DOCSLIB.ORG

Henning Lohner and Iannis Xenakis Source: Computer Music Journal, Vol

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Henning Lohner and Iannis Xenakis Source: Computer Music Journal, Vol Interview with Iannis Xenakis Author(s): Henning Lohner and Iannis Xenakis Source: Computer Music Journal, Vol. 10, No. 4 (Winter, 1986), pp. 50-55 Published by: The MIT Press Stable URL: http://www.jstor.org/stable/3680096 Accessed: 27/04/2009 02:11 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=mitpress. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We work with the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]. The MIT Press is collaborating with JSTOR to digitize, preserve and extend access to Computer Music Journal. http://www.jstor.org HenningLohner Interview with lannis Aha Tonstudio P.O. Box 10 01 27 Xenakis 5000 Cologne 1 FederalRepublic of Germany Introduction programmingand wrote programsmyself, of course I cannot immerse myself in the details of elec- lannis Xenakis is one of the pioneers of computer tronics. If I had to spend my time doing that, I music, having developed the ST (stochastic) music would never compose anymore! But, I know what composition programin 1962. He has been involved direction to go, and if you have accurate and good in numerous computer-basedprojects since then. collaborators,then it works. His book Formalized Music (1971) summarizes his I have a team that works with me who are infor- work of the 1960s. A more recent survey is avail- matics [computer science-Ed.] people and elec- able in (Xenakis 1985). tronic or software engineers. Of course they are This interview, held in English, took place 17 aware of what's going on, but nevertheless it would August 1985 in Delphi, Greece. be a very difficult task to produce new equipment Lohner: You started the Centre d'Etudes de Mathe- in addition to our other projects because it's not our matique et Automatique Musicales (CEMAMu)in goal here. This is why it is so important to collabo- the 1960s as a cooperative. What have been some of rate with a manufacturerwho is obliged to go ahead the important developments at CEMAMu since with new discoveries and make them cheaper and then? of better quality. Xenakis: I founded it twenty years ago when we Lohner: As a composer who likes to work in both didn't have any money, with some friends who were instrumental and electronic fields, how do you see mathematicians, statisticians, psychologists, or this electronic music work? professors at the University in Paris. Gradually,we Xenakis: Well, the difference from writing for the evolved and finally we received some grant money, orchestra is that in writing electronic music you to start with from the Gulbenkian Foundation. also have to direct the invention of new tools. With That was more than 16 years ago. In the early the UPIC at the level of the sound this means sound 1970s, we produced the first converters in the world synthesis, and at the level of musical architectures: with a resolution of 52,000 samples per second and how to manipulate architectural structures. Then 16 bits per sample. We had to produce sound by pro- you must determine which theories are most appro- gramming computers and then storing the samples priate and simple to be used in music and sound on digital tape. Then the digital tape was translated transformation.They must be usable by everybody by our converter into sound. Laterwe received more in a standardway because that is very important. grant money in order to create the UPIC system, After all, if you can introduce standardways, then with graphic input via a drawing board.The UPIC that doesn't mean you cannot also be specific on is linked to a minicomputer, or to microprocessors your own. A specific approachhas to be developed in the present case. I hope that this development by the composers who are using the systems, but will continue also with the help of manufacturers; based on something more general, more universal. their task is to forge ahead in implementation tech- Lohner: Here, alongside your writing music, the nology and to make it better, faster, and cheaper! CEMAMuproject comes in.... Lohner: To what extent must you as a composer be Xenakis: Yes, the UPIC is a tool that enables one concerned with the technical details? to work in a systematic way on various levels at the Xenakis: In spite of the fact that I did studies of same time-which