Articles and other major writings
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 n3,
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 Xenakiss projected home for the Reynolds.
Akijama K., "Iannis Xenakis mathematical thinking" (in Japanese), Bijutsu Techno n9, 1969.
Albèra Philippe, Entretiens avec Claude Helffer, Genève,
Contrechamps, 1996, p. 61-65.
One of Xenakiss 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 n89, Köln,
2001, p. 43-45.
A few words on Pu Wijnuej we Fyp.
ARDITTI Irvine, "Inspirieren und bezaubern", MusikTexte n89, 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, n24, 1978, p. 10-11.
Balea Ilie, "Réflexions d'un critique roumain", Revue
Musicale n265-266, 1969, p. 160-164.
A few words on Xenakis.
Baltensperger André, "Art und Science ", Neue
Zeitschrift für Musik vol.153 n5, 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 Xenakiss "god," chance, is discussed.
Barraud Jacques, "Musique et ordinateurs", Revue Musicale n257, 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 n38, 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 n38, 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 larchitecte",
in Portrait(s) de Iannis Xenakis, p.159-170.
The author debates Xenakiss indebtedness to Messiaen, then analyzes some of Xenakiss 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 Xenakiss 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 works 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 Xenakiss studies with Messiaen.
Bonnet Antoine, "Théorie du processus", in Les Cahiers
de Philosophie n20: La loi musicale, Lille, 1996, p. 81-82.
Strong criticism of Xenakiss 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 Xenakiss 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 n54-55, 1987, p. 43-70.
Analysis of the relationship between rhythm and form in Xenakiss 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 n51, 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 lExposition Bruxelles 58", Cahiers thématiques. Architecture Histoire/Conception n1,
Lille, 2001, p. 210-219.
Cf. by the same author of Recherche dune
Bridoux-Michel Séverine-Alice, Recherche dune correspondance
musique/architecture, le Pavillon Philips de lExposition 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 n85, 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 n5, 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 n9-10, Rome, 1997, p. 90-96.
An overview of Xenakiss architectural projects and their relationships to music.
Capanna Alessandra, Strutture matematiche della composizione. I paradigmi
logici dellArchitettura 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 Xenakiss 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 n40-41, 1997, p. 121-126.
Concerning Mists and the relationship between the intelligible and the sensible.
Castanet Pierre-Albert, "Mists, uvre pour piano de Iannis
Xenakis: de l'écoute à l'analyse, les chemins convergents
d'une rencontre", Analyse Musicale n5, 1986, p. 65-75.
Parametric (pitch, duration, dynamics, timbre and space) analysis of Mists.
CASTANET
Pierre-Albert, "LOrganon - ou les outils mathématiques de
la création musicale", Les Cahiers du CIREM n1-2,
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 Xenakiss works.
Caullier Joëlle, "Pour une interprétation de Nuits", Entretemps n6, 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 n112, 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 Xenakiss electronic works as well as on his polytopes.
CHADABE Joel, "Figur des Übergangs. Überlegungen zu Iannis
Xenakis", MusikTexte n89, 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 Xenakiss 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 Xenakiss "Notes sur un Geste Electronique" (Notes on an Electronic Gesture).
Charles Daniel, "Entr'acte: "Formal" or "Informal"
Music?", Musical Quarterly vol.51 n1, 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 n13, 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 Xenakiss 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 n265-266, 1969, p. 150-154.
CHOJNACKA Elzbieta, "Angst und Faszination", MusikTexte n89, 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 n1, Paris, l'Harmattan,
1995, p. 169-173.
A summary of the analysis in the same authors 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 works 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 n2, 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 works 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 n1, 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 Xenakiss 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 n14, Potenza, Sonus Edizioni Musicali, 1995, p. 61-92 (American translation:
"Compositional Models in Xenakiss Electroacoustic Music", Perspectives
of New Music vol.36 n2, 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 Xenakiss references to Gabors theory.
Di Scipio Agostino, "The problem of 2nd-order sonorities in Xenakis'
electroacoustic music", Organised Sound vol.2n3, 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 n3, Dec.1980, p. 5-6.
Droschke Amadeus Jakob, "Après Le Corbusier", L'Arc n51, 1972, p. 63-71.
Concerning Xenakiss architectural thinking and projects.
Durney Daniel, "Itinéraire", L'Arc n51, 1972,
p. 3-16.
A commentary on the various stages of Xenakiss 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 n6, 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 Xenakiss ambitions and his relationship to musicality.
"E.m.a.mu.", Revue Musicale n265-266, 1969, p. 53-59.
Notes on the French governments and the Gulbenkian Foundations 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 n68,
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 n89, Köln, 2001, p. 35.
A few lines on Xenakis, after his death.
ETKIN Mariano,"Archaische Musikalität. Iannis Xenakis in Buenos
Aires", MusikTexte n89, 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 Xenakiss role in Le Corbusiers 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 Xenakiss writings and music.
FINNENDAHL Orm, "Algorithmus, der sich selbst erzeugt", MusikTexte n89, Köln, 2001, p. 50.
A few words on Xenakis, after his death.
Fleuret Maurice, "A music for the future", Music and Musicians n236, 1972, p. 20-27.
The author tries to explain what makes Xenakiss music so contemporary.
Fleuret Maurice, "Aventurier solitaire", in liner notes
Erato, STU 70526-70530, 1969, 3p.
On Xenakiss 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 dun 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 Xenakiss 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 n51, 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 n54-55, 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 n11-12, 1996, p. 14-18.
Short analyses of Xenakiss works for percussion.
Frisius Rudolf, "Xenakis und der Rhythmus", Neue Zeitschrift
für Musik vol.144 n4, 1983, p. 13-17.
This text is reprinted in the article "Konstruktion".
Froundberg I., "Horisontal og vertikal proportionering -En skitse", Dansk Musiktidsskrift vol.58 n2-3, 1984-85, p. 115ss.
Froundberg Ivar, "Iannis Xenakis, Eonta", Nutida Musik vol.28 n3, 1984-85, p. 12-13.
Froundberg Ivar, "Iannis Xenakis, Ikhoor, Tetras", Nutida Musik vol.28 n3, 1984-85, p. 26-27.
Froundberg Ivar, "Iannis Xenakis, Metastasis, Jonchaies", Nutida Musik vol.28 n3, 1984-85, p. 17-18.
FROUNDBERG Ivar, "Pour Iannis (in memoriam). Sechs Qualitäten
in der Musik von Xenakis", MusikTexte n89, 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-Occidents filmmaker, for whom Xenakis composed the film score of the same title, comments on their collaboration.
Fumagalli T., "Iannis Xenakis", Musica Viva vol.5 n1,
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 n2, 1994, p. 77-81.
Chronology and description of Xenakiss 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 n51, 1972, p. 41-43.
On the use of computers in music.
Genuys François, "Ordinateur et musique", IBM Informatique n3, 1971, p. 3-9.
A few general ideas on the stochastic program.
