P.Boulez-automatization, alea controlled, multiple-parameter serials. Method and perception, alienation, abstraction and 'formalization of noise' "Between 1957 and 1962 an eminent genius of the contemporary scene has worked to" Pli selon Pli "based on poems by Mallarmé, and his name still resonates in the air: Pierre Boulez, conductor, musician, writer and director of IRCAM for more than twenty years (1970 to 1992). With the idea of \u200b\u200ba book in which the mobility of sheets becomes a metaphor for the mobility of multiple paths (today we would call process) the existence, in Mallarmé is prefigured as a kind of tutelary deity for Boulez and its beneficial influence is born this - and more - difficult and wonderful composition. Five songs for soprano and instruments, as only the most complicated meticulous serial music can be, where Boulez begins to explore the terrain the open form and dell'alea subsidiary, in which the interpreter can only choose between well-defined random guessing. Unlike Maderna and his "size," Pierre Boulez seeks to exacerbate the musical discourse, specializing in unexpected holes that characterize blacks "Pli selon Pli. The dilemma now is: Is there someone who can dare so much? "[It.qoob.tv]
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structuralism GEOMETRIC TO THE MUSIC AND THE COGNITIVE MUSICOLOGY COMPUTATIONAL. Still
post-Webern serialism and meaningful advances in the 'Neue Musik', the view of the European avant-garde and the systematization of
Internationale Ferienkurse für Neue Musik in Darmstadt, Germany. The study begins by experimental approaches (and theoretical) of the different personalities that have driven the evolution of 'art music
to the drifts of the number, the algorithm, the probabilistic calculation, the matrix of the series. In this summary you try to return a central role in the work of European music of Pierre Boulez (IRCAM Director since its formation in 1970 until 1992) and procedures for compositional matrices. The main reference from which this section of the research is taken from the text
"The geometric transformations as expressed through the matrix in the process of composition by Pierre Boulez: Structures in the serial integral I for two pianos. Classroom" Daniela Galante. The mention of
"Structures I" is designed to highlight a broader question, which is the one toward which part of this research and that concerns us directly: the interdisciplinary area that is open through strongly in the Neue Musik serialism and the convergence of mathematics / scientific theories in contemporary music - the issue prior to our subsequent studies on
music Cognitive and
assisted music composition, synthesis of '
computer music and musicology
computational that explore various research because of the importance of the establishment of digital electronics that is up to the present day developments in 's
electronic art music. If the geometric transformations have played a key role in the evolution of contemporary musical language, is already with the affirmation of the tonal system, the polyphony and counterpoint, which have their roots, but it is obviously in 900 that these structures
are applied extensively in the construction of complex sound, in a very innovative from the twelve-tone later to the European avant-gardes that followed in the footsteps of serial experiences. In conclusion, we outline the first few elements of "dialectic" that are the composition metaelettronica.
mathematization IN radicalization of the serial '(PLURIPARAMETRICA). Pierre Boulez and instances post-Webern. As already analyzed in previous posts, the unwinding of the tonal system in the late '800, has gone through various degrees of saturation
correspondent, from the opposite point of view, the path
'emancipation of dissonanza'- , going to the drifts and the extreme boundaries of tonality and excessive chromaticism (eg immense Wagnerian opera), beginning a gradual "deconstruction" of traditional tonal system, functions, hierarchies of harmonic degrees. The movements that flow into the path of a constituent
"European avant-garde music" were many and varied, but the border is marked with primary and Scheonberg
II School of Vienna, until the next systematization in
Ferienkurse Darmstadt. The base then is the new twelve-tone method and the serial principle: the scheme, in short, is a preordained succession of sounds (series) in which a note is not repeated until they have been used in other, and the disposition of the notes is based on patterns: reversal
,
retrograde, retrograde inversion
and serial
transpositions (the post is seen
" pantonal, twelve -tone technique, serialism full. Expressionist towards a stage of electronic music. "). In this context of ongoing advances the boundaries of expression and a great search in the direction of abstraction and dispersion of the axes of the perceptual composition, has the work of Pierre Boulez, who along with Anton Webern
- was the central figure for the evolution of contemporary music as we know it today (especially on the side of 'avant-garde
proper). This centrality of Boulez comes from its constant drive to
and the radicalization of the entire system serial, collecting certain instances and theoretical composition expressed by Anton Webern. The attempt to serialize each constituent factor of Boulez's composition brings it to the extreme of the Puntillo Webern, resulting in a radical, utopian and visionary of that serialism. In 1952, Article
"Schoenberg is dead!" , Boulez dodecaphony schoenberghiana accused of having self-limited to serialize only the heights but argued that the need to develop accurate insights that extend the serialization of Webern to the many elements of the composition (duration, intensity, timbre). The full serial
heads to a total break with the tradition, breaking every possible connection with the past and also responding to the strong need to overcome the late-romantic subjectivism, reset any previous artistic process in the search for an objective language (it fully exert "utopias" of Darmstadt). First step towards the radicalization of expressive languages, to the formalization of the artistic avant-garde extreme, and yet on what socio-politico.
