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Abstraction and formalization ("Musiques formelles). The theories of J. Piaget and constructivism in G. Deleuze and music of Xenakis

«La musica comincia dove finisce la pittura, è questo che si vuol dire quando si parla di superiorità della musica. Si inserisce su linee di fuga che attraversano i corpi, ma che trovano altrove la loro consistenza»(G. Deleuze, "Logica del senso") ------------

OLTRE L'ALEA, DISSOLUZIONE DELLA SERIALITA' POST-WEBERNIANA. Come già visto nella 1° parte di questo studio sui rapporti tra il progetto strutturalista e la fondazione di una 'nuova musica', la complessa opera di Iannis Xenakis si immette come un'esplosione teorica di immenso valore, che può essere compresa solo attraverso l'immenso materiale scritto, prodotto nell'arco della sua attività artistica. Si rende necessario un approccio ermeneutico, interpretazione di un'estetica artistica che trova molti punti di contatto con la scienza e con le più complesse teorie matematiche, fino alle implicazioni filosofiche di un costruttivismo o di uno strutturalismo messo in moto dalle fondamentali theories of J. Piaget and G. Deleuze . And 'that is necessary to understand what is often identified with a pure determinism or conceptualization of much contemporary music, attempting a correct reading of composers like Olivier Messiaen, Pierre Boulez, Karlheinz Stockhausen or that, through their experiments, they sought new forms of creation from dissolution of the post-Webern serialism and dell'alea overrun by John Cage. Specifically Iannis Xenakis expected to overcome the full serial through the determination of combinatorics, control of the composer on the parameters and outcome, a narrowing of stochastic processes by random chance . The scientific practice is put to the aesthetic and artistic production, its achievement since the evolutionary developments of the post-Webern serialism and dell'estremizzazione the method put forth by the Second Viennese School, the twelve-tone technique. "There is a category of composers wrote serial music, and for this reason of course, is now in a post-serial. But there are others who were strangers to that movement and have never written serial music and therefore they are not in a post-serial. It's my chance, but also that of others who have followed a path similar to mine "(I. Xenakis). repeat here the structural study of the program with knowledge of the fundamental importance of this (just as the integral serialism of Webern ) in " path Metaelettronico ", that this site we want to search and analyze. Not being able to fully investigate the influences of the theories of J. Piaget and G. Deleuze, the psychology of Gelstat and structural programs in this way, we give an overview through summaries of texts interesting as "The sound of ghosts Gilles Deleuze", "Iannis Xenakis: structuralism and the poetics of sound objective" , both Thomas Campaner, "Structuralism" , etc-network texts are shown as links in the queue.

MODELS AND STRUCTURES. The duality of the Universe ILET and shape. For Xenakis, in that eighth of its structural programs, music is the place where human logic is reflected, the sound representation dell'inafferrabilità of thought. Makis Solomos identifies three specific moments of structuralist formalization through the abstraction of models and the production on the level of reality:

1. Finding a structure

(sensible plan: natural phenomena, social)

2. Creating a model that shares the logical perfection of the structure found

(piano numb, "hors-temps": design)

3. Incarnation Sound

(piano sensitive, "en-temps": establishment of the model work)

In this synthesis proposed by Solomos is the second time the project plan, the place where Xenakis turns abstraction into a 'objectification in terms of reality, its own process of artistic expression: "We must distinguish two natures in time and extra-time. What it suggests is no before or after extra-time (...) the reports or logical operations applied to classes of sounds, intervals, character (...) are also out of time. From the very moment when the speech contains the "before" or "after", we are in time. The order is serial in time, a traditional melody too. Any music, extra-time in nature, can be grasped instantly blocked. Its nature over time is the report of its kind extra-time with time. As the reality of sound, there is no purely extra-time music, music exists in time instead of pure rhythm that is pure "(I. Xenakis). Although expressed in structural terms, all the research you have Xenakis contiguous to the program of Darmstadt, but is also open to a wider riflessione radicale, una pulsione che tende sia ad una estensione nell'opera d'arte in sè sia verso una comprensione delle strutture che determinano i fenomeni sonori e le percezioni sonore dai primi derivati; sintetizzare e ricondurre la produzione e la percezione sonora alle leggi ed i sistemi di pensiero, che sempre si manifestano nelle medesime modalità nell'arco della storia ["Arts/Sciences. Alliages"-"Musica.Architettura"] . Viene delineandosi una precisa estetica del linguaggio, in cui la ricerca di strutture dia conto dei parametri determinanti le sonorità e l'insieme degli avvenimenti che determinano il complesso fenomeno sonoro, il cui carattere sistematico sposta l'attenzione sulle costanti ed i rapporti che si costituiscono in the elements of the structure / composition. With regard to abstraction and formalization of the artistic work, therefore, open issues very complex, in which the search for a model system is actually the result of an abstraction , a moment of pure reflection, an analysis that proceeds plans by the suggestion of reality coming into play a dualism between levels of the universe Ilet and the forms and systems of organization (the material plane and forms). And 'this "platonizzazione" of research becomes a focus for a dualistic model / work, which addressed in detail because of the importance of the issue on composition plans. Suffice it to say that the interaction of the two plans, the perception of suggestion and the abstraction of the model is structured in the work through the mathematical tool and the number, right "medium of materialization" ["Musiques formelles" ].

epistemological THE NUMBER OF FORMAL Essence REALITY ': the "quantification" of the sound phenomenon . The number represents the model so that Xenakis uses to reduce every phenomenon to a "quantification", to music production and in the final event, the aesthetic: "All activity intellectual property, including the arts, is currently immersed in the world of numbers "(" La voie de la recherche et de la question ", 1965) . Analyzing the issue in light of the structuralist method, the number represents the formal essence of all things, speaking to the Pythagorean method whereby "All things are known numbers. Why can not that nothing can be understood or known without this ", and playing a leading role in the understanding and solution of the epistemological question for which more than one thing to be counted can be understood in the light of mathematical relationships in it contained, say that something has to give this number equals “una struttura descrivibile in termini matematici” (C. Huffman, "Philolaus of Croton" -Cambridge University Press, 1993). Le cose quindi, più che riconoscersi ontologicamente nel numero, hanno un ordine riscontrabile nei loro rapporti, “conosciamo qualcosa solo quando ne individuiamo le relazioni fra le varie parti”(C.Huffman). L'analisi strutturalista di una composizione attraverso i rapporti numerici che intercorrono negli intervalli e nella costituzione ad esempio dell'ottava, rimanda alla posizione degli elementi strutturali e, non essendo Xenakis interessato ad un generico riconoscimento di un ordine, si propone in realtà di far emergere una struttura del fenomeno , relying heavily on Pythagoreanism with regard to the concept of number as a parameter identification unit position to be organized in the composition.

