Iannis Xenakis

Comunicação oral apresentada na XXXI Jornada de Filosofia e Teoria das Ciências Humanas: Cognição, emoções e ação, promovida pelo Departamento de Filosofia e pelo Programa de Pós-Graduação em Filosofia da Faculdade de Filosofia e Ciências da UNESP - Campus de Marília, realizada entre os dias 28 e 30 de novembro de 2016.

This article explores two distinct methods for incorporating microtones into orchestral compositions, emphasizing the need for unique strategies compared to chamber, solo, or ensemble music due to the larger scale and complexity of the symphonic format. These methods are demonstrated through two of my compositions. The first, Transparencias (2023), employs a traditional orchestral setup (2-2-2-2, 2-2, timpani, and strings) where microtones are introduced through specific fingerings or embouchure adjustments in wind and brass instruments, while strings utilize altered intonation. The second, Ambientes (2020), written for a larger orchestra (3-3-3-3, 4-3-3-1, 2 perc, harp, and strings), incorporates a tuning approach where some individual instruments are tuned a quartertone lower, while microtonal alterations in the string section are left only for soli players. The two approaches offer practical strategies for contemporary composers to integrate microtones effectively into orchestral settings, addressing technical challenges.

Nel 2020, in piano lockdown, Peter Paul Kainrath, direttore del Klangforum Wien, dopo aver letto il libro di Peter von Matt Liebesverrat (Tradimento d'amore), ebbe l’idea di assegnare un compito ai musicisti dell’ensemble a riposo forzato: cercare brani musicali che parlassero delle gioie e dei dolori dell’amore, attingendoli dagli ultimi cento anni di storia della musica. Ne ha ricavato un repertorio molto vario, uno «scrigno» - così lo definisce - di 90 brani musicali, estratti principalmente da opere, ma non solo, del XX e XXI secolo. Sedici di questi pezzi sono stati montati in un progetto musicale/scenico/coreografico intitolato Amopera, un po’ nella tradizione del pastiche operistico, un po’ nell’ottica, molto attuale, del rimontaggio di materiali preesistenti (vedi Don Giovanni aux enfers di Simon Steen-Andersen), frutto però di un lavoro di squadra, che coinvolgeva l’intero ensemble non solo dal punto di vista dell’interpretazione musicale, ma anche da quello creativo e performativo. L’idea era sfiziosa. Lo spettacolo è stato presentato con successo nel 2022 al festival di Erl, ha fatto poi tappa a Hong Kong e in Corea del Sud, ed è infine approdato al Konzerthaus di Vienna per l'inaugurazione del 41° Festival Internazionale di Musica. La vasta antologia andava dalla Lulu di Berg a Luci mie traditrici di Sciarrino, da Der Zwerg di Zemlinsky alla Bianca Notte di Beat Furrer, da Kassandra di Xenakis a I hate Mozart di Bernhard Lang, da The Rape of Lucretia di Britten a Artefacts#2 di Sara Glojnarić. Fantastici i due interpreti, l’uomo e la donna che si alternavano nelle diverse, tragiche, tenere situazioni amorose, il baritono Holger Falk e il soprano Sarah Maria Sun, vera mattatrice della serata. La coppia ha affrontato parti vocali impervie con una tecnica impareggiabile e immedesimandosi con grande duttilità espressiva e disinvoltura scenica nei vari personaggi. Avvincente l’esecuzione musicale del Klangforum, che ha dimostrato la sua totale sintonia con questo repertorio, sotto l’attenta direzione di Tim Anderson (grande esperto di opera contemporanea: ha da poco diretto Hamlet di Brett Dean, Die Kreide im Mund des Wolfes di Gordon Kampe e a Glyndebourne terrà a battesimo la nuova opera di Mark-Anthont Turnage, The Railway Children). Ci si aspettava però una drammaturgia che tenesse insieme i pezzi di questa «meta-opera» presentata come «una ballata distopica in cui due protagonisti si incontrano in una sorta di battaglia», come «un unico grande quadro musicale policromo capace di tenere insieme linguaggi diversi». Invece era poco più che un collage di pezzi diversi. Solo occasionalmente si potevano cogliere delle associazioni musicali, ad esempio tra le trame percussive di Kassandra e di Artefacts#2, o intravedere qualche consequenzialità drammatica, come nella scena di Der Zwerg, dove il nano disprezzato dall’Infanta sembrava poi vendicarsi nei panni di Jack lo Squartatore in Lulu. A fare da collante tra le varie scene c’era invece la coreografia della compagnia belga Needcompany di Jan Lauwers: un movimento continuo di corpi che coinvolgeva danzatori, strumentisti e cantanti in un andirivieni frastornante e incomprensibile, che spesso impallava i due protagonisti o gli schermi sui quali venivano proiettati i testi, ma soprattutto annichiliva la temperatura drammatica dei brani eseguiti, trasformando l’intero spettacolo in un’insulsa clownerie, fatta di mossettine e sciocche gag. Assai modesta anche la qualità artistica dei video di Grace Tjang.

