The Origins of Stochastic Music
Identifieur interne : 000042 ( Istex/Corpus ); précédent : 000041; suivant : 000043The Origins of Stochastic Music
Auteurs : Iannis XenakisSource :
- Tempo [ 0040-2982 ] ; 1966.
Abstract
Art (and especially music) has a fundamental catalytic function, which is to effect sublimation by all its means of expression. It should aim to lead by constant points of reference towards that total exaltation in which, unaware of self, the individual will identify with an immediate, rare, vast and perfect truth. If a work of art achieves this even for an instant, it has fulfilled its purpose. This massive truth does not consist in objects, nor feelings, nor sensations; it lies beyond them, as Beethoven's Seventh lies beyond music. For this reason, art is capable of leading to those regions still occupied by certain religions.
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DOI: 10.1017/S004029820003429X
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It should aim to lead by constant points of reference towards that total exaltation in which, unaware of self, the individual will identify with an immediate, rare, vast and perfect truth. If a work of art achieves this even for an instant, it has fulfilled its purpose. This massive truth does not consist in objects, nor feelings, nor sensations; it lies beyond them, as Beethoven's Seventh lies beyond music. For this reason, art is capable of leading to those regions still occupied by certain religions.</p></abstract></profileDesc><revisionDesc><change when="1966">Published</change></revisionDesc></teiHeader></istex:fulltextTEI></fulltext><metadata><istex:metadataXml wicri:clean="corpus cambridge not found" wicri:toSee="no header"><istex:xmlDeclaration>version="1.0" encoding="US-ASCII"</istex:xmlDeclaration><istex:docType PUBLIC="-//NLM//DTD Journal Publishing DTD v2.2 20060430//EN" URI="journalpublishing.dtd" name="istex:docType"></istex:docType><istex:document><article article-type="research-article" dtd-version="2.2" xml:lang="en"><front><journal-meta><journal-id journal-id-type="publisher-id">TEM</journal-id><journal-title>Tempo</journal-title><abbrev-journal-title>Tempo</abbrev-journal-title><issn pub-type="ppub">0040-2982</issn><issn pub-type="epub">1478-2286</issn><publisher><publisher-name>Cambridge University Press</publisher-name><publisher-loc>Cambridge, UK</publisher-loc></publisher></journal-meta><article-meta><article-id pub-id-type="doi">10.1017/S004029820003429X</article-id><article-id pub-id-type="pii">S004029820003429X</article-id><article-id pub-id-type="publisher-id">03429</article-id><title-group><article-title>The Origins of Stochastic Music <xref ref-type="fn" rid="fn01"><sup>1</sup></xref></article-title><alt-title alt-title-type="left-running">TEMPO</alt-title><alt-title alt-title-type="right-running">STOCHASTIC MUSIC</alt-title><fn-group><fn id="fn01" symbol="1"><label><sup>1</sup></label><p>Translated and abridged by G. W. Hopkins from Xenakis's papers ‘Les musiques formelles’ in the <italic>Revue Musicale</italic> No. 253/254, and reprinted by permission.</p></fn></fn-group></title-group><contrib-group><contrib><name name-style="western"><surname>Xenakis</surname><given-names>Iannis</given-names></name></contrib></contrib-group><pub-date pub-type="ppub"><season>Autumn</season><year>1966</year></pub-date><issue>78</issue><fpage seq="5">9</fpage><lpage>12</lpage><permissions><copyright-statement>Copyright © Cambridge University Press 1966</copyright-statement><copyright-year>1966</copyright-year><copyright-holder>Cambridge University Press</copyright-holder></permissions><abstract abstract-type="text-abstract"><p>Art (and especially music) has a fundamental catalytic function, which is to effect sublimation by all its means of expression. It should aim to lead by constant points of reference towards that total exaltation in which, unaware of self, the individual will identify with an immediate, rare, vast and perfect truth. If a work of art achieves this even for an instant, it has fulfilled its purpose. This massive truth does not consist in objects, nor feelings, nor sensations; it lies beyond them, as Beethoven's Seventh lies beyond music. For this reason, art is capable of leading to those regions still occupied by certain religions.