Os fundamentos físicos e matemáticos utilizados em criação musical pelo compositor grego Iannis Xenakis são o objeto de investigação desta dissertação. A compreensão de sua teoria musical é essencial para assimilação de sua obra. O período abrangido corresponde a meados da década de 1950 ao início da década de 1960. Abordamos o surgimento da música estocástica, seus desdobramentos e música simbólica desenvolvido pelo compositor. / The physical and mathematical basis used in musical creation by greek composer Iannis Xenakis are the object of investigation from this thesis. The comprehension of his musical theory is essential to assimilate his work. The period covered correspond to middle of 1950 decade up to beggining of 1960 decade. We aproach the arise of stochastic music, his extensions and symbolic music developed by composer.

Os fundamentos físicos e matemáticos utilizados em criação musical pelo compositor grego Iannis Xenakis são o objeto de investigação desta dissertação. A compreensão de sua teoria musical é essencial para assimilação de sua obra. O período abrangido corresponde a meados da década de 1950 ao início da década de 1960. Abordamos o surgimento da música estocástica, seus desdobramentos e música simbólica desenvolvido pelo compositor. / The physical and mathematical basis used in musical creation by greek composer Iannis Xenakis are the object of investigation from this thesis. The comprehension of his musical theory is essential to assimilate his work. The period covered correspond to middle of 1950 decade up to beggining of 1960 decade. We aproach the arise of stochastic music, his extensions and symbolic music developed by composer.

L'originalité de l’œuvre de Iannis Xenakis repose en partie sur l'emploi d'analogies. À travers une recherche d'archives, nous éclairons les analogies entre sa musique et son architecture en analysant trois œuvres significatives : le couvent de la Tourette (1955), le Pavillon Philips (1958) et le Diatope (1978). Nous suivons aussi l’évolution de l'analogie « harmonique » dans certains traités d'architecture (Vitruve, Alberti, Blondel, Le Corbusier) pour saisir la forme qu'elle prend chez Xenakis. Nous montrons comment les permutations mathématiques d'une série de notes de Metastaseis (1953-54) et la notion de densité musicale sont transposées lorsqu'il distribue les pans de verre sur les façades du couvent. Nous soulignons que l'espace sonore de la partition graphique de Metastaseis —où des glissandi de cordes sont représentés en tant que droites tangentes de surfaces réglées— partage les propriétés d'ordre et de continuité avec l'espace du Pavillon Philips, construit de paraboloïdes hyperboliques. Nous reconstituons la spatialisation de L'interlude Sonore (1958) et de La Légende d'Eer (1978), où Xenakis conçoit l'espace acoustique comme l'espace stéréométrique, en représentant les haut-parleurs comme des points et la vitesse sonore comme une ligne entre ceux-ci. Enfin, nous interrogeons l'apport de son passé (expériences de guerre) dans sa création : alors qu'il instaure des analogies lorsqu'il transpose l'ordre de ces phénomènes dans sa musique, nous montrons que dans son architecture, lorsqu'il réutilise des formes dans des œuvres ultérieures —en en changeant l’échelle ou la géométrie ou en maintenant leur principe— il ne tisse des analogies qu'avec son passé créatif / The work of Iannis Xenakis is original largely due to the significance analogy plays in it. In this thesis I trace analogies between music and architecture in plans, texts and music scores through extensive archive research. In parallel, I follow the evolution of “harmonic” analogy in some treatises of architecture (Vitruve, Alberti, Blondel, Le Corbusier) in order to point out the form that it takes in Xenakis' work. I analyse three of his major architectural works : Monastery of Tourette (1955), Philips Pavilion (1958) and Diatope (1978). I observe how mathematical permutations of a series of notes in Metastaseis (1953-54) and the notion of musical density establish an analogy with the distribution of the glass panels on the facades of the Monastery. In Metastaseis, Xenakis represents the strings' glissandi as tangent lines of ruled surfaces. I underline that the sound-space of this graphical score forms another type of analogy with its architecture: it shares the properties of order and continuity with the three-dimensional space of Philips' Pavilion, entirely constructed by hyperbolic paraboloids. Finally, i reconstruct the spatialisation of L'interlude Sonore and La Légende d'Eer which Xenakis conceives as a stereometric space, by representing the loudspeakers as points and the speed of sound as a line between them. Xenakis also establishes analogies when he uses his experiences of war and memories of natural phenomena in his music. I describe how the significance of the past to his creative process in architecture is evident when he reuses forms by changing their scale, their geometry or by just retaining basic principles.

Zugl.: Diss., Berlin, Technische Univ., 2006.

