DOCSLIB.ORG

Please Scroll Down for Article

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Please Scroll Down for Article This article was downloaded by: [University of Melbourne] On: 29 April 2009 Access details: Access Details: [subscription number 731852009] Publisher Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK Journal of New Music Research Publication details, including instructions for authors and subscription information: http://www.informaworld.com/smpp/title~content=t713817838 Spatial sound movement in the instrumental music of Iannis Xenakis Maria Anna Harley a a Faculty of Music, McGill University, Montreal, Que., Canada Online Publication Date: 01 September 1994 To cite this Article Harley, Maria Anna(1994)'Spatial sound movement in the instrumental music of Iannis Xenakis',Journal of New Music Research,23:3,291 — 314 To link to this Article: DOI: 10.1080/09298219408570661 URL: http://dx.doi.org/10.1080/09298219408570661 PLEASE SCROLL DOWN FOR ARTICLE Full terms and conditions of use: http://www.informaworld.com/terms-and-conditions-of-access.pdf This article may be used for research, teaching and private study purposes. Any substantial or systematic reproduction, re-distribution, re-selling, loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden. The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The accuracy of any instructions, formulae and drug doses should be independently verified with primary sources. The publisher shall not be liable for any loss, actions, claims, proceedings, demand or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material. Journal of New Music Research, Vol. 23 (1994), pp. 291-314 0929-8215/94/2303-291$6.00 © Swets & Zeitlinger Spatial Sound Movement in the Instrumental Music of Iannis Xenakis Maria Anna Harley ABSTRACT This paper discusses spatial sound movement in Xenakis's music from Pithoprakta (1955-56) to Alax (1985). Evolution of stochastic sound masses in Pithoprakta is linked to a rudimentary form of motion of sound on the stage. Eonta (1963-64) explores performer movement and the directional quality of brass instruments (e.g., change of timbre through axial rotations of the players). In Terretektorh (1965-66), for orchestra scattered among the audience, apparent sound motion is constructed by means of Archimedean, logarithmic and hyperbolical spirals. The climax of Perse- phassa (1969) consists of several superimposed layers of sound, rotating simul- taneously in different directions. Alax (1985) for three identical ensembles, presents spatial canons, sound planes, etc. Xenakis's original use of spatial sound movement in music juxtaposes technical sophistication with an overwhelming forcefulness of expression. 1. INTRODUCTION Musical movement is usually equated with motion in time which is present in the relationship of succession and the teleological orientation between events of a fixed order. According to Eduard Hanslick, "the attribute of motion, of sequential development" (Hanslick 1854/1986: 29) is a basic characteristic of the musical Downloaded By: [University of Melbourne] At: 09:55 29 April 2009 phenomenon. Yet, in many works of this and the previous century, musical move- ment occurs both in time and in space, and the spatial placement of sound is given compositional significance. The contrasts of distance — from being far away to near — are explored, for example, in the Finale of Gustav Mahler's Symphony No. 2 (1893—1894; cf. Mitchell 1975). The apparent motion of sound from the front to the back of the hall (and vice versa) is a basic feature of Henry Brant's Millennium II (1954), where it is created by successive entries of the trumpets and trombones placed along the walls of the hall (Drennan 1975). The vertical direction of motion from high to low may be articulated by the alternation between groups of instru- ments placed in a high gallery and on the ground level of the church, as in John Tavener's Ultimos Ritos (1972; cf. Harley 1993). Finally, the movement of sound 292 MARIA ANNA HARLEY around the audience may be circular, as in Pierre Boulez's Reports (1981—1988) for 6 instrumental soloists (surrounding the audience), instrumental ensemble (in the midst of the audience) and electroacoustic equipment (including two sets of 6 loudspeakers on the outskirts of the performance area). Spatial sound movement may be discrete, that is, it may proceed stepwise — if a musical phrase is presented successively in one ensemble of performers after another. This technique has been known since the Venetian school of polychorality in the late renaissance (or even earlier, cf. Carver 1988). Sound movement in space may also assume a continuous form — realized with moving performers or march- ing bands, for example. Such continuous motion may also be imitated by means of dynamics in music played by stationary performers — as in Charles Ives's Symphony No. 4 (1909—1916, movement II). A different method of creating a continuous movement of sound in