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.

Diss.--Philosophie--Bâle, 1987. / Bibliogr. p. 647-709. Index.

Diss.--Frankfurt am Main, 1993. / Bibliogr. p. 281-288.

Made available in DSpace on 2014-06-11T19:26:46Z (GMT). No. of bitstreams: 0 Previous issue date: 2008-08-29Bitstream added on 2014-06-13T18:48:37Z : No. of bitstreams: 1 rocha_nm_me_ia_prot.pdf: 11837451 bytes, checksum: 78d30cad5e60e5b55a312c108dd09878 (MD5) / Este trabalho aborda as relações interdisciplinares entre música e arquitectura nas obras multimídia de Iannis Xenakis, denominadas Polytopes. O texto analisa os principais procedimentos composicionais utilizados na construção das peças musicais e arquitetônicas de suas obras iniciais e, posteriormente, dos Polytopes. Ao demonstrar a transferência de conceitos entre composição musical e arquitetônica, identificam-se similares estético-estruturais entre essas duas expressões artísticas. A história existencial de Xenakis, com especial ênfase à sua experiência de guerra é, por fim, reconhecida como uma das mais significantes influências de suas obras multimídia. As análises realizadas contaram com investigações dos contextos histórico-geográfico e sócio-cultural em que os Polytopes se inseriram, bem como com pesquisas sobre os escritos do compositor e outras referências bibliográficas relevantes / This work approaches the transdiciplinary relationship between music and architeture on Iannis Xenakis' multimedia works, named Polytopes. The text analyses the major compositional procedures used on construction of the musical and architectural pieces of his earlier works, and later to the Polytopes. By the demonstrating the transfer of concepts between musical and architectural compositions, it identifies aesthetical-structural similarities between these two artistic expressions. Xenakis' existential history, whith special emphasis to his war experience is, at last, acknowledged as one the most significant influences to his multimedia works. The analysis performed counted on investigation of the historical, geographical, social and cultural contexts in which the Polytopes are embedded, as well as a research on the author's literary works, including other relevant bibliographical references

This dissertation will focus on the concepts of musical time of two solo multiple-percussion compositions, Thirteen Drums (1985) by Maki Ishii and Rebond A (1987-1989) by Iannis Xenakis. The aesthetic experience of musical works is tied to the perception of musical time. Performers have to understand the concepts and methods of construction of musical time in order to interpreting composer’s works. The model of cognitive process in neuroscience of music and the information processing theory from cognitive psychology is provided to explain the perception of musical time and its importance to the aesthetic experience of music. The rhythmic structure, which is essential in temporal structure to the perception of musical time, is examined in depth to show its significant influence on the aesthetic experience in both works. Rhythmic tension will also affect the aesthetic experience.

