{"id":5110,"date":"2025-06-16T14:05:44","date_gmt":"2025-06-16T12:05:44","guid":{"rendered":"https:\/\/www.mdw.ac.at\/mdwpress\/?p=5110"},"modified":"2025-07-08T12:03:21","modified_gmt":"2025-07-08T10:03:21","slug":"mdwp013-009","status":"publish","type":"post","link":"https:\/\/www.mdw.ac.at\/mdwpress\/en\/mdwp013-009\/","title":{"rendered":"Sonic Otherness"},"content":{"rendered":"<h2 class=\"subtitle\">Traces of Traditional Musics in\u00a0Xenakis\u2019s Electroacoustic\u00a0\u0152uvre<\/h2>\n<h3 class=\"author\"><em>Reinhold Friedl<\/em> <a href=\"https:\/\/orcid.org\/0009-0001-1276-146X\"><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: italic !important;\n     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id=\"zp-ID-5110-4511395-RN86MLF9\" data-zp-author-date='Friedl-2024-12-31' data-zp-date-author='2024-12-31-Friedl' 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. 2024. \u201cSonic Otherness. Traces of Traditional Musics in Xenakis\u2019s Electroacoustic OEuvre.\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\/9783839474297-009. <a title='Cite in RIS Format' class='zp-CiteRIS' data-zp-cite='api_user_id=4511395&item_key=RN86MLF9' 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\">Introduction<\/a><br \/>\n<a href=\"#2\">Traditional Musics and Electroacoustic Music<\/a><br \/>\n<a href=\"#3\">Xenakis\u2019s Electroacoustic Compositions<\/a><br \/>\n<a href=\"#4\">Conclusion<\/a><br \/>\n<a href=\"#5\">Bibliography<\/a><br \/>\n<a href=\"#6\">Audio and Video Sources<\/a><br \/>\n<a href=\"#7\">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_9783839474297-009.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<div class=\"motto\">\n<p style=\"font-family: sans-serif; text-align: right; margin-bottom: 1.2cm;\">No expedition to Amazonia, Sikkim or Kilimamdjaro without a tape recorder. No tape experiments, no phonog\u00e8ne or electronic music in Paris, Milan or New York without Zulus, sorcerers and lamas.<a href=\"#fn1\" class=\"footnote-ref\" id=\"fnref1\" role=\"doc-noteref\"><sup>1<\/sup><\/a> (Schaeffer 1960: 300)<\/p>\n<\/div>\n<h4 id=\"1\">Introduction<\/h4>\n<p>This article discusses a hitherto little-noticed aspect of Xenakis\u2019s \u0153uvre: the use of recordings of instruments from traditional music cultures in his electroacoustic music. \u201cTraditional musics\u201d shall in this article denote\u00a0\u2013 according to Jaap Kunst\u2019s definition of ethnomusicology as a subject of study\u00a0\u2013 \u201call tribal and folk music and every kind of non-European art music\u201d (Rice 2014:\u00a07). This is exactly, what Xenakis was interested in: folk musics, European included, and art music from other cultures (especially Japan), or in other words: every traditional music beyond Western art music (with the exception of contemporary popular music).<\/p>\n<p>Already in his youth Xenakis was interested in folk music. In his first steps as a composer, he tried to follow B\u00e9la Bart\u00f3k. In the beginning of the 1950s, Xenakis started to discover non-European music and studied with Olivier Messiaen\u00a0\u2013 an avowed lover of Indian Classical music. Having trained in the late 1950s with Pierre Schaeffer at the GRM (Groupe de recherches musicales) in Paris, Xenakis was\u00a0\u2013 after his experience in the class of Messiaen\u00a0\u2013 once more in an environment very open for traditional music from all over the world. Schaeffer had not only founded the GRM, but also Radio France\u2019s own record label Ocora to collect and preserve traditional music heritage especially in Africa. Xenakis had a considerable private collection: The Xenakis Archives in the Biblioth\u00e8que nationale in Paris list more than 90\u00a0tapes and audio cassettes with traditional music from Zaire to Japan, from Central Africa to Bali, from Norway to Corsica. Xenakis\u2019s first commission was to compose film music for <em>Orient-Occident<\/em> (1960), a film dedicated to the cultural connection between East and West.