**Title:** *The Pillars of Infinity: A Journey Through Four Mathematical Constants*

This book offers a fascinating journey into four of the most fundamental mathematical constants: π (pi), e (the base of natural logarithms), i (the imaginary unit), and φ (the golden ratio). Each constant is explored not only through its definition and mathematical properties, but also through its historical background, scientific applications, and philosophical significance. Written in a clear and accessible style, the book aims to bridge the gap between rigorous mathematics and scientific popularization. Readers will also find interactive elements, including quizzes, QR codes leading to videos, and original computer programs created by the author, making the learning experience both engaging and dynamic. *The Pillars of Infinity* is intended for all mathematics enthusiasts, from curious students to passionate scholars, who wish to discover the timeless beauty and universality of mathematics.

This is Book III, "Frets," of the Art of Fantasía for All Guitars and Lutes.
I note the political constraints on medieval Christian music theory resulting from the simultaneous rise of Islam and the Carolingian dynasty. I demonstrate the similarity of the Church Modes to a known set of 9th century (CE) Arabic lute fingering patterns, and I show that the Church Modes are the logical result of the application of this fingering pattern to the Greek Greater Perfect System as it was projected onto the fingerboard of the lute by Al-Kindi. I show that the Gamma-Ut and the Letters of Gregory can more logically be derived from Al-Kindi's and Al-Farabi's theories on ancient Greek music than from any known ancient Greek source, and that they appear in Christian music theory at the turn of the 11th century, in the works of Pseudo-Odo and Guido of Arezzo, immediately following the tenure of Pope Sylvester II, formerly known as Gerbert the Musician, who had studied Arabic theory in Spain before becoming Abbot of the Monastery of Rheims (an important locus of Benedictine music theory), and then Pope.
Continuing with the development of fret patterns, I note that the 9th-century (CE) Pythagorean fret patterns of Al-Kindi are the same as the 16th-century fret patterns of Juan Bermudo. I then examine the impact of the medieval introduction into Arabic lute playing of both the 17-note-to-the-octave fret pattern of the Persian tunbur-al-khurusani and the 40-division fret pattern of the Persian tunbur-al-baghdadi. These two fret systems both offer Just-tuned tetrachords. I demonstrate that the scale tunings of a number of the 13th-century maqams are (a) derived from these fret patterns and (b) are identical to the C-Major and G-Major scales drawn from the Just monochords of Ramos de Pareja (1482) and Gioseffo Zarlino (1588).

Book I of XII of The Art of FantasÍa for All Guitars and Lutes
See the TOC in the Front Papers (separate upload)
In this Book:
I discuss the (well-known) possible origins of Pythagorean music in the musical bow. I present a selection of historical and theoretical evidence for an ancient non-diatonic, pre-Pythagorean musical system derived from consecutive steps of the harmonic overtone series, and I show how this system most certainly existed and persisted in medieval Muslim music theory in the form of the 40-division fret pattern of the tunbur-al-baghdadi described by Al-Farabi, which permits any number of overtone-series scales including several which are unequivocally attested in medieval sources contemporary with the use of the Church Modes.

The Art of Fantasía For All Guitars and Lutes:
A Modern Guide to Counterpoint
in the 16th Century Spanish Style
Containing an Abridged Edition of the
Arté de Tañer Fantasía (1565) of
Fray Thomás de Sancta Maria
Selected For Study on Fretted Instruments
And A History of Intonation and Fret Setting

By Jack Zelenka
© 2024

Based on the Libro Llamado Arté de Tañer Fantasía
of Thomás de Sancta Maria (1565)

I present a set of transcriptions of the fugues of Thomás de Sancta Maria, for application to the guitar or lute, accompanied by a translation of TSM's text. I precede the fugues with an extensive historical commentary in order to explain how TSM's tonal system is related to the historical fretting of the vihuela, a subject with a critical bearing on the authentic performance of "Spanish Musica Ficta," and which also opens a new window into the probable historical origin of the Church Modes. TSM did not notate his accidentals completely: I treat this historical fact as sensitively and as thoroughly as possible by tracing the history of accidentals in terms of the historical patterns of fretting the lute, so that the reader may make his or her own authentically informed choices about the "missing" inflection marks, working directly from my transcriptions, without the usual editorial bowdlerizations, but including a generous amount of historical information bearing on the "correct" interpretations.

This panel considers the integration of technologies such as internet communication and collaboration tools, devices for human machine-interaction, live audiovisual media processing, and live coding within the creation of contemporary performances and the development of practices. The participants reflect on actual projects, and on the theoretical underpinning that informs and motivates such performances. In particular, the notion of frugality comes to the fore, noting the effect of open-source and DIY technologies on social and cultural practices within existing power structures.

