{"id":4836,"date":"2025-06-16T14:13:35","date_gmt":"2025-06-16T12:13:35","guid":{"rendered":"https:\/\/www.mdw.ac.at\/mdwpress\/?p=4836"},"modified":"2025-06-17T11:37:30","modified_gmt":"2025-06-17T09:37:30","slug":"mdwp013-001","status":"publish","type":"post","link":"https:\/\/www.mdw.ac.at\/mdwpress\/en\/mdwp013-001\/","title":{"rendered":"Introduction"},"content":{"rendered":"<h3 class=\"author\"><em>Reinhold Friedl, Thomas Grill, Nikolaus Urbanek, Michelle Ziegler<\/em><\/h3>\n<style>\n        .tsquotation strong {\n            font-weight: bold;\n        }\n        .tsquotation em {\n            font-style: italic !important;\n        }\n        .bibliography {\n            margin-top: -1em !important;\n            padding-left: 22px;\n            text-indent: -22px;\n        }\n        figure {\n            margin: 0;\n        }\n    <\/style>\n<p>&nbsp;<\/p>\n<p style=\"text-align: right;\"><span class='bdaia-btns bdaia-btn-medium' style=\"background:#b2b2b2 !important;color:#000000 !important;\"><a href=\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp013-002\" style=\"color:#000000 !important;\">\ud83e\udc06<\/a><\/span>\n<div class=\"bdaia-toggle close\"><h4 class=\"bdaia-toggle-head toggle-head-open\"><span class=\"bdaia-sio bdaia-sio-angle-up\"><\/span><span class=\"txt\">How to cite<\/span><\/h4><h4 class=\"bdaia-toggle-head toggle-head-close\"><span class=\"bdaia-sio bdaia-sio-angle-down\"><\/span><span class=\"txt\">How to cite<\/span><\/h4><div class=\"toggle-content\"><p>\n<div id=\"zotpress-27b5b0d34c6489ad62510c9baf2691ea\" class=\"zp-Zotpress zp-Zotpress-Bib wp-block-group\">\n\n\t\t<span class=\"ZP_API_USER_ID ZP_ATTR\">4511395<\/span>\n\t\t<span class=\"ZP_ITEM_KEY ZP_ATTR\">{4511395:8TS9P6IP}<\/span>\n\t\t<span class=\"ZP_COLLECTION_ID ZP_ATTR\"><\/span>\n\t\t<span class=\"ZP_TAG_ID ZP_ATTR\"><\/span>\n\t\t<span class=\"ZP_AUTHOR ZP_ATTR\"><\/span>\n\t\t<span class=\"ZP_YEAR ZP_ATTR\"><\/span>\n        <span class=\"ZP_ITEMTYPE 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ZP_ATTR\">%7B%22status%22%3A%22success%22%2C%22updateneeded%22%3Afalse%2C%22instance%22%3Afalse%2C%22meta%22%3A%7B%22request_last%22%3A0%2C%22request_next%22%3A0%2C%22used_cache%22%3Atrue%7D%2C%22data%22%3A%5B%7B%22key%22%3A%228TS9P6IP%22%2C%22library%22%3A%7B%22id%22%3A4511395%7D%2C%22meta%22%3A%7B%22creatorSummary%22%3A%22Friedl%20et%20al.%22%2C%22parsedDate%22%3A%222024-12-31%22%2C%22numChildren%22%3A0%7D%2C%22bib%22%3A%22%26lt%3Bdiv%20class%3D%26quot%3Bcsl-bib-body%26quot%3B%20style%3D%26quot%3Bline-height%3A%201.35%3B%20padding-left%3A%201em%3B%20text-indent%3A-1em%3B%26quot%3B%26gt%3B%5Cn%20%20%26lt%3Bdiv%20class%3D%26quot%3Bcsl-entry%26quot%3B%26gt%3BFriedl%2C%20Reinhold%2C%20Thomas%20Grill%2C%20Nikolaus%20Urbanek%2C%20and%20Michelle%20Ziegler.%202024.%20%26%23x201C%3BIntroduction.%26%23x201D%3B%20In%20%26lt%3Bi%26gt%3BXenakis%20-%20Back%20to%20the%20Roots%26lt%3B%5C%2Fi%26gt%3B%2C%20edited%20by%20Reinhold%20Friedl%2C%20Thomas%20Grill%2C%20Nikolaus%20Urbanek%2C%20and%20Michelle%20Ziegler.%20mdwPress.%20https%3A%5C%2F%5C%2Fdoi.org%5C%2F10.1515%5C%2F9783839474297-001.%20%26lt%3Ba%20title%3D%26%23039%3BCite%20in%20RIS%20Format%26%23039%3B%20class%3D%26%23039%3Bzp-CiteRIS%26%23039%3B%20data-zp-cite%3D%26%23039%3Bapi_user_id%3D4511395%26amp%3Bitem_key%3D8TS9P6IP%26%23039%3B%20href%3D%26%23039%3Bjavascript%3Avoid%280%29%3B%26%23039%3B%26gt%3BCite%26lt%3B%5C%2Fa%26gt%3B%20%26lt%3B%5C%2Fdiv%26gt%3B%5Cn%26lt%3B%5C%2Fdiv%26gt%3B%22%2C%22data%22%3A%7B%22itemType%22%3A%22bookSection%22%2C%22title%22%3A%22Introduction%22%2C%22creators%22%3A%5B%7B%22creatorType%22%3A%22editor%22%2C%22firstName%22%3A%22Reinhold%22%2C%22lastName%22%3A%22Friedl%22%7D%2C%7B%22creatorType%22%3A%22editor%22%2C%22firstName%22%3A%22Thomas%22%2C%22lastName%22%3A%22Grill%22%7D%2C%7B%22creatorType%22%3A%22editor%22%2C%22firstName%22%3A%22Nikolaus%22%2C%22lastName%22%3A%22Urbanek%22%7D%2C%7B%22creatorType%22%3A%22editor%22%2C%22firstName%22%3A%22Michelle%22%2C%22lastName%22%3A%22Ziegler%22