Indeterminacy (music) in the context of "Definitions of music"

⭐ In the context of definitions of music, indeterminacy is considered a compositional process utilized by genres that…

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⭐ Core Definition: Indeterminacy (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.

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👉 Indeterminacy (music) in the context of Definitions of music

A definition of music endeavors to give an accurate and concise explanation of music's basic attributes or essential nature and it involves a process of defining what is meant by the term music. Many authorities have suggested definitions, but defining music turns out to be more difficult than might first be imagined, and there is ongoing debate. A number of explanations start with the notion of music as organized sound, but they also highlight that this is perhaps too broad a definition and cite examples of organized sound that are not defined as music, such as human speech and sounds found in both natural and industrial environments. The problem of defining music is further complicated by the influence of culture in music cognition.

The Concise Oxford Dictionary defines music as "the art of combining vocal or instrumental sounds (or both) to produce beauty of form, harmony, and expression of emotion". However, some music genres, such as noise music and musique concrète, challenge these ideas by using sounds not widely considered as musical, beautiful or harmonious, like randomly produced electronic distortion, feedback, static, cacophony, and sounds produced using compositional processes which utilize indeterminacy.

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Indeterminacy (music) in the context of Free improvisation

Free improvisation (also known as free form music or free music) is a form of improvised music centered on a commitment to non-idiomatic musical expression. It is inspired by free jazz, serialism and indeterminacy, and is characterized by a general rejection of formal music theory and tonality, instead following the intuition of its performers. The term can refer to both a technique—employed by any musician in any genre—and as a recognizable genre of experimental music in its own right.

Free improvisation, as a genre of music, developed primarily in the U.K. as well as the U.S. and Europe in the mid to late 1960s, largely as an outgrowth of free jazz and contemporary classical music. Exponents of free improvised music include saxophonists Evan Parker, Anthony Braxton, Peter Brötzmann, and John Zorn, composer Pauline Oliveros, trombonist George E. Lewis, guitarists Derek Bailey, Henry Kaiser and Fred Frith, bassists Damon Smith and Jair-Rohm Parker Wells and the improvising groups Spontaneous Music Ensemble and AMM.

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