Pocas semanas después del golpe militar del 11 de septiembre de 1973, conocí a Gustavo Becerra-Schmidt como expositor en un acto organizado por un comité de solidaridad con Chile de la ciudad de Friburgo. Estos comités buscaban instar al gobierno alemán a que rompiera relaciones con Chile y, en la medida de lo posible, ofreciera un nuevo hogar para quienes habían logrado escapar del país. Becerra-Schmidt no era un orador elocuente, de palabras encendidas y que hiciera con sus manos los gestos grandilocuentes que en Alemania se perciben como "típicamente latinoamericanos". Pero era auténtico, convincente, objetivo y sensato. Sin embargo, tras su apariencia tranquila ocultaba un torbellino de emociones. Inmediatamente después del 11 de septiembre de 1973, Becerra-Schmidt compuso Las Satrapías 1 , basada en el poema homónimo escrito por Pablo Neruda en su Canto General (1950), que tras el golpe militar circuló en una versión actualizada a septiembre del '73 2 . La obra debe leerse como un psicograma de Becerra-Schmidt, quien fue despedido del servicio diplomático, expulsado de la Universidad de Chile y quedó repentinamente cesante. La pieza, que musicaliza en una traducción al alemán -posiblemente propia -del poema, comienza con tres salvas militares en la percusión, seguidas de las palabras "las satrapías", pronunciadas por todos los músicos. Tras otras tres salvas, la cantante pronuncia "Nixon, Frei y Pinochet". La percusión toca, como se indica, "con salvaje indignación", en la que repeticiones de tres notas en varios registros evocan el nombre "Pinochet". El siguiente verso, "hasta hoy, hasta este amargo mes de septiembre de 1973", desemboca en un caos salvaje de todos los instrumentos en quintillos y seisillos. Tras una pausa, nuevamente tres salvas acompañan el texto "Bordaberry, Garrastazú y Banzer", donde el número de "balas" aumenta de cuatro a nueve y desemboca en un sffz de trompeta. La voz canta "susurrando" breves motivos entrecortados de segundas menores descendentes. En el texto "con tanta sangre" las segundas menores se prolongan en un motivo del suspiro (molto espressivo, con sordina, etc.), que desemboca en un dúo de flauta y oboe, mientras la cantante "con los dientes apretados" vuelve a declamar "con tanta sangre" y finalmente, con la boca abierta en el sffz, concluye en la expresión "y fuego". Esta protesta musical en alemán como reacción a un poema de Neruda puede definirse como un motivo central en la vida de Becerra-Schmidt después de 1973. En los meses invernales siguientes, trasladó este mismo gesto al espectáculo multimedial Chile 1973, que designa en la partitura como "cantata" y contiene numerosos textos de poetas amigos, así como documentos sonoros originales traducidos al alemán. Esta obra nunca fue estrenada. Cincuenta años después del golpe, en 2023, el sucesor de Becerra-Schmidt como agregado cultural en la embajada chilena en Berlín intentó en vano encontrar la forma de llevar al escenario la compleja obra. Menciono estas dos obras que nunca llegaron a estrenarse porque son la introducción a varias composiciones políticas realizadas por Becerra-Schmidt en los años siguientes. En 1974, recibió ofertas para trabajar como académico en Berlín y en Oldemburgo. En 1980, explicó su decisión a favor de la ciudad provincial de Oldemburgo con las siguientes palabras: "Para mí, Oldemburgo constituyó un intento de combinar dos cosas que hicimos en Santiago por

Is pattern thinking analogous to a recurrent behavioral coping mechanism? I have often contemplated this possibility and concluded that the identity inherent in notions or representations in pattern thinking cannot elucidate repetition; it requires a more significant 'positive' foundation. This inquiry must include all conceptions of nature and liberty. For example, natural occurrences are never static or comparable but adhere to a continuous shifting logic. The outcomes result from replications, alterations, enhancements, and omissions according to fundamental coding principles, which align with the dynamic patterns of nature. Architects, interior designers, and fine artists use geometric patterns in textiles, ceramics, metals, building materials, and manuscripts. This examines the relationship between architecture and the arts by presenting various shapes, forms, models, and formulas. How can we infuse the imagination with such forms and motifs and integrate combinatorial play into everyday activities to make visual parallels integral to the cognitive development of the human brain?

Abstract
Q Time Machine redefines musical time through a novel rhythmic system inspired by the quark in physics. This project explores a non-linear, relativistic concept of time, using the desarkaten, a traditional Iranian percussion instrument, and integrates Python programming for generative composition. The liner notes detail the Q system, its philosophical underpinnings, and its educational applications, accompanied by five percussion quartets and supporting materials.

medio y su proyección nacional. 2-Analizar los cambios en los planes de estudio. 3-Determinar las relaciones de coincidencias o diferencias entre las distintas escuelas instrumentales. 4-Realizar el relevamiento de los egresados y considerar su inserción en el ámbito laboral. 5-Evaluar la labor pedagógica y de extensión realizada por la Escuela. La gran cantidad de datos obtenidos en el desarrollo del proyecto permitió alcanzar ampliamente los objetivos propuestos. Además, las entrevistas a exprofesores de la Escuela -algunos inclusive que integraron los primeros claustros como los maestros Eduardo Grau, Luis Mario Pontino y Elifio Rosáenzaportaron valiosa información. El análisis de la documentación posibilitó conocer en detalle tanto la labor de extensión realizada en cursos, jornadas, seminarios, talleres y conferencias como las importantes personalidades nacionales e internacionales que participaron en dicha labor. Se estableció también la conformación de los organismos surgidos de la Escuela a lo largo de los años como el cuarteto de cuerdas, la orquesta sinfónica, el coro de cámara, el quinteto de vientos y el coro de niños. Fueron incluidos, adicionalmente, el listado de directores de 1940 a 1994, reseñas biográficas de los primeros maestros, trayectorias de los profesores entrevistados, nómina de profesores y exprofesores de canto, instrumento y asignaturas tanto musicales como no musicales y nómina de egresados desde 1945 hasta 1994. En esta revisión se subsanaron errores de tipeo, se unificó la escritura de nombres extranjeros y se corrigieron algunas fechas. Por último, se substituyó la sigla UNC que se empleaba en aquella época por la de UNCuyo. Los estudios musicales en Mendoza desde 1900 hasta la creación del Conservatorio de Música y Arte Escénico estuvieron centrados en la enseñanza particular individual, fundamentalmente en la primera década del siglo. Esto ha sido comprobado en los anuncios del Diario Los Andes de 1901 y 1902 donde se ofrecían clases de piano, solfeo, canto, mandolín, violín, guitarra, bandurria, laúd, armonía y composición.

