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Journal articles on the topic 'Iannis Xenakis'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Laske, Otto, and Nouritzka Matossian. "Iannis Xenakis." Computer Music Journal 9, no. 4 (1985): 69. http://dx.doi.org/10.2307/3679627.

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2

Krieger, Peter. "Iannis Xenakis." Anales del Instituto de Investigaciones Estéticas 22, no. 76 (2012): 335. http://dx.doi.org/10.22201/iie.18703062e.2000.76.1891.

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3

Oswalt, Philipp. "Iannis Xenakis' polytopes." Contemporary Music Review 21, no. 2-3 (2002): 35–44. http://dx.doi.org/10.1080/07494460216658.

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4

Lohner, Henning, and Iannis Xenakis. "Interview with Iannis Xenakis." Computer Music Journal 10, no. 4 (1986): 50. http://dx.doi.org/10.2307/3680096.

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5

Reynolds, Roger. "Iannis Xenakis: 1922-2001." Leonardo 35, no. 4 (2002): 353–54. http://dx.doi.org/10.1162/002409402760181105.

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6

Borza, Adrian. "The Granularity Paradigm in the Electroacoustic Music of Iannis Xenakis." Studia Universitatis Babeş-Bolyai Musica 67, no. 2 (2022): 9–28. http://dx.doi.org/10.24193/subbmusica.2022.2.01.

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"The cultural legacy left to us by composer Iannis Xenakis (1922–2001) is impressive and undoubtedly had a massive impact on some generations of musicians. His artistic ideal stands as proof. Fueled by science and engineering, his inheritance has been eagerly discussed in numerous books, studies, and doctoral theses. Our study underlines the viability of I. Xenakis’s compositional model. Xenakis painstakingly circumscribes scientific theories and laws in his method of composition in the instrumental and electroacoustic genres. We will emphasize the hypothesis that the granularity paradigm trav

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7

Ryzhinsky, Alexander S. "Choral Writing in Iannis Xenakis’ Late Compositions." Problemy muzykal'noi nauki / Music Scholarship, no. 1 (2023): 47–61. http://dx.doi.org/10.56620/2782-3598.2023.1.047-061.

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The article is devoted to the peculiarities of choral writing in the compositions of the outstanding representative of the postwar avant-garde Iannis Xenakis (1922–2001) created during his final creative decade. Examination is made of the questions of the correlation between the music and the words, the use of techniques of “phonemic composition” (Konstantin Floros) in the composer’s works Nekuia, Serment-Orkos, Knephas, Pour la paix, and Sea Nymphs. Special attention is given to a unique case of encoding of Arthur Rimbaud’s literary text in Xenakis’ composition Pu wijnuej we fyp. The vocal-or

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8

Sikiaridi, Elizabeth. "The Architectures of Iannis Xenakis." Technoetic Arts 1, no. 3 (2003): 201–7. http://dx.doi.org/10.1386/tear.1.3.201/1.

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9

Worrall, David. "Iannis Xenakis: a composer's perspective." Organised Sound 6, no. 1 (2001): 75–76. http://dx.doi.org/10.1017/s135577180100111x.

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Although music uses sound as its medium of conveyance, music is not just sound. Although musical structures rely on the acoustics of sound-generating devices (instruments) and conveyances (concert halls, loudspeakers) and on the way the body senses the sound waves generated and transformed by these (psychoacoustics), theories of musical composition can work both with and against these principles. Music is involved in sonic discourse, sonic rhetoric, if you will, and history shows us that because of this it is a sociocultural phenomenon which reflects the times in which it is composed.

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10

Morais, Ronan Gil de. "SIX-XEN de Iannis Xenakis." Per Musi 24 (December 26, 2023): 1–31. http://dx.doi.org/10.35699/2317-6377.2023.48450.