%7D%2C%7B%22creatorType%22%3A%22author%22%2C%22firstName%22%3A%22Reinhold%22%2C%22lastName%22%3A%22Friedl%22%7D%2C%7B%22creatorType%22%3A%22author%22%2C%22firstName%22%3A%22Thomas%22%2C%22lastName%22%3A%22Grill%22%7D%2C%7B%22creatorType%22%3A%22author%22%2C%22firstName%22%3A%22Nikolaus%22%2C%22lastName%22%3A%22Urbanek%22%7D%2C%7B%22creatorType%22%3A%22author%22%2C%22firstName%22%3A%22Michelle%22%2C%22lastName%22%3A%22Ziegler%22%7D%5D%2C%22abstractNote%22%3A%22%22%2C%22bookTitle%22%3A%22Xenakis%20-%20Back%20to%20the%20Roots%22%2C%22date%22%3A%222024-12-31%22%2C%22originalDate%22%3A%22%22%2C%22originalPublisher%22%3A%22%22%2C%22originalPlace%22%3A%22%22%2C%22format%22%3A%22%22%2C%22ISBN%22%3A%229783839474297%22%2C%22DOI%22%3A%22%22%2C%22citationKey%22%3A%22%22%2C%22url%22%3A%22https%3A%5C%2F%5C%2Fwww.degruyterbrill.com%5C%2Fdocument%5C%2Fdoi%5C%2F10.1515%5C%2F9783839474297-001%5C%2Fhtml%22%2C%22ISSN%22%3A%22%22%2C%22language%22%3A%22%22%2C%22collections%22%3A%5B%22QUPEDCHB%22%5D%2C%22dateModified%22%3A%222025-06-11T10%3A27%3A20Z%22%7D%7D%5D%7D<\/span>\n\n\t\t\t\t<div id=\"zp-ID-4836-4511395-8TS9P6IP\" data-zp-author-date='Friedl-et-al.-2024-12-31' data-zp-date-author='2024-12-31-Friedl-et-al.' data-zp-date='2024-12-31' data-zp-year='2024' data-zp-itemtype='bookSection' class=\"zp-Entry zpSearchResultsItem\">\n<div class=\"csl-bib-body\" style=\"line-height: 1.35; padding-left: 1em; text-indent:-1em;\">\n  <div class=\"csl-entry\">Friedl, Reinhold, Thomas Grill, Nikolaus Urbanek, and Michelle Ziegler. 2024. \u201cIntroduction.\u201d In <i>Xenakis - Back to the Roots<\/i>, edited by Reinhold Friedl, Thomas Grill, Nikolaus Urbanek, and Michelle Ziegler. mdwPress. https:\/\/doi.org\/10.1515\/9783839474297-001. <a title='Cite in RIS Format' class='zp-CiteRIS' data-zp-cite='api_user_id=4511395&item_key=8TS9P6IP' href='javascript:void(0);'>Cite<\/a> <\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\n\t\t\t<\/div><!-- .zp-zp-SEO-Content -->\n\t\t<\/div><!-- .zp-List -->\n\t<\/div><!--.zp-Zotpress-->\n\n\n<\/p><\/div><\/div>\n<hr>\n<p style=\"text-align: right;\"><span class='bdaia-btns bdaia-btn-medium' style=\"background:#b2b2b2 !important;color:#000000 !important;\"><a href=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/10.1515_9783839474297-001.pdf\" target=\"_blank\" rel=\"nofollow\" style=\"color:#000000 !important;\">CHAPTER PDF <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/download-1459070_1280.png\" style=\"vertical-align: middle\" alt=\"Download-Logo\" width=\"17\" height=\"17\"><\/a><\/span>\n<p>This volume is the result of a symposium at the University of Music and Performing Arts Vienna (mdw) in May 2022 on the occasion of the 100<sup>th<\/sup> anniversary of the birth of Iannis Xenakis. It focuses on the electroacoustic work of the Greek-French composer. Taking advantage of the possibilities at mdw, the symposium approached Xenakis\u2019s electroacoustic works from two perspectives\u00a0\u2013 through theoretical reflection on the one hand and through the performance of all of Xenakis\u2019s electroacoustic works on the other. The performances at mdw\u2019s Klangtheater offered a unique opportunity to directly perceive continuities and discontinuities in his electroacoustic \u0153uvre, giving audiences the chance to expand their experience by listening to both the composer\u2019s aesthetic development and the technological changes taking place from the mid-1950s to the mid-1990s.<\/p>\n<p>The electroacoustic work of Iannis Xenakis can be differentiated into individual phases, each of which is related to different aesthetic, technical and historical contexts.