is not the case with instrumen- tal music-and especially not with most computer music so far, when you have to filter your ideas ? Copyright 1986 by Henning Lohner. through some theories that might not be the best 50 Computer Music Journal versus time, which is much easier-and you can see it and hear the results immediately. But you needn't analyze it on a theoretical basis. Instead of correct- ing a sound by modifying the program,which is much more complicated and time-consuming (com- puter waiting-times, etc.), it's much more accessible to just hear the lines and correct them in a much easier way: by hand. Lohner: Workingwith graphics has always been close to you, especially through the architectural work you do. Did CEMAMu develop out of the ne- cessity of finding appropriatemeans of translation? Xenakis: Yes, except that the UPIC did not come from architecture, but it came from music itself. Because when I wrote for orchestras, some of the things were too complicated to be specified in stave notation. So I had to introduce a graphic notation which, by the way, is also more universal. Everybodycan understanda line, whereas you have to do specific studies in order to understand what the symbols of traditional writing in music mean. If you have training, it's OK, but then there are also complicated things that cannot be dis- cussed or studied with that kind of symbolic and graphicnotation; as you know, traditional notation is actually a combination of those two. Beyond that, I think this more universal notation is possible for ones, such as Fourieranalysis. Although it's a very everybody because it is the end of the hand that cre- powerful tool in other domains, in music its use is ates the drawings.The hand is the organ of the body limited. So you have to invent different theories in that is closest to the brain. order to produce, explore, and create new musical Lohner: But automatic functions for rhythmic pat- worlds. terns, for arrangingmathematical curves, or for the With the UPIC you have the potential to enter creation of an envelope transformationare things of into the problem of composition in a much more mechanical nature that are not possible on UPIC- simple and direct way-and by this I mean direct to and this has been criticized by some. the mind. That is, you explore sounds on a much Xenakis: Yes, there are no machines or functions larger scale, from the micro or almost micro ele- that can do this in UPIC; you need another device ments of a sound up to more general architectures. that is completely different. But these systems can The system is based on elementary acoustics, only do simple things; you can't compose some- that is, acoustics based on a sound signal-a varia- thing that is complex and would last a long time. tion of atmospheric pressure versus time.-You con- For example, keyboards as a control device are not struct these variations by drawing them. So you very sophisticated; continuity doesn't exist with have them directly. Instead of superimposing or them. UPIC, considered as an instrument, extends piling up sine waves, which is the traditional way to the limits of human perception, utilizing sys- of synthesizing sound or music by computer, you tematic pitch, dynamics, page control, and so on. delve into the other part of that equation. You spe- Decide if you really want to use a tool that is very cify directly the waveform or the shape of the signal sophisticated, so that the music itself will be rich, Lohner 51 or, whether you are happy with something that is unsophisticated. As far as pedagogy is concerned, these unsophisticated instruments would be harm- ful: everyone would get used to something that is simple, like pop music. And there's nothing more unsophisticated than pop music. But to add special- purpose machines like this to the UPIC: that's an- other realm. Lohner: And what about constantly varying a wave- form? With acoustical instruments the waveforms are subject to constant change, which is especially noticeable in different registers. In UPIC these changes don't exist, and many people insist that this should be innate also to electronic instruments for musical reasons. Is there a way of foreseeing (ran- dom) variations of intensities, pitches, dynamics, and other sound parameters?And will it be possible on this machine? elasticity of the materials used to make the instru- Xenakis: This is very important aesthetically.
