xenakis

Paranoia. Grenzerfahrungen elektronischer Musik im Kontext von Iannis Xenakis’ Schaffen | Symposium

Thu May 31, - Jun 02, 2012

Das Symposium beschäftigt sich mit der Aufbereitung der Dialektik aus Konstruktion und sinnlicher Empfindung. Die Art, in der Xenakis arbeitete, die Ästhetik, die er entwickelte, die Instrumente, die er konstruierte, eröffnen einen neuen Horizont des musikalischen Gestaltens und Erlebens. U.a. werden Zeitzeugen referieren, die mit Xenakis zusammengearbeitet haben, oder dessen Erbe im Centre Iannis Xenakis an der Universität Rouen wissenschaftlich aufarbeiten. Zusätzlich werden ExpertInnen zu Wort kommen, die Xenakis’ Leben und Arbeiten grundlegend untersucht haben.

Paranoia. Grenzerfahrungen elektronischer Musik im Kontext von Iannis Xenakis’ Schaffen | Symposium

Thu May 31, - Jun 02, 2012

In keeping with Maryanne Amacher's post-Cagean conception of musical composition as articulation of "ways of hearing," between 1968 and 1991 the composer created no significant works involving acoustic instruments. Responding however to acommision from the Kronos Quartet, in the early 1990s, Amacher came to an "endotonal" solution for integrating acoustic instruments onto her "interactive scenarios" whereby instruments and electronics alike would function together to "einforce" listeners' "interaural processing." By examining GLIA (2006), a composition conceived after the model of and including material from the unfinished string quartet, I approach Amacher's fundamentally refunctioned conception of "electro-acoustic" composition.

Paranoia. Grenzerfahrungen elektronischer Musik im Kontext von Iannis Xenakis’ Schaffen | Symposium

Thu May 31, - Jun 02, 2012

Roundtable - Christoph von Blumröder, Rodolphe Bourotte, Ludger Brümmer,Tobias Hünermann, Matthias Nowakowski and Leopoldo Siano

Paranoia. Grenzerfahrungen elektronischer Musik im Kontext von Iannis Xenakis’ Schaffen | Symposium

Thu May 31, - Jun 02, 2012

Context: Where does the motivation for a tool such as UPIC come from?
History: We will have a short look at the history of the UPIC, and then at ten years of software innovations in a post-CEMAMu world.
Today: What tools do we dispose of now, when thinking graphically about sound?
tomorrow: Xenakis ideas were generally implemented in separate, independent programs. We will dicuss about integration two of them, sieves and stochastic sound, into a graphical editor.

Paranoia. Grenzerfahrungen elektronischer Musik im Kontext von Iannis Xenakis’ Schaffen | Symposium

Thu May 31, - Jun 02, 2012

The Talk investigates the question of how to perform the electronic music from Xenakis Polytopes today. Following the research done about Persepolis and Polytope de Cluny, a possible approach will be presented and discussed.

Paranoia. Grenzerfahrungen elektronischer Musik im Kontext von Iannis Xenakis’ Schaffen | Symposium

Thu May 31, - Jun 02, 2012

Pourla Paix (1981, 4 speakers, choir - live or recorded -, and UPIC tape 2 tracks) is a strange piece for Xenakis, because it is based on a narrative text (token from two books from his wife, Françoise Xenakis). The sounds realized with UPIC are either narrative either abstract - sometimes both -, and they sound very rich, richer than his first UPIC piece, Mycènes alpha. The choir parts- the piece can also be performed only with these parts - are also typical for Xenakis, but with no special relationship with the UPIC parts. So the difficulty of the piece lies in its impossible balance between its fhree components. In this paper, we will speak about the genetics, the aesthetics and the performance of the piece.