Plato and "ideal model" / STRTTURALISTA NEED OF PIAGET AND J. G. Deleuze. The search for Xenakis and knowledge systems used by him, are intended eventually to the measurement of relationships and the structural investigation of the event or the constructivism of the work planned by the mathematical model quantifying the number and research, interaction between music , mathematics and abstract models. E 'in this context that prove the similarities with the Bourbaki group (character imaginary pseudonym under which between 1935 and 1983 a group of mathematicians has published several treatises on the systematic exposition of modern advanced knowledge of mathematics) and the research Levi-Strauss , postponing the idea of \u200b\u200bthe number of Xenakis to an ideal "struttralista" according to the parameters set out by Jean Piaget . As regards the composition Xenakis fact does not use function-type models , but is intended to abstract models, so that the number corresponds to a need for structural and design a "Platonic", manifested in their structural relationships form / model. Model structure and therefore: "According to the radical and unorthodox Deleuzian conception, structuralism does not establish irreducible opposition between structure and event" that is' does not make the relationship between diachronic and synchronic "according to a simple causal relationship to one another" (MT Ramirez "Deleuze and the philosophy"). As in Plato, the structuralist perspective of Deleuze, it tends to simplify the method, or a flattening of structuralism on a particular formalism or subjective, and the main reasons Deleuze's reversal of Platonism and then-unorthodox-structuralism become central elements for the understanding of his musical thinking, which structuralism Xenakis aligns strongly. In his conception of a dialectical structuralism, Piaget proposed the following definition: "As a first approximation, a structure is a system of transformations, which involves the laws as a system (as opposed to the properties of the elements) and which is preserved or enriched through the game itself of its transformations, without their conduct outside its borders or to rely on external factors. In short, a structure that corresponds to these characters: wholeness, transformation, and self-regulation. In this second approximation structure (...) must lead to a formalization. " (From Structuralism)

IL RADICAL STRUCTURAL. According to the structuralist model developed in the idea, which works "Nomos Alpha" are made to embody the idea of \u200b\u200bsymmetry sound, based on the symmetries of a solid rotation and explicit that 'Platonism' that from an ideal model (derived from the rotation symmetry of the cube) on the plasma and the processes of matter (opera) in the categories of their own world of form. Based on the structures of extra-time then, Xenakis builds the composition follow the model of the cube solid, which allows the rotation to take into account only part of permutations possible (that would be thousands), that is, those corresponding to rotations about the axis of symmetry, sound events involving objects and clouds of micro-sounds, according to a logic dictated by the solid moving in space. "Imagine a finite group, twenty-four elements, represented by the symmetries of the cube. The cube has eight sides. His transformations can be described by a set of eight objects falling into the same boxes. Should not be considered as the set of all possible permutations (40 320) but only the permutations corresponding to rotations about the axis of symmetry. (24) associated with each of the eight objects in question as many sound events, such as point clouds of sound, collections of short glissandi (...). From twenty-four rotations of the cube you will get a certain amount of possible clouds of sound, each connected by an internal logic tied to the symmetries of the cube. It will therefore have an extra-temporal structure "(" Worlds of Sound "). You could say that works such as " Nomos Alpha "," Herma "," The Sacrifice " and the entire production of the '50s and radical structuralist 60 ', are in effect what you would call a "mechanism". A system that structured and unstructured, according to abstract patterns and processes of matter, a work intelligible, wholly synthesized in the structures involved in this, a huge mechanism that rotate (on the plans of the matter and plans of the calculations combined), produces sounds, pitches, timbres, etc.

DISPERSION MODELS BETWEEN THE INTERSECTIONS OF COMPOSITION. OVER the structural model, the formal autonomy. And the lyricism "THE FURY MATTER IN THE WORK XENANIANA. E 'however important to note that while using these complex logical procedures, the work of Xenakis has never crushed under the weight of the models he wanted in the abstraction and formalization of the composition, it exists in fact a force absolutely material, to the limits of a sometimes poignant lyricism (often his last works were even placed in juxtaposition to the latest works of Franz Liszt!). In the case of "Herma" , for example, it is difficult to distinguish the three subsets of sounds that Xenakis is repeated through different combinations, and the extreme complexity of the rhythmic figures only committed in fact our perception to the extent possible, the structure scattering the model, between the folds of sound ; complessissima the construction and sound expression prevents sensory feedback to the model, between intersections, prompts and exclusions set of sounds that stand. We are witnessing a system that seems most points scored by the collapse of denial with respect to setting originaria e di smarrimento in lunghissime deviazioni, piuttosto che all’esigenza di un controllo che segna interamente "Musique formelles" . Nel momento in cui, a livello sensibile, la nostra percezione deve ripercorrere la strada che ha portato alla composizione, si genera una vera e propria frattura: il gesto eclatante (musicale, strumentale) sembra “pesare” così tanto da far pensare a un sistema costruito addirittura per essere trasgredito (Harry Halbreich, "Da Cendrées a Waarg: quindici anni di creatività"). In questo senso la percezione del suono di Xenakis sembra entrare in quelle aree proprie della musica concreta , dove il suono percepito come rumore is a sound "next to the things and matters , and despite the abstractness of the model, we found that the work of Xenakis " fury material " which manifests itself with such force as to deny the recognition of the model, although that plays a central role in the extension theory. A "autonomy" of the formal parameter then, drawing an "objective of matter."

"Musiques FORMELLES. Abstraction and formalization of musical composition. TO THE FULL AUTOMATION. Fund 'music or, as expressed by Xenakis, "formalize" the goal in sight and which dominates the work more developed by Xenakis, "Musiques formelles" ("Formalized Music"), published in 1963. The route of theoretical research and pragmatic which is drawn in "Musiques formelles" corresponds to a path of Xenakis toward abstraction. The first period of the composer is often called "Bartók period", during which the taste for abstraction was already present, although part of a general reference to the elements of tradition classical composition. In this journey of research references to Western garde movements intensify, and increase the tendency towards greater abstraction will culminate with the use of serie di Fibonacci ed il calcolo combinatorio, nelle misure 104-202 di "Metastaseis" , prima di fondare la «musica stocastica» . In seguito Xenakis si libererà di ogni riferimento alla musica tradizionale, gettandosi in una sperimentazione sui modelli probabilistici e combinatori, verso la ricerca di una automatizzazione integrale della creazione musicale . A questo proposito bisogna citare "Le Sacrifice" , brano del 1953 che si presenta come un immenso meccanismo auto-regolato la cui composizione in sedicesimi corrisponde ai primi termini della serie di Fibonacci: "Le Sacrifice" costituisce un gigantesco algorithm, which dominates the search for an automatization of the composition . The goal of "Musiques formelles" has found the music, and this process Xenakis refers to developments in mathematics, arrived in France to the domain of formalism with the Bourbaki school. Through a vast "disintegration" of stages of composition ('initial views',' definition of being sound, "" define transformation ',' microcompositions', 'sequential programming, "" performing the calculations, "" symbolic end result, "" sound incarnation) try to disrupt and deconstruct the act of musical composition , with the hope di determinare delle operazioni integralmente calcolabili, verso quindi un'idea di una totale automatizzazione , di un meccanismo auto-regolato che, come si è detto, si trova alla sua origine.

