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Articles
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.
1955 1956 1957 1958 1959 1960 1961 1962 1963 1964 1965 1966 1967 1968 1969 1970 1971 1972 1973 1974 1975 1976 1977 1978 1979 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 1990 1991 1992 1993 1994 1995 1996
(Untitled), in Charles Edouard Le Corbusier, Modulor 2, Paris, éd. de l'architecture d'aujourd'hui, 1983, p. 341-344 (1st edition: 1955).
Short analysis of Metastaseis.
"La crise de la musique sérielle", Gravesaner Blätter n°1, 1955, p. 2-4.
Reprinted in Kéleütha, p. 39-43.
"Les Metastassis", program notes from Donaueschingen Musiktage, 16-18/10/1955 (reprinted in Max Rieple, Musik in Donaueschingen, Konstanz, 1959, p. 83).
Short program note.
" Oi shmerineV taseiV thV gallikhV mousikhV " (Current tendencies of French music), Epiqewrhsh tecnhV n°6, Athens, 1955, p. 466-470.
Undoubtedly Xenakis’s first published article: he extensively discusses Messiaen, a little about dodecaphonism and musique concrète and concludes with a homage to Varèse.
" Problhmata ellhnikhV mousikhV sunqeshV " (Problems in Greek musical composition), Epiqewrhsh tecnhV n°9, Athens, 1955, p. 185-189.
Xenakis summarizes his first research results and his desire to reconcile his "Greek traditions" with European "progress": an extremely important text in order to understand his earliest period. French translation in Présences de Iannis Xenakis, Paris, CDMC, 2001, p. 11-14.
"Brief an Hermann Scherchen", Gravesaner Blätter n°6, 1956, p. 35-36.
The original French was later published in Kéleütha, p. 44-45.
"Wahrscheinlichkeitstheorie und Musik", Gravesaner Blätter n°6, 1956, p. 28-34.
The original French later appeared in: 1) Musique. Architecture, p. 9-15; 2) Kéleütha, p. 46-53. In addition, this text was used in Xenakis’s elaboration of Musiques formelles, p. 26-33.
"Der Modulor / The Modulor", Gravesaner Blätter n°9, 1957, p. 2-3/3-5.
Xenakis explains the Golden Rule model of proportions used by Le Corbusier.
"Le Corbusiers Elektronisches Gedicht / Le Corbusier's Electronic Poem —the Philips Pavilion", Gravesaner Blätter n°9, 1957, p. 43-50/51-54.
A rather succinct analysis of the famous Pavilion. Later partially reprinted in Musique. Architecture, p. 123-142.
"Le couvent d'études de la Tourette. Oeuvre de Le Corbusier", Art chrétien n°6, 1957, p. 40-42.
A few words on this important architectural realization by Xenakis (and Le Corbusier).
1958
"Auf der Suche einer Stochastischen Musik / In search of a Stochastic Music", Gravesaner Blätter n°11-12, 1958, p. 98-111/112-122.
The original French later appeared in Musiques formelles, p. 36-51.
"Genèse de l'architecture du Pavillon", Revue Technique Philips vol.20 n°1, 1958-59, p. 1-11 = "L'architecture du Pavillon", in Charles Edouard Le Corbusier, Le poème électronique, Paris, Minuit, 1958, 9 p.
Detailed text where Xenakis explains his role in the conception of the famous Philips Pavilion. Partially reprinted in Musique. Architecture, p. 123-142.
"Les trois paraboles" (in Swedish), Nutida Musik n°4, 1958.
The original French later appeared in Musique. Architecture, p. 16-19.
"The architectural design of Le Corbusier and Xenakis", Philips Technical Review vol.20 n°1, 1958-59, p. 2-8.
Close, although somewhat different than the articles published the same year : "Genèse de l'architecture du Pavillon Philips" = "L'architecture du Pavillon".
"The Philips Pavilion and The Electronic Poem", Arts and Architecture n°11, 1958, p. 24.
A few words of the famous Pavilion.
"Notes sur un ‘geste électronique’", Revue Musicale n°244, 1959, p. 25-30.
Reprinted in Musique. Architecture, p.143-150.
"Grundlagen einer stochastischen Musik / Elements of Stochastic Music", Gravesaner Blätter in four parts: 1) n°18, 1960, p. 61-83/84-105 ; 2) n°19-20, 1960, p. 128-139/140-150 ; 3) n°21, 1961, p. 102-111/113-121 ; 4) n°22, 1961, p. 131-143/144-145.
