted of a sequence of musical measures, 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 . The French artist Marcel Duchamp composed two pieces between 1913 and 1915 based on chance operations.
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Some writers do not make a distinction between aleatory, chance, and indeterminancy in music, 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 graphic notation and texts . 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 John Cage’s Music of Changes (1951), for example, the composer selected duration, tempo, and dynamics by using the I Ching, an ancient Chinese book which prescribes methods for arriving at random numbers .
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Enríquez's early works, starting with the Suite for Violin and Piano in 1949 through the First String Quartet (1959) were in the nationalist neoclassism widespread in Mexico at that time, featuring folk-like tunes in dissonant harmonies and with propulsive rhythms including frequent syncopation and hemiola. In the early 1960s he adopted a loose form of twelve-tone technique, combined with minimalist designs. Characteristic examples are his Second Symphony (1962) and Pentamúsica for wind quintet (1963). In later works, such as Transición for orchestra (1965), the Second String Quartet and Ambivalencia for violin and cello (both 1967), and Díptico I for flute and piano (1969) he began to experiment with aleatory procedures and graphic notation.
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Born in Syracuse, New York, Speach earned her B.S. in Music Education from the College of Saint Rose in 1971. Five years later, while studying abroad in Siena, Italy, she was introduced to Franco Donatoni and Morton Feldman. She went on to study with Feldman, alongside composers Lejaren Hiller and Leo Smit, at SUNY Buffalo, where she finished her M.A. and Ph.D. in Music Composition, and before that studied under Jacques Louis Monod and Nicolas Rousakis at Columbia University. Although trained in the classical idiom, Speach is equally rooted in jazz, and in the latter vein includes room for aleatory elements in her compositions, ranging from solo and chamber to orchestral and vocal/choral works.
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The second act has an aleatory structure, in which the audience determines the course of the action by formal ballots at some points, and by vocal interjections at others. There are about seven hours of material in the thousand pages of the score, but only a selection can occur in any one version. Because of this intentionally variable structure, duration may vary considerably from one version to another, but stagings to date have been between three and three-and-a-half hours (; ). The fabric of the work, both textually and musically, is made from a vast network of musical and literary quotations, alluding to many earlier Faust-themed musical and literary works, and to past musical styles extending from Monteverdi to Boulez .
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Composer Gabriel Lubell wrote a bassoon quartet in 2013 based on the story of Ryou-Un Maru. The work is titled The Curious Journey of the Ryō-un Maru and, while not literally interpreting any of the actual events that took place, reflects on the ship's life and fate. Guitar composer Egle Sommacal wrote in 2015 a guitar track Ryou-Un Maru in his album "il cielo si sta oscurando" In 2015, composer Scott Morgan, who uses stage-name Loscil released an iOS/Android app which functions as a continuously changing aleatory sound work, dedicated to ships that have been set adrift, including the Ryou-Un Maru alongside ships Bannockburn, Baychimo, and Orlova, each of which features as a titled 'track' on the app.
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Sometimes inserts are remarkably beautiful, but this beauty is usually hard to see because the only thing that registers is the news, the expository information, that the insert conveys... By chance, I learned that the root of 'parenthesis' is a Greek word that means the act of inserting. And so I was given the title of the film." P. Adams Sitney, Professor of Visual Art at Princeton University, wrote a short essay for Artforum International "Medium Shots: the films of Morgan Fisher" in which he describes the film "()." "Fisher's most recent film, (), succeeds astonishingly where Frampton's parallel effort, Hapax Legomena: Remote Control (1972) failed; it uses aleatory methods to release the narrative unconscious of a set of randomly selected films.
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Such interests brought him close to the music of Kodály and Bartók, and his academic studies deepened the mastery of counterpoint, which remained a vital ingredient of his style. He continued to experiment with new ideas throughout the 1920s: the Sonata for violin and organ contains sonorities which foreshadow electronic music, and the Piano Sonata uses aleatory technique. Slavenski's interest in folk music broadened in the late 1920s to encompass that of the whole of the Balkans, and the culminating result of this was his Balkanophonia. He was equally attracted by the mystical and ritual aspects of music, as may be seen from Chaos, a movement from the unfinished Heliophonia, and Religiophonia, the latter generally considered to be his masterpiece.