Load more

Recommended publications
  • ´Electronique Based On
    Vincenzo Lombardo,∗ Andrea Valle,∗ John Fitch,† Kees Tazelaar,∗∗ A Virtual-Reality Stefan Weinzierl,†† and Reconstruction of Poeme` Wojciech Borczyk§ ´ ∗Centro Interdipartimentale di Ricerca Electronique Based on sulla Multimedialita` e l’Audiovisivo Universita` di Torino Philological Research Virtual Reality and Multi Media Park ViaS.Ottavio20 10123 Torino, Italy [email protected]; [email protected] †Department of Computer Science University of Bath BA2 7AY, Bath, United Kingdom [email protected] ∗∗Institute of Sonology Royal Conservatory Juliana v. Stolberglaan 1 2595CA Den Haag, The Netherlands [email protected] ††Fachgebiet Audiokommunikation Technische Universitat¨ Berlin Einsteinufer 17c D-10587 Berlin, Germany [email protected] §Instytut Informatyki Wydzial Automatyki Elektroniki i Informatyki Politechniki Slaskiej´ Akademicka 16 44-100 Gliwice, Poland [email protected] “The last word is imagination” [Le dernier mot est Electronique´ (1958). This seminal work was Varese’s` imagination] (Edgard Varese,` in Charbonnier 1970, only purely electroacoustic work (apart from the p. 79): with this statement, Varese` replies to George very short La Procession de Verges` of 1955; Bernard Charbonnier, closing a 1955 interview about the 1987, p. 238), and also, to the best of our knowledge, aesthetic postulates of his long but difficult career. the first electroacoustic work in the history of While speaking about the relationship between music to be structurally integrated in an audiovisual music and image, Varese` declares—somewhat context (cf. Chadabe 1997). surprisingly—that he would like to see a film based The history of Poeme` Electronique´ , as docu- on his last completed orchestral work, Deserts´ mented by Petit (1958) and Treib (1996), goes back (1954).
    [Show full text]
  • Akrata, for 16 Winds by Iannis Xenakis: Analyses1
    AKRATA, FOR 16 WINDS BY IANNIS XENAKIS: ANALYSES1 Stéphan Schaub: Ircam / University of Paris IV Sorbonne In Makis Solomos, Anastasia Georgaki, Giorgos Zervos (ed.), Definitive Proceedings of the “International Symposium Iannis Xenakis” (Athens, May 2005), www.iannis-xenakis.org, October 2006. Paper first published in A. Georgaki, M. Solomos (éd.), International Symposium Iannis Xenakis. Conference Proceedings, Athens, May 2005, p. 138-149. This paper was selected for the Definitive Proceedings by the scientific committee of the symposium: Anne-Sylvie Barthel-Calvet (France), Agostino Di Scipio (Italy), Anastasia Georgaki (Greece), Benoît Gibson (Portugal), James Harley (Canada), Peter Hoffmann (Germany), Mihu Iliescu (France), Sharon Kanach (France), Makis Solomos (France), Ronald Squibbs (USA), Georgos Zervos (Greece) … a sketch in which I make use of the theory of groups 2 ABSTRACT In the following paper the author presents a reconstruction of the formal system developed by Iannis Xenakis for the composition of Akrata, for 16 winds (1964-1965). The reconstruction is based on a study of both the score and the composer’s preparatory sketches to his composition. Akrata chronologically follows Herma for piano (1961) and precedes Nomos Alpha for cello (1965-1966). All three works fall within the “symbolic music” category. As such, they were composed under the constraint of having a temporal function unfold “algorithmically” the work’s “outside time” architecture into the “in time” domain. The system underlying Akrata, undergoes several mutations over the course of the music’s unfolding. In its last manifestation, it bears strong resemblances with the better known system later applied to the composition of Nomos Alpha.
    [Show full text]
  • This Electronic Thesis Or Dissertation Has Been Downloaded from Explore Bristol Research
    This electronic thesis or dissertation has been downloaded from Explore Bristol Research, http://research-information.bristol.ac.uk Author: Vagopoulou, Evaggelia Title: Cultural tradition and contemporary thought in Iannis Xenakis's vocal works General rights Access to the thesis is subject to the Creative Commons Attribution - NonCommercial-No Derivatives 4.0 International Public License. A copy of this may be found at https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode This license sets out your rights and the restrictions that apply to your access to the thesis so it is important you read this before proceeding. Take down policy Some pages of this thesis may have been removed for copyright restrictions prior to having it been deposited in Explore Bristol Research. However, if you have discovered material within the thesis that you consider to be unlawful e.g. breaches of copyright (either yours or that of a third party) or any other law, including but not limited to those relating to patent, trademark, confidentiality, data protection, obscenity, defamation, libel, then please contact [email protected] and include the following information in your message: •Your contact details •Bibliographic details for the item, including a URL •An outline nature of the complaint Your claim will be investigated and, where appropriate, the item in question will be removed from public view as soon as possible. Cultural Tradition and Contemporary Thought in lannis Xenakis's Vocal Works Volume I: Thesis Text Evaggelia Vagopoulou A dissertation submitted to the University of Bristol in accordancewith the degree requirements of the of Doctor of Philosophy in the Faculty of Arts, Music Department.