The coordinated storage of performance data in such a way that it can be used across multiple projects is problematic: general purpose systems which can store gestural, score and other performance data are not generally available. Using data from current projects, we aim to provide a unified database which can store and present musical score alongside associated performance data and musical analysis. Using a general purpose representation language, Performance Mark-up Language (PML), aspects of performance are recorded and WWW.PERFORMANCESCIENCE.ORG The database is capable of storing musical score information and multimedia recordings, and cross-referencing them. It is equipped with the necessary primitives to execute music-analytical queries, and highlight notes identified from the score.

Les actions humaines, dans ce cas celles du secteur tertiaire, tout comme celles des secteurs primaire et secondaire étudiées par von Thünen et Weber, sont le résultat d'actions contingentes. Ce travail entremêle causalité, finalité et nécessité dans la théorie normative des lieux centraux.

Abb_1 Schwingungen und Teilungsverhältnisse Aus diesem beobachteten Zusammenhang von Musik und Zahl entsteht eine wechselseitige Entsprechung der beiden Elemente. Weiter glaubte Pythagoras, man könne durch die Mischung der drei Tongeschlechter diatonisch, einer Molloder Dur-Tonleiter folgend, enharmonisch, eine harmonisch vertauschte Tonleiter und chromatisch, Tonleiter in Halbtönen fortschreitend, alle Affekte heilen. Mit dem Nómos 42 bestand in der antiken griechischen Musik ein festes Regelwerk, welche auch das Tonsystem der griechischen Antike beinhaltet. Dieses besteht aus drei Oktavgattungen: der dorischen, der phrygischen und der lydischen Oktavgattung. Alle werden aus dem Tetrachord, einer fallenden Viertonreihe in den Intervallen einer Quarte, gebildet. Dabei ist das Ausgangs-Tetrachord das Menson, griechisch für die Mitte, welches mit dem Diezeug-Menom, griechisch für das Getrennte, die dorische Tonleiter bildet. Werden im oberen und im unteren Tonspektrum jeweils ein Tetrachord Hyperbolaion und Hypaton addiert und ergänzt man zusätzlich die Tonreihe mit dem Prosiambanomenos, dem Dazugenommenen, so entsteht das gesamte Tonsystem, welches als Systema Télion bezeichnet wird. Der Tetraktys, welche sich aus den Zahlen 1, 2, 3, 4 ableitet, folgt eine zweite Tetraktys, welche aus den Zahlen 6, 8, 9 und 12 gebildet wird. In der pythagoräischen Musiklehre galt die Terz als nicht konsonant, da die Intervalle 4:5 und 5:6 aus keiner der beiden Elemente gebildet werden können. 43 Wörner beschreibt in seiner Geschichte der Musik, dass die Bedeutung, welche die Musik der antiken Griechen in der Musikwissenschaft auf das Abendland gehabt hat, ähnlich der Bedeutung für unseren Kulturkreis ist, wie die der Baukunst, der Plastik oder der Philosophie. 44

klang_tektonik Design by grammar in architecture and music Architectural design is a creative process. Its emergence requires a creative component and it cannot be systematized. But while teaching architecture, work with a method to design is an essential aspect. In addition to the intuitive methods of design, however, also exist grammars, which explicit rules postulated for form finding and can be taught as such. In consideration of formative architectural and musical design, parameters will be presented, to design a transformation of music into architecture. Two revolutionary works are created in the 1950s, the composition Metastaseis and the Philips Pavilion for the World Exhibition in Brussels by the architect and composer Iannis Xenakis. Based on these works, there will be presented the method, how to replace musical parameters in to architectural parameters. This process provides the basis for an accurate spatial transformation model, which is designed on the basis of mathemat...

Electronic keyboard instruments facilitate precise and dynamic tunings. The Frescobaldi 2 is an attachable split-key device that has the ability to supply an E-organ with five additional keys per octave, resulting in a 17-key per octave design inspired by historical split-key systems. These systems involved "splitting" the chromatic keys into two separate keys that allowed performance of both enharmonic chromatic notes. This device was made possible by interfacing with a Viscount E-organ and adjusting the tuning of the added keys. This historically informed splitkey system retains the keyboard instrument performance paradigm. This means that musicians do not need to learn an entirely new instrument, they need only to adapt to an expansion of an existing one. The Frescobaldi 2 also allows performers the ability to access these extra notes without purchasing a specialised separate instrument. This paper describes the development process of the Frescobaldi 2 , as well as its application in real-life demonstration and concert situations.