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O SIX-XEN, instrumento acústico criado por Iannis Xenakis para Pléïades (1978), é representativo do processo criativo do compositor e seu apreço pela percussão. As descrições do próprio criador, bem como as conexões entre o objeto e seu trabalho teórico e prático, trazem luzes sobre aspectos estruturantes e fundamentais do universo conceitual e sonoro da pesquisa xenakiana. Estes aspectos podem ser observados através de diferentes documentos: esboços iniciais, manuscritos, diferentes edições de Pléïades, correspondências, notas pessoais e entrevistas. Enquanto objeto criado por um compositor,

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11

Chouvel, Jean-Marc. "Iannis Xenakis et la musique française, une filiation incomprise?" Musicological Annual 37, no. 1 (2001): 93–102. http://dx.doi.org/10.4312/mz.37.1.93-102.

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12

Krzymowska-Szacoń, Kinga. "Elementy konstruktywistyczne w twórczości Iannisa Xenakisa (1922-2001)." Roczniki Humanistyczne 67, no. 12 (2020): 155–67. http://dx.doi.org/10.18290/rh.2019.67.12-12.

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Iannis Xenakis (1922-2001) był kompozytorem nietuzinkowym. Zamiast studiów w konserwatorium muzycznym wybrał Politechnikę Narodową w Atenach. Zamiast przepisywać fugi J.S. Bacha, kreślił na papierze milimetrowym innowacyjne szkice architektoniczne. Milan Kundera nazwał go prorokiem bezuczuciowości, zaś Artur Honegger odmówił jego próbom kompozytorskim miana muzyki. W środowisku drugiej awangardy Xenakis zyskał sobie jednak niekwestionowaną, wiodącą pozycję za sprawą innowacyjnych technik kompozytorskich, opartych zarówno na regułach matematycznych (probabilistyka, teoria zbiorów i in.), jak i

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13

Galaise, Sophie, Daniel Leduc, Guy Marchand, Marianne Perron, Johanne Rivest, and Diana Thiriar. "Xenakis au Québec : chronologie et repères." Espace Xenakis 5, no. 2 (2010): 76–82. http://dx.doi.org/10.7202/902109ar.

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14

Harley, James. "The Electroacoustic Music of Iannis Xenakis." Computer Music Journal 26, no. 1 (2002): 33–57. http://dx.doi.org/10.1162/014892602753633533.

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15

Flint, Ellen Rennie, Nouritza Matossian, and Sharon Kanach. "Two Recent Works on Iannis Xenakis." Perspectives of New Music 26, no. 2 (1988): 308. http://dx.doi.org/10.2307/833202.

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16

Luque, Sergio. "The Stochastic Synthesis of Iannis Xenakis." Leonardo Music Journal 19 (December 2009): 77–84. http://dx.doi.org/10.1162/lmj.2009.19.77.

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In the late 1960s, composer, architect and theoretician Iannis Xenakis (1922–2001) began his research on stochastic synthesis: an approach to microsound synthesis that uses probability distributions to manipulate individual digital samples. He continued with this research for most of the 1970s and from the late 1980s until the end of his career. This article traces the aesthetic origins of this non-standard synthesis technique and gives a historical presentation of its development, including a discussion of the works in which Xenakis used it and a full description of the dynamic stochastic syn

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17

Clarke, Joseph. "Iannis Xenakis and the Philips Pavilion." Journal of Architecture 17, no. 2 (2012): 213–29. http://dx.doi.org/10.1080/13602365.2012.678641.

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18

Harley, James. "The String Quartets of Iannis Xenakis." Tempo, no. 203 (January 1998): 2–10. http://dx.doi.org/10.1017/s0040298200049470.

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He clung to the few experiences he had shared with her: the gift of a flute whose sounds had astonished him, her wish that he should enjoy music and especially play the cello. He refused to let her go.If the tenderness of Anton Webern's musical expression at the loss of his mother is difficult for some listeners to hear in his scores, how much more so for the iconoclastic music of Iannis Xenakis? Be that as it may, Matossian's revelation of this intimate memory from his childhood provides a clue to the composer's attraction to the cello, and, by extension, to the chamber string genre, particul

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19

Pace, Ian. "The harpsichord works of Iannis Xenakis." Contemporary Music Review 20, no. 1 (2001): 125–40. http://dx.doi.org/10.1080/07494460100640121.