    [Show full text]
  • Shiraz Dissertation Full 8.2.20. Final Format
    UNIVERSITY OF CALIFORNIA SAN DIEGO The Shiraz Arts Festival: Cultural Democracy, National Identity, and Revolution in Iranian Performance, 1967-1977 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy In Music By Joshua Jamsheed Charney Committee in charge: Professor Anthony Davis, Co-Chair Professor Jann Pasler, Co-Chair Professor Aleck Karis Professor Babak Rahimi Professor Shahrokh Yadegari 2020 © Joshua Jamsheed Charney, 2020 All rights reserved. The dissertation of Joshua Jamsheed Charney is approved, and it is acceptable in quality and form for publication on microfilm and electronically: _____________________________________________________________ _____________________________________________________________ _____________________________________________________________ _____________________________________________________________ Co-chair _____________________________________________________________ Co-Chair University of California San Diego 2020 iii EPIGRAPH Oh my Shiraz, the nonpareil of towns – The lord look after it, and keep it from decay! Hafez iv TABLE OF CONTENTS Signature Page…………………………………………………………………… iii Epigraph…………………………………………………………………………. iv Table of Contents………………………………………………………………… v Acknowledgements……………………………………………………………… vii Vita………………………………………………………………………………. viii Abstract of the Dissertation……………………………………………………… ix Introduction……………………………………………………………………… 1 Chapter 1: Festival Overview …………………………………………………… 17 Chapter 2: Cultural Democracy………………………………………………….
    [Show full text]
  • Exploring Xenakis Performance, Practice, Philosophy
    Exploring Xenakis Performance, Practice, Philosophy Edited by Alfia Nakipbekova University of Leeds, UK Series in Music Copyright © 2019 Vernon Press, an imprint of Vernon Art and Science Inc, on behalf of the author. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Vernon Art and Science Inc. www.vernonpress.com In the Americas: In the rest of the world: Vernon Press Vernon Press 1000 N West Street, C/Sancti Espiritu 17, Suite 1200, Wilmington, Malaga, 29006 Delaware 19801 Spain United States Series in Music Library of Congress Control Number: 2019931087 ISBN: 978-1-62273-323-1 Cover design by Vernon Press. Cover image: Photo of Iannis Xenakis courtesy of Mâkhi Xenakis. Product and company names mentioned in this work are the trademarks of their respective owners. While every care has been taken in preparing this work, neither the authors nor Vernon Art and Science Inc. may be held responsible for any loss or damage caused or alleged to be caused directly or indirectly by the information contained in it. Every effort has been made to trace all copyright holders, but if any have been inadvertently overlooked the publisher will be pleased to include any necessary credits in any subsequent reprint or edition. Table of contents Introduction v Alfia Nakipbekova Part I - Xenakis and the avant-garde 1 Chapter 1 ‘Xenakis, not Gounod’: Xenakis, the avant garde, and May ’68 3 Alannah Marie Halay and Michael D.
