Systems Theoretical Modelling of the 20th Century Music

(An Endeavour to the Categorization)

ZUZANA MARTINÁKOVÁ-RENDEKOVÁ
Faculty of Music – Department of Music Theory
Academy of Arts, Banská Bystrica
Jána Kollára 22, SK-974 01 Banská Bystrica
SLOVAKIA

Abstract: - We can see the 20th Century Music as a bigger dynamic whole, i.e. as a system. Systems theoretical
approach and synergetics as a special type of systems theoretical modelling enable to analyse relations of elements,
processes and functions in the system and in interrelation with the system environment. Three main subsystems could
be observed in the system of 20th Century Music: Modernism, New Music and Postmodernism. However the older
subsystem of Music of Romanticism and the origin of a new paradigm for which we do not have the name, interfere
with the system of 20th Century Music. Special relations exist between the attributes of these subsystems impacted by
the rules examined by synergetics. My attempt in this study is based on the assumption that it is possible to set up a
systems theoretical model of 20th Century Music as a self-organising system. The understanding of laws in self-
organising and self-regulating systems plays an important role in the modelling of the 20th Century Music.

Key-Words: - 20th Century Music, Categorization, Feedbacks, Attractors, Self-organizing System

1 Introduction1 reflection of reality (a phenomenon), is created when

sufficiently crystallised significant traits exist that
The 20 th century music2 is represented by a great differentiate it from other phenomena; i.e. germs of
number of stylistic tendencies, currents, orientations, studied phenomena – in music of a certain stylistic mode
lines, directions3 reflected in musicology by different, – occur earlier than the concept is formed.
more or less adequate concepts. A concept, as a Every categorisation is undoubtedly connected with
simplification. However, every categorisation, even if
1 Results published in this study precede a long- simplified, can more or less cover the phenomenon
time collaboration with the professor of examined, in this case it is 20th Century Music. The more
synergetics and quantitative linguistics at the complex and dynamic the phenomenon is, the harder it
University in Trier Reinhard Köhler and the can be covered. There is a need of a more demanding
professor of mathematical linguistics Gabriel
Altmann who was many years active at the
methodological approach, which examines the
University in Bochum. I am deeply grateful to phenomenon from the aspect of integrity and complexity.
the both scientists for relevant advices and Systems theoretical modelling enables to analyse this
remarks to the subject of my study. phenomenon in interaction with its structure, processes
2 In 20th century music several stylistic genres and functions in the system and with its sub- and super-
can be distinguished, which can be subdivided systems. Synergetics as a special type of systems
not only in classical music which is the subject
of interest in this study, but also – e.g. into jazz
theoretical modelling is compatible with the functional
(bop, progressive jazz, cool, west coast, hard analytic models and approaches of quantitative methods
bop, soul jazz, free jazz, jazz rock etc.); rock in musicology. Like other self-organising systems
(rock and roll, rhythm and blues, country and (language, fine art, various biological and social
western, Mersey sound etc.); pop, folk and their systems, etc.), music is characterised by the presence of
different combinations, also with other arts (rock
and theatre, rock and film, television etc.). cooperative and competitive processes, which affect the
3 The term style is used in two meanings: in a dynamics of the system.
broader sense as the style of a certain period, in a
narrower sense as the style of a composer. It is a 2 Processes in 20th Century Music
relationship: system – subsystem (See:
Michajlov, M. K.: Style in Music. Bratislava
1985. Adler, G.: Der Stil in der Musik. Leipzig
1911. 2nd Edition 1929). Tendencies, currents,
orientations, lines and directions can be
considered more or less synonyms although there
are small quantitative differences.
 Let us consider the 20th Century Music4 to be to preserve the old state (paradigm8), the other one trying
a system and examine the processes which have lead to to break it.
more fundamental changes and are so relevant for our Processes evoked by these forces caused
objective that is categorisation of 20th Century Music, by destabilisation of the system (here: the subsystem of
means of systems theory and synergetics. Music of Romanticism) and lead to the change of the
The system of 20th Century Music as a part of the state of the system, in this case to the extinction of the
super-system Music5 can be considered as a dynamic, old state of the system and to forming a new state of the
open (constantly changing) and emergent6 system, in system (style or paradigm), which dissolve mutually. In
which the following aspects operate: 20th Century Music several subsystems, though not entire
– forces leading to changes, phase transitions etc. overlap: the last phase of the subsystem of Music of
– needs from system environment, e.g. needs of Romanticism, the subsystem of Modernism, New Music9
human people, society, culture etc. and Postmodernism, as a phase of a new system
– order parameters in the sense of synergetics existence the name of which has not been crystallised
– emergent laws managing self-regulation. yet.
In self-organising systems the processes are mostly
Let us examine the aspects mentioned above in the not deterministic10 but stochastic, probabilistic (the
system of 20th Century Music. There are two forces frequency of styles in music e.g. conforms to stochastic
principally which have an effect on forming the system processes of origin and extinction, which are connected
and its changing: competitive and cooperative. with an effort for multidimensional system optimisation
Competitive forces bring destabilisation into the system, which can be liable to changes during the process of
cooperative forces, on the contrary, lead to system development. In communication systems, where music is
stabilisation. These forces are determined by the needs also included, it means a tendency for the optimisation
of the system environment. If there were suitable of a situation in the process of communication between
conditions for changes in the style of music (art) at the the transmitting part and the receiving one. In human
turn of 19th and 20th century in Europe, determined by behaviour there can be generally observed an unceasing
both artists’ and recipients’ need for innovation, endeavour to minimise effort, which causes the forming
competitive forces7 started to operate, one of them trying of competitive forces on the both sides of the
communication channel.