FORMALIZZAZIONE E NATURALIZZAZIONE. PROPORZIONI SONORE E «SEZIONE AUREA». Nel tracciare un fondamento su procedure puramente matematiche -teoria degli insiemi e dei gruppi, probabilità, catena markoviana, processi stocastici, fino all'elaborazione della teoria dei setacci (derivata da quella dei gruppi)- Xenakis va anche cercando una "naturalizzazione" della musica e dell'opera artistica, attraverso le scienze naturali, e verso a search of universality that sometimes evokes organicism. In the preface to the score of "The Sacrifice" (where the composition is derived from rhythmic Fibonacci series , becoming known as the Golden Section ) Xenakis illustrates this systematization of the structure: "The golden rule is one of the biological laws of growth. It is found in the proportions of the human body. For example, the ratio between the height of the head and solar plexus is equal to the golden number, the phalanges of the fingers, the bones of the arms and legs are in golden proportion. Now, the lives of music are created by static muscle that drive the human limbs. It is clear that movements of these limbs have a tendency to occur in time proportional to the size of the limbs themselves. Hence the result: the lives that are related to the golden number is the most natural movements of the human body. " the avoidance of doubt it should be noted that Xenakis's music is the opposite of an organismic view of form, but simply finds the search for models derived from the natural sciences. Formalization and Naturalization are the two poles that allow xenaniana understanding of the work and its relationship to art / science. Two approaches that, in apparent contradiction, in fact reflect a precise symmetry conceptual abstraction of the first pole is opposed the suggestion almost naturalist of the second. The coexistence of the two approaches will complement each other and in reality there is no distinction between the two. The formalization of full automatization of the composition tends to produce masses of sounds from their probabilistic behavior of natural phenomena (acoustic phenomena analyzed in the light of the structural programs and the natural phenomenon investigated in the light of the stochastic process and probability calculation). E 'is this the power of music and complessissimo xenaniano system: the abstraction of the models and the suggestion of the representation of reality on the plans.

"Art, and especially the musica, ha una funzione fondamentale, catalizzare la sublimazione (...). Essa deve puntare a sospingere, attraverso punti fissi da reperire, verso quell'esaltazione totale nella quale l'individuo, perdendo la propria coscienza, si fonde con una verità immediata, r ara, enorme e perfetta. Se l'opera d'arte ottenesse questo risultato anche solo per un istante, raggiungerebbe così il suo scopo (...). L'arte può condurre verso ambiti che, per alcuni, sono ancora occupati dalle religioni. Questa metamorfosi dell'artigianato quotidiano, che trasforma i prodotii triviali in meta-arte, è un segreto. I posseduti vi giungono senza conoscerne i meccanismi" (Iannis Xenakis, "Musiques Formelles" - prefazione).

Links e Riferimenti:

• I fantasmi sonori di Gilles Deleuze (Thomas Campaner)
• Complessità e non-linearità nel pensiero musicale contemporaneo
• Strutturalismo
• Iannis Xenakis. org

Flowershop Denise Milani

Structuralism stochastic Markov. Introduction to the work of Iannis Xenakis (part 1)

“Ormai il musicista dovrà essere un costruttore di tesi filosofiche e di architetture globali, di combinazioni di strutture (forme) e di materie sonore” (Iannis Xenakis)

INTRO - MATEMATICA E MUSICA CONTEMPORANEA. Con questo studio sui rapporti tra serialismo e il superamento strutturalista, tra matematica e musica, arriviamo al centro di una complessissima relazione tra metodi, tecnologia ed estetica. Un percorso andato dalla crisi del sistema tonale e gli sviluppi seriali post-weberniani alla 'neue musik' di Darmstadt, fino cioè alla nuova accezione di musica contemporanea d'avanguardia; congiungendosi quindi alle sperimentazioni elettroacustiche della musique concréte/ tape music . Come già nei precedenti post, il tutto è esposto alla luce di una fondamentale (forse personale) convinzione: la centralità of twelve-tone serial method and Webern in these developments, leading to the "rediscovery" of the relationship in this century mathematics and music, brought to prominence by his twelve-tone method and the integral serialism and then continued with the electronic music avant-garde - up to drifts of combinatorial ' acousmatic-. This report has ancient roots in history as the studies that have focused on structural investigations of the composition and calculation reports in it. Leaving aside the fact ancient oriental studies in the West is with the Pythagorean school that is beginning to weave the first theories and to draw the first compositional systems (Pythagorean temperament or diatonic scale, etc). In addition to the equations of physical acoustics, the basic fractions math used to describe the rhythmic division, analysis of noise through the decomposition of waves and the analysis of harmonic sine waves mathematically-expressed with the Fourier transform algorithm - is in the appearance of composition that the relationship between mathematics and music finds its most interesting and complex implications, with the distribution of sounds in different heights, time intervals, the polyphony, the different 'voices' of the performers, etc.. It is clear, however, that the implications of complex developments have found the best contemporary music in the music-and beyond electronically, through academic circles, the first studies of phonology and electroacoustic music and the work of certain musicians, all Iannis Xenakis, Pierre Boulez and Philip Glass (the latter two both graduates in mathematics; Philip Glass is also known for the contamination of his music, leading to collaborations outside the niches avant-garde, with characters such as Richard D. James / AFX). This part then is just an introduction to the work of Xenakis and connections with the structural programs and at the same time direct continuation of the studies on twelve-tone method, neue Musik in Darmstadt, integral serialism and the avant garde post-Webern Topics covered in-post: pantonal, twelve-tone technique, serialism full. towards a time when the electronic music Expressionist. , 'Neue Musik' and post-Webern serialism. Constructivism serial contenutivi between impulse and formal discipline. and TW Adorno, "Neue Musik", Protocols & popular atonal music. The role of the vanguard in representing the Invisible.

THE STRUCTURAL 'logocentrism' composition. trying not to lose his speech with the influence of structuralism in cultural, philosophical and scientific, that are here are interested in investigating the real possibility that the structuralist program has in influencing the artistic domain. In fact, the analysis made by Iannis Xenakis in "Musique formelles" comes down to the concepts evoked by the definitions of structuralism proposed by Jean Piaget and Gilles Deleuze , pushing for a continuity between the efforts obtained in linguistics, anthropology and human sciences, and the search for systems operating within the object under investigation in an attempt to bring out the set of elements that constitute, through their reports, a total autonomy . In this sense, the scope of the arts-painting, literature and music- can be considered as an object to find and create structures or private persons and formalized that make up the work only through their relations, emphasizing the experimental nature of the art form, in its becoming a field architecture. According to Roland Barthes and structuralism represents the will of systematic construction, structural art is "activities whose sole purpose is to rebuild an object in order to manifest the operation" (Roland Barthes, "L'activité structural", in "Lettres Nouvelles , 1963). The contribution highly theoretical research in the music of composers such as Xenakis, Boulez, Schaffer, corresponds to a desire to systematize the practice of composition which, organized around the thesis of Darmstadt, moves towards the search for a total autonomy of the work, focusing on the absolute priority, and formal outlining a specific tendency to compositions in a closed logocentrism perfect: in the vision defined "constructivist" or, indeed, "structuralist." "These my research about the composition were carried out in different directions. The effort to reduce certain sensations of sound, to understand their causes logic, domination, and use it for construction desired, the attempt to materialize the movement of thought through sound, test them in composition, and the desire to better understand the works of the past, trying to emphasize a deeper unity which is the scientific thought of our time, the effort of making art through a geometric process, that is, giving a more certain support logical impulse of the moment, and yet more serious, more deserving of the fierce struggle that human intelligence does in all other domains. All these efforts should lead to a kind of abstraction and formalization of the musical composition. "(Iannis Xenakis," Musiques formelles " preface). Fabien Lévy, French composer and teacher at the University of Paris IV-Sorbonne, confirms this influence of the structural method in the art world. In 1949, Olivier Messiaen composes "Modes de valeur et d'intensity" , generalizing to all parameters the serial principle, after Pierre Boulez composed "Polyphonie X" (1950-51) and "The Structures pour deux pianos " (1952), Stockhausen Karlaheinz instead " Kreuzspiel, Formel, Spiel, Kontrapunkt-Punkte " and " Klavierstücke I / IV ": during the fifties integral serialism and mathematical models of Xenakis, and Philippot Barbaud, are appropriate responses to the influence of structuralist thinking about music. "These compositional techniques prove to be formalized in fact, made autonomous in relation to the object (the work). They are self-regulated for, and are processed and semi-whole." Lévy in "De la perception par la industrial structure déduits aux processus de la perception" found in the musical expressions of the first 'Ferienkurse' Darmstadt a notion of structure that responds to the characters cited in Deleuze and Piaget. Pierre Boulez in "Penser la musique aujourd'hui" (1963) , as a theorist and composer, says that music can not be considered simply a mezzo di espressione, ma innanzitutto un oggetto cui applicare una riflessione sistematica.

