{"id":4939,"date":"2025-06-16T14:09:43","date_gmt":"2025-06-16T12:09:43","guid":{"rendered":"https:\/\/www.mdw.ac.at\/mdwpress\/?p=4939"},"modified":"2025-07-08T11:59:52","modified_gmt":"2025-07-08T09:59:52","slug":"mdwp013-005","status":"publish","type":"post","link":"https:\/\/www.mdw.ac.at\/mdwpress\/en\/mdwp013-005\/","title":{"rendered":"Synchronising Different Temporalities"},"content":{"rendered":"<h2 class \"subtitle\">A Challenge of Writing in <em>Musique Mixte<\/em> from\u00a01958\u00a0to 1960<\/p>\n<h2>\n<h3 class=\"author\"><em>Elena Minetti<\/em> <a href=\"https:\/\/orcid.org\/0000-0001-9044-7110\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-600\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2021\/02\/orcid.png\" alt=\"orcid\" width=\"19\" height=\"19\" \/><\/a><\/h3>\n<p><head><\/p>\n<style>\n        .tsquotation strong {\n            font-weight: bold;\n        }\n        .tsquotation em {\n            font-style: 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id=\"zp-ID-4939-4511395-C7DP8Y42\" data-zp-author-date='Minetti-2024-12-31' data-zp-date-author='2024-12-31-Minetti' 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\">Minetti, Elena. 2024. \u201cSynchronising Different Temporalities: A Challenge of Writing in Musique Mixte from 1958 to 1960.\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\/9783839474297-005. <a title='Cite in RIS Format' class='zp-CiteRIS' data-zp-cite='api_user_id=4511395&item_key=C7DP8Y42' 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<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\">Outline<\/span><\/h4><h4 class=\"bdaia-toggle-head toggle-head-close\"><span class=\"bdaia-sio bdaia-sio-angle-down\"><\/span><span class=\"txt\">Outline<\/span><\/h4><div class=\"toggle-content\"><p>\n<a href=\"#1\">Synchronising through a Low Density of Notational Inscriptions<\/a><br \/>\n<a href=\"#2\">Synchronising through a High Density of Notational Inscriptions<\/a><br \/>\n<a href=\"#3\">Writing Temporal Contact Points<\/a><br \/>\n<a href=\"#4\">Bibliography<\/a><br \/>\n<a href=\"#5\">Musical scores<\/a><br \/>\n<a href=\"#6\">List of Figures<\/a><br \/>\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_9783839474297-005.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>\u201cWriting is historically the first technique for manipulating time\u201d<a href=\"#fn1\" class=\"footnote-ref\" id=\"fnref1\" role=\"doc-noteref\"><sup>1<\/sup><\/a> (Kittler 1993: 183; English translation in Kr\u00e4mer 2006:\u00a099). With this phrase, Friedrich Kittler considered writing to be the earliest technique for arranging and reversing events happening on the time axis. In this view, writing is a practice that has the potential to (re)order streams of data through spatial coordinates on two-dimensional surfaces. For this theoretical assumption, Kittler gives a practical explanation, drawn precisely from musical writing practice: He quotes the use of a retrograde of the \u2018Bach motif\u2019\u00a0\u2013 consisting of the notes B\u00a0flat, A, C, B natural (in German musical nomenclature: B\u00a0A\u00a0C\u00a0H)\u00a0\u2013 which appears in the Fugue BWV\u00a0898 as the reversal of the composer\u2019s name (H\u00a0C\u00a0A\u00a0B) (Kittler 1993: 185).<\/p>\n<p>Transferring these considerations to a musicological perspective, musical inscriptions constitute lasting manifestations of ephemeral phenomena progressing in time which, by virtue of being written, can be simultaneously visualised, correlated at a glance and also manipulated and rearranged, as in the \u2018Bach motif\u2019 example (see Kr\u00e4mer 2006; Celestini et\u00a0al. 2020).<\/p>\n<p>Building on these ideas, this essay focuses on a central function of musical notations, which is closely related to writing\u2019s capacity to manipulate and visualise time: The synchronisation of musical events\u00a0\u2013 an issue that in standard western notation, for example, has been encoded through the vertical superposition of simultaneous musical voices. More concretely, this study investigates how writing practices aimed at synchronising sounds became particularly complex and challenging for the composers when recorded electroacoustic sounds entered instrumental performance.<\/p>\n<p>Indeed, in the so-called <em>musique mixte<\/em>, whose first experiments can be traced back to the early 1950s, (at least) two different temporalities coexist: on the one hand, the temporality of the live concert, on the other hand, the temporality of the previously recorded track resounding through loudspeakers. A definition of <em>musique mixte<\/em>\u00a0\u2013 a term that is quite nebulous and can be misleading (Sallis et\u00a0al. 2018:\u00a05\u20137)\u00a0\u2013 is proposed by Vincent Tiffon in his doctoral thesis (Tiffon 1994) and later in numerous articles (id. 2005, 2013):<\/p>\n<blockquote>\n<p class=\"tsquotation\">[Musique mixte] is concert music that combines instruments of acoustic origin with sounds of electronic origin, the latter produced in real time\u00a0\u2013 during the concert\u00a0\u2013 or fixed on electronic media and projected via loudspeakers at the time of the concert. (Tiffon 2005:\u00a023)<\/p>\n<\/blockquote>\n<p>The definition focuses on the combination of acoustic instruments played at the time of the performance and sounds of electronic origin that can be produced live or can be recorded and played back during the concert. <em>Musique mixte<\/em> in its early form, which combines live musicians with pre-recorded electronic parts, confronts the coexistence of a temporality produced in the past and recorded once and for all and a temporality alive and produced during the concert. Certainly, when a pre-recorded music resonates in performance it becomes alive again, yet the productive origin of that part will remain anchored to a past musical phenomenon.<\/p>\n<p>Having in mind the etymological meaning of the verb \u2018to synchronise\u2019\u00a0\u2013 that is from the Ancient Greek \u03c3\u03c5\u03b3\u03c7\u03c1\u03bf\u03bd\u03af\u03b6\u03c9, which literally means \u2018to be contemporary with, to be at the same time of\u2019\u00a0\u2013 the title of this paper might sound oxymoronic. Synchronising indicates indeed that two or more phenomena have to happen together, as the prefix <em>syn-<\/em> specifies, in a single <em>chronos<\/em>, in a unified temporality (see Jordheim 2017:\u00a059). The phrase \u2018synchronising different temporalities\u2019 intends to underscore the challenge of writing to coordinate musical phenomena that are produced at different times and which then, however, coexist in the performance and in the performance score, too.<\/p>\n<p>The synchronisation of the electronic and acoustic dimensions of <em>musique mixte<\/em> is an issue that scholars studying this genre must inevitably address (Cont 2012; Scaldaferri 2002; Blondeau 2017). This essay proposes to identify by comparative analysis some essential features of the composers\u2019 writing strategies to accomplish the task of making the synchronisation of musical temporalities visible. This topic will be examined by comparing the published scores of four <em>musique mixte<\/em> works, composed between 1958 and 1960: <em>Analogique\u00a0A et \u00a0B<\/em> (1958\u201359) by Iannis Xenakis, <em>Rimes<\/em> (1958\u201359) by Henri Pousseur, <em>Transici\u00f3n\u00a0II<\/em> (1958\u201359) by Mauricio Kagel, and <em>Kontakte<\/em> (1958\u201360) by Karlheinz Stockhausen.