Gibson Benoît, "La théorie et l'uvre chez Xenakis:
éléments pour une réflexion", Circuits vol.5 n2, 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 n6, 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 Xenakiss 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 nCXVI, 1975, p. 329-331.
A overview of the difference between Xenakiss theories and his music.
GRUMBACH
Antoine, "Luvre ultime", in Portrait(s) de Iannis Xenakis,
p.195-200.
On Xenakiss 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 dinterprétation. Psappha (Iannis Xenakis)", Percussions n17, 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 Xenakiss 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 Xenakiss 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 n4, Warsaw, Instytut
PAN, 1998, p. 17-33.
Harley James, "Pasja zycia: tworczosc Iannisa Xenakisa na instrumenty
smyczkowe",Swiat Xenakisa = Muzyka vol.XLIII n4, 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 n2, 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 n4, Warsaw, Instytut PAN, 1998,
p. 3-15.
Harley Maria Anna, "Music of Sound and Light: Xenakis's Polytopes", Leonardo vol.31 n1, 1998, p. 55-65.
Harley Maria Anna, "Przestrzenny ruch dzwieku w muzyce instrumentalnej
Iannisa Xenakis", Swiat Xenakisa = Muzyka vol.XLIII
n4, 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 n3,
1994, p. 291-313.
Helffer Claude, "La Méditerranée en tempête", Entretemps n6, 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 n2, 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 aujourdhui",
in Présences de Iannis Xenakis, Paris, CDMC, 2001, p. 99-101.
The author suggests that Xenakiss research is close to the current concept of "sound images".
HILL Peter,
"Xenakis and the Performer", Tempo n112, 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, "Lélectroacoustique dans luvre de Iannis Xenakis"
in Portrait(s) de Iannis Xenakis, p.171-184.
An overwiew of Xenakiss 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 n4, 1996, p. 341-347 (Polish translation: " Dynamiczna
synteza stochastyczna: od idei Xenakisa do oprogramowania narzedziowego", Swiat Xenakisa = Muzyka vol.XLIII n4, 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 Xenakiss 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 Xenakiss itinerary and works.
Hoffmann Peter, Solomos Makis, "Les uvres électroacoustiques
de Xenakis", in Symposium of Musical Informatics, Corfou,
Ionio University, 1998, p. 86-94.
On Xenakiss first electronic music pieces and on the GENDYN program.
Hoogland C., "Framtidens faclor över 2000-ariga ruiner", Nutida Musik vol.15 n2, 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 n36, 1981, p. 408-416.
"Iannis Xenakis: verkförteckning", Nutida Musik vol.10 n5, 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 Xenakiss work, following an approach that compares music to political undertakings.
ILIESCU Mihu, "Xenakis et le destin musical de lOccident",
in Présences de Iannis Xenakis, Paris, CDMC, 2001, p. 53-58.
This article concentrates on the change that occurred during Xenakiss 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 n4, Warsaw, Instytut PAN, 1998, p. 87-107. In French: "Xenakis et Thom: une morphodynamique sonore", Les Cahiers Arts et Sciences
de lArt n1, Paris, 2000, p. 183-204.
The author re-examines the hypothesis of Xenakiss 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 n18, 1975, p. 21-31.
On the Polytope de Cluny.
Job P., "Xenakis en été", Pole Position n2 et 3, 1985, p. 68-71.
Jodelet Florent, MACAREZ Frédéric, "Psappha",
Percussion n20, 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,
n3-4, 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 n6, 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 n89, Köln,
2001, p. 31-34.
Subsequent to the deposit of Xenakiss 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 Xenakiss writings.
Kay Norman, "Xenakis's Pithoprakta", Tempo n80, 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 Xenakiss reception in Canada.
Kloos Marten, "Iannis Xenakis: muziek, architectuur, ruimte", Wonen TABK n2, 1984, p. 18-31.
Kolman Peter, "Der Weg zur Flachenkomposition", Melos n37, 1970, p. 8-12.
KONDO Jô, "Sterbliche Emotion", MusikTexte n89,
Köln, 2001, p. 41.
A few lines on Xenakis, after his death.
Kooij Fred van der, "Xenakis zur Zeit der Käfighaltung", Dissonanzen n35, 1993, p. 9-12.
Kosc Christelle, L'UPIC : l'ordinateur à composer, Masters
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 n39, 1972, p. 322-325.
Text very close to the article "En Allemagne".
Krellmann Hanspeter, "En Allemagne", L'Arc n51, 1972,
p. 59-62.
A few general ideas on Xenakis.
Krellmann ;Hanspeter, "Xenakis - Profile der neuen Musik IV", FonoForum n15, 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 n26, 1972, p. 467-468.
A few comments on a concert in Darmstadt dedicated to Xenakiss 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 n146, 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 luvre", in Présences de Iannis Xenakis, Paris, CDMC, 2001, p. 125-140.
Based on existing analyses of Nomos alpha, the author applies Thomas Kuhns 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 n29, 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 Xenakiss 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 n4, 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 Xenakiss 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 Xenakiss role in its realization.
Lohner Henning, "Auswahlbibliographie", Musik-Konzepte n54-55, 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 n54-55, 1987, p. 28-42.
Analysis of Metastaseis and of Akea.
Lohner Henning, "Xenakis and the UPIC", Computer Music Journal vol.10 n4, 1986, p. 42-47 (reprinted in German in Musik-Konzepte n54-55, 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 critics reviews over a period of twenty years.
Lootsma Bart, "Een ode van Philips aan de vooruitgang", Wonen
TABK n2, 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 n68, 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 Xenakiss music.
Mâche François-Bernard," A propos de Xenakis", La nouvelle revue française n205, 1970, p. 115-122.
Cf. F.B. Mâche, Entre lobservatoire et latelier.
Mâche François-Bernard, "Aus einer fernen Welt", MusikTexte n89, Köln, 2001, p. 17-19 (in French: "Iannis Xenakis en son siècle", in Portrait(s) de Iannis Xenakis, p.113-122
On Xenakiss contributions.
Mâche François-Bernard, "Connaissance des structures
sonores", Revue Musicale n244, 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 lobservatoire et latelier.
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 uvres", in Regards sur Iannis Xenakis, Paris, Stock,
1981, p. 153-166.
A quick yet precise overview of Xenakiss evolution up until 1980.
Mâche François-Bernard, "La couleur grecque chez Xenakis", Encyclopédie des musiques sacrées, Paris, Labergerie,
1968, p. 350-352.
On Xenakiss 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 lobservatoire et latelier: "Texte pour lalbum Xenakis".
Mâche François-Bernard, Un demi-siècle de musique
et toujours contemporaine, Paris, lHarmattan, 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 Xenakiss music is not "subjective"; c) "Lhellénisme 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 n51, 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 n51, 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 n51, 1972, p. 72-80.
Analysis of Xenakissproject 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 n1, 1993, p. 258-269.
Presentation of the UPIC.
Markatos Nikos, " PrologoV" (Introduction), in IannhV XenakhV, Athens, Sugcronh Epoch, 1994, p. 7-8.