<a id=\"fnref1\" class=\"footnote-ref\" role=\"doc-noteref\" href=\"#fn1\"><sup>1<\/sup><\/a> An early first phase in the late 1950s and early 1960s is marked by his experiences in Le Corbusier\u2019s architectural studio, his contact with Pierre Schaeffer and his work at GRMC (Groupe de recherches de musique concr\u00e8te). Inspired by <em>musique concr\u00e8te<\/em>, Xenakis used pre-recorded acoustic material in his electroacoustic works, which could range from crackling and hissing like burning charcoal to noises sounding like jet engines or the processed recordings of bells. This phase comprises the following tape works: <em>Diamorphoses<\/em> (1957), <em>Concret PH<\/em> (1958) for the Philips Pavilion of the Brussels World\u2019s Fair, <em>Analogique B<\/em> (1959), <em>Orient-Occident<\/em> (1960) and finally the scandalous <em>Bohor<\/em> (1962)\u00a0\u2013 the two withdrawn film soundtracks <em>Vasarely<\/em> (1960) and <em>Formes rouges<\/em> (1961) should also be mentioned in this context. The second phase is marked by the composition of the first \u2018polytope\u2019, <em>Polytope de Montr\u00e9al<\/em> (1967) for the French Pavilion at the World\u2019s Fair in Montr\u00e9al, the ballet <em>Kraanerg<\/em> (1969) combining instrumental and tape music and the 12-channel work <em>Hibiki Hana Ma<\/em> (1970) for the World\u2019s Fair in Osaka. The transition to what James Harley calls the third phase of large multimedia spectacles is rather smooth: <em>Persepolis<\/em> (1971), <em>Polytope de Cluny<\/em> (1972), <em>La L\u00e9gende d\u2019Eer<\/em> (1978)\u00a0\u2013 the latter for the inauguration of the Centre Pompidou in Paris. Central to this phase of his electroacoustic composing is the inclusion of space against the background of the specific local and architectural conditions as well as the coordination of the specific multimediality of light, movement and music\u00a0\u2013 which required not least the technically demanding synchronisation of sound spatialisation, lights, lasers and music. The fourth phase is marked by the development of the computer-based sound synthesis system UPIC (Unit\u00e9 Polyagogique Informatique de Centre d\u2019\u00c9tudes de Math\u00e9matique et Automatique Musicales\/CEMAMu), which allows the user to directly transform graphic structures\u00a0\u2013 realised with the help of an electromagnetic pen on a large electromagnetic drawing board\u00a0\u2013 into musical ones. The sonic results of this phase are <em>Myc\u00e8nes alpha<\/em> (1978), the radiophonic work with texts by Fran\u00e7oise Xenakis <em>Pour la paix<\/em> (1981), <em>Taurhiphanie<\/em> (1987), <em>Voyage absolu des Unari vers Androm\u00e8de<\/em> (1989) and the withdrawn work <em>Erod<\/em> (1997). The fifth and final phase in the early 1990s comprises only two computer-generated works: <em>GENDY 301\/GENDY\u00a03<\/em> (1991) and <em>S.709<\/em> (1994). Harley calls it the \u2018phase of stochastic synthesis\u2019.<\/p>\n<p>This richness of different approaches as well as Xenakis\u2019s ambition to configure his electroacoustic material on his own using sophisticated processes (multiplicative tape techniques, stochastic synthesis, granulation, to name just a few) gave rise to an extensive body of sources. This allows glimpses into his compositional process but also vividly demonstrates the experimental and at times almost contradictory ways in which he proceeded. Against this backdrop, a philological study of this heterogenous material is not only essential but also promises to be fruitful for future research of other electroacoustic musical works and source studies. The questions to be addressed are quite fundamental and include the following: In what sense can electroacoustic recordings be regarded as text? What do words like \u201coriginal\u201d and \u201cauthenticity\u201d mean, and what are the consequences for electroacoustic music\u2019s performance and interpretation? Furthermore, due to the specific material situation of the sources of electroacoustic music, basic philological research is urgently needed: tapes are increasingly falling victim to physical decay, unsystematic digitisation is obscuring musical evidence, and some machines used for the reproduction of electroacoustic music have long since been discarded and disappeared. What\u2019s more, and not insignificantly, there exists an urgent need to preserve knowledge of how to use these machines and read the various carrying media. Against this background, a philological approach that interprets historical documents not only as textual sources but also as cultural sources could provide valuable insights.