<a href=\"#fn2\" class=\"footnote-ref\" id=\"fnref2\" role=\"doc-noteref\"><sup>2<\/sup><\/a> The writing strategies adopted in the four scores will be highlighted, taking into consideration the compositional experiences and aesthetic motivations that led to the creation of these works. Some archival materials show how the hybrid configuration of sound production in the <em>mixte<\/em> ensembles had a great impact on the forms of writing used during the compositional process and also during the preparation of the performance, which was sometimes closely followed by the composers themselves. In the final performance scores, composers were faced with the challenge of how to annotate the human interaction with a recorded sound reality, which is (generally) static and only capable of a non-human, machine-like form of interaction.<\/p>\n<p>At the end of the 1950s, there were no standardised rules involved in finding a form of writing for coordinating the live performance with the delayed time of \u201cfixed sounds\u201d\u00a0\u2013 to use the term coined by Michel Chion\u00a0(Chion 1991)\u00a0\u2013 and\/or recordings during the performance, and that left some space for composers\u2019 notational and graphical creativity. Among the works considered, some of their performance scores contain minimal synchronisation instructions, while others use various notational forms, including actual transcriptions of recorded events. To macroscopically classify these differences, the concept of density is used as a parameter indicating the amount of information related to the synchronisation of instrumental and electroacoustic parts. Scores such as Xenakis\u2019s <em>Analogique A\u00a0et\u00a0B<\/em> and Kagel\u2019s <em>Transici\u00f3n\u00a0II<\/em> show how the synchronising function of music writing can be expressed through a few essential notational signs, that is, through a low density of instructions. Instead, the scores by Pousseur for <em>Rimes<\/em> and by Stockhausen for <em>Kontakte<\/em> use more detailed graphic and notational strategies.<\/p>\n<h4 id=\"1\">Synchronising through a Low Density of Notational Inscriptions<\/h4>\n<h6><em>Analogique A\u00a0et\u00a0B<\/em> by Xenakis<\/h6>\n<p>As the title suggests, <em>Analogique A\u00a0et\u00a0B<\/em> is a twofold piece, also in the compositional genesis of its two parts: The instrumental one for nine string instruments, indicated with the title <em>Analogique\u00a0A<\/em>, was composed in 1958, while the electronic one, <em>Analogique\u00a0B<\/em> for sinusoidal sounds, was produced one year later, first in a monophonic format during the summer of 1958 at Hermann Scherchen\u2019s studio in Gravesano, and then with a stereophonic disposition of loudspeakers at the studio of the GRM (Groupe de Recherches Musicales) in Paris (Harley 2004:\u00a017). <em>Analogique A\u00a0et\u00a0B<\/em> results from the superposition of the two compositions and was premiered in this final configuration in June\u00a01960 at the Festival de la Recherche, organised by the RTF (Radiodiffusion-T\u00e9l\u00e9vision Fran\u00e7aise) in Paris. As stated in a review by Edmund\u00a0J. Pendleton for <em>The New York Herald Tribune<\/em>, the title of the concert in which <em>Analogique A\u00a0+\u00a0B<\/em><a href=\"#fn3\" class=\"footnote-ref\" id=\"fnref3\" role=\"doc-noteref\"><sup>3<\/sup><\/a> was premiered without great success was <em>The Return of the Interpreter<\/em>, alluding to the performer\u2019s \u201cuselessness during mechanical experimentation\u201d (Pendelton 1960). Instead, it proposed compositions that brought the instrumental performers back on stage, letting them interact with recorded parts.<\/p>\n<p>The only published score related to <em>Analogique A\u00a0et\u00a0B<\/em> concerns the instrumental part and was published by \u00c9ditions Salabert in 1968 under the title <em>Analogique\u00a0A: partition d\u2019orchestre<\/em>. Despite the absence of a published score-like document for the electronic part, this <em>partition d\u2019orchestre<\/em> contains significant information regarding the relationship between the instrumental and electronic components of the piece. First of all, it is clearly stated in the introduction to the score that \u201cit is highly desirable that [<em>Analogique\u00a0A<\/em>] should be performed to the accompaniment of the <em>Analogique\u00a0B<\/em> complementary sound tape\u201d (Xenakis 1968). In the same text, Xenakis describes how in both parts of the work \u201csounds were chosen statistically in arbitrary ranges of frequency, intensity and density. These ranges change in accordance with the transitional probabilities which follow a series of consequential events (the Markov series)\u201d.<\/p>\n<p><em>Analogique A\u00a0et\u00a0B<\/em> are indeed applications of the Markovian stochastic theory, which is illustrated in detail in the second chapter of his <em>Musique formelles<\/em> (Xenakis 1963: 57\u2013131). Already in 1954 Xenakis began to use probability distributions in the orchestra piece <em>Pithoprakta<\/em> (1955) and to experiment with probability calculations for musical composition\u00a0\u2013 which two years later he would call \u201cstochastic music\u201d (Luque 2009). In <em>Analogique A et B<\/em> he added to the stochastic distribution of musical events the Markovian theory<em>,<\/em> \u201cintroducing a memory during the chaining of probabilistic states.\u00a0[\u2026] [The complex reasoning] develops the notion of \u2018frames\u2019, i.e., temporal units defined by the parameters of pitch, duration, dynamics and density, which follow one another by means of Markov processes.\u201d (Solomos 2017). In <em>Analogique\u00a0B<\/em> Xenakis introduced, along with the Markovian stochastic theory, experimentations of his \u201chypothesis\u201d of the granularity of sound: \u201cAll sound is made up of small bodies. Thus a \u2018grain\u2019 of sound can be defined approximately as a sound sinusoidal form and a given intensity which has a duration of the \u2018thickness of the present\u2019\u201d (Xenakis 1968).<\/p>\n<p>The juxtaposition of the two works was not decided by Xenakis programmatically at the beginning of the compositional process. It happened later. Although the works were conceived with analogous compositional mechanisms, they were thought of as distinct universes\u00a0\u2013 a palpable consideration already at the first listening.<a href=\"#fn4\" class=\"footnote-ref\" id=\"fnref4\" role=\"doc-noteref\"><sup>4<\/sup><\/a> Explaining Xenakis\u2019s quite sparse production of <em>musique mixte<\/em>\u00a0\u2013 besides <em>Analogique A\u00a0et\u00a0B<\/em> this includes only <em>Kraanerg<\/em> (1969) and <em>Pour la Paix<\/em> (1981)\u00a0\u2013 Makis Solomos explains how Xenakis \u201cpostulates the autonomy of the universe of electroacoustic music. In this sense, he considers\u00a0\u2013 following Var\u00e8se\u00a0\u2013 that mixity [<em>mixit\u00e9<\/em>] is a very delicate matter, which should be used with restraint.\u201d<a href=\"#fn5\" class=\"footnote-ref\" id=\"fnref5\" role=\"doc-noteref\"><sup>5<\/sup><\/a> (Solomos 2017: 163). In <em>Analogique A\u00a0et\u00a0B<\/em>, it seems indeed that the events on tape are interpolated with the instrumental parts without developing any real fusion, dialogue or transitions. A synchronisation is almost circumvented, even in the musical notation.