space has been introduced in the second half of the 20th century. This technique involves ensemble dispersion, dynamic shading and temporal overlapping of sounds: station- ary instrumental groups are placed around the audience and successively play sounds of the same pitch and timbre with similar dynamic envelopes (crescendo- decrescendo). The sound seems to rotate in space, gradually shifting from one instrumental ensemble to another. The perception of this effect is very fragile; it depends on the position of the listener and the quality of performance, that is, the placement of the groups, the exact matching of pitch, timbre, dynamics and so forth. This effect, first used in Karlheinz Stockhausen's Gruppen fur Drei Orchester (1955—57; Harley 1993), appears, for instance, in Stockhausen's Carre for four orchestras and choirs (1959—60), Kazimierz Serocki's Continuum for six percussionists (1965—66) as well as in several compositions by Xenakis — the subject of this article. Xenakis's music, from Pithoprakta (1956) and Eonta (1963-64) to Alax (1985), features various forms of spatial sound movement. A particular emphasis is given in this study to two compositions: Terretektorh for 88 musicians scattered among Downloaded By: [University of Melbourne] At: 09:55 29 April 2009 the audience (1965—66) and Persephassa for 6 percussionists encircling the audience (1969). The analysis of Xenakis's music is supported by an examination of his compositional sketches and a review of his ideas as presented in Formalized Music (Xenakis 1971) as well as in a recent interview with the author (Xenakis 1992). The composer's continuing interest in the technique of spatialization is not limited to the instrumental works listed above. Different aspects of spatial sound are explored in Polytope de Montreal for 4 identical orchestras (1967), the musical component of Xenakis's audiovisual installation at EXPO 67 in Montreal. This work is the first in Xenakis's Polytope series, multimedia presentations which explore space (and time) by means of sound and light in movement (cf. Revault d'Allonnes 1975). In Nomos Gamma for 98 musicians scattered among the SOUND MOVEMENT IN MUSIC OF IANNIS XENAKIS 293 audience (1967—1968) mathematical group theory is used to structure the spatial placement of sound. Multichannel sound projection is required in a variety of Xenakis's electroacoustic compositions, including Bohor with its monumental sound masses (1962), and La Legende d'Eer (1977) with its complex patterns of sound movement in time, space, pitch and timbre. Xenakis's interest in electroacoustic music dates back to 1956, when he began working with Le Corbusier on the Philips Pavilion for EXPO 1958. In the Pavilion, 425 loudspeakers were used to obtain an effect of continuous sound movement in various directions (Wehmeyer 1977: 164). This sound projection system was con- structed for performances of Edgar Varese's Poeme electronique, preceded by Xenakis's earliest well-known electroacoustic work, Concrete PH (1958). This incandescent prelude, in which the sounds of burning charcoal create a scintillating texture with changing density and timbre, prefigures essays in granular synthesis of recent computer music. The experience with electroacoustics was not without consequences for Xenakis's role in the development of the technique of continuous, spatial sound movement in instrumental music (Terretektorh, Nomos Gamma and Persephassa). The very idea of using superimposed dynamic envelopes and temporal shifts to cause continuous changes in the apparent position of instrumental sounds was modelled on an electroacoustic technique, that is, stereo sound projection. In stereophony, differences of intensity between identical signals from two separate channels (loudspeakers) lead to changes in the location of virtual sound sources. Xenakis's describes this in the following way: Let us say that we have a monophonic recording of one sound and we want to make this sound move from loudspeaker A to loudspeaker B when the two are separated spatially. In order to do so we need to use two potentiometers, one for each channel, opening potentiometer A then closing it while slowly increasing the level in channel B. The balance is very sensitive; the most Downloaded By: [University of Melbourne] At: 09:55 29 April 2009 difficult thing is to have the sound coming from the center between the loudspeakers. This is just a simple example; in reality, sound movements are usually more complex and depend on the architecture of the performance space, the position of the speakers and many other things. When you want to re- produce such a complicated phenomenon with live musicians playing one after another with amplitude changing in the same way that you change the levels in a stereo sound projection, sometimes it will work and sometimes it will not. It depends on the speed of the sound as well as on the angle of two loudspeak- ers or musicians, that is, on the relative position of the listener.
