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Articles and other major writings
bibliography by M. Solomos
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
>Adam J., Cottet S. Doisneau E., "La passion mathématique", L'Arc, May-June 1983, 2p.
> Aguila Jésus, Le Domaine musical. Pierre Boulez et vingt ans de création contemporaine, Paris, Fayard, 1992, p. 30-31 et 273-279.
On the Xenakis - Boulez contentions.
> Ahlen C.G., "Iannis Xenakis", Nutida Musik vol.28 n°3, 1984-85.
> Ahnert Sven, Seyfarth Ludwig, "Die Verbindung von Architektur und Musik", in Architektur der Ideen: Gedankengebäude in der Kunst, catalogue Hamburger Architektursommer, Hamburg, 1994, p. 108-110.
On Xenakis’s projected home for the Reynolds.
> Akijama K., "Iannis Xenakis’ mathematical thinking" (in Japanese), Bijutsu Techno n°9, 1969.
> Albèra Philippe, Entretiens avec Claude Helffer, Genève, Contrechamps, 1996, p. 61-65.
One of Xenakis’s most faithful performers speaks of his experience in preparing and performing the piano works.
> Amy Gilbert," Orchestre et oreille symphonique chez Xenakis", in Regards sur Iannis Xenakis, Paris, Stock, 1981, p. 167-174.
A comparison between a traditional orchestra and a xenakian one.
> Andreatta Moreno, Formalizing musical structure: from Information to Group Theory, Dissertation in Aesthetics and Sociology of Music, University of Sussex, 1997, p. 17-22.
On Group Theory.
> Andreatta Moreno, "Logica simbolica, teoria dei gruppi e crivelli musicali nel pensiero di Iannis Xenakis: un punto di vista", Il Monocordo vol.3/4, 1997, p. 3-14 and vol.5, 1998, p. 3-19.
On symbolic logic, groups and sieves.
> ANTUNES Jorge, "Xenakis, Rimbaud und ich. Pu Wijnuej we Fyp und Rimbaudiannisia MCMXCV", MusikTexte n°89, Köln, 2001, p. 43-45.
A few words on Pu Wijnuej we Fyp.
> ARDITTI Irvine, "Inspirieren und bezaubern", MusikTexte n°89, Köln, 2001, p. 20.
A few words on Xenakis, after his death.
> ARSENAULT Linda, "Iannis Xenakis's Evryali: A Narrative Interpretation", in Présences de Iannis Xenakis, Paris, CDMC, 2001, p. 159-162.
Evryali seen as narrative music.
> Attneave F., "Stochastic Composition Processes", Journal of Aesthetics vol.17, 1959.
> Aubigny Benoît, L'ensemble vocal a cappella de 1945 à nos jours. Histoire d'une renaissance, Paris, Honoré Champion, 1998, p. 94-106.
A detailed analysis of Nuits.
> Baculewski K., "Kwardrans z Iannisem Xenakisem", Ruch Muzyczny vol.22, n°24, 1978, p. 10-11.
> Balea Ilie, "Réflexions d'un critique roumain", Revue Musicale n°265-266, 1969, p. 160-164.
A few words on Xenakis.
> Baltensperger André, "’Art’ und ‘Science ‘", Neue Zeitschrift für Musik vol.153 n°5, 1992, p. 27-34.
> Barnes Clive, "Danse. Le Private Domain de Paul Taylor", in Regards sur Iannis Xenakis, Paris, Stock, 1981, p. 271-274.
Commentary on a P. Taylor dance performance that included Atrées.
> Barraud Henri, Pour comprendre les musiques d'aujourd'hui, Paris, Seuil, 1968, p. 181-189.
General presentation of stochastics and a brief analysis of Metastaseis.
> Barraud Jacques, "Le dieu hasard ou la rencontre de deux mondes", in Regards sur Iannis Xenakis, Paris, Stock, 1981, p. 37-43.
Where Xenakis’s "god," chance, is discussed.
> Barraud Jacques, "Musique et ordinateurs", Revue Musicale n°257, 1963, p. 9-12.
The engineer who helped Xenakis write his first computer program relates his experience.
> BARTHEL-CALVET Anne-Sylvie, "De la dispersion à la fusion sonore: écriture et perception des textures xenakiennes", Analyse Musicale n°38, Paris, 2001, p. 86-96.
An attempt to distinguish xenakian textures into two categories: textures of "sound dispersion" textures of "fusion". > BARTHEL-CALVET Anne-Syvie, "Chronologie", in Portrait(s) de Iannis Xenakis, p.25-82.
A chronology.
> BARTHEL-CALVET Anne-Sylvie, "De la dispersion à la fusion sonore: écriture et perception des textures xenakiennes", Analyse Musicale n°38, Paris 2001, p.86-96.
Essay on the typology of xenakian textures, identifying two such categories: textures of "sound dispersion", textures of "fusion".
> BARTHEL-CALVET Anne-Syvie, "Temps et rythme chez Xenakis: le paradoxe de l’architecte", in Portrait(s) de Iannis Xenakis, p.159-170.
The author debates Xenakis’s indebtedness to Messiaen, then analyzes some of Xenakis’s contributions to the rhythmic realm.
> Batigne Jean, "Sur Persephassa et Pléiades", in Regards sur Iannis Xenakis, Paris, Stock, 1981, p. 175-183.
The founder of the Percussions de Strasbourg ensemble evokes his encounter with Xenakis and briefly analyzes Persephassa and Pléiades.
> Bayer Francis, De Schönberg à Cage. Essai sur la notion d'espace sonore dans la musique contemporaine, Paris, Klincksieck, 1981, p. 91-105, 164-167 and passim.
The author concentrates mainly on constructivism and on Xenakis’ treatment of pitch; he analyzes Herma and reveals exceptions to the compositional system.
> Beck R.T., "Other Countries", in F. W. Sternefeld (ed.), Music in the Modern Age, New York, Praeger, 1973, p. 433-441.
> Beecroft Norma, "Xenakis à Toronto. Vision personnelle", in Regards sur Iannis Xenakis, Paris, Stock, 1981, p. 315-319.
Concerning Xenakis’s relationship to Canada.
> BELLO Angelo, "Notes on Composing with the UPIC System: The Equipment of Iannis Xenakis", in Présences de Iannis Xenakis, Paris, CDMC, 2001, p. 93-98.
Research results from the Ateliers UPIC between 1995-1997, that consisted of implementing a frequency modulator on the UPIC system.
> Benton Tim, "The Sacred and the Search for Myths", in Le Corbusier, Architect of the Century, exhibition catalogue Hayward Gallery, London, Arts Council of Great Britain, 1987, p. 238-277.
On the Monastery of La Tourette.
> BERTOCCHI Serge, "XAS pour quatuor de saxophones", in Présences de Iannis Xenakis, Paris, CDMC, 2001, p. 179-184.
Analysis of the development of this work’s form based on factors such as scale (sieves), verticality, rhythm, register, dynamics, instrumentation and degree of order/disorder.
> Boehmer Konrad, "Welle und Klippe. Xenakis und Varèse", 1991 Wittener Tage für Neue Kammermusik, 1991, p. 89-101.
> Boivin Jean, La classe de Messiaen, Paris, Christian Bourgois, 1995, p. 112-115 and passim.
Narrative of Xenakis’s studies with Messiaen.