This minimisation regards:

– minimisation of memory effort
– minimisation of coding (i.e. creation) and
minimisation of decoding (perception) effort
– minimisation of coding (i.e. creation) and
4 We have to specify what we understand under minimisation of decoding
the notion 20th century music which does not – minimisation of production and reproduction
comprise global tendencies in music over the
whole world but tendencies being a result of
effort
European development and in this meaning the
term comprises also tendencies in the music of
the USA or some other countries and continents 8 The term paradigm or a historical type of
following this development. rationality is elaborated in philosophy. It is
5 Systems do not really exist, that are us who considered the way of man’s historically
look at the phenomena being investigated as determined adaptation and reflection of the
a system. If music is considered to be a system, world. Kuhn used the term “paradigm”, Lakatos
at the same time it is the part of a higher system “scientific program”, Popper “first, second, third
(macro-, supra-, super-, or mega-system) that is world”, Jaroshevsky “categorical network”,
art, art is then the part of a higher system – Zelený “rationality”. Kuhn, T.: Štruktúra
culture etc. It depends on the point of view what vedeckých revolúcií (The Structure of Scientific
we shall consider a starting system out of which Revolutions). Bratislava 1982; Zelený, J.:
relations to sub- and super-systems will develop. Pojednání o dialektice (Treatise about
6 We speak about emergent systems if a higher Dialectics). Prague 1982.
form of system existence arises from a lower 9 The notion New Music is only subsidiary
form and in the process of evolution new because it evokes artistic orientation after the
relations are acquired. World War II in Europe and not the whole
7 Several biological self-organising systems subsystem having been lasted approximately
where the competitive forces operate (e.g. fight from the beginning of the 20th century until now.
between foxes and rabbits) are described by 10 The following state can be predicted from the
synergetics. previous state, which determines it.
 In practice it means that at minimal effort an optimal for which we do not have the name but we can assume
effect should be achieved. In the process of its basic features.
communication this objective can face two contradictory
endeavours which cause destabilisation of the system 20th Century Music
leading to a compromise in the following stage and thus
Nov Cnf Nov Cnf Nov Cnf
to optimisation of processes evoking system stability.

