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15. Game Theory and Formal Structure in Iannis Xenakis’s Duel (1959)

  • Mikhail Malt (author)
  • Benny Sluchin (author)
Chapter of: Meta-Xenakis: New Perspectives on Iannis Xenakis’s Life, Work, and Legacies(pp. 253–272)

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Metadata
Title15. Game Theory and Formal Structure in Iannis Xenakis’s Duel (1959)
ContributorMikhail Malt (author)
Benny Sluchin (author)
DOIhttps://doi.org/10.11647/obp.0390.17
Landing pagehttps://www.openbookpublishers.com/books/10.11647/obp.0390/chapters/10.11647/obp.0390.17
Licensehttps://creativecommons.org/licenses/by-nc/4.0/
CopyrightMikhail Malt; Benny Sluchin;
PublisherOpen Book Publishers
Published on2024-10-09
Long abstractGame theory is the theoretical context of three compositions by Iannis Xenakis: Duel (1959), Stratégie (1962) and Linaia-Agon (1972). The first two works oppose two orchestras, or, more precisely two conductors, in a musical battle. The basic structure differs only in the size of the ensembles (Duel is written for two orchestras of twenty-eight musicians each, while Stratégie is composed for two orchestras of forty-six musicians each), the tactics (i.e., the musical material), and the complexity of the gain matrices. Linaia-Agon, for horn, trombone, and tuba is a later composition, combining completely determined parts with a part whose structure is determined by game theory. The general aspects of Duel, Stratégie, and Linaia-Agon having already been presented in other studies; here, we will mainly focus on the formal aspects of Duel and the structure resulting from the underlying use of the opposition model governed by game theory. This chapter takes a computational and empirical musicology approach and identifies the dynamics derived from the model with the performed musical structure. We carried out several computer simulations of Duel to study its behavior and the structures generated, according to the methods of ‘playing’. Duel is to be performed by two conductors who, per Xenakis’s instructions, make choices in real time. These choices must follow precise instructions in relationship to the ‘game matrix’ provided by the composer. From our point of view, the choices of the opponents, in the context of a performance, will have a significant influence on the musical form generated. The main purpose of our research is to be able to guide conductors on the different ‘outcomes of the battle’, according to their decisions.
Page rangepp. 253–272
Print length20 pages
LanguageEnglish (Original)
Contributors

Mikhail Malt

(author)
Associate Director of Research at Institut de Recherche en Musicologie

Mikhail Malt is a researcher, composer, computer music designer. Having a twofold training, scientific and musical (engineer, composer, and music conductor), he started out his musical career in Brazil as both flutist and orchestral conductor, having conducted youth orchestras for almost ten years. He has a PhD from the Ecole des Hautes Etudes en Sciences Sociales and an HDR (Habilitation à Diriger des recherches) degree. Currently, he is a Researcher at Ircam in the Représentations Musicales team (UMR 9912—STMS) and Associate Director of Research at the Institute for Research in Musicology (IReMus—UMR 8223), Sorbonne Université. His actual research and creative work are based on generative music models, creative systems, representation epistemology, and listening strategies.

Benny Sluchin

(author)

Benny Sluchin studied at the Tel-Aviv Conservatory and at the Jerusalem Music Academy, parallel to pursuing a degree in Mathematics and Philosophy at the University of Tel-Aviv. He joined the Israel Philharmonic Orchestra and was engaged as co-soloist for the Jerusalem Radio Symphony Orchestra. A member of the Ensemble Intercontemporain since 1976, he has premiered numerous works and recorded Keren by Iannis Xenakis, Sequenza V by Luciano Berio, in addition to nineteenth- and twentieth-century works for trombone. As a Doctor of Mathematics, Sluchin is involved in acoustic research at Ircam. Passionate about teaching, he edited Brass Urtext, a series of original texts on teaching brass instruments. He published Le trombone à travers les âges (2001, Buchet-Chastel) with Raymond Lapie. Two of his books have been awarded the Sacem Prize for pedagogic publications: Contemporary Trombone Excerpts (1996, EME Editions) and Jeu et chant simultanés sur les cuivres (1995, EME Editions). His written publication on brass mutes is a benchmark and his research on Computer Assisted Interpretation has been the object of several presentations and scientific publications. As an application to his research, Sluchin has released several recordings of John Cage’s music. His film Iannis Xenakis, Le dépassement de soi, was released in 2015 by Mode Records (Mode 284). In 2024 Sluchin received “A Lifetime Achievement Award" from the International Trombone Association “in recognition of his lifelong commitment to the trombone and a career that has reflected commitment to excellence and achievement.”