On Xenakiss importance.
Markovic M., "Iannis Xenakis: Number and Line: Time and Space", Architekt vol.III n3, 1996, p. 179-180.
Massin Brigitte, "Créer comme on respire", Harmonie/
Panorama-Musiques n37, 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 n43, 1981, p. 80-85.
Matossian Nouritza, "Xenakis", Music and Musicians n26,
1978, p. 56-57.
Matossian Nouritza, "Xenakis at 60", Tempo n142, 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 lInstitut 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 n244,
1959, p. 5.
Xenakiss "professor" proposes to listen to his students 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 Nomos alpha.
Michel Pierre, "Entretiens avec György Ligeti", in Pierre
Michel, György Ligeti, Paris, Minerve, 1995, p. 153-155, 165,
172, 177.
Ligeti evokes his relations with Xenakis.
Michels Karen, Der Sinn der Ordnung: Arbeitsformen im Ateliers Le Corbusier,
Braunschweig-Wiesbaden, Vieweg und Sohn, 1989, p. 39-43.
On Xenakiss role in Le Corbusiers Studio.
Michels Karen, Le Corbusier, Poème Electronique. Studien zum
Philips Pavillon, Weltausstellung Brüssel, Masters Thesis, University
of Hambourg, 1984, 206p.
Miermont Jacques, "Itinéraire à propos de Herma", in Regards sur Iannis Xenakis, Paris, Stock, 1981, p. 206-218.
One of Hermas performers briefly comments the work in question.
Mikulska M., "Teoria gier w tworezosci Iannisa Xenakisa", Ruch
Muzyczny n19, 1979, p. 3-5.
Millier Jean, Untitled, in Centre Georges Pompidou: geste de lumière et de son. Le Diatope-Xenakis, Paris, Centre Georges Pompidou,
undated (ca. 1978), p. 4.
A few words on the Diatope.
Monighetti I., "Sur Nomos alpha et Kottos", in Regards sur Iannis Xenakis, Paris, Stock, 1981, p. 252-253.
The Russian cellist briefly discusses Xenakiss two works for solo cello.
Montesse Alain, "Détournement II. Musique et mécanique
quantique", Revue d'Esthétique n4, 1982, p. 160-165.
Morgan Robert P., Twentieth-Century Music, New York, W. W. Norton,
1991, p. 392-397.
A Summary of Xenakiss evolution.
Mosche Ulrich, "Klangbild-Bildklang. Das UPIC-Gerät von Iannis
Xenakis", Positionen n17, 1993, p. 11-12.
Motte-Haber Helga de la, "Iannis Xenakis: Musical Architecture and
Architectural Music", Musica vol.V-VI n3, 1996, p. 177-183.
Motte-Haber Helga de la, "Musikalische Architektur und architektonische
Musik", Neue Berlinische Musikzeitung vol.8 n1, 1994, p.
3-10.
Muci Mimma, "Il delirio di Cassandra: dagli scolii alla tragedia
di Eschilo all'opera di Xenakis", Sonus n17, 1997, p. 35-47.
On Kassandra (and the Oresteïa).
Napolitano Ernesto, "Musica est exercitium arithmeticae...", in Enzo Restagno (ed.), Xenakis, Torino, EDT/Musica, 1988,
p. 189-210.
Based on commentaries from Musiques Formelles, a technical and philosophical study of Xenakiss first works.
Napolitano Ernesto, Tonietti T., "Xenakis tra medioevo e illuminismo", Quadrivium Rassegna Musicale n5, 1972, p. 45-66.
Naud Gilles, "Aperçus d'une analyse sémiologique de Nomos alpha", Musique en Jeu n17, 1975, p. 63-72.
Analysis of the "neutral level" and the perception of Nomos alpha. The authors own preoccupations with method prevent him from truly delving into the work.
NICOLA Jacques, WAEBER Jacqueline, "Le pianiste joue les notes quil
peut. Entretien avec Claude Helffer", Dissonance n68, Zurich,
April 2001, p. 18-21.
A few words on Xenakis by the French pianist.
Nicolas François, "Le monde de l'art n'est pas le monde du
pardon", Entretemps n6, 1988, p. 109-132 (first published
as: "Partages d'écriture. Mathématiques et musique
sont-elles contemporaines?", Les Cahiers du C.R.E.M. n1-2,
1986, p. 95-108).
Extremely scathing criticism of Xenakis who is accused of being a "bureaucrat" and whose music reveals a "uniform aesthetic".
Niwa A., "Xenakis" (in Japanese), in Soi to sozo, Tokyo,
Ongaku No Toma Cha, 1972, 23p.
Nuridsany M., Tahara K., "Iannis Xenakis", in Homo loquens-witness
in art, Tokyo, 1984, p. 94-99.
Nussac Sylvie de, "Xenakis", Vogue, Dec.1967, p. 60-61.
Xenakis briefly explained to beginners.
Orcalli Angello, Fenomenologia della musica sperimentale,
Potenza, Sonus Editioni Musical, 1993, p. 23-168.
Six chapters are devoted to Xenakis, under the general title of "Chance can be calculated": "Crise du néosérialisme"; "The cinetic theory of sound"; "Stochastic rules of composition" ; "Acoustical quanta"; "Markovian chains; "From chaos to the cosmos". It is clear that the author closely follows Xenakis the theorician (Musiques formelles).
OSWALT Philipp, "Architecture of Densities", in Présences
de Iannis Xenakis, Paris, CDMC, 2001, p. 211-216.
The author explains how Xenakis has introduced an energetic model from architectural space.
Oswalt Philipp, "Die Architektur intelligenter Gegäude", Thesis n3-4, 1997, p. 275-283.
Oswalt Philipp, "Polytope von Iannis Xenakis", Arch+ n107, 1991, p. 50-54.
A study of the architecture of the polytopes.
Ozawa Seiji, "D'Orient en Occident", in Regards sur Iannis
Xenakis, Paris, Stock, 1981, p. 340-341.
A few words on Xenakis by the Japanese conductor.
Papaïoannou Johann G., "Die neue griechische
Schule: der Weg zur Selbständigkeit", Neue Zeitschrift für
Musik n140, 1979, p. 34-35.
The author situates Xenakis in relation to other contemporary Greek composers.
Papaïoannou Iannis G., "IannhV XenakhV" (Iannis Xenakis),
in IannhV XenakhV, Athens, Surcronh Epoch 1994, p. 9-36.
General comments of the composers concepts, his life and his works.
Pape Gérard, "Some Musical Possibilities of the New UPIC System", International Computer Music Conference and Festival, Delphi, Center
for Contemporary Music Research, 1992, 5p.
On the UPIC.
Pape Gérard, "Studio Report-Les Ateliers UPIC 1992", International Computer Music Conference and Festival, Delphi, Center
for Contemporary Music Research, 1992, 3p.
On the Ateliers UPIC.
