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A ' (German for "musical dice game") was a system for using dice to randomly 'generate' music from precomposed options. These 'games' were quite popular throughout Western Europe in the 18th century. Several different games were devised, some that did not require dice, but merely 'choosing a random number.' The earliest example is Johann Philipp Kirnberger's ' (German for "The Ever-Ready Minuet and Polonaise Composer") (1757 (edition; revised 2nd 1783 )).〔Nierhaus, Gerhard (2009). ''Algorithmic Composition: Paradigms of Automated Music Generation'', pp. 36 & 38n7. ISBN 9783211755396.〕 Examples by well known composers include C. P. E. Bach's ' (German for "A method for making six bars of double counterpoint at the octave without knowing the rules") (1758) and Maximilian Stadler's ' (French for "A table for composing minuets and trios to infinity, by playing with two dice") (1780).〔 In the early 20th century the Kaleidacousticon System, using arbitrarily combinable playing cards, was unsuccessfully marketed in the Boston area as a parlour game.〔Nierhaus (2009), p. 262.〕 ==Aesthetics== According to Lawrence Zbikowski, "In truth, chance played little part in the success of the music produced by such games. Instead, what was required of the compilers...() a little knowledge about how to put the game together and an understanding of the formal design of waltzes, etc."〔Zbikowski, Lawrence M. (2002). ''Conceptualizing Music: Cognitive Structure, Theory, and Analysis'', pp. 142–143. ISBN 9780195187977. Quoted in Berkowitz, Aaron (2010). ''The Improvising Mind: Cognition and Creativity in the Musical Moment'', p. 65. ISBN 9780199590957.〕 According to Stephen Hedges, "The 'galant' middle class in Europe was playing with mathematics. In this atmosphere of investigation and cataloguing, a systematic device that would seem to make it possible for anyone to write music was practically guaranteed popularity.〔Hedges, Stephen A. (1978). "Dice Music in the Eighteenth Century", pp. 184–185, ''Music and Letters 59'': 180–87. Quoted in Berkowitz (2010), p. 65n60.〕 According to Leonard Meyer, "Eighteenth-century composers constructed musical dice games while nineteenth century composers did not. ... ()hat constrained the choice of figures (seventeenth- and eighteenth-century music ) were the claims of taste, coherent expression and propriety, given the genre of work being composed, rather than the inner necessity of a gradually unfolding, underlying process (in nineteenth century music )".〔Meyer, Leonard (1989). ''Style and Music: Theory, History, and Ideology'', p. 193. ISBN 9780226521527.〕 See: musical development. The way these games work may be understood in analogy to sentence construction. 1 The cow ran past the field. 2 The pig walked through the yard. 3 The sheep ran into the marsh. One rolls one die for each word and selects the word from the appropriate column according to the number. Thus if one rolls 1 2 3 1 2 3 one is given, "The pig ran past the marsh." Each progression is essentially the same, there may be more or less choices for different slots, and the choices offered for each slot are slight variations rather than being entirely different. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Musikalisches Würfelspiel」の詳細全文を読む スポンサード リンク
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