    [Show full text]
  • Sprechen Über Neue Musik
    Sprechen über Neue Musik Eine Analyse der Sekundärliteratur und Komponistenkommentare zu Pierre Boulez’ Le Marteau sans maître (1954), Karlheinz Stockhausens Gesang der Jünglinge (1956) und György Ligetis Atmosphères (1961) Dissertation zur Erlangung des Doktorgrades der Philosophie (Dr. phil.) vorgelegt der Philosophischen Fakultät II der Martin-Luther-Universität Halle-Wittenberg, Institut für Musik, Abteilung Musikwissenschaft von Julia Heimerdinger ∗∗∗ Datum der Verteidigung 4. Juli 2013 Gutachter: Prof. Dr. Wolfgang Auhagen Prof. Dr. Wolfgang Hirschmann I Inhalt 1. Einleitung 1 2. Untersuchungsgegenstand und Methode 10 2.1. Textkorpora 10 2.2. Methode 12 2.2.1. Problemstellung und das Programm MAXQDA 12 2.2.2. Die Variablentabelle und die Liste der Codes 15 2.2.3. Auswertung: Analysefunktionen und Visual Tools 32 3. Pierre Boulez: Le Marteau sans maître (1954) 35 3.1. „Das Glück einer irrationalen Dimension“. Pierre Boulez’ Werkkommentare 35 3.2. Die Rätsel des Marteau sans maître 47 3.2.1. Die auffällige Sprache zu Le Marteau sans maître 58 3.2.2. Wahrnehmung und Interpretation 68 4. Karlheinz Stockhausen: Gesang der Jünglinge (elektronische Musik) (1955-1956) 85 4.1. Kontinuum. Stockhausens Werkkommentare 85 4.2. Kontinuum? Gesang der Jünglinge 95 4.2.1. Die auffällige Sprache zum Gesang der Jünglinge 101 4.2.2. Wahrnehmung und Interpretation 109 5. György Ligeti: Atmosphères (1961) 123 5.1. Von der musikalischen Vorstellung zum musikalischen Schein. Ligetis Werkkommentare 123 5.1.2. Ligetis auffällige Sprache 129 5.1.3. Wahrnehmung und Interpretation 134 5.2. Die große Vorstellung. Atmosphères 143 5.2.2. Die auffällige Sprache zu Atmosphères 155 5.2.3.
    [Show full text]
  • Formal Aspects of Iannis Xenakis'6,Symbolic Music,': a Computer-Aided Exploration of Compositional Processes
    Journal of New Music Research 2004, Vol. 33, No. 2, pp. 145-159 fr) Routtedge Formal Aspects of Iannis Xenakis'6,Symbolic Music,': A computer-Aided Exploration of compositional processes Carlos Agon, Moreno Andreatta, Gérard Assayag and Stéphan Schaub Equipe Représentations Musicales, pompidou, IRCAM Centre Georges I Place I. Stravinsky, 75004 paris, France Abstract trVe present computer models of two works for solo instru- ofsounds, and later applied aspects ofgame theory to music. ment by Iannis Xenakts: Herma for piano (1962) and Nomos By the end of the 1950s, he tumed to algebra and logic. He Alpha for cello (1965). Both works were described by the called symbolic music the body of musical works that composer (in his book Formalized Music) as examples of resulted fiom the latter approach. "symbolic music." Xenakis' detailed description of formal Herma, for piano, and Nomos Alpha, for cello, are two aspects in his compositional process rnakes it possible to such examples. Both are nowadays considered masterpieces implement computer models that recreate essential elements and have become part ofthe repertoire of many pianisis and of the ûnal scores. For ow implementations, we use OptN- cellists. These works were chosen as the subject ofour srudy MUSIC, a visual programming language based on Common- because of the wealth of details provided by Xenakis in his Lisp/CLOS developed at Ircam. Based on the experiences a-priori t\eoretiçal description of these compositions. gathered flom developing and exploring these computer Xenakis has published numerous commentaries on his models, we discuss the theorctical concepts used by Xenakis ov"n musical output.