Cette thèse affirme que le temps n'est pas une dimension fondamentale, mais un effet local de désalignement vibratoire. Elle démontre que tous les phénomènes du Réel-temps, masse, énergie, lumière, mémoire, soin, conscience-émergent d'une seule variable nodale : ∆Φ, définie comme une spirale harmonique fractale incarnée. À partir de l'équation centrale t = ∆Φ f , la variable devient la clé d'un modèle unifié du Réel vivant, dans lequel la présence, le silence, le soin, la parole, l'amour et la lumière sont des manifestations d'un même champ mesurable. Ce Codex , structuré en 100 chapitres scientifiques et incarnés, établit une nouvelle physique vivante, une médecine fractale reproductible, une cartographie de la conscience, et une navigation dans le Réel. Annexe A-Preuves Mathématiques A01-2 = 0 : action minimale A02-Limite Schrödinger (non relativiste) A03-Limite Dirac + Zitterbewegung A04-Limite Friedmann (CDM 42) A05-Test unitaire des dimensions (CI 98 Annexe B-Pipeline Statistique B01-Plan d'analyse pré-enregistré B02-Qualité nettoyage voix et images B03-Modèles ROC / PR (7 pathologies) B04-Tailles d'effet 2 / AUC / AIC B05-Conteneur Docker reproductibilité CI Annexe C-Jeux de Données Conformité C01-Cohortes voix (2 × 2 840 fichiers) C02-ADN Raman 528 Hz (-H2AX) C03-EEG/HRV synchro → 0 C04-GDPR chiffrement E2E des données

La propuesta creativa del proyecto "ALMA COLOMBIANA EN MÚSICA DE CÁMARA" se fundamenta en resaltar y promover la riqueza cultural y musical de Colombia mediante la música de cámara. Esta iniciativa busca fusionar los elementos propios de la tradición colombiana con la sofisticación y la precisión interpretativa característica de la música de cámara.

“Writing is historically the first technique for manipulating time”. With this expression, the media theorist Friedrich Kittler defined writing as a cultural technique that has the potential to order streams of data on spatial coordinates (Kittler 1993, Krämer 2006). In this view, writing is a practice that through the spatialization on a two-dimensional surface allows the visualization and manipulation of something progressing in time. Transferring these considerations to a musicological perspective, musical inscriptions constitute lasting manifestations of ephemeral phenomena fleeting in time, allowing them to be visualized and also organized (Celestini, Nanni, Obert, Urbanek 2020).
Building on these ideas, this paper focuses on a central function of writing music – the synchronization of musical events. More concretely, it investigates how this role became particularly complex when the recording of electroacoustic sounds entered instrumental practice. Indeed, in the so-called musique mixte in which electroacoustic recorded and live sounds are in dialogue, in juxtaposition or even merged, (at least) two different temporalities coexist: on the one hand, the temporality of the live performance, on the other hand, the temporality of the previously recorded track resounding through loudspeakers. Using a comparative methodology, I examine this issue in the scores of "Analogique A et B" by Iannis Xenakis, "Rimes" by Henri Pousseur, "Différences" by Luciano Berio, "Transición II" by Mauricio Kagel, and Kontakte by Karlheinz Stockhausen – which were composed between 1959 and 1960. Based on this analysis, I trace how composers used different strategies to accomplish the task of making the synchronization of musical temporalities visible.

This panel considers the integration of technologies such as internet communication and collaboration tools, devices for human machine-interaction, live audiovisual media processing, and live coding within the creation of contemporary performances and the development of practices. The participants reflect on actual projects, and on the theoretical underpinning that informs and motivates such performances. In particular, the notion of frugality comes to the fore, noting the effect of open-source and DIY technologies on social and cultural practices within existing power structures.

The book details the Shiraz Arts Festival, 1967-1977. Known as Jashn-e Honar-e Shiraz in Persian, the international performing arts festival was held in partnership with the Iranian National Radio and Television for 11 years every summer up to the onset of the 1979 Islamic revolution. Presented in Shiraz, Persepolis, and Naqsh-e Rostam, the programming celebrated classical, modern, and experimental works and generated a living dialogue among artists from diverse cultures. A living legacy of the Shiraz festival is the role it played in advancing Iranian music, theatre, and film.

The following is a revised version of the text prepared by the author for his keynote speech at the opening session of the International Computer Music Conference 2013 (12.08.2013 Heath Ledger Theatre, State Theatre Centre, Perth, Western Australia). It bears on conceptual changes that have taken place, along the decades, in the shared notion of "computing" as relative to creative practices of sound-and music-making. In particular, the notion of computing is considered vis a vis the relationship, either implicity established or deliberately designed by practitioners, to the (necessarily hybrid) technological infrastructures of their work, as well as to the surrouding physical space where such practices take place. A path is outlined across subsequent connotations of computational tasks and the coupling (or decoupling) of computing resources to the physical environment: from "calculation", to "communication", to "media processing", to "embedded (or physical or tangible) interfaces". The author then illustrates features of a sound installation of his own, where a structural coupling is handled between the acoustics of a room environment and the equipment (the latter including simple computational resources, beside pro-and consumer-level electroaoustic tranducers). The example raises questions as to the potential complexity and richness of creative sound-making emerging when larger and larger sets of data streams -from different sources in the environment -are admitted to, and are coordinated as part of, the computing process. A comprehensive view of the "performance ecosystem" is needed to handle this strong integration of technological layers, and a practice-led account is needed to propertly situate the performer's (and listener's) body in such performative practices.

