Three components of Xenakis’ universe
Identifieur interne : 000004 ( France/Analysis ); précédent : 000003; suivant : 000005Three components of Xenakis’ universe
Auteurs : Makis Solomos [France]Source :
English descriptors
- mix :
Abstract
This article offers a general view of Xenakis’s musical world, focusing on three of its main characteristics: 1. Global approach. Starting from the notion of “mass”, thanks to which Xenakis distanced himself radically from serialism in the early 1950s, it analyzes several aspects of this approach: composition with the help of graphs, idea of sound “clouds”, notion of space, technique of gradual transformation (process). Then, it defines the global approach as composition-of-sound.2. The theory-practice relationship. The article analyzes the polysemy of the notion of “formalization”, which Xenakis used thoroughly in his theoretical writings. Indeed, for him, formalization means “art/science alloys”, but also axiomatization or even the simple use of mathematics to compose music. Then, the article examines the relationship between theory and practice, explaining that, in fact, only a few of Xenakis’s works were actually composed with the help of theories, that there are always gaps between theory and practice, and that Xenakis very often reused as raw sound material musical extracts that were once composed with the help of a theory. 3. With the last component, the article analyzes a strong characteristic of Xenakis’s music for the listener: its immediate effect. This is a result of Xenakis aesthetics, i.e. its Dionysian and gestural character.
Url:
Affiliations:
Links toward previous steps (curation, corpus...)
- to stream Hal, to step Corpus: 000028
- to stream Hal, to step Curation: 000028
- to stream Hal, to step Checkpoint: 000004
- to stream Main, to step Merge: 000014
- to stream Main, to step Curation: 000013
- to stream Main, to step Exploration: 000013
- to stream France, to step Extraction: 000004
Links to Exploration step
Hal:hal-01789673Le document en format XML
<record><TEI><teiHeader><fileDesc><titleStmt><title xml:lang="en">Three components of Xenakis’ universe </title><author><name sortKey="Solomos, Makis" sort="Solomos, Makis" uniqKey="Solomos M" first="Makis" last="Solomos">Makis Solomos</name><affiliation wicri:level="1"><hal:affiliation type="laboratory" xml:id="struct-188359" status="VALID"> <orgName>Esthétiques, musicologie, danse et créations musicales - MUSIDANSE</orgName> <desc> <address> <addrLine>2 rue de la Liberté 93526 Saint-Denis Cedex</addrLine> <country key="FR"></country> </address> </desc> <listRelation> <relation name="EA1572" active="#struct-11141" type="direct"></relation> </listRelation> <tutelles><tutelle name="EA1572" active="#struct-11141" type="direct"><org type="institution" xml:id="struct-11141" status="VALID"> <orgName>Université Paris 8 Vincennes-Saint-Denis</orgName> <orgName type="acronym">UP8</orgName> <desc> <address> <addrLine>2 rue de la Liberté - 93526 Saint-Denis cedex</addrLine> <country key="FR"></country> </address> <ref type="url">http://www.univ-paris8.fr/</ref> </desc> </org></tutelle></tutelles></hal:affiliation><country>France</country></affiliation></author></titleStmt><publicationStmt><idno type="wicri:source">HAL</idno><idno type="RBID">Hal:hal-01789673</idno><idno type="halId">hal-01789673</idno><idno type="halUri">https://hal.archives-ouvertes.fr/hal-01789673</idno><idno type="url">https://hal.archives-ouvertes.fr/hal-01789673</idno><date when="2016">2016</date><idno type="wicri:Area/Hal/Corpus">000028</idno><idno type="wicri:Area/Hal/Curation">000028</idno><idno type="wicri:Area/Hal/Checkpoint">000004</idno><idno type="wicri:explorRef" wicri:stream="Hal" wicri:step="Checkpoint">000004</idno><idno type="wicri:Area/Main/Merge">000014</idno><idno