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

Orientador: Silvio Ferraz Mello Filho / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-23T13:43:15Z (GMT). No. of bitstreams: 1 Bonduki_SaidAthie_M.pdf: 22617972 bytes, checksum: 6c66976b77545e1a7aafd92524a8d750 (MD5) Previous issue date: 2013 / Resumo: Esta dissertação visa expor o pensamento composicional e a escrita de Xenakis sobre o repertório para percussão. O intuito é evidenciar quais ferramentas foram necessárias ao compositor para que fosse possível aplicar seus conceitos musicais sobre o repertório percussivo. Para tanto a atual pesquisa foi conduzida sobre a análise de sua primeira obra composta exclusivamente para percussão, Persephassa, de 1969. Antes de abordar tal composição é traçado um percurso sobre as composições e formalizações musicais realizadas pelo compositor até então, portanto o foco é direcionado sobre as décadas de 50 e 60. Período esse na qual Xenakis iniciou sua pesquisa sobre a aplicação de sistemas e processos indeterministas na estruturação musical, o que foi chamado de música estocástica. Assim como também são expostos seus conceitos elaborados dentro da música simbólica. Ao longo de sua carreira Xenakis seguiu com novas formalizações e propostas sobre o pensamento da linguagem musical. Ao comparar os métodos e técnicas composicionais aplicadas em Persephassa, com os processos elaborados pelo compositor ao longo das décadas de 50 e 60, ramificações de suas formalizações prévias são encontrados nos processos composicionais elaborados para lidar com a escrita para percussão. A pesquisa aqui apresentada visa expor as influências de seus processos elaborados e formalizados durante o período que antecede a composição de Persephassa, na composição da mesma / Abstract: This dissertation intends to expose the writing and compositional thought over the percussion repertoire of Iannis Xenakis. It intends to clarify which tools where necessary to the composer so it could be made possible to apply his musical concepts over the percussion repertoire. The presente research was conducted over the analysis of his first work written exclusively for percussion, Persephassa, from 1969. Before approaching such composition, the path that precedes it is exposed under the perspective of the composer previous works and his musical formalizations, thus the focus is directed over the 50's and the 60's. Period in which Xenakis began his research on the application of indeterministic systems and processes applied in music structures, what was called stochastic music. As also his concepts on symbolic music are exposed. Over his career Xenakis proposed new formalizations and approaches over the musical language. Comparing the methods and techniques applied in Persephassa, with the processes developed by the composer during the decades of the 50' and the 60's, ramifications of his previous formalizations are found on the compositional processes developed for composing his percussion music. The research here presented intends to expose the influences of his previous processes developed and formalized during the period that proceeds the composition of Persephassa, over its own composition / Mestrado / Processos Criativos / Mestre em Música

Le piano de Xenakis, comme tous les langages instrumentaux du compositeur, reste un objet assez singulier dans la littérature de l’instrument. Encore aujourd’hui rarement abordé par les pianistes, il semble d’une difficulté vertigineuse, et les voies qui mènent à sa réalisation restent dissimulées. L’originalité du langage musical du compositeur génère une technique extrêmement détachée de la tradition pianistique, et un pianiste manque souvent de savoir-faire et d’outils pour parvenir à l’exécution. Dans cette recherche nous essaierons d’aborder ce lien entre les principaux concepts xénakiens (musique stochastique, musique symbolique, mouvement brownien et pans ondulatoires, arborescences, cribles) et son langage pianistique, afin de mieux identifier cette écriture instrumentale et envisager des chemins pouvant favoriser l’interprétation de cette musique. Nous étudions la totalité des œuvres avec piano, puis nous explorons chacun des grands concepts du compositeur, pour établir ensuite leur connexion avec le langage pianistique dans quatre œuvres majeures pour le piano : Herma, Synaphaï, Evryali, Mists. Pour chacune de ces œuvres nous effectuons une analyse, puis proposons une approche pianistique visant le travail, l’exécution et l’interprétation. / Xenakis’ piano, like all the composers’ instrumental languages, remains a rather peculiar issue in the literature of the instrument, still rarely approached by pianists, not only because of its obvious difficulty, but mostly because of the great number of question raised by it, questions related to its feasibility and execution. The originality of the composer’s musical language generates a technic extremely detached from piano tradition, and a pianist often lacks the savoir-faire and the tools to reach a convincing execution of these works. In this research we try to approach the link between the principal xenakian concepts (stochastic music, symbolic music, Brownian movement and wave-like sides, arborescences, sieves) and the pianistic language related to it, in order to identify Xebakis’ writing for the instrument and consider the ways that the performance of this music can take place. We study briefly the whole output of Xenakis’ piano works (solo, concerto, chamber music, piano in the orchestra), then we explore each of the composer’s main concepts, in order to establish their connection to the pianistic language in four major works for piano : Herma, Synaphaï, Evryali, Mists. For each one of these works, we first perform an analysis, then we propose a pianistic approach aiming at the preparation and the performance.

Proefschrift--Toegepaste Wetenschappen--Gent, 2004. / Mention parallèle de titre ou de responsabilité : Iannis Xenakis : ingénieur et architecte : une analyse thématique de l'oeuvre... Résumé en néerlandais. Bibliogr. p. 537-559.

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.