The original French was published in Musiques formelles, p. 61-107.
"La musique stochastique : éléments sur les procédés probabilistes de composition musicale", Revue d'Esthétique vol.14 n°4-5, 1961, p. 294-318.
Was reprinted with further development in Musiques formelles, p. 15-36, 52-53, 61, 137-139 and 211-212.
"Scherchen", in Encyclopédie de la musique, Paris, Fasquelle, vol.3, 1961, p. 653.
A few lines on "the greatest maieutic of contemporary music".
"Stochastic music", in Music-East and West. Report on 1961 Tokyo East-West Music Encounter Conference, Tokyo, Executive Committee for Tokyo East-West Music Encounter 1961, p. 134-140.
Quotes and recombines parts of the1954 article "La crise de la musique sérielle" as well as parts of chapter 1 and 3 Musiques formelles. Can also been seen as an abridged version of the article "La musique stochastique : éléments sur les procédés probabilistes de composition musicale" (1961).
"The riddle of Japan", in This is Japan n°9, 1961, p. 66-69.
Impressions of Japan, which Xenakis visited for the first time during this period (1961).
"Vitruve", in Encyclopédie de la musique, Paris, Fasquelle, vol.3, 1961, p. 873-874.
A few lines on the Roman architect who was also interested in music.
"Debussy a sformalizowanie muzyki" ("Debussy and formalized music"), Ruch Muzyczny n°16, 1962, p. 7.
One page on Debussy.
"Eléments sur les procédés probabilistes (stochastiques) de composition musicale", in Claude Samuel, Panorama de l'art musical contemporain, Paris, Gallimard, 1962, p. 416-425.
Reprinted in Kéleütha, p. 54-66. An abridged version of the article "La musique stochastique : éléments sur les procédés probabilistes de composition musicale" (1961).
"Problemy mojej techniki kompozytorskiej" ("Problems with my compositional technique"), Horyzonty Musyki n°1, 1962, p. 27,1-27,8.
A conference given at the Warsaw Radio in 1962. The original French, "Trois pôles de condensation", is reprinted (minus an introductory page) in Musique. Architecture, p. 26-37.
"Stochastische Musik/ Stochastic Music", Gravesaner Blätter n°23-24, 1962, p. 156-168/169-184.
Represents more or less the German and English translation of "La musique stochastique : éléments sur les procédés probabilistes de composition musicale" (1961).
"Wer ist Iannis Xenakis/Who is Iannis Xenakis", Gravesaner Blätter n°23-24, 1962, p. 185/185-186.
Xenakis expresses his gratitude to Scherchen as a conductor.
"Bulletin de souscription: Musiques formelles par Iannis Xenakis", La Revue Musicale, 1963, p. 1.
A few introductory words on Musiques formelles.
"Schaeffer", in Die Musik in Geschichte und Gegenwart, Basel, Bärenreiter Kassel, vol.11, 1963, p. 1535.
A short notice on the inventor of musique concrète.
"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.
(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.
"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.
"W strone filozofii Muzyki" ("From the perspective of musical philosophy), Res Facta n°2, Warschau, 1968, 2 p.
"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.
"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.
(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.
(Untitled), Darmstädter Beiträge zur Neuen Musik n°14, 1975, p. 16-18.
Xenakis answers five questions: on post-serialism, the "neo" vogue, on rendering contemporary music popular, on politics, on young composers.
"The New Music today" ["There’s Music in Germany"], Inter Nationes, Bonn, 1975, p. 7-8.
English translation of the text "(Untitled)" supra (1975).
(Untitled) in Hanspeter Krellmann, Webern, Hamburg, Rowohl Taschenbuch Verlag, 1975, p.142
A few lines on Webern.
" Arcaiothta kai sugcronh mousikh " (Antiquity and contemporary music), Deltio kritikhV diskografiaV n°18-19, Athens, 1976, p. 377-382.
Greek translation of the article "Notice sur l'Orestie" (1966).
"Culture et créativité", Cultures vol.3 n°4, 1976, p. 162-165.
Reprinted in Kéleütha, p. 129-132.
" GiannhV XenakhV: autobiografiko " (Iannis Xenakis : an autobiography), Deltio kritikhV diskografiaV n°18-19, Athens, 1976, p. 374-376.
A few autobiographical elements from an interview in November 1975 for the newspaper QourioV
"Des univers du son", in Boris de Schloezer Marina Scriabine, Problèmes de la musique moderne, Paris, Minuit, 1977, p. 193-200.
