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437:; Xenakis wished to reconcile the linear perception of music with a relativistic view of time. In warfare, as Xenakis knew it through his musical ear, no individual bullet being fired could be distinguished among the cacophony, but taken as a whole the sound of "gunfire" was clearly identifiable. The particular sequence of shots was unimportant: the individual guns could have fired in a completely different pattern from the way they actually did, but the sound produced would still have been the same. These ideas combined to form the basis of
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89, no. 1 (2003): 129–87. Citation on p. 160n72: "Le phonème « ει » se prononçant « i » en grec moderne, la transcription exacte en français est « Metastasis », orthographe couramment adoptée a l'heure actuelle".
393:
are a hinge between classical music (which includes serial music) and 'formalized music' which the composer was obliged to inculcate into composition". These transformations include both the glissando mass events and the permutation of the
476:
changes intensity, register, and density of scoring, as the musical analogues of mass and energy. It is by these changes that the piece propels itself forward: the first and third movements of the work do not have even a melodic theme or
460:; change one of those quantities and time too is changed. Xenakis attempted to make this distinction in his music. While most traditional compositions depend on strictly measured time for the progress of the line, using an unvarying
551:
than a musical score, showing graphs of mass motion and glissandi like structural beams of the piece, with pitch on one axis and time on the other. In fact, this design ended up being the basis for the
539:, saw the chief difference between music and architecture as that while space is viewable from all directions, music can only be experienced from one. The preliminary sketch for
433:. Music usually consists of a set of sounds ordered in time; music played backwards is hardly recognizable. Messiaen's similar observations led to his noted uses of
381:(immobility), refers to the dialectical contrast between movement or change and nondirectionality. According to the composer's own description, "
752:
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composers of this century who would take such a thing as the completed score, Xenakis notated every event in traditional notation.
293:
levels and times. The piece is dominated by the strings, which open the piece in unison before their split into 46 separate parts.
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524:. This idea of the Golden Section and the Fibonacci Sequence was also a favorite of Xenakis in his architectural works; the
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is to be understood as being in the plural form, and is in fact often misspelled through overlooking this fact.
340:
The Greek title Μεταστάσεις was transliterated by the composer himself in various ways when writing in French:
367:
in the composer's handwriting, and it appears typeset in this form on the score cover as well. The title, a
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Iannis
Xenakis, the man and his music: a conversation with the composer and a description of his works
544:
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329:
35:
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like those used to model the musical "masses" and swells of his string glissandi. Yet unlike many
508:, among others.) One interesting property of the Fibonacci sequence is that the further into the
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184:
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52:
734:, second, expanded edition (Harmonologia Series No.6). Stuyvesant, NY: Pendragon Press, 1992.
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to hold them together, but rather depend on the strength of this conceptualization of time.
321:
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Barthel-Calvet, Anne-Sylvie, "MÉTASTASSIS-Analyse: Un texte inédit de Iannis
Xenakis sur
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flows linearly at a universal rate, the
Einsteinian view describes it as a function of
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in correct French transliteration, or in some early writings by the composer
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The second movement does have some sort of melodic element. A fragment of a
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237:. His first major work, it was written in 1953–54 after his studies with
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The
Philips Pavilion, showing hyperbolic paraboloids originally used in
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conducting. This work was originally a part of a
Xenakis trilogy titled
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504:. (This integer sequence is nothing new to music: it was used often by
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281:) with no two performers playing the same part. It was written using a
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and is about 8 minutes in length. The work was premiered at the 1955
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356:" in modern Greek, and the correct French transliteration is
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technique in which each player is responsible for completing
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Formalized Music: Thought and
Mathematics in Composition
732:
Formalized Music: Thought and
Mathematics in Composition
263:) but was detached by Xenakis for separate performance.
389:=a state of standstills—dialectic transformations. The
320:). The ballet was premiered on January 18, 1968 by the
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742:. Reprinted, Hillsdale, NY: Pendragon Press, 2001.
425:view of time and Xenakis' memory of the sounds of
107:Iannis Xenakis in his studio in Paris, circa 1970
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686:Hoffman, Peter (2007–2010), "Xenakis, Iannis",
582:The New Grove Dictionary of Music and Musicians
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626:, p.18. Boosey & Hawkes Music Publishers.
516:of a term to its preceding term comes to the
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363:The title page of the published score gives
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706:Iannis Xenakis und die Stochastische Musik
429:, and structured on mathematical ideas by
101:
500:row is used, with durations based on the
352:. The Greek digraph ει is pronounced as "
71:Learn how and when to remove this message
634:
632:
483:
269:requires an orchestra of 61 players (12
34:This article includes a list of general
672:Xenakis, Iannis, preface to the score,
402:) refers to the revisions suggested by
1234:
712:Cited in Hurley (2004), p. 356n9.
421:was inspired by the combination of an
772:
629:
592:(London: Macmillan Publishers, 2001).
763:Perusal score at Boosey & Hawkes
676:(London: Boosey & Hawkes, 1967).
