19. Performing Iannis Xenakis’s Polyrhythms: A Perception-informed Approach to Renotation
- Imri Talgam (author)
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| Title | 19. Performing Iannis Xenakis’s Polyrhythms |
|---|---|
| Subtitle | A Perception-informed Approach to Renotation |
| Contributor | Imri Talgam (author) |
| DOI | https://doi.org/10.11647/obp.0390.21 |
| Landing page | https://www.openbookpublishers.com/books/10.11647/obp.0390/chapters/10.11647/obp.0390.21 |
| License | https://creativecommons.org/licenses/by-nc/4.0/ |
| Copyright | Imri Talgam |
| Publisher | Open Book Publishers |
| Published on | 2024-10-09 |
| Long abstract | Xenakis often uses complex superimposed polyrhythms that are uniquely challenging for performers to realize, especially in solo and chamber works. Faced with overwhelming rhythmic complexity, performers must choose a strategy to navigate the score, often resulting in informal compromises and approximations. As an alternative, in this chapter, I propose a methodological approach to performance of rhythmic complexity using re-notation informed by theories of metric perception. Using examples from Mists, À l’île de Gorée, and Dikhthas, I identify three classes of rhythmic textures: irregular a-metrical rhythms, isochronous polyrhythms, and phase-shifted polyrhythms. While Xenakis’s notation clearly conveys these distinct ideas, it does not facilitate accurate realization in performance, which diminishes the polyphonic quality of these passages. My methodology proceeds in several stages: a) Analysis of the primary cues for grouping and possible metric interpretations of each rhythmic texture using the theory proposed by London; b) using the notion of context-sensitive constraints on metric perception (I propose a quantization strategy to reduce the complexity of the rhythm while preserving the macro characteristics; c) proposal of several possible re-notations, depending on the grouping cues or pulse layers that are taken as the tactus in the passage, while relegating other layers to ana-metrical status. Since multiple versions may be beneficial in representing different aspect of the music, I consider their advantages from both performers’ and listeners’ perspectives; d) finally, I examine the dynamics of listening and synchronization between multiple players in realizing rhythmically complex passages, in which players create a metric interpretation collaboratively. |
| Page range | pp. 319–336 |
| Print length | 18 pages |
| Language | English (Original) |
Imri Talgam
(author)Imri Talgam is a pianist and composer based in the Netherlands and a specialist in performance of twentieth-century and contemporary music. Since winning first prize in the Concours de piano d’Orléans (France) in 2014, Talgam appeared as soloist around the world, including with Ensemble Intercontemporain and Ensemble Modern, and worked with composers including Boulez, Lachenmann, Poppe, Unsuk Chin, and Eötvös. His recordings include a CD centered on the music of Nancarrow, including transcriptions of his player-piano studies. As a researcher, he worked on cognition-informed strategies for performance of rhythmically complex music. After finishing his doctorate at the CUNY Graduate Center, he was a Post-Doctoral Researcher and lecturer at McGill University’s Schulich School of Music. Talgam is also a composer of computer music, which he studied at the institute of Sonology in the Hague. His work combines microsound and sound spatialization techniques with algorithmic composition and generative strategies. For more information, see www.imritalgam.com.