Reprinted in Kéleütha, p. 112-120.
"Die Legende von Eer", Darmstädter Ferien Kurse für Neue Musik : Programmheft, July 1977.
The original French was later published in "La Légende d'Er (première version). Geste de lumière et de son du Diatope au Centre Georges Pompidou" (1978).
"Musique et architecture", Artcurial n°5, 1977, 1 p.
On the relationship between the two arts.
"Nouvelles propositions sur la micro-structure des sons", Dossiers-Arts Plastiques n°1, 1977.
Reprinted in Formalized Music, p. 242-254.
"Sur l'architecture au Japon" (in Japanese), Ikebana sogetsu n°113, 1977, 2 p.
"The CAPAC-MacMillan lectures" (English and French), Canadian Composer, September 1977, p. 10-12-14 (in English) and p. 11-13-15-29 (in French).
Transcription of a lecture where Xenakis evokes his methods in his first publicly recognized works.
" Episthmonikh skeyh kai mousikh " (Scientific thought and music) Rotonta n°4, Athens, 1978, p. 380-395. (1978).
A highly elaborated lecture (given in Athens on Sept. 17, 1975 during the "Xenakis Week" Festival) where Xenakis tackles several of his preoccupations: the question of determinism, order structures, the necessity of being able to choose, etc…
"La Légende d'Er (première version). Geste de lumière et de son du Diatope au Centre Georges Pompidou" in Centre Georges Pompidou-Xenakis, Le Diatope: geste de lumière et de son, Paris, Centre Georges Pompidou, undated (ca. 1978),p. 8-12.
Xenakis comments on the work in question as well as Diatope in general.
"Le Polytope de Mycènes", eniko Programma Polutopo Mukhnwn (program of the Polytope), 1978, p. 24-25.
"Pléïades", liner notes for Harmonia Mundi 905185, 1978, 3 p.
A description of some of the ideas behind the work and its ensemble.
"Quelques systèmes diversifiés en composition musicale", in Colloque de St-Hubert-Le récit et sa représentation, Paris, Payot, 1978, p. 159-162 + annexes.
Xenakis summarizes certain aspects of his methods.
(Untitled), in Igor et Grichka Bogdanoff, L’effet science-fiction, Paris, Robert Laffont, 1979, p. 283-286.
Xenakis’s opinions and preferences in terms of science fiction.
"Le CEMAMu", in L’Electricité et l’environnement, Paris, EDF, 1979.
"Opening Address", in Curtis Roads (ed.), Proceedings of the 1978 International Computer Music Conference vol.1, Evanston, 1979, p. 2-4.
Lecture given by Xenakis in 1978 to open the 1978 International Computer Music Conference organized at Northwestern University, Illinois, USA.
"Brief an Karl Amadeus Hartmann", in Karl Amadeus Hartmann und die Musica Viva, Mainz, 1980, p. 337.
Letter from 1956.
" Cwroi kai phgeV akroamatwn kai qeamatwn " (Spaces and sources of auditions and spectacles), in proceedings of Dieurunsh qeatrikwn drasthriothtwn kai arcitektonikh praktikh Volos, 1980, p. 203-212.
An important text on the correlations between the audience and performance spaces in relation to their size, location, types of sound sources, types of space and technology. Translated into French in Présences de Iannis Xenakis, Paris, CDMC, 2001, p. 197-200.
Two lectures where Xenakis explains his ideas and speaks of his works in a simple and direct manner.
"Entre Charybde et Scylla", Spirales n°1, 1981, p. 41-42.
Reprinted in Kéleütha, p. 88-93.
"Homage to Bela Bartok", Tempo n°136, 1981, p. 5.
A few lines on the composer who has "proven a very rare capacity for musical abstraction".
"Il faut que ça change!" Le Matin, January 26, 1981, p. 28.
Criticism of internal politics at IRCAM.
"On the nude body", in M. Tanaka (ed.), Body Print, Japan, 1981.
"Le temps en musique", Spirales n°10, 1981, p. 9-11.
Reprinted and expanded in the article "Sur le temps" (1988), which is reprinted in Kéleütha, p. 94-105.
"Les chemins de la composition musicale", in Le compositeur et l'ordinateur, Paris, IRCAM, 1981, p. 13-27.
Reprinted in Kéleütha, p. 15-38.
"André Schaeffner", Revue de Musicologie tome 68, n°1-2, 1982, p. 387.