580:Hoffmann, Peter, "Xenakis, Iannis",
20:
512:sequence one looks, the closer the
13:
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719:. London: Kahn and Averill, 1990.
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528:was built on this principle. See:
40:it lacks sufficient corresponding
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1098:Unité d'Habitation of Nantes-Rezé
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16:Orchestral work by Iannis Xenakis
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406:: reduction of the strings from
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1116:Maison de la Culture de Firminy
1242:Compositions by Iannis Xenakis
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300:was choreographed to Xenakis'
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704:Baltensperger, André (1996).
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765:(requires free registration)
584:, second edition, edited by
7:
1110:Sainte Marie de La Tourette
708:. Bern: Verlag Paul Haupt.
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317:Metastaseis and Pithoprakta
257:Procession aux eaux claires
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640:Xenakis: His Life in Music
277:playing 7 instruments, 46
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535:Xenakis, an accomplished
435:non-retrogradable rhythms
233:work for 61 musicians by
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169:16 October 1955
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1126:Collaborators/influences
753:Los Angeles Philharmonic
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824:Six chansons pour piano
243:Donaueschingen Festival
185:Donaueschingen, Germany
55:more precise citations.
1193:Indeterminacy in music
642:, p.256n5. Routledge.
638:Harley, James (2004).
558:hyperbolic paraboloids
526:Convent de La Tourette
493:
715:Matossian, Nouritza:
690:, Oxford Music Online
487:
1091:Architectural design
912:Polytope de Montréal
809:List of compositions
663:Harley (2004), p.10.
622:Bois, Mario (1967).
607:Revue de Musicologie
547:looking more like a
322:New York City Ballet
522:significant figures
377:(after or beyond) -
688:Grove Music Online
502:Fibonacci sequence
494:
1247:1954 compositions
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730:Xenakis, Iannis:
410:to 12-12-8-8-6.
404:Hermann Scherchen
373:, in the plural,
312:George Balanchine
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1203:Stochastic music
1198:Musique concrète
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1143:Pierre Schaeffer
1138:Olivier Messiaen
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906:(1965-1966)
899:(1965–1966)
896:Nomos Alpha
891:(1963–1964)
851:(1955–1956)
848:Pithoprakta
843:(1953–1954)
840:Metastaseis
835:(1952–1954)
832:Anastenaria
710:(in German)
674:Metastaseis
652:metastaseis
612:(in French)
562:avant-garde
541:Metastaseis
498:twelve-tone
490:Metastaseis
474:Metastaseis
439:Metastaseis
423:Einsteinian
419:Metastaseis
398:. The "B" (
391:Metastaseis
370:portmanteau
365:Metastaseis
346:Métastassis
307:Pithoprakta
302:Metastaseis
267:Metastaseis
252:Anastenaria
226:Métastassis
215:Μεταστάσεις
205:Metastaseis
118:Μεταστάσεις
113:Native name
87:Metastaseis
53:introducing
1236:Categories
1016:Palimpsest
944:Antikhthon
864:Concret PH
757:Metastasis
603:Metastasis
568:References
358:Metastasis
283:sound mass
231:orchestral
220:Metastasis
217:; spelled
173:1955-10-16
129:Sound mass
61:April 2009
36:references
549:blueprint
537:architect
446:Newtonian
444:While in
396:tone rows
385:=after +
287:glissandi
261:Sacrifice
191:Conductor
155:Orchestra
1221:Category
1008:Pléïades
960:Charisma
936:Synaphaï
920:Kraanerg
510:infinite
472:length,
448:physics
414:Analysis
229:) is an
181:Location
161:Premiere
143:Duration
135:Composed
1080:Troorkh
1072:Rebonds
1048:Keqrops
1000:Theraps
984:Phlegra
976:Psappha
968:Evryali
904:Orestia
717:Xenakis
543:was in
530:Modulor
427:warfare
387:staseis
279:strings
171: (
151:Scoring
49:improve
1168:(1963)
1118:(1965)
1112:(1960)
1106:(1958)
1100:(1955)
1083:(1991)
1075:(1989)
1067:(1989)
1064:Oophaa
1059:(1989)
1051:(1986)
1043:(1981)
1040:Komboï
1035:(1980)
1027:(1980)
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987:(1975)
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952:Aroura
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506:Bartók
479:motive
470:phrase
458:energy
454:matter
379:stasis
348:, and
298:ballet
138:1953–4
38:, but
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1024:Mists
992:Khoaï
888:Eonta
880:Bohor
872:Herma
514:ratio
468:, or
462:tempo
336:Title
324:with
314:(see
291:pitch
271:winds
245:with
211:Greek
125:Style
1188:UPIC
1056:Okho
736:ISBN
721:ISBN
644:ISBN
588:and
456:and
450:time
400:beta
383:Meta
375:Meta
328:and
304:and
273:, 3
259:and
166:Date
1032:Aïs
605:",
310:by
93:by
1238::
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