Load more

Recommended publications
  • Iannis Xenakis Celebration of the Centenary of the Composer (1922-2001) by the Percussions De Strasbourg
    Iannis Xenakis celebration of the centenary of the composer (1922-2001) by the Percussions de Strasbourg Pléiades at the Festival Milano Musica Percussions de Strasbourg Percussions Celebration of the centenary of the de Strasbourg IANNIS XENAKIS composer (1922-2001) by the Percussions de Strasbourg It has been said several times that, thanks to percussion, Xenakis reintroduced the problem of rhythm that was thought to have disappeared from contemporary music. Architect, engineer and composer, this genius of composition writes music whose complex and harmonious structure contrasts with the explosive energy that comes out of it. The Percussions de Strasbourg are proud to have collaborated so closely with this composer who dedicated to them the works Persephassa (1969) and Pléiades (1979), which have become a must in the field of percussion. Idmen A and B (1985) is also dedicated to the Percussions de Strasbourg. Psappha (1975) and Rebonds A and B (1987-88) are solos that appear in our repertoire as well as the trio Okho (1989). Minh-Tâm Nguyen, artistic director of the Percussions de Strasbourg Xenakis and the Percussions de Strasbourg, 1984 2021: 20th death anniversary of the composer 2022: Centenary of the birth of the composer ON TOUR Pléiades (1979) - intermission - Persephassa (1969) immersive concert for 6 percussionists July 2021, Reggia di Caserta, Naples, Italy 19th of March 2022, Philharmonie, Paris, France 10th of April 2022, Megaron Concert Hall, Athens, Greece 12th of April 2022, Thessaloniki Concert Hall, Thessaloniki, Greece
    [Show full text]
  • 00 Title Page
    The Pennsylvania State University The Graduate School College of Arts and Architecture SPATIALIZATION IN SELECTED WORKS OF IANNIS XENAKIS A Thesis in Music Theory by Elliot Kermit-Canfield © 2013 Elliot Kermit-Canfield Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts May 2013 The thesis of Elliot Kermit-Canfield was reviewed and approved* by the following: Vincent P. Benitez Associate Professor of Music Thesis Advisor Eric J. McKee Associate Professor of Music Marica S. Tacconi Professor of Musicology Assistant Director for Graduate Studies *Signatures are on file in the School of Music ii Abstract The intersection between music and architecture in the work of Iannis Xenakis (1922–2001) is practically inseparable due to his training as an architect, engineer, and composer. His music is unique and exciting because of the use of mathematics and logic in his compositional approach. In the 1960s, Xenakis began composing music that included spatial aspects—music in which movement is an integral part of the work. In this thesis, three of these early works, Eonta (1963–64), Terretektorh (1965–66), and Persephassa (1969), are considered for their spatial characteristics. Spatial sound refers to how we localize sound sources and perceive their movement in space. There are many factors that influence this perception, including dynamics, density, and timbre. Xenakis manipulates these musical parameters in order to write music that seems to move. In his compositions, there are two types of movement, physical and apparent. In Eonta, the brass players actually walk around on stage and modify the position of their instruments to create spatial effects.
    [Show full text]
  • XENAKIS AS a SOUND SCULPTOR Makis Solomos
    XENAKIS AS A SOUND SCULPTOR Makis Solomos To cite this version: Makis Solomos. XENAKIS AS A SOUND SCULPTOR. in welt@musik - Musik interkulturell, publi- cations de l’Institut für Neue Musik und Musikerziehung Darmstadt, volume 44, Mainz, Schott, 2004„ p. 161-169, 2004. hal-01202904 HAL Id: hal-01202904 https://hal.archives-ouvertes.fr/hal-01202904 Submitted on 21 Sep 2015 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. 1 XENAKIS AS A SOUND SCULPTOR* Makis Solomos Abstract One of the main revolutions —and maybe the most important one— of twentieth century music is the emergence of sound. From Debussy to recent contemporary music, from rock’n’roll to electronica, the history of music has progressively and to some extent focused on the very foundation of music: sound. During this history —when, in some way, composition of sound takes the place of composition with sounds—, Xenakis plays a major role. Already from the 1950s, with orchestral pieces like Metastaseis (1953-54) or Pithoprakta (1955-56) and with electronic pieces like Diamorphoses (1957) or Concret PH (1958), he develops the idea of composition as composition-of-sound to such an extent that, if the expression was not already used for designating a new interdisciplinary artistic activity, we could characterize him as a “sound sculptor”.
