when the sounds in a composition are left to chance we call this type of music indeterminacy.
when the sounds in a composition are left to chance we call this type of music indeterminacy.
when the sounds in a composition are left to chance we call this type of music?
indeterminacy
although a musical composition often uses musical notation and has a single author, this is not always the case. a work of music can have multiple composers, which often occurs in popular music when all of the members of a band collaborates to write a song, or in musical theatre, when one person writes the melodies, a second person writes the lyrics, and a third person orchestrates the songs. a piece of music can also be composed with words, images, or, since the 20th century, with computer programs that explain or notate how the singer or musician should create musical sounds. examples range from 20th century avant-garde music that uses graphic notation, to text compositions such as karlheinz stockhausen's "aus den sieben tagen", to computer programs that select sounds for musical pieces. music that makes heavy use of randomness and chance is called aleatoric music, and is associated with contemporary composers active in the 20th century, such as john cage, morton feldman, and witold lutosławski. a more commonly known example of chance-based music is the sound of wind chimes jingling in a breeze. the study of composition has traditionally been dominated by examination of methods and practice of western classical music, but the definition of composition is broad enough to include the creation of popular music and traditional music songs and instrumental pieces, and to include spontaneously improvised works like those of free jazz performers and african percussionists such as ewe drummers.
musical composition
chance is believed to be a descendant of robert chance, a mississippi gambler who settled in southeast texas in the late 1800s. his parents, mr. and mrs. robert floyd chance, were natives of southeast texas. chance's first musical experience started when he was 9 years old and began to take private piano lessons. in high school, chance continued to perform in ensembles and met arnold whedbee, a band director, who would premiere the first movement of chance's "symphony 1" at his graduation. at the university of texas, from which he earned the degrees of bachelor of music and master of music, he studied composition with james clifton williams, kent kennan, and paul pick. in 1956–57 he was honored with the carl owens award for student composition. after college he played timpani for the austin symphony orchestra before becoming an arranger for the eighth united states army bands. while serving in seoul, south korea, as a member of the eighth u.s. army band, chance came across a pentatonic korean folk song named "arirang" that served as the inspiration for his 1965 composition "variations on a korean folk song", which became his best-known work. the northwestern university band premiered the work in march 1966 at the american bandmasters association convention, where the composition won the ostwald award. some of chance's other important works include "incantation and dance", "elegy", "blue lake overture", and "symphony no. 2". after leaving the army chance was the composer-in-residence at the ford foundation young composers project in greensboro, north carolina, from 1960 to 1962. he joined the faculty of the university of kentucky in 1966 and taught there until his death on august 16, 1972. he was accidentally electrocuted while working in the backyard of his home in lexington, kentucky. in may 1973, the auditorium at grimsley (formerly greensboro) senior high school in greensboro—where chance had served as composer-in-residence from 1960 to 1962—was named in his honor.
john barnes chance