The Laws of Xenakis's Music Not Formulated by Xenakis Himself

10.34690/127 ◽  
2021 ◽  
pp. 40-59
Author(s):  
Левон Оганесович Акопян
Keyword(s):  
Deep Structure ◽  
Ideal Gas ◽  
Musical Composition ◽  
Iannis Xenakis ◽  
Scholarly Literature ◽  
Mathematical Formulas ◽  
Physical Laws ◽  
Scientific Ideas ◽  
Mass Events ◽  
Observable Phenomenon

Вокруг творчества Янниса Ксенакиса (1922-2001) сложилась богатая литература, тон которой задал сам композитор своим трактатом «Формализованная музыка», изобилующим математическими формулами и схемами, непонятными для большинства гуманитариев. Между тем чрезмерная опора на то, что писал о своей музыке сам Ксенакис, не всегда помогает в должной мере оценить некоторые немаловажные атрибуты его стиля. Принимая близкую Ксенакису точку зрения на композиторское «изделие» как на эмпирически наблюдаемый феномен с особым набором дифференциальных признаков, уникальным образом распределенных во времени и пространстве, мы приходим к следующему выводу: какие бы научные идеи и представления ни привлекались композитором для разъяснения своих концепций, глубинная структура его музыки, как правило, восходит к триаде универсальных законов, описывающих соотношения между параметрами массовых явлений. Эта триада изоморфна трем физическим законам, описывающим поведение фиксированной массы идеального газа, и музыкальный язык Ксенакиса приспособлен для того, чтобы следовать им достаточно строго. The oeuvre of Iannis Xenakis (1922-2001) gave rise to a wealth of scholarly literature, the tone of which was set by Xenakis himself in his treatise Formalized Music, abounding in mathematical formulas and schemes that are incomprehensible for the absolute majority of scholars in the humanities. However, over-reliance on Xenakis's own comments on his music is not necessarily conductive to a better understanding of some important attributes of his style. Adopting Xenakis's perspective on a piece of musical composition as an empirically observable phenomenon with a special set of differentiae uniquely distributed in time and space, we come to the following conclusion: irrespective of which scientific ideas and notions were involved by Xenakis to explicate his concepts, the deep structure of his music, as a rule, is based on the triad of universal rules describing the relations between the parameters of mass events. The triad in question is isomorphous with the three physical laws describing the behaviour of a fixed mass of ideal gas, and Xenakis's musical idiom is adapted to follow these laws quite strictly.

Analysis of Granular Acousmatic Music: Representation of sound flux and emergence

2019 ◽  
Vol 24 (02) ◽  
pp. 205-216 ◽  
Author(s):  
Danilo Rossetti ◽  
Jônatas Manzolli
Keyword(s):  
Graphical Representation ◽  
Electroacoustic Music ◽  
Musical Composition ◽  
Technological Equipment ◽  
Analytical Methodology ◽  
Iannis Xenakis ◽  
Audio Recordings ◽  
Acousmatic Music ◽  
Music Representation ◽  
Sound Spectrum

Analysing electroacoustic music is a challenging task that can be approached by different strategies. In the last few decades, newly emerging computer environments have enabled analysts to examine the sound spectrum content in greater detail. This has resulted in new graphical representation of features extracted from audio recordings. In this article, we propose the use of representations from complex dynamical systems such as phase space graphics in musical analysis to reveal emergent timbre features in granular technique-based acousmatic music. It is known that granular techniques applied to musical composition generate considerable sound flux, regardless of the adopted procedures and available technological equipment. We investigate points of convergence between different aesthetics of the so-called Granular Paradigm in electroacoustic music, and consider compositions employing different methods and techniques. We analyse three works: Concret PH (1958) by Iannis Xenakis, Riverrun (1986) by Barry Truax, and Schall (1996) by Horacio Vaggione. In our analytical methodology, we apply such concepts as volume and emergence, as well as their graphical representation to the pieces. In conclusion we compare our results and discuss how they relate to the three composers’ specific procedures creating sound flux as well as to their compositional epistemologies and ontologies.

scholarly journals A Unit Pipe Pneumatic model to simulate gas kinetics during measurements of embolism in excised angiosperm xylem

2021 ◽  
Author(s):  
Dongmei Yang ◽  
Luciano Pereira ◽  
Guoquan Peng ◽  
Rafael V. Ribeiro ◽  
Lucian Kaack ◽  
...  
Keyword(s):  
Gas Diffusion ◽  
Ideal Gas ◽  
Striking Similarity ◽  
Measuring Error ◽  
List Type ◽  
Gas Phases ◽  
Ideal Gas Law ◽  
Embolism Resistance ◽  
Physical Laws ◽  
Pneumatic Method