A few words on the famous musicologist.
"Béla Bartók" [in French] / "Bartók Béla" [in Hungarian], Arion n°13, Budapest, Egyetemi Nyomda, 1982, p. 54-55.
A few words on Bartók.
"La composition musicale est à la fois dépendante et indépendante de l'évolution technologique des systèmes analogiques ou numériques", Conférences des journées d'études. Festival international son et image vidéo, Paris, Société pour la Diffusion des Sciences et des Arts, 1982, p. 137-155.
Here, Xenakis shares his past experiences using the computer both for composition and for sound synthesis.
"Il pensiero musicale" ("Musical thinking"), Spirali n°41, 1982, p. 44-45.
A few words on the element of time in both music and architecture.
"Musica e originalità", Numero e suono, Venise, La Biennale di Venezia, 1982, p. 41-42.
The original French was later published in 1984.
"Nota all’edizione italiana", in Iannis Xenakis, Musica. Archittetura, Milano, Spirali, 1982, p. 7.
A few words for the Italian readers of Musique. Architecture.
"Polytopes", in Festival d'automne à Paris 1972-1982, Paris, Temps Actuels, 1982, p. 218.
A few words on the Polytopes.
"Préface", Les cahiers de l'arm n°4, undated (ca. 1981-82), p. 3.
"Science et technologie, instruments de création", in Colloque national: recherche et technologie, Paris, Ministère de la recherche et de la technologie, 1982, p. 7-12.
On the necessity to anchor art in society and in technological research.
"Il faut se débarrasser des préjugés architecturaux", Les Nouvelles littéraires n°23-24, June, 1983, p. 40-41.
A few ideas on architecture.
"Perspectives de la musique contemporaine", Echos n°1, 1983, p. 47.
A few general ideas on music.
"Pour saluer Olivier Messiaen", Opéra de Paris n°12, 1983, p. 6.
A brief homage to Messiaen.
"La source de l'expérience humaine", Le Monde, September13, 1984.
"L'univers est une spirale", Le Nouvel Observateur n°1020, Mai 1984, p. 88-89.
Reprinted in Kéleütha, p.136-138.
"Musique et originalité", Phréatiques n°28, 1984, p. 62-66.
Reprinted in Kéleütha, p. 106-111.
"Notice sur la vie et les travaux de Georges Auric", in Discours prononcés dans la séance publique tenue par l'Académie des Beaux-Arts n°6, 1984, p. 13-19.
Xenakis’s acceptance speech given at the French Académie des Beaux-Arts.
"Pour l'innovation culturelle", in Robert Badinter, Vous avez dit fascisme ?, Paris, Montalba, 1984, p. 275-276.
Reprinted in Kéleütha, p. 133-135.
"The Monastery of La Tourette", in Allen Brooks (ed.), The Garland Essays, Londres-New York-Paris, Garland Architectural Archives, 1984.
"Un exemple enviable", Revue Musicale n°372-374, 1984, p. 67.
A brief statement on Mr. Landowski.
"Un plaidoyer pour l'avant-garde?", Le Nouvel Observateur n°19-25, Oct.1984, p. 97.
A few quick answers to a brief questionnaire on composition.
"Alban Berg: le dernier des Romantiques", La vie culturelle, February 7,1985, p. 29.
A few words on the Viennese composer.
"Le monde en harmonie", Silences n°1, 1985, p. 91-93.
Various thoughts.
"Le pas d'acier de Paul Klee", Le Nouvel Observateur n°1097, Nov.1985, p. 106.
A few words on Klee written for an exhibition.
"Les conditions actuelles de la composition", France Forum n°223-224, 1985, p. 10-12.
Reprinted in Kéleütha, p.121-128 under the title "Condition du musicien".
"Vœux en musique", Harmonie/ Panorama-Musique, janv.1985, p. 67.
A few general ideas.
"Avant-propos", in Hermann Scherchen, La direction d'orchestre, Arles, Actes Sud, 1986, p. 11-13.
Homage to the conductor and Xenakis’s friend.
"Briefauszug an Hermann Scherchen", in Hermann Scherchen Musiker, Berlin, 1986, p. 95.
A letter written to the conductor in 1963.
"Hermann Scherchen", Le Monde de la Musique n°89, May 1986, p. 91.
A short homage.
"Ouvrir les fenêtres sur l'inédit", in 20ème siècle. Images de la musique française, Paris, Sacem et Papiers, 1986, p. 160-162.
A few general ideas on music.
