Iannis Xenakis

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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)
GENDY3 BY IANNIS XENAKIS is a stochastic music work entirely produced by a computer program written in 1991 by the composer himself at CEMAMu. The work GENDT3 is the continuation of the series of stochastic music works that Xenakis inaugurated in 1955 with Metastasis. In GENDT3, the use of stochastic rules is more deeply systematic, as the composer says in(More)
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)
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)
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(More)
This study examines aspects of the structure of Xenakis’s Achorripsis, using the fully notated score as its point of departure. Some of the analytical techniques used in this study are adapted from methods for the prolongational analysis of atonal music developed by Fred Lerdahl in his book Tonal Pitch Space. As part of this approach, a hierarchical(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)