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20

Filinich Orozco, Renzo. "Sobre el centenario de Iannis Xenakis." Márgenes. Espacio Arte y Sociedad 15, no. 22 (2022): 85. http://dx.doi.org/10.22370/margenes.2022.15.22.3514.

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21

Morais, Ronan Gil de. "Indonesian references in Iannis Xenakis' Claviers." Per Musi, no. 42 (September 28, 2023): 1–24. http://dx.doi.org/10.35699/2317-6377.2022.44450.

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The movement Claviers was composed for percussion keyboards and is part of Pléïades (1978) for six percussionists. Based on evidence from different archives, direct correlations with elements of traditional Indonesian music are highlighted here. The evidence points to the insertion of materials with which Xenakis had contact in the 1950s and during his trip to Bali and Java in 1972-1973. The insertion of exogenous material is rare within his work, but in Claviers it is a substantial part of the creative process, bringing a particular meaning to the structural treatment and sequence of sections

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22

Липов, А. Н. "Рудольф Фризиус. UPIC — экспериментальная музыкальная педагогика — Яннис Ксенакис (перевод с английского)". International Culture & Thechnology Studies 7, № 1 (2022): 1–15. http://dx.doi.org/10.17586/2587-800x-2022-7-1-1-15.

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Перевод выполнен по изданию: Frisius R. The Upic — Experimental Music Pedagogy — Iannis Xenakis // From Xenakis’s Upic To Graphic Notation Today / Eds. by L. Brümmer, S. Kanach, P. Weibel. Berlin: Hatje Cantz Verlag, Karlsruhe: ZKM. 2020. P. 160-184. URL: https://zkm.de/en/from-xenakiss-upic-to-graphic-notation-today UPIC (Unité Polyagogique Informatique CEMAMu) или («Компьютерный Полигогический Блок CEMAMu») — это компьютеризированный инструмент музыкальной композиции, разработанный композитором Яннисом Ксенакисом (1922–2001), физически являющийся цифровым планшетом, связанным с компьютером,

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23

Bonin, Gustavo Cardoso. "Enunciação musical e seus modos de existência: Gisèle Brelet e Iannis Xenakis sob a ótica tensiva." Estudos Semióticos 19, no. 1 (2023): 81–106. http://dx.doi.org/10.11606/issn.1980-4016.esse.2023.205932.

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Os atos musicais constituem modos de viver a música, cujos processos realizam e dinamizam os elementos de sistemas e culturas musicais diversas. Para tratarmos dos modos de existências de uma enunciação musical que dê conta da diversidade de manifestações de uma práxis sonoro-musical coletiva, aproximaremos, sob a ótica da abordagem tensiva, dois pensamentos sobre o tempo musical: o da musicóloga e esteticista francesa Gisèle Brelet e o do compositor grego Iannis Xenakis. Com Brelet, traremos a síntese do ritmo, ou a ideia de uma “prosódia geral” da música, e duas definições de silêncio. Com X

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24

Solomos, Makis, and André Villa. "Orient-Occident de Fulchignoni-Xenakis." Per Musi, no. 42 (October 17, 2024): 1–20. http://dx.doi.org/10.35699/2317-6377.2022.48275.

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O filme Oriente-Ocidente, dirigido por Enrico Fulchignoni com música de Iannis Xenakis (ainda não disponível comercialmente) é, em geral, apenas mencionado através da versão concerto homônima da música de Xenakis. Esta indisponibilidade da obra cinematográfica é lamentável, primeiro porque se trata de um documentário com excelente conteúdo e excelente qualidade visual e, segundo, porque demonstra a extraordinária capacidade de imaginação sonora de Xenakis. Esta imaginação expressa-se através de ideias musicais (composicionais), mas também através da forma como Xenakis ilustra e comenta as imag

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25

Harley, James. "Iannis Xenakis in conversation: 30 May 1993." Contemporary Music Review 21, no. 2-3 (2002): 11–20. http://dx.doi.org/10.1080/07494460216659.

