
	Philosophy and Culture Reference: Pereverzeva, M. V. Stochastic Music: Philosophical Aspect // Philosophy and Culture. 2014. № 7. P. 954-963. URL: https://en.nbpublish.com/library_read_article.php?id=65286 Pereverzeva, M. V. Stochastic Music: Philosophical Aspect Abstract: Under the influence of scientific theories and philosophical teachings on the music writing practice of the 20th century the so-called stochastic music was created (from the Greek στοχασμός which means ‘guess’) when the music was composed using mathematical probability systems (statistical distribution of music parameters, elements and etc.). Stochastic music was mostly developed during the period of prosperity of aleatory music, which a composing principle that allows the process of music creation and performance to be influenced by chance. Like no other composing method of the previous century, stochastic composing method had serious philosophical grounds that made artists to rethink their creative experience and offer a totally new creative paradigm which had never been in art before. As Iannis Xenakis, Lejaren Hiller, Karlheinz Stockhausen and other adepts of stochastic music believed, that music writing tecnique reflected the basic principles of universal development which composers tried to follow in their music. Composers addressed to stochastic music to find a new mean of music expression that would correspond to their internal world views being formed under the influence and philosophy oft he 20th century. Keywords: music, science, philosophy, stochastics, aleatory music, chance, composition, music writing technique, composing method, composition. This article can be downloaded freely in PDF format for reading. Download article This article written in Russian. You can find original text of the article here . References 1. Sokolov A. Muzykal'naya kompozitsiya KhKh veka: dialektika tvorchestva. Issledovanie. Izd. 2-e. – M.: Izdatel'skiy dom «Kompozitor», 2007. – 272 s. 2. Kholopov Yu., Kirillina L., Kyuregyan T., Lyzhov G., Pospelova R., Tsenova V. Muzykal'no-teoreticheskie sistemy: Uchebnik dlya istoriko-teoreticheskikh i kompozitorskikh fakul'tetov muzykal'nykh vuzov. – M.: Izdatel'skiy dom «Kompozitor», 2006. – 632 s. 3. Tsimmerman B. A. Interval i vremya / Per. i komment. A. Safronova // Kompozitory o sovremennoy kompozitsii: Khrestomatiya / Red.-sost. T. S. Kyuregyan, V. S. Tsenova. M.: Nauchno-izdatel'skiy tsentr «Moskovskaya konservatoriya», 2009. – S. 92–96. 4. Bois M. Iannis Xenakis: The Man and his Music. – London: Boosy and Hawkes Music Publishers Limited, 1967. – 40 r. 5. Hiller L. A., Baker R. A. Computer Cantata: A Study in Compositional Method // Perspectives of New Music. – 1964. – № 3(1). – P. 62–90. 6. Hiller L. A., Isaacson L. M. Experimental Music. – New York: McGraw-Hill Book Company, Inc., 1959. – 197 p. 7. Stockhausen. Conversations with the composer / ed. by Jonathan Cott. – New York: Simon and Schuster, 1973. – 252 p. 8. Xenakis I. The Origins of Stochastic Music // Tempo. – 1966. – № 78. – P. 9–12. 9. Xenakis I. Ad libitum // The World of Music. – 1967. – № 9(1). – R. 17–19. 10. Xenakis I. Formalized Music. Thought and Mathematics in Composition. – Bloomington: Pendragon Press, 1992. – 387 r.

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Pereverzeva, M. V. Stochastic Music: Philosophical Aspect