<\/p>\n<p>Xenakis was attracted by unusual sounds: In his first tape piece <em>Diamorphoses<\/em> (1957) he used the noise of airplanes and wind, and later included in his electroacoustic music\u00a0\u2013 especially in his polytopes\u00a0\u2013 sounds of non-European instruments, like African thumb pianos, kalimbas or a Japanese biwa in <em>Hibiki Hana Ma<\/em> (1970). The characteristic bass bourdon of <em>Bohor<\/em> (1962) is a transposed Laotian mouth organ. Almost all of his polytopes include recordings of what he calls \u2018Jew\u2019s harps\u2019 (\u2018guimbardes\u2019). Even in his late electronic computer music, he could not resist the temptation of sound material from other continents: Thanks to the second generation of the UPIC system (Unit\u00e9 Polyagogique Informatique du CEMAMu) Xenakis was able to use samples, probably doing so in <em>Voyage absolu des Unari vers Androm\u00e8de<\/em> (1989).<\/p>\n<p>It is difficult to determine the exact provenance of the recordings of traditional musics and sounds used by Xenakis: Sometimes they are treated with tape manipulation techniques or cumulated in overlays and eventually used as samples; Xenakis hardly ever listed the sources. Recordings and production tapes as well as paper drafts from the work in the studio were often lost. But listening comparisons and Xenakis\u2019s naming in preserved sketches and scores is unequivocal: We must revise our notion (derived largely from the rare publications on this topic mostly related to his instrumental music) that Xenakis used traditional musics only as an inspiration for structural goals. Certainly, he used large-scale recordings of traditional instruments, perhaps even parts of existing traditional music recordings. If Xenakis did some recordings himself, the question arises whether or not he \u2018improvised\u2019, thus contradicting his explicit rejection of improvisation.<\/p>\n<p>The use of recordings of traditional musics in Xenakis\u2019s electroacoustic compositions has for pragmatic reasons not been studied extensively to date: Analogue recordings in archives are hardly accessible, and if already digitised, copies are difficult to get within the normal procedure of libraries. This makes it almost impossible to compare different sources. But even if that were the case, a methodological problem arises: Musicological research is mostly based on written sources and rarely on auditive ones. In this context, re-evaluation becomes necessary, as does comparative listening.<\/p>\n<p>The influence of traditional musics on Xenakis\u2019s work has been discussed first by Makis Solomos as an example of the broader use of \u201cmusical cultures indiscriminately referred to here as traditional, local or extra-European\u201d (Solomos 2010: 228) in contemporary music (Stockhausen, Boulez, etc.). Solomos focusses on Xenakis\u2019s instrumental music and points out: \u201cThe integration [of non-European music] was mostly carried out for structural purposes\u00a0\u2013 that is, precisely to radically renew the musical language\u201d<a href=\"#fn2\" class=\"footnote-ref\" id=\"fnref2\" role=\"doc-noteref\"><sup>2<\/sup><\/a> (ibid.), and not only to get an \u201cexotic look\u201d [<em>optique d\u2019exotisme<\/em>]. \u201cHis interest [in non-European music] is not heard much in his work, since the reference to local music is made in a structural way\u201d<a href=\"#fn3\" class=\"footnote-ref\" id=\"fnref3\" role=\"doc-noteref\"><sup>3<\/sup><\/a> (ibid.: 229).