Annotated bibliography produced by Makis Solomos
All of Xenakis's published articles are listed and commented here.
Translations are mentioned only if they were published before the original (French) or if they vary from the original version. For commentaries on articles that were compiled in Xenakis's books, cf. the preceding section, under Books
"A propos de Jonchaies", Entretemps n°6, 1988, p. 133-137.
A few ideas on composition in general and on Jonchaies in particular.
"Le mois de Iannis Xenakis", Journal de l'année, Paris, Larousse, 1988, p. 105.
"Sur le temps", in Redécouvrir le temps, Bruxelles, éd. de l'Université, tome II, 1988, p. 193-200.
Reprinted in Kéleütha, p. 94-105.
"Préface", Les Cahiers du CIREM n°12-13, 1989, p. 2.
A few words on Pascal Dusapin.
(Untitled), in Edgar Varèse 1883-1965. Dokumente zu Leben und Werk, collected by Helga de la Motte-Haber and Klaus Angermann, Frankfurt am Main, Peter Lang, 1990, p. 79-80.
Xenakis briefly comments Varèse.
(Untitled) in Enzo Restagno (éd.), Donatoni, Torino, E.D.T., 1990, p. 241.
Some lines on Donatoni.
"Originality in Musical Composition", in Technology's Challenge for Mankind, ed. by the Steering Committee of the Fukushima International Seminar, Tokyo, Technova Inc, 1990, p. 17-24.
As an answer to the question of originality, Xenakis cites Klein groups as well as his own first stochastic experiences.
"Sieves", Perspectives of New Music vol.28 n°1, 1990, p. 58-78.
The original French later appeared in Kéleütha, p. 75-87, but without the computer read outs.
"UPIC sketch for Voyage absolu des Unari vers Andromède, 1989", Perspectives of New Music vol.28 n°2, 1990, p. 119 et 135.
The work’s score (UPIC).
"Avant-propos", Les Cahiers du CIREM n°22-23, 1991-1992, p. 7.
Homage to François-Bernard Mâche.
"Eschyle, un théâtre complet", in Six musiciens en quête d'auteur (collected by Alain Galliari), Paris, Pro Musica, 1991, p. 25-33.
Reprinted in Musique et originalité, p. 49-58.
"More Thorough Stochastic Music", in Alphonce Bo, Bruce Pennycook (ed.), Proceedings of the International Computer Music Conference, McGill University, ICMC, 1991, p. 517-518.
On the CEMAMu’s GENDY program. Reprinted in the second edition of Formalized Music, p. 295-322.
"Un esprit universel", Le Monde de la Musique n°156, 1992.
Homage to Messiaen.
(Sans titre), Perspectives of New Music vol.31 n°2, 1993, p. 135.
Homage to Messiaen.
« Beau ou laid », Neue Zeitschrift für Musik, 1994, p. 34.
Xenakis says he prefers the term "interesting" to "beautiful." Reprint in the architecture, p. 196.
"Creativity", in Perspectives on Musical Aesthetics, London, W.W. Norton and Co, 1994, p. 158-164.
Xenakis combines several of his philosophical preoccupations (relationship between being and non-being, the notion of memory, the refusal of all sentimentality, etc.) in an attempt to evoke his own ideas on creation.
"Pour la revue Circuit", Circuits vol.5 n°2, 1994, p. 76.
A few manuscript lines on his trips to Canada.
"Acanthes, vingt ans de compagnonnages", Le Monde, July 4,1996, special flyer, p. XII.
A brief text on the Centre Acanthes, where Xenakis was a regular guest.
"Determinacy and Indeterminacy", Organised Sound vol. 1 n°3, 1996, p. 143-155.
Transcription of three long lectures, followed by their debates, that Xenakis probably gave in the 1980s : he tackles several questions and works, ranging from the very general to very technical analyses.
«Ο Έλληνας συνθέτης Μάνος Χατζιδάκις » (Greek composer Manos Hatzidakis), in Thanos Foskarinis, Anoichtes epistoles ston Mano Hatzidaki, Athènes, Bastas-Plessas, 1996, p. 178.
A few words on Manos Hadzidakis and in particular on the competition he organized in 1963 that Xenakis won..