Exploring Xenakis Performance, Practice, Philosophy
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Cambridge University Press 978-1-107-13355-6 — the Cambridge Companion to Electronic Music Edited by Nick Collins , Julio D'escrivan Index More Information 317
Cambridge University Press 978-1-107-13355-6 — The Cambridge Companion to Electronic Music Edited by Nick Collins , Julio d'Escrivan Index More Information 317 I n d e x 1, 2, 1- 2- 3- 4 , 47 electronic and acoustic compared, 202 1- Bit Symphony , 248 and game music, 166 , 167 2001 A Space Odyssey , 193 and global connection, 32 242.pilots, 131 – 2 information aesthetics, 145 4’33 (Cage), 227 and live electronics, 178 , 262 – 4 , 265 – 7 , 270 , 8- bit music, 81 , 173 – 4 , 248 271 – 2 and microsound, 216 – 17 Aarset, Eivind, 270 – 1 modes of listening, 203 – 4 Abandoned Lake in Maine , 287 and music for i lm, 163 ‘Abstract Cinema - Chromatic Music’, 125 and networks, 148 abstract i lmmaking, visual music, 125 – 6 and sot ware tools, 76 academic electronic music, 32 – 3 , 294 and sound art, 220 – 2 , 225 – 6 , 228 , 230 – 1 , acousmatic musi c . see also Tape Music 236 – 7 challenges to, 31 – 2 , 297 – 8 and spatial elements, 211 , 213 – 15 language and voice use, 208 – 9 and studio development, 27 listener interface, 37 and synaesthetic art, 134 – 5 musique concrète, 27 , 141 , 155 , 157 , 202 , and technology, 27 – 9 , 32 , 76 , 201 , 298 203 – 5 and transmission, 141 , 146 use of noise, 209 – 11 a f ective approach to analysis, 287 origin, 9 – 10 , 203 Africa, as inspiration, 176 soundscapes, 163 , 174 – 5 , 218 – 19 At ershock , 285 spatial aspects, 211 – 15 AI hoaxes, 10 – 11 streaming ef ects, 207 – 8 aleatoric principles, 114 – 15 Acousmonium, 212 Alexander, Amy, 133 acoustic ecology, 174 – 5 , 285 , see also algorithmic compositio -
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 -
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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. -
´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). -
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. -
S P O È Me E Lectronique
Densil Cabrera S o u n d S p a c e a n d E d g a r d V a r è s e ’ s P o è m e E l e c t r o n i q u e Master of Arts 1994 University of Technology, Sydney C E R T I F I C A T E I certify that this thesis has not already been submitted for any degree and is not being submitted as part of candidature for any other degree. I also certify that the thesis has been written by me and that any help that I have received in preparing this thesis, and all sources used, have been acknowledged in this thesis. Signature of Candidate i A c k n o w l e d g m e n t s The author acknowledges the specific assistance of the following people in the preparation of this thesis: Martin Harrison for supervision; Greg Schiemer for support in the early stages of research; Elizabeth Francis and Peter Keller for allowing the use of facilities at the University of New South Wales’ Infant Research Centre for the production of the Appendix; Joe Wolfe and Emery Schubert; Roberta Lukes for her correspondence; Kirsten Harley and Greg Walkerden for proof reading. The author also acknowledges an award from the University of Technology, Sydney Vice- Chancellor’s Postgraduate Student Conference Fund in 1992. ii T a b l e o f C o n t e n t s I n t r o d u c t i o n The Philips Pavilion and Poème Electronique Approaches C h a p t e r 1 - S o u n d i n t h e W a l l s Architecture, Music: A Lineage Music-Architecture: Hyperbolic Paraboloids Crystal Sculpture Domestic Images of Sound in Space Sound, Space, Surface C h a p t e r 2 - H y p e r b o l i c P a r a b o l o i d s A -
Expanding Horizons: the International Avant-Garde, 1962-75
452 ROBYNN STILWELL Joplin, Janis. 'Me and Bobby McGee' (Columbia, 1971) i_ /Mercedes Benz' (Columbia, 1971) 17- Llttle Richard. 'Lucille' (Specialty, 1957) 'Tutti Frutti' (Specialty, 1955) Lynn, Loretta. 'The Pili' (MCA, 1975) Expanding horizons: the International 'You Ain't Woman Enough to Take My Man' (MCA, 1966) avant-garde, 1962-75 'Your Squaw Is On the Warpath' (Decca, 1969) The Marvelettes. 'Picase Mr. Postman' (Motown, 1961) RICHARD TOOP Matchbox Twenty. 'Damn' (Atlantic, 1996) Nelson, Ricky. 'Helio, Mary Lou' (Imperial, 1958) 'Traveling Man' (Imperial, 1959) Phair, Liz. 'Happy'(live, 1996) Darmstadt after Steinecke Pickett, Wilson. 'In the Midnight Hour' (Atlantic, 1965) Presley, Elvis. 'Hound Dog' (RCA, 1956) When Wolfgang Steinecke - the originator of the Darmstadt Ferienkurse - The Ravens. 'Rock All Night Long' (Mercury, 1948) died at the end of 1961, much of the increasingly fragüe spirit of collegial- Redding, Otis. 'Dock of the Bay' (Stax, 1968) ity within the Cologne/Darmstadt-centred avant-garde died with him. Boulez 'Mr. Pitiful' (Stax, 1964) and Stockhausen in particular were already fiercely competitive, and when in 'Respect'(Stax, 1965) 1960 Steinecke had assigned direction of the Darmstadt composition course Simón and Garfunkel. 'A Simple Desultory Philippic' (Columbia, 1967) to Boulez, Stockhausen had pointedly stayed away.1 Cage's work and sig- Sinatra, Frank. In the Wee SmallHoun (Capítol, 1954) Songsfor Swinging Lovers (Capítol, 1955) nificance was a constant source of acrimonious debate, and Nono's bitter Surfaris. 'Wipe Out' (Decca, 1963) opposition to himz was one reason for the Italian composer being marginal- The Temptations. 'Papa Was a Rolling Stone' (Motown, 1972) ized by the Cologne inner circle as a structuralist reactionary. -
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”. -
