Globally tempered sieves and cellular automata.

In the 1980s and 90s sieve structures became the ‘solution to half the problems in composition’ (‘A propos de Jonchaies’, 1988). Xenakis inclined towards writing extended ‘sound-veils’ (Robindore, 1996), by taking sieved melodic lines, and compressing and stretching them, superimposing them in an asychronous way, or generating a kind of ‘sound-halo’ around them (‘A propos de Jonchaies’). An alternative to layering is a global definition of sieves with respect to time, aided by ‘cellular automata’ (e.g. in Horos) which expand the development of sound in time by means of deterministic chaos (Hoffmann, 1994). Xenakis associates the flow of time with a general conception of current and turbulence (for instance, Roáï means ‘floods’). While his works for ensemble (e.g. Thalleïn and Jalons) display a mobile manner in realizing the most varied sonic ideas – from trills and extended oscillations to funeral march-like sections – the compositions for large orchestra since Ata (1987) tend towards gigantic ‘amalgamated’ clusters in an increasingly monolithic style. Their mixing of inharmonic, dense spectra to generate a complex amalgam of sound colours is much like his approach to electro-acoustic sound synthesis. Even the string quartets of this period (Tetora, 1990; Ergma, 1994) exhibit such a tendency.

Xenakis, Iannis

Electro-acoustic works.

Although Xenakis has produced substantially less electro-acoustic music than music for instruments he has researched intensively in the area since the start of his career. Taken as a whole his tape output suggests a time-loop-like evolution of a single mighty sound stream, endlessly differentiated internally. In particular he has explored the dense spectra of noise-like sounds, rich in partials, which appear similar to sounds emanating from acoustic mass phenomena. Stochastic distributions determined the montage of early electro-acoustic pieces, the density of the acoustic events controlled by means of multiple mixing of concrète sound-sources (Di Scipio, 1995; Delalande, 1997). Such sources have included instrumental sounds, often with extended playing techniques (e.g. exaggerated bow-pressure, playing right up against the bridge, the use of additional col legno noise, wind multiphonics) as in Persépolis (written for the 1971 Polytope) and Hibiki Hana Ma (for the 1970 Osaka World Fair). La légende d’Eer (1977), the singular 46-minute sound-universe for the Diatope, technically the most advanced of the Polytopes, is, like Persépolis, a maelstrom of gradually swelling sound which has a palpable physical effect on the listener. Up to eight independent tracks allow the mixing of diverse channels during a performance.

Another way Xenakis has generated complex sounds from rich, transitory spectra is with the combination of many short pulses or ‘sound grains’; such ‘granular synthesis’ was realized with analogue equipment in Analogique B (1958–9). He also attempted its implementation on the computer (Leprince-Ringuet in Gerhards, 1981, p.53) but the technique was developed further by others.

The multi-track superimposition of already complex sounds is also the basic idea of graphic synthesis with the UPIC system. As a first step wave forms are either designed freely by hand or sampled from complex sound-sources. As a second step, dozens of pitch curves are defined, in order to turn these waves into simultaneous sound, by means of a battery of oscillators. Most recently, by means of Xenakis’s own computer programme GENDYN (1991) and his Dynamic Stochastic Synthesis algorithm, up to 16 time-variant sound tracks may be synthesized in parallel. The algorithm covers the entire range between constant and chaotically fluctuating spectra, i.e. between the ‘frozen’ musical note and complex noise. It thus represents a refinement of the explorations of stochastic synthesis with the computer which Xenakis began 20 years ago.

Xenakis, Iannis

WORKS

Orchestral

Anastenaria: le sacrifice, orch (51 insts), 1953, sketch

Metastaseis, 1953–4; SWF SO, cond. H. Rosbaud, Donaueschingen, 16 Oct 1955

Pithoprakta, 1955–6; Bavarian RSO, cond. H. Scherchen, Munich, 8 March 1957

Achorripsis, 21 insts, 1956–7; Colón cond. Scherchen, Buenos Aires, 20 July 1958

Duel, 2 small orchs, 1959; Radio Hilversum PO, cond. D. Masson and F. Terby, Hilversum, 18 Oct 1971

