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There was one wing of the conservatives, however, which had gone the 12-tone procedure one better. These men composed what was called “stochastic mus… - James Blish
" "There was one wing of the conservatives, however, which had gone the 12-tone procedure one better. These men composed what was called “stochastic music,” put together by choosing each individual note by consultation with tables of random numbers. Their bible, their basic text, was a volume called Operational Aesthetics, which in turn derived from a discipline called information theory, and not one word of it seemed to touch upon any of the techniques and customs of composition known to Strauss. The ideal of this group was to produce music which would be “universal”—that is, wholly devoid of any trace of the composer’s individuality, wholly a musical expression of the universal Laws of Chance. The Laws of Chance seemed to have a style of their own, all right, but to Strauss it seemed the style of an idiot child being taught to hammer a flat piano to keep him from getting into trouble.
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About James Blish
James Benjamin Blish (May 23, 1921 – July 30, 1975) was an American author of fantasy and science fiction. Blish also wrote literary criticism of science fiction using the pen-name William Atheling Jr.
Also Known As
Pen Names:
William Atheling, Jr.
Birth Name:
James Benjamin Blish
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Additional quotes by James Blish
“Look at it this way for a moment, Dr. Ware. Very roughly, there are only two general kinds of men who go into the munitions business—those without consciences, who see the business as an avenue to a great fortune, eventually to be used for something else, like Jack here—and of course there’s a subclass of those, people who do have consciences but can’t resist the money anyhow, or the knowledge, rather like Dr. Hess.”
Both men stirred, but apparently both decided not to dispute their portraits.
“The second kind is made up of people like me—people who actually take pleasure in the controlled production of chaos and destruction. Not sadists primarily, except in the sense that every dedicated artist is something of a sadist, willing to countenance a little or a lot of suffering—not only his own, but other people’s—for the sake of the end product.”
“A familiar type, to be sure,” Ware said with a lopsided grin. “I think it was the saintly Robert Frost who said that a painting by Whistler was worth any number of old ladies.”
“Engineers are like this too,” Baines said.
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