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heh....I suppose each piece is constrained in some way if it has structure (even 4'33--which is time constrained)...I don't think of Debussy as constrained simply because he acted completely freely within the possibilities of (mainly that I've heard) the piano, but yeah, with his own constraint that he loved certain timbres, certain elegant effects--which I like too! And I'm sure there are pieces of his that demonstrate the opposite of whatever another piece demonstrates.
it was about structure which only existed on paper and had no acoustic justification
That describes my feeling exactly, and yeah about the jazz break-off, in classical it's there with Ravel (and others of course, but I remember it specifically with Ravel's piano concerto)--
later on I'll post a piece of serialism written for the classical guitar, I do think timbre comes into it, and I suppose a composer could write dynamic markings onto their twelve tone series inversions etc. such that the notes are random (at least in the originating order) but the attack, forte piano, slurs etc. are set by the composer--
Still, it's not a natural sound world for my ears--I can maybe admire a piece and maybe find interesting dynamics, but my ears need some tonality--or maybe the one atonal piece, just to show it can be done, but not a series of them....
...I have friends, though (musicians) who very much appreciate, for example, Webern and Berg--so there's also a playability aspect--for some musicians there's an enjoyment in playing musical inversions, pallindromes etc.
Don't fight forces, use them R. Buckminster Fuller.
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