    [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]
  • 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]
  • Iannis Xenakis, Roberta Brown, John Rahn Source: Perspectives of New Music, Vol
    Xenakis on Xenakis Author(s): Iannis Xenakis, Roberta Brown, John Rahn Source: Perspectives of New Music, Vol. 25, No. 1/2, 25th Anniversary Issue (Winter - Summer, 1987), pp. 16-63 Published by: Perspectives of New Music Stable URL: http://www.jstor.org/stable/833091 Accessed: 29/04/2009 05:06 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=pnm. 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]. Perspectives of New Music is collaborating with JSTOR to digitize, preserve and extend access to Perspectives of New Music. http://www.jstor.org XENAKIS ON XENAKIS 47W/ IANNIS XENAKIS INTRODUCTION ITSTBECAUSE he wasborn in Greece?That he wentthrough the doorsof the Poly- technicUniversity before those of the Conservatory?That he thoughtas an architect beforehe heardas a musician?Iannis Xenakis occupies an extraodinaryplace in the musicof our time.
    [Show full text]
  • C:\Users\Hhowe\Dropbox\Courses
    Iannis Xenakis (1922-2001): Catalogue of Musical Compositions (from www.iannis-xenakis.org) Seven untitled pieces, Menuet, Air populaire, Allegro molto, Mélodie, Andante : 1949-50; piano, unpublished. Six Chansons : 1951; piano; 8’. Dhipli Zyia :1952; duo (vln, vlc); 5’30. Zyia :1952; 2 versions: a) soprano, men’s chorus (minimum 10) and duo (fl, pno); b) soprano, fl, pno; 10’. Trois poèmes : 1952; narrator and pno; unpublished. La colombe de la paix : 1953; alto and 4-voice mixed chorus; unpublished. Anastenaria. Procession aux eaux claires : 1953; mixed chorus (30), men chorus (15) and orchestra (62); 11’. Anastenaria. Le Sacrifice :1953; orchestra (51); 6’. Stamatis Katotakis, chanson de table : 1953; voice and 3-voice men chorus; unpublished. Metastasis : 1953-4; orchestra (60); 7’ Pithoprakta :1955-6; string orchestra (46), 2 trb and perc; 10’ Achorripsis :1956-7; orchestra (21); 7’ Diamorphoses :1957-8; electroacoustic tape. 7’. Concret PH :1958; electroacoustic tape; 2’45". Analogiques A & B :1958-9; string ensemble (9) and electroacoustic tape; 7’30". Syrmos :1959; string ensemble (18 or 36); 14". Duel :1959; 2 orchestras (56 total) and 2 conductors; variable duration (circa 10’). Orient-Occident :1960; electroacoustic tape; 12’. Herma : 1961; for solo piano; 10’ ST/48,1-240162 :1956-62); orchestra (48); 11’ ST/10, 1-080262 : 1956-62; ensemble (10); 12’ ST/4, 1-080262 : 1956-62; string quartet; 11’ Morsima - Amorsima (ST/4, 2-030762) :1956-62); quartet (pno, vln, vlc, db); 11’ Atrées (ST/10, 3-060962) : 1956-62; ensemble (11); 15’. Stratégie : 1962; 2 orchestras (82 total) and 2 conductors; variable duration (10 to 30’) Polla ta dhina :1962; children's chorus (20) and orchestra (48); 6’ Bohor :1962; electroacoustic tape; 21’30".
    [Show full text]
  • SELF-BORROWINGS in the INSTRUMENTAL MUSIC of IANNIS XENAKIS Benoît Gibson : University of Evora / CESEM1 (Portugal), [email protected]
    SELF-BORROWINGS IN THE INSTRUMENTAL MUSIC OF IANNIS XENAKIS Benoît Gibson : University of Evora / CESEM1 (Portugal), [email protected] In Makis Solomos, Anastasia Georgaki, Giorgos Zervos (ed.), Definitive Proceedings of the “ International Symposium Iannis Xenakis ” (Athens, May 2005). Paper first published in A. Georgaki, M. Solomos (éd.), International Symposium Iannis Xenakis. Conference Proceedings, Athens, May 2005, p. 265-274. 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) Abstract As one of the most important composers of the twentieth century, Iannis Xenakis is also known for having used mathematical models in his compositions and for developing a formalization of music. But Xenakis’s compositional processes did not rely only on mathematics. Like many other composers, he borrowed extensively from his own works. These borrowings, which cannot be properly regarded as self-quotations, did not always relate to theoretical problems. Most of the time, they were selected for their particular sonic qualities or transformed in order to create new ones. This presentation examines the extent of self-borrowing in the music of Iannis Xenakis and shows how the composer made use of montage techniques as a means of producing different kinds of objects or textures. INTRODUCTION Iannis Xenakis figures among the most important composers of the twentieth century. Besides an extensive work, he left many writings which reflect his interest in concepts developed by science and philosophy.
