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Mathematical and architectural concepts manifested in Iannis Xenakis's piano musicChung, Immin 28 August 2008 (has links)
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Iannis Xenakis (1922-2001): an examination of the implementation of stochastic procedures in selected compositionsDu Toit, Pierre Johannes 03 1900 (has links)
Thesis (MMus (Music))--University of Stellenbosch, 2009. / The relationship between music and mathematics has been subjected to debate for
centuries. There are two schools of thought with the one viewpoint holding that the
relationship between mathematics, which is conceived as an abstract and cold
discipline, compared to music, which is rich with emotion, must be very limited.
Arguments for this view draws, for example, on recent research which indicates that
musical talent is not inherently linked to mathematical capability. On the other pole
of the debate is the belief that although music and mathematics contribute to different
parts of society, there is a very important inter-relationship between the two fields. Of
great interest to the latter is the Greek composer Iannis Xenakis whose musical
aesthetics incorporates this philosophy.
As composer, Xenakis used mathematical theories as basis for his musical works. He
not only incorporated well known mathematical principles such as the Golden Section
into his compositions but went further and, for instance, utilized Boolean Algebra,
Probability theory and Stochastic processes in his music. His composition method
based on these mathematical principles became known under the term Stochastic
music and forms the focus of this thesis.
The research project concentrates on the early part of Xenakis’ life in order to provide
insight into the development of his composition methods. The mathematical
principles at the centre of his stochastic compositions receive specific rationalisation.
In doing so, the most significant probability distributions (Linear, Exponential,
Poisson and Normal distribution) are defined in terms of their properties and Xenakis’
use of them. The application of these distributions is considered by looking at the
early works Metastaseis (in which Xenakis confronted most of his musical problems
and which formed the basis for his musical style) and Achorripsis (where he fully
developed their implementation).
An in-depth examination of the construction of Achorripsis is performed while
scrutinizing Xenakis’ calculations. Specific attention is drawn to alterations and
adjustments made to the calculations. His implementation of them into the final score
is furthermore examined and it is shown where he deviated between the calculations
and score. The thesis concludes by considering the extent and significance of the
adjustments made by the composer in the name of artistic freedom.
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Metodos estocasticos com distribuições generalizadas para composição musical / Stochastic process with generalized distributions for musical compositionCarrilho, Frederick de Jesus 14 August 2018 (has links)
Orientador: Jonatas Manzolli / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-14T15:30:27Z (GMT). No. of bitstreams: 1
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Previous issue date: 2009 / Resumo: A presente dissertação tem como objetivo principal a apresentação de técnicas composicionais desenvolvidas pelo autor com a utilização de métodos estocásticos e distribuição do material gerado em camadas e blocos como ferramentas no auxílio de geração de eventos musicais parametrizados. Para isto, se fez um levantamento e uma discussão dos processos composicionais relacionados ao escopo deste trabalho como os do compositor lannis Xenakis. Além das técnicas e das obras musicais resultantes deste processo, uma contribuição original é o programa XNKS, criado e desenvolvido durante a pesquisa e usado nas composições aqui apresentadas. Particularmente apresentamos o sistema composicional utilizado pelo autor na elaboração da obra EVENTVM III a qual é descrita em detalhes neste trabalho / Abstract: The present thesis has as main objective the presentation of compositional techniques developed by the author with the use of random methods and distribution of the material generated in layers and blocks as tools in the aid of generation of parameterized musical events. For this, it was made a survey and a discussion of related compositional processes of this work as that one of the composer Iannis Xenakis. In addition to the techniques and the resultant musical pieces of this process, an original contribution is program XNKS, created and developed during the research and in the compositions presented here. Particularly, we present the compositional system used by the author in the elaboration of piece EVENTVM III which is described in details in this work / Mestrado / Mestre em Música
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Persephassa de Iannis Xenais : convergências de uma poética / Persephassa of iannis XenakisBonduki, Said Athié, 1984- 23 August 2018 (has links)
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
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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
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