> Bonnet Antoine, "Théorie du processus", in Les Cahiers de Philosophie n°20: La loi musicale, Lille, 1996, p. 81-82.
Strong criticism of Xenakis’s use of mathematical formulas.
> Bosseur Dominique and Jean-Yves, "En-temps et hors-temps", in Regards sur Iannis Xenakis, Paris, Stock, 1981, p. 89-91.
A few words on Xenakis’s famous temporal distinction.
> Bosseur Jean-Yves, Le sonore et le visuel, Paris, Disvoir, 1992, p. 41-50.
On Xenakis and architecture.
> Bosseur Jean-Yves, Musique et arts plastiques. Interactions au XXe siècle, Paris, Minerve, 1998, p. 1993-1994.
On the polytopes.
> Bosseur Dominique and Jean-Yves, Révolutions musicales, Paris, Le Sycomore, 1979, pp109-113 and passim.
Short presentation of a few works by Xenakis under the title "music and mathematics".
> Böttinger Peter, "Zeitgestaltung", Musik-Konzepte n°54-55, 1987, p. 43-70.
Analysis of the relationship between rhythm and form in Xenakis’s works. Several works are also analyzed.
> Boudon Philippe, "Architecture, proportion et échelle", in Encyclopaedia Universalis, Paris, Universalis, 1998, tome 15, p. 235-238.
Quick reference to Xenakis as architect.
> Bourgue Daniel, Leber Jean, Penassou Pierre, "Xenakis vu par ses interprètes", L'Arc n°51, 1972, p. 81-83.
A few words on Xenakis by a French horn player, a violinist and a cellist.
> Bridoux-Michel Séverine-Alice, "Croisement disciplinaire, Architecture/Musique. Le Pavillon Philips de l’Exposition Bruxelles’ 58", Cahiers thématiques. Architecture Histoire/Conception n°1, Lille, 2001, p. 210-219.
Cf. by the same author of Recherche d’une…
> Bridoux-Michel Séverine-Alice, Recherche d’une correspondance musique/architecture, le Pavillon Philips de l’Exposition Internationale de Bruxelles, 1958, D.E.A. (Masters equivalent), Université de Lille III, Oct. 1999, 97p.
On the Xenakis - Le Corbusier - Varèse collaboration and on Concret PH.
> Brown Franck, La musique par ordinateur, Paris, P. U.F.-Q.S.J., 1982, p. 17-18 et 64-66.
Brief commentary of the stochastic works as well as the UPIC.
> Bucquet Marie-Françoise, "Sur Evryali", in Regards sur Iannis Xenakis, Paris, Stock, 1981, p. 219-226.
The first performer of Evryali shares her impressions.
> Butchers Christopher, "The Random Arts: Xenakis, Mathematics and Music", Tempo n°85, 1968, p. 2-5.
The author affirms that stochastics is the only correct means to use chance (as opposed to "aleatoric" works).
> Butor Michel, "Imaginez", in Le Poème électronique - Le Corbusier, Paris, Minuit, 1958.
> Cadieu Martine, A l'écoute des compositeurs, Paris, Minerve, 1992, p. 146-149.
Concerning the Polytope de Montréal.
> Cadieu Martine, "Iannis Xenakis, le contrôle de la musique par les sciences", Opus International n°5, 1968, 4p.
On the relationships between the arts-sciences.
> Candé Roland de, "Une esthétique de la raison et de la liberté", in Regards sur Iannis Xenakis, Paris, Stock, 1981, p. 26-29.
Short text on Xenakis and mathematics.
> Capanna Alessandra, "Iannis Xenakis. Combinazioni compositive senza limiti", Ricerca e progetto vol.V n°9-10, Rome, 1997, p. 90-96.
An overview of Xenakis’s architectural projects and their relationships to music.
> Capanna Alessandra, Strutture matematiche della composizione. I paradigmi logici dell’Architettura e della Musica, dottorato di ricerca in composizione architettonica VII ciclo, Università degli studi di Roma "la Sapienza", 1996, p. 19-25, 45, 57-64, 66, 71-72.
On Xenakis’s collaboration with Le Corbusier on the Philips Pavilion (p. 19-25) and on stochastic architecture (p. 57-64).
> Casado Germinal, "Réflexions sur la création du Concile musical", in Regards sur Iannis Xenakis, Paris, Stock, 1981, p. 275-278.
Commentary on a dance performance that included Pléiades.
> Castanet Pierre-Albert, "L'esquisse et ses écarts. La nature (Messiaen) et la science (Xenakis)", Les Cahiers du CIREM n°40-41, 1997, p. 121-126.
Concerning Mists and the relationship between the intelligible and the sensible.
> Castanet Pierre-Albert, "Mists, œuvre pour piano de Iannis Xenakis: de l'écoute à l'analyse, les chemins convergents d'une rencontre", Analyse Musicale n°5, 1986, p. 65-75.
Parametric (pitch, duration, dynamics, timbre and space) analysis of Mists. > CASTANET Pierre-Albert, "L’Organon - ou les outils mathématiques de la création musicale", Les Cahiers du CIREM n°1-2, 1986, p.33-44.
> CAULLIER Joëlle, "Entre mythe et science: un contenu de vérité", in Présences de Iannis Xenakis, Paris, CDMC, 2001, p. 103-106.
The author examines how matter can acquire a spiritual dimension in Xenakis’s works.
> Caullier Joëlle, "Pour une interprétation de Nuits", Entretemps n°6, 1988, p. 59-68.
Analysis of the phonetic material used Nuits plus its opening section.
> Cecchi C., "Metastasis y Pithoprakta", Revista Musical Chilena vol.24 n°112, 1970, p. 99-102.
> CHADABE Joel, Electronic Sound. The Past and Promise of Electronic Music, New Jersey, Prentice-Hall, 1997, passim.
A few words on Xenakis’s electronic works as well as on his polytopes.
> CHADABE Joel, "Figur des Übergangs. Überlegungen zu Iannis Xenakis", MusikTexte n°89, Köln, 2001, p. 36-37.
A few lines on Xenakis, after his death.
> Chailley Jacques, Propos sans orthodoxie, Paris, Zurfluh, 1990, p. 85-87.
The French musicologist makes fun of the complexity of Xenakis’s article "Vers une philosophie de la musique" (Towards a Philosophy of Music).
> Chambure Alain de, "n+1 ou la dimension supplémentaire. Témoignage d'un responsable de France-Musique", in Regards sur Iannis Xenakis, Paris, Stock, 1981, p. 357-362.
A general essay on Xenakis.
> Charles Daniel, "Architecture et musique", in Encyclopaedia Universalis, Paris, Universalis, 1995, tome 2, p. 878-887.
Commentairy on Xenakis’s "Notes sur un Geste Electronique" (Notes on an Electronic Gesture).
> Charles Daniel, "Entr'acte: "Formal" or "Informal" Music?", Musical Quarterly vol.51 n°1, 1965, p. 157-165.
Comparaison of Boulez and Xenakis, especially from the point of view of their writings.
> Charles Daniel, "La musique et l'écriture", Musique en Jeu n°13, 1973, p. 3-13 (reprinted in Daniel Charles, Le temps de la voix, Paris, ed. Jean-Pierre Delarge, 1978, p. 201-225).
