Sure, I can give my thoughts on that. I am going on vacation from work and will not have time for about 1 to 2 weeks as I will also be taking care of some medical things as well. But can reply after that.Thank you very much for analyses. You gave some very interesting insights into these compositions.
But I was honestly not thinking about the Notations when I mentioned Boulez. The notations always seemed very different from most of Boulez output, probably due to their use of literal repetition.
When I was talking about random sounding tone patterns I was thinking about later compositions such as Le Marteau sans Maitre. In this piece Boulez partitions a 12-tone row into multiple sets and multiplies them with each other. The order of the multiplications in the piece is afaik determined by drawing diagonal lines in a matrix.
I have a hard time seeing how this approach relates meaningfully to anything the listeners hears in the piece, especially given that the notes in each multiplication may appear in any order.
But if you could provide a similar analysis for Le Marteau sans Maitre, that may be illuminating!
In the meantime, are you familiar with "free atonality"? In particular, why and how it came about (and led to serialism), and how someone like say, Webern, wrote it it so well? And are you familiar with Boulez being considered in the "Webern School"? (He does not write strictly Webern "pastiche". He has actually expanded on Webern's ideas and techniques). Do you understand Webern's style to begin with and what separates it from the others? These are the starting points and I was just wondering how familiar you are with them.