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Xenakis in America City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2-2014 Xenakis in America Charles Wolcott Turner Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/120 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Xenakis in America by Charles Turner A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2014 Copyright © 2014 Charles W. Turner All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy Joseph Straus ________________ ________________________________ Date Chair of the Examining Committee Norman Carey ________________ ________________________________ Date Acting Executive Officer David Olan Stephen Blum Anne-Sylvie Barthel-Calvet James Harley Supervisory Committee The City University of New York iii Abstract Xenakis in America by Charles Turner Adviser: David Olan Iannis Xenakis had a long-standing interest in the U.S., but given the five years he spent here, little has been written about his experiences. This study attempts, through archival research and interviews, to document Xenakis’ time in the United States. Its subject is his relationship to American cultural institutions, and in what lured Xenakis here for musical composition and research. The narrative treats the period from Copland’s invitation to Tanglewood in 1963, through Xenakis’ 1972 investment by France as a state-supported artist. While he visited the U.S. many times thereafter, he no longer sought long-term engagement with U.S. institutions, but presented work completed elsewhere. After his summer at Tanglewood, I track performances of Xenakis compositions by Schuller, Foss and Bernstein (among others) throughout the 1960s and 1970s. I examine Xenakis’ association with Balanchine, and the reception of Xenakis’ theoretical writings, culminating in the publication of Formalized Music in 1971. I give an account of Xenakis’ collaboration with Alexis Solomos on Aeschylus’ Oresteia, produced in 1966 by the Ypsilanti Greek Theatre, as well as the founding of Xenakis’ research center CMAM at Indiana University in 1967, which he would build over the next five years. iv ABSTRACT v Concerning Xenakis’ reasons for coming to America, I argue for two major motivations. First, there were reasons to look beyond France: its state institutions, up to the late 1960s, provided little support for avant-garde composition. Later, there were reasons to return: with the Polytope de Cluny of 1972, the Ministry of Culture signaled a policy change that favored Xenakis, and established his CeMAMu as a state-supported research center. Second, Xenakis’ opportunities in the U.S. satisfied his interest in working outside the boundaries of autonomous composition. The collaboration on the Ypsilanti Oresteia offered Xenakis involvement with both ancient and modern Greek theater, and Bloomington’s sponsorship of CMAM, which included the equipment necessary for computer synthesis of sound, gave Xenakis access to technology unavailable in France at the time. Acknowledgments Thanks go first to my professors—Stephen Blum, David Olan and Joseph Straus—who have guided me through this project with their great knowledge and experience. Through their critique and encouragement, the result of my efforts is much more than what I would have achieved on my own. The other two members of my committee, Anne-Sylvie Barthel-Calvet and Jim Harley, have been true mentors to me over the course of this project, now some ten years old. For my introduction and welcome to the community of Xenakis scholars, I thank Sharon Kanach and Makis Solomos. Quite a few archives provided pieces of my puzzle. Thanks to Catherine Massip (now retired) at the Bibliothèque national de France and also to Ruth Henderson for her introduction. At Indiana University, the help of Dina Kellams and Philip Bantin at the Office of Archives and Records Management was essential, as was that of David Lasocki at the William & Gayle Cook Music Library. Thanks to Becky Cape at the Lilly Library, and also Bernard Gordillo for his fabulous footwork. Karen Jania at the Bentley Historical Library, University of Michigan was a gracious guide to their Ypsilanti holdings. For critical Balanchine materials, there was Dale Stinchcomb and the staff at the Houghton Library, Harvard University. Thanks also to Alexander Rehding for his warm welcome, and Michael Heller for his Fromm indexes. The staff of the Jerome Robbins Dance Division of the New York Public Library for the Performing Arts treated me to many dance videos, and thanks to vi ACKNOWLEDGMENTS