AbstractThe Pneumatic method has been introduced to quantify embolism resistance in plant xylem of various organs. Despite striking similarity in vulnerability curves between the Pneumatic and hydraulic methods, a modeling approach is highly needed to demonstrate that xylem embolism resistance can be accurately quantified based on gas diffusion kinetics.A Unit Pipe Pneumatic (UPPn) model was developed to estimate gas diffusion from intact conduits, which were axially interconnected by interconduit pit membranes. The physical laws used included Fick’s law for diffusion, Henry’s law for gas concentration partitioning between liquid and gas phases at equilibrium, and the ideal gas law.The UPPn model showed that 91% of the extracted gas came from the first two series of embolized, intact conduits, and only 9% from the aqueous phase after 15 s of simulation. Embolism resistance measured with a Pneumatic apparatus was systematically overestimated by 2 to 17%, corresponding to a typical measuring error of 0.11 MPa for P50 (the water potential equivalent to 50% of the maximum amount of gas extracted).Because results from the UPPn model are supported by experimental evidence, there is a good theoretical and experimental basis for applying the pneumatic method to research on embolism resistance of angiosperms.

scholarly journals Gearing Time Toward Musical Creativity: Conceptual Integration and Material Anchoring in Xenakis’ Psappha

2021 ◽  
Vol 11 ◽  
Author(s):  
José L. Besada ◽  
Anne-Sylvie Barthel-Calvet ◽  
Cristóbal Pagán Cánovas
Keyword(s):  
Conceptual Analysis ◽  
Meaning Construction ◽  
Musical Composition ◽  
Conceptual Integration ◽  
Iannis Xenakis ◽  
Temporal Representation ◽  
Musical Creativity ◽  
Virtual Interactions ◽  
Insight Into

Understanding compositional practices is a major goal of musicology and music theory. Compositional practices have been traditionally viewed as disembodied and idiosyncratic. This view makes it hard to integrate musical creativity into our understanding of the general cognitive processes underlying meaning construction. To overcome this unnecessary isolation of musical composition from cognitive science, in this conceptual analysis, we approach compositional processes with the analytic tools of blending theory, material anchoring, and enaction. Our case study is Iannis Xenakis’ use of sieves for distributing rhythmic patterns in Psappha. Though disregarded in previous accounts, the timeline and the gearwheel provide crucial conceptual templates for anchoring Xenakis’ idea of time for this score. 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.

Iannis Xenakis: a composer's perspective

2001 ◽  
Vol 6 (1) ◽  
pp. 75-76
Author(s):  
David Worrall
Keyword(s):  
The Body ◽  
Musical Composition ◽  
Sound Waves ◽  
Iannis Xenakis ◽  
Musical Structures ◽  
Concert Halls ◽  
The Times ◽  
The Way

Although music uses sound as its medium of conveyance, music is not just sound. Although musical structures rely on the acoustics of sound-generating devices (instruments) and conveyances (concert halls, loudspeakers) and on the way the body senses the sound waves generated and transformed by these (psychoacoustics), theories of musical composition can work both with and against these principles. Music is involved in sonic discourse, sonic rhetoric, if you will, and history shows us that because of this it is a sociocultural phenomenon which reflects the times in which it is composed.

Tremblay, Gilles (1932--)

2018 ◽  
Author(s):  
Marie-Thérèse Lefebvre
Keyword(s):  
Twentieth Century ◽  
New Music ◽  
Musical Composition ◽  
Olivier Messiaen ◽  
Karlheinz Stockhausen ◽  
Iannis Xenakis ◽  
Guillaume De Machaut ◽  
The Past ◽  
Pierre Boulez ◽  
School Of Music

Composer and musical pedagogue Gilles Tremblay made significant contributions to the development of musical composition in Quebec in the second half of the twentieth century. After studying at the Montreal Conservatory (Conservatoire de Musique du Québec à Montréal), he attended workshops at the Marlboro School of Music (Vermont) in the summers of 1950, 1951, and 1953. He lived in Paris from 1954 to 1961, where he enrolled in the piano studio of Yvonne Loriod, took analysis courses with Olivier Messiaen, attended workshops on Ondes Martenot, and received counterpoint lessons with Andrée Vaurabourg-Honegger. Tremblay attended the Darmstadt International Summer Courses in 1957 and 1960, and worked at the GRM (Groupe de Recherches Musicales) led by Pierre Schaeffer. Involved at this time with the networks of French new music, he frequently met with Pierre Boulez, Karlheinz Stockhausen, and Iannis Xénakis. In 1961 Tremblay returned to Quebec and was appointed professor of analysis and composition at the Montreal Conservatory, a position he occupied until his retirement in 1997. His courses at the Conservatory were inspired by Messiaen’s famous analysis class in Paris. Tremblay found connections between master works of Western music that linked the past to the present, from Gregorian chants to the polyphony of Guillaume de Machaut, Monteverdi, and Mozart, through to the twentieth century. His courses were extremely influential to two or three generations of composers in Quebec.

