Yo Que Soy Contrabandista - Cecilia Bartoli

The basis of this kind of “creativity” is “not what should be, but what can happen” (P. Boulez). Theorists of A. see its advantage in that the case, which determines the structure of the work, brings to life a "new form",unexpected, independent of the intentions, taste and imagination of the author. However, these "new forms" do not carry in themselves the class. life content and are essentially dead forms. A. arose in 1957 almost simultaneously in the FRG (K. Stockhausen) and in France (P. Boulez) as a kind of reaction to the “total organization” of serial technology. The first attempts to use the elements of chance in muses. creativity was undertaken earlier: in 1951 in New York, composer J. Cage organized an experiment. concerts that used 12 radios tuned to 12 dec. radio stations. Two operators sitting at each receiver controlled the tuning and sound power as directed by the “author-conductor” Cage. Seeking to substantiate the historian. continuity A. , some theorists refer to the ancient art of muses. improvisationson the features of the improvisational principle ind. music, finally, to the experience of Mozart, who offered a comic instruction "How to compose contradances without any knowledge of music using two dice.