Indeterminacy in music

Indeterminacy is a composing approach in which some aspects of a musical work are left open to chance or to the interpreter's free choice. John Cage, a pioneer of indeterminacy, defined it as "the ability of a piece to be performed in substantially different ways".

The earliest significant use of music indeterminacy features is found in many of the compositions of American composer Charles Ives in the early 20th century. Henry Cowell adopted Ives’s ideas during the 1930s, in works allowing players to arrange the fragments of music in a number of different possible sequences. Beginning in the early 1950s, the term came to refer to the (mostly American) movement which grew up around Cage. This group included the other members of the New York School. In Europe, following the introduction of the expression "aleatory music" by Meyer-Eppler, the French composer Pierre Boulez was largely responsible for popularizing the term.

Describing indeterminacy, composer John Cage said: "My intention is to let things be themselves". Cage initially defined indeterminacy as "the ability of a piece to be performed in substantially different ways" (Pritchett 1993, 108). Bryan Simms thus conflates indeterminacy with what Cage called chance composition when he claims that "Any part of a musical work is indeterminate if it is chosen by chance, or if its performance is not precisely specified. The former case is called 'indeterminacy of composition'; the latter is called 'indeterminacy of performance'" (Simms 1986, 357).

The earliest significant use of music indeterminacy features is found in many of the compositions of American composer Charles Ives in the early 20th century. Henry Cowell adopted Ives's ideas during the 1930s, in such works as the Mosaic Quartet (String Quartet No. 3, 1934), which allows the players to arrange the fragments of music in a number of different possible sequences. Cowell also used specially devised notations to introduce variability into the performance of a work, sometimes instructing the performers to improvise a short passage or play ad libitum. John Cage is regarded as a pioneer of indeterminacy in music. Beginning in the early 1950s, the term came to refer to the (mostly American) movement which grew up around Cage. This group included the other members of the so-called New York School: Earle Brown, Morton Feldman and Christian Wolff. Others working in this way included the Scratch Orchestra in the United Kingdom (1968 until the early 1970s) and the Japanese composer Toshi Ichiyanagi (born 1933). In Europe, following the introduction of the expression "aleatory music" by Werner Meyer-Eppler, the French composer Pierre Boulez was largely responsible for popularizing the term (Boulez 1957).

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