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26

Scheige, Gerardo. "International Symposium: Iannis Xenakis—The Electroacoustic Work." Computer Music Journal 31, no. 3 (2007): 82. http://dx.doi.org/10.1162/comj.2007.31.3.82.

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27

Herzfeld-Schild, Marie Louise. "Vergangenheit in der Zukunftsmusik der Gegenwart." Die Musikforschung 69, no. 3 (2021): 231–48. http://dx.doi.org/10.52412/mf.2016.h3.385.

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Iannis Xenakis schrieb seinen Beitrag "Epiphanien" im Jahr 1968 im Rahmen von Wolfgang Wagners Umfrage anlässlich des 100jährigen Jubiläums der "Meistersinger von Nürnberg". Er formuliert in diesem Text Gedanken zur Position von Kunst und von Musiktheater im Besonderen - zwischen Vergangenheit, Gegenwart und Zukunft. Im ersten Teil drückt sich eine Wertschätzung aus, die Xenakis dem "normgebenden Werk" ganz offensichtlich entgegenbrachte. Im zweiten Teil wird jedoch auch die Zwiespältigkeit deutlich, mit der er das Schaffen des Älteren betrachtete. bms online (Cornelia Schöntube)

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28

Ferraz, Silvio. "Beckett e música : composição do tempo." Eutomia 1, no. 20 (2018): 180. http://dx.doi.org/10.19134/eutomia-v1i20p180-201.

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Beckett tinha uma grande proximidade com a música. Isto é registrado em diversas de suas cartas, entrevistas e mesmo atravessa sua produção. Mas de que música estamos falando quando falamos de Beckett? Neste artigo busco mostrar a proximidade entre o pensamento compositivo de Beckett e aquelas propostas que permearam a música experimental do século XX: o serialismo integral, o tratamento do tempo, do silêncio e a importância da sonoridade. Para tanto faço uso das noções de tempo trabalhadas pelos compositores Iannis Xenakis e Gérard Grisey, e de uma análise de momentos da obra radiofônica Casc

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29

Pape, Gerard. "Iannis Xenakis and the “Real” of Musical Composition." Computer Music Journal 26, no. 1 (2002): 16–21. http://dx.doi.org/10.1162/014892602753633515.

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30

Kiourtsoglou, Elisavet. "An Architect Draws Sound and Light: New Perspectives on Iannis Xenakis's Diatope and La Légende d'Eer (1978)." Computer Music Journal 41, no. 4 (2018): 8–31. http://dx.doi.org/10.1162/comj_a_00437.

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This article examines the creative process of Diatope, a multimedia project created by Iannis Xenakis in 1978 for the inauguration of the Centre Pompidou in Paris, utilizing analytical research of sources found in several archives. By interpreting Xenakis's sketches and plans, the article elucidates for the first time the spatialization of La Légende d'Eer, the music featured in the Diatope. The findings of the research underline the importance of graphic and geometric representation for understanding Xenakis's thinking, and they highlight the continuity and evolution of his theory and practic

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31

Solomos, Makis, Stephanos Thomopoulos, Vassiliki Kolocotroni, and Eleni Papargyriou. "Iannis Xenakis 2022: A discussion of his life and legacy on the occasion of the centenary of his birth." Journal of Greek Media & Culture 8, no. 2 (2022): 271–81. http://dx.doi.org/10.1386/jgmc_00064_7.

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Born in Greece in 1922, Iannis Xenakis emigrated to France, where he became a pioneer in contemporary music after the Second World War. To celebrate the centenary of his birth, Vassiliki Kolocotroni and Eleni Papargyriou discuss the composer’s life and legacy with musicologist Makis Solomos and pianist Stephanos Thomopoulos.

