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Avant-garde can refer to radical or innovative classical music, psychedelia and neo-
psychedelia, noise, jazz, electronic music, or music that is simply unclassifiable.
Aleatoric music (also aleatory or chance music) is music in which some element of
the composition is left to chance, and/or some primary element of the composed
work's realization is left to the determination of its performer(s). The term is most
often associated with procedures in which the chance element involves a relatively
limited number of possibilities. The term became known to European composers
through lectures by acoustician Werner Meyer-Eppler at Darmstadt International
Summer Courses for New Music in the beginning of the 1950s. According to his
definition, "a process is said to be aleatoric if its course is determined in general but
depends on chance in detail" (Meyer-Eppler 1957, 55).
Indeterminacy in music, which was first used early in the twentieth century in the
music of Charles Ives, and in the 1930s by Henry Cowell and his student John Cage
beginning in 1951 (Griffiths 2001), came to refer to (mostly American) music
composed by a group of composers that grew up around Cage. This group included
members of the so-called New York School: Earle Brown, Morton Feldman and
Christian Wolff. Others working in this way included the Scratch Orchestra in the
United Kingdom (1968 until the early 1970s) and the Japanese composer Toshi
Ichiyanagi (born 1933).