I'd be curious to know how tightly Mozart would have stuck to the outcomes that the dice dealt him. I could imagine him also using the dice as a jumping off poi

I'd be curious to know how tightly Mozart would have stuck to the outcomes that the dice dealt him. I could imagine him also using the dice as a jumping off point for compositional suggestion but disobeying the dice for a round if he wanted to follow an idea in a different direction. Because he could hear the composition as it was being generated, I can just as easily imagine him deviating from the dice-scheme if he saw an opportunity for something interesting. Who knows. A similar thing happens in Schoenberg's twelve-tone system. For melodic writing, the composer is locked into using the next pitch in their tone-row, but the art of it comes in them exercising their ability to repeat that prescribed pitch or change it's register however they see fit to get the best possible musical effect. It's quasi-algorithmic in that the pitch sequence is prescribed, but the writer is allowed to get creative with the other musical dimensions to make it as compelling as possible. That said, it generally doesn't make for very enjoyable listening. At least, it's an acquired taste. 20th century classical music got pretty far up it's ass with the "games for games-sake".