"Préface", in Sergio Ferro, Chérif Kebbal, Philippe Potié, Cyrille Simmonet, Le Couvent de La Tourette, Marseille, Parenthèses, 1987, p. 5-9.
Xenakis describes his collaboration with Le Corbusier.
"Pour les dix ans du Monde de la Musique", Le Monde de la musique n°100, May 1987, p. 27.
Reproduction of a few measures (150-155), excerpted from Synaphai.
"Xenakis on Xenakis", Perspectives of New Music vol.25 n°1-2, 1987, p. 16-63.
Compilation of articles and interviews.
"Mykenae alpha", Perspectives of New Music vol.25 n°1-2, 1987, p. 12-15.
The work’s score (UPIC).
"A propos de Jonchaies", Entretemps n°6, 1988, p. 133-137.
A few ideas on composition in general and on Jonchaies in particular.
"Le mois de Iannis Xenakis", Journal de l'année, Paris, Larousse, 1988, p. 105.
"Sur le temps", in Redécouvrir le temps, Bruxelles, éd. de l'Université, tome II, 1988, p. 193-200.
Reprinted in Kéleütha, p. 94-105.
"Préface", Les Cahiers du CIREM n°12-13, 1989, p. 2.
A few words on Pascal Dusapin.
(Untitled), in Edgar Varèse 1883-1965. Dokumente zu Leben und Werk, collected by Helga de la Motte-Haber and Klaus Angermann, Frankfurt am Main, Peter Lang, 1990, p. 79-80.
Xenakis briefly comments Varèse.
"Originality in Musical Composition", in Technology's Challenge for Mankind, ed. by the Steering Committee of the Fukushima International Seminar, Tokyo, Technova Inc, 1990, p. 17-24.
As an answer to the question of originality, Xenakis cites Klein groups as well as his own first stochastic experiences.
"Sieves", Perspectives of New Music vol.28 n°1, 1990, p. 58-78.
The original French later appeared in Kéleütha, p. 75-87, but without the computer read outs.
"UPIC sketch for Voyage absolu des Unari vers Andromède, 1989", Perspectives of New Music vol.28 n°2, 1990, p. 119 et 135.
The work’s score (UPIC).
(Untitled) in Enzo Restagno (ed.), Donatoni, Torino, E.D.T., 1990, p.241.
A few lines on Donatoni.
"Avant-propos", Les Cahiers du CIREM n°22-23, 1991-1992, p. 7.
Homage to François-Bernard Mâche.
"Eschyle, un théâtre complet", in Six musiciens en quête d'auteur (collected by Alain Galliari), Paris, Pro Musica, 1991, p. 25-33.
Reprinted in Musique et originalité, p. 49-58.
"More Thorough Stochastic Music", in Alphonce Bo, Bruce Pennycook (ed.), Proceedings of the International Computer Music Conference, McGill University, ICMC, 1991, p. 517-518.
On the CEMAMu’s GENDY program. Reprinted in the second edition of Formalized Music, p. 295-322.
"Un esprit universel", Le Monde de la Musique n°156, 1992.
Homage to Messiaen.
(Untitled), Perspectives of New Music vol.31 n°2, 1993, p. 135.
A six-line homage to Cage.
"Creativity", in Perspectives on Musical Aesthetics, London, W.W. Norton and Co, 1994, p. 158-164.
Xenakis combines several of his philosophical preoccupations (relationship between being and non-being, the notion of memory, the refusal of all sentimentality, etc.) in an attempt to evoke his own ideas on creation.
"Pour la revue Circuit", Circuits vol.5 n°2, 1994, p. 76.
A few manuscript lines on his trips to Canada.
"Acanthes, vingt ans de compagnonnages", Le Monde, July 4,1996, special flyer, p. XII.
A brief text on the Centre Acanthes, where Xenakis was a regular guest.
"Determinacy and Indeterminacy", Organised Sound vol. 1 n°3, 1996, p. 143-155.
Transcription of three long lectures, followed by their debates, that Xenakis probably gave in the 1980s : he tackles several questions and works, ranging from the very general to very technical analyses.
" O EllhnaV sunqethV ManoV CatzidakhV " (The Greek composer Manos Hatzidakis), in QanoV FwskarinhV, AnoicteV epistoleV ston Mano Catzidakh, Athens, MpastaV-PlessaV, 1996, p. 178.
A few words on Manos Hadzidakis and in particular on the competition he organized in 1963 that Xenakis won.
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