MATEMATICA, ARCHITETTURA E MUSICA STOCASTICA MARKOVIANA. L'opera di Xenakis può essere sintetizzata nel binomio delle sue passioni: matematica e architettura. Denominatore comune di questo binomio è lo spazio; uno spazio in cui Xenakis ha espresso la sua necessità di strutturare forme condivisibili, unità formali analizzabili alla luce delle connessioni e delle relazioni reciproche. Nel 1948 Xenakis, stabilitosi a Parigi, comincia a lavorare come architetto nello studio del famoso Le Corbusier, architetto e padre dell'urbanistica contemporanea, maestro del Movimento Modern (even antithetical is the starting point of Deconstructivism and its formal exercise) of Functionalism and architecture on a human scale. At the same time pursuing his studies in music, but does not find its size within the rigid schemes of counterpoint and harmony. But everything changed in 1951 and began his career thanks to a meeting at the Paris Conservatoire with Olivier Messiaen, who pushes him to pursue the path of an interdisciplinary research that can be expressed in music. In particular, the mathematics becomes a way of exploring the world, discovery of form and regularity, but also how to describe the chaos and entropy. Jobs al rapporto musica-matematica sia da un punto di vista pragmatico sia teorico, "costruendo" complesse strutture compositive partendo da strumenti quali il calcolo della probabilità e la teoria degli insiemi, apportando nuovi elementi teorici attraverso il concetto di 'musica stocastica' , 'musica simbolica' e 'masse musicali' . Tra il 1953 e il 1954 compone il suo capolavoro d'esordio "Metastaseis" , una ricerca di corrispondenze fra elementi geometrici dello spazio e suoni, è storicamente la prima volta che una composizione musicale viene interamente dedotta da regole e processi matematici. Nella composizione c'è infatti una relazione diretta tra musica e architettura , combinazione sicuramente inedita ma che sembra essere la cosa più naturale per l'assistente di Le Corbusier. Con "Pithoprakta" , 1955-1956, fa la sua comparsa lo strumento probabilistico, che attraverso il calcolo delle probabilità esplora la logica dell'incerto, dove gli addensamenti di suoni sono l'espressione della ricerca sulle leggi che regolano i grandi numeri. Xenakis generalizza lo strumento probabilistico con "Achorripsis" (1956-1957), "Analogique A et B" (1958-1959) e i brani intitolati "ST" (1956-1962)-later will use it to calculate probabilities of particular passages in later works, but from a purely exploited, that is without the ambition of the formalization. " In "Achorripsis" there is a quest to make physically perceptible stochastic laws, which become tools for forecasting, division asymmetry and the randomness of the real, structuring of new forms on the probabilistic distribution of sounds, "until the emergence of a true drama of note" .

PERCEPTIONS AND SPACE '. definition - 'Music stochastic: random music, whose structure è decisa sulla base di funzioni matematiche probabilistiche'-----. Xenakis compie un avanzata ricerca nel campo della commistione fra elettronica e strumenti acustici, assemblando composizioni per nastro magnetico, impiegando l'informatica ed il calcolatore ("Orient-Occident", 1960, "La Légende D'Eer", 1977, etc) e giungendo ad elaborare il termine "musica stocastica markoviana" . Nel 1956 infatti, pubblica una teoria della musica stocastica che, come superamento dell'alea -tipica di compositori quali John Cage-, tende ad un processo globale totalmente "prevedibile", il quale, pur contenendo avvenimenti aleatori, riflette di un preciso calcolo della probabilità, It thus attempts a phenomenological approach to the processes of its own, organic and natural living world. The first electronic pieces based on stochastic structures date back to 1957, and for the first time, with "Diamorphoses" his theories stochastic Markovian had the benefit of technological support through an IBM computer . It was also the first work written in the GRM (Groupe de recherches musicales), research and production of electronic music in Paris founded by Pierre Schaeffer . Xenakis also works with key works media, opening up a whole new way with "Polytopes" and then the "Diatòpe" , sound installations, sound design environments that contribute to the achievement of which several elements: architecture, lights, laser beams, projected images and the very nature of the place, real audio-visual shows, fount of integration between music and architecture, new technology and visual projections, which show the spirit of research in science, dealing with percettologia ( proprioception), investigating the sensitive features of the brain in the perception of reality and application perceptual functions of these trials, the position of the listener and the use of space in listening to the sounds. I "Polytopes" (creati per il padiglione francese dell'Esposizione di Montréal [1967], per lo spettacolo Persepolis [Iran, 1971] e ha realizzato il Polytpope di Cluny [Parigi, 1972], il Polytope di Micene [1978]) ed il "Diatope" (realizzato all'inaugurazione del Centre Pompidou di Parigi nel 1978) riprendono infatti il concetto di dimensioni architettoniche/spaziali e strutture sonore, tentativo di riunire le arti visive con le esperienze e gli studi legati alla percezione del suono, lasciando erompere, "come uno scoppio fragoroso dopo il silenzio, una visione drammatica della realtà sospesa nell'intervallo fra il passato remoto e il futuro estremo, il tempo per il dipanarsi della human history "[stochastic-it]. Xenakis took the experiences of combinatorics used in music, to synthesize the same rules of construction for the design of the Philips Pavilion for the Universal Exhibition in Brussels in 1958. In practice, this design structure that was inspired by the animated his musical score "Metastasis", and inside the pavilion within the future multimedia show staged by Le Corbusier, will be disseminated works of Edgard Varèse (Poème électronique ") and Xenakis (" Concret PH ") through speakers set up in the tree. The strong connection between music and architecture, which has space as a common denominator, is also expressed in many other architectural works of Xenakis, such as the Dominican monastery near Lyon St. Marie de la Tourette, for which he was commissioned to design the facades and where it took the glass, inspired by the musical concept of polyphony, getting those Le Corbusier called "glass screen musical" . Xenakis was then among the first to experiment with compositional techniques and algorithmic work on digital synthesis ** (build and change in the waveform), using electronics and computer science to explore the "structure" sound, as autonomous units of events and 'inter-connections', showing highly expressive potential. He founded two hundred research: in 1965 the CEMAMU (Centre de Mathématique and Automatique Musicales) in Paris and in 1967 the CMAM (Center for Mathematical and Automated Music) at Indiana University.

