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11. On the Link between the Exact Sciences and Music in Iannis Xenakis’s Creative Work

  • Pablo Araya (author)
Chapter of: Meta-Xenakis: New Perspectives on Iannis Xenakis’s Life, Work, and Legacies(pp. 181–198)

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Title11. On the Link between the Exact Sciences and Music in Iannis Xenakis’s Creative Work
ContributorPablo Araya (author)
DOIhttps://doi.org/10.11647/obp.0390.13
Landing pagehttps://www.openbookpublishers.com/books/10.11647/obp.0390/chapters/10.11647/obp.0390.13
Licensehttps://creativecommons.org/licenses/by-nc/4.0/
CopyrightPablo Araya
PublisherOpen Book Publishers
Published on2024-10-09
Long abstractWithout being a specialist in the field of physics or mathematics, in this chapter, I outline a proposal regarding the relationship that Iannis Xenakis established with the exact sciences. Likewise, my approach is solely circumscribed to an early compositional period, the brief time range spanning Metastasis (1953-54) and Pithoprakta (1955-56). I consider that, in these two works, one finds the quintessence or the most outstanding contribution of Xenakis’s creative work. Beyond this statement, the question arises: What is the relationship between Xenakis’s music and the exact sciences? Between one field and the other lies, at least tentatively and preliminarily, a link between the metaphorical and the analogical, an approach set out in several texts by the musicologist Makis Solomos, and from which I attempt try to dig more deeply.
Page rangepp. 181–198
Print length18 pages
LanguageEnglish (Original)
Contributors

Pablo Araya

(author)
Professor in Music Composition at National University of Córdoba

Pablo Araya, composer, holds a Doctor of Musical Arts (DMA) under the direction of Andrés Barrea (UNC-FAMAF-CONICET) and Julio Estrada (UNAM) from the National University of Córdoba (UNC). He also attended workshops and seminars by composers from Argentina, Mexico, France, and Germany with composers such as Julio Estrada, Juan C. Tolosa, Marcos Franciosi, Gabriel Valverde, Pierluigi Billone, Georges Aperghis, Brian Ferneyhough, Horacio Vaggione, Jean-Claude Risset, Mark André, Michael Maierhof, etc. He has received scholarships from the Consejo Nacional de Investigaciones Científicas y Técnicas (CONICET), the UNC Postgraduate Secretariat, the Centro de Estudios Latinoamericano de Formación Interdisciplinaria (CELFI) and the Fondo Nacional de las Artes (FNA). He has published in specialized periodicals in Argentina and Mexico. His music has been performed in Argentina, Latvia, Spain, and Germany. He currently teaches Musical Analysis at the Escuela Superior de Música José Lo Giúdice (Salta, Argentina).