<\/p>\n<p>That is why the contributions in this volume are particularly dedicated to a philological approach under the title \u2018<em>Back to the Roots\u2019.<\/em> The perspective taken by the collected contributions is twofold: On the one hand, the volume is primarily dedicated to specific philological case studies of Xenakis\u2019s electroacoustic work and thereby contributes to Xenakis research, which has received rather little attention to date (section \u201cPhilological Practice\u201d). On the other hand, the special characteristics of Xenakis\u2019s compositions allow essential insights into basic philological research in the field of electroacoustic music (section \u201cPhilological Context\u201d).<\/p>\n<p><em>Philological Context:<\/em> Based on musical-philological considerations, Nikolaus <strong>Urbanek<\/strong> discusses the question of how Xenakis\u2019s electroacoustic \u0153uvre represents a particular challenge for the development of a theory of musical writing, with a view to current approaches in transdisciplinary writing research. Laura <strong>Zattra<\/strong> reflects on the personal archives of different composers of electroacoustic music as a whole body of sources and a mirror of the collector\u2019s personality, incorporating mixed methods of philology, archaeology, oral history and ethnography. In the case of early tape music, Michelle <strong>Ziegler<\/strong> argues that a comprehensive evaluation of compositional practices needs to consider sketches on paper in connection with sketches on tape, as they both reveal integral parts of the creative process. Elena <strong>Minetti<\/strong> explores the writing strategies of different composers to achieve a specific function in <em>musique mixte<\/em>: the synchronisation of musical events between recorded sounds and live instruments or voices.<\/p>\n<p><em>Philological Practice\u00a0\u2013 Xenakis\u2019s Challenge:<\/em> As a vantage point for the subsequent philological studies of Iannis Xenakis\u2019s works, James <strong>Harley<\/strong> anchors the electroacoustic music of the composer in his orchestral \u0153uvre by demonstrating common sonic entities in both. Two case studies then evaluate expansive archival sources: Pierre <strong>Carr\u00e9<\/strong>\/Fran\u00e7ois <strong>Del\u00e9cluse<\/strong> demonstrate that the recent discovery of a digital command tape for the <em>Polytope de Cluny<\/em> not only allowed different re-enactments of the multimedia show in 2022, but in combination with an examination of other archival documentation gives an insight into Xenakis\u2019s thinking on sound and space. Based on a close study of the sources for the electronic piece <em>Myc\u00e8nes alpha<\/em> and the instrumental piece <em>An\u00e9moessa<\/em> (1979) for choir and orchestra, Marko <strong>Slav\u00ed\u010dek<\/strong> argues that for Xenakis self-borrowing was a means of exploring instances of sonic material in diverse contexts, relying on drawing as a compositional tool. Reinhold <strong>Friedl<\/strong> digs for hidden sources and shows that Xenakis was not only inspired by traditional musics but also borrowed their sounds extensively in his electroacoustic work. Peter <strong>Nelson<\/strong> breaks with the notion of the legendary intransigence of Xenakis\u2019s computer instrument UPIC by reimagining it as the re-intonation of ancient voices, thereby envisioning \u201ctechnology as utterance\u201d.