** Xenakis and granular synthesis. The first experiments were nastromagnetico Xenakis on the basis of future granular synthesis. Been known by any electronic music player, is a basic method of synthesis, implementation through elementary acoustic elements such microsounds or grains. The method of granular synthesis is basically a construction of complex sounds from simple sounds of a certain amount: the result is not a single sound, but a set of sounds handled quite differently from any other synthesis method, to manage parameters such as envelope , length, waveform, spatial location and density of the grains can generate a huge amount of different sounds, including the production of effects that can be produced, such as amplitude modulation, timestretching and morphing. Granular synthesis has been developed through different stages, different research and different personalities: Dennis Gabor explored the area of \u200b\u200bcommunication and human perception ("considered the sound as a sum of Gaussian functions is shifted into the domain of elementary that time-domain frequency . These basic functions were called acoustic much and used as the basis for the creation of a sound "[Wiki]) , Curtis Roads is considered the first person that implements a digital granular synthesis, Barry Truax was one of the first hand to implement a real-time version of This summary, Iannis Xenakis has always claimed the invention of granular synthesis and development from his early experiments su nastro magnetico come esigenza dettata dalla lacuna di varietà timbrica e sonora da poter manipolare unicamente attraverso oscillatori e filtri. "In questo contesto si ottenevano suoni in maniera dinamica ritagliando parti di nastri e riassemblando il tutto assieme. Da qui si sviluppò la sua tecnica che consisteva nello specificare la durata e la velocità (frequenza) di riproduzione di ogni singolo grano". "La sintesi granulare, al pari di quella additiva, utilizza più suoni elementari per costruirne uno complesso. Questo è dato da una successione di suoni di breve durata (qualche centesimo di secondo) chiamati grani. Tale tecnica ricorda il processo cinematografico in cui il movimento è dato da una rapida successione of static images. The grains can be pieces of abstract sounds or sampled acoustic sounds generated by algorithmic. Also highlighted is the synchronous granular synthesis with the period of the sound from that used to generate asynchronous sound textures "[" Computer Music and Music Theory. "Chapter 1/2.3].

Desert Eagle Gold Softair

TW Adorno, "Neue Musik", Protocols & popular atonal music. The role of the vanguard in representing the Invisible.

" The end of 'work of art is the determination of the indeterminate "(TW Adorno -" Aesthetic Theory ").---------------------------- ---

new expressive REPRODUCIBILITY OF AGE 'TECHNIQUE. 3rd part of the study on twelve-tone serialism and Neue Musik integrale, dededicato nello specifico all'apporto teorico di Theodor W. Adorno su quei processi che hanno determinato l'emancipazione della dissonanza e il moderno approccio alla musica contemporanea e all'electronic music. Nel saggio "L'opera d'arte nell'epoca della sua riproducibilità tecnica" (1930) Walter Benjamin sostenne che, con l'ingresso nell'epoca della "riproducibilità tecnica", l'opera d'arte aveva perso l'aura, quel quid sacrale che un tempo la caratterizzava. Non più unica, irripetibile, frutto del genio individuale e dell'ineguagliabile bravura del creatore o dell'interprete, l'arte avrebbe potuto mutarsi in esperienza comunitaria e di massa. In our modern electronic perspective, "what Benjamin attempts a period analysis is that opening the way to 'Moment Zero' theorized by Peter Grossi and which is widely spoken in the post " Instant Zer0 "- trials of Peter Grossi . But the conclusions are very different, because of the different theoretical approach and, of course, for the different specificities of the two. Pietro Grossi, a true pioneer of electronic music, computer music and father of absolute Home Art , loved and fully exploit the capabilities offered by the time stipulated 'Instant Zer0' , addentrandocisi and exploring the expressive potential. Benjamin, however, as a philosopher, he referred particularly to the prehistoric technologies, especially the emerging art of cinema and, perhaps with a little foresight, he saw only those aspects that would end all'irriproducibilità art and technology seen as a basic element the artwork (as if the "Paganini does not repeat" was the essence of the art of Paganini. Probably yes, but the evolution of media has created new forms and new contents, therefore, new modalities and manual techniques - in pop art, for example, industrial serialization was a precise method of expression, hence its reproducibility). Benjamin's reflection was not entirely wrong, but partial as compared with all the expressive arts, particularly as regards the language of music. In this sense, however, Theodor W. Adorno, as a musician, a friend of Alban Berg, Arnold Schoenberg and supporter of contemporary music New , took the signal from the revolutionary new method of Schoenberg and the incredible potential of expression that would be derived from the European Neue Musik and by 'cutting-edge Serial , bringing the same time, a strong criticism of the 'popular music' -popular music-and music functions subservient to profit.

"The light music and all the music for consumption [...] seems to be directly complementary all'ammutolirsi man, the extinction of the language as expression, inability of communication. It dwells in the gaps of silence between the men that start distorted by anxiety, from the routines and blind obedience [...] This music is perceived solely as a background sound: if no one is really able to speak, no one is not even able to hear [...] the power of the ordinary has been extended to society as a whole. "[" Introduction to the sociology of music. "]

ON POPULAR MUSIC. Adorno's critique of slave music the profit is very strong, his analysis of 'popular music' marked a pivotal moment in musicology and has, to date, the starting point for a study of the production report and within the social dynamics. "The power of the ordinary has been extended to society as a whole" seems heard the phrase current in relation to new commercial production: the popular music seems to have had to rise to this specific function 'banal' and seems to engulf even the expressions that were intended to be "free drift" as the electronic music, with an expansion of production determined by the already addressed this "democracy of the electronic music "and the subsequent enlargement of these" narcissistic expressions "that have little to express and therefore deplete an entire expressive language. As noted at the beginning, making it easier to understand with the comparison of the Benjamin-concept, the idea of Adorno is not a conservative pre-industrial model as commonly argued, but, in line with Marxist thinking, puts the work of art and aesthetic production, always in relation to the social dynamics that drive it (and vice versa, in a reflection mirror). The analysis of Adorno on popular music are surprisingly current and, apparently, timeless, being a very accurate reflection of the dynamics of production Art so inextricably linked to capitalism and liberal view of the market and reality.

DETERMINING THE UNCERTAIN, DO NOT REPRESENT THE-SAID: THE ART OF THE WORK FUNCTION AND THE ROLE OF THE avant-garde music. Adorno's condemnation of the standardization work of art, the aesthetic taste and consumption of music is so extreme, finding reason in his conception of the function of music and art in general that

"is not to ensure or to reflect the peace and order, but to force it to appear that the notice is placed below the surface, and then resist oppression of the surface of the front "["
Dissonance "].