PAPE Gerard, "Zwischen Ordnung und Unordnung", MusikTexte n89, Köln, 2001, p. 21-22.
A few general ideas on Xenakis, after his death.
Papoutsopoulos
Nikos, "To Polutopo twn Mukhnwn tou Iannh Xenak" (The Polytope de Mycènes by Iannis Xenakis), Shma n7,
Athens, 1992, p. 46-47.
On the music and spectacle of the Polytope de Mycènes.
PARASKEVAIDIS Graciela, "Reinkarnation des Aristoxenos", MusikTexte n89, Köln, 2001, p. 20.
A few lines on Xenakis, after his death.
PARDO Carmen, "Le rôle de labstraction chez Iannis Xenakis",
in Présences de Iannis Xenakis, Paris, CDMC, 2001, p. 107-112.
The author defines abstraction for Xenakis as stemming from his desire to unify several realms and suggests that he obtains this unity without sacrificing their differences.
Philippot Michel, "La certitude et la foi", La Revue Musicale n257, 1963, p. 13-22.
A text essentially devoted to the relationships between music and mathematics.
Philippot Michel, "Iannis Xenakis ou la poésie des modèles", Options Dec.1973, p. 46-49.
How Xenakis applies "models" from other realms to his music.
Philippot Michel, "Vingt ans avant, vingt ans après",
in Regards sur Iannis Xenakis, Paris, Stock, 1981, p. 93-111.
This composer and long time friend of Xenakis approaches very diversified subjects.
Philippot Michel, "Xenakis", in The New Grove Dictionary of Music and Musicians, vol. 20, London, 1980,
p. 559-561.
On Xenakiss itinerary and theories.
Pierret Marc, Entretiens avec Pierre Schaeffer, Paris, Pierre Belfond,
1969, p. 22-23 et 81
A few words on Xenakis and on Bohor.
Pingaud Bernard, "Une démarche rigoureuse", l'Arc n51, 1972, p. 1-2.
A brief introduction to the special issue of the periodical Arc dedicated to Xenakis.
PLATZ Robert HP, "Unvergleichliche Wucht. Iannis Xenakis", MusikTexte n89, Köln, 2001, p. 61.
A few words on Xenakis, after his death.
Popper Frank, Art, action et participation. L'artiste et la créativité
aujourd'hui, Paris, Klincksieck, 1980, p. 157-158 and passim.
A few general remarks.
Potter Garn Morton, The role of chance in contemporary music, Ph.
D., Indiana University, 1971, 178p.
Prieberg Fred K., "Yannis Xenakis", Lexikon der Neuen Musik, Freiburg, Alber, 1958.
"Problèmes d'interprétation: Psappha", Percussions n17, Nov. 1991, p. 9-11 et n20, Feb.1992, p. 9-13.
Performers discuss Psappha.
"Programme et analyses des uvres interprétées durant
la journée Xenakis du Oct. 26 1968", Revue Musicale n265-266,
1969, p. 43-50.
A few words on each work.
Prost Christine, "Nuits. Première transposition de
la démarche de Iannis Xenakis du domaine instrumental au domaine
vocal", Analyse Musicale n15, 1989, p. 64-70.
Analysis of Nuits based mainly on sonorities.
Prost Christine, "Sur l'Orestie", in Regards sur Iannis
Xenakis, Paris, Stock, 1981, p. 279-282.
On experiencing the Orestie.
Provost Serge, "Editorial", Circuits vol.5 n2, 1994,
p. 5-7
Introduction to the issue of this periodical dedicated to Xenakis.
Provost Serge, "Lire Xenakis", Circuits vol.5 n2, 1994,
p. 69-75.
On Xenakiss writings, in particular, those in Kéleütha.
Quénétain T. de, "Xenakis. Un compositeur-mathématicien
trace les voies de la musique cosmique", Réalités n251, 1966, p. 86-89.
RAANAN Beatrix, "Le souffle et le texte: deux approches
formelles convergentes dans NShima de Iannis Xenakis", in Présences de Iannis Xenakis, Paris, CDMC, 2001, p. 173-178.
Analysis of the role of breath in NShima, both on the microstructure level (textures) and on the macrostructure level (elaboration of phonemes in Hebrew to be sung in the piece).
Raczinski Jean-Michel, Marino Gérard, "New UPIC System Demonstration", ICMC Proceedings, Montreal, 1991, p. 567-570.
Presentation of the UPIC.
Raczinski Jean-Michel, Marino Gérard, Serra Marie-Hélène,
"CEMAMu Studio Report 1992", International Computer Music
Conference and Festival, Delphi, Center for Contemporary Music Research,
1992, 3p.
Presentation of research carried out at the CEMAMu.
Ragon Michel, "Xenakis architecte", in Regards sur Iannis
Xenakis, Paris, Stock, 1981, p. 30-36.
Brief article on Xenakiss architecture.
Rebatet Lucien, Une histoire de la musique, Paris, Robert
Laffont, 1985, p. 859-862.
A few words on Xenakis.
Reith Dirk, "Formalisierte Musik", in Wilfried Gruhn
(ed.), Reflexionen über Musik heute, Mainz, Schott's,
1981, p. 75-98.
A detailed analysis of the stochastics employed in Achorripsis and of the symbolic logic in Herma.
Rémy Claire, "Sons, probabilités, graphismes: le mélange
étonnant de Xenakis", Micro-systèmes n65, 1986,
p. 79-82.
A few words on Xenakis, the CEMAMu, the UPIC.
Restagno Enzo, "Prefazione", in Enzo Restagno (ed.), Xenakis, Torino, EDT/Musica, 1988, p. IX-XI.
Brief introduction to the book in Italian dedicated to Xenakis.
Restagno Enzo, "Xenakis e lubiquità della musica", In festival Iannis Xenakis, Polytope Roma, Rome, 1994, 4p.
General essay on Xenakis.
Revault d'Allonnes Olivier, "Huit mesures de Pithoprakta", L'Arc n51, 1972, p. 36-40.
An analysis of meas.52-59 of Pithoprakta where Xenakis uses probability calculations for the first time.
Revault d'Allonnes Olivier, "Iannis Xenakis", L'Education Nov.1968, p. 28-30.
A brief general introduction to Xenakiss work.
Revault d'Allonnes Olivier, La création artistique et les promesses
de la liberté, Paris, Klincksieck, 1973, p. 217-260.
An aesthetic approach to Xenakiss work in relation to the history of music, the music-science link, modernity, technique, society.
Revault d'Allonnes Olivier, "Thallein de Xenakis", Inharmoniques n1, 1986, p. 189-195.
A descriptive and aesthetic commentary on Thallein.
Revault d'Allonnes Olivier, "Xenakis et la modernité", L'Arc n51, 1972, p. 20-26.
Text reprinted in La création
REYNOLDS Roger, "Menschliche Intuition und unerbittliches Kalkül.
Ein Tribut für Iannis Xenakis", MusikTexte n89, Köln,
2001, p. 46.
A few words on Xenakis, after his death.