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32

Bourotte, Rodolphe, and Cyrille Delhaye. "Learn to Think for Yourself: Impelled by UPIC to open new ways of composing." Organised Sound 18, no. 2 (2013): 134–45. http://dx.doi.org/10.1017/s1355771813000058.

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Originally designed by Xenakis to free him from traditional music notation while allowing a faithful execution of his musical thought, UPIC (Unité Polyagogique Informatique du CEMAMu) was quickly diverted from its original functions. Even if Xenakis recommended to apprentice composers who came to study with him ‘listen to a lot of music and write’ (Serrou 2003: 20), this machine, since its inception, has enabled a large number of people to access music composition, because it does not require any preliminary theoretical training. Based on this observation we ask how UPIC, capable of converting

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33

Castanet, Pierre Albert. "“We must open our ears and eyes” : a philosophical lesson from the polymath Iannis Xenakis." Itamar. Revista de investigación musical: territorios para el arte, no. 9 (July 4, 2023): 95. http://dx.doi.org/10.7203/itamar.9.26999.

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Iannis Xenakis (1922-2001) was not only a composer, architect and mathematician. Reading his scores and his writings, Pierre Albert Castanet shows that it is possible to detect germs from the field of philosophy. Thus, sensitive to the art of sound rituals as well as to the virtues of art-science, Xenakis was the messenger of an ethical as well as aesthetic knowledge, carnal as well as spiritual. In this context, between "metamusic" and "polytopia", he went so far as to imagine works for sight and hearing.  Keywords. Contemporary music, Metamusic, Polytopia, Philosophy, Culture, Wo

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34

Bonin, Gustavo Cardoso. "Enunciação musical e seus modos de existência: Gisèle Brelet e Iannis Xenakis sob a ótica tensiva." Estudos Semióticos 19, no. 1 (2023): 81–106. https://doi.org/10.11606/issn.1980-4016.esse.2023.205932.

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Abstract:

Os atos musicais constituem modos de viver a música, cujos processos realizam e dinamizam os elementos de sistemas e culturas musicais diversas. Para tratarmos dos modos de existências de uma enunciação musical que dê conta da diversidade de manifestações de uma práxis sonoro-musical coletiva, aproximaremos, sob a ótica da abordagem tensiva, dois pensamentos sobre o <em>tempo musical: </em>o da musicóloga e esteticista francesa Gisèle Brelet e o do compositor grego Iannis Xenakis. Com Brelet, traremos a <em>sínte

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35

Barthel-Calvet, Anne-Sylvie. "De l’ubiquité poïétique dans l’oeuvre de Iannis Xenakis — Espace, Temps, Musique, Architecture." Articles 29, no. 2 (2010): 9–51. http://dx.doi.org/10.7202/1000038ar.

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Dans les deux domaines de l’activité créatrice de Iannis Xenakis que sont la musique et l’architecture, on peut constater parfois la présence de principes identiques. Se pose alors la question de la nature des liens entre les deux champs : s’agit-il d’une pure ubiquité poïétique ou bien plutôt du transfert d’un concept propre à l’un des domaines vers un autre auquel il est extrinsèque et donc facteur d’innovation ? L’étude des rapports entre les deux oeuvres contemporaines que sont Metastasis et le Couvent de la Tourette permet d’y dégager deux principes y apparaissant de manière ubiquitaire :

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36

Polansky, Larry. "A Review of "Arts/Sciences": Alloys by Iannis Xenakis." Leonardo 23, no. 4 (1990): 385. http://dx.doi.org/10.2307/1575339.

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37

Serra, Marie-Hélène, and Marie-Helene Serra. "Stochastic Composition and Stochastic Timbre: GENDY3 by Iannis Xenakis." Perspectives of New Music 31, no. 1 (1993): 236. http://dx.doi.org/10.2307/833052.