Adorno's assertion reflects a totally acceptable in my way of looking at artistic expression and its function, simply pointing out what are the real reasons underlying the need to represent and generate signs, finally breaking away from that ' narcissistic complacency of the "pursuit of beautiful sound as a reflection of a beautiful person" in the musicians are almost always the victim or so-called "artists" in general, now as then (and especially now more and more victims of a mass production infinite). The act of 'bringing up' is the action then that is the function of art and the profound reasons for this, in a psychoanalytic vision seems trivially easily identifiable in bringing to the surface content deleted, the unconscious processes, a say in the index and represent the unclean, that seems to stop the human system and the dynamics of this, while realizing this vision vaguely Jungian, the act of generating it marks rather than the intent, tending to a Invisible representation of what you can not see hidden in the form, because of those realities outside the rarefied space-time categories, pure pristine environment that transcends the form in a search of the idea that lies beneath it, is replicated in the shape materials, producing material, sounds, colors. In a sense, Adorno's statement, in my opinion, a clear definition of Expressionism and Abstract Expressionism, and which aligns Metaelettronica in full agreement. The musician is of course Adorno avant-garde if it brings to light the unspoken , if psychoanalyze the reasons for the pain. The music, in what is similar to verbal language, because digging in the ground, but it is not language: 'music tends to a language with no intention ... La musica priva di ogni pensare, il mero contesto fenomenico di suoni, sarebbe l'equivalente acustico del caleidoscopio. E al contrario essa, come pensare assoluto, cesserebbe di esser musica e si convertirebbe al linguaggio» ["Musica e linguaggio"//"Filosofia e simbolismo"]

SULL'INTEGRALITA' E LA 'NEUE MUSIK'. La nostalgia di Adorno per un passato glorioso in cui la musica non era merce al servizio del profitto, non è quindi un'istanza conservatrice e reazionaria ma, al contrario, una volontà fortemente innovatrice, a tal punto che i modelli proposti per tale avanzamento del linguaggio musicale sono rappresentati secondo lui nei due opposti contigui : Schoenberg and Stravinsky. Stravinsky's music is "the sacrifice of the subject antiumanistico to the community, without tragic sacrifice, sacrificed not rising to the image of man, but blind validation of a condition that the victim himself acknowledges, is that with the autodeterminazzione 'extinguish' ['Philosophy of Modern Music "]. Stravinsky In fact, the recovery of the past "classic" is placed outside of history, contrived by contingency, but brilliant individual performance of the instance. Schönberg is instead to worry about the limitations of artificial and "self-inflicted" in a solitary search of external conditions of contemporary life (as we have seen in the previous post, Webern would come to an extreme version of the method in a continuous search for 'boundaries arithmetic'). Adorno defines the twelve-tone "full technical composition" , who saved the music of Schoenberg and the fate of contemporary music - summarized the issue between the different visions of Adorno's conception: recognizing the value of the revolutionary twelve-tone recognizes the value curator of a past not subject to the commodification of music features, and recognizing the value of conservative recognizes the value of a revolutionary model to that of man full and absolute language , expression of 'Unsaid' . "(The twelve-tone) is not kind nor in full view of the state, nor with the idea of \u200b\u200bdomination, but is an attempt to cope with and absorb the reality that anguish is precisely the panic that was full. Humanity must surpass that of the art world for love of man "[" Philosophy of Modern Music "]. Adorno's position on the 'Neue Musik' course is aligned to reflect on the 'popular music' and "meaningless" that this represents, according to Adorno the new music has taken upon himself the sins of the world : "The shocks of the incomprehensible, that the artistic technique distributes age of their foolishness, spill, give a sense of a world devoid of meaning: the sacrifice and all this new music. It took upon itself all the darkness and guilt of the world, all her happiness is to recognize the misery, all its beauty lies in avoiding the appearance of beauty. No one wants to deal with her, neither individual nor collective systems, it sounds unheard, without echoing. When music is played, the time congeals around in a shining crystal. But not hearing the music falls like a ball in the empty time fatal. This experience tends spontaneously to new music, mechanical music experience that makes every moment, the absolute be-forgotten. It is truly the manuscript in a bottle. "[" Philosophy of Modern Music "]. By its very nature and avant-garde Hermeticism of language, the Neue Musik in time has generated resistance from the public more conservative, basing his case on the illusion that music should enjoy a wide usability and on the belief that, as "ornament" of everyday life, the value can be measured by the amount of people who perceive, appreciate the message. Adorno calls this principle "projection of the inability to understand." And 'This is one of the most interesting messages that is veicolato dagli scritti di Adorno rispettivamente alla musica d'avanguardia e alla popular music: la complessità che soggiace nel linguaggio ermetico della musica d'avanguardia incontra un'illusione, ormai condivisa dai molti, che la musica si misura in base a parametri quantitativi e di vasta fruizione e, la comprensione immediata del messaggio veicolato, sia determinante nella valutazione qualitativa. Sono questi i parametri più in uso, a tutt'oggi, nella produzione di 'musica di consumo', primo elemento che ha determinato la vastissima convinzione del ruolo intrattenitivo della musica.

CONCLUSIONI. Come si è già affermato Adorno è stato sicuramente il personaggio e la mente che ha offerto the greatest theoretical contribution to the emancipation of dissonance then synthesized in the twelve-tone method and the New Music in Frankfurt. His first publication was dedicated to Expressionism and his violent language, expression of the deepest movements of the human soul, even on the side of music, right now appreciating the work of the Austrian Shoenberg. Then studied with this, becoming an active part of 'Second Viennese School' participating in the main intent of this: enter into the flow and tone of the crisis undermining its own rules, leading to a profound impact on all Western music. This summary brings the objectification of the revolutionary nature of the group, even developed in front of Darmstadt in the vanguard and post-Webern serial that, in an attempt to overcome the Wagnerian chromaticism, has led to a new understanding of music, becoming the foundations of contemporary music and contemporary approaches to electronic music. The contribution of Adorno complessissimo fits into the cultural climate that marks this moment of transition from the old conception of the world to modern society of mass, decoding and then all the synthesizers that were creandosi extreme simplification of form and content as a result of the languages. And 'this, in my opinion, and only in part, the value of the work Adorno: a tight analysis of an evolving world and languages expressive inextricably linked to social dynamics, cultural and political. Thus the analysis of the "Society of the Spectacle" passes through the rilfessione the commodification of its products, including, in this new conception of capital, production music and music of great enjoyment. Adorno argues: the value of art music is inversely proportional to the number of people who understand this music.

"The formal innovations of Schoenberg were closely related to the content of expression, and served to break out in reality. The first atonal works are "protocols" in the sense of psychoanalytic dream protocols. Kandinsky has (...) chiamato i suoi quadri “nudi di cervelli”» (T.W. ADORNO, "Filosofia della musica moderna").

Process For Tulsi Oil At Home

'Neue Musik' and post-Webern serialism. Constructivism serial contenutivi between impulse and formal discipline.

INTRO. Con questo articolo illustriamo le pulsioni che attraversarono l'Europa e l'Italia in seguito al "nuovo metodo seriale" introdotto dalla cosiddetta 'seconda scuola viennese' . In particolare l'origine del termine "Neue Musik" e l'eredità di Darmstadt , le radici delle musica contemporanea "d'avanguardia " e le estreme conseguenze dell'adattamento operated by the iron method Webern. Overall, the second part is devoted to the twelve-tone serial and constructivism of the post-Webern on Metaelectronica Research and paves the way for the deepening of Neue Musik to the basic elements of the contemporary electronic music. In the third part of this research will be addressed in more detail the many different issues relating to the serial method, through the study of systems and theoretical parts of Adorno on popular music and the role of avant-garde music.

Schoenberg came to the twelve-tone method in the early twenties, as already mentioned in the post "pantonal, twelve-tone technique, serialism full. towards a time when the electronic music Expressionist " that innovation is embedded in an active stream that was some time breaking down the tonal system, throwing a first line of separation from popular music and subverting the creative freedom of late Romanticism, then collect instance rationalist age. This method in fact, binds strongly to core paths traced by Gustav Mahler (for me one of the greatest composers of the century 900, with Rachmaninov and Stravinsky), leading to extreme that approach: Expressionist distortion of the traditional language (it should be noted that Mahler, though not sharing fully the method of "12 notes related to one another," has always strongly defended the destiny). E 'distorting its approach of German and European interests us, obviously in relation to serialism and mathematics in the context of artistic creation and musical composition.

