graphicnotation

Icon

Just another WordPress.com site

// iannis xenakis

IANNIS XENAKIS : composer

Avant-garde composer Iannis Xenakis (1922–2001). A leading figure in twentieth century music, Xenakis  was an ethnic Greek, naturalized French composer, music theorist, and architect-engineer. Xenakis pioneered the use of mathematical models such as applications of set theory, varied use of stochastic processes, game theory, etc., in music, and was also an important influence on the development of electronic music. Trained as a civil engineer, then became an architect and developed revolutionary designs while working with Le Corbusier.

web : iannis-xenakis.org & iannis xenakis : wiki

There was an exhibition of his works (focusing on drawings) in 2010, it’s title was: Composer, Architect, Visionary, at Drawing Center in New York, than in Montreal… / so there are some articles available relating to that events. Also a publication with the same title is available.
drawing center : iannis xenakis : composer, architect, visionary :

::  great resource, click ‘view all’ and there are scores as well as audio works, so you can listen and also links to videos with scores and performance.

canadian center for architecture : iannis xenakis : composer, architect, visionary :

:: photos from the exhibition and article about it, few of the scores and videos with talks about xenakis and his drawings with curator of the exhibition

/

article / exhibition review :  art critical : composer, architect, visionary : article ::   the architects newspaper : composer, architect, visionary

Xenakis moved deftly between disciplines and increased his command and control by using each to critique the other. For any serious student of architecture who enjoys music, this show is a fantastic reinforcement of the idea that “architecture is frozen music.” The curators walk us through the intense yet beautiful working process of a brilliant mind dedicated to showing exactly how music is both architecture and mathematics—and how they are all, ultimately, about space.

Philips Pavilion at the Brussells 1958 World’s Fair, designed by Iannis Xenakis for Le Corbusier ::

article :: iannis xenakis : architect of light and sound : by alessandra capanna
article :: Designing Sounds and Spaces: Interdisciplinary Rules & Proportions in Generative Stochastic Music and Architecture / by Kirsty Beilharz

 

///////////////////////

project :: inspired by work of xenakis ::  xenakis-emulator : kammerbauer + schnellboegl : 1998

The Xenakis-Emulator is an audiovisual adaptation of two key works of architect/composer Iannis Xenakis – the composition “Metastasseis” and the facade for the monastery “La Tourette” by master architect Le Corbusier. Kammerbauer + Schnellboegl created a synergetic digital animation of an interpretation of the facade and a music adaptation. The facade strips, which reflect the “Glissando”-motif of “Metastasseis”, float in an abstract space, followed by a vertical strip that “plays” the music adaptation by Kammerbauer + Schnellboegl in realtime and synchronous with the vertical facade elements.

more about it here : xenakis-emulator

 

///////////////////////////////////

project :: refurbishment :: inspired by the work of iannis xenakis


Amenity Space have reinterpretted the format to create the score called REFURBISHMENT. This will be perfomed by the Psappha orchestra at the Howard Assembly rooms on May 2nd 2009 as part of the Leeds Fuse Festival.

This score deconstructs the recently refurbished Howard Assembly rooms in Leeds. The space was documented using photographs and drawings and the media organised into a sequence of events.
The score comprises six different materials and building components from the space. The audio interpretation allows the listener to reconstruct a sonic interpretation of the space.

 

+

video of moire effects with xenakis sound

 

 

+

 

 

;

Advertisements

Filed under: art, composers, inspired, scores, theory, video, , , , , , , , , , , ,

// earl brown

EARLE BROWN : composer

Earle Brown, a major force in contemporary music and a leading composer of the American avant-garde since the 1950s, died on July 2, 2002 at his home in Rye, New York. He was associated with the experimental composers John Cage, Morton Feldman, and Christian Wolff who, with Brown, came to be known as the New York School.

Earle Brown influence on the avant-garde community has been philosophical as well as tangible and practical. His conducting techniques and experiments with time notation, improvisation, and open-form compositional structure have become part of contemporary compositional usage. Among Brown most frequently performed and reinterpreted works is DECEMBER 1952, the score of which is a stark, abstract series of floating rectangles, a musical equivalent to a Calder mobile. His early influential orchestral scores include Available Forms 1 and Available Forms 2, and his musical friendships were legendary, from Bruno Maderna who conducted first performances of many of Brown works to jazz musicians such as Zoot Sims and Gerry Mulligan.

web : earle-brown.org

 

December 1952 is perhaps Brown’s most famous score. It is part of a larger set of unusually notated music called FOLIO. Although this collection is also misconstrued as coming out of nowhere historically, music notation has existed in many forms—both as a mechanism for creation and analysis. Brown studied what is now called Early Music, which has its own system of notation, and was a student of the Schillinger Method, which almost exclusively used graph methods for describing music. From this perspective FOLIO was an inspired, yet logical connection to be made—especially for a Northeasterner who grew up playing and improvising jazz.

December 1952 consists purely of horizontal and vertical lines varying in width, spread out over the page; it is a landmark piece in the history of graphic notation of music. The role of the performer is to interpret the score visually and translate the graphical information to music. In Brown’s notes on the work he even suggests that one consider this 2D space as 3D and imagine moving through it. The other pieces in the collection are not as abstract. Since each is dated individually, one can see that Brown wrote the very abstract December 1952 and then moved back towards forms of notation that contain more specific musical information.

web: earl brown / wiki

 

score source : works / 4 systems

 

get an article The Notation and Performance of New Music by Earl Brown from 1964 > in .pdf format > form here <

 

inspirations : Alexander Calder / mobile sculptures

.

Filed under: art, composers, scores, theory, , , , , , ,

Pages