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38

Arditti, Irvine. "Reflections on performing the string music of Iannis Xenakis." Contemporary Music Review 21, no. 2-3 (2002): 85–89. http://dx.doi.org/10.1080/07494460216665.

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39

Kendergi, Maryvonne, and Iannis Xenakis. "Iannis Xenakis Interviewed by Maryvonne Kendergi (Montreal, July 1977)." Circuit: Musiques contemporaines 33, no. 1 (2023): 31. http://dx.doi.org/10.7202/1099165ar.

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40

Harley, James. "Sonic and Parametrical Entities in Tetras: An Analytical Approach to the Music of Iannis Xenakis." Canadian University Music Review 16, no. 2 (2013): 72–99. http://dx.doi.org/10.7202/1014426ar.

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From his earliest works, Xenakis has conceived his music in terms of textures and sound masses. The analytical approach introduced here for a study of the recent string quartet, Tetras, takes such sonic entities as its point of departure. The inside-time structure is described in terms of the temporal succession of these entities and the outside-time relationships established between them by means of a whole range of parametrical entities. While the sonic and parametrical entities need to be specified for each piece, it is shown that this approach can be profitably applied to the complete Xena

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41

Janković-Beguš, Jelena. "Playing the game with aleatorics and narrativity: Linaia-Agon by Iannis Xenakis." New Sound, no. 48-2 (2016): 109–30. http://dx.doi.org/10.5937/newso1648109j.

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In this article I examine the piece Linaia-Agon for brass trio (1972) by Greek-French composer Iannis Xenakis, one of only three pieces by this composer, which are commonly referred to in literature as "game-pieces", from the perspective of Roger Caillois' typology of games, stemming from the social sciences, as well as from the framework of the mathematical game theory and its branch probability theory. Xenakis' "game pieces" belong to the field of controlled aleatorics, because they employ a certain level of indeterminacy; here I argue that it is precisely in this aspect of indeterminacy tha

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42

Harley, Maria Anna. "Spatial sound movement in the instrumental music of Iannis Xenakis." Journal of New Music Research 23, no. 3 (1994): 291–314. http://dx.doi.org/10.1080/09298219408570661.

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43

Barrett, Richard, and Richard Steinitz. "Tributes to Iannis Xenakis (29 May 1922 - 4 February 2001)." Contemporary Music Review 21, no. 2-3 (2002): 5–8. http://dx.doi.org/10.1080/07494460216662.

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44

Lee, Jonathan Scott. "Iannis Xenakis and the Presocratic Foundations of a New Music." Journal of Modern Greek Studies 29, no. 1 (2011): 73–82. http://dx.doi.org/10.1353/mgs.2011.0002.

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45

Darbon, Nicolas. "Littérature et vocalité chez Xenakis ou comment traiter des abîmes." Articles 34, no. 1-2 (2015): 113–34. http://dx.doi.org/10.7202/1030872ar.

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Le mythème du Chaos est étudié à travers les oeuvres vocales de Xenakis. Il est représentatif de l’histoire, des préoccupations et de la sensibilité « contemporaines » (de la fin du XXe siècle) : bien que s’inspirant de l’Antiquité grecque, le traitement du texte oscille entre les pôles de l’abstraction pure et de l’expression signifiante. Furieux, tempétueux, le chaos xenakien peut résulter du traumatisme, de la folie, de la guerre, désigner l’état de ce qui n’a pas de forme, la béance, le déluge, la genèse, la perdition, être transition, processus, représenter l’Origine ou la Fin du monde. A

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46

Paparigopulos, Kostas. "Xenakis et le passage vers l'universel." Muzikologija, no. 8 (2008): 65–76. http://dx.doi.org/10.2298/muz0808065p.