<\/p>\n<p>The visual configuration of the score clearly manifests the attempt to distinguish the two sonic layers. As can be seen from the reproductions of the score (Figures\u00a04.1 and\u00a04.2), <em>Analogique\u00a0A<\/em> is written in standard western notation, while the starting points of the electronic interpolations of <em>Analogique\u00a0B<\/em> are indicated by arrows and their durations in seconds, a chronometric style of time notation, mostly accompanied by fermatas of the instruments (see Figure\u00a04.1). In the few instances when there is an overlap of the two parts, no actual electronic part is written, but a line represents its presence (see Figure\u00a04.2).<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/04fig01.png\" alt=\"Orchestra score sheet.\"><br \/>\n<span class=\"caption-text\"><strong>Figure 4.1:<\/strong> Iannis Xenakis, <em>Analogique A<\/em>, orchestra score, p. 3, detail, Durand Salabert Eschig.<\/span><\/p>\n<p>Not referring specifically to this composition, Vincent Tiffon argues that the principle of interpolations, already previously used by Bruno Maderna in <em>Musica su due dimensioni<\/em> (1952) and by Edgard Var\u00e8se in <em>D\u00e9serts<\/em> (1954) allows composers to elegantly circumvent the question of synchronisation (Tiffon 1994: 213). The synchronisation of acoustic and electronic dimensions in the early attempts of this genre indeed presented itself as a challenge, yet Xenakis\u2019s choice, as brilliantly explained by Agostino Di Scipio, reveals deeper aesthetic motivations than eluding a musical problem:<\/p>\n<blockquote>\n<p class=\"tsquotation\">The close encounter of the two sonic worlds allows us to make \u201ca sensorial and structural comparison\u201d (Xenakis 1971:\u00a031) of two non-identical manifestations of the same compositional process. The same is presented as different, projected on different time-scales.\u00a0[\u2026] In other words, by preserving the surface difference, Xenakis pointed to the manifestation of a more profound identity. (Di\u00a0Scipio 2005: section\u00a03.8)<\/p>\n<\/blockquote>\n<p>In <em>Analogique A\u00a0et\u00a0B<\/em> the temporalities of the two universes converge in the listening experience, through remembering what has just been heard and what is being listened to, perhaps leading to the recognition of the same internal logic (i.e., a Markovian stochastic process) that has generated them.<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/04fig02.png\" alt=\"Orchestra score sheet.\"><br \/>\n<span class=\"caption-text\"><strong>Figure 4.2:<\/strong> Iannis Xenakis, <em>Analogique A<\/em>, orchestra score, p. 5, detail, Durand Salabert Eschig.<\/span><\/p>\n<p>A need for synchronisation of the two parts is not at the heart of the compositional idea, though. In a sketch, dated \u201c14.\u00a0oct 63\u201d (thus subsequent to the premiere) Xenakis gives a compact and schematic overview of the interlocking plan between the two parts.<\/p>\n<p>On a millimetre sheet (see Figure\u00a04.3), in addition to sketching a layout (circled) indicating the spatial distribution of the sound sources in the concert hall, Xenakis writes down three synchronisation diagrams of <em>Analogique A\u00a0et\u00a0B<\/em>: The first one is crossed out; the second one, only partially sketched, is struck through with a wavy line, and the last is the definitive one and is re-squared. In this diagram the x-axis, in which each millimetre corresponds to one second, represents time. Xenakis provides chronometric indications: six centimetres equal a minute, seconds are given at the beginning and end of each section. Line segments represent the sections of the instrumental part\u00a0A (the upper lines) and those of the electronic part\u00a0B (lower lines), which are specified by Roman numerals (I\u00a0to VIII).<a href=\"#fn6\" class=\"footnote-ref\" id=\"fnref6\" role=\"doc-noteref\"><sup>6<\/sup><\/a> This sketch testifies to how, even after the premiere, the synchronisation of the two parts continued to be a significant issue that had to be established, perhaps for future performances of the work, since the music score had not yet been published by \u00c9ditions Salabert.<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/04Fig03_neu-OM-5-5-5-Analogique.jpg\" alt=\"Score sheet.\"><br \/>\n<span class=\"caption-text\"><strong>Figure 4.3:<\/strong> Iannis Xenakis, <em>Analogique A et B<\/em>, sketch, Collection Famille Xenakis DR, OM 5-5, p. 5.<\/span><\/p>\n<h6><em>Transici\u00f3n II<\/em> by Kagel<\/h6>\n<p>Some similarity to <em>Analogique A\u00a0et\u00a0B<\/em> concerning the form of writing chosen to fulfil the synchronising function are traced in <em>Transici\u00f3n\u00a0II<\/em> by Kagel. His encounter with electronic music in autumn of 1957 was for him the introduction to a \u201cnew musical time\u201d (Kagel 1962:\u00a015). Working on his first electronic composition <em>Transici\u00f3n\u00a0I<\/em> for tape, he began \u201cresearching some relations between musical material and its temporal formation.\u201d<a href=\"#fn7\" class=\"footnote-ref\" id=\"fnref7\" role=\"doc-noteref\"><sup>7<\/sup><\/a> (ibid.). A reflection on temporality also forms the basis of <em>Transici\u00f3n\u00a0II<\/em> for piano, percussion and two tapes, which despite the name has no obvious similarity with the previous work.<a href=\"#fn8\" class=\"footnote-ref\" id=\"fnref8\" role=\"doc-noteref\"><sup>8<\/sup><\/a><\/p>\n<p>The score\u00a0\u2013 published by Universal Edition in 1963\u00a0\u2013 is conceived for a pianist and a percussionist who produces sounds directly on the strings of a grand piano. Some sections must be recorded beforehand (tape\u00a01); some, if the technical conditions can guarantee a satisfactory result, should be recorded live during the performance on a second tape (tape\u00a02) conceived and played back later in a shortened form, i.e., with its duration halved, equal to a third or a quarter of the durations of the original sections. Kagel refers to these as \u2018structures\u2019, but without modifying either the pitch or the duration of the sounds (id. 1963:\u00a04). The composer states that three different layers overlap timewise:<\/p>\n<blockquote>\n<p class=\"tsquotation\">While the interpreters always play in the present, they simultaneously record fragments for the future; these fragments, in turn, become the past when, later, they are made audible through loudspeakers in the hall. (Kagel quoted in Schwartz 1973: 115)<\/p>\n<\/blockquote>\n<p>Despite the impressive variety of notational forms used in this work, such as action notation, traditional notation and graphic notation, the instructions to synchronise the three temporal layers in the final score and in particular the resulting interaction between the two tapes and the two musicians are quite minimal. Indeed, Kagel fixes some line segments at the bottom of some pages (which correspond to structures that interpreters must choose in their entirety), indicating the beginning and the end of any tape activities. This is the only information to tell the tape operator when to start the playback of tape number\u00a01 and the recording or the playback of tape number\u00a02 (see Figure\u00a04.4).<\/p>\n<p>Since the performers have the freedom to choose the order in which to perform the various parts of the piece (although a set of rules is prescribed which governs their choices),<a href=\"#fn9\" class=\"footnote-ref\" id=\"fnref9\" role=\"doc-noteref\"><sup>9<\/sup><\/a> these lines are the only possible form of writing to indicate a recording or a playback. For this reason, a written form of exact synchronisation fixed in the score once and for all remains elusive.<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/04fig04-scaled.jpg\" alt=\"Score sheet.