ALEATORIKA I MUZIKA ZVUČNIH BOJA

Nastojanja da se muzičko delo sto preciznije organizuje, kontololom svih parametara

koriscenjem dodekafone, serijalne i strukturalne tehnike, naišli su na neizbežnu
suprotnu reakciju. Pojavila se ALEATORIJSKA TEHNIKA.

Aleatorika je muzički pravac 20. veka. Ime je nastalo od latinske reči 'aleo' sto znaci
kocka. U izvođenju ove vrste muzike najbitniji deo je improvizacija koju izvođač sam
osmišlja. Kao kada bacite kocku ne znate koji ce broj ispasti, tako je u aleatorici tok i
kraj kompozicije uvek različit. Najpoznatiji kompozitor ovog pravca je John Cage, sa
Pjerom Bulezom i Karlhajnc Štokhauzenom. Stvaralački proces uključuje izvođače
prepuštajući im da unutar datih mogućnosti odaberu vlastita rješenja, npr. redoslijed
stavova ili izvedbu pojedinosti unutar zadatih okvira kompozicije.

Aleatorika u muzici je tehnika u kojoj je određen deo procesa stvaranja muzičkog

djela, a rad elemenata i parametara prepušten je manje ili više slučajnosti. Time je
postignuta velika sloboda u stvaralaštvu kompozitora.

Rodonačelnik aleatorijske muzike je John Cage, koji je već oko 1952. godine
primjenjuje u svojim skladbama, npr. U klavirskom koncertu „Muzika promjena“.

https://www.youtube.com/watch?v=B_8-B2rNw7s

Prijelomni trenutak u širenju takvih metoda skladanja bio je koncert američkog

pijanista Pola Džekobsa u Darmstatu, 28.7.1957. godine u kojem je na kraju prvog
dijela izveo pravu verziju Stochauzerova „Klavirskog komada XI“ te odmah poslije po
drugi put ali potpuno drugačije. Najednom listu hartije proizvoljno je poređano 19
notnih grupa. Izvodjač nasumice počinje od bilo koje grupe i svira je u proizvoljnom
tempu i artikulaciji. Svaki od delova se mogao povezati sa svakim.

http://stockhausenspace.blogspot.rs/2015/06/klavierstuck-xi.html
KLAVIERSTÜCK XI

KLAVIERSTÜCK XI
(with my color variation of a Lindsay Vickery slide)
Nr. 7: KLAVIERSTÜCK XI (Piano Piece 11)
(1956)  [approx. 14 min.]

Introduction
     In the earlier analysis of Piano Pieces 5-10, I described the isolated phrases in those works
as being in a way "snowflakes in a snowstorm".  In this 11th piano piece, that analogy
becomes more appropriate than ever.  However, from a pianist's point of view, it may be more
apt to use an "autumn leaves" analogy.  Here, 19 musical "leaves" are spread in front of the
player.  He picks one up, "plays" it, returns it to the pile, and then picks up another to play
(however, the way he plays this new leaf is affected by what he saw in the previous leaf). 
Sometimes he will pick up one that he's chosen before, but he plays it anyway.  However, if
he realizes that he's picked up the same leaf 3 times already, he stops, and the performance is
over.  In Piano Piece 11, each leaf is a few measures of score, and at the end of each score
fragment is the indication of how to approach the next chosen musical fragment (in the terms
of tempo, dynamic, and articulation).  Instead of a "pile of leaves", all of these musical
fragments are scattered over a huge sheet of paper, and the pianist chooses the phrases
randomly.  He stops after he has hit the same fragment a 3rd time.

     (I should mention that Stockhausen has never called these 19 score fragments "leaves" (as
far as I know), but I just find it handy to think of them that way.)

Polyvalent Form
     Because of the nature of this piece, there can be an almost unimaginable number of
versions.  Each version could start from any one of the 19 "leaves", and end on any one of
them.  This is an example of what is sometimes called "open-form" or "polyvalent form",
since the composition itself has no set structural arc.  One idea that Stockhausen is exploring
here is that each of these leaf fragments create their own "vibration" or color.  In the previous
Piano Pieces, grace note "satellites" and "halo tones" were used to create a resonating color
over a central note.   In this piece, each leaf (which also has its own internal central notes and
satellites) could be considered a single central tone by itself, and the
tempo/dynamic/articulation instructions at the end of each leaf are a kind of "resonant-
coloration" which affects its surrounding "satellite" leaves. 