Syrmos, 12 vn, 3 vc, 3 db, 1959; Ensemble Instrumental de Musique Contemporaine, cond. Simonović, Paris, 20 May 1969

Stratégie, 2 small orchs, 1959–62; Venice Festival Orchestra, cond. B. Maderna and C. Simonović, 25 April 1963

ST/48, 48 insts, 1959–62; Orchestre Philharmonique de l’ORTF, cond. L. Foss, Paris, 21 Oct 1968

Akrata, 16 wind, 1964–5; cond. Simonović, Paris, 1965

Terretektorh, 1966; Orchestre Philharmonique de l’ORTF, cond. Scherchen, Royan, 3 April 1966

Polytope, 4 orch groups, 1967; Ensemble Instrumental de Musique Contemporaine, cond. Simonović, Montreal, Expo 67, 1967

Nomos gamma, 1967–8; Orchestre Philharmonique de l’ORTF, cond. C. Bruck, Royan, 4 April 1969

Kraanerg (ballet), orch, tape, 1968; Ottawa, June 1969

Synaphaï, pf, orch, 1969; Pludermacher, cond. M. Tabachnik, Royan, 6 April 1971

Antikhthon (ballet), 1971; cond. Tabachnik, Bonn, Festival Xenakis, 21 Sept 1974

Eridanos, 8 brass, str orch, 1973; Ensemble Européen de Musique Contemporaine cond. Tabachnik, La Rochelle, 13 April 1973

Erikhthon, pf, orch, 1974; C. Helffer, Orchestre de l’ORTF, cond. Tabachnik, Paris, 21 May 1974

Noomena, 1974; Orchestre de Paris, cond. G. Solti, Paris, 16 Oct 1974

Empreintes, 1975; Netherlands Radio PO, cond. Tabachnik, La Rochelle, 29 June 1975

Jonchaies, 1977; Orchestre National de France, cond. Tabachnik, Paris, 21 Dec 1977

Aïs, amp Bar, perc, orch, 1980; S. Sakkas, Gualda, Bavarian RSO, cond. Tabachnik, Munich, 13 Feb 1981

Pour les baleines, str, 1982; Orchestre Colonne, cond. D. Masson, Orléans, 2 Dec 1983

Lichens, 1983; Liège PO, cond. Bartholomée, Liège 16 April 1984

Shaar, str, 1983; Jerusalem Sinfonietta, cond. J.- P. Izquierdo, Tel Aviv, 3 Feb 1983

Alax, 3 ens of 10 insts (fl, cl, 2 hn, trbn, hp, perc, vn, 2 vc), 1985; Ensemble Modern, Ensemble Köln, Gruppe Neue Musik Hanns Eisler, cond. E. Bour, Cologne, 15 Sept 1985

Horos, 1986; Japan PO, cond. H. Iwaki, Tokyo, 24 Oct 1986

Keqrops, pf, orch, 1986; R. Woodward, New York PO, cond. Z. Mehta, New York, 13 Nov 1986

Ata, 1987; SWF SO, cond. M. Gielen, Baden-Baden, 3 May 1988

Tracées, 1987; Orchestre National de Lille, cond. J.-C. Casadeus, Paris, 17 Sept 1987

Kyania, 1990; Montpellier PO, cond. Z. Peskó, Montpellier, 7 Dec 1990

Tuorakemsu, 1990; Shinsei Nippon Orchestra, cond. H. Iwaki, Tokyo, 9 Oct 1990

Dox-Orkh, vn, orch, 1991; Arditti, BBC SO, London, cond. A. Tamayo, Strasbourg, 6 Oct 1991

Krinòïdi, 1991; Orchestra Sinfonica dell’Emilia-Romagna ‘Arturo Toscanini’, cond. R. Encinar, Parma, May 1991

Roáï, 1991; Berlin RSO, cond. O. Henzold, Berlin, 24 March 1992

Troorkh, trbn, orch, 1991; C. Lindberg, Swedish RSO, cond. E.-P. Salonen, Stockholm, 26 March 1993

Mosaïques, 1993; Orchestre des Jeunes de la Méditerranée, cond. Tabachnik, Marseilles, 23 July 1993