<\/p>\n<p>Ronan Gil de Morais calls this into question and gives a comparative listening example of an original gamelan piece from Bali that Xenakis transcribed (at least the scale) and \u201ca conclusive section in the <em>Claviers<\/em> movement [a part of <em>Pl\u00e9\u00efades<\/em> (1978)]\u201d (De\u00a0Morais 2022: 336), as \u201chearing it at the BnF [Biblioth\u00e8que nationale de France], a direct correlation with the movement <em>Claviers<\/em> emerged\u201d (ibid.). De\u00a0Morais states: \u201cXenakis\u2019s relationship with Indonesian gamelan music cannot be described as appropriation but rather more of an influence\u201d (ibid.). This influence is clearly audible, thus not only structural.<\/p>\n<p>For Xenakis\u2019s electroacoustic music the influence is even stronger: Listening to his tape music\u00a0\u2013 especially the single tracks of his multitrack compositions\u00a0\u2013 shows that the composer extensively used recordings of traditional instruments, perhaps even some existing recordings of traditional musics. Even though this remains unclear, he was not the only one. Gianmario Borio described the long tradition of \u201csolidarity between ethnology and avant-garde\u201d in the 20th\u00a0century (Borio 2011). And Romuald Vandelle stated as early as 1959:<\/p>\n<blockquote>\n<p class=\"tsquotation\">If\u00a0[\u2026] works of exotic music and works of experimental music are played to an unprepared audience, they might be confused. This is no coincidence but rather a result of the great similarities between the two types of music.<a href=\"#fn4\" class=\"footnote-ref\" id=\"fnref4\" role=\"doc-noteref\"><sup>4<\/sup><\/a> (Vandelle 1959:\u00a035)<\/p>\n<\/blockquote>\n<h4 id=\"2\">Traditional Musics and Electroacoustic Music<\/h4>\n<p>Born in Br\u0103ila in Romania, Xenakis\u2019s first attempts as a composer have been influenced by B\u00e9la Bart\u00f3k, following his approach of using folk music as a source of inspiration (Baltensperger 1996; Matossian 2005). Xenakis\u2019s family returned to Greece when he was eight years old. Xenakis remained receptive to traditional music throughout his life.<\/p>\n<blockquote>\n<p class=\"tsquotation\">I know it sounds silly, but sometimes a sentimental melody can move me to tears.\u00a0[\u2026] Music can even make me cry. It\u2019s crazy. But it still happens today. (Xenakis 1995:\u00a017)<\/p>\n<\/blockquote>\n<p>For a composer who is notorious for his rational concepts and who even tried to build an automatic composing machine towards the end of his life, this is surprising. But for Xenakis, rational design and emotional content of music were not opposites.<\/p>\n<blockquote>\n<p class=\"tsquotation\">I loved traditional music\u00a0\u2013 Indian music, for example\u00a0\u2013 and I always found the music of the Noh theatre to be extraordinary. Intuitively, I thought: It must be very close to the music of the first ancient tragedies. This wide-ranging interest that I have always had, comes perhaps from the fact that I was born in Romania and that very early on I heard Gypsy, Hungarian and Russian music\u00a0\u2026 (Xenakis 1994: 109)<\/p>\n<\/blockquote>\n<p>Xenakis had to flee Greece because of his opposition to the British occupation. He arrived in Paris in 1947.<\/p>\n<blockquote>\n<p class=\"tsquotation\">I worked for Le Corbusier, first as an engineer and then as an architect, while starting to compose\u00a0\u2026 folkloric-post-Bart\u00f3kian music.