This article includes a few dense pages on Xenakis where the author withdraws his former opinion (cf. La pensée de Xenakis, Boosey and Hawkes, 1968): henceforth, he chooses to concentrate on Cage who "managed to escape metaphysics," unlike Xenakis.
> Charles Daniel, Musiques nomades, edited and presented by C. Hauer, Paris, Kimé, 1998, p. 105-108.
On Xenakis and graphics.
> Charles Daniel, "Xenakis", in Encyclopédie de la musique, Paris, Fasquelle, 1961, p. 926.
Undoubedly Xenakis’s first entry in an encyclopedia.
> Charles Daniel, "Xenakis aujourd'hui", Revue d'Esthétique, 1965, p. 406-420.
> Chattelun Maurice, "Quelques remarques et propos", Revue Musicale n°265-266, 1969, p. 150-154.
> CHOJNACKA Elzbieta, "Angst und Faszination", MusikTexte n°89, Köln, 2001, p. 37.
A few lines written about Xenakis, after his death.
> Chojnacka ;Elisabeth, "Sur Khoaï", in Regards sur Iannis Xenakis, Paris, Stock, 1981, p. 227-235.
The first performer of Khoaï briefly comments the work in question.
> Chouvel Jean-Marc, "A propos de l'île de Gorée de Iannis Xenakis", Terres des Signes n°1, Paris, l'Harmattan, 1995, p. 169-173.
A summary of the analysis in the same author’s dissertation. (cf. infra).
> Chouvel Jean-Marc, Sur la théorie de la forme et ses implications dans la création musicale contemporaine, Doctoral Dissertation, Paris, Université de Paris VIII, 1990, p. 57-110.
Analysis of A l'île de Gorée: the author concetrates on pitch and sonority (that he calls "elementary models"); from there, he deduces the work’s form.
> Coca Vernando Ruiz, "El pensamiento musical de Iannis Xenakis", in Atlantida III, Madrid, 1965, p. 205-210.
> Coe J.W., A study of five selected contemporary compositions for brass, Ph. D., Indiana University, 1971.
> Colyer Cornelia, "Centre d'Etudes de Mathématiques et d'Automatiques Musicales", ICMC Proceedings, 1986, p. 317-319.
> Couraud Marcel, "Des Cinq Rechants de Messiaen à Nuits de Xenakis", in Regards sur Iannis Xenakis, Paris, Stock, 1981, p. 186-193.
On the importance of Nuits in the context of contemporary music.
> Cournot N., "Le refus des conventions (chez Françoise et Iannis Xenakis)", Maison et Jardin, March 1973, p. 120-123.
> Couroux Marc, "Dompter la mer sauvage : réflexions sur Evryali de Iannis Xenakis", Circuits vol.5 n°2, 1994, p. 55-67.
On the difficulties Evryali poses to pianists; proposition of a solution.
> Dambicourt Jean Pierre, "Le nombre d'or et la fin du pythagorisme musical", in J.B. Condat (ed), Nombre d'Or et Musique, Paris et Frankfurt-am-Main, Verlag Peter Lang, 1988, p. 26-38.
In part on Xenakis and his"pythagorism".
> Darasse Xavier, "Sur Gmeeoorh", in Regards sur Iannis Xenakis, Paris, Stock, 1981, p. 236-239.
The first performer of Gmeeoorh addresses the work’s difficulties.
> Decarsin François, La directionnalité de l'énoncé musical depuis 1950, 3rd cycle Doctoral Dissertation, Paris, Université de Paris I, 1981, p. 61-66, 93-97, 133-135.
On Xenakis and nature; references to Pithoprakta and Polytope de Montréal.
> DELALANDE François, GAYOU Evelyne, "Xenakis et le GRM", in Présences de Iannis Xenakis, Paris, CDMC, 2001, p. 29-36.
This article proposes and explanation of the relationship Xenakis had with the GRM and the differences between Xenakis and Schaeffer.
> DeLio Thomas, "Structure and Strategy: Iannis Xenakis' Linaia Agon", Interface vol.16, 1987.
> DeLio Thomas, "I. Xenakis' Nomos alpha. The Dialectic of structure and materials", Journal of Music Theory vol.24 n°1, 1980, p. 63-86 (reprinted in: Thomas DeLio (ed), Contiguous Lines, University Press of America, 1985, p. 3-30).
A detailed analysis of Nomos alpha based on Xenakis’s own explanations.
> Delpech Jean-Louis, "Cybernétique et art", in Encyclopaedia Universalis, Paris, Universalis, 1995, tome 5, p. 921-926.
A few words on the Polytope de Montréal.
> Dibelius Ulrich, Moderne Musik II.1965-1985, München, R. Piper Gmbh und Co. KG, 1988, p. 48-53.
The author places Xenakis, Ligeti and Lachenmann in the same category, under the chapter heading "Klangkomposition".
> Dibelius Ulrich, Ligeti. Eine Monographie in Essays, Mainz, B. Schott's Söhne, 1994, p. 262.
Interview with Ligeti: on his relations with Xenakis.
> Di Scipio Agostino, "Da Concret PH a Gendy 301. Modelli compositivi nella musica elettroacustica di Xenakis", Sonus n°14, Potenza, Sonus Edizioni Musicali, 1995, p. 61-92 (American translation: "Compositional Models in Xenakis’s Electroacoustic Music", Perspectives of New Music vol.36 n°2, 1998, p. 201-243).
A precise and detailed study of certain electronic works (Concret PH, Analogique B, Mycenae-Alpha, La légende d'Eer and Gendy 301).
> Di Scipio Agostino, "Scienza e musica dei quanti acustici : l'eredità di Gabor", Il Monocordo vol.6, 1998, p. 71-76.
On Xenakis’s references to Gabor’s theory.
> Di Scipio Agostino, "The problem of 2nd-order sonorities in Xenakis' electroacoustic music", Organised Sound vol.2n°3, 1997, p. 165-178. Expanded in "Clarification on Xenakis: the Cybernetics of Stochastic Music", in Présences de Iannis Xenakis, Paris, CDMC, 2001, p. 71-84.
A study of the electronic music works based on the hypothesis of a "second order sonority" (forwarded by Xenakis in relation to Analogique), followed by a critique of stochastics.
> "Dossier: I. Xenakis -Tra Scilla e Cariddi", Spirali n°3, Dec.1980, p. 5-6.
> Droschke Amadeus Jakob, "Après Le Corbusier", L'Arc n°51, 1972, p. 63-71.
Concerning Xenakis’s architectural thinking and projects.
> Durney Daniel, "Itinéraire", L'Arc n°51, 1972, p. 3-16.
A commentary on the various stages of Xenakis’s evolution.
> Dusapin Pascal, "L'imagination au-dessus", in Festival d'automne à Paris 1972-1982, Paris, Temps Actuels, 1982, p. 217-218.
Here, the author refers to the expression "model transfer".
> Dusapin Pascal, "Une filiation problématique", Entretemps n°6, 1988, p. 71-76.
The author discusses his relationship with Xenakis.
> Dusapin Pascal, Halbreich Harry, "Entretien", in Regards sur Iannis Xenakis, Paris, Stock, 1981, p. 343-356.
An interview where Dusapin explains what he has learned from Xenakis. > DUSAPIN Pascal, "Hommage" in Portrait(s) de Iannis Xenakis, p.89-94.
> Eller Gérard von, "De Nomos alpha à la musique en puissance", in Regards sur Iannis Xenakis, Paris, Stock, 1981, p. 128-131.
