In this atmosphere of investigation and cataloguing, a systematic device that would seem to make it possible for anyone to write music was practically guaranteed popularity. a little knowledge about how to put the game together and an understanding of the formal design of waltzes, etc." Īccording to Stephen Hedges, "The 'galant' middle class in Europe was playing with mathematics. Instead, what was required of the compilers. Aesthetics Īccording to Lawrence Zbikowski, "In truth, chance played little part in the success of the music produced by such games. In the early 20th century the Kaleidacousticon System, using arbitrarily combinable playing cards, was unsuccessfully marketed in the Boston area as a parlour game. Bach's Einfall, einen doppelten Contrapunct in der Octave von sechs Tacten zu machen, ohne die Regeln davon zu wissen (German for "A method for making six bars of double counterpoint at the octave without knowing the rules") (1758) and Maximilian Stadler's Table pour composer des minuets et des Trios à la infinie avec deux dez à jouer (French for "A table for composing minuets and trios to infinity, by playing with two dice") (1780). Examples by well known composers include C. The earliest example is Johann Kirnberger's Der allezeit fertige Menuetten- und Polonaisencomponist (German for "The Ever-Ready Minuet and Polonaise Composer") (1757 ). Several different games were devised, some that did not require dice, but merely choosing a random number. These games were quite popular throughout Western Europe in the 18th century. A Musikalisches Würfelspiel (German for "musical dice game") was a system for using dice to randomly generate music from precomposed options.
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