Dämmerschein, 1993–4; Cologne RSO, cond. Peskó, Lisbon, 9 June 1994

Koïranoï 1994; NDR SO, cond. Peskó, Hamburg, 1 March 1996

Ioolkos, 1995; SWF SO, cond. K. Ryan, Donaueschingen, 20 Oct 1996

Voile, str, 1995; Munich Chamber Orchestra, cond. C. Poppen, Munich, 16 Nov 1995

Sea-Change, 1997; BBC SO, cond. A. Davis, London, 23 July 1997

O-Mega, perc solo, chbr orch, 1997; E. Glennie, London Sinfonietta, cond. M. Stenz, Huddersfield, 30 Nov 1997

Choral

Zyia (folk), S, male vv (10 minimum), fl, pf, 1952; cond. R. Safir, Evreux, 5 April 1994

Anastenaria: procession aux eaux claires, SATB (30vv), male choir (15vv), orch (62 insts), 1953, sketch

Polla ta dhina (Sophocles: Antigone), children’s vv, wind, perc, 1962; cond. Scherchen, Stuttgart, 25 Oct 1962

Hiketides: les suppliates d’Eschyle, 50 female vv, 10 insts/orch, 1964; cond. Simonović, Paris, 1968

Oresteïa (incid music/concert work, Aeschylus), chorus, 12 insts, 1965–6; cond. Simonović, Ypsilanti, MI, 14 June 1966

Medea (incid music, Seneca), male vv, orch, 1967; cond. Masson, Paris, 29 March 1967

Nuits, 3 S, 3 A, 3 T, 3 B, 1967–8; cond. M. Couraud, Royan, 7 April 1968

Cendrées, chorus, orch, 1973–4; cond. Tabachnik, Lisbon, 20 June 1974

A Colone (Sophocles), male/female vv (20 minimum), 5 hn, 3 trbn, 6 vc, 4 db, 1977; Metz, 19 Nov 1977

A Hélène, Mez, female vv, 2 cl, 1977; Epidavros, July 1977

Anemoessa (phonemic text), SATB (42 minimum), orch, 1979; cond. R. Dufallo, Amsterdam, 21 June 1979

Nekuïa (phonemes and text from J.-P. Richter: Siebenkäs and Xenakis: Ecoute), SATB (54 minimum), orch, 1981; cond. Tabachnik, Cologne, 26 March 1982

Pour la Paix (Xenakis), SATB, 2 female spkrs, 2 male spkrs, tape (UPIC), 1981, version for SATB (32 minimum); cond. M. Tranchant, Paris, 23 April 1982

Serment-Orkos (Hippocrates), SATB (32 minimum), 1981; Greek Radio Choir, Athens, 1981

Chant des Soleils (Xenakis, after P. du Mans), SATB, children’s choir, 18 brass 6 (hn, 6 tpt, 6 trbn) or multiple, perc, 1983; Nord-Pas-de-Calais [simultaneous performance in several towns of the region], 21 June 1983

Idmen A/Idmen B (phonemes from Hesiod: Theogony), SATB (64 minimum), 4/6 perc, 1985; Antifona de Cluj, Les Percussions de Strasbourg, Strasbourg, 24 July 1985

Knephas (phonemes by Xenakis), SATB (32 minimum), 1990; cond. J. Wood, London, 24 June 1990

Pu wijnuej we fyp (A. Rimbaud), children’s choir, 1992; cond. D. Dupays, Paris, 5 Dec 1992

Bakxai Evrupidou [The Bacchae] (Euripides), Bar, female vv (also playing maracas), pic, ob, dbn, hn, tpt, trbn, 3 perc, 1993; J. Dixon, cond. N. Kok, London, 1 Sept 1993

Sea-Nymphs (phonemes from W. Shakespeare: The Tempest), SATB (24 minimum), 1994; cond. S. Joly, London, 16 Sept 1994

Other vocal

Tripli zyia, 1v, pf, 1952, unpubd

Trois poèmes (F. Villon: Aiés pitié de moy, V. Mayakovsky: Ce soir je donne mon concert d’adieux, Ritsos: Earini Symphonia [Spring Symphony]), 1v, pf, 1952, unpubd