    [Show full text]
  • Historical Backgrounds and Musical Developments of Iannis
    Historical Backgrounds and Musical Developments of Iannis Xenakis’s Persephassa (1969) By Matthew Peter Teodori, BM, MM Lecture Recital Document Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts The University of Texas at Austin 2012 Historical Backgrounds and Musical Developments of Iannis Xenakis’s Persephassa (1969) Western music written solely for percussion instruments began appearing in earnest in the 1930s. The budding genre would see tremendous growth in the Americas up until the end of World War II. Following the war, percussive evolution would find its way into academia and be championed by a new breed of percussionist/composer. The first professional Western percussion ensemble, Les Percussions de Strasbourg, would emerge in 1962, forever altering the history of percussion chamber music. The six French percussionists would begin to commission works from the foremost avant-garde musical minds in Europe. One such commission, Iannis Xenakis‟s Persephassa (1969), stands as a singular masterpiece for its comprehensive use of rhythm, spatial considerations and extraordinary length. Early Percussion Repertoire One of the earliest pieces of percussion music was composed by Frenchman Edgard Varèse in 1931. Ionisation is a work of remarkable deftness and imagination, utilizing thirteen players on forty-four instruments. The score‟s ninety-one measures last only six minutes, yet, despite its brevity, Ionisation is generally considered to be one of the finest works for percussion instruments ever written. What must be remembered, however, is that Varèse‟s work was not the first piece of its kind.
    [Show full text]
  • Περίληψη : a Music Composer of Greek Origin, Coming from a Family of the Greek Diaspora
    IΔΡΥΜA ΜΕΙΖΟΝΟΣ ΕΛΛΗΝΙΣΜΟΥ Συγγραφή : Ροβίθη Χαρά Μετάφραση : Αμπούτη Αγγελική Για παραπομπή : Ροβίθη Χαρά , "Xenakis Iannis", Εγκυκλοπαίδεια Μείζονος Ελληνισμού, Εύξεινος Πόντος URL: <http://www.ehw.gr/l.aspx?id=11573> Περίληψη : A music composer of Greek origin, coming from a family of the Greek Diaspora. During his lifetime, being as a participant of the social, political and cultural life in the years following the Second World War, he followed a course of research and creation serving his vision of art. Iannis Xenakis produced a rich musical, architectural and auctorial work which made him one of the most important progressive creators of the 20th century. Τόπος και Χρόνος Γέννησης 29th of May, 1922 ? (or 1921), Brăila, Romania. Τόπος και Χρόνος Θανάτου 4th of February, 2001, Paris. Κύρια Ιδιότητα Architect, mechanic, composer. 1. The First Years-Basic Studies Iannis Xenakis was born in Brăila of Romania, on the 29th of May, 1922 (the date is uncertain as it is probable that he was born in 1921) of parents who were members of the Greek Diaspora. His father, Klearchos, director of a British import-export company, came from Euboea, and his mother, Fotini Pavlou, came from the island of Limnos. Iannis Xenakis had two younger brothers, Kosmas, an urban planner and a painter, and Iasonas, a philosophy professor. Xenakis was introduced to music by his mother, who was a pianist. It is said that during his early childhood his mother gave him as a present a flute encouraging him to get involved in music. When he was five years old, his mother died from measles and the three children were brought up by French, English and German governesses.
    [Show full text]
  • 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.
    [Show full text]
  • Folio of Compositions and the Selective Subtraction of Tone and Rhythmic Material Composition Method
    Folio of compositions and the Selective Subtraction of Tone and Rhythmic Material composition method Emmanouil Ekmektsoglou PhD University of York Music September 2017 1 Abstract The purpose of this thesis is to provide a commentary on eight works composed between 2014 and 2017. In particular, this text includes the main thoughts of the composer regarding compositional process, texture transformation, tone material and form. The pieces in this portfolio demonstrate the development of my compositional practice and personal style, characterised by the importance of pitch and textural elements and the use of gesture. Furthermore, references are made to the composer’s Selective Subtraction of Tone and Rhythmic Material composition method whenever is implemented. 2 List of Contents Abstract .......................................................................................................................... 2 List of Contents ............................................................................................................. 3 List of Examples ........................................................................................................... 4 List of accompanying material ....................................................................................... 7 Author’s declaration....................................................................................................... 8 Introduction .................................................................................................................... 9 MAIN
    [Show full text]