Abstract
What is heuristics? The methods of imagination that prepares for invention and discovery, by accepting that all arguments are good if they can succeed in achieving the proposed goals. A principle is deemed to be heuristic, therefore, when it is considered not on the basis of the truth it supports but by the fact that it contributes wholly or partly to the realisation of some project. In order to compose a work, the creator has a certain number of dominant ideas, which function as pivots or fixed points around which the piece develops. The value of these ideas, which sometimes take the form of theories borrowed from the physical or mathematical sciences, is justified a posteriori, by the realisation of the works that emerge from them, and not a priori: the experimental or logical truth of what they assert, even if confirmed by experimental reality, is put here in brackets. These principles count as opinions for the composer; they are the heuristic principles of creation. The aim of this paper is to analyse the principles that operate as the driving force behind the creation of Boulez and Xenakis.
Highlights
In order to compose a work, the creator has a certain number of dominant ideas, which function as pivots or fixed points around which the piece develops
PRELUDE There is a fundamental difference between the composers of the post-World-War-II era and those of the first part of the 20th century
The composers of the Vienna School, for example, as we know – and despite all the novelties they introduced into composing in their time – wanted to inscribe their projects in the purest Germanic musical tradition
Summary
In order to compose a work, the creator has a certain number of dominant ideas, which function as pivots or fixed points around which the piece develops. 1. Boulez’s heuristics Boulez based his compositional profile on the Viennese model, in particular on Webern.
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