Sometimes humorous remarks from a scholar about Xenakis’s ambitions and his relationship to musicality.
> "E.m.a.mu.", Revue Musicale n°265-266, 1969, p. 53-59.
Notes on the French government’s and the Gulbenkian Foundation’s support of the l'E.M.A.Mu. as well as the project on how the center should function. > EMBEOGLOU Michaïl, La notion de texture dans la musique post-sérielle, doctoral dissertation, Iniversité Paris 4, 1997, p.407-432.
Analysis of Metastaseis.
> Estrada Julio, "Rupture et fusion", Dissonance n°68, Zurich, April 2001, p. 4-9.
The Mexican composer explains his relationship with Xenakis.
> Estrada Julio, "Una vision que escucha", Revista cultural del IFAL, Feb. 1989, p. 33-40.
> ESTRADA Julio, "Xenakis Odysseus, Orpheus, Pythagoras, Leonardo…", MusikTexte n°89, Köln, 2001, p. 35.
A few lines on Xenakis, after his death.
> ETKIN Mariano,"Archaische Musikalität. Iannis Xenakis in Buenos Aires", MusikTexte n°89, Köln, 2001, p. 51-52.
A few words on Xenakis, after his death.
> Evans Robin, The Projective Cast. Architecture and its three geometries, London-Cambridge, MIT, 1995, p. 279-321.
On the Philips Pavilion and its ruled surfaces.
> Eveno Claude, "Le Corbusier. Une encyclopédie", Paris, Centre G. Pompidou, 1987, p. 354-356.
On Xenakis’s role in Le Corbusier’s Studio.
> Evenson Norma, Chandigarh, California, University California Press, 1966.
> Ewen David, Composers of Tomorrow's Music, New York, Dodd Mead and C°, 1971, p. 122-127.
The author associates Xenakis to M. Babbitt in a chapter dealing with computers.
> Fajond Robert, "L'Orestie à Mycènes", in Regards sur Iannis Xenakis, Paris, Stock, 1981, p. 283-290.
The author, a chorus member, gives his impressions on the Orestie.
> Fatus Claude, Composition musicale et informatique, Paris, Minerve, 1989, p. 36-43.
Concerning stochastic programing.
> Fichet Laurent, Les théories scientifiques de la musique. XIXème et XXème siècle, Paris, Vrin, 1896, p. 229-255.
A classsic case of bad faith written in total ignorance of Xenakis’s writings and music.
> FINNENDAHL Orm, "Algorithmus, der sich selbst erzeugt", MusikTexte n°89, Köln, 2001, p. 50.
A few words on Xenakis, after his death.
> Fleuret Maurice, "A music for the future", Music and Musicians n°236, 1972, p. 20-27.
The author tries to explain what makes Xenakis’s music so contemporary.
> Fleuret Maurice, "Aventurier solitaire", in liner notes Erato, STU 70526-70530, 1969, 3p.
On Xenakis’s early evolution by a close friend.
> Fleuret Maurice, Chroniques pour la musique d'aujourd'hui, Arles, ed. Bernard Coutaz, 1992, p. 254-265.
On Nomos gamma, Persépolis, Erikhthon, N'Shima and the Polytope de Mycènes.
> Fleuret Maurice, "Il teatro di Xenakis", in Enzo Restagno (ed.), Xenakis, Torino, EDT/Musica, 1988, p. 159-188.
Pertinent remarks on Xenakis’ works for theatre, on the polytopes and on the works used in dance performances. > FLEURET Maurice, "La jeunesse d’un exilé", in Portrait(s) de Iannis Xenakis, p.103-112.
Some biographical details on the young Xenakis.
> Fleuret Maurice, "Préface", in Regards sur Iannis Xenakis, Paris, Stock, 1981, p. 13-16.
Brief introduction to the book in question.
> FLEURET Maurice, "Une musique différente", in Portrait(s) de Iannis Xenakis, p.95-102.
This text was intended to be the introduction to the book that Fleuret did not have the time to complete.
> Fleuret Maurice, "Xenakis avant Xenakis", in Regards sur Iannis Xenakis, Paris, Stock, 1981, p. 55-70.
On Xenakis’s childhood and youth.
> Fleuret Maurice, "Xenakis, musicien de la lumière", in Centre Georges Pompidou: geste de lumière et de son. Le Diatope-Xenakis, Paris, Centre Georges Pompidou, undated (ca. 1978), p. 5-8.
Concerning the Polytopes and the Diatope.
> Fleuret Maurice, "Xenakis. Une musique à voir", L'Arc n°51, 1972, p. 32-35.
Concerning the question of space.
> FLINT Ellen, "The experience of Time and Psappha", in Présences de Iannis Xenakis, Paris, CDMC, 2001, p. 163-172.
Detailed analysis of the work in question.
> Forsyth Michael, Architecture et musique. L'architecte, le musicien et l'auditeur du 17ème siècle à nos jours, Liège, Pierre Mardaga, 1987, p. 297 et 310-311.
On various attempts at spatializing music.
> Frisius Rudolf, "Aesthetisches Neuland. Iannis Xenakis auf der Suche nach dem Gesamtkunstwerk des technischen Zeitalters und einer neuer musikalischen Sprache", Musik Texte vol.13, 1986, p. 17-29.
An abridged verion of the article "Konstruktion…".
> Frisius Rudolf, "Chaos und Zufall im Musikdenken von John Cage und Iannis Xenakis", p. 100-106.
A comparaison between Cage and Xenakis.
> Frisius Rudolf, "Formalisierte Musik. Iannis Xenakis' Hörstück Pour la Paix", Musik Texte vol.13, 1986, p. 39-41.
A few examples of how Xenakis "illustrates" the texts he uses in Pour la Paix.
> Frisius Rudolf, "Konstruktion als chiffrierte Information", Musik-Konzepte n°54-55, 1987, p. 91-160.
A study of Xenakis’ swork with a few brief analyses.
> Frisius Rudolf, "Xenakis und das Schlagzeug", Neue Zeitschrift für Musik vol.6 n°11-12, 1996, p. 14-18.
Short analyses of Xenakis’s works for percussion.
> Frisius Rudolf, "Xenakis und der Rhythmus", Neue Zeitschrift für Musik vol.144 n°4, 1983, p. 13-17.
This text is reprinted in the article "Konstruktion…".
> Froundberg I., "Horisontal og vertikal proportionering -En skitse", Dansk Musiktidsskrift vol.58 n°2-3, 1984-85, p. 115ss.
> Froundberg Ivar, "Iannis Xenakis, Eonta", Nutida Musik vol.28 n°3, 1984-85, p. 12-13.
> Froundberg Ivar, "Iannis Xenakis, Ikhoor, Tetras", Nutida Musik vol.28 n°3, 1984-85, p. 26-27.
> Froundberg Ivar, "Iannis Xenakis, Metastasis, Jonchaies", Nutida Musik vol.28 n°3, 1984-85, p. 17-18.
> FROUNDBERG Ivar, "Pour Iannis… (in memoriam). Sechs Qualitäten in der Musik von Xenakis", MusikTexte n°89, Köln, 2001, p. 53.
A few words on Xenakis, after his death.
> Froundberg Ivar, "Teori og praksis i Iannis Xenakis kompositionsteknikker: en eksemplifikation", Dansk Musiktidsskrift vol.57, 1983, p. 185-199.