On the Creative Process of Syrmos by Iannis Xenakis
Visualizing Sound, Hearing Diagrams: On the Creative Process of Syrmos by Iannis Xenakis José L. Besada Universidad Complutense de Madrid, Madrid, Spain [Preprint version, no images embedded] Abstract. A salient feature of Iannis Xenakis’ compositional practices was the use of several concepts and techniques borrowed from architectural design and from scientific fields. He sometimes drew complete graphic scores preluding the transcription of his fair copy of conventional musical notation. I discuss the diagrammatical features of Xenakis’ graphic score for Syrmos: although disparate representations depend on shared image schemata and cross-modal correspondences, their respective compositional logics are dissimilar. Keywords: Science-based composition · Sketch studies · Cross-modal correspondences · Material anchors · Iannis Xenakis 1 Introduction In Syrmos, a piece for string orchestra for eighteen players, Iannis Xenakis achieved a synthesis between compositional perspectives he developed during the 1950s. He implemented extra-musical ideas in compositional processes mainly borrowed from architectural design, mathematics, and physics. When playing Syrmos, the musicians and the conductor are supposed to read a score with standard notation on their respective music stands. A first and diagrammatic version of Syrmos is kept in the composer’s archives. It was written on graph paper in order to transcribe the data it contains as accurately as possible. Among its numerous pages, one of them displays a kind of hyperbolic envelope surrounded by a seemingly unpatterned cluster made of little crosses (see Fig. 1). Henceforth, I will only focus on this page, as a paradigmatic case in which both graphical elements, line segments and dots, are confronted. I will prove that, although both elements are immersed in the same diagrammatical space and share therefore common features, their underlying compositional logics are quite different. -
Away with Apps? Interactive Web 3D Driven by Relational Databases Jelle Vermandere
Away with apps? Interactive web 3D driven by relational databases Jelle Vermandere Away with apps? Interactive web 3D driven by relational databases. Jelle Vermandere Student number: 01306207 Supervisors: Willem Bekers, Prof. ir.-arch. Ruben Verstraeten Counsellor: Nino Heirbaut Master's dissertation submitted in order to obtain the academic degree of Master of Science in de ingenieurswetenschappen: architectuur Academic year 2019-2020 The author gives permission to make this master dissertation available for consultation and to copy parts of this master dissertation for personal use. In all cases of other use, the copyright terms have to be respected, in particular with regard to the obligation to state explicitly the source when quoting results from this master dissertation. 13/01/2020 Foreword This thesis aims to make the process of adding 3D models to relational databases easier while providing more functionality. Before I explain this, I would like to thank everyone who made my life easier. First of all, my supervisors Willem Bekers and Ruben Verstraeten for their valuable guidance sessions, their inspiring ideas and their support in my journey to the completion of this thesis. I would also express my gratitude towards my favourite spelling checkers Lotte and Tessa for their extreme focus on letters and punctuation marks and Jonathan for the more rigorous language corrections. Special thanks goes to my sister Floor for being my lay-out support and showing me the wonderful world of web development. Thanks to the numerous people who created forum posts and online tutorials who helped me solve many problems. I have learned many new skills along the way, many of which I did not even know existed. -
Diatope and La L ´Egende D'eer
Elisavet Kiourtsoglou An Architect Draws Sound 13 rue Clavel, 75019, Paris, France [email protected] and Light: New Perspectives on Iannis Xenakis’s Diatope and La Legende´ d’Eer (1978) Abstract: This article examines the creative process of Diatope, a multimedia project created by Iannis Xenakis in 1978 for the inauguration of the Centre Pompidou in Paris, utilizing analytical research of sources found in several archives. By interpreting Xenakis’s sketches and plans, the article elucidates for the first time the spatialization of La Legende´ d’Eer, the music featured in the Diatope. The findings of the research underline the importance of graphic and geometric representation for understanding Xenakis’s thinking, and they highlight the continuity and evolution of his theory and practice over time. Furthermore, the research findings present the means by which this key work of electroacoustic music might be spatialized today, now that the original space of the Diatope no longer exists. Iannis Xenakis (1922–2001) was trained as a civil distinct levels of Diatope—architecture, music, and engineer at the Polytechnic University of Athens light—were neither interdependent elements of the (NTUA) and became an architect during his collab- work nor merely disparate artistic projects merged oration with Le Corbusier (1947–1959). Later on, together. Xenakis presented a four-dimensional Xenakis devoted himself mainly to the composition spectacle based upon analogies between diverse of music, with the exception of purely architectural aspects of space–time reality. To achieve this he projects sporadically conceived for his friends and used elementary geometry (points and lines) as a for other composers. -
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.