Paranoia. Grenzerfahrungen elektronischer Musik im Kontext von Iannis Xenakis’ Schaffen | Symposium

Do, 31.05.2012 – Sa, 02.06.2012

Roundtable - Ludger Brümmer, Sharon Kanach, Makis Solomos, Daniel Teige, Daniel Teruggi und Thomas Troge

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Paranoia. Limit Experiences of Electronic Music in the Context of Iannis Xenakis’ Work | Symposium

Thu May 31, - Jun 02, 2012

Performances by percussionists are somewhat of a sporting event: with an armada of instruments, Martin Grubinger & Friends are as interesting to watch as they are to listen to.Iannis Xenakis (1922-2001) Pleiades for 6 percussionists: (IV.) Peaux Martin Grubinger (percussion) Leonhard Schmidinger (percussion) Rainer Furthner (percussion) Sabine Pyrker (percussion) Rizumu Sugishita (percussion) Slavik Stakhov (percussion) MP3 recorded in the Beethoven Hall, Bonn on September 25, 2010 by Deutsche Welle (DW) The panoply of a multi-percussionist is impressive: in addition to conventional drums, there are all sorts of unusual instruments like bells, whistles, stones and sirens. To watch how often and deftly Martin Grubinger and his fellow percussionists move among their vast array of instruments is an exercise in fascination. The Greek composer Iannis Xenakis was one of the first to extract the percussion section from a symphony orchestra and assign it a role of its own. In "Pleiades," he created a sound both serious and celebratory, as Greek mythology can be, and yet there's something reminiscent of Asian rituals in it - a sound that sets one's teeth on edge, inescapable, louder than at a rock concert, a sound with which the listener's body itself seems to resonate. Autor: Rick Fulker Editor: Louisa Schaefer

Surround sound in real-time with no electrical transformation: Martin Grubinger & Friends let their music flow through the Beethoven Hall and give a breathtaking performance.Iannis Xenakis (1922-2001) Persephassa for 6 percussionists Martin Grubinger (percussion) Leonhard Schmidinger (percussion) Rainer Furthner (percussion) Sabine Pyrker (percussion) Rizumu Sugishita (percussion) Slavik Stakhov (percussion) MP3 recorded in the Beethoven Hall, Bonn on September 25, 2010 by Deutsche Welle (DW) Two percussionists stand at the left and right of the stage, four more stand left and right at the front and back of the hall - literally creating "surround sound." As a result, the best spots in the Beethoven Hall this time around were smack in the center. The first notes of "Persephassa for 6 percussionists" made it clear it would be a breathtaking concert. How could six musicians standing so far apart from each other achieve such an extremely precise, complete sound? An electronic metronome coordinated the whole event, with a click sounding in their ears that told them to speed up or slow the tempo. The programming of the metronome alone was a finely orchestrated feat, and a laborious process, percussionist Martin Grubinger told the audience. Numerous contemporary composers have written music for Grubinger, who was just 27 years old at this Beethoven Festival concert in September 2010. Blessed with a photographic memory, he can normally play without a score in front of him. But when it comes to composer Iannis Xenakis's music, "normal" just doesn't cut it… Author: Rick Fulker Editor: Louisa Schaefer

It's mathematically composed music that's become a cult: Martin Grubinger & Friends play music by Iannis Xenakis before a diverse, wildly enthused audience.Iannis Xenakis (1922-2001) Okho for 3 percussionists Martin Grubinger (percussion) Leonhard Schmidinger (percussion) Rainer Furthner (percussion) MP3 recorded in the Beethoven Hall, Bonn on September 25, 2010 by Deutsche Welle (DW) The Beethoven Hall is packed to the gills with people of all different ages. It's rare to see so many pupils and college students at a classical concert - especially with Iannis Xenakis on the program, whose music, written in the 1960s, is not exactly "easy-listening." Xenakis was a composer, architect and mathematician. His extremely complex compositions make clear the strong connection between music and mathematics. Chaos theory informs "Okho for 3 percussionists," in which the beats of the three percussionists sound out together, but then continually separate themselves by nano-seconds, growing ever further apart until they ultimately come back together in unison. Through music, Xenakis demonstrates how order dissolves into chaos. The interaction between periodic and aperiodic sounds is only one aspect of this rational music calculated with mathematical formulas, which paradoxically makes a surprisingly strong emotional, even ecstatic impact. Author: Rick Fulker Editor: Louisa Schaefer