ASTRAZIONE E ALIENAZIONE- 'GRADO ZERO'. "STRUCTURES": TRA COMPOSIZIONE AUTOMATICA/ORDINE SERIALE E STRUTTURAZIONI PERCETTIVE ALEATORIE. Per analizzare "Structures I" è necessario soffermarsi su quelle che sono le conseguenze sonore e percettive del processo di radicalizzazione dell'architettura seriale. Questa tecnica di estremizzazione restituisce un risultato percettivo assolutamente alienante, trasforma il flusso compositivo in un agglomerato in-umano e dis-umanizzante , la soggettività emotiva del compositore si annulla nella complessità della serializzazione estesa ad ogni possibile elemento the composition ( 'degree zero' ). Boulez Will chasing a nihilistic zero, make "tabula rasa" of any legacy of the past, the desire to build a objective language, given the complete pre-determination of the material, devoid of any interference of the subject, thus entering the live utopian that star that moved in front of the composers of the Darmstadt and formalizing the sale . The "Structures" investigate the possibility of an automatic dialing , in which the serial order flows into its opposite at the perceptual level, where the extreme differenziazione degli elementi supera le reali facoltà uditive. Ricorda esattamente la stratificazione di livelli acustici messi in atto nella musica di Iannis Xenakis , in cui l'ordine matematico e architettonico delle composizioni stocastiche markoviane supera le possibili facoltà percettive dell'ascoltatore, manifestandosi come un caos cosmico in espansione in una inquadratura distante, ed assumendo invece una perfezione estrema nel dettaglio compositivo dell'ordine matematico in uno sguardo ravvicinato. Frattali e sezioni auree nel caos visivo della materia. La risoluzione dell' iperdeterminismo seriale nel suo opposto percettivo giunge ad una svolta (liberatoria) con l'ingresso di John Cage a Darmstadt, la cui musica è pervasa dall'evento probabilistico del caso, fino alla libertà interpretativa ed esecutiva dell' Alea . Boulez intanto continua su un percorso speculativo sperimentale, in bilico tra elementi di disordine percettivo, libertà aleatoria e la volontà di "assorbire il caso", addomesticandolo alla propria Volontà compositiva.
STRUTTURALISMO E NEO-SERIALITA'. DALLA GESTALT E IL COGNITIVISMO ALLA "MECCANIZZAZIONE" DEL MATERIALE SONORO. VERSO L'ESSENZA PIU' INTIMA DELLA MUSICA ELETTRONICA. A partire dalle istanze strutturaliste, passando attraverso le teorie psicanalitiche della Gestalt e degli insiemi, gli sforzi neoseriali di condurre linguggio unitary structures to the music clashed with the new paths and compared the 'experimental mathematics' '900. The expressive horizons have expanded through the wide-ranging discussion of inter-disciplinary, scientific theories have led to the experimental aspects of composition with Pierre Boulez and has opened the most radical phase of 'abstraction serial -especially ' Structures I ' - depends on the composition series pluriparametriche (serialization of all components of sound) matrix and numerical models. The considerations of Boulez (between axiomatic structuralism and scientific research), have always been strained to imagine the equivalent in music of representative models of structuralism and "the axiomatic therefore offered the theoretical support to the urgent task of the musical compositional rules to rely solely drawn from the relations established by the formalism. Boulez even pointed to the axiom schema of defining" a universe formal and perfectly formed logically founded "(" Complexity and nonlinearity in the contemporary musical thought, "Angelo Orcalli). The understanding of the work of Boulez must begin with careful reflection on 
term "structure" ("To the world we know the structure, not the essence. We think in terms of relationships, of features, not of substances and accidents) , following the paths in structuralism theorists who have defined complex sets use in architecture visual and sound (through a gradual replacement of the deduction [logic] intuition). What is required to music, in line with the axiomatic formalism, is to use the 'given' and the set of relations of a structure to represent the transcendent (that representation, obviously it is, can pass only through the symbol only means representative of which may be available to represent those areas of the evanescent and transcendent "spirit"). A representative of this process is no exception of course serialism and Pierre Boulez, the latter, in the period of "Structures", moves in the direction of writing totally "re-formalized", starting with a 'degree zero' in an attempt to automate sound material and make a complex synthesis of mechanization of the composition. As already noted, this "procedure" meant a total annihilation of the will of the composer, the overcoming of emotional levels, returning the composition to its most intimate reality, purged from any compromise dictated by "creative intellect." And 'here that Boulez's work intersects with that of John Cage on the issue dell'imprevedibilità'-crossing in some way l'alea, ma passando oltre verso la ricerca di un 'controllo dell'automatizzazione'. Da una lettera a John Cage del dicembre 1951, Boulez scrive a riguardo del margine di imprevedibilità insito in tali automatismi: "La sola cosa, mi scuserai, che non trovo adeguata è il metodo del caso assoluto, credo che il caso debba essere molto controllato. nelle interpolazioni e nelle interferenze delle differenti serie [...] vi è già abbastanza di ignoto".
