The Xenakis Sieve as Object: A New Model and a Complete Implementation

@article{Ariza2005TheXS,
  title={The Xenakis Sieve as Object: A New Model and a Complete Implementation},
  author={Christopher Ariza},
  journal={Computer Music Journal},
  year={2005},
  volume={29},
  pages={40-60}
}
40 Computer Music Journal In numerous publications from 1965 to 1992, composer, architect, and theorist Iannis Xenakis (1922– 2001) developed an elegant and powerful system for creating integer-sequence generators called sieves. Xenakis used sieves (cribles) for the generation of pitch scales and rhythm sequences in many compositions, and he suggested their application to a variety of additional musical parameters. Though sieves are best calculated with the aid of a computer, no complete… Expand
Iannis Xenakis and Sieve Theory: An Analysis of the Late Music (1984-1993)
This thesis is divided in three parts, the first two of which are theoretical and the third analytical. Part I is an investigation of Iannis Xenakis’s general theory of composition, the theory ofExpand
Composing with Sieves: Structure and Indeterminacy in-Time
TLDR
The dichotomy between predetermined abstract structures such as sieves and their actualization through random procedures is discussed and it is shown that in the hands of a innovative musician, sieves not only serve the craft aspect of composing but could also reveal as well as impact deeper levels of thinking. Expand
Two Pioneering Projects from the Early History of Computer-Aided Algorithmic Composition
TLDR
Although Hiller’s chapter reports on numerous projects that are now well known and independently documented, buried in the historical survey are a few remarkable endeavors of significant historical importance that have not hitherto been fully documented, corroborated, or heard. Expand
Analytical and Compositional Applications of a Network-Based Scale Model in music21
TLDR
The low-level BoundIntervalNetwork and high-level Scale objects of the open-source music21 toolkit are introduced and, through numerous examples both in Python code and musical notation, their usage and potential are demonstrated. Expand
Injecting Periodicities: Sieves as Timbres
Although Xenakis's article on sieves was published in 1990, the first extended reference to Sieve Theory is found in the final section of 'Towards a Metamusic' of 1967. There are certain differencesExpand
COMPUTER-AIDED TRANSFORMATIONAL ANALYSIS WITH TONE SIEVES
Sieve-theoretical methods are one of the first historical examples of theoretical tools whose implementational character has largely contributed to the development of computational musicology.Expand
Sieve Analysis and Construction: Theory and Implementation
Sieve Theory was used in order to construct symmetries at a desired degree of complexity. This was achieved by the combination of two or more modules, where each module is notated as an ordered pairExpand
Methodology for the production and delivery of generative music for the personal listener : systems for realtime generative music production
This thesis will describe a system for the production of generative music through specific methodology, and provide an approach for the delivery of this material. The system and body of work will beExpand
Gearing Time Toward Musical Creativity: Conceptual Integration and Material Anchoring in Xenakis’ Psappha
TLDR
This case study of conceptual integration templates for temporal representation seeks to gain insight into musical creativity, embodiment, and blending, especially into how virtual interactions with material structures facilitate the construction of complex meanings. Expand
Manifold Compositions: Formal control, Intuition, and the Case for Comprehensive Software
TLDR
The concept of manifold compositions is defined and it is established that a comprehensive set of instructions or a "black box" which reads in the data and outputs the finished product without outside interference is required. Expand
...
1
2
3
...

References

SHOWING 1-10 OF 51 REFERENCES
An Object-Oriented Model of the Xenakis Sieve for Algorithmic Pitch, Rhythm, and Parameter Generation
TLDR
An object-oriented model and Python implementation of the Xenakis sieve is presented, which offers a practical notation, use of all logical operators, production of sieve segments and transpositions, and easy integration within higher-level systems. Expand
Presences of/Presences de Iannis Xenakis
The passing of John Cage in 1992 and of Iannis Xenakis in 2001 brought to a close a century of musical creation that, in the hands of many composers, valued experience over object, discovery overExpand
Some observations on pitch, texture, and from in Xenakis' Mists
TLDR
The musical materials used in the composition of Mists are introduced and the interaction of these materials is discussed in the third and final section, which explores various aspects of the work's large-scale structure. Expand
Morphoscope, a computer system for music analysis
TLDR
The Morphoscope system is designed around basic entities inspired from the theory of set relations, adapted to the representation of musical scores, written in Common Lisp and CLOS, with an access to this environment for programming oriented users. Expand
Towards A Metamusic
TLDR
Hazy music cannot be forced into too precise a theoretical mould, but these are exceptional and may be possible later, when present theories have been refined and new ones invented. Expand
The Structure of Atonal Music
Atonal music, the remarkable new music created by Arnold Schoenberg, his students Webern and Berg, and other major composers immediately before and after World War I, is generally regarded asExpand
Xenakis' early works: From "Bartókian project" to "Abstraction"
Before this first known piece ( Metastaseis ), Xenakis composed some works which are called here the "early works." This article 1 A French, much more developed version of this article is Solomos, M.Expand
Determinacy and indeterminacy
TLDR
This article, edited from notes for a series of lectures delivered in Poland, and not previously published, Xenakis tackles first the questions arising from determinacy and indeterminacy, repetition and variation, symmetry and structure, and multidimensional musical space, then describes his computer drawing interface, UPIC. Expand
The Computer: A Composer’s Collaborator
The author expreśses his preferences for ‘comprehensive’ computer-assisted composition programs, for an experimental attitude, and for using specific computer capabilities such as the production ofExpand
Ornament as Data Structure: An Algorithmic Model based on Micro-Rhythms of Csángó Laments and Funeral Music
TLDR
It is shown that convincing heterophonic textures can result by the combination of algorithmic ornamentations of a single line in an algorithmic method for creating ornaments linked to skeletal base-notes. Expand
...
1
2
3
4
5
...