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Articles - 1964 ... 1971

Annotated bibliography produced by Makis Solomos

All of Xenakis's published articles are listed and commented here.
Translations are mentioned only if they were published before the original (French) or if they vary from the original version. For commentaries on articles that were compiled in Xenakis's books, cf. the preceding section, under Books

1964

« Musiques formelles », conférence à l'IPEM, Gand, 1964, transcription à paraître dans un volume d'écrits de Schaeffer, Koenig, Grossi, Goyevaerts, DeLeeuw, Waiswisz, Risset et Di Scipio, éditeur : Swets & Zeitlinger.

Sizable conference on the concerns of time.

1965

"Auprès de Béla Bartók", Editions Musicales Hongroises Zenemükiadó, 1965, p. 90.

An important page on Bartok: Xenakis evokes this composer’s influence on his own music.

"Der Fall Le Corbusier / Concerning Le Corbusier", Gravesaner Blätter n°27-28, 1965, p. 5-7/8-10.

A summary of Le Corbusier’s contributions.

"Freie stochastische Musik durch den Elektronenrechner / Free Stochastic Music from the Computer", Gravesaner Blätter n°26, 1965, p. 54-78/79-92.

The original French was first published in Musiques formelles, p. 163-179.

"Intuition ou rationalisme dans les techniques compositionnelles de la musique contemporaine" / "Intuition oder Rationalismus in der Kompositionstechnik der zeitgenössischen Musik" / "Intuition or Rationalism in the Techniques of Contemporary Musical Composition", Künstler in Berlin: Berlin Confrontation, Berlin, Ford Foundation Berlin / Presse- und Informationsamt des Landes Berlin, 1965, p. 15-18.

A text that dates from Xenakis’s stay in Berlin. On the necessity of axiomatics.

"La Ville Cosmique", in Françoise Choay, L'Urbanisme, Utopies et Réalités, Paris, Le Seuil, 1965, p. 335-342.

Reprinted in Musique. Architecture, p. 151-160

"La voie de la recherche et de la question", Preuves n°177, 1965, p. 33-36.

Reprinted in Kéleütha, p. 67-74.

"Le Corbusier", Aujourd'hui. Art et Architecture n°51, 1965, p. 94.

A more or less exact translation of the article "Der Fall Le Corbusier / Concerning Le Corbusier" (1965).

"Le déluge des sons", Le Nouvel Observateur n°53, Nov. 1965, p. 38-39.

A few words on Varèse.

"Tribune libre", Gravesaner Blätter n°26, 1965, p. 5.

Xenakis and Aisberg propose a questionnaire to the periodical’s readers.

1966

(Untitled), Les Lettres françaises, June 22,1966.

A homage to Hermann Scherchen.

"Notice sur l'Orestie", Sigma 3, s.d. (1966), 6 p.

Xenakis exposes the various concepts behind his composition of the music for the Oresteïa: the idea of "total theatre," the relationship between music and theatre, musical axiomatics.

"Zu einer Philosophie der Musik/Toward a philosophy of Music", Gravesaner Blätter n°29, 1966, p. 23-38/39-52.

The original French was later published, and includes an analysis of Nomos alpha, in: 1] Revue esthétique n°2-3-4, 1968, p. 173-210; 2) Musique. Architecture, p. 71-119.

1967

"Ad libitum…" [in French] / "ad libitum…" [in English], The World of Music vol.9 n°1, 1967, p. 17-19.

Criticism of "aleatoric" music.

"Formalisation et axiomatisation de la composition musicale" (in Swedish), Fylkingen Bulletin International n°2, 1967.

Adapted from a lecture given in 1964. The original French was later published in Musique. Architecture, p. 20-25.

"Vers une métamusique", La Nef n°29, 1967.

Reprinted in Musique. Architecture, p. 38-70. The original manuscript, entitled "Harmoniques (Structures hors-temps)" (cf. unpublished articles), dates from 1965 and includes several references to Messiaen, which have been eliminated here.

1968

« Xenakis », in Die Musik in Geschichte und Gegenwart, Basel, Bärenreiter Kassel, vol.14, 1968, p. 923.

First entry of Xenakis in the German encyclopedias.

« Epiphanien », in Die Meistersinger von Nürenberg, Die Programmhefte der Bayreuther Festspiele, 1968, p. 29.

Composers respond to a survey of Wolfgang Wagner.

"W strone filozofii Muzyki" ("From the perspective of musical philosophy), Res Facta n°2, Warschau, 1968, 2 p.

1969

"Structures universelles de la pensée musicale", in Liberté et organisation dans le monde actuel, Paris, Desclée De Brouwer, 1969, p. 173-180.

After (re)defining music, Xenakis summarizes several of his principles of formalization.

"Syrmos, Le Polytope de Montréal, Medea, Kraanerg, Terretektorh, Nomos gamma, Bohor I, Orient-Occident III, Concret PH II", in liner notes for Erato, STU 70526-70530, 1969, 2 p.

A few statements (often taken from other articles) for each of these works.

"Une note", Revue Musicale n°265-266, 1969, p. 51.

A very brief text on the distinction outside-time/in-time.

1970

"Musique et programmation", ITC (Ingénieurs, Techniciens et Cadres) Actualités n°2, 1970, p. 55-57.

On computers and music.

(Untitled), in Pour vous qui est Jésus-Christ? = Fêtes et saisons n°243, March 1970, p. 44-45.

A few lines on Jesus-Christ.

« Topoi » (ou « Lieu »), s.d., début des années 1970, 8 p. Repris in Musique de l'architecture, p. 211-217.

Rich text on polytopes, with references to the Polytope de Montreal and the Osaka (Hibiki Hana Ma and also the realization in the pavilion of Iran).

1971

(Untitled), Perspectives of New Music vol.9 n°2, 1971, p. 130.

Twelve lines on Stravinsky.

"Les dossiers de l'E.m.a.mu.", Collóquio Artes vol.13 n°5, Lisbonne, Fondation Calouste Gulbekian, 1971, p. 40-48.

On the "Equipe de Mathématique et Automatique Musicales", founded by Xenakis.

"Préface", in Madeleine Gagnard, L'initiation musicale des jeunes, Tournai, Casterman, 1971, p. 9-11.

On music and teaching music.

"Structures hors-temps", The musics of Asia, Manila, 1971, p. 152-173.

Transcript of a lecture given in Manila (Philippines) in 1966: in fact, a version of the 1967 article "Vers une métamusique", with a new (brief) introduction.

 
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