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She is author of three collections of poems, Aleatory Allegories (Salt, 2000), Memory Cards & Adoption Papers (Potes & Poets, 2001) And then something happened (Salt, 2004), a critical book, A Poetics of Impasse in Modern and Contemporary American Poetry (University of Alabama Press, 2005), and editor of The Tribe of John: Ashbery and Contemporary Poetry (University of Alabama Press, 1995). Her poetry chapbooks include Another Child, Earthquake Dreams, Voice-overs (with John Kinsella), and Addenda. In 1995, Susan M. Schultz founded Tinfish Press, a paper and electronic journal and publisher of experimental poetry from the Pacific region (including Hawai`i, New Zealand/Aotearoa, Australia, California and western Canada), and of a series of Tinfish Network chapbooks. Authors published include Barbara Jane Reyes, Yunte Huang and Linh Dinh.
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Offices that entailed grave obligations and for which only pious and learned men were eligible were sold without this right and therefore reverted to the Roman Curia on the death of the purchaser. An aleatory contract, therefore, was formed, its uncertainties being the amount of the income of the office and the length of the life of the purchaser. The prices of the offices, especially of the more desirable ones, were considerable: Lorenzo Corsini, afterwards Pope Clement XII, bought the office of Regent of the Cancellaria for 30,000 Roman scudi, a large fortune at the time. The disadvantage of these uncertainties might not be confined to the purchaser because he was free to condition the purchased office on the life of another designated person, named the "intestatary".
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Lousadzak was Hovhaness's first work to make use of an innovative technique he called "spirit murmur", an early example of aleatoric music inspired by a vision of Hermon di Giovanno. The technique, essentially similar to the 1960s ad libitum aleatory of Lutoslawski, involves instruments repeating phrases in uncoordinated fashion, producing a complex "cloud" or "carpet" of sounds. In the mid-1940s, Hovhaness' stature in New York was helped considerably by members of the immigrant Armenian community who sponsored several high-profile concerts of his music. This organization, the Friends of Armenian Music Committee, was led by Hovhaness's friends Dr. Elizabeth A. Gregory, the Armenian American piano/violin duo Maro Ajemian and Anahid Ajemian, and later Anahid's husband, pioneering record producer and subsequent Columbia Records executive George Avakian.
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After composing two works entirely from sine tones—Studie I and Studie II, in 1953 and 1954, respectively—Stockhausen decided to use sound material that could not be created from the devices in the studio, namely speech and song. No doubt he was influenced by Meyer-Eppler, with whom he studied phonetics and communications theory from 1954 until 1956. It was from Meyer-Eppler that Stockhausen learned about aleatory and statistical processes, and became convinced that these were necessary to avoid the sterility toward which totally organised music tends to lead . For his next electronic composition, Gesang der Jünglinge (1955–56), he established connections between the different categories of human speech sounds on the one hand and those of the three main types of sound production in the studio on the other.
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Rather, the pieces are arranged so as to become increasingly remote from the character suggested by the series title . He planned the cycle to amount to nine or ten pieces in all, to conclude with a large-dimension composition combining all of the instruments used in the preceding works in the series (Vetter 1966). By far his best-known and often- recorded work is the last work in this series, Pastorale VII (1964) for solo recorder, which employs aleatory techniques and is based on a motivic distribution and filtering of several dense chords. It was Pastorale VII that convinced Louis Andriessen to authorise a recorder version of his Paintings for flute and piano, since he felt the recorder had more potential than the flute for producing new and exciting sounds (; ; ).
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Karlheinz Stockhausen lecturing on Klavierstück XI at Darmstadt, July 1957 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" .
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He remained there until his death in 1996, at which time he held the Lynette S. Autrey Endowed Chair and was the Composer-in-Residence at the Shepherd School. In addition to a Fulbright, he was the recipient of a Guggenheim Fellowship as well as grants from the National Endowment for the Arts, the National Academy and Institute of Arts and Letters, and from the Ford, Rockefeller, and Rackham Foundations. Some of his notable students include Gabriela Lena Frank, Svend Nielsen, and Ellsworth Milburn. While Cooper experimented with compositional techniques popular during the middle of the twentieth century, including serialism and aleatory, much of his music follows traditional structures, with numerous works in "absolute (established) forms," including six string quartets, numerous concertos (including two for violin, one for saxophone, and one for flute), and six symphonies.