\"><br \/>\n<span class=\"caption-text\"><strong>Figure 4.4:<\/strong> Mauricio Kagel, <em>Transici\u00f3n II<\/em>, Structure 20 C, Universal Edition London Ltd.<\/span><\/p>\n<p>Similar to the consideration of archive materials of Xenakis\u2019s <em>Analogique A\u00a0et\u00a0B<\/em>, some sketches relating to Kagel\u2019s supervision of performances of <em>Transici\u00f3n\u00a0II<\/em> also clearly reveal that each performance requires a prior elaboration\u00a0\u2013 including the synchronisation\u00a0\u2013 of the concrete version of the variable piece. On several pages kept in the Mauricio Kagel Collection at the Paul Sacher Stiftung and dated from 1959 to 1960 (thus prior to the printed score in 1963) the composer jotted down some synchronisation drafts. In these notes, often written on so-called <em>Band Begleitbl\u00e4tter<\/em> (tape accompanying sheets), or pre-printed templates generally used for tracking the studio recording work, there are several annotations concerning the synchronisation of \u2018<em>ejecuci\u00f3n<\/em>\u2019 (performance) and \u2018<em>bandas<\/em>\u2019 (tapes). In the diagram on a millimetre sheet reproduced here (see Figure\u00a04.5), Kagel notes the final synchronisation of the composition sections, for the recording session for Time Records in New York in December 1960 with David Tudor (piano), Christoph Caskel (percussion), Mauricio Kagel and Earle Brown (sound engineers).<a href=\"#fn10\" class=\"footnote-ref\" id=\"fnref10\" role=\"doc-noteref\"><sup>10<\/sup><\/a><\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/04fig05-scaled.jpg\" alt=\"Score sheet.\"><br \/>\n<span class=\"caption-text\"><strong>Figure 4.5:<\/strong> Mauricio Kagel, sketch for the synchronisation of <em>Transici\u00f3n II<\/em> for Time Records, New York 1960, Paul Sacher Stiftung, Mauricio Kagel Collection.<\/span><\/p>\n<p>In the diagrammatic graph, the x-axis represents the temporal succession, in which each centimetre is equivalent to one minute. Although the entrances to certain sections are only roughly indicated in the diagram with arrows, Kagel precisely specifies with chronometric indications at what point in time these sections enter: section B\u00a035 at 3\u02b955\u02b9\u02b9, B\u00a08\u20139 at 7\u02b940\u02b9\u02b9, A\u00a04 at 14\u02b930\u02b9\u02b9 and B\u00a025 at 15\u02b930\u02b9\u02b9 for a total of 17\u02b930\u02b9\u02b9. The y-axis represents the three types of sections\u00a0A, B and C, which Kagel refers to in the introduction to the score as \u201cthree types of structure\u201d (Kagel 1963:\u00a02). In total there are 21\u00a0structures in the piece (nine of type\u00a0A, seven of type\u00a0B and finally five of type\u00a0C). According to certain rules explained in the introduction, performers must choose which structures to play for a total duration of no less than ten minutes (Kagel 1963: 2\u20134). Furthermore, Kagel explains that on the first tape, B or C\u00a0structures should be recorded before the performance, while on the second tape, A or C\u00a0structures should be recorded during the performance. This diagram\u00a0\u2013 quite similar to the Xenakis sketch described above\u00a0\u2013 shows the necessity of working out a performance score during the preparation to visualise the concrete order of the sections including their synchronisation.<\/p>\n<h4 id=\"2\">Synchronising through a High Density of Notational Inscriptions<\/h4>\n<h6><em>Rimes<\/em> by Pousseur<\/h6>\n<p>The genesis of <em>Rimes pour diff\u00e9rentes sources sonores<\/em> (1958\u201359) began in 1957 when Hermann Scherchen asked Henri Pousseur to compose a piece for a small ensemble and tape.<a href=\"#fn11\" class=\"footnote-ref\" id=\"fnref11\" role=\"doc-noteref\"><sup>11<\/sup><\/a> The piece was then premiered the following year on the occasion of the Congress of the Jeunesses Musicales Internationales at the 1958 Brussels World\u2019s Fair, for which Iannis Xenakis designed the Philips Pavilion.<\/p>\n<p>As programmatically indicated in the title, sounds from the instruments \u2018rhyme\u2019 with sounds from magnetic tape until a unified dimension of the originally heterogeneous sound material is achieved. Pousseur writes:<\/p>\n<blockquote>\n<p class=\"tsquotation\">To \u201crhyme\u201d \u201cnatural\u201d sounds (emitted by orchestral instruments) and \u201cartificial\u201d sounds (played from the magnetic tape through loudspeakers), means to establish a correspondence between them, an exchange and sometimes a confusion of the origin, up to a trompe-l\u2019oeil.<a href=\"#fn12\" class=\"footnote-ref\" id=\"fnref12\" role=\"doc-noteref\"><sup>12<\/sup><\/a> (Pousseur quoted in Decroupet 2018: 139)<\/p>\n<\/blockquote>\n<p>In the score published by Suvini Zerboni (see Pousseur 1962), synchronisation of \u2018natural\u2019 and \u2018artificial\u2019 sounds is achieved by presenting both the instrumental parts in standard notation and sections that more or less accurately represent the events on tape on the same page. This occurs indeed through three different notational typologies. The first one is a very precise standard musical notation, which is used at the beginning when orchestral sounds are emitted, previously recorded by the same instrumentalists participating in the performance. By doing so the composer intends to introduce the recorded part imperceptibly (see Figure\u00a04.6). It is likely that these sections do not constitute a proper \u2018transcription\u2019 of the events of the tape, but rather a re-use possibly with corrections of the parts already read by the musicians for the recording before the performance. The second type consists of the transcription of tape-only parts in which dynamic indications, amplitude envelopes and frequency fields are indicated through elongated triangles, inscribed in standard stave systems with even some pitches of the pre-recorded sounds by the performers (see Figure\u00a04.7). And finally, the third one is \u201can approximate transcription of harmonies and rhythms\u201d (ibid.:\u00a019) in standard notation as stated in the score, which is not as precise as the first one, but is intended to give a rough guide to the events on the tape (see Figure\u00a04.8). Pousseur then uses the flexible forms for the recorded parts in light of their features, in particular he resorts to standard notation whenever the pitches and values of the recorded sounds remain rather defined. For electronically transformed sounds, however, he makes use of elongated triangles and similar forms to provide a visual track for the musicians during the performance.<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/04fig06-scaled.jpg\" alt=\"Score sheet.\"><br \/>\n<span class=\"caption-text\"><strong>Figure 4.6:<\/strong> Henri Pousseur, <em>Rimes<\/em>, p. 1, section Altoparlanti soli (loudspeaker only), Sugarmusic S.p.A., Edizioni Suvini Zerboni, Milano.<\/span><\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/04fig07-scaled.jpg\" alt=\"Score sheet.\"><br \/>\n<span class=\"caption-text\"><strong>Figure 4.7:<\/strong> Henri Pousseur, <em>Rimes<\/em>, p. 18, detail, section Altoparlanti soli (loudspeaker only), Sugarmusic S.p.A., Edizioni Suvini Zerboni, Milano.<\/span><\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/04fig08-scaled.jpg\" alt=\"Score sheet.\"><br \/>\n<span class=\"caption-text\"><strong>Figure 4.8:<\/strong> Henri Pousseur, <em>Rimes<\/em>, p. 19, detail, Sugarmusic S.p.A., Edizioni Suvini Zerboni, Milano.<<\/span><\/p>\n<h6><em>Kontakte<\/em> by Stockhausen<\/h6>\n<p>The use of writing to coordinate live and recorded events is particularly elaborated in the performance score of Stockhausen\u2019s <em>Kontakte<\/em> <em>Nr.