    [Show full text]
  • Holmes Electronic and Experimental Music
    C H A P T E R 2 Early Electronic Music in Europe I noticed without surprise by recording the noise of things that one could perceive beyond sounds, the daily metaphors that they suggest to us. —Pierre Schaeffer Before the Tape Recorder Musique Concrète in France L’Objet Sonore—The Sound Object Origins of Musique Concrète Listen: Early Electronic Music in Europe Elektronische Musik in Germany Stockhausen’s Early Work Other Early European Studios Innovation: Electronic Music Equipment of the Studio di Fonologia Musicale (Milan, c.1960) Summary Milestones: Early Electronic Music of Europe Plate 2.1 Pierre Schaeffer operating the Pupitre d’espace (1951), the four rings of which could be used during a live performance to control the spatial distribution of electronically produced sounds using two front channels: one channel in the rear, and one overhead. (1951 © Ina/Maurice Lecardent, Ina GRM Archives) 42 EARLY HISTORY – PREDECESSORS AND PIONEERS A convergence of new technologies and a general cultural backlash against Old World arts and values made conditions favorable for the rise of electronic music in the years following World War II. Musical ideas that met with punishing repression and indiffer- ence prior to the war became less odious to a new generation of listeners who embraced futuristic advances of the atomic age. Prior to World War II, electronic music was anchored down by a reliance on live performance. Only a few composers—Varèse and Cage among them—anticipated the importance of the recording medium to the growth of electronic music. This chapter traces a technological transition from the turntable to the magnetic tape recorder as well as the transformation of electronic music from a medium of live performance to that of recorded media.
    [Show full text]
  • Introduction to Electronic Music
    introduction to electronic music Bruno Ruviaro 2011-05-31 Stanford University CCRMA (Center for Computer Research in Music and Acoustics) Glitch Dataplex (2005), by Ryoji Ikeda Mash Up All Day (2010), by Girl Talk Plunderphonics Dab (1989), by John Oswald Turntablism Christian Marclay Grandmaster Flash 1980s 1980s Computer music Turenas (1972) by John Chowning Acousmatic music Tremblement de terre très doux (1978) by François Bayle orchestra of loudspeakers, cinéma sonore, GRM Early analog synthesizers Late 1960s: Wendy Carlos Isao Tomita Early computer music Late 1950s: Max Mathews Lejaren Hiller Early analog synthesizers Late 1960s Wendy Carlos Isao Tomita Early computer music Late 1950s Max Mathews Lejaren Hiller Early analog synthesizers Late 1960s Wendy Carlos Isao Tomita Early computer music Late 1950s Max Mathews Lejaren Hiller Text-sound composition Visage (1961) by Luciano Berio speech & music, radiophonic art, linguistics Stochastic music Concrete P.H. (1958) by Iannis Xenakis sound masses, formalized music, UPIC, music & architecture Elektronische Musik Gesang der Jünglinge (1955-6) by Karlheinz Stockhausen serialism, Cologne studio, sinusoidal school Musique Concrète Étude aux chemins de fer (1948) by Pierre Schaeffer sound object, acousmatic music, concrete sound John Cage Imaginary Landscape #1 (1939) Edgard Varèse Organized Sound Music as Art-Science (1930s) Luigi Russolo Futurism Art of Noises (1913) First electronic instruments Theremin (1920) Telharmonium (1901) . n o i s e n o i s e truck n o i s e truck static n o i s e truck static rain . n o i s e truck static rain . musical instruments! John Cage (1912-1992) But after all, what is music but organized noises? And a composer, like all artists, is an organizer of disparate elements.
    [Show full text]
  • The Shiraz Arts Festival: Western Avant-Garde Arts in 1970S Iran
    Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/leon.2007.40.1.20 by guest on 26 September 2021 HISTORICAL PERSPECTIVE The Shiraz Arts Festival: Western Avant-Garde Arts in 1970s Iran GLOBAL CROSSINGS ABSTRACT Iran in the 1970s was host to an array of electronic music Robert Gluck and avant-garde arts. In the decade prior to the Islamic revolution, the Shiraz Arts Festival provided a showcase for composers, performers, dancers and theater directors from Iran and abroad, among them Iannis Xenakis, Peter uring the twilight years of Mohammed Reza The decision to establish a festi- Brook, John Cage, Gordon D Mumma, David Tudor, Karlheinz Shah Pahlavi’s reign in Iran, a panoply of avant-garde forms val that presented Western-oriented Stockhausen and Merce Cun- of expression complemented the rich, 2,500-year history of arts was fraught with potential con- ningham. A significant arts traditional Persian arts. Renowned musicians, dancers and flict. Iran boasted of openness to center, which was to include filmmakers from abroad performed alongside their Persian intellectual ideas and the social in- electronic music and recording peers at the annual international Shiraz Arts Festival. Elabo- tegration of women, but the state studios, was planned as an rate plans were developed for a significant arts center that was sharply curtailed internal political outgrowth of the festival. While the complex politics of the to include sound studios and work spaces for residencies. expression, unwittingly fostering Shah’s regime and the approach- Young Iranian composers and artists were inspired by the fes- the growth of a radical Islamic cler- ing revolution brought these tival to expand their horizons to integrate contemporary tech- ical opposition who would prove to developments to an end, a niques and aesthetics.