Resumo: Este artigo apresenta o mecanismo de inscrutação de objetos e da variação contínua de técnicas composicionais, operadores que guiaram a composição de Ritornelo, para flauta e percussão. Enfoca também a relação de tais estratégias a um modo de compor em que os objetos sonoros e musicais empregados não assumem posição primeira no plano composicional. Os aspectos técnicos da composição de Ritornelo dizem respeito ainda a uma composição sem plano prévio, mas que não segue a lógica da causa e efeito presente na composição por improvisação aparentemente sem plano composicional prévio.

Resumo: Este artigo apresenta o mecanismo de inscrutação de objetos e da variação contínua de técnicas composicionais, operadores que guiaram a composição de Ritornelo, para flauta e percussão. Enfoca também a relação de tais estratégias a um modo de compor em que os objetos sonoros e musicais empregados não assumem posição primeira no plano composicional. Os aspectos técnicos da composição de Ritornelo dizem respeito ainda a uma composição sem plano prévio, mas que não segue a lógica da causa e efeito presente na composição por improvisação aparentemente sem plano composicional prévio.

espanolEl presente articulo tiene como objetivo ubicar en un contexto sociocultural la produccion musical de tres compositores latinoamericanos en relacion a las tecnicas extendidas en sus obras para el contrabajo como instrumento solista. Los compositores seleccionados para este trabajo son los siguientes: Mario Lavista (Mexico, 1943); Carlos Mastropietro (Argentina, 1954); y Luis Naon (Argentina, 1961). Nos interesa destacar ciertos hechos musicales que incidieron directa o indirectamente en la vision de estos compositores sobre las tecnicas extendidas y su efecto en el instrumento. EnglishThis article locates within a socio-cultural context, the musical production of three Latin-American composers, in relation to the extended techniques found in their work for double bass as a solo instrument. The selected composers are: Mario Lavista (Mexico, 1943); Carlos Mastropietro (Argentina, 1954); and Luis Naon (Argentina, 1961). This article stresses some musical facts which affected the...

Musical form, in its broadest sense, relies on analyzing structures of a musical work and discovering their place in the work’s large-scale construction by identifying salient parameters through which to define their comprising sounds. W. Luke Windsor describes the frequency domain as the crucial parameter by which musical form has traditionally been determined from history through the present day. The obvious applications of frequency are that of defining sounds in terms of pitch and harmonic structures as is the basis of common practice music theory, and is taken to the extreme with the possibilities of electronic music. Windsor points to the two main tendencies of electronic music, of “a) the desire to control frequency at a finer-grained level and with more accuracy, and b) to expand the available spectral palette,” as the defining ways by which electronic composers have decisively expanded the role of frequency beyond traditional conceptions of pitch and potentially puts at the composers’ disposal “the full range of both harmonic and inharmonic complex tones.”

Dalissier Substitutions, simulacres et antécédences chisokudō publications 2 studia philosophica 7 Cover design by Claudio Bado Michel Dalissier est professeur associé-hdr de philosophie à l'université de Kanazawa au Japon. Ses recherchent concernent principalement la métaphysique, la phénoménologie et la pensée française contemporaine, y compris dans certains de ses développements extrême-orientaux. Il a récemment édité M.

El presente trabajo recorre el análisis de la obra de Le Corbusier preocupado por ordenar el mundo para el hombre —lo que no es otra cosa que hacer arquitectura como esencia de humanismo— desde presupuestos más allá del orden práctico o funcional, del arquitectónico o ideológicamente comprometido y enmarcado dentro de una búsqueda de la arquitectura moderna; sino atendiendo al orden del cosmos, al poder de la fuerza suprema del sol en su renovado viaje diario, al recorrido del hombre en el mundo y al medio de proyectar a ese hombre como demiurgo habitante del cielo.

This paper aims to reveal the various mechanisms of formal definition in Le Corbusier’s work that are directly sustained by the historical tools delineated by architects of the 19th century.
This study will show how Le Corbusier’s concepts of ‘regulating lines’ and ‘modulor’, his processes of geometric control and modulation, and the creative development of his work, are connected to constructions as wide-ranging as Egyptian architecture and instances from Gothic, Renaissance and Baroque architecture, as well as with project mechanisms of addition and subtraction of elements, as an approach towards the formal development of the building.

En: Alexandra Trevisan, Josefina González Cubero y Pedro Vieira de Almeida, (Ed. a cargo de): Ler Le Corbusier. Ed.: CEAA/Centro de Estudos Arnaldo Araujo da CESAP-ESAP. Fundación Le Corbusier. Porto, 2012.
REF.: ISBN 978-972-8784-34-8. pp. 237 a 253.