"The invention of the method of composition with twelve notes in connection with themselves, better known as" twelve-tone method, "has placed Arnold Schönberg - regarded as its founder - in the position of dean of the musical, a position far from comfortable against troubled by the continuing controversy what has been described as a dangerous' play of language. "[" Perception and Reception of "New Music" in Italy after World War II "]

E 'own' the advancement of language" which, in my opinion, features and should characterize the essence and the underlying reasons of artistic and sign it contains. The limits of the territories of expression, in fact, suffer and must suffer further moves towards innovative and expressive forms, new languages, usually chasing a liberation from predetermined patterns (linguistic, visual, sound, etc.) in the case of integral serialism , instead, to search for patterns and rules determined by the number in the space of musical notation, in the balance between formality , Constructivism and the need contenutivi . In the early years of '900 Schönberg was looking for a balance between the impulse contenutivi "and the need for formal support for the fundamental function of the 'series' from which it originated" the musical material', through a simplification and schematization the tempered system theorized by Bach back in the early eighteenth century, "implosion" of the scale-hierarchical system-in favor of a succession of sounds including the pre-twelve notes that comprise the space of an octave. The method, carried out by the theories of Adorno, applied freely by Berg and carried to extremes by Webern, followed different lines of evolutionary development, is obviously linked to the "crisis" of the tonal system generatasi within the German music of the early twentieth century. The dangerous "play of language" that represented the serial was based on the assumption its constructivist implicit in the twelve-tone method, thereby generating different lines of development through the calculated and refined twelve-tone serial constructivism and the concept "contenutivi 'Berg's conception of creativity and the different arts pantheistic, fount of Nature (the theories is seen di Goethe a proposito) di Webern, in contrasto quindi all'assunto «contenutista» proprio del sinfonismo tedesco tardo-ottocentesco (nella cui opera di Schoenberg e Berg fu sempre, in qualche modo, riconoscibile).

SVILUPPI DODECAFONICI: LA SVOLTA DI DARMSTADT E LA 'NEUE MUSIK' (GENESI FORMALE DELLA MUSICA CONTEMPORANEA/D'AVANGUARDIA). Mentre in Webern il metodo dodecafonico fu un'evoluzione dei mezzi e dei percorsi di ricerca all'interno degli schemi naturali relativi alla creazione e alla creatività artistica già impiegati dallo stesso, il tutto applicato in una pura e brillante strutturazione formale, in Italia invece il metodo dodecafonico entrava nel gusto compositivo per gradi ed attraverso determinate figure, su tutte Luigi Dallapiccola, che intorno agli anni Trenta cominciò ad impiegare le teorie seriali in libertà e conservando i suoi legami con il lirismo tradizionale -modalità prevedibile in un luogo di tradizione formale in tutte le discipline come l'Italia. Infatti Dallapiccola si liberò di qualunque posizione rigida e settaria, facendo sempre un uso personale della dodecafonia: usava infatti non solo gli intervalli dissonanti propri della musica seriale (seconde, settime, none), ma anche intervalli consonanti, cosa che lo differenziò ampiamente dai dodecafonici viennesi. La dodecafonia segnò profondamente e definitivamente quella che si andava definendo come musica contemporanea , born as a reaction to the German and European romantic tradition of the nineteenth century and in 1919 in Germany, it became the first definition of Neue Musik , "New Music" , coined by Bekker in a report on musical trends of the time. At the end of the debate is always open to interpretation, debated the interpretation of the overall music produced in the last two centuries (interpretation of some 'bad in my opinion, because it defines a category so broad as to be non-existent) and avant-garde experimental music, whose category is delineated on complex compositional constructs and experimental compositions from the nineteenth and twentieth secolo, con Mahler, Stravinskij, Rachmaninov come elementi strutturali di questo flusso contemporaneo, e la complessità armonica delle opere tarde di Richard Wagner come origine e radice fondamentale. In quest'ottica l'opera di Mahler traccia una linea di continuità fra il Romanticismo Tedesco e la cosiddetta "Seconda scuola di Vienna" , fondata da Schoenberg e composta dei due principali allievi Berg e Webern e il cui termine fa riferimento ad un'implicita 'prima scuola viennese' : quella formata da Hydn, Mozart e Beethoven. Di questa traccia di continuità contenutistica e formale, è infatti emblematica la posizione di Mahler accennata above compared to the serial method.

The ADVANCED POST-Webern. Radical and highly advanced musical language. The re-definition of "New Music" in relation to constructivism twelve-tone, is due to the cycle of conferences held in 1933 by Webern, but the second half of the original meaning of '900 'Neue Musik' that characterized twelve-tone music, was renewed in an identification much larger: avant-garde experimental music. This expressive face was born in the town of Darmstadt, near Frankfurt, where he had established an information center and teaching on modern music, in an attempt to redefine the theory, composition, and related to music executives who were risking a loss finding because of the Nazi regime and its push against censorship of all those expressions are considered "degenarate" do not belong to the sustained superiority the Germanic tradition.

"In that environment, the initial assumption of information and training was radicalized in contact with the music of Webern, in an address of great progress of the musical language. The effect was to internationalize the" crisis " the musical language that had characterized the German music in the era between the death of Mahler's death Webern. The choice of music by Webern as the archetype of the progress of language is based on one of the many misunderstandings that make fruitful the development of the arts in a pantheistic determinism of Webern and his offer art as a result of the nature , the young musicians in music Webern saw only the outward appearance of a radical departure from tradition. Secondly, in defining postweberniana, the vanguard advanced the postulate of an indefinite prolongation of its nature "progressive", on the assumption that new language in terms of new meanings by subtracting so the music and art in general, the ' commodification ', ie to the fruition of consumerism. "

Adorno's theories contribute strongly to the evolutionary developments of the face expressive of Darmstadt which, under the different drives inside, unfolded in a multitude of experiences as well as theoretical composition and performance: from to Stockhausen Maderna, Luigi Nono Boulez, instances concerning the role and function of the experimental music diverged while maintaining a common will to cross boundaries of expression perennial , expressed by the so-called avant-garde post-Webern who showed the need for progress language in the European music scene, the slave of the tonal system, the massification and the commodification of art. The "New Music" was thus a social and political role (in a sense "ethical" ), as well as artistic, within this landscape, especially in relation to the theory of "death of art " (think of the early theories of Hegel on the failure of a condition linked to the artistic past and now, for example, to new influences, from 1915, Dadaism, which is immediately bearer of nihilistic and destructive enzymes facing the art ).

