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

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

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

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

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.

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.