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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. May 2007 (words72,894) Abstract lannis Xenakis is a controversial figure in the history of music. His scientific background and the application of advancedmathematical theories to his compositions caused a lot of debate regarding the `musicality' of these works. It is almost conventional for critics and musicians to overemphasiseXenakis's interest in algorithms and stochastic procedures as a means of composition. As a result of this approach, scholarly discussion has focused on his instrumental works that mostly carry a strong formalistic attitude, thus giving an incomplete picture of Xenakis. The thesis examines Xenakis's vocal works, which have been under- researched despite the aesthetic value of this repertoire. The study identifies and discusses cultural and scientific parameters which influenced Xenakis in composing those works. With an overall review of his vocal oeuvre as departure point (chapter one), the thesis suggests a set of individual works for discussion, based either on classical or phonemic texts. In particular I examine a) the musical drama Oresteia, addressing the relationship between music and text (chapter two), b) socio-political and scientific considerations as applied in Xenakis's phonemic works (chapter three), c) the solo vocal works and the composer's relationship with performers (chapter four). The aim of the thesis is to counterbalance the prevalent scholarship concerning the mathematical dimensions of Xenakis's music and propose an interdisciplinary way of looking at his vocal music. The present study concludes that Xenakis's vocal works attest to his preoccupation with cultural thinking and follow a different stylistic process from his instrumental works, which are more formalised and mathematically oriented. In each decade the vocal works are focused on a different writing and context and it becomes evident that Xenakis's vocal works draw upon his focus on particular cultural influences: literary texts, contexts, and ideas. Mathematics primarily serves the structural organization of the musical material, but it does not govern the final musical outcome. to my beloved parents Acknowledgments I wish to thank a number of people who have contributed to the completion of this thesis one way or another. First and foremost, my supervisor Professor Stephen Banfield to whom I am very grateful for his insightful comments, consistent assistance, and encouragement. I would also like to thank Dr. Leontios Hadjileontiadis (Composer and Assistant Professor of Electrical & Computer Engineering Department, University of Thessaloniki, Greece) and Dr. Tim Ward (Composer), for their invaluable guidance and advice on scientific issues of this thesis. I am thankful to Dr. Pantelis Michelakis (Lecturer of Classics, University of Bristol) for his philological observations and suggestions and also to my two examiners Professor Peter Hill (University of Sheffield) and Dr. Neal Farwell (University of Bristol) for their constructive feedback. Special thanks go to Irvine Arditti, Evelyn Glennie, Linda Hirst, Yuji Takahashi, James Wood, and Roger Woodward for relaying to me helpful comments on performance issues. I am also deeply grateful to Francoise Xenakis and Spyros Sakkas for being so generous with their time and providing me with two wonderful interviews. Finally, I would like to thank the Press Office of Megaron Concert Hall in Athens, the Bibliotheque Nationale de France (musique: archives Xenakis) for helping me with my archival research. Of course, many thanks to my family for their great moral support throughout these years and last, but not least, the University of Bristol for funding my researchon Xenakis. Author's Declaration I declare that the work in this dissertation was carried out in accordance with the Regulations of the University of Bristol. The work is original except were indicated by special reference in the text and no part of the dissertation has been submitted for any other degree. Any views expressed in the dissertation are those of the author and in no way representthose of