Self-borrowings in the Instrumental Music of Iannis Xenakis
Autor(a) principal: | |
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Data de Publicação: | 2005 |
Tipo de documento: | Artigo |
Idioma: | eng |
Título da fonte: | Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
Texto Completo: | http://hdl.handle.net/10174/4535 |
Resumo: | As one of the most important composers of the twentieth century, Iannis Xenakis is also known for having used mathematical models in his compositions and for developing a formalization of music. But Xenakis’s compositional processes did not rely only on mathematics. Like many other composers, he borrowed extensively from his own works. These borrowings, which cannot be properly regarded as self-quotations, did not always relate to theoretical problems. Most of the time, they were selected for their particular sonic qualities or transformed in order to create new ones. This presentation examines the extent of self-borrowing in the music of Iannis Xenakis and shows how the composer made use of montage techniques as a means of producing different kinds of objects or textures. |
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Self-borrowings in the Instrumental Music of Iannis XenakisIannis XenakisSelf-BorrowingAs one of the most important composers of the twentieth century, Iannis Xenakis is also known for having used mathematical models in his compositions and for developing a formalization of music. But Xenakis’s compositional processes did not rely only on mathematics. Like many other composers, he borrowed extensively from his own works. These borrowings, which cannot be properly regarded as self-quotations, did not always relate to theoretical problems. Most of the time, they were selected for their particular sonic qualities or transformed in order to create new ones. This presentation examines the extent of self-borrowing in the music of Iannis Xenakis and shows how the composer made use of montage techniques as a means of producing different kinds of objects or textures.University of Athens2012-01-30T12:58:09Z2012-01-302005-01-01T00:00:00Zinfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/articlehttp://hdl.handle.net/10174/4535http://hdl.handle.net/10174/4535eng265-274960-214-444-0bg@uevora.ptInternational Symposium Iannis Xenakis. Conference Proceedings.203Gibson, Benoîtinfo:eu-repo/semantics/openAccessreponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãoinstacron:RCAAP2024-01-03T18:42:38Zoai:dspace.uevora.pt:10174/4535Portal AgregadorONGhttps://www.rcaap.pt/oai/openaireopendoar:71602024-03-20T00:59:46.788854Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãofalse |
dc.title.none.fl_str_mv |
Self-borrowings in the Instrumental Music of Iannis Xenakis |
title |
Self-borrowings in the Instrumental Music of Iannis Xenakis |
spellingShingle |
Self-borrowings in the Instrumental Music of Iannis Xenakis Gibson, Benoît Iannis Xenakis Self-Borrowing |
title_short |
Self-borrowings in the Instrumental Music of Iannis Xenakis |
title_full |
Self-borrowings in the Instrumental Music of Iannis Xenakis |
title_fullStr |
Self-borrowings in the Instrumental Music of Iannis Xenakis |
title_full_unstemmed |
Self-borrowings in the Instrumental Music of Iannis Xenakis |
title_sort |
Self-borrowings in the Instrumental Music of Iannis Xenakis |
author |
Gibson, Benoît |
author_facet |
Gibson, Benoît |
author_role |
author |
dc.contributor.author.fl_str_mv |
Gibson, Benoît |
dc.subject.por.fl_str_mv |
Iannis Xenakis Self-Borrowing |
topic |
Iannis Xenakis Self-Borrowing |
description |
As one of the most important composers of the twentieth century, Iannis Xenakis is also known for having used mathematical models in his compositions and for developing a formalization of music. But Xenakis’s compositional processes did not rely only on mathematics. Like many other composers, he borrowed extensively from his own works. These borrowings, which cannot be properly regarded as self-quotations, did not always relate to theoretical problems. Most of the time, they were selected for their particular sonic qualities or transformed in order to create new ones. This presentation examines the extent of self-borrowing in the music of Iannis Xenakis and shows how the composer made use of montage techniques as a means of producing different kinds of objects or textures. |
publishDate |
2005 |
dc.date.none.fl_str_mv |
2005-01-01T00:00:00Z 2012-01-30T12:58:09Z 2012-01-30 |
dc.type.status.fl_str_mv |
info:eu-repo/semantics/publishedVersion |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/article |
format |
article |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
http://hdl.handle.net/10174/4535 http://hdl.handle.net/10174/4535 |
url |
http://hdl.handle.net/10174/4535 |
dc.language.iso.fl_str_mv |
eng |
language |
eng |
dc.relation.none.fl_str_mv |
265-274 960-214-444-0 bg@uevora.pt International Symposium Iannis Xenakis. Conference Proceedings. 203 |
dc.rights.driver.fl_str_mv |
info:eu-repo/semantics/openAccess |
eu_rights_str_mv |
openAccess |
dc.publisher.none.fl_str_mv |
University of Athens |
publisher.none.fl_str_mv |
University of Athens |
dc.source.none.fl_str_mv |
reponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação instacron:RCAAP |
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Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação |
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RCAAP |
institution |
RCAAP |
reponame_str |
Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
collection |
Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
repository.name.fl_str_mv |
Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação |
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1799136480002572288 |