Editing Aleatoricism (section)

===Music===
{{main|Aleatoric music}}
The term [[aleatoric music|aleatory]] was first coined by [[Werner Meyer-Eppler]] in 1955 to describe a course of sound events that is "determined in general but depends on chance in detail".<ref name=MeyerEppler/> When his article was published in English, the translator mistakenly rendered his German noun ''Aleatorik'' as an adjective, and so inadvertently created a new English word, "aleatoric".<ref>Arthur Jacobs, "Admonitoric Note",''[[The Musical Times]]'' '107, no. 1479 (May 1966): 414.</ref> [[Pierre Boulez]] applied the term "aleatory" in this sense to his own pieces to distinguish them from the [[indeterminate music]] of [[John Cage]].<ref name="newmusicbox1950"/> While Boulez purposefully composed his pieces to allow the performer certain liberties with regard to the sequencing and repetition of parts, Cage often composed through the application of chance operations without allowing the performer liberties.

Another composer of aleatory music was the German composer [[Karlheinz Stockhausen]],<ref name="newmusicbox1950"/> who had attended Meyer-Eppler's seminars in phonetics, acoustics, and information theory at the [[University of Bonn]] from 1954 to 1956,<ref>Michael Kurtz, ''Stockhausen: A Biography'', translated by [[Richard Toop]] (London and Boston: Faber and Faber, 1992): 68–72. {{ISBN|0-571-14323-7}} (cloth) {{ISBN|0-571-17146-X}} (pbk).</ref> and put these ideas into practice for the first time in his electronic composition ''[[Gesang der Jünglinge]]'' (1955–56), in the form of statistically structured, massed "complexes" of sounds.<ref>Pascal Decroupet and Elena Ungeheuer, "Through the Sensory Looking-Glass: The Aesthetic and Serial Foundations of ''Gesang der Jünglinge''", translated by [[Jerome Kohl]], ''[[Perspectives of New Music]]'' 36, No. 1 (Winter 1998): 97–142. Citation on 99–100.</ref>

Aleatoric techniques are sometimes used in contemporary film music, e.g., in [[John Williams]]'s film scores{{clarify|date=November 2019}} and [[Mark Snow]]'s music for ''X-Files: Fight the Future''.<ref>Fred Karlin and Rayburn Wright, ''On the Track: A Guide to Contemporary Film Scoring'', second edition (New York: Routledge, 2004): 430–436. {{ISBN|0415941350}} or {{ISBN|0-415-94136-9}}.{{verification needed|date=November 2019|reason=It is unlikely that the page number of the cited content would not change between hardcover and paperback; the scholarly solution is to list just the ISBN of the work that was consulted; we are guiding readers to what was used, and not locating the work so it might sell.}}</ref>