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Baldock playing bells with Space Dog, Brighton 2011 The official website describes DJ Bongoboy as a "genial host, broadcaster, polymath, ruthless leader, de-facto king of the moon, Moon-Pope and space- penguin". His real name is Robert Baldock, from East Lothian, a J2EE technical developer by day, "space age bachelor by night". He creates experimental music under the name Aleatory Music Systems using "analogue synths, Java applications and Max/MSP/Jitter", and has performed at the Edinburgh Art Festival and Edinburgh Annuale. He occasionally remixes tracks for the podcast, and has also released items on Bandcamp on behalf of Project Moonbase (with cover art by co-host Fielding) including an album of telephone ringtones Ringtones from Space Volume 1, and a track The Coming of the Dial to accompany telephony-themed podcast episode 208 Dial M For Moonbase.
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Andrew Farach-Colton of Gramophone lauded Lousadzak, saying, "the music has a spare sensuality that’s [...] delectable." The work was also praised by BBC Music Magazine's Anthony Burton for its "Eastern emphasis on ornamented melody over a drone bass, and its almost complete absence of conventional harmony." On the other hand, John R. White, writing in the mid-1960s before the wider usage of minimalist and aleatoric devices in American art music, singled out the work's aleatory passages as a particular weakness, observing that even though the "delicious humming effect" they produce "may delight an audience that has never before seen an orchestra turned loose on chance music", such basic assumptions mean that "this easily playable work sounds static and after a while simply has to cease on a shimmering sound."John R. White, [untitled review], Notes, Second Series 22, no.
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Generally regarded as a member of the Darmstadt School in the 1950s, Pousseur's music employs serialism, as well as mobile and aleatory forms, often mediating between or among seemingly irreconcilable styles, such as those of Schubert and Webern (Votre Faust), or Pousseur's own serial style and the protest song "We shall overcome" (Couleurs croisées). His electronic composition Scambi (Exchanges), realized at the Studio di Fonologia in Milan in 1957, is unusual in the tape-music medium because it is explicitly meant to be assembled in different ways before listening. When first created, several different versions were realized, two by Luciano Berio, one by Marc Wilkinson, and two by the composer himself . Since 2004, the Scambi Project, directed by John Dack at the Lansdown Centre for Electronic Arts at Middlesex University, has focused on this work and its multiple possibilities for realization.
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The earliest significant use of aleatory features is found in many of the compositions of American Charles Ives in the early 20th century. Henry Cowell adopted Ives's ideas during the 1930s, in such works as the Mosaic Quartet (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 ad libitum . Later American composers, such as Alan Hovhaness (beginning with his Lousadzak 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 .
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Upon returning to Toronto he attended York University to study an aleatory range of interests including music, politics, theology, and architecture; eventually graduating with a degree in English Literature. Sometime around 2003 and at the urging of two of his literary heroes and mentors, Austin Clarke and Barry Callaghan respectively, Brooks returned to music, this time with a Taylor 615 acoustic guitar. In 2005 he released, No Mean City - his first of seven thematic albums noted as much for Brooks’ invented and percussive guitar style as his lyrics’ temerity, dark humour, and obsessive interest in violence, love, paradox and the unity of opposites. Brooks’ songs are universal in theme and particular in Canadian subject matter. His songs are often peopled by morally ambiguous and non-binary souls - in his words, ‘those on the outskirts of approval.’ He writes in a variety of forms including linear ballads, list songs, sonnets, ghazals, cyclical coronas, spoken word, and, at times, a more abstract and non-linear form of storytelling.
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The poets of the Beat Generation, a group of American bohemian writers to emerge at the end of the 1940s that included Allen Ginsberg, Gary Snyder and Jack Kerouac, owed much to Pound and Williams, and were led, through them, to the Objectivists. In the 1950s and 1960s, Zukofsky was sought out by younger poets including Paul Blackburn, Jerome Rothenberg, Jonathan Williams, Denise Levertov, Gilbert Sorrentino and Allen Ginsberg. His work was also well known to the Black Mountain poets, especially Robert Creeley and Cid Corman, whose Origin magazine and press were to serve as valuable publishing outlets for the older poet. Zukofsky's formal procedures, especially his interest in aleatory writing, were a key influence on Jackson Mac Low and John Cage, amongst others, and through them on the Language School, an avant garde group of poets who started publishing in the 1970s and who included Bruce Andrews, Charles Bernstein, Ron Silliman, Lyn Hejinian, Bob Perelman, Michael Palmer, Rae Armantrout, Carla Harryman, Barrett Watten, Clark Coolidge, Hannah Weiner, Susan Howe, Tina Darragh and Fanny Howe.
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