> Fulchignoni Enrico, "Sur Orient-Occident", in Regards sur Iannis Xenakis, Paris, Stock, 1981, p. 257-262.
Orient-Occident’s filmmaker, for whom Xenakis composed the film score of the same title, comments on their collaboration.
> Fumagalli T., "Iannis Xenakis", Musica Viva vol.5 n°1, 1981, p. 53-57.
> Gagnard ;Madeleine, La voix dans la musique contemporaine et extra-européenne, Paris, Van de Velde, 1987, p. 57-60.
A few remarks on the use of voice in Nuits.
> Galaise Sophie, Leduc Daniel, Marchand Guy, Perron Marianne, Rivest Johanne, Thiriar Diana, "Xenakis au Québéc: chronologie et repères", Circuits vol.5 n°2, 1994, p. 77-81.
Chronology and description of Xenakis’s trips to Québec (in particular for the premieres of the Polytope de Montréal, of Kraanerg and of Epeï).
> Gallaher Christoph S., Density in twentieth century music, Ph. D., Indiana University, 1975, 164p.
> Genuys François, "L'informatique musicale", L'Arc n°51, 1972, p. 41-43.
On the use of computers in music.
> Genuys François, "Ordinateur et musique", IBM Informatique n°3, 1971, p. 3-9.
A few general ideas on the stochastic program.
> Gibson Benoît, "La théorie et l'œuvre chez Xenakis: éléments pour une réflexion", Circuits vol.5 n°2, 1994, p. 41-54.
Analysis of the "discrepancies" in Pithoprakta, Achorripsis (and Herma).
> Gibson Benoît, "Préface", in Iannis Xenakis, Kéleütha, Paris, L'Arche, 1994, p. 7-12.
A general introduction to Xenakis and his writings.
> GIBSON Benoît, "Théorie des cribles", in Présences de Iannis Xenakis, Paris, CDMC, 2001, p. 85-92.
Some actual applications in several compositions of the Sieve Theory, both in terms of pitches and durations.
> Gill ;Dominic, "Le Polytope de Mycènes", in Regards sur Iannis Xenakis, Paris, Stock, 1981, p. 294-298.
Brief commentary on the Polytope de Mycènes.
> Gillet G., "Discours", Discours prononcés dans la séance publique tenue par l'Académie des Beaux-Arts n°6, 1984, p. 5-11.
> Giraud Suzanne, "Iannis Xenakis: Tetras", Opération ‘Zig-Zag’, Paris, IRCAM, 1983, p. 30-31.
A short analysis of Tetras.
> Goldbeck Frédérick, Des compositeurs au XXème siècle, Paris, Parution, 1984, p. 168-169.
Two very interesting pages on Xenakis.
> Goléa Antoine, La musique de la nuit des temps aux aurores nouvelles, tome 2, Paris, 1977, p. 829-838.
A general introduction to Xenakis’s music.
> Goléa Antoine, "Mathématique ou inspiration?", in Vingt ans de musique contemporaine, Paris-Genève, Slatkine, p. 166-173.
> Griffiths Paul, Modern Music. The Avant-Garde since 1945, London, S.M. Dent and sons, 1981, p. 110-111, 133-134 et 236-237.
Xenakis as seen by a musicologist who summarizes the history of music after 1945 into serialism.
> Griffiths Paul, "Xenakis: Logic and Disorder", Musical Times n°CXVI, 1975, p. 329-331.
A overview of the difference between Xenakis’s theories and his music. > GRUMBACH Antoine, "L’œuvre ultime", in Portrait(s) de Iannis Xenakis, p.195-200.
On Xenakis’s last architectural realization, his own summer home in Corsica.
> Gualda Sylvio, "Sur Psappha", in Regards sur Iannis Xenakis, Paris, Stock, 1981, p. 243-251.
The first performer of Psappha shares his comments on the work.
> GUALDA Sylvio, RIVALLAND Françoise, SKOCZYNSKI Stanislaw, "Problèmes d’interprétation. Psappha (Iannis Xenakis)", Percussions n°17, 1991, p. 9-11.
Three percussionists discuss the technical problems in the performance of Psappha.
> GUILLOT Matthieu, "Monde et sons, écoute et inouï", in Présences de Iannis Xenakis, Paris, CDMC, 2001, p. 113-116.
A commentary on Michel Serres’ article "Musique et bruit de fond".
> Halbreich Harry, "Da Cendrées à Waarg", in Enzo Restagno (ed.), Xenakis, Torino, EDT/Musica, 1988, p. 211-270.
Concerning the works composed by Xenakis between 1973 and 1988, mainly by describing their formal evolution.
> Halbreich Harry, "Iannis Xenakis", in Guide de la musique sacrée et chorale profane, Paris, Fayard, 1993, p. 1125-1136.
On Xenakis’s vocal music. > HALBREICH Harry, "Iannis Xenakis: un loup parmi les chiens" in Portrait(s) de Iannis Xenakis, p.123-132.
A moral and musical portrait of Xenakis.
> Halbreich Harry, "Petite esquisse pour un portrait", Ars Musica Magasine, Radio-Bruxelles, p. 6-7.
> Harenberg Michael, Neue Musik durch neue Technik ? Musikcomputer als qualitative Herausforderung für ein neues Denken in der Musik, Kassel, Bärenreiter, 1989, p. 80-84.
On Xenakis’s use of the computer.
> HARLEY James, "Formal analysis of the music of Iannis Xenakis by means of sonic events: recent orchestral works", in Présences de Iannis Xenakis, Paris, CDMC, 2001, p. 37-52.
An overview of Xenakis’ orchetral works from the last twenty years, based on the question of sonority.
> Harley James, "Iannis Xenakis: racjonalny mistyk, architekt dzwieku", Swiat Xenakisa = Muzyka vol.XLIII n°4, Warsaw, Instytut PAN, 1998, p. 17-33.
> Harley James, "Pasja zycia: tworczosc Iannisa Xenakisa na instrumenty smyczkowe",Swiat Xenakisa = Muzyka vol.XLIII n°4, Warsaw, Instytut PAN, 1998, p. 63-85.
> Harley James, "Sonic and Parametrical Entities in Tetras: an Analytical Approach to the Music of Iannis Xenakis", Canadian University Music Review vol.16 n°2, 1996, p. 72-99.
Analysis of Tetras in terms of "sound entities", meaning objects defined by a "multi-dimensional vectoral space"; the dimensions analyzed being: pitch, timbre, articulation, dynamics, density, synchronicity, duration.
> Harley Maria Anna, "Dlaczego Xenakis? Wprowadzenie", Swiat Xenakisa = Muzyka vol.XLIII n°4, Warsaw, Instytut PAN, 1998, p. 3-15.
> Harley Maria Anna, "Music of Sound and Light: Xenakis's Polytopes", Leonardo vol.31 n°1, 1998, p. 55-65.
> Harley Maria Anna, "Przestrzenny ruch dzwieku w muzyce instrumentalnej Iannisa Xenakis", Swiat Xenakisa = Muzyka vol.XLIII n°4, Warsaw, Instytut PAN, 1998, p. 109-132.
> Harley Maria Anna, "Spatial Sound Movement in the Instrumental Music of Iannis Xenakis", Journal of New Music Research vol.23 n°3, 1994, p. 291-313.