vii Jonathan Hiam for his generosity with Teresa Sterne’s papers. At the University of Buffalo, John Bewley and Nancy Nuzzo at the Music Library culled Xenakis material from their Morton Feldman and Lejaren Hiller collections. At Yale University, thanks go out to Remi Castonguay, Emily Ferrigno and Suzanne Lovejoy at the Irving S. Gilmore Music Library, and Anne Rhodes at the Oral History of American Music project. Thanks also to Susan C. Floyd at the Harry Ransom Center, the staff of the Music Division at the Library of Congress, Gabriel Smith at the New York Philharmonic Digital Archives, Stephanie Marakos at the Lilian Voudouri Library, the staff of the Greek National Theatre Library, Rob Hudson at Carnegie Hall, Elsbeth Brugger and John Tafoya at the St. Louis Symphony and finally Joe Evans at the San Francisco Symphony. There were also the interviews that connected my masses of paper to still vivid memories. For the Tanglewood sections, I thank Ben Boretz, David Del Tredici, Michael Gibbs, Gunther Schuller, Gerald Warfield and Paul Zukofsky for speaking with me. With regard to the Ypsilanti Oresteia, there was Theodor Antoniou, Judith Bentley, Paul Ganson, Lawrence Glowczewski, John Kitzman, Helen McGehee, Dina Paisner, Tonia Shimin and Stanley Towers. At Bloomington, thanks first of all to William Aspray for showing me the way in, and for their memories of computing in the 1960s, there was Michael Dunn, Wayne Martin, Franklin Prosser, David Wise and Steve Young. There were those involved with the CMAM—Wilson Allen, Michael Babcock, Mark Bingham, the late James Brody, Don Byrd, Gary Levenberg, Bruce Rogers and Tom Wood—and those who helped realize Formalized Music—Michael Aronson, John Challifour and Natalie Wrubel. Thanks finally to Fiora Contino, and to Jan Harrington for rescuing her Xenakis scores from the Choral Department closet. In other, more general contexts, I was grateful to be able to tap the memories of James Beauchamp, Stuart Dempster, Bob Ludwig, F. Richard Moore, Gary Nelson, Curtis Roads, Katy Romanou, Curtis O. Smith, ACKNOWLEDGMENTS viii Daniel Teruggi and Roger Woodward. Critical assistance, gifts of things that made larger things happen, came from Moreno Andreatta, Laura Bird, John Russell Brown, Ted Buttrey, Joel Chadabe, Chris Chafe, Thanos Chrysakis, François Delalande, Benoît Gibson, Francesco Giomi, Sorrell Hayes, Rebecca Kim, Norris Lacy, Angelo Lampousis, Liana Lupaş, François-Bernard Mâche, Peter Mackridge, Ruth Mayleas, Philip Nord, George Schuller, Alexandra Skendrou, Laurie Spiegel, Diane Touliatos and Maja Trochimczyck. I also enjoyed the help of colleagues, whose perspectives always enlarged my understanding of Xenakis, and Post-war composition generally: Pedro Bittencourt, Joris De Henau, Agostino Di Scipio, Dimitris Exarchos, Anastasia Georgaki, Peter Hoffmann, Sergio Luque, Henry Martin, Stefan Schaub, Ron Squibbs, Danae Stephanou, Roelf Toxopeus, Evaggelia Vagopoulou and Rachel Vandagriff. For their support over these many years, I’m indebted to the Xenakis family, Françoise and Mâkhi, and also Alain Surrans of Les Amis de Xenakis. Closer to home, none of this could have happened without the support of my mother, Elaine, and wife, Alexandria Lee. Contents Abstract iv Acknowledgments vi Contents ix List of Figures xi Acronyms and Abbreviations xii A Note on Primary Sources xv Chronology xvii 1 Introduction 1 2 Tanglewood 24 3 Ypsilanti 61 4 Balanchine 88 5 Bloomington 102 6 Realizing Stochastic Synthesis 139 ix CONTENTS x 7 America: post 1972 165 A Listening Guide 176 B Archives Consulted 182 Bibliography 188 List of Figures 1.1 Chronology of essays anthologized in Formalized Music. 21 6.1 Logistic Density with Barriers. Figure IX-1 from Iannis Xenakis, Formal- ized Music: Thought and Mathematics in Music (Revised Edition), ed. Sharon Kanach (Stuyvesant, New York: Pendragon Press, 1992), 250 . 160 6.2 Exponential x Cauchy Densities with Barriers and Randomized Time. Figure IX-2 from Iannis Xenakis, Formalized Music: Thought and Math- ematics in Music (Revised Edition), ed. Sharon Kanach (Stuyvesant, New York: Pendragon Press, 1992), 251 . 162 6.3 Poster for Polytope de Cluny, showing music credits in the lower-right corner.163 xi Acronyms and Abbreviations CCRMA: Center for Computer Research in Music and Acoustics at Stanford University. CDC: Control Data Corporation. CeMAMu: Centre de Mathématique et d’Automatique Musicales, formed in 1972 as the successor to EMAMu. CMAM: Center for Mathematical and
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