Richard Albert, "Iannis Xenakis", Revue Musicale n257,
1963, p. 7-8.
A comparison between Xenakis and Bergson.
RIEDL Josef Anton, "Verwunderung geistegert. Begegnungen mit Iannis
Xenakis", MusikTexte n89, Köln, 2001, p. 47-50.
The author evokes his encounters with Xenakis.
Rieunier Françoise, "Sur Gmeeoorh", in Regards
sur Iannis Xenakis, Paris, Stock, 1981, p. 240-242.
An organist discusses Gmeeoorh.
Riotte André, "Quelques réflexions sur la formalisation
des structures musicales", in Regards sur Iannis Xenakis,
Paris, Stock, 1981, p. 120-126.
Although this article is published here in a book devoted to Xenakis, in fact, it has very little to do with the subject.
Roads Curtis, "Analysis of the Composition ST/10 and the Computer
Program Free Stochastic Music by Iannis Xenakis", unpublished,
1973.
Roberts Gwyneth Margaret, Procedures for Analysis of Sound Masses, Ph. D., Indiana University, 1978.
Rogers B., A user's manual for the stochastic music program, University
Bloomington, 1972.
Rogers B., "The Center for Studies in Mathematical and Automated
Music, Paris (CEMAMu)", Numus West n4, 1973, p. 6-10.
Rollin Monique, "Un groupe de jeunes à l'écoute de
Xenakis", in Regards sur Iannis Xenakis, Paris, Stock, 1981, p. 264-270.
Reactions from a young audience after listening to Metastaseis.
Rosen Michael, "An Interview with Sylvio Gualda concerning Psappha",
Percussive Notes nXXVII/4, 1990.
Rosen Michael, "Terms used in Psappha", Percussive Notes nLXII/5, 1984, p. 75.
Rostand Claude, "Biographie" et "Iannis Xenakis", in Catalogue des éditions Salabert, Paris, 1970, p. 3-6.
A few general ideas on Xenakis.
Rostand Claude, "Xenakis", in Claude Rostand, Dictionnaire
de la musique contemporaine, Paris, Larousse, 1970, p. 249-252.
A few words on Xenakis and, among others, on his "tachism".
Rozenberg Maurice, "Musique informatique", Micro-systèmes,
Jan-Feb.1982, p. 107-118.
A few words on Xenakis, the CEMAMu, UPIC.
Ruscol Herbert, The Liberation of Sound. An introduction to Electronic
Music, U.S.A., Prentice-Hall International, 1972, p. 154-162, 233-237
and passim.
General comments on Xenakis and especially on his electronic works.
Sabbe Herman, "Xenakis", Vlaams muziektijdschrift n24, 1972, p. 136.
Saby Pierre, "Organisation formelle dans Nuits de Iannis Xenakis:
Traces du modulor?", in J.B. Condat (ed), Nombre d'Or et
Musique, Paris and Frankfurt-am-Main, Verlag Peter Lang, 1988, p.
139-145.
The author attempts to prove that Nuits employs the Golden Rule as well as the Modulors proportions.
Samson M., "Xenakis", Variations vol.3 n1, 1979, p.
30-36.
SAMUEL Claude, Permanences dOlivier Messaien. Dialogue et commentaires, Arles, Actes Sud, p.303-305 et passim.
A few words of Xenakis and Messaien.
Sandberg, L., "Paris September 1977-May1978; naagra reflektioner
oever Xenakis' undervisning", Nutida Musik vol.28 n3, 1984-85,
p. 7-8.
Sandin L., "Reflexioner kring ovanstaende. De tekniska forutsattningarna
for Pithoprakta", Nutida Musik vol.10 n5, 1966-67, p. 12-14.
SANTANA Helena, "Terretektorh: lespace et le timbre, le timbre
de lespace", in Présences de Iannis Xenakis, Paris,
CDMC, 2001, p. 141-152.
A detailed analysis of spatial movements used in Terretektorh, and in particular, their relationship to timbres.
Savage Roger W.H., Structure and Sorcery, New York, Garland, 1989,
p. 79-83.
Schaeffer Pierre, "Chroniques xenakiennes", in Regards sur
Iannis Xenakis, Paris, Stock, 1981, p. 79-87.
The "founding father" of musique concrète evaluates, with a certain degree of humor, his relations with Xenakis.
Schaeffer Pierre, La musique concrète, Paris, PUF/Que sais-je,
1967, p. 81-82.
A few comments on Xenakiss electronic works.
Schaeffer Pierre, "La musique et les ordinateurs", Revue
Musicale n268-269, 1971, p. 69-72.
Severe criticism of Xenakiss use of computers.
Schaffer Murray R., Le paysage sonore, Paris, J.C. Lattès,
1979, p. 219-220 (original: The Tuning of the World, New York,
A. Knopf Inc.).
A few words on Xenakis.
Schiffer Brigitte, "Neue griechische Musik", Orbis Musicae vol.1 n2, 1972, p. 196-197.
A few lines on Xenakis.
SCHLEIRMACHER
Steffen, "Weil doch sein muß, was nicht sein darf", MusikTexte n89, Köln, 2001, p.47.
A few words on Xenakis, after his death.
Schmidt Christian Martin, "Uber Isang Yun und Iannis Xenakis", Jahrbuch 7, Bayerische Akademie der Schönen Künste, Oreas
Verlag, 1993, p. 232-238.
Schröpfer L., "Zu Iannis Xenakis' Kompositionsverfahren", Pro n26, 1976, 12p.
SCHLEIRMACHER Steffen, "Weil doch sein muß, was nicht seIn darf", MusikTexte n89, Köln, 2001, p. 47.
A few words on Xenakis, after his death.
Serra Marie-Hélène, "La synthèse dynamique stochastique
de Iannis Xenakis", Les cahiers de l'IRCAM n2, 1993, p. 107-118.
[in English: "Stochastic Composition and Stochastic Timbre : GENDY
3 by Iannis Xenakis", Perspectives of New Music vol.31
n1, 1993, p. 236-257.]
On Xenakiss GENDY program (from 1991), based on stochastic applications on sound synthesis as well as on the macrocompositional level.
Serres Michel, "Musique et bruit de fond", Critique n261,
1969, 12p. (reprinted in Michel Serres, Hermès II. L'interférence, Paris, Minuit, 1972, p. 181-194).
Here, the authors thesis is that Xenakiss music (using Pithoprakta as his case) does not consitute a "message", but rather simulates background noise; and thanks to this, attains the universal.
Serrou Bruno, "Iannis Xenakis", Le journal Salabert n9,
1998, p. 8-10.
A quick portrait.
SHAKED Yuval, "Scheinbar einer unseresgleichen", MusikTexte n89, Köln, 2001, p. 35-36.
A few words on Xenakis, after his death.
SIKIARIDI Elisabeth, "Morphologies or the architecture of Xenakis
", in Présences de Iannis Xenakis, Paris, CDMC, 2001,
p. 201-210.
