/kloc-the hope of French traditional folk songs in the 0 th and 9 th centuries

Music distinguishes between sequential music and statistical music. If there were only a few schools of modern music before World War II, then the modern music after World War II was complicated. As the first important stage of the development of modern music after the war, sequential music prevailed. Inspired by some more radical creative practices of Schoenberg's twelve-tone technique and Wei, composers began to integrate all elements of music (including pitch, duration, volume, timbre, starting method, etc.). ) into the serial computing network. Therefore, all elements of music are equally important, and the generation of structural organization in music depends entirely on strict mathematical calculation. This tendency is caused by the extreme rationalization of musical thinking. Mei Xian, a Frenchman, had the greatest influence in theory and practice. The four rhythmic etudes written by 1950 and the organ ditty written by 195 1 began the whole sequence. Mei Xian's disciple, the French composer Bryce, further developed Wei's stippling structure and became a more complex sequence music. In particular, it emphasizes the rhythm mode, exhausts the rhythm cells to the end, and excavates the ever-changing rhythm organization as the pillar of the music structure. This is the boldest attempt since Stravinsky's Dedicated to Spring. 1. Another student in Mei Xian, Kaisenakis (1922 ~), based on Mei Xian's theory, tried to achieve the combination of music and architecture, music and mathematics, music and philosophy, and showed a new musical ethics. He regards most of the instruments in the band as solo groups that exist at the same time and are independent of each other. Through this "sound group", high-density "sound particles" are produced, resulting in a wide and extremely flowing sound. This "sound group" formed by mosaic structure has the sound power like a rainstorm washing away buildings and thousands of frogs singing in the fields, which is called "general concept". Kesenakis also believes that when listening to music, listeners often perform an unconscious calculation behavior. This has not only been discussed by ancient China and Greek philosophers, such as the various relationships between sounds and numbers, but even in classical and romantic times, all kinds of mathematical calculations were hidden in music. Starting from this theory, he established a unique music theory of speculative statistics, which was later closely combined with the application of electronic computers. French M.P. filippo (1925 ~) and Japanese Gao Qiao Yuji (1938 ~) are engaged in this research. Uncertain music and accidental music are contrary to rational and mathematical sequential music and speculative statistics. In 1950s, accidental music represented by American composer J Cage and uncertain music represented by German composer K Stockhausen appeared. Accidental music is different from other modernist music. It is not a technique, but an expression of thought and music view, which originated from China's Yijing and Zen Buddhism, especially mysticism. In this kind of music, Cage even regarded silence as music, and many composers once regarded pause in music as silent sound. However, like Cage, it is unprecedented to equate the silent sound with the sound of sound, or even treat it more important than the sound of sound. Cage's silent work "4 minutes and 33 seconds", during the performance, only the pianist opened the piano cover and stayed in front of the piano for 4 minutes and 33 seconds. Cage thinks that although the piano is silent at this time, there are various reactions in the audience, and this accidental sound that exists outside is the real music in real life. This accidental effect not only has no difference between music and noise, but also has no difference between the concert hall and the outside world. At the same time, he explored new piano sounds. Uncertain music, which has the same effect as accidental music, has a deep origin in improvisation in the past, but it has gone to extremes in its development. Uncertain music can choose a certain music material or performance mark at will, and then one or several players can improvise freely. This kind of performance has various effects and can only be preserved by recording. When playing, you can also add poetry recitation, stage movements and even the audience's free performance at will, and often combine it with electronic music and computer music. Stockhausen's first piano piece 1 1 composed in 1956 is a pioneer of this kind of music. It has 19 pieces, which are recorded on a piece of paper, and the player can play what he sees at will. He also stipulated six speeds, six dynamics and six tone sandhi methods, and the performer chose a set of prescribed usage for each performance, so that after playing for three times, the music was over. His percussion suite composed in 1959 also has this feature. Players can stand among more than 20 percussion instruments arranged in a circle and play clockwise or counterclockwise. The musical instrument circle has 16 music scores marked with special marks. There is no fixed starting point and ending point. You can start at any point and play the rest of the music in turn. When you return to the starting point after playing for a while, the music is over. The representatives of this kind of music are Cage, M Feldman (1926 ~) and L Austin (1930 ~). Electronic Music and Space Music Another great exploration of modern music in the 1950s was electronic music. 