\u00a012\u00a0\u00bd<\/em> for electronic sounds, piano and percussion, which is explicitly written for the \u201cinstrumentalists for the synchronisation of their music with the tape playback\u201d (see Stockhausen 1995).<\/p>\n<p>In October 1958, Stockhausen stated in <em>Elektronische und instrumentale Musik<\/em> that his works for electronic and instrumental music that had premiered that year focussed on \u201cfinding the superordinate laws of connection instead of using contrast as the most primitive type of form\u201d<a href=\"#fn13\" class=\"footnote-ref\" id=\"fnref13\" role=\"doc-noteref\"><sup>13<\/sup><\/a> (id.\u00a01963: 151). The idea of \u2018contacts\u2019 between the two parts and also between the practices of \u201ccomposing electronic music\u201d and \u201cwriting instrumental music\u201d (ibid.: 150) forms the basis of <em>Kontakte<\/em>.<a href=\"#fn14\" class=\"footnote-ref\" id=\"fnref14\" role=\"doc-noteref\"><sup>14<\/sup><\/a><\/p>\n<p>The work was premiered on 11\u00a0July 1960 in Cologne at the World Music Festival of the International Society for Contemporary Music. In an interview on that occasion, Stockhausen explained how he tried for the first time to merge the domains of instrumental and electronic music, thus producing an interaction between something totally fixed and something depending on the flexible performance of musicians.<\/p>\n<p>In this interview, Stockhausen also gave some significant information about the function of the performance score, which can to some extent also be found in the introduction to the score:<\/p>\n<blockquote>\n<p class=\"tsquotation\">Here [showing a page of the score, corresponding to page\u00a033 in Stockhausen 1995], at the top of each sheet, I drew a schematic diagram of what happens in the loudspeakers, and the musicians got used to deciphering the graphic figures during the rehearsals. The time is precisely indicated. Here above, for example, they [the interpreters] have numbers of seconds\u00a0[\u2026]. Here is written what the percussionist with his various instruments does and what the pianist does. Musicians must constantly listen to what comes from the loudspeaker and react to it appropriately in time and intensity.<a href=\"#fn15\" class=\"footnote-ref\" id=\"fnref15\" role=\"doc-noteref\"><sup>15<\/sup><\/a> (id.\u00a01960).<\/p>\n<\/blockquote>\n<p>Stockhausen denotes the events recorded on tape in the upper system, and indicates the minutes, seconds, and tenths of a second with the help of a proportional timeline. Other numbers specify the durations of certain sections circumscribed by vertical lines, and smaller numbers refer to the duration of the tape in centimetres. Numbers in brackets indicate decibels, and roman numerals stand for the four loudspeakers, and the quadrophonic spatialisation. For example, the word \u2018<em>alternierend<\/em>\u2019 (see Figure\u00a04.9, Section \u2018IC\u2019) means that the sounds should alternate between the indicated speakers. The composer mixes standard notation, graphical figures, and numbers, visualising the musical events on tape as precisely as possible.<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/04fig09-scaled.png\" alt=\"Score sheet.\"><br \/>\n<span class=\"caption-text\"><strong>Figure 4.9:<\/strong> Karlheinz Stockhausen, Kontakte, performance score for electronic sounds, piano and percussion, p. 1, I<sub>A<\/sub> &#8211; I<sub>D<\/sub>, Stockhausen-Verlag, K\u00fcrten, Germany.<\/span><\/p>\n<p>At the end of the already quoted interview, the interviewer asks Stockhausen quite ironically who might be able to read such a score. This question may have been prompted by the fact that the performance score for <em>Kontakte<\/em> does not seem \u2018traditional\u2019. Even though the musical events on tape are measurable in seconds or centimetres (a kind of exactness), the interviewer must have imagined that this would have brought about a major interpretative change for performers accustomed to counting in beats but not necessarily in standard clock time. Such a score must have somehow required a new approach to \u2018reading music\u2019, even if the performers of the premiere of <em>Kontakte<\/em>\u00a0\u2013 the pianist David Tudor and the percussionist Christoph Caskel (the same musicians of the cited performance of Kagel\u2019s <em>Transici\u00f3n\u00a0II<\/em>)\u00a0\u2013 were already renowned performers of New Music and, as Stockhausen promptly replies, could already successfully read that score.<\/p>\n<h4 id=\"3\">Writing Temporal Contact Points<\/h4>\n<p>Based on paradigmatic performance scores of <em>musique mixte<\/em>, I have described how some composers made the coordination and the synchronisation between live musicians and electroacoustic parts visible and traceable in the late 1950s. Two approaches emerged from this comparison: Some scores, such as those of <em>Analogique A\u00a0et\u00a0B<\/em> by Xenakis and of <em>Transici\u00f3n\u00a0II<\/em> by Kagel, synchronise the two sound dimensions by means of a few essential signs like arrows and lines, i.e. with a low density of synchronisation instructions. Others, such as the scores of <em>Rimes<\/em> by Pousseur and of <em>Kontakte<\/em> by Stockhausen testify to a more intense search of the composers in finding notational strategies to effectively enable the performers to coordinate with the pre-recorded electronic sections.<\/p>\n<p>Beyond the observation of these two tendencies, all <em>musique mixte<\/em> scores have one fundamental aspect in common: By nature, they have a hybrid configuration. Consequently, they give information to performers in two very different ways.<\/p>\n<p>On the one hand, standard western notation allows musicians to read, understand and transform the signs into music, namely in a future musical event subsequent to the act of writing. Standard notation descending from mensural notation indicates time in a measured way: the values of the notes are specified by their form according to the time unit and defined in relation to each other.<\/p>\n<p>On the other hand, visual inscriptions on a timeline offer the musicians a visual trace, often rather minimal, of a pre-existing sonic track, in which sometimes graphic signs provide cues to follow the events on tape. This type of notation can be defined as \u2018chronometric\u2019.<\/p>\n<p>The performance score becomes the point of contact between two ways of writing down the fluid course of time, both however inscribed in the x-axis of the imaginary Cartesian coordinate system. In her concept of \u2018flattening\u2019 as an epistemic and aesthetic function of inscribed surfaces, Sybille Kr\u00e4mer reflects that a certain impulse in human beings \u201cto transform time-bounded processes into spatial relations\u201d may indicate that as soon as \u201cwe move in complex areas of knowledge, we privilege space and spatiality as a medium and instrument over temporality\u201d (Kr\u00e4mer 2017:\u00a0244). The difference between these forms of time spatialisation, of the \u201cflattening of time-bounded processes\u201d, leads to a reflection on the creative processes and compositional approaches from which they derive.