<\/p>\n<p><em>Back to the Roots:<\/em> The third and final section of the book reveals the liveliness of an encounter with Xenakis\u2019s person and music with the accounts of two of Xenakis\u2019s companions and with a round table on the performance practice of his electroacoustic works. Curtis <strong>Roads<\/strong> describes how his encounters with Xenakis provided a clear direction for starting his own composition algorithms and in general fostered an understanding of composing as a contribution to humanity. Michel <strong>Chion<\/strong> explains the decision to dispose of the production tapes for his <em>musique concr\u00e8te<\/em> from a composer\u2019s perspective in order to avoid the undocumented publication of single elements and to prevent the work from being misunderstood as a \u201csuccession of pretty sounds\u201d that might be abused as such in other music. In the concluding roundtable, Jan <strong>Brozca<\/strong>, Reinhold <strong>Friedl<\/strong>, Thomas <strong>Grill<\/strong>, Katharina <strong>Klement<\/strong>, Christian <strong>Tschinkel<\/strong> and Anatol <strong>Wetzer<\/strong> give insight into their decisions in the preparation of the performances in 2022 and thereby reveal the variety and vitality of approaches that consider the roots of the past and result in a lively actualisation of Xenakis\u2019s electroacoustic work.<\/p>\n<p>The editors are deeply indebted to Max Bergmann and the mdwPress Board of Trustees for including this volume in the mdwPress publishing programme. We would also like to thank the anonymous reviewers whose peer reviews provided important information. Many thanks also go to Kimi Lum for her fantastic foreign language editing and to Johannes Fiebich for his help in finalising the manuscript. Last but not least, many thanks to the authors for their wonderful co-operation.<\/p>\n<p style=\"text-align: right;\"><em>Basel \u2013 Berlin \u2013 Vienna, summer 2024<\/em><br \/>\n<em>Reinhold Friedl, Thomas Grill, Nikolaus Urbanek and Michelle Ziegler<\/em><\/p>\n<h4>Endnoten<\/h4>\n<hr \/>\n<ol>\n<li id=\"fn1\">The years of composition given in this book are based on the Xenakis catalog of works by Durand-Salabert-Eschig (<a href=\"https:\/\/www.durand-salabert-eschig.com\/en-GB\/Composers\/X\/Xenakis-Iannis.aspx\" target=\"_blank\" rel=\"noopener\">https:\/\/www.durand-salabert-eschig.com\/en-GB\/Composers\/X\/Xenakis-Iannis.aspx<\/a>) and the website of &#8220;Les amies de Xenakis&#8221; (<a href=\"https:\/\/www.iannis-xenakis.org\/en\/category\/works\/\" target=\"_blank\" rel=\"noopener\">https:\/\/www.iannis-xenakis.org\/en\/category\/works\/<\/a>). In cases of doubt, the information follows the premiere dates and not the composition dates, as in the case of <em>La L\u00e9gende d&#8217;Eer<\/em>, for example.<a class=\"footnote-back\" role=\"doc-backlink\" href=\"#fnref1\">\u21a9\ufe0e<\/a><\/li>\n<\/ol>\n","protected":false},"excerpt":{"rendered":"<p>Reinhold Friedl, Thomas Grill, Nikolaus Urbanek, Michelle Ziegler &nbsp; This volume is the result of a symposium at the University of Music and Performing Arts Vienna (mdw) in May 2022 on the occasion of the 100th anniversary of the birth of Iannis Xenakis. It focuses on the electroacoustic work of the Greek-French composer. Taking advantage &hellip;<\/p>\n","protected":false},"author":5,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"footnotes":""},"categories":[205],"tags":[],"class_list":["post-4836","post","type-post","status-publish","format-standard","hentry","category-friedl-grill-urbanek-ziegler-eds-xenakis"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.9 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Friedl, Grill, Urbanek, Ziegler: Introduction &#8211; Xenakis<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp013-001\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Friedl, Grill, Urbanek, Ziegler: Introduction &#8211; Xenakis\" \/>\n<meta property=\"og:description\" content=\"Reinhold Friedl, Thomas Grill, Nikolaus Urbanek, Michelle Ziegler &nbsp; This volume is the result of a symposium at the University of Music and Performing Arts Vienna (mdw) in May 2022 on the occasion of the 100th anniversary of the birth of Iannis Xenakis. It focuses on the electroacoustic work of the Greek-French composer. 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