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(fra) La recherche de l'identit? culturelle, notamment aux pays qui sont menac?s ou se sentent menac?s par une culture dominante, peut conduire, bien des fois, au nationalisme et l'isolement. Elle peut aussi, peut?tre plus rarement, conduire ? des chemins inattendus qui ouvrent de nouveaux horizons non seulement au niveau local mais aussi au niveau universel. Le cas de Iannis Xenakis s'ins?re dans la deuxi?me cat?gorie. De 1949 jusqu'aux Metastaseis (1953-54), sa premi?re oeuvre 'officielle', Xenakis ?crit des pi?ces dans lesquelles il essaie de marier le folklore grec avec l'avant-garde europ

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47

Nelson, Peter. "The Voice of the Upic: Technology and Virtual Agency." Studia Universitatis Babeş-Bolyai Musica 69, Sp.Issue 2 (2024): 91–102. http://dx.doi.org/10.24193/subbmusica.2024.spiss2.07.

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I have previously situated the UPIC of Iannis Xenakis, a computer music instrument of legendary intransigence, as set apart from the mainstream of electroacoustic technologies, developing its own “voice” as the utterance of “prophetic” traces: ancient, not modern. Here, I will approach the sound of the UPIC from the perspective of Robert Hatten’s recent theory of “virtual agency.” The sounds of the UPIC confound traditional notions of meaning in music as expressive – in a human sense and reconfigure what Brian Kane calls the “audile techniques” of a “community of listeners.” Yet the works made

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48

Акопян, Левон Оганесович. "The Laws of Xenakis's Music Not Formulated by Xenakis Himself." Музыкальная академия, no. 1(773) (March 31, 2021): 40–59. http://dx.doi.org/10.34690/127.

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Вокруг творчества Янниса Ксенакиса (1922-2001) сложилась богатая литература, тон которой задал сам композитор своим трактатом «Формализованная музыка», изобилующим математическими формулами и схемами, непонятными для большинства гуманитариев. Между тем чрезмерная опора на то, что писал о своей музыке сам Ксенакис, не всегда помогает в должной мере оценить некоторые немаловажные атрибуты его стиля. Принимая близкую Ксенакису точку зрения на композиторское «изделие» как на эмпирически наблюдаемый феномен с особым набором дифференциальных признаков, уникальным образом распределенных во времени и

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49

Santos, Sandra Cristina, and José Luís Fangueiro Postiga. "A CIÊNCIA NA ARTE MUSICAL DO SÉC. XX: DUAS CORRENTES CONTÍGUAS." Revista Europeia de Estudos Artisticos 10, no. 2 (2019): 1–11. http://dx.doi.org/10.37334/eras.v10i2.201.

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Observando o desenvolvimento de múltiplas correntes estéticas no pós-segunda grande guerra, procura-se nas raízes das ciências denominadas de exatas, os conceitos abstratos que definem novas correntes estéticas da arte musical. Para isso, procuram-se as relações entre a matemática e geometria com a música desenvolvida por Karlheinz Stockhausen, particularmente em Gruppen (1955-57) para três orquestras, assim entre leis da física e sua exportação para os conceitos arquitetónicos e musicais de Iannis Xenakis, focando Metastaseis (1953-54) para 61 músicos.

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Fangueiro Postiga, José Luís, and Sandra Cristina Santos. "A CIÊNCIA NA ARTE MUSICAL DO SÉC. XX: DUAS CORRENTES CONTÍGUAS." ERAS | European Review of Artistic Studies 10, no. 2 (2019): 1–11. http://dx.doi.org/10.37334/eras.v10i2.35.

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Abstract:

Observando o desenvolvimento de múltiplas correntes estéticas no pós-segunda grande guerra, procura-se nas raízes das ciências denominadas de exatas, os conceitos abstratos que definem novas correntes estéticas da arte musical. Para isso, procuram-se as relações entre a matemática e geometria com a música desenvolvida por Karlheinz Stockhausen, particularmente em Gruppen (1955-57) para três orquestras, assim entre leis da física e sua exportação para os conceitos arquitetónicos e musicais de Iannis Xenakis, focando Metastaseis (1953-54) para 61 músicos.

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