<\/p>\n<p>Considering the four chosen works, writing of mensural time derives from a compositional process mainly undertaken with pen and paper. On the contrary, writing of chronometric time is strictly connected to the process of the studio production of tape for electroacoustic music and to the preparation of a specific performance. To use an expression by Philippe Manoury, within this genre we are faced with the encounter of \u201cla note et le son\u201d (Manoury 1990), of the written note and the produced sound. <em>Musique mixte<\/em> brings together two different compositional approaches, one linked to the use of writing and one linked to electronic sound production and recording. The scores of <em>musique mixte<\/em> represent intriguing examples of how writing represents a key tool for understanding complex musical configurations such as the synchronisation between different temporalities and also between different compositional approaches which increasingly overlap and influence each other.<\/p>\n<p>As attempted in this essay with a focus on the synchronisation between different temporalities, a philology of electroacoustic music (of which <em>musique mixte<\/em> is only one of many configurations) should consider the coexistence of and interaction between \u2018writing\u2019 in the composer\u2019s own workplace and \u2018recording\u2019 in the electroacoustic studio. These are two cultural techniques with which Xenakis and the other composers mentioned here were strongly confronted and whose analysis is indispensable for the understanding of their creative processes.<\/p>\n<p style=\"text-align: center;\">***<\/p>\n<p>This essay is part of the research for my doctoral thesis entitled <em>Schrift als Werkzeug. Schriftbildliche Operativit\u00e4t in Kompositionsprozessen fr\u00fcher musique mixte (1949\u20131959)<\/em> (Minetti 2023), which was carried out within the framework of the project \u201cWriting Music. Iconic, performative, operative, and material aspects in musical notation(s)\u201d. I would like to gratefully thank the organisers and participants of the symposium \u201cXenakis 2022: Back to the Roots\u201d (May 19\u201321, 2022, University of Music and Performing Arts Vienna) for their valuable comments on the topic of this paper. Translations are my own unless otherwise specified.<\/p>\n<h4>Endnotes<\/h4>\n<hr>\n<ol>\n<li id=\"fn1\">\n<p>\u201cAls historisch erste solcher Zeitmanipulationstechniken hat selbstredend die Schrift figuriert\u201d. (Kittler 1993: 183).<a href=\"#fnref1\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn2\">\n<p>Tiffon identifies three configurations of <em>musique mixte<\/em>: C+: <em>musique mixte<\/em> in the strict sense, i.e., that which combines instrumentalists with parts recorded in advance; C*: <em>musique mixte<\/em> which associates instrumentalists with electronic parts in real time, and finally, C+*: a combination of the previous two types: <em>musique mixte<\/em> in which the instrumentalists are associated with both previously recorded and live electronic parts. In the abbreviations the letter\u00a0C stands for \u2018concert\u2019, the cross\u00a0(+) for electronic parts recorded in advance and the asterisk\u00a0(*) for electronic parts in real time. (Tiffon 2005: 23f.) The compositions by Xenakis, Pousseur and Stockhausen are ascribable to the configuration of <em>musique mixte<\/em> in the strict sense, which combines instrumentalists with parts recorded in advance. Besides live musicians, <em>Transici\u00f3n\u00a0II<\/em> by Mauricio Kagel includes recordings made in advance and recordings made during the performance.<a href=\"#fnref2\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn3\">\n<p>In the review by Pendleton, the work is referred to as <em>Analogique A\u00a0+\u00a0B<\/em> and not <em>Analogique A\u00a0et\u00a0B<\/em>, as it is later indicated in the published score of <em>Analogique\u00a0A<\/em> (Xenakis 1968).<a href=\"#fnref3\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn4\">\n<p>Listen to the recording of <em>Analogique A\u00a0et\u00a0B<\/em> from the CD Ensemble Resonanz (2005) <em>Xenakis: Works for Strings<\/em>, conducted by Johannes Kalitzke (Mode 152). Available also at this link: https:\/\/youtu.be\/sOGkhekIGzo (accessed October 31, 2022).<a href=\"#fnref4\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn5\">\n<p>\u201cXenakis fait partie des compositeurs qui postulent l\u2019autonomie de l\u2019univers de la musique \u00e9lectroacoustique. Aussi, il ne choisit pas la voie de nombre de compositeurs qui pratiquent de la musique mixte, notamment \u00e0 partir des ann\u00e9es 1980, dans l\u2019id\u00e9e que l\u2019univers \u00e9lectronique n\u2019est qu\u2019une extension du monde instrumental. En ce sens, il estime\u00a0\u2013 \u00e0 la suite d\u2019un Var\u00e8se\u00a0\u2013 que la mixit\u00e9 est une affaire tr\u00e8s d\u00e9licate, qu\u2019il convient d\u2019utiliser avec parcimonie.\u201d (Solomos 2017: 163).<a href=\"#fnref5\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn6\">\n<p>As in this sketch, in the score published five years later (1968) the tape sections are indicated by Roman numerals. Section\u00a0VIII at 33\u00a0seconds is, however, no longer present.<a href=\"#fnref6\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn7\">\n<p>\u201cIn <em>\u2018Transici\u00f3n I<\/em>\u2019\u00a0[\u2026] war der Ausgangspunkt zur kompositorischen Arbeit die Untersuchung einiger Zusammenh\u00e4nge des klanglichen Materials in Bezug auf seine zeitliche Formulierung.\u201d (Kagel 1962:\u00a015).<a href=\"#fnref7\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn8\">\n<p>Kagel began to work on the electronic piece <em>Transici\u00f3n\u00a0I<\/em> as early as 1957, but the work was only completed in 1960 at the Studio for Electronic Music of the West German Radio\u00a0(WDR) (see Steigerwald 2011: 127).<a href=\"#fnref8\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn9\">\n<p>Kagel specifies in the score: \u201cIn preparing a version for performance, a selection may be made from among the 21\u00a0sections. The number of sections so selected must make up a version of at least 10\u00a0minutes duration (the version of maximum duration will include all sections). Structures must be performed only in their entirety and are to be played once. All pages of a version must be played \u2018attacca\u2019. The arrangement of A-, B- or C-structures is free (this includes the possibility of placing structures of the same type and to end in immediate succession) subject only to the following restrictions\u00a0[\u2026]\u201d (Kagel 1963:\u00a02).<a href=\"#fnref9\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn10\">\n<p>In the annotation concerning the musicians of this performance, Kagel designates himself as \u201cTonmeister\u201d while referring to Brown as \u201cToningenieur\u201d (see also Steigerwald 2011: 127). The performance was released on Time Records in 1961 as a 33\u00a01\/3\u00a0rpm LP combined with Karlheinz Stockhausen\u2019s compositions <em>Zyklus<\/em> and <em>Refrain<\/em>. In 2013, Naxos Classical Archives re-released it on CD, remastered by David Lennick and Joe Salerno. It is available on YouTube: <a href=\"https:\/\/www.youtube.com\/watch?v=l3AwyNTVERQ\">https:\/\/www.youtube.com\/watch?v=l3AwyNTVERQ<\/a> (accessed October 7, 2022).<a href=\"#fnref10\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn11\">\n<p>The first version was followed by two further versions, the last of which, defined by Pousseur himself as the \u201c<em>version r\u00e9g\u00e9n\u00e9r\u00e9e<\/em>\u201d and regarded as definitive, was written in the studio of Tempo Reale in Florence and performed in Turin in 2006.