La colombe de la paix, A, 4vv (SATB), 1953, unpubd

Stamatis Katotakis (table song), 1v, male vv, 1953, unpubd

N’shima, 2 Mez/A, 2 hn, 2 trbn, vc, 1975; cond. J.-P. Izquierdo, Jerusalem, Feb 1976

Pour Maurice, Bar, pf, 1982; S. Sakkas, C. Helffer, Brussels, 18 Oct 1982

Kassandra (Aeschylus), Bar + 20str psalterion, perc, 1987; Sakkas, Gualda, Gibellina, 21 Aug 1987 [second part of Oresteïa: see choral]

La déesse Athéna (Aeschylus), Bar, pic, ob, E cl, db cl, dbn, hn, pic tpt, trbn, tuba, perc, vc, 1992; Sakkas, cond. Tabachnik, Athens, 3 May 1992 [scene from Oresteïa: see choral]

Chamber

Dipli Zyia, vn, vc, 1951, unpubd

ST/4, str qt, 1956–62; Bernède Quartet, Paris, 1962

ST/10, cl, b cl, 2 hn, hp, perc, str qt, 1956–62 cond. Simonović, Paris, May 1962

Morsima-Amorsima, pf, vn, vc, db, 1956–62; cond. Foss, Athens, 16 Dec 1962

Analogique A, 9 str, 1958 [must be performed with tape work Analogique B]; cond. Scherchen, Gravesano, summer 1959

Amorsima-Morsima, cl, b cl, 2 hn, hp, perc, str qt; cond. Foss, Athens, 1962

Atrées, fl, cl, b cl, hn, tpt, trbn, 2 perc, vn, vc, 1962; cond. Simonović, Paris, 1962

Eonta, 2 tpt, 3 trbn, pf, 1963–4; cond. P. Boulez, Paris, 16 Dec 1964

Anaktoria, cl, bn, hn, str qt, db, 1969; Octuor de Paris, Avignon, 3 July 1969

Persephassa, 6 perc, 1969; Les Percussions de Strasbourg, Persepolis, 9 Sept 1969

Aroura, 12 str, 1971; cond. Tabachnik, Lucerne, 24 Aug 1971

Charisma, cl, vc, 1971; Royan, 6 April 1971

Linaia-Agon, hn, trbn, tuba, 1972; cond. Tabachnik, London, 26 April 1972

Phlegra, 11 insts, 1975; cond. Tabachnik, London, 28 Jan 1976

Epeï, eng hn, cl, tpt, 2 trbn, db, 1976; cond. S. Garant, Montréal, 9 Dec 1976

Retours-Windungen, 12 vc, 1976; Berlin PO, Bonn, 20 Feb 1976

Dmaathen, ob, perc, 1976; N. Post, J. Williams, New York, May 1977

Akanthos, 9 insts, 1977; Ensemble Studio 111, Strasburg, 17 June 1977

Ikhoor, str trio, 1978; Trio à Cordes Français, Paris, 2 April 1978

Dikhthas, vn, pf, 1979; S. Accardo, B. Canino, Bonn, 4 June 1980

Palimpsest, eng hn, b cl, bn, hn, perc, pf, str qnt, 1979; cond. S. Gorli, Aquila, 3 March 1979

Pléïades, 6 perc, 1979; Les Percussions de Strasbourg, Strasbourg, 17 May 1979

Komboï, amp hpd, perc, 1981; Chojnacka, Gualda, Metz, 22 Nov 1981

Khal Perr, brass qnt, 2 perc, 1983; Quintette Arban, Alsace Percussions, Beaune, 15 July 1983

Tetras, str qt, 1983; Arditti String Quartet, Lisbon, 8 June 1983

Thalleïn, pic, ob, cl, bn, hn, pic tpt, trbn, perc, pf, str qnt, 1984; cond. E. Howarth, London, 14 Feb 1984

Nyûyô [Setting Sun], shakuhachi, sangen, 2 koto; 1985; Angers, Ensemble Yonin-No Kai (Tokyo), 30 June 1985