> Helffer Claude, "La Méditerranée en tempête", Entretemps n°6, 1988, p. 105-108.
A few words on Xenakis by one of his most faithful performers.
> Helffer Claude, "Le son caché", in 20ème siècle. Images de la musique française, Paris, SACEM, 1986, p. 74-77.
> Helffer Claude, "Regards sur le piano actuel", Bulletin de l'Académie musicale de Villecroze n°2, 1969, p. 27-36 (reprinted in Le piano, Paris, PUF-Que sais-je?, 1985).
> Helffer ;Claude, "Sur Herma et autres", in Regards sur Iannis Xenakis, Paris, Stock, 1981, p. 195-204.
On Herma, Evryali, Synaphai and Erikhthon.
> HERVE Jean-Luc, "Les Images sonores xenakiennes: actualité de la pensée de Xenakis pour la création musicale aujourd’hui", in Présences de Iannis Xenakis, Paris, CDMC, 2001, p. 99-101.
The author suggests that Xenakis’s research is close to the current concept of "sound images". > HILL Peter, "’Xenakis and the Performer", Tempo n°112, 1975, p.17-22.
A few comments on the relationships between Xenakis and instrumentalists.
> Hiller Lejaren, "Music Composed with computers", in Harry B. Lincoln (ed.), The Computer and Music, U.S.A., Cornell University, 1970, p. 76-79.
On Xenakis and computers.
> HOFFMANN Peter, "Analysis through Resynthesis. Gendy3 by Iannis Xenakis", in Présences de Iannis Xenakis, Paris, CDMC, 2001, p. 185-194.
Analysis of the work in question based on the results of its resynthesis - a resynthesis that renders the work algorithmic - concentrating most specifically on four passages. > HOFFMANN Peter, "L’électroacoustique dans l’œuvre de Iannis Xenakis" in Portrait(s) de Iannis Xenakis, p.171-184.
An overwiew of Xenakis’s electronic music.
> Hoffmann Peter, "Implementing the Dynamic Stochastic Synthesis", in Gérard Assayag, Marc Chemillier, Chistian Eloy (ed.), Troisièmes journées d'informatique musicale JIM 96, Les cahiers du GREYC année 1996 n°4, 1996, p. 341-347 (Polish translation: " Dynamiczna synteza stochastyczna: od idei Xenakisa do oprogramowania narzedziowego", Swiat Xenakisa = Muzyka vol.XLIII n°4, Warsaw, Instytut PAN, 1998, p. 133-147).
On the way in which the author has implemented dynamic stochastic synthesis.
> Hoffmann Peter, "L'espace abstrait dans la musique de Iannis Xenakis", in Jean-Marc Chouvel, Makis Solomos (ed.), L'espace : Musique/Philosophie, Paris, L'Harmattan, 1998, p. 141-152.
On the notion of space in Xenakis’s theories.
> Hoffmann Peter, "Xenakis" in Horst Weber (ed.), Metzler-Komponisten Lexikon: 340 werkgeschichtliche Portaits, Weimer, J.B. Metzler, 1992, p. 881-884.
> HOFFMANN Peter, "Xenakis, Iannis", The New Grove Dictionary of Music and Musicians, second edition, 2001, vol. 27, p.605-613.
An overview of Xenakis’s itinerary and works.
> Hoffmann Peter, Solomos Makis, "Les œuvres électroacoustiques de Xenakis", in Symposium of Musical Informatics, Corfou, Ionio University, 1998, p. 86-94.
On Xenakis’s first electronic music pieces and on the GENDYN program.
> Hoogland C., "Framtidens faclor över 2000-ariga ruiner", Nutida Musik vol.15 n°2, 1971-72, p. 48-51.
> Hufschmidt Wolfgang, "Musik aus Zahlen", in Wilfried Gruhn (ed.), Reflexionen über Musik heute, Mainz, Schott's, 1981, p. 36-42.
Analysis of pitch classes in Herma.
> Huijstee T. van, "Van Pythagoras naar Xenakis", Mens en Melodie n°36, 1981, p. 408-416.
> "Iannis Xenakis: verkförteckning", Nutida Musik vol.10 n°5, 166-67, p. 15-16.
> Iliescu Mihu, "Espace musical et espace socio-politique : connotations de la conception massique de Xenakis", in Jean-Marc Chouvel, Makis Solomos (ed.), L'espace : Musique/Philosophie, Paris, L'Harmattan, 1998, p. 265-278.
The notion of masses in Xenakis’s work, following an approach that compares music to political undertakings.
> ILIESCU Mihu, "Xenakis et le ‘destin’ musical de l’Occident", in Présences de Iannis Xenakis, Paris, CDMC, 2001, p. 53-58.
This article concentrates on the change that occurred during Xenakis’s last period, which the author interprets as a reconciliation with "musical" music.
> Iliescu Mihu, "Xenakis i Thom. Problemy morfodynamiki dzwiekowej" [Xenakis and Thom: morphodynamics in sound], Swiat Xenakisa = Muzyka vol.XLIII n°4, Warsaw, Instytut PAN, 1998, p. 87-107. In French: "Xenakis et Thom: une morphodynamique sonore", Les Cahiers Arts et Sciences de l’Art n°1, Paris, 2000, p. 183-204.
The author re-examines the hypothesis of Xenakis’s morphodynamics he developed in his Doctoral Dissertation (cf. "Monographs").
> Jacobson Bernard, "Iannis Xenakis. L'Art et la Science", in Regards sur Iannis Xenakis, Paris, Stock, 1981, p. 320-327.
A general essay on Xenakis.
> Jeudy Henri-Pierre, "A propos des lieux de signifiance (Xenakis, La Monte Young)", Musique en Jeu n°18, 1975, p. 21-31.
On the Polytope de Cluny.
> Job P., "Xenakis en été", Pole Position n°2 et 3, 1985, p. 68-71.
> Jodelet Florent, MACAREZ Frédéric, "Psappha", Percussion n°20, 1992, p. 9-13.
Remarks on the performance of this work for two percussionists.
> Julien Jean-Rémy, "Nuits de Iannis Xenakis. Eléments d'une analyse", L'Education musicale vol.325, 1986, p. 5-9 and vol.326, 1986, p. 9-12.
Analysis of Nuits in relation to its form, phonetic treatment and sonorities.
> Jungblut A., "Iannis Xenakis", Musique et culture vol.31, n°3-4, 1985-86, p. 2-14 et 25-26.
> Kaballaris Faidros , Iannis Xenakis, pnevma, mousiki kai eleftheria (Iannis Xenakis, spirit, music and freedom) in journal Exyparxis, 1, April 1999
> Kager Reinhard, "’Wir sind alle Pythagoräer’. Zahl und Mysterium in der Musik von Iannis Xenakis", Neie Musikzeitung vol.41 n°6, 1992, p. 55.
> KALOGEROPOULOS TakhV, "To lexiko EllhnikhV mousikhV", vol.4, Athens, Giallelh,1998, p. 415-419.
On Xenakis’ itinerary.
> KANACH Sharon, "Xenakis’ Hand", MusikTexte n°89, Köln, 2001, p. 31-34.
Subsequent to the deposit of Xenakis’s personal archives at the Bibliothèque Nationale de France, the author calls attention to the importance Xenakis gave to written traces. > KANACH Sharon, "A propos de Musiques formelles", in Portrait(s) de Iannis Xenakis, p.201-213.