<a href=\"#fn5\" class=\"footnote-ref\" id=\"fnref5\" role=\"doc-noteref\"><sup>5<\/sup><\/a> (Xenakis 2003:\u00a019)<\/p>\n<\/blockquote>\n<p>And Xenakis opened his listening horizons to non-European music:<\/p>\n<blockquote>\n<p class=\"tsquotation\">In 1948 I was already a composer. But I was only writing somewhat folkloristic mawkishness. Greek folklore helped me a lot. At the time this type of music sold well, thanks in particular to the Chant du Monde team, which was financed by the Soviet Union. This publisher distributed very beautiful things. And I used to go to Andr\u00e9 Schaeffner, who introduced me to the music of Bali, Java and Japan. That was in 1950.<a href=\"#fn6\" class=\"footnote-ref\" id=\"fnref6\" role=\"doc-noteref\"><sup>6<\/sup><\/a> (Xenakis 2003:\u00a041f.)<\/p>\n<\/blockquote>\n<p>Andr\u00e9 Schaeffner founded the ethnomusicological department of the Mus\u00e9e de l\u2019homme in Paris in 1929 and directed it until 1965. His influence on contemporary music was immense and, at least in France, well known; his correspondence with Pierre Boulez has been published (Boulez, Schaeffner 1998). Probably the same year, also in 1950<a href=\"#fn7\" class=\"footnote-ref\" id=\"fnref7\" role=\"doc-noteref\"><sup>7<\/sup><\/a> (Gerhards 1972: 366), Xenakis attended the composition class of Olivier Messiaen, who had a particularly strong interest in Indian classical music and its rhythmical structures. Xenakis discovered \u201cHindu music. The most civilised and perfect rhythmic organisation\u201d, as he noted in 1951 (M\u00e2che 2011:\u00a021). Francois-Bernard M\u00e2che speculates that Xenakis might even already have been involved with Indian Classical music before he met Messiaen.<a href=\"#fn8\" class=\"footnote-ref\" id=\"fnref8\" role=\"doc-noteref\"><sup>8<\/sup><\/a> Subsequently Xenakis composed for Indian percussion instruments, as the recently discovered score of <em>Rythmes sur Tabla<\/em> (1953) shows (Declercq 2022: 338).<\/p>\n<p>Since the beginning of ethnomusicology, audio recordings and the phonograph have been at the base of ethnomusicological research. Bart\u00f3k especially preferred recordings of traditional music to transcriptions (Borio 2015: 136), which for him were more of an analytical tool as well as a way of providing materials for his activity as a composer. Xenakis profited early on from ethnomusicological audio recordings. He also listened to commercial records of traditional music and would have tape recorded some of them for his own personal use (De\u00a0Marais 2022: 329); he might have obtained copies of unreleased recordings via Schaeffner.<\/p>\n<blockquote>\n<p class=\"tsquotation\">I knew Noh because I discovered it at Andr\u00e9 Schaeffner\u2019s home in the attics of the Mus\u00e9e de l\u2019Homme in 1951\u20131952. Schaeffner was as bald as he was charming. He had a phenomenal curiosity and knowledge, and he received us in an appalling dust. I used to spend whole Sundays in his museum.<a href=\"#fn9\" class=\"footnote-ref\" id=\"fnref9\" role=\"doc-noteref\"><sup>9<\/sup><\/a> (Xenakis 2003:\u00a093)<\/p>\n<\/blockquote>\n<p>Many traditional musics and most electroacoustic musics are not notated. They are hard to transcribe as the traditional European notation systems often do not apply. Thus for both, it was repeatedly disputed if they were music at all. Friedrich Blume stated in 1958 about electronic music:<\/p>\n<blockquote>\n<p class=\"tsquotation\">[\u2026] this fully denatured product of the montage of physical sounds has nothing to do with music\u00a0[\u2026]. Here, the border is definitely crossed.<a href=\"#fn10\" class=\"footnote-ref\" id=\"fnref10\" role=\"doc-noteref\"><sup>10<\/sup><\/a> (Blume 1959:\u00a017)<\/p>\n<\/blockquote>\n<p>In different contexts, neither Wendy Carlos nor Daphne Oram were allowed to call their electronic music \u201cmusic\u201d. (Holmes 2016:\u00a086) And still, in 2006 Martha Brech writes about early <em>musique concr\u00e8te<\/em>:<\/p>\n<blockquote>\n<p class=\"tsquotation\">[\u2026] the tonal content is not very reminiscent of music. According to today\u2019s criteria, one should rather speak of acoustic art.