My paper pertains to the works for cello by the French composer André Jolivet -an important artistic figure of the twentieth century whose musical thinking represents the complexity of transformation within Western music and the culture of his time. Strongly influenced by creative ideas of the French pioneer of sound Edgard Varèse, he continued to develop his musical style and aesthetics throughout his life -as a composer, writer, critic, conductor, visual artist, musical theatre director and pedagogue. Jolivet's fertile sources for artistic inspiration and spiritual quest extend from the philosophy of Bergson and Tarkovsky's cinematography to the mythology of Africa, Oceania and ancient incantations and rituals. In this article I will explore Jolivet's cello music -from the perspective of multiinterdisciplinary influences -focusing on Suite en concert pour violoncello seul (1965), as an example of his compositional style and as an expression of the artist's awareness of the universal mystery and 'magical' voice embodied in the sound of the cello.

Pythagorean tuning, which derives all musical intervals of a Western chromatic scale from repeated application of a fifth and subsequent reduction (collapse) into a single octave, results in an octave interval slightly larger than 2:1, and the difference between a Pythagorean octave and a 2:1 octave is referred to as the Pythagorean comma. Empirical studies suggest that listeners prefer a stretched octave, that is, an octave interval slightly larger than 2:1. The magnitudes of the Pythagorean comma and of the stretch from a 2:1 ratio in preferred octave tuning are similar, and it is suggested these phenomena might be connected. Implications of such a similarity that are addressed include (a) how the Pythagorean comma predicts preference for a stretched octave, (b) rejection of uncertainties in tuning as a cause of preference for a stretched octave, (c) how the Pythagorean comma and preference for a stretched octave might be related to tension and musical aesthetics, (d) the nature of "scales" and "intervals" in musical and psychophysical senses, (e) the role of motion through auditory pitch space in the Pythagorean comma and preference for a stretched octave, and (f) incorporation of elements of Pythagorean tuning into the representation of the octave.

Xenakis’s orchestral work Pithoprakta was composed for forty-nine musicians: fortysix divisi strings, two trombones, and one percussionist playing woodblock and xylophone. Hermann Scherchen (1891–1966) conducted the first performance of the work in 1957. We present the outcome of a phenomenological investigation of Pithoprakta, encompassing comparatively detailed descriptions and hermeneutical interpretations of the work, including prominent musical features, sonorities, densities and transformations of sound masses. In order to minimize presuppositions and promote unbiased listening, we did not study the score or research on Pithoprakta prior to the listening sessions. Subsequently, in a survey of the work, we summarize the macroform and possible emotional interpretations of the music, and include references to the printed score. In addition, we quote texts and statements by Xenakis in order to enable comparisons between our investigation and the composer’s intentions. References to selected research widen the perspective of the investigation by pointing out important aspects of Xenakis’s music and his personality.

Until the nineteenth century, the violoncello was considered a background accompaniment instrument. By 1900 however, over eighty method books had been published for cello, and Richard Wagner and Richard Strauss were composing orchestral cello parts equal in difficulty to those of the violin, traditionally the only virtuosic string part. The emancipation from the ties of bass ostinato for the cello began with Bernhard Romberg in Dresden. The group of cellists, who came to be known as the Dresden School, included Kummer, Lee, Goltermann, Cossmann, Popper, Grützmacher, Davidov, and other cellists that were students and colleagues of this group. The Dresden School of cellists attempted not only to bring the instrument into prominence, but to revolutionize the technique of the instrument completely. The cello pedagogues of the Dresden School achieved this by publishing their methods and advancements in technique in cello etude and method books. This efficient process of dissemination allowed for the members of the school to improve on each other's work over time. By the second half of the nineteenth century, the cello pedagogy of the Dresden School was established through the etudes published by the cellist-composers of the Dresden School, and these etudes are still considered some of the most advanced studies for cello, and are the foundation of modern cello pedagogy.

Tulipanes negros es una obra para clarinete bajo y contrabajo compuesta en 1990 por María Cecilia Villanueva. Desde la mirada del intérprete, en este texto se profundiza en el corpus, realizando un análisis donde se utilizan varias herramientas teniendo en cuenta diversos aspectos para poder determinar la importancia de la materia sonora y su tratamiento textural como fundamento del proceso compositivo, el empleo de la mínima variación, y el rol que cumplen los silencios.
Se complementa investigando de qué manera la compositora se vio influenciada por su entorno. Así mismo, se analizan los desafíos que enfrentan los intérpretes a través de una forma distinta de virtuosismo instrumental el cual está presente en esta obra.
Se utilizarán como ejes principales los paralelismos entre los campos disciplinares del análisis, la semiótica y la historiografía musical.