On the importance of Xenakis’s writings.
> Kay Norman, "Xenakis's Pithoprakta", Tempo n°80, 1967, p. 21-25.
Description of Pithoprakta followed by general remarks on the relationships between the arts and sciences.
> Kendergi Maryvonne, "Xenakis et les Québécois", in Regards sur Iannis Xenakis, Paris, Stock, 1981, p. 301-314.
The author comments on Xenakis’s reception in Canada.
> Kloos Marten, "Iannis Xenakis: muziek, architectuur, ruimte", Wonen TABK n°2, 1984, p. 18-31.
> Kolman Peter, "Der Weg zur Flachenkomposition", Melos n°37, 1970, p. 8-12.
> KONDO Jô, "Sterbliche Emotion", MusikTexte n°89, Köln, 2001, p. 41.
A few lines on Xenakis, after his death.
> Kooij Fred van der, "Xenakis zur Zeit der Käfighaltung", Dissonanzen n°35, 1993, p. 9-12.
> Kosc Christelle, L'UPIC : l'ordinateur à composer, Master’s Thesis, Lille, Université de Lille III, 1987, p. 51-80, 90-93.
On Xenakis and the UPIC, with a brief analysis of Mycènes alpha.
> Krellmann ;Hanspeter, "Der Mathematiker unter den zeitgenössischen Komponisten", Melos n°39, 1972, p. 322-325.
Text very close to the article "En Allemagne".
> Krellmann Hanspeter, "En Allemagne", L'Arc n°51, 1972, p. 59-62.
A few general ideas on Xenakis.
> Krellmann ;Hanspeter, "Xenakis - Profile der neuen Musik IV", FonoForum n°15, 1970, p. 212-214.
> Kubo Yoko, Rapports des techniques de la composition musicale contemporaine et de l'art traditionnel japonais, Paris, Université de Paris I, 1985.
> Kühn Helmut, "Xenakis oder das Inleben der Zahlen", Musica n°26, 1972, p. 467-468.
A few comments on a concert in Darmstadt dedicated to Xenakis’s works in 1972.
> Kuhn Helmuth, "Xenakis und sein Publikum", in Löwenmusik, Frankfurt am Main, Suhrkamp, 1979, p. 93-121.
> Kundera Milan, "Xenakis, ‘prophète de l'insensibilité’", in Regards sur Iannis Xenakis, Paris, Stock, 1981, p. 21-24.
The Czech writer explains how he began to admire Xenakis and insists on the anti-sentimentality of his music.
> Lachartre N., "Les musiques artificielles", Diagrammes du monde n°146, 1969, 13p.
> Lacouture Jean, "Le Polytope de Mycènes. Xenakis chez les Atrides", in Regards sur Iannis Xenakis, Paris, Stock, 1981, p. 291-293.
Brief commentary on the Polytope de Mycènes.
> LAI Antonio, "Nomos alpha de Iannis Xenakis. La matrice disciplinaire et une évaluation contextuelle de l’œuvre", in Présences de Iannis Xenakis, Paris, CDMC, 2001, p. 125-140.
Based on existing analyses of Nomos alpha, the author applies Thomas Kuhn’s theories to demonstrate that this piece "is part of the current extraordinary phase after the crisis of the serial paradigm".
> Landy Leigh, "Sophisticated formal structures in experimental music which you can hear if you try. Xenakis' Nomos alpha", in Leigh Landy, What's the Matter with Today's Experimental Music?, Chur, Harwood Academic Publishers, 1991, p. 77-94 et 217-224.
> Lannes Sylvie, Divers aspects du clavecin contemporain par l'étude de Khoaï de Xenakis et Archipel 5B de Boucourechliev, Toulouse, Université de Toulouse le Mirail, 1980.
> Larkin Barry, "Analyse pour jouer Psappha", Percussions n°29, Paris, 1993, p. 7-11.
Analysis of the work in relation to its sieves.
> Leber J;ean, "Autour d'Anaktoria", in Regards sur Iannis Xenakis, Paris, Stock, 1981, p. 184-185.
A few words on Anaktoria.
> Leblé Christian, "Iannis Xenakis", in Jacques-Emmanuel Fousnaquer, Claude Glayman et Christian Leblé, Musiciens de notre temps, Paris, Plume et SACEM, 1992, p. 511-515.
A brief and general introduction to Xenakis’s music.
> Leprince-Ringuet Louis, "Sur Iannis Xenakis", in Regards sur Iannis Xenakis, Paris, Stock, 1981, p. 52-54.
A brief general text on Xenakis.
> Le Roux Maurice, "Kalimera, Iannis...", in Regards sur Iannis Xenakis, Paris, Stock, 1981, p. 71-74.
The person to whom Metastaseis was dedicated shares some of his thoughts.
> "Les méthodes et les opinions de Iannis Xenakis", Revue Musicale de la Suisse Romande vol.19 n°4, 1966, p. 20.
> Lima Cãndido, "Encontros con Xenakis", Revista da música, 1994, p. 30-35.
In a personal way, the author evokes his multiple encounters with Xenakis.
> LIMA Cãndido, "Xenakis et la Pédagogie ou les Mythes", in Présences de Iannis Xenakis, Paris, CDMC, 2001, p. 117-123.
Debate on Xenakis’s humanism, and in particular, on those aspects that could be useful in teaching.
> Loach Judi, "Le Corbusier at Firminy-Vert", in Le Corbusier, Architect of the Century, Exposition catalogue at the Hayward Galery, London, Arts Council of Great Britain, 1987, p. 338-345.
On the architecture of the Maison de Jeunesse [Youth and Arts center] in Firminy and Xenakis’s role in its realization.
> Lohner Henning, "Auswahlbibliographie", Musik-Konzepte n°54-55, 1987, p. 169-191.
Representes the most important biblioggraphy on Xenakis before this endeavor.
> Lohner Henning, "Explosion und Klangfarbe in Metastaseis und Akea", Musik-Konzepte n°54-55, 1987, p. 28-42.
Analysis of Metastaseis and of Akea.
> Lohner Henning, "Xenakis and the UPIC", Computer Music Journal vol.10 n°4, 1986, p. 42-47 (reprinted in German in Musik-Konzepte n°54-55, 1987, p. 71-82).
On the way the UPIC functions.
> Lonchampt Jacques, Le bon plaisir. Journal de musique contemporaine, Paris, Plume, 1994, p. 90-107.
This French music critic’s reviews over a period of twenty years.
> Lootsma Bart, "Een ode van Philips aan de vooruitgang", Wonen TABK n°2, 1984, p. 10-17 (German translation in T.Kesseler, A.Vowinckel (ed.), Le Corbusier Synthèse des Arts, Aspekte des Spätwerks 1945-1965, Karlsruhe, Bad. Kunstverein, 1986, p. 111-147).
> Lootsma Bart, "En Route to a New Tectonics", Daidalos n°68, 1998, p. 35-47.
On the Philips Pavilion.
> "L'UPIC and Xenakis" (in Japanese), Micro n °3, 1984, p. 94-95.
> Maceda José, "Xenakis, l'architecture, la technique", in Regards sur Iannis Xenakis, Paris, Stock, 1981, p. 335-339.
The Philippine composer and ethnomusicologist explains his approach to Xenakis’s music.