    [Show full text]
  • Iannis Xenakis and the 62 Rue Michel-Aye 75016 Paris, France [email protected] ‘‘Real’’ of Musical Composition
    Gerard Pape Iannis Xenakis and the 62 rue Michel-Aye 75016 Paris, France [email protected] ‘‘Real’’ of Musical Composition My friend Iannis . who could pretend to be the individual to abandon the responsibility of indi- friends with such a man? A monument, a great vidual freedom by taking refuge in the opinions and genius—and yet, so human, and in so many ways, actions sanctioned by the group. Why do we com- simple and modest. Each time I saw him, he posers need to escape from freedom? greeted me with a hearty ‘‘Hello!’’ The question he Freedom is terrifying. Absolute freedom implies posed most frequently to me was ‘‘Are you absolute responsibility. You have no excuse. If your happy?’’—a question that is difficult to answer. composition is bad, you can’t blame your teacher I told him rashly, ‘‘I would like to work with or your performers. You are responsible for your you. I would like to collaborate with you.’’ He re- creativity or lack of it. Before the blank page, there sponded, ‘‘But how can we work together? I don’t is a terrible anxiety. That blank page represents our want to influence you.’’ potential being or our lack of it. To be, we must And so here I am, asked to write about how Xe- create. As composers, we have being only during nakis influenced me. I suppose he wouldn’t be the time when we are creating, and for Iannis Xe- happy about my writing this article. But I must ad- nakis, that exigency to be totally free implies the mit it: he has influenced me, though not in the responsibility to invent.
    [Show full text]
  • Xenakis' Combination of Music and Mathematics Janelle Anderson South Dakota State University
    The Journal of Undergraduate Research Volume 9 Journal of Undergraduate Research, Volume Article 21 9: 2011 2011 Xenakis' Combination of Music and Mathematics Janelle Anderson South Dakota State University Follow this and additional works at: http://openprairie.sdstate.edu/jur Part of the Composition Commons, and the Other Mathematics Commons Recommended Citation Anderson, Janelle (2011) "Xenakis' Combination of Music and Mathematics," The Journal of Undergraduate Research: Vol. 9, Article 21. Available at: http://openprairie.sdstate.edu/jur/vol9/iss1/21 This Article is brought to you for free and open access by Open PRAIRIE: Open Public Research Access Institutional Repository and Information Exchange. It has been accepted for inclusion in The ourJ nal of Undergraduate Research by an authorized administrator of Open PRAIRIE: Open Public Research Access Institutional Repository and Information Exchange. For more information, please contact [email protected]. GS019 JUR11_GS JUR text 1/19/12 1:22 PM Page 185 XENAKIS’ COMBINATION OF MUSIC AND MATHEMATICS 185 Xenakis’ Combination of Music and Mathematics Author: Janelle Anderson Faculty Advisor: Professor Walsh Department: Music Literature and History III ABSTRACT My interest in using mathematics in music composition stems from the works of the contemporary composer Iannis Xenakis. As a physics and music education major I am able to combine both fields of study for this topic. Although Xenakis wrote many orchestral compositions it is his vocal music that I have concentrated on as I too am a singer. Graphic representation and new music notation are among the methods used to analyze his music. I found that his first choral work was called “Nuits,” which I proceeded to analyze.
    [Show full text]