Em 2024, Emanuel Dimas de Melo Pimenta compôs Katachi - um concerto de música eletroacústica dedicado à coreógrafa Hanako Atake e ao arquiteto Katsuhito Atako, em memória de dois amigos: Takehisa Kosugi e Katsuhiro Yamaguchi. Em geral, as obras de Pimenta são de natureza multidimensional, incluindo textos, reflexões filosóficas, história, desenhos, filmes, fotografias e assim por diante. É o que também acontece em Katachi. Para além das partituras musicais criadas dentro de Realidade Virtual (como o compositor tem trabalhado desde os anos 1970); de um filme sobre mais de mil e duzentos anos de obras japonesas na pintura e desenho; do concerto; e da referência ao teatro Nô, também há dois textos - um criado em 1994, quando Pimenta deu aulas e conferências no Instituto de Tecnologia de Tsukuba, e outro (Katachi - Labirinto de Espelhos) escrito especialmente para a apresentação do concerto de 2024. (www.asa-art.com/katachi)
A composição musical Katachi é uma reflexão não verbal sobre a identidade e a liberdade - neste caso a "liberdade negativa", que está na base do antigo provérbio: a liberdade de um vai até onde começa a do outro. Pimenta diz: "Tal como acontece com a liberdade, ninguém tem o direito de destruir ou de ofender uma identidade, seja através de uma ditadura, de uma guerra ou de uma invasão silenciosa. A única forma aceitável de alguém mudar de alguma a sua identidade é através da aprendizagem livre e do amor. Sempre que isso acontece, não há intenção e ambas a relação se transforma em liberdade. Esse é o sentido último da paz, cuja origem etimológica nas línguas latinas significa 'pacto'".

ΤΗ ΔΕΚΑΕΤΙΑ ΤΟΥ '60 η Ορέστεια δεν διέθετε μακρά παράδοση παραστάσεων στην Αμερική• μιλώντας ειδικότερα για τον Αγαμέμνονα, γνωρίζουμε πως από τις τριακόσιες σαράντα εννέα παραστάσεις αρχαίου δράματος της περιόδου 1881-1936, μόνο επτά είναι του έργου αυτού. Ολόκληρη η Ορέστεια, εντούτοις, ανέβηκε το 1952 σε ένα κολλέγιο στο Σικάγο. 2 Σπάνιες, γενικότερα, ήταν οι παραστάσεις αισχύλειων έργων κατά τη δεκαετία του '60 στην Αμερική• αντιθέτως, δημοφιλείς 1. Για τη συγγραφή του κειμένου αυτού χρειάστηκε να διεξαχθεί έρευνα στο Αρχείο Σολομού που φυλάσσεται στο ΕλΙΑ/ΜΙΕΤ, Τμήμα Παραστατικών Τεχνών (Φάκελος 7)• οφείλω ιδιαίτερες ευχαριστίες στην Κωνσταντίνα Σταματογιαννάκη, η οποία επιμελείται το Αρχείο, για τη αμέριστη βοήθειά της. Εξίσου θα ήθελα να ευχαριστήσω την Κατερίνα Αρβανίτη και την Κωνστάντζα Γεωργακάκη για τις πολύτιμες συζητήσεις μας αναφορικά με τον Σολομό• επίσης την Αγγελική Κορδέλλου, με την οποία ανταλλάξαμε απόψεις για ζητήματα που αφορούν στη σκηνική μουσική. Επιπλέον, είμαι ευγνώμων στη Νίνια Κασσαβέτη, κόρη του Αλέξη Σολομού, για τις πληροφορίες που μου έχει παράσχει. Οι φωτογραφίες που δημοσιεύονται έχουν ληφθεί από τον Jim Galbraith και αποτελούν μέρος του Αρχείου Σολομού (ό.π.)• για τη δημοσίευση των φωτογραφιών, αλλά και των σκίτσων από το Τετράδιο σκηνής της Ορέστειας παραχώρησε την άδειά του το ΕλΙΑ/ΜΙΕΤ. Τα αποκόμματα των άρθρων σε εφημερίδες και περιοδικά της εποχής, όπου παραπέμπω, ανήκουν επίσης (πλην εκείνων της Michigan Daily) στο Αρχείο Σολομού. Οι μεταφράσεις των αγγλικών παραθεμάτων είναι του γράφοντος, εκτός αν δηλώνεται διαφορετικά. 2. Helene P. Foley, "The Millenium Project: Agamemnon in the United States", F. Macintosh -P. Michelakis -E. Hall (επιμ.),

Versión en español de la entrevista con Roger Woodward (37 paginas),  pianista clásico, director de orquesta, pedagogo y activista de derechos humanos, quien es una figura clave en la música avant-garde del siglo XX.

Roger Woodward AC, OBE (20 de diciembre de 1942) es un activista australiano de derechos humanos, pianista clásico, compositor, director de orquesta y profesor. Su profunda comprensión interpretativa, extenso repertorio y formidable técnica lo colocan en la élite de músicos de nuestra era. Sus icónicas interpretaciones y grabaciones se caracterizan por una visión penetrante y una precisión inusual, entre ellas destacan las realizadas con Pierre Boulez, Jean Barraqué, Iannis Xenakis, Karlheinz Stockhausen, Rolf Gehlhaar, Sylvano Bussotti, John Cage, Morton Feldman, Anne Boyd y Tōru Takemitsu son consideradas clásicos. Sus interpretaciones innovadoras de J.S. Bach, Beethoven, Debussy, Skryabin, Shostakovich y Prokofiev han proveído una dirección fuerte y original, a veces criticada como poco ortodoxa por su modernidad. Ha recibido numerosos honores y premios en Australia y en el extranjero.
La oportunidad de entrevistar y observar a Woodward como pianista y profesor durante el verano de 2022 reveló su fuerza creativa sin fin, misma descripción realizada por los principales compositores de mediados y finales del siglo XX y principios del siglo XXI, Jean Barraqué lo describió como "un genio”1 o Iannis Xenakis quien lo describió como Mi-homme, mi-dragon.