> Mâche François-Bernard," A propos de Xenakis", La nouvelle revue française n°205, 1970, p. 115-122.
Cf. F.B. Mâche, Entre l’observatoire et l’atelier. > Mâche François-Bernard, "Aus einer fernen Welt", MusikTexte n°89, Köln, 2001, p. 17-19 (in French: "Iannis Xenakis en son siècle", in Portrait(s) de Iannis Xenakis, p.113-122
On Xenakis’s contributions.
> Mâche François-Bernard, "Connaissance des structures sonores", Revue Musicale n°244, 1959, p. 24-25.
Brief analysis of the end of Metastaseis.
> Mâche François-Bernard, "De Nekuia à Dox-Orkh", program notes from the Festival Musica, Strasbourg, 1991.
Cf. F.B. Mâche, Entre l’observatoire et l’atelier.
> Mâche François-Bernard, Entre l'observatoire et l'atelier, Paris, Kimé, 1998, p. 113-116, 117-122, 183-188 and passim.
In addition to the innumerable references made throughout this book, three chapters are entirely dedicated to Xenakis (articles dating respectively from 1969, 1969 and 1991): 1) "Texte pour l'album Xenakis": Xenakis and the art-science alloy, Greece, other XXth century composers; 2) "A propos de Xenakis": discussion of certain contributions by Xenakis; 3) "De Nekuia à Dox-Orkh": analyses of Nekuia, Ata, Tetora and Dox Orkh.
> Mâche François-Bernard, "L'ellenismo di Xenakis", in Enzo Restagno (ed.), Xenakis, Torino, EDT/Musica, 1988, p. 77-92.
Cf. F.B. Mâche, Un demi-siècle de musique … et toujours contemporaine.
> Mâche François-Bernard, "Iannis Xenakis. Introduction aux œuvres", in Regards sur Iannis Xenakis, Paris, Stock, 1981, p. 153-166.
A quick yet precise overview of Xenakis’s evolution up until 1980.
> Mâche François-Bernard, "La couleur grecque chez Xenakis", Encyclopédie des musiques sacrées, Paris, Labergerie, 1968, p. 350-352.
On Xenakis’s music for ancient Greek theatre as well as on other "Greek" elements.
> Mâche François-Bernard, Musique, mythe, nature, Paris, Klincksieck, 1981, passim.
The numerous references to Xenakis concern especially the famous "model transfer".
> Mâche François-Bernard, Untitled, in liner notes for Erato, STU 70526-70530, 1969, 2p.
Cf. F.B. Mâche, Entre l’observatoire et l’atelier: "Texte pour l’album Xenakis".
> Mâche François-Bernard, Un demi-siècle de musique … et toujours contemporaine, Paris, l’Harmattan, 2000.
In addition to the innumerable references to Xenakis, this book includes: 1) three chapters entirely dedicated to Xenakis: a) "Le festival Xenakis" (p. 44-45, text from 1965): a few words on some works by Xenakis; b) "Xenakis et la nature" (p. 153-159, article from 1972): how Xenakis’s music is not "subjective"; c) "L’hellénisme de Xenakis" (p. 302-321, article from 1988): first study of works by Xenakis prior to Metastaseis; 2) three interviews from 1972 (reprinted in Xenakis = L'Arc n°51, 1972): "Discussion" (p. 159-162), "Deux questions à Xenakis" and "Rationalité et impérialisme" (p. 163-166).
> Mâche François-Bernard, "Xenakis et la nature", L'Arc n°51, 1972, p. 50-55.
Cf. F.B. Mâche, Un demi-siècle de musique … et toujours contemporaine.
> Makowsky J.A., "La conception de masse. Bemerkungen zur Musik Iannis Xenakis", Zürcher Student, May 1968.
> Manceaux Michèle, Eloge de l'insomnie, Paris, Minuit, 1985, p. 101-112.
On Xenakis and his insomnia.
> MANDOLINI Ricardo, "Boulez-Xenakis: la conjonction des utopies", in Présences de Iannis Xenakis, Paris, CDMC, 2001, p. 67-70.
A comparison with Boulez that suggests the two composers shared an idea of the formalization of music during the 1950-1960s in a utopian quest.
> Marin Louis, "L'utopie de la verticalité", L'Arc n°51, 1972, p. 72-80.
Analysis of Xenakis’sproject for a "Cosmic City".
> Marino Gérard, Raczinski Jean-Michel, Serra Marie-Hélène, "A Description of the UPIC System", International Computer Music Conference and Festival, Delphi, Center for Contemporary Music Research, 1992, 6p.
Presentation of the UPIC.
> Marino Gérard, Raczinski Jean-Michel, Serra Marie-Hélène, "The New UPIC System", ICMC Proceedings, Glascow, 1990, p. 249-252.
Presentation of the UPIC.
> Marino Gérard, Serra Marie-Hélène, Raczinski Jean-Michel, "The UPIC System: Origins and Innovations", Perspectives of New Music vol.31 n°1, 1993, p. 258-269.
Presentation of the UPIC.
> Markatos Nikos, " PrologoV" (Introduction), in IannhV XenakhV, Athens, Sugcronh Epoch, 1994, p. 7-8.
On Xenakis’s importance.
> Markovic M., "Iannis Xenakis: Number and Line: Time and Space", Architekt vol.III n°3, 1996, p. 179-180.
> Massin Brigitte, "Créer comme on respire", Harmonie/ Panorama-Musiques n°37, 1980, p. 64-67.
A few general ideas on Xenakis.
> Mathon Geneviève, Les rumeurs de la voix, Doctoral Disseertation, Paris, Université de Paris VIII, 1988, p. 123-146.
Analysis of Nuits based on "states of masses".
> Matossian Nouritza, "L'artisan de la nature", in Regards sur Iannis Xenakis, Paris, Stock, 1981, p. 44-51.
A few ideas developed in the book Iannis Xenakis.
> Matossian Nouritza, "Calculating Composer", Observer Colour Magazine, Dec.1972, 5p.
> Matossian Nouritza, "Iannis Xenakis: le combattant et l'émigrant", Panorama Musiques n°43, 1981, p. 80-85.
> Matossian Nouritza, "Xenakis", Music and Musicians n°26, 1978, p. 56-57.
> Matossian Nouritza, "Xenakis at 60", Tempo n°142, 1982, p. 38-40.
> Matossian Nouritza, "Xenakis, master of chaos", in Echoes of Le Corbusier, festival program, London, 1987.
> Mattis Olivia, Edgar Varèse and the visual arts, Doctoral Dissertation, Stanford University, 1992, p. 247-255.
On the Philips Pavilion and the relationshp between Xenakis and Varèse. > MESSIAEN Olivier, "Discours de réception à l’Institut de France", in Portrait(s) de Iannis Xenakis, p.83-88.
A few words on Xenakis by Messiaen.
> Messiaen Olivier, "Hommage", in Regards sur Iannis Xenakis, Paris, Stock, 1981, p. 19.
A homage to Xenakis by the professor of a whole generation of composers.
> Messiaen Olivier, "Préface", Revue Musicale n°244, 1959, p. 5.
Xenakis’s "professor" proposes to listen to his student’s works in a naturalist mentality.
> Meunier Alain, "Sur Nomos alpha", in Regards sur Iannis Xenakis, Paris, Stock, 1981, p. 254-256.
A French cellist expresses the difficulty in performing