A general yet detailed introduction to the architectural interrogations posed by Xenakis and their importance.
Slonimsky Nicolas, "New Music in Greece", The Musical Quarterly vol.51 n1, 1965, p. 232-234.
Critical commentaries on Xenakis.
SOLOMOS Makis, "Analyse et idéologie", Sonus n20,
Potenza, 2000, p. 87-96.
On the relationship between xenakian theories and practices, and more specifically on the problem of "discrepencies".
Solomos Makis, Aspects de la musique grecque contemporaine, Masters
thesis, Paris, Université de Paris IV, 1984, p. 22-59.
An application of stochastic analysis on Achorripsis plus commentaries on certain xenakian principles.
Solomos Makis, "Du projet bartókien au son. L'évolution
du jeune Xenakis", in Présences de Iannis Xenakis,
Paris, CDMC, 2001, p. 15-28. ("Vom Bartok-Project zum Klang. Die
Entwicklung des jungen Xenakis", German translation by Annette Theis, MusikTexte n90, 2001, p.57-71).
A study of Xenakiss first period (including an analysis of Zyia, of Procession and of Sacrifice) as well as the transition to the first recognized works. The author strives to demonstrate a continuity despite the apparent break.
Solomos Makis, "Esquisses pré-compositionnelles et uvre:
les cribles de Nomos alpha (Xenakis)", Les Cahiers du CIREM n40-41, Tours, 1997, p. 141-155.
A study of the discrepencies between the pre-compositional system and the final score of Nomos alpha (Xenakiss most formalized work).
SOLOMOS
Makis, "Litinéraire de Xenakis", Ecouter/Voir n116/117, 2001, p.25-31.
On Xenakiss evolution. A summary of the first part of the book, Iannis Xenakis, Mercuès, PO Edition, 1996.
Solomos Makis, "Iannis Xenakis: de la démesure", in Présences
98, Paris, Radio France, 1998, p. XI-XIV.
A few notes on Xenakiss itinerary.
Solomos Makis, "Notes sur les uvres récentes de Xenakis",
in Présences de Iannis Xenakis, Paris, CDMC, 2001, p. 59-63.
On the predominiance of gesture over sonority in Xenakiss last works, and in particular in Ittidra.
Solomos Makis, "Le silence chez Boulez et Xenakis dans les années
1950-60", Cahiers du CIREM n32, 1994, p. 127-136.
A comparative study betwenn Xenakiss and Boulezs use of silence.
SOLOMOS
Makis, "Sculpter le son", in Portrait(s) de Iannis Xenakis,
ed. François-Bernard Mâche, Paris, Bibliothèque Nationale
de France, 2001, p.133-142.
How Xenakiss music can be analyzed as "composed sound" or, more precisely, as "sound sculpture".
Solomos Makis, "Les trois sonorités xenakiennes", Circuits vol.5 n2, 1994, p. 21-39. Spanish translation by Carmen Pardo: "El
universo de la sonoridad en Xenakis", Quodlibet n10, Alcalá
de Henares, Universidad de Alcalá, 1998, p. 3-18.
The author suggests that Xenakiss entire opus can be heard as a succession of "sonorities", meaning as entirely constructed totalities. He also proposes a typology divided into three categories.
Solomos Makis, "Persephassa : durée, geste et rythme", Percussions n33, Chailly-en-Bière, 1994, p. 11-19.
On the relationship between duration and rhythm and on the appeareance of gestures in Persephassa.
Solomos Makis, Sémiologie et musiques actuelles. Nuits de
Iannis Xenakis, D.E.A. (Masters equivalent), Paris, Université
de Paris IV, 1985, p. 35-52.
Analysis of Nuits according to a distributional model.
Solomos Makis, "Ta enausmata tou xenakikou ergou" ["Motivations
behind Xenakiss work"], in Robert Wilson-Iannis Xenakis: Prometheus,
program from Megaron Moussikis Athinon, Athens, 2001, p. 29-35.
Translation of the beginning of Chapter 3 of the book Iannis Xenakis.
Solomos Makis, "Ta prwima erga tou Xenakh. Apo to "mpartokiko
scedio" sthn "afairesh", Ta Mousika n5, Athens,
2000, p. 44-54 (English translation: "Xenakis's early works: from
bartókian project to abstraction", Contemporary Music
Review, under press).
An abridged verion of the article "Du projet bartókien au son. L'évolution du jeune Xenakis".
Solomos Makis, "To gignesqai tou monternismou. Maza kai ceironomia
sta erga tou Xenakh" (The future of modernity. Masses and gestures
in Xenakiss work), HcoV n217, Athens, 1991, p. 80-85.
On how xenakian masses are of a particular dialectic: conceived as the dissolution of objects, they can be transformed into gestures.
Solomos Makis, Faraklas George, "IannhV XenakhV: mia antifatikh antimetwpish
twn antiqesewn (Iannis Xenakis: contradictions and oppositions), Mousikologia n5-6, Athens, 1987, p. 155-182.
On the contradictions found within Xenakiss discourse.
Solomos Makis, Raczinski Jean-Michel, "La synthèse des arts
à l'ère du multi-média. A propos du Diatope de Iannis Xenakis", in Le mélange des arts = Ateliers n20,
(ed) Joëlle Caullier, Lille, Cahiers de la Maison de la Recherche
de l'Université Charles-de-Gaulle-Lille 3, 1999, p. 63-76.
Analysis of the Diatope.
Souster Tim, "Xenakis' Nuits", Tempo n85, 1968,
p. 5-18.
A brief analysis of Nuits preceeded by a general introduction on Xenakis.
Spiridhis Kharalambos and Anastasopoulou Ariadni, Mathimatiki kai mousikologiki
analisi tou ergou Herma tou Ianni Xenaki (Mathematical and Musicological
analysis of Herma of Iannis Xenakis), in journal MOUSA, 1, Athens 1995
Spiridhis Kharalambos , Proseggisis sti mousiki tou Ianni Xenaki (approaches
to the music of Iannis Xenakis) Journal Mousikologia, 10 & 11, editions
Nisos, Athens, 1998
SPYRIDIS Charalabos, texte in grec, pas de font (Musical approaches of
Iannis Xenakis), texte in grec, pas de font n10-11, 1998, p. 226-240.
A few general ideas on Xenakis.
SQUIBBS Ronald, "A Methodological Problem and a Provisional Solution:
An Analysis of Structure and Form in Xenakiss Evryali", in Présences de Iannis Xenakis, Paris, CDMC, 2001, p. 153-158.
Analysis of the materials and form of the work in question.
Squibbs Ronald J., "Forma i material dzwiekowy w muzyce fortepianowej
Iannisa Xenakisa", Swiat Xenakisa = Muzyka vol.XLIII
n4, Warsaw, Instytut PAN, 1998, p. 35-60.
Squibbs Ronald J., "Images of Sound in Xenakis' Mycenae-Alpha", in Gérard Assayag, Marc Chemillier, Chistian Eloy (ed.), Troisièmes
journées d'informatique musicale JIM 96, Les cahiers du GREYC 1996 n4, 1996, p. 208-219.
