Indeterminacy (music)

rdf:langString Indeterminacy (music)

rdf:langString Pritchett, James. 1993. The Music of John Cage. Music in the 20th Century. Cambridge, New York, Melbourne: Cambridge University Press. ; .

rdf:langString Joe, Jeongwon, and S. Hoon Song. 2002. "Roland Barthes' 'Text' and Aleatoric Music: Is the Birth of the Reader the Birth of the Listener?". Muzikologija 2:263–281.

rdf:langString Rae, Charles Bodman. 2001. "Lutosławski, Witold ". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan

rdf:langString Anderson, Virginia. 2006. "Well, It's a Vertebrate …": Performer Choice in Cardew's Treatise. Journal of Musicological Research. 5, : 291-317.

rdf:langString Simms, Bryan R. 1986. Music of the Twentieth Century: Style and Structure. New York: Schirmer Books; London: Collier Macmillan. .

rdf:langString Abel, Iebele. 2013. Manifestations of Mind in Matter. Princeton: ICRL Press. .

rdf:langString Boulez, Pierre. 1957. "Aléa". La Nouvelle Revue française, no. 59 : 839–857.

rdf:langString Cage, John. 1959. Indeterminacy: New Aspects of Form in Instrumental and Electronic Music. Ninety Stories by John Cage, with Music. John Cage, reading; David Tudor, music . Folkways FT 3704 . Reissued 1992 on Smithsonian/Folkways CD DF 40804/5 .

rdf:langString Peyser, Joan. 2008. To Boulez and Beyond, revised edition. Lanham, Maryland: Scarecrow Press. .

rdf:langString Maconie, Robin. 2005. Other Planets: The Music of Karlheinz Stockhausen. Lanham, Maryland, Toronto, and Oxford: The Scarecrow Press. .

rdf:langString Cage, John. 1961. Silence: Lectures and Writings. Middletown, Connecticut: Wesleyan University Press.

rdf:langString 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.