type="wicri:Area/Main/Curation">000013</idno><idno type="wicri:Area/Main/Exploration">000013</idno><idno type="wicri:Area/France/Extraction">000004</idno></publicationStmt><sourceDesc><biblStruct><analytic><title xml:lang="en">Three components of Xenakis’ universe </title><author><name sortKey="Solomos, Makis" sort="Solomos, Makis" uniqKey="Solomos M" first="Makis" last="Solomos">Makis Solomos</name><affiliation wicri:level="1"><hal:affiliation type="laboratory" xml:id="struct-188359" status="VALID"> <orgName>Esthétiques, musicologie, danse et créations musicales - MUSIDANSE</orgName> <desc> <address> <addrLine>2 rue de la Liberté 93526 Saint-Denis Cedex</addrLine> <country key="FR"></country> </address> </desc> <listRelation> <relation name="EA1572" active="#struct-11141" type="direct"></relation> </listRelation> <tutelles><tutelle name="EA1572" active="#struct-11141" type="direct"><org type="institution" xml:id="struct-11141" status="VALID"> <orgName>Université Paris 8 Vincennes-Saint-Denis</orgName> <orgName type="acronym">UP8</orgName> <desc> <address> <addrLine>2 rue de la Liberté - 93526 Saint-Denis cedex</addrLine> <country key="FR"></country> </address> <ref type="url">http://www.univ-paris8.fr/</ref> </desc> </org></tutelle></tutelles></hal:affiliation><country>France</country></affiliation></author></analytic></biblStruct></sourceDesc></fileDesc><profileDesc><textClass><keywords scheme="mix" xml:lang="en"><term>Xenakis</term></keywords></textClass></profileDesc></teiHeader><front><div type="abstract" xml:lang="en">This article offers a general view of Xenakis’s musical world, focusing on three of its main characteristics: 1. Global approach. Starting from the notion of “mass”, thanks to which Xenakis distanced himself radically from serialism in the early 1950s, it analyzes several aspects of this approach: composition with the help of graphs, idea of sound “clouds”, notion of space, technique of gradual transformation (process). Then, it defines the global approach as composition-of-sound.2. The theory-practice relationship. The article analyzes the polysemy of the notion of “formalization”, which Xenakis used thoroughly in his theoretical writings. Indeed, for him, formalization means “art/science alloys”, but also axiomatization or even the simple use of mathematics to compose music. Then, the article examines the relationship between theory and practice, explaining that, in fact, only a few of Xenakis’s works were actually composed with the help of theories, that there are always gaps between theory and practice, and that Xenakis very often reused as raw sound material musical extracts that were once composed with the help of a theory. 3. With the last component, the article analyzes a strong characteristic of Xenakis’s music for the listener: its immediate effect. This is a result of Xenakis aesthetics, i.e. its Dionysian and gestural character. </div></front></TEI><affiliations><list><country><li>France</li></country></list><tree><country name="France"><noRegion><name sortKey="Solomos, Makis" sort="Solomos, Makis" uniqKey="Solomos M" first="Makis" last="Solomos">Makis Solomos</name></noRegion></country></tree></affiliations></record>Pour manipuler ce document sous Unix (Dilib)
EXPLOR_STEP=$WICRI_ROOT/Wicri/Musique/explor/XenakisV1/Data/France/Analysis
HfdSelect -h $EXPLOR_STEP/biblio.hfd -nk 000004 | SxmlIndent | more
Ou
HfdSelect -h $EXPLOR_AREA/Data/France/Analysis/biblio.hfd -nk 000004 | SxmlIndent | more
Pour mettre un lien sur cette page dans le réseau Wicri
{{Explor lien
|wiki= Wicri/Musique
|area= XenakisV1
|flux= France
|étape= Analysis
|type= RBID
|clé= Hal:hal-01789673
|texte= Three components of Xenakis’ universe
}}
| This area was generated with Dilib version V0.6.33. |  |