<a href=\"#fn11\" class=\"footnote-ref\" id=\"fnref11\" role=\"doc-noteref\"><sup>11<\/sup><\/a> (Brech 2006: 110)<\/p>\n<\/blockquote>\n<p>A similar discussion took place about whether traditional musics are music, and if so, in which sense (see also Nettl 2006).<\/p>\n<p>Xenakis was seduced by this common extra-musical charm. His interviews with Fran\u00e7ois Delalande are entitled \u201cYou always have to be an immigrant\u201d (Xenakis 1997). Xenakis was interested in foreign worlds and the otherness of traditional musics and <em>musique concr\u00e8te<\/em>.<\/p>\n<blockquote>\n<p class=\"tsquotation\">Xenakis was probably present at the first concert of musique concr\u00e8te in 1950, at a time when he was studying with Olivier Messiaen and composing music in the spirit of Bart\u00f3k. In 1953, he tried to get access to Schaeffer\u2019s studio. Thanks to a recommendation by Messiaen, he met Schaeffer in 1954. (Solomos 2002:\u00a02f.)<\/p>\n<\/blockquote>\n<p>But Pierre Schaeffer did not welcome the young composer until 1957, when Xenakis got accepted to visit the \u2018grand stage\u2019, the initiation course at the GRMC, the Groupe de recherches de musique concr\u00e8te at the French Radio. Subsequently he became a member of the group (Gayou 2007: 114).<\/p>\n<p>Since the autumn of 1954, Pierre Schaffer had also started working for the RFOM (Radiodiffusion de la France d\u2019outre-mer) and was less and less present at the GRMC. (Le\u00a0Bail 2012: 165). Schaeffer is usually known as a pioneer of electroacoustic music and inventor of <em>musique concr\u00e8te<\/em>, but his interests were much broader: Radio broadcasts in France\u2019s African colonies were made by people in Paris who had never been to Africa. Schaeffer developed a concept for an appropriate training for future African native radio producers to run local radio stations by themselves\u00a0\u2013 decolonised, so to speak (Tournet-Lammer 2008:\u00a061). For that purpose, he set up his Studio-\u00e9cole and in 1956 became director of the newly founded SORAFOM (Soci\u00e9t\u00e9 de radiodiffusion de la France d\u2019outre-mer). Schaeffer war impressed by the musical richness of traditional musics from Africa and immediately founded\u00a0\u2013 quite a man of action\u00a0\u2013 a record label: Local music and field recordings were released, the first one in 1957 being the 10\u02b9\u02b9\u00a0record <em>Danses et chants de Bamoun<\/em> with music from Cameroon. The first releases were labelled \u201cCollection radiodiffusion outre-mer\u201d, soon taking over the department\u2019s name SORAFOM (which changed to OCORA (Office de coop\u00e9ration radiophonique) in 1960, the new name of the same radio department). Ocora still exists today as one of the most well-known \u2018world music\u2019 labels and has a back catalogue of more than 1,000\u00a0releases.<a href=\"#fn12\" class=\"footnote-ref\" id=\"fnref12\" role=\"doc-noteref\"><sup>12<\/sup><\/a><\/p>\n<p>In October 1957, Pierre Schaeffer was fired due to a political change (Tournet-Lammer: 309) and took back the direction of the GRMC the following month (Robert 2000:\u00a043). In order to redynamise the group, he pushed pedagogical and research activities and changed the name to express a new openness: GRM, Groupe de recherches musicales.<a href=\"#fn13\" class=\"footnote-ref\" id=\"fnref13\" role=\"doc-noteref\"><sup>13<\/sup><\/a> All kinds of music should henceforth serve as subjects of research, not only <em>musique concr\u00e8te<\/em>.