| Abstract [eng] |
The aesthetics of failure and randomness in music, especially electronic music, have always been very relevant and full of ideas. At the dawn of electronic music, with the vast expansion of ways and methods of creating sounds and compositions, errors and accidents became one of the more unique aspects that could be incorporated into musical works. These aspects often seemed to be born out of each other, for example, an error in the code would cause the number generator to give us unexpected, seemingly random numerical values, or a random change in the value of the delay effect would create rhythmic melodic parts. The aim of this paper is precisely to investigate whether there is a link between the aesthetics of failure and indeterminism, a philosophical branch based on randomness and the absence of regularity, and, if there is such a link, to define it. In order to investigate this link, this work first examines the music and creative methods of the aesthetics of failure. To do this, the first article analyzed is Kim Cascone's "The Aesthetics of Failure: 'Post-Digital' Tendencies in Contemporary Computer Music", where the aesthetics of error may have been mentioned for the first time, and where the attributes of the music of the aesthetics of failure can be found. The next part of the paper is an overview of indeterminism in music. This part of the thesis looks at individual musical genres that are based on chance, and analyses the works covered in the analysis of the aesthetics of failure through the prism of indeterminism. Finally, the relationship between the aesthetics of error and indeterminism in music is explored through reviews of these two approaches and interviews with Kim Cascone and Markus Popp, composer of the musical project „Oval “. As noted at the end of the analysis, failure is not a phenomenon or a process, but a failure to meet our expectations. The error itself is a result that is first of all unexpected, that is to say, accidental - it does not fit within the boundaries of the expected results, as well as it is not intended, because if the result is intended, it will no longer be a failure, but the correct functioning of the process. To illustrate this relationship, a piece of algorithmic music has been created based on the sound sources inherent in the aesthetics of error, the randomness inherent in aleatoric music, and finally the unexpected and unintended results produced by the simultaneous operation of these elements. The idea of the work is the sound caused by the constantly changing and growing value, and its control of the work. The Cycling'74 MAX software was used to create the work, and the algorithm used to create and play the work was developed. |