Akea, pf, str qt, 1986; Helffer, Arditti String Quartet, Paris, 15 Dec 1986

A l’Ile de Gorée, amp hpd, pic, ob, cl, bn, hn, tpt, str qnt, 1986; cond. Kerstens, Amsterdam, 4 July 1986

Jalons, pic, ob, b cl, db cl, dbn, hn, tpt, trbn, tuba, hp, str qnt, 1986; cond. Boulez, Paris, 26 Jan 1987

XAS, sax qt, 1987; Raschèr Quartet, Lille, 17 Nov 1987

Waarg, pic, ob, cl, bn, hn, tpt, trbn, tuba, str qnt, 1988; cond. Howarth, London, 6 May 1988

Echange, solo b cl, fl, ob, cl, bn, hn, tpt, trbn, tuba, str qnt, 1989; H. Sparnaay, cond. Porcelijn, Amsterdam, 26 April 1989

Epcycle, solo vc, fl, ob, cl, hn, tpt, trbn, tuba, 2 vn, va, db, 1989; R. de Saram, Spectrum Ensemble, cond. G. Protheroe, London, 18 May 1989

Okho, 3 djembés, tall African drum, 1989; Trio Le Cercle, Paris, 20 Oct 1989

Ophaa, hpd, perc, 1989; Chojnacka, Gualda, Warsaw, 17 Sep 1989

Tetora, str qt, 1990; Arditti String Quartet, Witten, 27 Apr 1991

Paille in the wind, vc, pf, 1992; J. Scalfi, Woodward, Milan, 14 Dec 1992

Plektó, fl, cl, perc, pf, vn, vc, 1993; cond. R. Platz, Witten, 24 April 1994

Ergma, str qt, 1994; Mondrian String Quartet, The Hague, 17 Dec 1994

Mnamas Xapin Witoldowi Lutoslavskiemu [In Memory of Witold Lutosławski], 2 hn, 2 tpt, 1994; cond. W. Michniewki, Warsaw, 21 Sept 1994

Kaï, fl, cl, bn, tpt, trbn, vn, va, vc, db, 1995; cond. D. Coleman, Oldenburg, 12 Nov 1995

Kuïlenn, fl, 2 ob, 2 cl, 2 bn, 2 hn, 1995; Netherlands Wind Ensemble, Amsterdam, 10 June 1996

Hunem-Iduhey, vn, vc, 1996; E. Michell, O. Akahoshi, New York, 9 Aug 1996

Ittidra, str sextet, 1996; Arditti String Quartet, T. Kakuska (va), V. Erben (vc), Frankfurt, 4 Oct 1996

Roscobeck, vc, db, 1996; R. de Saram, S. Scordanibbio, Cologne, 6 Dec 1996

Zythos, trbn, 6 perc, 1996; Lindberg, Kroumata Ensemble, Birmingham, 10 April 1997

Solo instrumental

Seven piano pieces without title, Menuet, Air populaire, Allegro molto, Mélodie, Andante, pf, 1949–50, unpubd