     Structurally, if one thinks of each one of these 19 leaves as a single note-entity (as just
described), the chance sequencing of the leaves functions more or less the same way as
putting these leaves into a serial sequence.  The basic purpose of serialism is to produce
variety and unpredictability, and the method employed here can produce the same kind of
unpredictability.  Naturally this "eye-contact serialism" is not going to be as "pure" as in a
case where these leaves are put into a specific, non-repeating "leaf row", but since the
previous piano pieces already covered serial organization on different time-scales, perhaps the
idea of an open-form work which could produce a large variety of structural outcomes
became much more important.  However, ironically, some pianists prefer to "pre-program"
the sequence and play the same sequence of leaves from performance to performance
(probably because it was simply too hard to do it the "honest way").

     Stockhausen points out that it doesn't really matter how these leaves are sequenced - in the
end it's still a pile of leaves.  The work itself has its own unique "vibration".  "Piano Piece XI
is nothing but a sound in which certain partials, components, are behaving statistically...  If I
make a whole piece similar to the ways in which (a complex noise) is organized, then
naturally the individual components of this piece could also be exchanged, permutated,
without changing its basic quality."  (Conversations with the Composer, Jonatan Cott).

Rhythm and Pitch

6 of the 36 possible rhythm patterns from the "final matrix".

(from Truelove's "The Translation of Rhythm into Pitch in KLAVIERSTÜCK XI")
     The melodic material of each leaf was created through a fairly complex method of cross-
breeding rhythm patterns (above), layer density and articulation tables (tremoli, trills,
fermatas, satellite grace notes, halo tones, clusters, etc..).  The methodology is very structured
and mathematical, yet there are many places where Stockhausen broke from the math for the
sake of musicality ("composer intuition").  

     From a pitch-perspective, the notes were derived from proportionate durations contained in
the melodic rhythms.  For example, if two notes had a proportionate duration ratio of 3:2 or
2:3, an interval of a 5th was called for (sometimes augmented or diminished).  A ratio of 2:1
would dictate an octave (sometimes flatted or sharped).  In Stephen Truelove's
KLAVIERSTÜCK XI thesis (which was a major source of info for this particular section), he
claims that these flat/sharp "alterations" were methods to make the work "atonal", but
Stockhausen responded that these "off" notes are just approximations of harmonic
relationships (I assume this is related to discrepancies between equal- temperament and just
intonation).  In any case, the idea of translating rhythm into melody is a logical one because
rhythm can be turned into pitch if played very fast.  In other words, if 2 different rhythms
were looped at super-high speed, they would sound like 2 different noise drones, and if the
rhythms were periodic, actual pitches could be heard.  If the ratio were 2:1, an octave interval
would be produced (this idea is very important in the electronic work KONTAKTE).

     Additionally, after the melodic shapes were derived from rhythmic proportions, pitches
could be freely shifted to higher or lower octaves, and in general, longer note values were
given lower register pitches.  Satellite grace notes did not follow any duration-ratio rule (since
they are to be played "as fast as possible", after all), so these pitches were chosen intuitively. 
 Score
     The player starts by choosing one of 6 tempi and playing the first randomly-selected leaf. 
At the end of that leaf is the tempo, dynamic and articulation for the next randomly-chosen
leaf.  After a pause, or during a sustained chord, the next leaf is chosen and then played with
the indicated markings.  If a previously-played leaf is chosen a second time, the leaf is to be
played in a slight variation, such as in a new octave (like looking at the backside of a leaf?). 
Not every leaf needs to be played in a performance.  If the same leaf is chosen a third time,
the pianist ends the performance (without playing the thrice-chosen leaf).

     One of the interesting things to consider is that each of these 19 leaves can be played in 19
different variations (depending on the tempo, dynamic and articulation instructions from the
previously-played leaf).  Out of these 361 leaves, theoretically anywhere from 2 to 39 could
end up being played for a given performance. The number of possible performance sequences
is....well, very big.

