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.
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.
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.
[9] Between 2007 and 2013, the Dutch artist Iebele Abel developed an electronic instrument called Real-time Indeterminate Synthetic Music Feedback (RT-ISMF).
The instrument was designed for empirical research on subjective experiences induced by real-time synthesized music, based on the output of electronic random number generators.
In John Cage's Music of Changes (1951), the process of composition involved applying decisions made using the I Ching, a Chinese classic text that is commonly used as a divination system.
According to Cage, examples include Johann Sebastian Bach's The Art of Fugue, Morton Feldman's Intersection 3, Earle Brown's Four Systems, and Christian Wolff's Duo for Pianists II.
[12] A form of limited indeterminacy was used by Witold Lutosławski (beginning with Jeux vénitiens in 1960–61),[13] 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.
However, "open form" in music is also used in the sense defined by the art historian Heinrich Wölfflin (1915) to mean a work which is fundamentally incomplete, represents an unfinished activity, or points outside of itself.
Earle Brown's December 1952 consists purely of horizontal and vertical lines varying in width, spread out over the page; it is a landmark piece in the history of graphic notation of music.
There are, however, infinite possibilities for the interpretation of Treatise that fall within the implications of the piece and general principles of experimental music performance in the late 1960s, including presentation as visual art and map-reading [15] Sources