A brief formal anaysis of Mycenae alpha using the graphic "score" as his basis.
Stefano Stefania de, "Spettromorfologie e articolazione strutturale
in Diamorphoses (1957) di Iannis Xenakis", Atti del Congresso
di Dittatica della musica elettronica, a cura di M.C. De Amicis, L'Aquila,
Instituto Gramma, 1998, p. 131-133.
Brief analysis of Diamorphoses.
STERKEN Sven, "À la recherche de lespace paramétrisé.
Les surfaces réglées comme thème dans luvre de
Iannis Xenakis", in Présences de Iannis Xenakis, Paris,
CDMC, 2001, p. 217-224.
The author demonstrates how ruled surfaces as essential to Xenakiss architecture.
STERKEN Sven, "Au-delà de lInterdisciplinarité: les
Polytopes de Iannis Xenakis", Cahiers thématiques. Architecture
Histoire/Conception n1, Lille, 2001, p. 220-229.
The polytopes as transdisciplinary realizations.
STERKEN
Sven, "Une invitation à jouer lespace", in Portrait(s)
de Iannis Xenakis, ed. François-Bernard Mâche, Paris,
Bibliothèque Nationale de France, 2001, p.171-194.
Stoïanova Ivanka, Geste-texte-musique, Paris, U.G.E.-10/18,
1978, p. 66-72.
On the spatialization of sound.
Stoïanova Ivanka, "Iannis Xenakis su scala universale",
Milan, Teatro alla Scala, 1992.
Stoïanova Ivanka, "Xenakis - vom isolierten Pionier zum Klassiker
des 20. Jahrhunderts", in Von Kranichstein zur Gegenwart. 50 Jahre
Darmstädter Ferienkurse, Darmstadt, DACO Verlag, 1997, p. 417-424.
On Xenakis at Darmstadt.
Stone Kurt, "Xenakis: Metastaseis, Pithoprakta, Eonta", The Musical Quarterly vol.54 n3, 1968, p. 387-395.
Commentairies of the three works in question.
Stuckenschmidt Hans Heinz, "Les fondements techniques et mathématiques
de la musique moderne et spécialement chez Xenakis et Penderecki", Coloquio artes vol.II/16 n18, Lisbonne, 1974, p. 55-63.
Suner Bruno, "Construire à l'oreille: vérification
d'une hypothèse", Urbanisme n206, 1985, p. 104-109.
On Xenakiss project for the la Cité de la Musique.
Surrans Alain, "Iannis Xenakis, une conscience cosmique", in Alain Surrans, Le regard du musicien, Paris, Plumes, 1993,
p. 103-111.
On the Polytopes.
Sward Rosalie La Grau, A comparison of the Techniques of Stochastic
and Serial Composition based on a Study of the Theories and Selected Compositions
of Iannis Xenakis and Milton Babbitt, Ph. D., Northwestern University,
1981.
Tabachnik Michel, "Xenakis vu par un de ses interprètes
attitrés" (interviews with I. Mili), Dissonance n28,
1991, p. 14-17.
Tabare Mireille, "Musique et mathématique: l'ombre du temps", Analyse musicale, 1986, p. 50-54.
TAKAHASHI Yuji, "Das Leiden der Welt", MusikTexte n89,
Köln, 2001, p. 25-26.
A few ideas on Xenakis, after his death.
Takahashi Yuji, "Letters", Tempo n115, 1975, p. 53.
Taranu Cornel, "Lettre de Roumanie", in Regards sur Iannis
Xenakis, Paris, Stock, 1981, p. 328-330.
A few general ideas on Xenakis.
TERZAKIS Dimitri, "Lieber Iannis ! Ein Brief", MusikTexte n89, Köln, 2001, p. 60.
A few words on Xenakis, after his death.
Thil Jean-Marie, "A Hélène de I. Xenakis", L'Education Musicale n391, 1992, p. 5-6.
A very brief presentation of Xenakiss work, for teaching purposes.
Thil Jean-Marie, "Iannis Xenakis: Nuits", L'Education
Musicale n352, 1988, p. 41-56.
Analysis of the work in question, for teaching purposes.
THOMMESSEN Olav Anton, "Technologisches Steinzeitalter. Eine Wiederbebegung
mit Iannis Xenakis", MusikTexte n89, Köln, 2001, p.
38-40.
A few souvenirs by one of Xenakiss students while he was teaching In the United States between 1967-1969.
TOOP Richard, "Kompromißlose Askese", MusikTexte n89, Köln, 2001, p. 24.
A few lines on Xenakis, after his death.
Tosi Daniel, "Architecture-musique: Xenakis", in Marie-Claire
Beltrando-Patier, Histoire de la musique, Paris, Larousse, 1998,
p. 1027-1030.
A few general ideas.
Tosi Daniel, "Perspectives nouvelles de 1945 à nos jours", in Marie-Claire Beltrando-Patier, Histoire de la musique: la
musique occidentale du Moyen-Age à nos jours, Paris, Bordas,
1982, p. 576-578.
A few general ideas.
Treib Marc, Space Calculated in Seconds: The Philips Pavillon,
Princeton, Princeton University, 1996, passim.
This first synthetic analysis of the Philips Pavilion explains Xenakiss role not only in its architectural conception, but also for the spatial projections of the Poème électronique.
Tremblay Gilles, "Sur un étonnement réciproque",
in Regards sur Iannis Xenakis, Paris, Stock, 1981, p. 113-119.
The Canadian composer evokes his interest in Xenakis.
Trevisiol Robert, "Le Pavillon Philips de Le Corbusier et Xenakis",
in Le Corbusier et la Belgique, Bruxelles-Paris, CFC éditions-Fondation
Le Corbusier, 1997.
TROCHIMCZYK Maja, "Dein Schmertz war dein Glück", MusikTexte n89, Köln, 2001, p. 54-58.
"Un pas décisif", L'Arc n51, 1972, p. 81.
A brief presentation of the CEMAMu.
Ullen J.O., "Krig och vetenskap -En myt för
var tid. Kring Iannis Xenakis", Nutida Musik vol.13 n1, 1969-70,
p. 12-15.
Van der Kooij Fred, "Xenakis zur Zeit des Häfighaltung", Dissonance n35, 1993, p. 9-12.
Vandenbogaerde Fernand, "Analyse de Nomos alpha", Mathématiques
et Sciences Humaines n24, 1968, p. 35-50.
An in-depth analysis of certain aspects of Nomos alpha.
Veitl Anne, Politiques de la musique contemporaine, Paris, l'Harmattan,
1997, p. 50-53, 85-86, 122.
On Xenakis and the CEMAMu.
Vermeil Jean, "A travers le temps et l'espace", Ars Musica
Magazine, Radio Bruxelles, p. 8-9.
Vermeil Jean, "Les demeures Xenakis", Silences n1, 1985,
p. 201-206.