<\/p>\n<p>Pierre Schaeffer was well aware of the already mentioned common problems of traditional musics and electroacoustic music:<\/p>\n<blockquote>\n<p class=\"tsquotation\">One of these dead ends is \u2018musical concepts\u2019. It is now not only the scale and tonality that have come to be rejected by the most adventurous, as by the most primitive musics of our time, but the very first of these concepts: the musical note, the archetype of the musical object, the basis of all notation, an element of every structure, melodic or rhythmic. No music theory, no harmony, even atonal, can take into account a certain general type of musical objects, and in particular those used in most African or Asian musics. (Schaeffer 2017:\u00a04)<\/p>\n<\/blockquote>\n<p>Xenakis himself collected \u2018world music\u2019. The inventory list of the Xenakis Archive at the Biblioth\u00e8que nationale in Paris, where the family deposited Xenakis\u2019s personal sound recordings, includes 1,139\u00a0items (analogue tapes and analogue and digital cassettes only, no vinyl records). More than 90 of those tapes contain music from a wide variety of cultures. One finds, among others, recordings of traditional musics from Senegal, Burundi, Laos, Vietnam, Java, China, Japan, Korea, but also European musics from Crete, Corsica or Norway.<\/p>\n<p>Most of the tapes are not dated. The oldest is dated 1951 and contains music from Java, Sumatra, Bali, Vietnam, Tibet, Upper Volta and Gabon. The most recent dates from 1991. Some of the recordings are probably copies of commercial releases, as titles and dates coincide with releases on Ocora or other labels.<\/p>\n<h4 id=\"3\">Xenakis\u2019s Electroacoustic Compositions<\/h4>\n<p>It is widely known that Xenakis used instrumental recordings in his electroacoustic compositions. For his first tape composition <em>Diamorphoses<\/em> (1957) he had already recorded himself playing small bells and treated the recorded sounds in multifaceted\u00a0\u2013 often systematic\u00a0\u2013 ways, to create textures of different densities from single sounds.<\/p>\n<p>Like most electroacoustic composers of his generation, Xenakis did not openly discuss the origin of his recorded sound sources: The production of one\u2019s own sounds was considered a craftsman\u2019s secret. Beatriz Ferreyra remembered using the sound of the Baschet-instruments:<\/p>\n<blockquote>\n<p class=\"tsquotation\">Back then, we kept something like that to ourselves. We didn\u2019t have forty thousand possibilities. When we discovered something, we kept it to ourselves so that others wouldn\u2019t copy it. (Friedl 2018)<\/p>\n<\/blockquote>\n<p>Xenakis for example did not list instrumental recordings in <em>Bohor<\/em> and <em>La L\u00e9gende d\u2019Eer<\/em> (1978); neither did he mention the eight minutes of what was probably a double bass solo improvisation hidden in the multitrack of <em>La L\u00e9gende d\u2019Eer<\/em>, nor contradict wrong interpretations of names in his drafts: The sound of huge thunder sheets at the end of <em>Bohor<\/em> has been denoted as \u2018white noise\u2019 and consequently taken as such in the musicological literature for years (Friedl 2019).<\/p>\n<p>In this context it is important to keep in mind that statements of composers are almost always interested statements. Remembering the hard ideologic fights in Paris in Xenakis\u2019s time between different contemporary music groups, this applies all the more. In addition, Xenakis had made a great reputation for himself as a connector of mathematics and music, a reputation he did not want to risk. Official use of improvised pre-recorded material or existing recordings might have been compromising.