Iannis Xenakis and the “Real” of Musical Composition

2002 ◽  
Vol 26 (1) ◽  
pp. 16-21 ◽  
Author(s):  
Gerard Pape
Keyword(s):  
Musical Composition ◽  
Iannis Xenakis ◽  
The Real

The Application of Laboratory Formulas to Clinical Voice Management

1995 ◽  
Vol 4 (2) ◽  
pp. 62-69 ◽  
Author(s):  
Katherine Verdolini ◽  
Ingo R. Titze
Keyword(s):  
Fundamental Frequency ◽  
Voice Disorders ◽  
Clinical Interventions ◽  
Case Examples ◽  
Interactive Nature ◽  
Mathematical Formulas

In this paper, we discuss the application of mathematical formulas to guide the development of clinical interventions in voice disorders. Discussion of case examples includes fundamental frequency and intensity deviations, pitch and loudness abnormalities, laryngeal hyperand hypoadduction, and phonatory effort. The paper illustrates the interactive nature of theoretical and applied work in vocology

Aesthetics and the Art of Musical Composition in the German Enlightenment

1996 ◽  
Author(s):  
Heinrich Christoph Koch ◽  
Johann Georg Sulzer
Keyword(s):  
Musical Composition ◽  
German Enlightenment

Şiirde sürgünün izdüşümü: Özkan Mert'in Ülkesinden Ayrılan Bir İşçinin Türküsü ve bir Mültecinin Mektubu şiirlerine Göstergebilimsel bir yaklaşım

2015 ◽  
Vol 2 (2) ◽  
pp. 229-248
Author(s):  
Medine Sivri
Keyword(s):  
Deep Structure ◽  
Language Usage ◽  
Exile Literature ◽  
The World ◽  
Deductive Method

Bu çalışmada, bir ‘sürgün şair’ olarak anılan Özkan Mert’in Ülkesinden Ayrılan Bir İşçinin Türküsü ve Bir Mültecinin Mektubu şiirleri göstergebilimsel bir yaklaşımla yeniden okunmaya çalışılacaktır. Özellikle farklı imgesel yapıları ve farklı bir dil kullanımını içinde barındıran ve bir ‘dünyalı şair’ olarak da anılan Özkan Mert’in şiirlerini biçimsel ve içeriksel yapılarıyla ele almak, son zamanlarda çokça tartışılan ‘sürgün edebiyatı’ ile ilgili görüşlere de katkı sunacaktır. Şiirler çözümlenirken, yüzeysel yapıdan derin yapıya doğru ilerleyen tümdengelimci yöntem izlenecek ve en son aşamada şiirler anlamsal yapılarıyla karşılaştırılmaya çalışılacaktır.ENGLISH ABSTRACTThe Projection of Exile in Poetry: A Semiotics Approach to Özkan Mert’s poems titled Ülkesinden Ayrılan Bir İşçinin Türküsü and Bir Mültecinin Mektubu In the current study, it will be tried to reread the poems titled Ülkesinden Ayrılan Bir İşçinin Türküsü and Bir Mültecinin Mektubu of Özkan Mert, who is known as an exiled poet, with a semiotics approach. Considering the poems of Özkan Mert, who is known as an “poet of the world” and contains different imaginary structures and a different language usage, with their stylistic and contextual structure will also make contribution to the “exile literature” that is argued recently. During the analysis of poems, the deductive method proceeding from the superficial structure to deep structure will be practised and finally the poems will be compared about their semantic structures.Keywords: Özkan Mert; Semiotics; Exile Literature; Superficial Structure; Deep Structure

Mass Production: Impossible London’s Criminal Subjects

2018 ◽  
Author(s):  
Ted Geier
Keyword(s):  
Print Culture ◽  
Mass Production ◽  
History Of ◽  
Mass Events

Considers mass readership and the ‘tastes’ it produces. Maps the history of criminals and execution spectacles, particularly as addressed by the London ‘public’ voices of Defoe and Dickens. Connects these mass events to the new mass print culture and circulation forms, such as the penny dreadfuls and their Newgate novel precursor. This shows the development of the public’s ‘taste for blood’, anxieties at an encroaching nonhumanity, and an infatuation with the inhuman from Jack Sheppard to Sweeney Todd and Dracula.

Sign in / Sign up

Export Citation Format

Share Document