Relevant bibliographies by topics / Xenakis

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  1. Dissertations / Theses

Academic literature on the topic 'Xenakis'

Author: Grafiati
Published: 4 June 2021
Last updated: 22 June 2024

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Dissertations / Theses on the topic "Xenakis"

1

Neto, Leandro da Silva. "Rizómata: uma introdução às raízes da música de Iannis Xenakis." Universidade de São Paulo, 2006. http://www.teses.usp.br/teses/disponiveis/27/27140/tde-05072009-183519/.

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Os fundamentos físicos e matemáticos utilizados em criação musical pelo compositor grego Iannis Xenakis são o objeto de investigação desta dissertação. A compreensão de sua teoria musical é essencial para assimilação de sua obra. O período abrangido corresponde a meados da década de 1950 ao início da década de 1960. Abordamos o surgimento da música estocástica, seus desdobramentos e música simbólica desenvolvido pelo compositor.<br>The physical and mathematical basis used in musical creation by greek composer Iannis Xenakis are the object of investigation from this thesis. The comprehension of
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2

Schmidt, Christoph. "Komposition und Spiel : zu Iannis Xenakis /." Köln : Studio, 1995. http://catalogue.bnf.fr/ark:/12148/cb37661529z.

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3

Thorleiksson, Helgi. "Xenakis - Rebonds b : Preperation, Practise and Performance." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2686.

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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
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4

Aluotto, Sergio Francisco Braga. "Possibilidades interpretativas em Psappha de Iannis Xenakis." Universidade Federal de Minas Gerais, 2011. http://hdl.handle.net/1843/AAGS-96GJHD.

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The main goal of this paper is to survey the interpretive possibilities for Psappha by Iannis Xenakis, a multiple percussion solo piece whose graphic score, along with the instructions on the Explanatory Note, provides several openings for the participation of the performer. Given the historical importance of the work and compositional innovations by Xenakis, this important solo has been widely presented since its composition, resulting in very distinct performances. However, after searching for related studies and analyzing performances, it was observed that some of the interpretive possibil
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5

Hofmann, Boris. "Mitten im Klang : die Raumkompositionen von Iannis Xenakis aus den 1960er Jahren /." Hofheim : Wolke, 2008. http://opac.nebis.ch/cgi-bin/showAbstract.pl?u20=9783936000702.

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6

Santana, Helena Maria da Silva. "L'orchestration chez Iannis Xenakis : l'espace et le rythme, fonctions du timbre /." Villeneuve d'Ascq : Presses universitaires du Septentrion, 2000. http://catalogue.bnf.fr/ark:/12148/cb37204135k.

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7

Herzfeld-Schild, Marie Louise [Verfasser]. "Antike Wurzeln bei Iannis Xenakis / Marie Louise Herzfeld-Schild." Stuttgart : Franz Steiner Verlag, 2014. http://d-nb.info/1074244958/34.

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8

Ozcan, Zeynep. "Intersection Of Architecture And Music As Gesamtkunstwerk In Iannis Xenakis." Master's thesis, METU, 2013. http://etd.lib.metu.edu.tr/upload/12615539/index.pdf.

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This thesis focuses on the two selected works of the architect/engineer/composer Iannis Xenakis (1922-2001)<br>Philips Pavilion (1956-58) and Le Diatope (1978). It places these works at the intersection of architecture and music by showing how they combine spatial, musical and visual performances. Accordingly, it discusses them as exceptional twentieth-century examples of Gesamtkunstwerk<br>&ldquo<br>total work of art.&rdquo
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9

Barthel-Calvet, Anne-Sylvie. "Le rythme dans l'oeuvre et la pensée de Iannis Xenakis." Paris, EHESS, 2000. http://www.theses.fr/2000EHES0090.

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10

Thomopoulos, Stephanos. "Le piano xénakien. Des concepts au langage instrumental : enjeux pour l’interprétation." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040248.

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Le piano de Xenakis, comme tous les langages instrumentaux du compositeur, reste un objet assez singulier dans la littérature de l’instrument. Encore aujourd’hui rarement abordé par les pianistes, il semble d’une difficulté vertigineuse, et les voies qui mènent à sa réalisation restent dissimulées. L’originalité du langage musical du compositeur génère une technique extrêmement détachée de la tradition pianistique, et un pianiste manque souvent de savoir-faire et d’outils pour parvenir à l’exécution. Dans cette recherche nous essaierons d’aborder ce lien entre les principaux concepts xénakiens
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