Iannis Xenakis

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—Monterey Mirror is an interactive stochastic music generator based on Markov models, genetic algorithms, and power-law metrics for music information retrieval. It combines the predictive power of Markov models with the innovative power of genetic algorithms, using power-law metrics for fitness evaluation. These metrics have been developed and refined in a(More)
During the second half of the twentieth century, algebraic methods have been increasingly recognised as powerful approaches to the formalisation of musical structures. This is evident in the American music-theoretical tradition as well as in the European formalised approach to music and musicology. We mention the mathematician and composer Milton Babbitt,(More)
The sonification metaphor is not limited to electronic sound synthesis and computer music, but can be applied to instrumental music as well. The relation of sonification to program and experimental music is discussed and works by Iannis Xenakis, Karlheinz Stockhausen, John Cage and Alvin Lucier are briefly introduced. The paper leads to a discussion of the(More)
This paper presents a new model for measuring similarity in a general Rhythm Space. Similarity is measured by establishing a comparison between subsequences of a given rhythm. We introduce the hierarchical subdivision of rhythm sequences in several levels, and compute a Distance Matrix for each level using the " block distance ". The information about the(More)
The scope of this article is to present the diachronic value of Xenakis' technological thought in computer music research and creation of our days within a comparative and critical approach. On the one hand, we will refer to the main domains of Xenakis' contributions to Music Technology: the conquest of the computer as a tool for logical transformations of(More)
1. Mathematics through Abstract Art sors immanis et inanis, rota tu volubilis 1.1. Abstractions. Both my parents were very deeply involved in the scene of Italian contemporary art, over the span of several decades. Both of them studied Architecture in the late 1950s and early 1960s at the Politecnico in Milan. My mother, who had been a student Ernesto(More)
We discuss the interplay between structure and symmetry in the compositional process of Iannis Xenakis' Nomos Alpha for cello (1965). Following the composer's indications provided in many of his theoretical writings, we describe the structure of the piece, which is directly provided by the combinatorial properties of a double Fibonacci process applied to a(More)
… 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(More)
The early life of Iannis Xenakis, a modern day Renaissance scholar who would come to redefine the limits of musical composition and sound-driven spatial design in the 21st century, was overshadowed by adversity, conflict and alienation. Fleeing from his home country in 1947 after a nearly fatal wound to the face during the Greek Revolution, Xenakis'(More)