Suite, pf, 1950–51, unpubd

Thème et conséquences, pf, 1951, unpubd

Herma, pf, 1960–61

Nomos alpha, vc, 1965–6; S. Palm, Bremen, 5 May 1966

Mikka, vn, 1971; I. Gitlis, Paris, 27 Oct 1972

Evryali, pf, 1973; C. Helffer, Paris, 1974

Gmeeoorh, org, 1974; C. Holloway, U. of Hartford, CT, 1974

Psappha, perc, 1975; S. Gualda London, 2 May 1976

Theraps, db, 1975–6; F. Grillo, 26 March 1976

Khoaï, hpd, 1976; E. Chojnacka, Cologne, 5 May 1976

Mikka ‘S’, vn, 1976; R. Pasquier, Orléans, 11 March 1976

Kottos, vc, 1977; M. Rostropovich, La Rochelle, 28 June 1977

Embellie, va, 1981; G. Renon-McLaughlin, Paris, 1981

Mists, pf, 1981; Woodward, Edinburgh, 1981

Naama, amp hpd, 1984; Chojnacka, Luxembourg, 20 May 1984

Keren, trbn, 1986; B. Sluchin, Strasbourg, 19 Sept 1986

A r. (Hommage à Ravel), pf, 1987; H. Austbö, Montpellier, 2 Aug 1987

Rebonds, perc, 1988; Gualda, Rome, 1 July 1988

Tape

some works exist in one or more revised realizations

Diamorphoses, 2-track, 1957–8; Brussels, 5 Oct 1958

Concret PH, 2-track, 1958; Brussels, Philips pavilion, 1958

Analogique B, 2-track, 1958–9 [must be performed with chbr work Analogique A]; cond. Scherchen, Gravesano, summer 1959

Orient-Occident, 2-track, 1960; Cannes, May 1960

The Thessaloniki World Fair (film score), 1-track, 1961

Bohor, 4-track, 1962; Paris, 15 Dec 1962

Hibiki Hana Ma, 12-track, 1969–70; Osaka, Expo 70, 1970

Persépolis, 8-track, 1971; Persepolis, 26 Aug 1971

Polytope de Cluny, 8-track, lighting, 1972; Paris, 17 Oct 1972

Polytope II, tape, lighting, 1974; Paris, 1974

La legénde d'Eer (Diatope), 4- or 8-track, 1977; Paris, 11 Feb 1978

Mycenae alpha, 2-track, UPIC, 1978; Mycenae, 2 Aug 1978

Taurhiphanie, 2-track, UPIC, 1987; Arles, 13 July 1988

Voyage absolu des Unari vers Andromède, 2-track, UPIC; Osaka, 1 April 1989

GENDY3, 2-track, Dynamic Stochastic Synthesis, 1991; Metz, 17 Nov 1991

S 709, 2-track Dynamic Stochastic Synthesis, 1994; Paris, 2 Dec 1994

Principal publishers: Boosey & Hawkes, Bote & Bock, Modern Wewerka, Salabert

Xenakis, Iannis

WRITINGS

Untitled analysis of Metastaseis, in C.E. Le Corbusier: Modulor 2 (Boulogne, 1955, 2/1983; Eng. trans., 1958), 341–4

‘I simerines tasis tis gallikis moussikis’ [Current tendencies in French music], Epitheorissi technis [Athens], no.6 (1955), 466–70

‘Provlimata ellinikis moussikis’ [Problems of Greek music], Epitheorissi technis [Athens], no.9 (1955), 185–9; Ger. trans. in A. Baltensperger: Iannis Xenakis und die Stochastische Musik: Komposition im Spannungsfeld von Architektur und Mathematik (Zürich, 1997)

‘Der “Modulor”’, Gravesaner Blätter, no.9 (1957), 2–5 [incl. Eng. trans.]

‘Architecture’, in C.E. Le Corbusier: Le poème électronique (Paris, 1958), 9; Eng. trans. as ‘Le Corbusier’s Electronic Poem’ in Gravesaner Blätter, no.9 (1957), 51–4

with L.C. Kalff: ‘The Philips Pavilion and The Electronic Poem’, Arts and Architecture, no.11 (1958), 23

‘Les Métastassis’, unpubd typescript, before 1959, D-DSim

‘La musique stochastique: éléments sur les procédés probabilistes de composition musicale’, Revue d’esthétique, no.14 (1961); Eng. trans. in Gravesaner Blätter, no.18 (1960), 84–105; no.19 (1960), 140–50; no.21 (1961), 113–21; no.22 (1961), 144–5

‘Stochastic Music’, Music East and West: Tokyo 1961, 134–40

‘Un cas: la musique stochastique’, Musica-disques, no.102 (1962), 11

‘Debussy a sformalizowanie muzyki’, Ruch muzyczny, vi/16 (1962), 7

‘Wer ist Iannis Xenakis/Who is Iannis Xenakis’, Gravesaner Blätter, nos.23–4 (1962), 185–6

‘Musiques formelles’, ReM, nos. 253–4 (1963); repr. as Musiques formelles (Paris, 1981); Eng. trans. as Formalized Music: Thought and Mathematics in Composition (Bloomington, IN, 1971, enlarged 2/1992)