<\/p>\n<h6><em>Orient-Occident<\/em> (1960)<\/h6>\n<p>In 1960, Pierre Schaeffer managed to acquire the first official commission for Xenakis. The UNESCO engaged him to compose electro-acoustic film music for <em>Orient-Occident: images d\u2019une exposition<\/em> by Enrico Fulchignoni (Fulchignoni 1960), presented at the Cannes Film Festival the same year. The film focuses on the relationship between oriental and occidental sculpture. What could have been more obvious than to include oriental-like sounds?<\/p>\n<p>The film music comprises passages that presumably stem from recordings of folk music instruments: Extensive drum passages can be found throughout the piece (ibid., e.g., 2:04\u20132:56 or 6:27\u20136:37), oriental bells and metal percussion (ibid., 5:58\u20136:13), overblown flute sounds (ibid., e.g., 4:10\u20134:25), and a bourdon similar to the one in <em>Bohor<\/em>, which is made by a Laotian mouth organ. The provenance of the sounds used is unclear, a recording has not been found in the archives so far.<\/p>\n<p>These hardly hidden, probably unedited ethnomusicological borrowings are combined with sounds of other origins. For the eponymous tape piece, Xenakis shortened the music by almost 50\u00a0percent, the mentioned sounds almost completely disappeared (Xenakis 2022: CD1).<\/p>\n<h6><em>Bohor<\/em> (1962)<\/h6>\n<p>Even though the original recording has not yet been found in the archives, hardly anyone doubts that Xenakis used the sound of a khen, a Laotian mouth organ, for the 22-minute long <em>Bohor<\/em>. Transposing it two octaves down by reducing the playback speed of a tape machine to one quarter, the khen turns into a bass drone. This drone is very prominent throughout the piece, e.g., from 13:28\u201315:50 (Xenakis 2022: CD1).<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/08Fig01.jpg\" alt=\"Handwritten musical manuscript with red and blue ink. Vertical measures, musical notations, and dynamic markings create a complex, organized layout.\" style=\"width:55%; display: block; margin-left: auto; margin-right: auto;\"><br \/>\n<span class=\"caption-text\"><strong>Figure 8.1:<\/strong> Iannis Xenakis, <em>Bohor<\/em>, score, detail with the names of the four stereo tracks, Collection Famille Xenakis DR, OM 33-11, p. 10.<\/span><\/p>\n<p><em>Bohor<\/em> is an eight-track composition, at that time conceived for four stereo tapes, as 8-track machines were not yet available then. Xenakis named the four tracks \u201cpiano\u201d, \u201corgue\u201d, \u201cByz.\u201d and \u201cIrak\u201d. It is interesting that Xenakis did not mention a khen. It was James Brody who wrote on the LP cover of <em>Iannis Xenakis\u00a0\u2013 Electroacoustic Music<\/em> that a Laotian mouth organ had been used (Brody 1970). Since then, this has been broadly quoted and \u2018orgue\u2019 [organ] interpreted as Xenakis\u2019s abbreviation for the Laotian Mouth Organ, in French \u2018<em>orgue \u00e0 bouche<\/em>\u2019 (Figure\u00a08.1).<\/p>\n<p>Beno\u00eet Gibson tried to reconstruct the original khen recording by transposing the bourdon sound and concluded: \u201cIn <em>Bohor<\/em>, Xenakis improvises by playing the khen himself\u201d (Gibson 2015:\u00a087). As Xenakis hardly played any instrument, and there is no known source saying that he used to do so in studio recordings, this remains unclear. Further on, I could not find any recording of a khen on the tapes related to <em>Bohor<\/em> in the Xenakis Archives (see Friedl 2019). Given that Xenakis had a solid collection of ethnological music, it also seems possible that he used an existing recording from Laos.