Concerning Xenakiss architecural thinking.
Victor Michèle, "L'informatique musicale", Musique
en Jeu n18, 1975, p. 45-62.
Vivier Odile, "Iannis Xenakis", in Rizzoli-Ricordi Enciclopedia
della Musica vol.6, 1972.
Vriend Jan, "Le monde ouvert des sons et ses ennemis", Entretemps n6, 1988, p. 71-104.
A long article where the Dutch composer treats several aspects of Xenakiss work.
Vriend Jan, "Nomos alpha, Analysis and Comments", Interface n10, 1981, p. 15-82.
An extremely detailled analysis of Nomos alpha.
Vriend Jan, "Valse stochastique", in Regards sur Iannis Xenakis,
Paris, Stock, 1981, p. 132-149.
The author attepts to evaluate Xenakiss contribution to XXth century music.
vrontos
Haris, "Atopa-Polutopa" (1985), in vrontos Haris Camhlh
gh. Keimena gia th mousikh, Athens, Nefelh, 1997, p. 67-79.
An open polemic against Xenakis dating from the non-realized Attique polytope.
Vuillermoz Emile, Histoire de la musique, Paris, 1973, p. 556-559
and 583-584.
WAGNER
Guy, Mikis Theodorakis, une vie pour la Grèce. Biographie,
Luxembourg, Série Musique - Editions PHI, 2000, 91, 100-101.
A few comments by Theodorakis, who evokes his friendship with Xenakis and rejects the mathematical path.
Walterova R.E., "Xenakis a zrozeni hudebni reci", Hudebni
Rozhledy n21, 1968, p. 252-254.
Warnaby J., "Xenakis collections", Tempo n176, 1991,
p. 47-50.
Waugh J., Waugh W.A.O.'N., "Xenakis and chance", Contact n10, 1974-75, p. 6-13.
Wehinger Rainer, "Dicht . Einige Überlegungen zur Wahrehmung
am Beispiel von I. Xenakis' Achorripsis (1957)", Musiktheorie vol.12 n1, 1997, p. 87-90.
A few notes on density and the perception of it in Achorripsis.
Weid Jean-Noël, La musique du XXème siècle, Paris, Hachette, 1992, p. 245-249.
The author classifies Xenakis (with Ligeti and Lachenmann) under a chapter entitled "A la recherche de sons nouveaux".
Williams Jan, "Iannis Xenakis, Persephassa. An introduction", Percussive Notes, 1987, p. 9-13.
A few words on the work in question by a percussionist.
Wilson P., "Formalisierte Musik -Naturwissenschaftliches Denken In der Kunst. Gedanken zu den stochastischen Kompositionstheorien von Iannis
Xenakis und Clarence Barlow", in Herbert Henck (ed.), Neuland/ Ansätze zur Musik der Gegenwart, Bergisch-Gladbach,
1984-85, p. 52-59.
"Xenakis au futur immédiat", Vogue, Nov.1979, p. 143.
"Xenakis Iannis", in Current Biography vol.65 n8, 1994,
p. 54-58.
Xenakis itinerary.
"Xenakis herhaalde zich niet", Mens en Melodie n39,
Feb.1984, p. 92
"Xenakis Iannis", in Alpha encyclopédie, Paris,
1972, p. 6191.
"Xenakis Iannis", in Dictionnaire de la Musique, Paris,
Larousse, 1990, p. 874-876.
A few general ideas.
"Xenakis Iannis", in Dictionnaire de la Musique, Paris,
Albin Michel, 1998, p. 870-4.
A few general ideas.
"Xenakis Iannis", in Marc Honegger, Dictionnaire de
la musique, Paris, Bordas, 1979, p. 1205.
A few general ideas.
"Xenakis Iannis", in La musica-Dizionario, tome 2, 1978.
A few general ideas.
"Xenakis Iannis", in Riemann Musik Lexikon, vol.2, Mainz,
B. Schott's Söhne, 1975, p. 933.
A few general ideas.
"Xenakis Iannis", in Sochlmans Musiklexikon tome 5, Stockholm,
1979, p. 860-861.
"Xenakis Iannis", in The International Cyclopedia of Music
and Musicians vol.10, London, 1975, p. 2494.
"Xenakis: pieklo obmyslone przez czlowieka", Ruch Muzyczny vol.27 n23, 1983, p. 6-7.
"Xenakis: un jeune architecte grec", Guide de concert n357,
1962, p. 1456.
Xenakis Françoise, "Xenakis raconté par sa femme", Son Magazine, Dec.1969, p. 32-37.
XENAKIS,
Françoise, "Ce que je sais de lui", in Portrait(s)
de Iannis Xenakis, ed. François-Bernard Mâche, Paris,
Bibliothèque Nationale de France, 2001, p.11-20
A very moving portrait by Xenakiss wife, who insists on the composers existential solitude.
XENAKIS,
Mâkhi, "Mon père", in Portrait(s) de Iannis
Xenakis, ed. François-Bernard Mâche, Paris, Bibliothèque
Nationale de France, 2001, p.21-24.
A few words on Xenakis by his daughter.
"Yannis Xenakis", Nutida Musik vol.12
n2, 1968, p. 16.
ZELLER Hans Rudolf, "aus dem Nichts. Über Iannis
Xenakis", MusikTexte n89, Köln, 2001, p. 51.
A few words on Xenakis, after his death.
Zeller Hans Rudolf, "Musik die ihren eigenen Raum entwickelt. Zwischen
Formalisierung und Befreiung -Der Weg von Iannis Xenakis", Neue
Musikzeitung vol.29 n5, 1980, p. 3-4.
Concerning interdisciplinarity in Xenakis work.
Zeller Hans Rudolf, "Symbolische Musik. Herma -Auch ein Stück
Mengenlehre", Musik Texte vol.13, 1986, p. 33-34.
A brief analysis of Herma.
Zeller Hans Rudolf, "Xenakis und die Sprache der Vokalität", Musik-Konzepte n54-55, 1987, p. 3-27.
Succinct analyses of certain vocal works by Xenakis (Polla ta dhina, Nuits, Cendrées, Akanthos, Anemoessa, N'Shima).
Zeller Hans Rudolf, "Zum Beispiel Iannis Xenakis", Melos n36, 1969, p. 410-417.
On the question of formalization.
Zervou Ioanna, "Mousikh kai arcitektonikh (Music and architecture), Shma n7, Athens, 1992, p. 40-44.
Analysis of Xenakiss discourse on music and on architecure.
Zielinski T.A., "Yannis Xenakis", Ruch Muzyczny vol.15
n9, 1971, p. 17-18.
Zwang G. "Situation de Xenakis", Connaissance des Hommes
(Arts Sciences Techniques), summer 1973, p. 15-20.
Anyone who has written work that is not mentioned here is kindly requested to send
a copy to : Les Amis de Xenakis, 24 rue de Montpensier F-75001 Paris France.
For work that has been released on the web, please send link to :
contact@iannis-xenakis.org