LO SCARTO TRA IL METODO E LA PERCEZIONE: LA RICERCA DI NUOVI MODELLI E LA 'FORMALIZZAZIONE DEL RUMORE'. La ricerca in questa direzione è complessa. In un caso e nell'altro. Attraverso il calcolo combinatorio e il metodo seriale, il preordinamento e la rigorosa determinazione del materiale sonoro, non consente comunque una percezione altrettanto cosciente di tale determinazione in termini di un ordine controllato, ma, al contrario, l'ascolto di tali procedure genera la sensazione, non ricercata, di totale casualità, in una percezione delle frequenze proprie del rumore e una dispersione di queste verso una totale 
"dissonanza" dei parametri portanti della composizione. E questo rischia di mettere seriamente in crisi l'intero assetto teorico e metodologico di tale "iperdeterminismo" compositivo delle serie. Tale scarto tra il metodo e la percezione ha quindi inevitabilmente condotto verso la necessità e la ricerca di nuovi modelli. Questa direzione brings the entire methodological framework towards what we call here the " FORMALIZATION NOISE" , the incorporation of noise into the compositional process. The European avant-garde music clashed with his idea of \u200b\u200ba near future now that the frequencies of the dissonance found full acceptance in the composition, identifying and defining and undefining entirely new models of which method to adhere the composition, is the point arrival of that complex process, analyzed in the previous post, as defined "emancipation of dissonance" - pioneering the path to which the concept of electronic music today owes all its most intimate essence. In questo percorso verso il futuro della musica elettronica e della composizione assistita, si inseriscono una moltitudine di esperienze compositive sperimentali, tra cui quella fondamentale di Iannis Xenakis (padre della musica stocastica), che pone in equilibrio diversi elementi teorico-metodologici verso una "texture musicale" tra automatismo, calcolo combinatorio e modelli stocastici Markoviani.
"Per superare l'impasse di un universo compositivo privo di gerarchie, trasfusa la prima pratica elettronica nella tecnica orchestrale, compositori come György Ligeti, Krzysztof Penderecki e lo stesso Xenakis daranno forma ad aggregati sonori i cui singoli timbri strumentali vengono elaborati ed integrati in strutture complesse nelle such as individual characteristics of each instrument to give the benefit of the formation of a stamp overall result of the integration of the various components of sound textures that blend in "[" Complexity and nonlinearity in the thinking of contemporary music "-Angelo
Orcalli].
The serial model is in its most intimate essence a radical reaction to classical thought, tied to an illusion of an order / immutable universal harmony, which comes in perfect symmetry of classical counterpoint and extreme frequency of sequences : "these are regularly generated an abstract space-time framework, a pattern that seemed to pre-exist to the things that you appear, therefore they donavano experience the illusion of an absolute objective order "(Henri Pousseur).
" It ended up acknowledging that, even in Webern, the possible existence of an established order was not denied, but simply hushed up. The real breakthrough will be represented by the noise factor: the maximum disorder, the aperiodicity of the essential musical material. With Déserts Varese will give an acceleration of the musical language determine the crushing, which are necessary to its evolution. His dark definition of music as an art-science that manifests itself through corporificazione intelligence that is in the sounds (definition che egli trae erroneamente da Wronski) preannunzia infatti la scissione tra una sintassi astrattamente concepita, inventata o suggerita da analogie ed isomorfismi tra campi differenti del sapere, ed un ordine derivato dalla percezione di gradi di correlazione presenti a priori nella materia sonora. Tematica tuttora dominante nella ricerca elettronica. L'organizzazione del suono in rapporto alle sue forme acustiche ha orientato l'attenzione uditiva verso il sonoro. L'interesse per oggetti instabili, complessi dotati di un ordine non immediatamente percettibile ha posto il problema della loro classificazione. A seguito degli studi di Pierre Schaeffer e Abraham Moles sugli oggetti sonori si é potuto cogliere l'importanza teorica ed estetica della presenza del rumore anche in orchestral sounds sharper "[" Complexity and nonlinearity in the thinking of contemporary music "-Angelo Orcalli].