3 Systems Theoretical Model of 20th

Century Music Romanticism Modernism New Music Post- ?
modernism

Let us simulate processes in 20th century music by

making a system-theoretical model of the system of 20th
Century Music.
In certain phases, when the state of the system or
subsystem is stabilized, need for innovation, causing that Fig.1: Alternation of the Need for Innovation and the Need for
the old system or subsystem (e.g. subsystem of Music of Confirmation
Romanticism) is not suitable for new demands and needs
and thus coming into the state of passing away, arise. At 3.1 Feedback Effect
the same time a new system or subsystem (e.g. of the
Modernism) is being born, entering the state of Order parameters play an important role in self-
originating. It can be characterised as a period of regulating and self-organising systems. These parameters
progressive overcoming characteristics of the old operate as regulators balancing extreme situations in the
paradigm (Music of Romanticism). This state is an system. A regulator in mechanic systems such as heating
intersection of the final state of the decline of the system system prevents enormous extending or decreasing of
or subsystem (e.g. Music of Romanticism in the phase of the optimal air temperature. On the other hand there are
late Romanticism). There comes to the destabilisation of no regulators at the entry given by technicians or
the system (in our case of the subsystem Music of constructors in the self-regulating systems. These
Romanticism), to the chaotic situation determined by the regulators are being created gradually from the inner
coexistence of the new and old expressions. The system parts of the system and its environment: e.g. in the
has to come to the state of stabilisation and order. This is nature it is the regulation of bio-organism population
also supported by the needs and demands from the (e.g. choice of sex, regulation between foxes and rabbits,
environment: need for confirmation (Cnf), i.e. predators and their prey) as well as between flora and
confirmation of the situation, is dominating compared to fauna, earth and water, coldness and warmness etc. It is,
the previous need for innovation (Nov). so called, circular causality or feedback effect causing
The need for innovation in the phase of late the oscillation of the system states as a pendulum with
Romanticism caused the formation of new musical the aim to reach the balance or the optimal state.
expressions of Modernism and the decline of the Music Circular causalities can be observed in music as well:
of Romanticism. Later it lead to the origin of new e.g. in the state of expanding rational approach (r), of
conceptions in music designated as New Music, depersonalising and objectivism (o) or strict, so called
respectively Avant-garde Music, which are in atticistic style (at) the regulator starts to be active and
comparison with the Modernism not only the gradual moves the situation to another pole (feedback effect) to
overcoming but the negation of tradition as an old the state of preferring of irrational approach (ir), of
paradigm. This state, caused by the need of subjectivism (s) and free asianistic style (as).
confirmation, leads to the stabilisation of the subsystem Somewhere between these extremes an optimal situation
New Music as most of the expressions being created are resulting from compromises can be found.
directed by the principles of the new paradigm. After
longer period of stability the subsystem of New Music extreme optimal state extreme
had to come inevitably into the state of instability, which
was evoked by the need for innovation from outside (i.e.
from the environment) again. The first phase of a new Fig.2: Operation of feedback effect
subsystem called Postmodernism is being born. It
represents the state of the decline of New Music and at The feedback effects and recursive processes are
the same time the state of the origin of a new paradigm permanently present in keeping balance between using
extreme means in composition: e.g. the exaggeration of
rational sophistic techniques in the phase of Avant-garde point trajectories are always chaotic (e.g. the famous
music must naturally effects other extreme, i.e. Lorenz attractor).
Postmodernism. More complicated systems such as evolution systems
Norbert Wiener, the founder of cybernetics, describes – to which music and its subsystems belong – are
two types of feedback effects: the positive and the characterised by complicated processes influencing more
negative ones. The positive or recursive effect leads to order parameters at the same time and also characterised
system destabilisation and to chaos, while the negative by processes resembling to the cyclic and chaotic
effect tends to get out of chaos to system stabilisation. In attractors. From this point of view the creating of these
nature there are the cycles: origin and death, increasing tendencies (of style expressions but also of changes in
and decreasing of different kinds of bio-organisms and the field of individual musical parameters) in the 20 th
so on. century music was not evoked by linear dynamic, i.e.
Similar recursive processes can be observed in music. deterministic processes and it can not be assumed or
In the history of European Music there are e.g. derived from the previous development.
alternating of contrasting features in style paradigms The need for innovation in the phase of decay of the
mentioned above (objective-constructive versus music of Romanticism leads to a change and to a new
subjective; rational versus irrational; strict versus free paradigm. Some of its characteristic attributes are
and so on). predictable, as we mentioned above, however the
concrete steps and processes leading e.g. to birth of
Expressionism, Futurism, determinism in serial and
Baroque Classicism Romanticism 20thCentury Music ? multiserial music, later to indeterminism in the form of
Rococo early Moder- New Postmo- aleatoric conceptions, Fluxus motion etc. are not
Romant. nism Music dernism predictable. We can predict the change having the nature
s, ir, at o, r, at s, ir, as o, r, at s, ir, as of a law from deterministic to indeterministic
conceptions (and in the future the other way round),
Fig.3: Operation of recursive processes however, the exact way representing the change can be
3.2 Attractors not predicted. Certain need from the outside (e.g. the
need of innovation already mentioned) acts as an order
Let us consider some other factors in self-organising parameter end “enslaves” all the other processes towards
systems and apply them to the categorisation of the 20th the goal – i.e. to the newness of the artistic expression.
Century Music. These arising expressions have the attribute of
Order parameter in the sense of synergetics “tells” “newness”, however, they can have an
the systems how to behave11. This parameter is in our innumerable amount of various forms. The rise of
case a human need causing that the system of music or attractors in the music or art is always an act of self-
some of its subsystems is developing towards an organization controlled by different needs of man.
objective where it can become stable. The following
needs can also operate as order parameters: minimisation 4 Conclusion
of memory effort, of perception, of coding and decoding,
optimisation of the state of music or parameters of This brief outline of factors influencing the character
composition, minimisation of production and of 20th century music and thus also its way of
reproduction effort as well as need for innovation or categorisation is far from having been used up. The goal
confirmation etc. At the same time these needs evoke was more an attempt to show the complexity of
processes, in physics described as dynamic attractors. evolution and self-organising systems like Music and its
There are different types of attractors: point, cyclic subsystems and to stimulate to a different way of
and chaotic attractor. The point attractor is formed in the thinking about music as it has been until now. If we
situation resembling to shape of a bowl – so called basin accept the theorem of Music being a self-organising and
of attraction – into which a ball is situated. This ball will self-regulating system, then we have to admit that
move on trajectories chaotically until it stabilises in one besides variables entities (rules) given by conventions in
point on the bottom of the bowl. Cyclic attractors are certain historical periods (e.g. the way of creating and
characteristic for systems with periodically repeated combining chords in tonal harmony) there exist invariant
trajectories (e.g. hanging pendulum). Chaotic attractors entities (laws) as well, discovering of which should be
(also called strange) represent systems, which will the main goal of scientific oriented musicology.
stabilise in no point, no exactly repeated trajectory, but

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