195 1 year, the radio station in cologne, the Federal Republic of Germany first started the experiment of electronic music. 1953, composer H. Eimert produced the early electronic music "Sound Combination Practice" in this radio station. But the biggest influence in this respect is Stockhausen. 1954, he produced two electronic etudes and recorded them into records. In this work, he made 193 kinds of sound materials with sine waves, which had a great influence on European and American composers. 1956, he produced Song of Teenagers No.8, which combined electronic sounds with specific sounds (Song of Teenagers) and became a masterpiece of early electronic music. The production of electronic music is to obtain various new sound sources through electronic technology. It either uses sine waves to produce so-called pure tones without overtones, or uses percussion instruments and noise instruments to make noise. It also uses human voice or combines with specific music to deform, deteriorate and change it through sound filters and response equipment, and then splicing, regenerating, compounding and forming works through other electronic musical instruments and recording technologies. Using these electronic technologies, producers can arbitrarily combine all kinds of strange sounds and changeable rhythms, create a range and speed that vocals and musical instruments can't reach, and also create all kinds of illusory sounds in the imaginary universe. In the early 1950s, after various calculations, electronic music was produced. At the end of 1950s, electronic voice synthesizer appeared, which can directly control timbre, rhythm, dynamics and timbre. Producers can make all kinds of wonderful music by selecting the application button. Electronic music research institutions are mostly located in radio stations and electronic laboratories of some universities. The famous ones are: Southwest Radio of the Federal Republic of Germany, NHK Radio of Japan, Milan Radio of Italy, Berlin University of Germany, University of Illinois of the United States, University of Torrecht in the Netherlands, University of Toronto of Canada, Jimmings Company of Munich, and Columbia-Princeton Electronic Music Center of the United States. There are many composers engaged in electronic music, including German E Krenek, French C Beriau and E Varese, American O Luning, M Babbitt, v·u· Sacevski, Dutch H Badings, Japanese Shinichi Takei, Panasonic and Toshir? Mayuzumi. Have great influence. Electronic synthesizers include M. Subotnik and Japanese Isao Tomita. They have successfully produced a lot of electronic voice synthesizer music adapted from classical music, while S. Marttila Nuo used electronic computers to make music. With the rapid development of electroacoustic and electronic music, American electronic music composer V. U. Sacevski and his electronic instruments appeared space music in 1950s and 1960s. It separates all kinds of sound sources through multi-channel audio equipment, and then reproduces them from all directions, thus creating extremely rich and wonderful timbre and sound effects. As early as the beginning of the 20th century, American C.E. Ives used two sets of wind instruments, playing from the left and right sides and moving towards the center. Then cross, and then separate to the left and right, resulting in a sense of space flowing sound. In space music, many speakers are installed in different directions, so that the audience can not only clearly hear the changing level of polyphony and orchestration, but also clearly feel the combination and separation of various sounds. These sounds can appear in all directions or designated directions through multi-channel speakers, and can also move in any direction individually or as a whole. 1970, at the World Expo in Japan, the spherical hall "Odtoriam" of the Federal Republic of Germany Pavilion and the circular concert hall "Space Theater" of the Steel Pavilion all had such equipment and devices. The conversion of quality and quantity of this space music is completely controlled by electronic technology; Only works compatible with this technical system can be used as tracks of space music. Compared with previous romanticism and western traditional music, modern music has not only undergone great changes, but also diversified styles. Under the influence of modern economic, political, scientific and other artistic thoughts, the basic laws of western traditional music are broken one by one under the influence of the inherent laws of music art itself; In this process, due to the different ways and means adopted by composers, schools, composers and works have presented unprecedented complex features in history. In the past historical period, there was always a dominant music style, but in the 20th century, it was not uncommon for several different or even opposite music trends to develop in parallel. The change of music style determines the innovation of various elements in music. Modern music has made unprecedented breakthroughs in pitch, rhythm, timbre, dynamics and organizational structure. On the one hand, it has formed the main acoustic characteristics of modern music itself, on the other hand, the scope of music expression has also expanded unprecedentedly. Composers have obtained more and richer creative means, but these techniques often go beyond people's listening habits and familiar musical thinking, and often have a deep gap with the audience and modern music.