the University of Bristol. The dissertation has not been presented to any other University for examination either in the United Kingdom or overseas. Signed.. Date...... 16/05/2007 ............... Contents Foreword Overview of this thesis Objective 1 Structure 3 Plurality and Vocality 7 Introduction Xenakis's early years A complex artist 9 Upbringing and youth 10 Music and Architecture 12 Encounters with the Academy 15 Background and Influences Serialism 17 Aleatoricism 22 Influences: Varese and Bartok 24 The challenge of mathematics 28 The ancient Greek heritage 32 Chapter one: Review of the literature and overview of the vocal works The Xenakis Literature Matossian: authorised biography 35 Harley: an essentialcompanion 37 Varga and Bois: interviews with the composer 40 Conferencepresentations 41 Special issues 42 Other dissertations 44 Literature specific to the vocal works 47 The vocal compositions: a catalogue 54 The fifties: early works 56 The sixties: classical settings 58 The seventies:phonemic works 58 The eighties: solo works 59 The nineties: laties works 60 Some observations on the vocal works Humanism 61 The use of text 62 Similarities between the instrumental and vocal works 63 Chapter Two: `Born out of the holy bones of Greeks': Oresteia Conception and history America: the first conception 72 The oriinal structure 74 Scie, we and classical Greece 76 11 78 `Antiquity and Contemporary Music' 79 a) Total theatre 80 b) Outside-time structures 83 c) Tradition and creativity 84 Hellenism and other composers Aeschylus's play Agamemnon 86 Choefores 89 Eumenides 90 Oresteia as music drama 91 The music Agamemnon 94 Choefores 96 Eumenides 98 Reconstruction of the ancient sound? 101 Vocal versus instrumental music 103 Agamemnon's chord 105 Towards universality: the perfect fourth interval 107 Singing 108 Instrumentation 113 Chapter three: Political drama and the metaphor of science Phonemic works Politics and music 114 Nuits: Sumerian and Persian phonemes 118 Cendrees:abstract syllables 120 N'shima: Hebrew text 122 Musical structure in Nuits 124 Harmonic relations 128 111 Brownian motion The Brownian phenomenon 130 Mikka 135 Cendrees 137 N'shima 140 Similarities between Nuits and Cendrees 142 Similarities betweenN'shima and Cendrees 143 The theatre of cruelty 145 Chapter Four: Singing death: solo works Performing Xenakis Virtuosity without limits 152 The collaboration with Spyros Sakkas 160 Works for solo voice 165 Als: a requiem of emotions 167 Kassandra: an unmusical song 173 La DeesseAthena: artistic weakness? 180 Pour Maurice: abstract singing 184 The late years: refinement 186 Conclusion 188 References 198 Appendix 1 208 Interview with Spyros Sakkas Appendix 2 219 Interview with Francoise Xenakis Figures - Illustrations Figure 1 (N'shima's score) 121 Figure 2 (Brownian Motion) 131 iv Musical Examples (second volume) Example 1.1 Nuits, bars 84-87. 1 Example 1.2 A Helene 2 Example 1.3 Pu wUnuej we fyp, bars 4-6, initial bars. 3 Example 2.1 Oresteia, bars 17-23. 4 Example 2.2 Oresteia, bars 250-259. 5 Example 2.3 Oresteia, bars 146-171. 6 Example 2.4 Oresteia, bars 256-265. 7 Example 2.5 Oresteia, bars 76-88. 8 Example 2.6 Oresteia, bars 239-251. 9 Example 2.7 Oresteia, bars 279-286. 10 Example 2.8 Oresteia, bars 99-104. 11 Example 2.9 Oresteia, bars 17-31. 12 Example 2.9 (continued) Oresteia, bars 31-41. 13 Example 2.10 Oresteia, bars 354-359. 14 Example 2.11 Oresteia, bars 74-82. 15 Example 2.12 Oresteia, bars 444-452. 16 Example 2.13 Oresteia, bars 64-75. 17 Example 2.14 Oresteia, bars 220-226. 18 Example 2.15 Oresteia, bars 336-341. 19 Example 2.16 Oresteia, bars 366-368. 20 Example 3.1 Nuits, initial bars. 21 Example 3.2 Nuits, bars 13-17. 22 Example 3.3 Nuits, bars 12-16. 23 Example 3.4 Nuits, bars 88-91. 24 Example 3.5 Nuits, bars 160-163. 25 Example 3.6 Nuits, bars 164-167. 26 Example 3.7 Nuits, bars 178-182. 27 Example 3.8 Nuits, bars 245-251. 28 Example 3.9 Nuits, final bars. 29 Example 3.10 Mikka, initial bars. 30 Example 3.11 Cendrees(mixed choir), initial bars. 31 Example 3.11 (continued) Cendrees, initial bars. 32 Example 3.12 Cendrees,bars 73-78.
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