     Below are 5 of the 19 leaves (melodic fragments).  Ellen Corver recorded 2 versions of
KLAVIERSTÜCK XI on Stockhausen Edition CD 56.  The first version (Disc 2, Track 2)
starts with the 3rd and 4th score examples below. The second version on Track 3 begins with
the 5th example.  All of the score excerpts below are copyright Universal Edition and
www.karlheinzstockhausen.org.

This leaf descends

This leafinto
hasalarge
longinterval
trill. leaps.
1 indicates that next
T6 means that leaf should
the next leafbeisplayed
to be played at the
at the lowest speed, theThe indication "N"
"(8....)" at bottom means
eans "neutral" articulation.
that the 2nd time this leaf is played, it should be
top means that the 2nd antime thislower.
octave leaf is
played, it should be an octave higher.

ow tremoli; the articulation for the next chosen leaf must use staccato
attacks with silent redepressions)
 (with pedaling and halo chords)

syncopation with intermittent pauses, halo chords, etc...)

Snimak https://www.youtube.com/watch?v=UmCT69F03wo

Aleatorika u muzici je takva tehnika komponovanja gde je deo procesa stvaranja i izvošenja muzičkog
dela prepužten kontrolisanoj slučejnosti. Time se postiže veća sloboda i kompozitora i izvodjača.

Istorijski značajno je i izvođenje Treće klavirske sonate Pjera Buleza

On je bio inspirisan knjigom Stefana Maralmea u kojoj su se listovi mogli čitati bilo kojim redom.
Bulezova kompozicija sastavljena je iz 5 delova i dopušta slobodu izvođaču i rasporedu i tumačenju
delova.

Izvođenje https://www.youtube.com/watch?v=OFOfOhJU7YA

MUZIKA ZVUČNIH BOJA

Posle punkturalizma, klastera...zvučnih mrlja u muziku se vraća izražajnost, kontrast, emotivni
naboj....kompozicije imaju jasniju muzičku strukturu i „slojeve“ boja. Najznačajnije delo napisao je
Roman Haubenštok Ramati: Simfonija zvučnih boja

Istorijski gledano klice aleatorike javljale su se i ranije: melodijsko – itmičke improvizacije u Dzezu,
kadenca soliste u klasičarskim koncertima, šifrovani general bas u 17. I 18. Veku.

Mocartu se pripisuje pronalazak muzičke igre sa kockama namenjene komponovanju valcera. Za tu

igru bile su potrebne dve kocke, brojčana tablica i muzika od nekoliko taktova, koji su se premestali i
kombinovali onako kako kocke i tablica pokažu.

Sve novine izazivaju s jedne strane oduševljenje a s druge nevericu pa čak i prezir. Tako i aleatorika
ima svoje pristalice i vatrene protivnike.

PRIMENA ALEATORIKE
Vrste aleatorike:

1. Apsolutna aleatorika
2. Relativna aleatorika

Apsolutna aleatorika

Ekstremistički eksprimenti i zamisli zasnovani na čistoj slučajnosti ( bacanje

kocke, novčića, neorganizovana instrumentalna improvizacija...)

Razlikuje se:

1. Aleatorika stvaralačkog procesa

(primer st 222 drugi pasus Džon Kejdž, Muzika za klavir 21-52)

2. Aleatorikaizvođačkog i reproduktivnog procesa

(primer Štokhauzenov klavirski komad XI, Donati „Za orkestar“ knjiga st
222 poslednji pasus)
https://www.youtube.com/watch?v=qJLuXMQ103g

Vrlo često se ova dva procesa kombinuju.

Pravi umetnici pribegavaju relativnoj, usmeravanoj aleatorici, koja se ispoljava

u aleatoričkoj upotrebi ritma, tempa, metra, melodike, harmonije, zvučnih
boja....Svako novo izvođenje je bitno različito ali nikako sasvim slučajno.

ww.youtube.com/watch?v=rsDYLVB9Hxc

„A piacere“ K. Serocki

( opis knjiga st 223 poslednji pasus)