SERIALIZATION MULTIDIMENSIONAL DISPERSION IN PROCESS AUTOMATION AND BEAUTY. THE LAST FRONTIER: THE 'dialects' ELEMENTS OF AUTOMATIC AND random processes. Starting from materials extracted from the work of Olivier Messiaen ( trying to reach the 'degree zero' of the composition, the annulment of the emotional subjectivity of the author and fin-as-possible act of his own composition) Boulez apply geometric transformations using a complex numerical grid expressed in the form array of , providing a basis for every possible choice of composition. Really leads to the automation of the compositional and emotional alienation of feeling expressed through the creative act. The result is emotionally EXTREME . Chilling. Alienating. Since everything is serialized-heights, intensity, dynamics, attack types-none of these elements can be repeated until the series does not end with the next one begins, showing a sort of 'decentralization' , where the absence of a hierarchical function elements within the 'move' the composition, drifts up to powerfully abstract. "The ear and memory have nothing a cui aggrapparsi, e l’ascoltatore galleggia in balia di eventi sonori imprevedibili" . Il metodo delle serie infatti si contrappone notoriamente alle gerarchie della tonalità e, "a differenza di quanto avviene col sistema tonale, nella musica seriale sono assenti le funzioni gerarchiche dei gradi e degli accordi all’interno delle scale, i rapporti fra sistema maggiore e minore, il concetto di consonanza e dissonanza e la percezione del senso del movimento e del riposo" . La dis-umanizzazione percettiva della 'composizione automatica' e della serie multi-dimensionale (integrale, estesa cioè al totale della dimensione sonora completa di altezza, durata, intensità e timbro), l'azzeramento dell'IO creatore e di ogni possibile determinazione sull'evento sonoro, corrisponde al limite estremo di "alienazione" - pur lasciando l'evento alla razionalità matematica e geometrica. Raggiunto questo vertice, il passo successivo è consegnato alla dialettica . La dialettica degli elementi fisici nella composizione, degli elementi automatizzati con i successivi processi aleatori. L'ultima frontiera, il confine estremo, è stato raggiunto dalle avanguardie del '900; il passo successivo è riposto -a mio parere- nel futuro della musica elettronica.
CONCLUSIONE: LA METAELETTRONICA E IL NUOVO FRONTE DEI PROCESSI ESPRESSIVI -TRA IPERDETERMINISMO and abstraction. The dialectic of BEYOND THE SOUND DIMENSIONS serial 'MULTIDIMENSIONAL AND random processes. The purpose of the study must be, inevitably, the proposal phase. Through a number of texts has been identified and proposed that stage we call the "dialectic of the elements" : the last step in a process that began with the radicalization sound serial architecture. This is a step that still can and should be explored by the music 'meta-e': dall'iperdeterminismo composition to the "metaphysics of sound" , the dialectic between automation, and random processes, procedures and interpretations will, abstractions and substance of sound material, "mechanization" and ipercomposizione textures. Metaelettronica is trans-genre par excellence . Advances expressive theory and method, inherited from the avant-garde experimentation, led inexorably to that stage, many scholars and critics considered to be a blind alley-which is typical of contemporary REPRODUCIBILITY '. extreme case of pioneering work, which through 
systematic saturation of the role of man in anthropocentric technology (in the "small-scale production Art") aimed at the 'zero degree', towards the 'alienation and dis-humanization of the expressive product, identical to the reproducibility and the annihilation of subjectivity, through the automation of procedures. Far from wanting to repeat the superficial concept (all too clear when one considers the act of man in history and socio-political processes) as a consequence of their own time, in reality the result of automation and reproducibility is a willingness to use the potential of his time, connecting the inevitable end in the ultra-critical approaches, with the processes of history: the age and industrial automation, the progressive forces of progress and higher perceived as uncontrollable (which generate the illusion of a unshakable order, the displacement and disorientation). And 'at that time in fact, that along with the first waves of industrialization, created the first analysis and theoretical texts that are being examined as the balance of power between capital and the social front (the most important of which is without doubt "Das Kapital" by Marx), the first organizations to strong criticism and resistance that bring together the most exploited layers of society by increasing participation capititalistica production. The European avant-garde, far from being a simple mirror of reality, instead they ride the ultimate essence, going in the direction of history to change the internal relationships, creating tensions expression, giving their mark through the expression of the inmost reality of their time. In this "revolutionary experience" has not failed the music, that-the most abstract expressions-has traveled the path of nihilism. From the twelve-tone turning to post-Webern serialism, it went through the concrete and abstract electronic music (music cognition, computational musicology, etc.), in the direction of 'Moment Zero'. In this regard, "Structures" Boulez is a symbolic work, as it provides across the board, a key to a possible future experience of music and electronic music in particular: the radicalization of automation in the composition (in bilico tra procedure e processi aleatori) e "la dialettica degli elementi compositivi". 
(matrix 12x12 /twelve-tone technique)