SERIALIZATION INTEGRAL AND 'ALEA'. THE RATIONALE OF THE SERIES creative reinterpretation THE "random sampling". interpretations and then flowed from the front of Darmstadt were numerous, and with different approaches to the concept of Neue Musik, even under the same experimental determination and progress of language. From a strict and extreme rationalization "integral serialism 'to' 'alea' , a method that takes advantage of the possible combinations of variables and structures of music notation. Having already addressed in its manifestations Webern serialism and post-Webern, we make a little digression on "random sampling" -o alea -, fundamental to deepen the approach of John Cage's composition and performance. L 'alea is that system of composition that the 50 went in the direction of an active and creative collaboration between composer and interpreter, and then passing through vast possibilities of expression and a different approach to music notation. What distinguishes practically the "method" is a "free composition" or "partly free" according to the parameters that limit the performance in accordance with the composer, in the case of restriction to certain parameters and then, for example, between improvisation certain heights, will be defined "controlled randomness". composers that define this method, and found the greatest exponents dell'alea were: John Cage, Karlheinz Stockhausen , Pierre Boulez and, in Italy, is considered the "founder" of aleatory music composer and conductor Bruno Maderna , one of the first to outline the main characters, the Italian Luciano Berio and Luigi Nono (especially with one of his last and most famous works, Fragmente-Stille, an Diotima for string quartet: inspired by fragments of text Nono writes very short pieces (Fragmente-Stille precisely, fragments-seconds) for the four performers, parties often not rigorous or precise, entrusted to the sensitivity of the artists themselves and improvisation "[Wikipedia]). method dell'alea delimited in a way different compositional approaches, flowing in diverse theoretical systems. While Stockhausen has always practiced a kind of flexibility to Constructivist possibility, the structures of their post-Webern serialism disparatissime came to the trials on the language, up to the 'randomness', instead Maderna was particularly sensitive to forms of constructivist research post-Webern, Nono instead represented more the sort of build up, exceeding Constructivism in favor of a formal-aesthetic research on the languages \u200b\u200band the trial, as a point of view, Luciano Berio. "The avant-garde post-Webern, finally took over the 'alea', new sources of noise, namely 'musique concrete' and 'electronic music', which were in the late twentieth century, new sources of production widely used in postweberniana garde sound, but not limited to it. "

NOTE: EXCESS OF LOSS AND SYMBOLISM. MAHLER'S WORK, THE LEGACY 'WAGNERIAN AND CRISIS-late romantic toward a redefinition of the tonal language CLASSIC AND NEW EXPERIMENTAL EXPERIENCES. In this synthetic route of new sound sources and compositional systems that they have crossed the pragmatic and theoretical experience between the end of '800, the beginning of 900, opening the way to new experimental courses in the second half of the twentieth century, music concrete, tape-music, electroacoustic, electronic music and pure electronic music, it was gone by drawing a wide path that unites the disparate currents of expression, the sign of a progressive advancement of expressive language, aesthetic and music specifically. Crossed by a time diverse expressive impulses, decadence, symbolism, the idea of \u200b\u200bliberation from patterns of their romance, an age, in terms of expressive research, continual research and transformations that have advanced progressivamente verso una messa in discussione generale dei linguaggi, dei sistemi produttivi dell'Arte mettendo in moto una crisi generale dei suddetti sistemi: la crisi del linguaggio tonale e il nuovo metodo dodecafonico, il serialismo integrale e la radicalizzazione weberniana, il superamento e la ridefinizione formale e contenutista delle categorie stesse del pensiero musicale della tradizione classico-romantica. Questo paragrafo vuole essere una nota riassuntiva di quanto scritto finora, con la volontà di indicare ed analizzare quell'importantissima fase di collegamento tra l'esperienza tardo-romantica e la 'Neue Musik'/musica contemporanea d'avanguardia . Ritengo che a proposito ci sia una grandissima confusione a riguardo -riscontrabile in many texts on the subject (the only arguments to be considered are those produced in that specific period or immediately thereafter, with particular attention to the work of Adorno theory) -, by showing any changes or fragmentation of systems and methods of expression as separate realities in its own right and not as cash flows, multiple and infinite branching, structural path of languages. What then is to emphasize is the importance of heredity 'late romantic', or rather of those composers who were, quite literally, a "bridge" between the crisis of decadence and symbolism, and the crisis of the tonal system, to achieve a first completion of that process defined "emancipation of dissonance" Mahler and Stravinsky in particular, and in the name of a specific desire of the evolution of artistic language in the context of the political thought of the twentieth century, the influence 's legacy Wagner - all elements of continuity with the experience of Schönberg, the' Second Viennese School ', to the research of ' pure 'and synesthetic of Olivier Messiaen (and, looking in perspective and long range, to the musique concrete, the electro-acoustic and electronic music, to the avant-garde tendencies niche today). Although denied by some historians of modern music is undeniable but the profound changes taking action on the Symbolist tradition, linking the idea and the genius Wagnerian opera contemporary constructivist approach to Webern and, on the opposite aesthetic in general, on arts, including visual ones, through the development expressionists and the abstract expressionist . The proceeds of a new musical language, to new conceptions dissonant paths Mahler or Stravinsky represent the "intermediate stage" , encountered that in a situation really awkward between the Romantic tradition, with the dissolution of formal schemes classic and schemi prestabiliti, in una concezione di rappresentazione come scaturigine dell'inconscio creativo, soffio dell'anima e rappresentazione di una vita interiore, pura intuizione dell'onnipotenza fantastica- e il razionalismo formale estremizzato nella 'serialità integrale' che, nella volontà di superare l'approccio tardoromantico, ne ingloba involontariamente l'essenza stessa del superamento; proprio come il romanticismo incorporò quei flussi evolutivi del protoromanticismo, in un accrescimento dinamico dello 'Sturm und Drang' , dell'opera di Beethoven, Schiller, Goethe, Novalis etc. Nelle modulazioni e nelle succesioni timbriche, in quella complessità cromatica dell'opera wagneriana, si ritrovano le passate accezioni di un uso più "indiscriminato" della dissonanza , attraversando molteplici stadi di penetrazione verso una complessità strutturale che appare come disgregazione del senso armonico della tonalità classica . La musica d'avanguardia seriale, invece, rispecchia una simmetria geometrica, in una contrapposizione -che è allo stesso tempo superamento- dell'instabilità dinamica dello Spirito e della vita interiore. Gli elementi dinamici fluiscono negli schemi, nelle serie, nei moti e nelle modulazioni. La libertà armonica del tardoromanticismo muta in stretta costruzione e pianificazione, in una strutturazione che sfrutta gli interstizi dissonanti della "pantonalità".

"At this tormented humanity, caught between the intoxication of the senses and the infinite anguish, lost in the impossible aspiration to an agreement between the finite self and the cosmic infinity of the divine, suffering from mysterious dizziness, soft and mysticism of disturbing fantasies, the music contributed greatly and gave at least one of the most representative: the unhappy Robert Schumann, who stood up with dignity alongside writers such as Tieck, Wackenroder, Novalis, Schlegel, Hoffmann , Schleiermacher. E 'in these minds that forms the typical romantic conception of music as an expression, even as a language capable of expressing that particular message è la nozione dell'infinito, magica comunione con la natura, mediazione soprannaturale fra sensi e spirito, fra l'individuo e il tutto. Quanto vi è di viziato e corrotto nella generale concezione romantica della vita e dell'arte contribuisce alla formazione di una pericolosa poetica della musica che, se non vieta ai romantici il conseguimento di splendidi risultati artistici, prepara la crisi post-wagneriana della musica europea e spiega la reazione antiromantica tentata dal Novecento"["Percezione e recezione della 'Nuova Musica' in Italia nel secondo dopoguerra"].