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Istanbul Technical University Graduate School of Arts and Social Sciences Masters Thesis June 2019 Spatialization Through Ge ISTANBUL TECHNICAL UNIVERSITY GRADUATE SCHOOL OF ARTS AND SOCIAL SCIENCES SPATIALIZATION THROUGH GEOMETRICAL SOUND MOVEMENTS IN PERSEPHASSA BY IANNIS XENAKIS MASTERS THESIS Sabina KHUJAEVA Institute of Social Sciences Masters Programme in Music JUNE 2019 ISTANBUL TECHNICAL UNIVERSITY GRADUATE SCHOOL OF ART AND SOCIAL SCIENCES SPATIALIZATION THROUGH GEOMETRICAL SOUND MOVEMENTS IN PERSEPHASSA BY IANNIS XENAKIS M.A. THESIS Sabina KHUJAEVA (409151116) Institute of Social Sciences Masters Programme in Music Thesis Advisor: Assist. Prof. Dr. Eray ALTINBÜKEN JUNE 2019 ISTANBUL TEKNİK ÜNİVERSİTESİ SOSYAL BİLİMLERİ ENSTİTÜSÜ IANNIS XENAKIS'İN PERSEPHASSA ESERİNDE GEOMETRİK SES HAREKETLERİ ARACILIĞIYLA MEKANSALLAŞTIRMA YÜKSEK LİSANS TEZİ Sabina KHUJAEVA (409151116) Sosyal Bilimler Enstitüsü Müzik Yüksek Lisans Programı Tez Danışmanı: Dr. Öğ. Üyesi Eray ALTINBÜKEN HAZİRAN 2019 Sabina KHUJAEVA, an M.A.student of İTU Graduate School of Arts and Social Sciences, 40915116, successfully defended the thesis entitled “SPATIALIZATION THROUGH GEOMETRICAL SOUND MOVEMENTS IN PERSEPHASSA BY IANNIS XENAKIS”, which she prepared after fulfilling the requirements specified in the associated legislations before the jury whose signatures are below. Thesis Advisor : Assist. Prof. Dr. Eray ALTINBÜKEN .............................. İstanbul Technical University Jury Members : Prof. Dr. Tolga TÜZÜN ............................. Istanbul Bilgi University Assoc. Prof. Dr. Jerfi AJİ .............................. İstanbul Technical University Date of Submission : 3 May 2019 Date of Defense : 10 June 2019 v vi To my mother, vii viii FOREWORD This project has been developed out of ideas that emerged in courses and case studies I attended during my master studies at MIAM for the past three years. It would not have had the spirit without the invaluable influence, active contribution, support and psychological help of very unique people to whom I would like to express my deep feelings of gratitude. I would especially like to thank Amy Salsgiver for her mastery in percussion instruments, which raised in me the massive enthusiasm to love the world of percussion music. My gratitude goes to my mentors in the period of my master studies: Reuben de Latour and Pieter Snapper. I greatly benefited from learning and exploring compositional techniques of the music literature of the 21st century through the analysis of new musical aesthetics and tendencies. Comprehension of complex ideas, terms, terminologies and flexibilities in investigations of new fields have provided me to observe new music through various approaches and perspectives. Also, without Jeremy Woodruff, it would not have been possible for me to discover some of the methodologies that I have referred to in the thesis. I would also like to thank Manolis Ekmektsouglou for his help in translating some literature from Greek to English and for having a crucial influence on my understanding of Xenakis`s music. I am indebted to my advisor Eray Altınbüken, for his scholarly ethics, support in writing in all phases of work with his kind encouragement, his attention during my research period and my experience of this academic journey. Lastly, I would like to express my deepest gratitude to my mother, who supported me throughout all my education period and my friend Arshia Samsaminia, who first introduced me to the piece Persephassa by Iannis Xenakis. May 2019 Sabina KHUJAEVA Musician ix x TABLE OF CONTENTS Page FOREWORD ........................................................................................................... ixx TABLE OF CONTENTS ......................................................................................... xii LIST OF FIGURES ............................................................................................... xiiii SUMMARY .............................................................................................................. xv ÖZET ............................................................................................................ xviiii 1. INTRODUCTION – SPATIALIZATION THROUGH GEOMETRICAL SOUND SHAPES AND MOVEMENTS IN PERSEPHASSA BY IANNIS XENAKIS ................................................................................. 1 1.1 Purpose of Thesis ............................................................................................... 1 1.2 Motivation .......................................................................................................... 2 1.3 Methodology ...................................................................................................... 4 1.4 The literature review .......................................................................................... 5 2. HISTORICAL EVOLUTION AND METAMORPHOSIS OF SPATIALIZED MUSIC .................................................................................................... 6 2.1 The notion of space in music .............................................................................. 6 2.2 The influence of electronic music ...................................................................... 9 2.3 The influence of polychorality and antiphony ................................................. 10 2.4 Other approaches to spatialized music ............................................................. 11 3. SONIC MAPPING OF SOUNDS ....................................................................... 15 3.1 Human auditory system and spatial perception ................................................ 15 3.2 Sonic geography ............................................................................................... 17 3.3 Type of sound sources ...................................................................................... 21 3.4 Sweet spot ........................................................................................................ 21 3.5 Texture in spatialized music ............................................................................. 22 4. “PERSEPHASSA” BY IANNIS XENAKIS ...................................................... 26 4.1 Xenakis’ spatial approaches ............................................................................. 26 4.2 Persephassa ....................................................................................................... 28 4.3 Acousmatic mode of listening ......................................................................... 32 4.4 Sound gestures .................................................................................................. 33 4.5 Geometrical sound rotations and sound movements ........................................ 35 4.6 Complexity of time .......................................................................................... 42 4.7 Progressive rhythmic transformation ............................................................... 43 4.8 Space of space .................................................................................................. 51 4.9 Approximation effect ....................................................................................... 53 4.10 Score and recording ........................................................................................ 53 5. CONCLUSIONS AND RECOMMENDATIONS ............................................. 55 REFERENCES ......................................................................................................... 57 xi CURRICULUM VITAE .......................................................................................... 60 xii LIST OF FIGURES Page Figure 4.1 : Persapolis, Iran ...................................................................................... 30 Figure 4.2 : Instrument position. ............................................................................... 32 Figure 4.3 : Semi-rotations 1 .................................................................................... 37 Figure 4.4 : Semi-rotations 2. ................................................................................... 38 Figure 4.5 : Semi-rotations 3 .................................................................................... 39 Figure 4.6 : Full rotation ........................................................................................... 40 Figure 4.7 : Rotation and contrary rotation. .............................................................. 41 Figure 4.8 : Parallel rotations. ................................................................................... 42 Figure 4.9 : Sound shape 1. ....................................................................................... 42 Figure 4.10 : Sound shape 2. ..................................................................................... 43 Figure 4.11 : Sound shape 3. ..................................................................................... 43 Figure 4.12 : Sound shape 4. ..................................................................................... 43 Figure 4.13 : Sound shape 5. ..................................................................................... 44 Figure 4.14 : Sound shape 6 ...................................................................................... 44 Figure 4.15 : Sieve 1. ................................................................................................ 47 Figure 4.16 : Sieve 2. ................................................................................................ 48 Figure 4.17 :.Unsychronized pulsations ...................................................................
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