Every percussionist is faced with many challenges in their studies and their careers.  In this paper I hope to shed light on what kind of work goes into preparing, practising and performing a large solo percussion piece and share some of my personal experience with solo percussion music. This is done by choosing a piece from the repertoire and documenting what processes and methods are used from the time a piece has been chosen until it is ready for performance. The subject of this thesis is Rebonds b by Iannis Xenakis for solo percussion. The result is a blueprint that can be useful for young percussionists when they are faced with a large piece from the repertoire and guidelines for what to do when faced with challenges.

Every percussionist is faced with many challenges in their studies and their careers.  In this paper I hope to shed light on what kind of work goes into preparing, practising and performing a large solo percussion piece and share some of my personal experience with solo percussion music. This is done by choosing a piece from the repertoire and documenting what processes and methods are used from the time a piece has been chosen until it is ready for performance. The subject of this thesis is Rebonds b by Iannis Xenakis for solo percussion. The result is a blueprint that can be useful for young percussionists when they are faced with a large piece from the repertoire and guidelines for what to do when faced with challenges. / <p>Iannis Xenakis - Rebonds b</p><p>Keiko Abe - Wind Sketch</p><p>George Hamilton Green - Valse Brilliante (arr. Bob Becker)</p><p>Jaques Delecluse - Etude no. 29 for timpani</p><p>Jaques Delecluse - Etude no. 6 for snare drum</p><p>Jaques Delecluse - Test Claire</p><p>Mitchell Peters - Etude no. 3 from Hard Times</p><p>Hanz Kruger - Etude no. 45 for timpani</p>

Ett projekt om hur området framför Münchenbryggeriet på Söder Mälarstrand kan göras om från en trafikplats till ett kulturdistrikt. Stockholm är i stort behov av konsertlokaler och andra kulturscener eftersom de senaste åren har inneburit stängning av många scener. Projektet innebär att konsertlokaler, restauranger, dansytor, utomhusscener mm placeras på "Kulturkajen", området på Söder Mälarstrand framför Münchenbryggeriet. Dessutom ändras markbeläggningen så att gående och cyklister prioriteras framför bilar. Både denna markbeläggnings mönster samt byggnadernas gestaltning inspireras av Iannis Xenakis musikstycke Pithoprakta. Detta musikstycke har inga vanliga noter utan istället grafiska noter, och denna grafik ger utformandet och designen av Kulturkajen. / A project about transforming the area in front of Münchenbryggeriet on Söder Mälarstrand into a cultural district. Stockholm needs more concert venues since the past years have meant several venues had to close down. The buildings added on this "Kulturkajen" as well as the ground pattern and ground material in the area are designed by inspiration of Pithoprakta, a musical piece by Iannis Xenakis. The graphical score of this musical piece is the base for the design of the buildings and the pattern of the ground.

Made available in DSpace on 2016-03-15T19:42:02Z (GMT). No. of bitstreams: 1 Nicolau Andre Campaner Centola.pdf: 3056649 bytes, checksum: 2b2e10d2ea7c0b940358d3f34b42364a (MD5) Previous issue date: 2011-02-28 / Fundo Mackenzie de Pesquisa / The purpose of this study is to analyze the installation Poème Électronique, designed by Edgard Varese, Iannis Xenakis and Le Corbusier for the Philips World's Fair in Brussels in 1958, from three dimensions: architecture, sound and image. The project was seen by more than two million people and has enabled new ways of multimediatic use of the concepts of composition, performance and reception, working dimensions of sound, image, light and architecture in a project that brought together art and technology / A proposta deste trabalho é analisar a instalação Poème Électronique, concebida por Edgard Varèse, Iannis Xenakis e Le Corbusier para a Philips na Feira Mundial de Bruxelas em 1958, a partir de três dimensões: arquitetura, som e imagem. O projeto foi visto por mais de dois milhões de pessoas e permitiu novas maneiras de utilizar de forma multimidiática os conceitos de composição, performance e recepção, trabalhando as dimensões de som, imagem, luz e arquitetura em um projeto que uniu arte e tecnologia

This thesis focuses on the two selected works of the architect/engineer/composer Iannis Xenakis (1922-2001) / Philips Pavilion (1956-58) and Le Diatope (1978). It places these works at the intersection of architecture and music by showing how they combine spatial, musical and visual performances. Accordingly, it discusses them as exceptional twentieth-century examples of Gesamtkunstwerk / &ldquo / total work of art.&rdquo

Thesis (doctoral) -- Technische Universität, Berlin. / Includes bibliographical references.