</p></abstract><counts><page-count count="4"></page-count></counts><custom-meta-wrap><custom-meta><meta-name>pdf</meta-name><meta-value>S004029820003429Xa.pdf</meta-value></custom-meta><custom-meta><meta-name>series</meta-name><meta-value>1</meta-value></custom-meta><custom-meta><meta-name>seriesText</meta-name><meta-value>New Series</meta-value></custom-meta></custom-meta-wrap></article-meta></front><back><fn-group><fn id="fn02" symbol="2"><label><sup>2</sup></label><p>Messiaen's analysis of this work is legendary, and influenced many of his pupils in the 1950s. (Translator's Note).</p></fn><fn id="fn03" symbol="3"><label><sup>3</sup></label><p>In calculating the statistical frequency of types of musical events (modes of attack, degrees of intensity, etc.) according to the laws of probability, Xenakis calls upon James Bernoulli's Limit Theorem, otherwise known as the ‘Law of Large Numbers’. In simplified terms, this theorem states that: ‘If <italic>p</italic> be the true probability of the happening of a certain event in a single trial, <italic>n</italic> a number of trials, and <italic>s</italic> the number of times the event is observed to happen in those <italic>n</italic> trials, then, as <italic>n</italic> increases, the probability approaches certainty that the statistical frequency, <italic>s/n</italic>, will approach <italic>p-</italic>' I am indebted for this formulation to <citation citation-type="book" id="ref001"><source>The Fundamental Principles of Mathematical Statistics</source> by <name name-style="western"><surname>Wolfenden</surname><given-names>Hugh H.</given-names></name> (<publisher-loc>Toronto</publisher-loc>, <year>1942</year>)</citation>. (Translator's Note)</p></fn><fn id="fn04" symbol="4"><label><sup>4</sup></label><p>Defined in the Shorter Oxford Dictionary as “Pertaining to conjecture”.</p></fn><fn id="fn05" symbol="5"><label><sup>5</sup></label><p>Xenakis's word is ‘materialisation’; elsewhere he writes: ‘materialisation = communication’, Thus ‘realisation’ may be taken broadly, as a double-entendre. (Translator's Note)</p></fn><fn id="fn06" symbol="6"><label><sup>6</sup></label><p>We should call this ‘musique concrete’. (Translator's Note)</p></fn></fn-group></back></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>The Origins of Stochastic Music</title></titleInfo><titleInfo type="alternative"><title>TEMPO</title></titleInfo><titleInfo type="alternative" lang="en" contentType="CDATA"><title>The Origins of Stochastic Music 1</title></titleInfo><name type="personal"><namePart type="given">Iannis</namePart><namePart type="family">Xenakis</namePart><role><roleTerm type="text">author</roleTerm></role></name><typeOfResource>text</typeOfResource><genre type="research-article" displayLabel="research-article" authority="ISTEX" authorityURI="https://content-type.data.istex.fr" valueURI="https://content-type.data.istex.fr/ark:/67375/XTP-1JC4F85T-7">research-article</genre><originInfo><publisher>Cambridge University Press</publisher><place><placeTerm type="text">Cambridge, UK</placeTerm></place><dateIssued encoding="w3cdtf">1966</dateIssued><copyrightDate encoding="w3cdtf">1966</copyrightDate></originInfo><language><languageTerm type="code" authority="iso639-2b">eng</languageTerm><languageTerm type="code" authority="rfc3066">en</languageTerm></language><abstract type="text-abstract" lang="en">Art (and especially music) has a fundamental catalytic function, which is to effect sublimation by all its means of expression. It should aim to lead by constant points of reference towards that total exaltation in which, unaware of self, the individual will identify with an immediate, rare, vast and perfect truth. If a work of art achieves this even for an instant, it has fulfilled its purpose. This massive truth does not consist in objects, nor feelings, nor sensations; it lies beyond them, as Beethoven's Seventh lies beyond music. 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