XENAKIS AS A SOUND SCULPTOR
Identifieur interne : 000032 ( Hal/Curation ); précédent : 000031; suivant : 000033XENAKIS AS A SOUND SCULPTOR
Auteurs : Makis Solomos [France]Source :
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Abstract
One of the main revolutions —and maybe the most important one— of twentieth century music is the emergence of sound. From Debussy to recent contemporary music, from rock'n'roll to electronica, the history of music has progressively and to some extent focused on the very foundation of music: sound. During this history —when, in some way, composition of sound takes the place of composition with sounds—, Xenakis plays a major role. Already from the 1950s, with orchestral pieces like Metastaseis (1953-54) or Pithoprakta (1955-56) and with electronic pieces like Diamorphoses (1957) or Concret PH (1958), he develops the idea of composition as composition-of-sound to such an extent that, if the expression was not already used for designating a new interdisciplinary artistic activity, we could characterize him as a " sound sculptor ".
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From Debussy to recent contemporary music, from rock'n'roll to electronica, the history of music has progressively and to some extent focused on the very foundation of music: sound. During this history —when, in some way, composition of sound takes the place of composition with sounds—, Xenakis plays a major role. Already from the 1950s, with orchestral pieces like Metastaseis (1953-54) or Pithoprakta (1955-56) and with electronic pieces like Diamorphoses (1957) or Concret PH (1958), he develops the idea of composition as composition-of-sound to such an extent that, if the expression was not already used for designating a new interdisciplinary artistic activity, we could characterize him as a " sound sculptor ".</div></front></TEI><hal api="V3"> <titleStmt> <title xml:lang="en">XENAKIS AS A SOUND SCULPTOR</title> <author role="aut"> <persName> <forename type="first">Makis</forename> <surname>Solomos</surname> </persName> <idno type="halauthorid">801232</idno> <affiliation ref="#struct-188359"></affiliation> </author> <editor role="depositor"> <persName> <forename>Makis</forename> <surname>Solomos</surname> </persName> <email type="md5">6c7af41aeff54ec7eec6a2ea80e63871</email> <email type="domain">univ-paris8.fr</email> </editor> </titleStmt> <editionStmt> <edition n="v1" type="current"> <date type="whenSubmitted">2015-09-21 22:34:34</date> <date type="whenWritten">2001</date> <date type="whenModified">2018-05-22 20:40:08</date> <date type="whenReleased">2015-09-23 13:38:41</date> <date type="whenProduced">2004</date> <date type="whenEndEmbargoed">2015-09-21</date> <ref type="file" target="https://hal.archives-ouvertes.fr/hal-01202904/document"> <date notBefore="2015-09-21"></date> </ref> <ref type="file" subtype="author" n="1" target="https://hal.archives-ouvertes.fr/hal-01202904/file/English%20version.pdf"> <date notBefore="2015-09-21"></date> </ref> </edition> <respStmt> <resp>contributor</resp> <name key="179231"> <persName> <forename>Makis</forename> <surname>Solomos</surname> </persName> <email type="md5">6c7af41aeff54ec7eec6a2ea80e63871</email> <email type="domain">univ-paris8.fr</email> </name> </respStmt> </editionStmt> <publicationStmt> <distributor>CCSD</distributor> <idno type="halId">hal-01202904</idno> <idno type="halUri">https://hal.archives-ouvertes.fr/hal-01202904</idno> <idno type="halBibtex">solomos:hal-01202904</idno> <idno type="halRefHtml">in welt@musik — Musik interkulturell, publications de l’Institut für Neue Musik und Musikerziehung Darmstadt, volume 44, Mainz, Schott, 2004,, p. 161-169, 2004</idno> <idno type="halRef">in welt@musik — Musik interkulturell, publications de l’Institut für Neue Musik und Musikerziehung Darmstadt, volume 44, Mainz, Schott, 2004,, p. 161-169, 2004</idno> </publicationStmt> <seriesStmt> <idno type="stamp" n="UNIV-PARIS8">UNIV-PARIS8</idno> <idno type="stamp" n="AO-MUSICOLOGIE" p="SHS">AO-MUSICOLOGIE</idno> <idno type="stamp" n="188359" p="UNIV-PARIS8">188359</idno> <idno type="stamp" n="SHS">SHS</idno> </seriesStmt> <notesStmt> <note type="audience" n="2">International</note> <note type="popular" n="0">No</note> </notesStmt> <sourceDesc> <biblStruct> <analytic> <title xml:lang="en">XENAKIS AS A SOUND SCULPTOR</title> <author role="aut"> <persName> <forename type="first">Makis</forename> <surname>Solomos</surname> </persName> <idno type="halauthorid">801232</idno> <affiliation ref="#struct-188359"></affiliation> </author> </analytic> <monogr> <title level="m">in welt@musik — Musik interkulturell, publications de l’Institut für Neue Musik und Musikerziehung Darmstadt, volume 44, Mainz, Schott, 2004,</title> <imprint> <biblScope unit="pp">p. 161-169</biblScope> <date type="datePub">2004</date> </imprint> </monogr> </biblStruct> </sourceDesc> <profileDesc> <langUsage> <language ident="en">English</language> </langUsage> <textClass> <keywords scheme="author"> <term xml:lang="en">Xenakis</term> </keywords> <classCode scheme="halDomain" n="shs.musiq">Humanities and Social Sciences/Musicology and performing arts</classCode> <classCode scheme="halTypology" n="COUV">Book sections</classCode> </textClass> <abstract xml:lang="en">One of the main revolutions —and maybe the most important one— of twentieth century music is the emergence of sound. From Debussy to recent contemporary music, from rock'n'roll to electronica, the history of music has progressively and to some extent focused on the very foundation of music: sound. During this history —when, in some way, composition of sound takes the place of composition with sounds—, Xenakis plays a major role. Already from the 1950s, with orchestral pieces like Metastaseis (1953-54) or Pithoprakta (1955-56) and with electronic pieces like Diamorphoses (1957) or Concret PH (1958), he develops the idea of composition as composition-of-sound to such an extent that, if the expression was not already used for designating a new interdisciplinary artistic activity, we could characterize him as a " sound sculptor ".</abstract> </profileDesc> </hal></record>Pour manipuler ce document sous Unix (Dilib)
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