Music in which the composer does not fix every detail of the music, but gives the performer a limited amount of room for chance-based choices. There are also terms such as "chance operation" and "music of uncertainty." Although the element of chance has been present in both Eastern and Western music for a long time, such as improvisation in folk music and the basso continuo of the Baroque era, these terms mainly refer to attempts in avant-garde music after World War II, and works by Boulez, Stockhausen, Berio, and others were created in response to Cage's attempts. In particular, Cage did not limit the act of performance to musical notes, but expanded it to "happenings" and "events," and continued to question the very meaning of music and performance, causing a stir in the music world. In the European composition world, many works were written using "controlled chance," which partially employs chance in composition and performance. "Graphic notation," which was born in this trend, was also one attempt to encourage the performer's spontaneity. This trend, which swept through the Western world of composition in the 1950s and 1960s, is thought to have been driven by a fundamental questioning of the nature of music, in which the relationship between composer, performer, and audience had become fixed and hierarchical. → Gorecki/Lutosławski → Related topics Ives | Sheet music | Musique seriale Source : Heibonsha Encyclopedia About MyPedia Information |
音楽を細部まで作曲者が固定するのではなく,ある限られた範囲で,演奏者に偶然による選択の余地を与えた音楽。〈チャンス・オペレーション〉や〈不確定性の音楽〉などの用語もある。民族音楽での即興演奏やバロック時代の通奏低音など,偶然性の要素は東西の音楽に古くからあるが,これらの用語は主に第2次世界大戦後の前衛音楽における試みをさし,ケージの試みを受けて,ブーレーズ,シュトックハウゼン,ベリオらの作品が生まれた。特にケージは演奏という行為を楽音に限定せず,〈ハプニング〉や〈イベント〉へと拡大し,音楽や演奏の意味そのものを問い続け,音楽界に波紋を広げた。ヨーロッパの作曲界では,作曲や演奏に部分的に偶然性を採用する〈管理された偶然性〉を用い,数多くの作品が書かれることになる。この流れの中で誕生した〈図形楽譜〉もまた,奏者の自発性を促す試みの一つとなった。1950年代−1960年代にかけて欧米の作曲界を席巻(せっけん)したこの動向の底流には,作曲家−演奏者−聴衆という関係が固定化・序列化した音楽のあり方への根本的な問いかけがあったと考えられよう。→グレツキ/ルトスワフスキ →関連項目アイブズ|楽譜|ミュジック・セリエル 出典 株式会社平凡社百科事典マイペディアについて 情報 |
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