<a href=\"#fnref11\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn12\">\n<p>\u201cFaire \u2018rimer\u2019 des sons \u2018naturels\u2019 (\u00e9mis par les instruments de l\u2019orchestre) et des sons \u2018artificiels\u2019 (\u00e9mis par la bande magn\u00e9tique \u00e0 travers les haut-parleurs), soit \u00e9tablir entre eux une correspondance, un \u00e9change et parfois une confusion des caract\u00e8res, pouvant aller jusqu\u2019au trompe-l\u2019\u0153il.\u201d (Pousseur, transcription of typescript dated November\u00a029, 1961, quoted in Decroupet 2018: 139).<a href=\"#fnref12\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn13\">\n<p>\u201cEs geht darum, \u00fcber den Kontrast hinaus\u00a0\u2013 der die primitivste Art einer Form darstellt\u00a0\u2013 die \u00fcbergeordneten Gesetzm\u00e4\u00dfigkeiten einer Verbindung zu finden.\u201d (Stockhausen 1963: 150).<a href=\"#fnref13\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn14\">\n<p>Stockhausen uses the terms \u201ccomposing\u201d respectively \u201cwriting\u201d in relation to \u201celectronic music\u201d and to \u201cinstrumental music\u201d (see Stockhausen 1963: 150).<a href=\"#fnref14\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn15\">\n<p>The interview <em>Karlheinz Stockhausen explains \u201cKontakte\u201d<\/em> is available at this link: https:\/\/youtu.be\/7XWNR_TcPFI (accessed October 2022). The interviewer could not yet be identified. Transcription of the original language: \u201cDa habe ich dann jeweils auf jedem Blatt oben ein bisschen schematisch aufgezeichnet was in den Lautsprechern passiert, und die Musiker haben sich im Verlauf der Probe daran gew\u00f6hnt, das grafische Bild zu entziffern. Die Zeit ist genau angegeben. Hier oben haben sie zum Beispiel Sekundenzahlen\u00a0[\u2026]. Hier ist dann jeweils geschrieben das, was der Schlagzeuger macht mit seinen verschiedenen Instrumenten und was der Pianist macht. Die Musiker m\u00fcssen dauernd h\u00f6ren auf das, was vom Lautsprecher kommt und entsprechend zeitlich und in der Intensit\u00e4t darauf reagieren.\u201d<a href=\"#fnref15\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<\/ol>\n<h4 id=\"4\">Bibliography<\/h4>\n<p><\/p>\n<p class=\"bibliography\">Blondeau, Julia (2017) <em>Espaces compositionnels et temps multiples\u202f: de la relation forme\/mat\u00e9riau<\/em>, Paris: Universit\u00e9 Pierre et Marie Curie (Paris\u00a0VI); <a href=\"https:\/\/tel.archives-ouvertes.fr\/tel-01717249\">https:\/\/tel.archives-ouvertes.fr\/tel-01717249<\/a> (accessed March 27, 2024).<\/p>\n<p class=\"bibliography\">Celestini, Federico, Nanni, Matteo, Obert, Simon, and Urbanek, Nikolaus, eds. (2020): \u201cZu einer Theorie der musikalischen Schrift. Materiale, operative, ikonische und performative Aspekte musikalischer Notationen\u201d, in <em>Musik und Schrift: interdisziplin\u00e4re Perspektiven auf musikalische Notationen<\/em>, ed. by Carolin Ratzinger, Nikolaus Urbanek, and Sophie Zehetmayer, Paderborn: Wilhelm Fink, 1\u201350.<\/p>\n<p class=\"bibliography\">Chion, Michel (1991) <em>L\u2019art des sons fix\u00e9s ou la musique concr\u00e8tement<\/em>, Fontaine: Metamkine.<\/p>\n<p class=\"bibliography\">Cont, Arshia (2012) \u201cSynchronisme musical et musiques mixtes: du temps \u00e9crit au temps produit\u201d, in <em>Circuit<\/em>\u00a022\/1, 9\u201324; <a href=\"https:\/\/doi.org\/10.7202\/1008965ar\">https:\/\/doi.org\/10.7202\/1008965ar<\/a> (accessed March 27, 2024).<\/p>\n<p class=\"bibliography\">Decroupet, Pascal (2018) \u201cHenri Pousseur. Three source texts concerning <em>Rimes pour differentes sources sonores<\/em>\u201d, in <em>The Performance Practice of Electroacoustic Music: The Studio di Fonologia years<\/em>, ed. by Lucas Bennett and Germ\u00e1n Toro P\u00e9rez, Bern\/Vienna: Peter Lang, 137\u2013147.<\/p>\n<p class=\"bibliography\">Di Scipio, Agostino (2005) \u201cFormalization and Intuition in <em>Analogique A\u00a0et\u00a0B<\/em> (with some remarks on the historical-mathematical sources of Xenakis)\u201d, in <em>Definitive<\/em> <em>Proceedings:<\/em> <em>International Symposium Iannis Xenakis<\/em>, ed. by Makis Solomos, Anastasia Georgaki, and Giorgos Zervos, Athens: University of Athens: <a href=\"https:\/\/cicm.univ-paris8.fr\/ColloqueXenakis\/papers\/Di%20Scipio.pdf\">https:\/\/cicm.univ-paris8.fr\/ColloqueXenakis\/papers\/Di%20Scipio.pdf<\/a> (accessed September 10, 2023).<\/p>\n<p class=\"bibliography\">Harley, James (2004) <em>Xenakis: His Life in Music<\/em>, New York: Routledge.<\/p>\n<p class=\"bibliography\">Jordheim, Helge (2017) \u201cSynchronizing the World: Synchronism as Historiographical Practice, Then and Now\u201d, in <em>History of the Present<\/em>\u00a07\/1\/, 59\u201395, <a href=\"https:\/\/doi.org\/10.5406\/historypresent.7.1.0059\">https:\/\/doi.org\/10.5406\/historypresent.7.1.0059<\/a> (accessed March 27, 2024).<\/p>\n<p class=\"bibliography\">Kagel, Mauricio (1962) \u201cTransici\u00f3n\u00a0I: Elektronische Musik 1958\u201360. Bemerkungen\u201d, in <em>Neue Musik: kunst- und gesellschaftskritische Beitr\u00e4ge<\/em>\u00a05\/6, [15\u201317].<\/p>\n<p class=\"bibliography\">Kittler, Friedrich (1993) <em>Draculas Verm\u00e4chtnis: Technische Schriften<\/em>, Leipzig: Reclam.<\/p>\n<p class=\"bibliography\">Kr\u00e4mer, Sybille (2006) \u201cThe Cultural Techniques of Time Axis Manipulation. On Friedrich Kittler\u2019s Conception of Media\u201d, in <em>Theory, Culture\u00a0&amp; Society<\/em>\u00a023\/7\u20138, 93\u2013109.<\/p>\n<p class=\"bibliography\">Kr\u00e4mer, Sybille (2017) \u201cFlattening as Cultural Technique: Epistemic and Aesthetic Functions of Inscribed Surfaces\u201d, in <em>Journal of the American Musicological Society<\/em>\u00a070\/1, 239\u2013245.<\/p>\n<p class=\"bibliography\">Luque, Sergio (2009) \u201cThe Stochastic Synthesis of Iannis Xenakis\u201d, in <em>Leonardo Music Journal<\/em>\u00a019, 77\u201384, <a href=\"https:\/\/doi.org\/10.1162\/lmj.2009.19.77\"><u>https:\/\/doi.org\/10.1162\/lmj.2009.19.77<\/u><\/a> (accessed September 10, 2023).<\/p>\n<p class=\"bibliography\">Manoury, Philippe (1990) \u201cLa note et le son\u00a0: un carnet de bord\u201d, in <em>Musiques \u00c9lectroniques: Revue Contrechamps, Essais historiques ou th\u00e9matiques<\/em>\u00a011, ed. by Philippe Alb\u00e8ra, 151\u2013164; <a href=\"https:\/\/doi.org\/10.4000\/books.contrechamps.1589\">https:\/\/doi.org\/10.4000\/books.contrechamps.1589<\/a> (accessed March 27, 2024).<\/p>\n<p class=\"bibliography\">Minetti, Elena (2023) <em>Schrift als Werkzeug. Schriftbildliche Operativit\u00e4t in Kompositionsprozessen fr\u00fcher<\/em> musique mixte <em>(1949\u20131959)<\/em>, PhD thesis, mdw\u00a0\u2013 University of Music and Performing Arts Vienna.<\/p>\n<p class=\"bibliography\">Pendelton, Edmund J. (1960) \u201cParis Festival of Research\u201d, in <em>The New York Herald Tribune<\/em>. Centre Iannis Xenakis 2703, Fonds Sharon Kanach, <a href=\"https:\/\/www.centre-iannis-xenakis.org\/items\/show\/242\">https:\/\/www.centre-iannis-xenakis.org\/items\/show\/242<\/a> (accessed October 31, 2022).<\/p>\n<p class=\"bibliography\">Sallis, Friedemann, Bertolani, Valentina, Burle, Jan, and Zattra, Laura, eds. (2018) <em>Live Electronic Music: Composition, Performance, Study<\/em>, London\/New York: Routledge.<\/p>\n<p class=\"bibliography\">Scaldaferri, Nicola (2002) \u201cMontage und Synchronisation: Ein neues musikalisches Denken in der Musik von Luciano Berio und Bruno Maderna\u201d, in <em>Handbuch der Musik im 20.\u00a0Jahrhundert: 5.\u00a0Elektroakustische Musik<\/em>, ed. by Elena Ungeheuer, Laaber: Laaber-Verlag, 66\u201382.<\/p>\n<p class=\"bibliography\">Schwartz, Elliott (1973) <em>Electronic Music: A Listener\u2019s Guide<\/em>, New York: Praeger.