‘Schaeffer, Pierre’, MGG1

‘Intuition or Rationalism in the Techniques of Contemporary Musical Composition’, Berlin Confrontation: Künstler in Berlin (Berlin, 1965), 15–18

‘Tribune libre’, Gravesaner Blätter, no.26 (1965), 5

‘Motsägelsen musik och maskin’, Nutida musik, ix/5–6 (1965–6), 23

‘Notice sur Orestie’, Sigma, no.3 (1966), 6; rev. as ‘Arcaiotha kai sugcronh mousikh’ [Antiquity and contemporary music], Deltio kritikis diskografias, nos.18–19 (1976), 377–82

‘Structures hors-temps’, The Musics of Asia: Manila 1966, 152–73 [summary in EthM, xi (1967), 107–13]

‘Ad libitum …’, World of Music, ix/1 (1967), 17–19

‘La musique et les ordinateurs’, Quinzaine littéraire (March 1968), 23–6

‘Xenakis, Iannis’, MGG1

‘Une note’, ReM, nos. 265–6 (1969), 51

‘Structures universelles de la pensée musicale’, Liberté et organisation dans le monde actuel (Paris, 1969), 173–80

‘Musique et programmation’, ITC (Ingénieurs, Techniciens et Cadres) actualités, no.2 (1970), 55–7

‘Short Answers to Difficult Questions’, Composer [USA], ii/2 (1970), 39

Untitled essay, PNM, ix/2 (1970–71), 130

‘Les dossiers de l’E.m.a.mu’, Colloquio artes, xiii/5 (1971), 40–48

‘Free Stochastic Music from the Computer’, Cybernetics, Arts, and Ideas, ed. J. Reichardt (London, 1971)

Musique, Architecture (Tournai, 1971, enlarged 2/1976; Eng. trans., forthcoming)

Preface to M. Gagnard: L’initiation musicale des jeunes (Paris, 1971), 9–11

‘Den kosmika värtdsstaden’, Nutida musik, xv/3 (1971–2), 13–14

‘Om “Terretektorh”’, Nutida musik, xv/2 (1971–2), 47

Untitled essay, Ferienkurse ’74: Darmstadt 1974, ed. E. Thomas, 16–18

‘Propos impromptu’, Courrier musical de France, no.48 (1974), 130–33

‘Iannis Xenakis: aftoviografiko’ [Xenakis: an autobiography], Deltio kritikis diskografias, nos.18–19 (1976), 374–6

Opening Address, Computer Music Conference V: Evanston, IL, 1978

‘Centre Georges Pompidou: geste de lumière et de son’, Le Diatope-Xenakis (Paris, 1978), ‘Epistimoniki skepsi kai moussiki’ [Scientific thought and music], Rotonta, no.4 (1978), 380–95

Untitled essay, in I. and G. Bogdanoff: L’effet science-fiction (Paris, 1979), 283–6

Arts/Sciences: alliages (Paris, 1979; Eng. trans., 1985, as Arts – Sciences, Alloys: the Thesis Defense of Iannis Xenakis)

‘Brief an Karl Amadeus Hartmann’, Karl Amadeus Hartmann und die Musica Viva, Bayerische Staatsbibliothek, 19 June – 29 Aug 1980, ed. R. Wagner, M. Attenkofer and H. Hell (Munich, 1980), 337 [exhibition catalogue]

‘Migrazioni nella composizione musicale’, Musica e elaboratore, ed. A. Vidolin (Venice, 1980)

‘Dialexh’ [Conference], Symbossio: synchroni tecni kai paradossi (Athens, 1981), 195–206

‘Homage to Béla Bartók’, Tempo, no.136 (1981), 5

‘Il faut que ça change’, Le matin (26 Jan 1981)

‘Le temps en musique’, Spirales, no.10 (1981), 9–11

‘La composition musicale est à la fois dépendante et indépendante de l’évolution technologique des systèmes analogiques ou numériques’, Conférences des journées d’études: Festival International du Son (Paris, 1982), 137–55

‘Il pensiero musicale’, Spirali, no.41 (1982), 44–5

‘Polytopes’, in J.-P Leonardini, M. Collin and J. Markovits: Festival d’automne à Paris 1972–1982 (Paris, 1982), 218

