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강창식 한국음악학회 1982 한국음악학회논문집 음악연구 Vol.1 No.1
Contemporary music has born through a lot of ideological changes and its technical changes. Especially Twelve Tone-Technic which is originated by Schonberg in 1923 has established a system for atonal music and this crests an infinite possibilities in the expression of music. And also this technic became a basic foundation to bring forth a lot of queer forms of music. Meanwhile pointism in music which is invented by Webern changed the traditional melody music into the rhythmic music. So the functional notion of music, that is, the context of music has become less valuable than the non-functional notion of music which regard the individual note as the more important elements. Hereafter the integral serialism which initiated by Nessiaen has developed into not only serials but also musical materials which produce the completely controled music on the basis of integral serialism. But this mathematic and semi-scientifical method of music technic in composing lead to music without emotion and finally it arrives at formalism in music. On the other hand Free Twelve Note Music which is initiated by Berio, Boulez, and etc. lay more emphasis on the expression of pure feeling. Therefore the method of expression has become enlarged and diversified. During this period the Chance Music which was once dwarfed has revived again and has become a method to be exploited much. The concrete music and the electronic music which is tried by Schaeffer in 1947 and Eimert in 1950 has been developed rapidly in the amid of mechanical revolution. But there arose an ideological conflict in music, that is, how feeling come to be imputed into music whether it is subjectively imputed or objectively imputed. This trend of chance music have to be admitted as a reality at the time and as a result it create a computer music according to the continuous development of it. Anyhow the new acoustic music which was never been heard before have become an epidemic event in the history of music. Therefore if the acoustic rhythm which is made by machine could be audible as an extra-ordinary musical melody, we could not help admitting the existence of chance music. On the other hand the chance music which is grown out of by the reaction of concrete music and electronic music enlarged by Free Twelve Note Music made the expression of feeling boundless just as the acoustic music made by electronic music became endless in its expression. In a sense, this new trend in music would be regarded as the new style of music which need to participate a group of persons, that is, composers, musical players, and audience at the same time. The reperformance of the chance music is impossible and if it is possible, it would be considered as meaningless. Therefore it may be said that the transcendental thoughts contained in the chance music. At any rate the chance music attained the highest stage of prosterity in the history of music. As the modern civilization become diversified, the philosophy in arts occurred a great change; for example, the mode of expression in arts became diversified, too. In the older times, many people believe that the arts have to be expressed in a certain style or have to be formed with the same homogeneity. But this kind of ideas have gradually disappeared. Instead there arose a new aspect of style which combine various kinds, and methods using a lot of media. Therefore multimedia begins to be used in music and it matches even with non-exclusionism. And there are many cases which chance music is connected with music using multimedia. New style or new technic have been studied by many composers to find out new music through centuries. No one knows what kinds of music will survive and become prosperous or what kind of music will disappear or what kind of classic music will revive or what kind of music will be created. God only knows what kind of music will appeare in the future.
강창식 한국음악학회 1989 한국음악학회논문집 음악연구 Vol.7 No.1
The emergence of contingency in Accidental music dates back to the improvational performance which started from Gregorian-Chant in the 9 th century and Landini of Italy in the 14 th century. A contingency, which is embedded in the process of performance by completed music score, is the element to provide a performer with creative possibility and to make him be recognized. The aesthetician of that time have long controverted asserting that it should be formal or substantial. But these two concepts are not opposite but exist together compensating with each other only with the principal subordinate relation. But Free Twelvetone Music by Berio, Kagel and so on enlarged the element of contingency, and as the result of it, the music which could gain access to purer expression appeared. Mean while, the development of music- concrete by Schaeffer(1948) electronic-music by Eimert and Beyer (1953), and computer music by Hiller and Isaacson made the various sounds be used for multiple purposes. This development can be evaluated as an epochmaking one. But this brought about a new idiological confliction in music : the problems of that time as to whether it is possile to predetermine the future time and poor creativity by the mechanization of sounds. Therefore, composers have tried to find the possibility which can combine the mechanized sounds with the really performing sounds. As the result of that efforts, they have brought into the multimedia music made by simultaneous combination of other kinds of arts. They also have in part changed it into Avantgarde music of various types. Since the middle time of 20 th century, contingency music has been established because of the enlargement of Free twelvetone music and the idiological reactions to many kinds of electronic-media music. Now the contingency in Chance Music has been a means of composition as a substantial elment. Chance Music has no purpcise and thus could go beyond the time. No- time world is static. Therefore it has no purpose and there can be no advance in that world. Schonberg argued that the beauty of the works of arts comes not from rule of beauty but from the affects of arts. Composers do not necessarily compose for the sake of their own satisfaction, They want as many audience as possible to accept their composition. For a music to survive, overcoming historical gap, it is necessary for that music to be accepted at least by some audience, More than anything else, if is important to exclude such expressions as are only for the purpose of own satisfaction and to abstract the normal aesthetic sense of audience and to express appreciately, But in our modern complex society, rapidly changing music is being accepted in different environments. Therefore it is needless to say how difficult it is for modern composers to abstract the common aesthetic sense with which they can satisfy all the people.