<\/p>\n<p class=\"bibliography\">Solomos, Makis (2017) \u201cNotes sur la musique mixte de Xenakis\u201d, in <em>Analyser la musique mixte<\/em>, ed. by Alain Bonardi, Bruno Bossis, Pierre Couprie, and Vincent Tiffon, Sampzon: Delatour, 163\u2013178.<\/p>\n<p class=\"bibliography\">Steigerwald, Pia (2011) <em>\u201cAn Tasten\u201d: Studien zur Klaviermusik von Mauricio Kagel<\/em>, Hofheim: Wolke.<\/p>\n<p class=\"bibliography\">Stockhausen, Karlheinz (1960) \u201cKarlheinz Stockhausen explains \u2018Kontakte\u2019\u201d, interview at the WDR Cologne: <a href=\"https:\/\/youtu.be\/7XWNR_TcPFI\">https:\/\/youtu.be\/7XWNR_TcPFI<\/a> (accessed October 31, 2022).<\/p>\n<p class=\"bibliography\">Stockhausen, Karlheinz (1963) \u201cElektronische und instrumentale Musik\u201d, in <em>Texte zur elektronischen und instrumentalen Musik<\/em>, ed. by Dieter Schnebel, Cologne: DuMont, 140\u2013151.<\/p>\n<p class=\"bibliography\">Tiffon, Vincent (1994) <em>Recherches sur les musiques mixtes<\/em>, Marseille: Universit\u00e9 d\u2019Aix-Marseille\u00a0I.<\/p>\n<p class=\"bibliography\">Tiffon, Vincent (2005) \u201cLes musiques mixtes\u00a0: entre p\u00e9rennit\u00e9 et obsolescence\u201d, in <em>Musurgia<\/em>\u00a012\/3, 23\u201345.<\/p>\n<p class=\"bibliography\">Tiffon, Vincent (2013) \u201cMusique Mixte\u201d, in <em>Th\u00e9ories dela composition musicale au XXe si\u00e8cle<\/em>, ed. by Nicolas Donin and Laurent Feneyrou, Lyon: Sym\u00e9trie, 1297\u20131314.<\/p>\n<p class=\"bibliography\">Xenakis, Iannis (1963) \u201cMusiques formelles: nouveaux principes formels de composition musicale\u201d, in <em>La revue musicale<\/em>, special double issue no.\u00a0253\u2013254, Paris: Editions Richard-Masse.<\/p>\n<p class=\"bibliography\">Xenakis, Iannis (1971) <em>Musique, architecture<\/em>, Tournai: Casterman.<\/p>\n<p class=\"bibliography\">Xenakis, Iannis (1992) <em>Formalized Music. Thought and Mathematics in Composition<\/em>, ed. by Sharon Kanach, Stuyvesant\u00a0N.Y.: Pendragon Press.<\/p>\n<h4 id=\"5\">Musical scores<\/h4>\n<p><\/p>\n<p class=\"bibliography\">Kagel, Mauricio (1963) <em>Transici\u00f3n\u00a0II f\u00fcr Klavier, Schlagzeug und zwei Tonb\u00e4nder<\/em> (1958\u201359) (UE 13809), London: Universal Edition.<\/p>\n<p class=\"bibliography\">Pousseur, Henri (1962) <em>Rimes pour diff\u00e9rentes sources sonores<\/em> [1958\u201359] (S.\u00a05520 Z.), Milano: Edizioni Suvini Zerboni.<\/p>\n<p class=\"bibliography\">Stockhausen, Karlheinz (1995) <em>Kontakte f\u00fcr elektronische Kl\u00e4nge, Klavier und Schlagzeug Nr.\u00a012\u00a0\u00bd, Auff\u00fchrungspartitur<\/em>, K\u00fcrten: Stockhausen-Verlag.<\/p>\n<p class=\"bibliography\">Xenakis, Iannis (1968) <em>Analogique A: Partition d\u2019orchestre<\/em>. Vol. E.A.S. 17169, Paris: \u00c9ditions Salabert.<\/p>\n<h4 id=\"6\">List of Figures<\/h4>\n<p><\/p>\n<p class=\"bibliography\"><strong>Figure 4.1:<\/strong> Iannis Xenakis, <em>Analogique A<\/em>, orchestra score, p. 3, detail, Durand Salabert Eschig, Paris.<\/p>\n<p class=\"bibliography\"><strong>Figure 4.2:<\/strong> Iannis Xenakis, <em>Analogique A<\/em>, orchestra score, p. 5, detail, Durand Salabert Eschig, Paris.<\/p>\n<p class=\"bibliography\"><strong>Figure 4.3:<\/strong> Iannis Xenakis, <em>Analogique A et B<\/em>, sketch, Collection Famille Xenakis DR, OM 5-5, p. 5.<\/p>\n<p class=\"bibliography\"><strong>Figure 4.4:<\/strong> Mauricio Kagel, <em>Transici\u00f3n II<\/em>, <em>Structure 20 C<\/em>, Universal Edition London Ltd.<\/p>\n<p class=\"bibliography\"><strong>Figure 4.5:<\/strong> Mauricio Kagel, sketch for the synchronisation of <em>Transici\u00f3n II<\/em> for Time Records, New York 1960, Paul Sacher Stiftung, Mauricio Kagel Collection.<\/p>\n<p class=\"bibliography\"><strong>Figure 4.6:<\/strong> Henri Pousseur, <em>Rimes<\/em>, p. 1, detail, Sugarmusic S.p.A., Edizioni Suvini Zerboni, Milano.<\/p>\n<p class=\"bibliography\"><strong>Figure 4.7:<\/strong> Henri Pousseur, <em>Rimes<\/em>, p. 18, detail, section <em>Altoparlanti soli<\/em> (loudspeaker only), Sugarmusic S.p.A., Edizioni Suvini Zerboni, Milano.<\/p>\n<p class=\"bibliography\"><strong>Figure 4.8:<\/strong> Henri Pousseur, <em>Rimes<\/em>, p. 19, detail, Sugarmusic S.p.A., Edizioni Suvini Zerboni, Milano.<\/p>\n<p class=\"bibliography\"><strong>Figure 4.9:<\/strong>\u00a0Karlheinz Stockhausen, <em>Kontakte<\/em>, performance score for electronic sounds, piano and percussion, p. 1, I<sub>A<\/sub> &#8211; I<sub>D<\/sub>, Stockhausen-Stiftung f\u00fcr Musik, K\u00fcrten, Germany.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>A Challenge of Writing in Musique Mixte from\u00a01958\u00a0to 1960 Elena Minetti \u201cWriting is historically the first technique for manipulating time\u201d1 (Kittler 1993: 183; English translation in Kr\u00e4mer 2006:\u00a099). With this phrase, Friedrich Kittler considered writing to be the earliest technique for arranging and reversing events happening on the time axis. In this view, writing is &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-4939","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>Minetti: Synchronising Different Temporalities &#8211; mdwPress<\/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\/en\/mdwp013-005\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Minetti: Synchronising Different Temporalities &#8211; mdwPress\" \/>\n<meta property=\"og:description\" content=\"A Challenge of Writing in Musique Mixte from\u00a01958\u00a0to 1960 Elena Minetti \u201cWriting is historically the first technique for manipulating time\u201d1 (Kittler 1993: 183; English translation in Kr\u00e4mer 2006:\u00a099). With this phrase, Friedrich Kittler considered writing to be the earliest technique for arranging and reversing events happening on the time axis. In this view, writing is &hellip;\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.mdw.ac.at\/mdwpress\/en\/mdwp013-005\/\" \/>\n<meta property=\"og:site_name\" content=\"mdwPress\" \/>\n<meta property=\"article:published_time\" content=\"2025-06-16T12:09:43+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2025-07-08T09:59:52+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2021\/02\/orcid.png\" \/>\n<meta name=\"author\" content=\"Max Bergmann\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Max Bergmann\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"18 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/en\/mdwp013-005\/#article\",\"isPartOf\":{\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/en\/mdwp013-005\/\"},\"author\":{\"name\":\"Max Bergmann\",\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/en\/#\/schema\/person\/baeca6376964344151955aa663964c9c\"},\"headline\":\"Synchronising Different Temporalities\",\"datePublished\":\"2025-06-16T12:09:43+00:00\",\"dateModified\":\"2025-07-08T09:59:52+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/en\/mdwp013-005\/\"},\"wordCount\":3598,\"publisher\":{\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/en\/#organization\"},\"image\":{\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/en\/mdwp013-005\/#primaryimage\"},\"thumbnailUrl\":\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2021\/02\/orcid.png\",\"articleSection\":[\"Friedl, Grill, Urbanek, Ziegler (eds.): Xenakis\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.mdw.ac.at\/mdwpress\/en\/mdwp013-005\/\",\"url\":\"https:\/\/www.mdw.ac.at\/mdwpress\/en\/mdwp013-005\/\",\"name\":\"Minetti: Synchronising Different Temporalities &#8211; 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