‘Science et technologie, instruments de création’, Recherche et technologie: Paris 1982 (Paris, 1982)

‘Perspectives de la musique contemporaine’, Echos, no.1 (1983), 47

‘Un exemple enviable’, ReM, nos.372–4 (1984), 67

‘Notice sur la vie et les travaux de Georges Auric, Discours prononcés dans la séance publique tenue par l’Académie des Beaux-Arts, no.6 (1984), 13–19

‘Un plaidoyer pour l’avant-garde?’, Nouvel observateur, nos. 19–25 (1984), 97

‘La source de l’expérience humaine’, Le monde (13 Sept 1984)

‘Les conditions actuelles de la composition’, France Forum, nos.223–4 (1985), 10–12

‘Le monde en harmonie’, Silences, no.1 (1985), 91–4

‘Briefauszug an Hermann Scherchen’, Hermann Scherchen Musiker, ed. H. Pauli and D. Wunsche (Berlin, 1986), 95

‘Hermann Scherchen’, Monde de la musique, no.89 (1986), 91

‘Ouvrir les fenêtres sur l’inédit’, 20ème siècle: images de la musique française, ed. J.-P. Derrien (Paris, 1986), 160–62

‘Mykenae alpha’, PNM, xxv/1–2 (1987), 12–15

‘Xenakis on Xenakis’, PNM, xxv/1–2 (1987), 16–63

‘A propos de Jonchaies’, Entretemps, no.6 (1988), 133–7

Untitled essay, Edgard Varèse 1883–1965: Dokumente zu Leben und Werk, ed. H. de la Motte-Haber and K. Angermann (Frankfurt, 1990), 79–80

‘Originality in Musical Composition’, Technology’s Challenge for Mankind (Tokyo, 1990), 17–24

‘Sieves’, PNM, xxviii/1 (1990), 58–78; partial repr. in Kéleütha (Paris, 1994), 75–87

‘UPIC Sketch for Voyage absolu des Unari vers Andromède, 1989, PNM, xxviii/2 (1990), 119, 135

‘More Thorough Stochastic Music’, Computer Music Conference: Montreal 1991, 517–18

Untitled essay, PNM, xxxi/2 (1993), 135 [on John Cage]

Kéleütha (Paris, 1994) [incl. ‘La crise de la musique sérielle’, 39–43; ‘Lettre à Hermann Scherchen’, 44–5; ‘Théorie des probabilités et composition musicale’; ‘Eléments sur les procédés probabilistes (stochastiques) de composition musicale’, 46–53; ‘La voie de la recherche et de la question’, 67–74; ‘Culture et créativité’, 129–32; ‘Des universes du son’, 112–20; ‘Entre Charybde et Scylla’, 88–93; ‘Les chemins de la composition musicale’, 15–38; ‘Musique et originalité’, 106–11; ‘Pour l’innovation culturelle’, 133–5; ‘L’univers est une spirale’, 136–8; ‘Condition du musicien’, 121–8; ‘Cribles’, 75–87; ‘Sur le temps’, 94–105]

Musique et originalité (Paris, 1996) [collection of essays]

‘Determinacy and Indeterminacy’, Organised Sound, i (1996), 143–55

INTERVIEWS

B.A. Varga: Beszélgetèsek Iannis Xenakisszal (Budapest, 1982; Eng. trans., 1996, as Conversations with Iannis Xenakis)

M. Feldman: ‘A Conversation on Music’, Res, no.15 (1988), 177–81

E. Restagno: ‘Un’autobiografia dell’autore raccontata de Enzo Restagno’, Xenakis (Turin, 1988), 3–70

M. Harley: ‘Musique, espace et spatialisation’, Circuits, v/2 (1994), 9–20

P. Szendy: ‘Ici et là: entretien avec Iannis Xenakis’, Cahiers de l’IRCAM, no.5 (1994), 107–13

F. Delalande: Il faut être constamment un immigré: entretiens avec Xenakis (Paris, 1997)

Xenakis, Iannis

BIBLIOGRAPHY

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