<\/p>\n<p>On the other hand, it is interesting that Gibson assumes that Xenakis \u201cimprovised\u201d. Not only did Xenakis reject improvisation in his music, he also made a clear distinction between improvisation and aleatoric techniques, arguing that is it not possible to delegate the latter to a performer:<\/p>\n<blockquote>\n<p class=\"tsquotation\">The interpreter is a highly conditioned being, so that it is not possible to accept the thesis of unconditioned choice, of an interpreter acting like a roulette game. (Xenakis 1992:\u00a038)<\/p>\n<\/blockquote>\n<p>In this sense Gibson is correct: Xenakis improvised. This might be interesting for further discussions, as Xenakis connected \u201ctrivial improvisation\u201d with \u201cimprecision and irresponsibility\u201d (ibid.: 181).<\/p>\n<p>\u201cIrak\u201d and \u201cByz.\u201d stand for jewellery and bells (\u201c<em>grelots<\/em>\u201d) from Iraq and Byzantium respectively which Xenakis used as sound sources. It is interesting that some authors interpreted \u201cByzanz\u201d as \u201cByzantine chant\u201d, but this is not mentioned in any source and no chant can be heard in the composition. Unusual sounds apparently made those authors mistakenly think of traditional music.<\/p>\n<h6>The <em>Polytopes<\/em> (1967\u20131978)<\/h6>\n<p>With <em>Bohor<\/em>, Xenakis explored the possibilities of multi-track composition for the first time, and he deepened his examination of this aspect in his subsequent polytopes (see Harley 1998). In the tape parts of these multimedia \u0153uvres, Xenakis included numerous sounds of traditional music instruments:<\/p>\n<ul>\n<li>\n<p>1967 <em>Polytope de Montr\u00e9al<\/em> (6\u00a0min) for four orchestras (pre-recorded)<\/p>\n<\/li>\n<li>\n<p>1970 <em>Hibiki Hana Ma<\/em> (18\u00a0min) manipulated orchestra and biwa sounds, 8-track tape<\/p>\n<\/li>\n<li>\n<p>1971 <em>Persepolis<\/em> (54\u00a0min) 8-track tape<\/p>\n<\/li>\n<li>\n<p>1972 <em>Polytope de Cluny<\/em> (25\u00a0min) 7-track tape, automatised spatialisation<\/p>\n<\/li>\n<li>\n<p>1978 <em>La L\u00e9gende d\u2019Eer<\/em> [<em>Le Diatope<\/em>] (45\u00a0min) 7-track tape, automatised spatialisation<\/p>\n<\/li>\n<\/ul>\n<p>Xenakis regarded this group of compositions as a kind of variation of the same work. Sounds used in earlier polytopes often reappear in the later ones.<\/p>\n<h6><em>Hibiki Hana Ma<\/em> (1970)<\/h6>\n<p>In 1961, around the time <em>Bohor<\/em> was composed, Xenakis travelled to Japan for the first time. He met musicians such as the pianist and composer Yuji Takahashi, who was just 21\u00a0years old, as well as the composer Toru Takemitsu, through whose personal efforts he became a frequent guest in Japan. Xenakis became enthusiastic about traditional Japanese music.<\/p>\n<blockquote>\n<p class=\"tsquotation\">We were fortunate to be able to listen to Japanese music, to visit a Noh theatre and to experience gagaku in the imperial theatre. I couldn\u2019t understand how young Japanese composers could write tonal or serial music.\u00a0[\u2026] During my conversations with Toru Takemitsu and other talented musicians, I found that most Japanese composers did not know their wonderful old-time music at all; they did not understand it and were not interested in it. They had all been trained at Western-style conservatories and despised their own tradition. (Xenakis 1995:\u00a041)<\/p>\n<\/blockquote>\n<p>Xenakis\u2019s enthusiasm for Japanese music spilled over to some young Japanese musicians: Toru Takemitsu is known today for his compositional synthesis of avant-garde orchestral technique with traditional Japanese music. He also developed a preference for the biwa. In 1967 Takemitsu composed <em>November Steps<\/em> for the three-stringed instrument, shakuhachi and orchestra. Xenakis remembers:<\/p>\n<blockquote>\n<p class=\"tsquotation\">I contributed to their rediscovery of Noh and their traditional music. I felt that their cultural revolution was leading them to reject their traditions too categorically. When I asked them to attend Noh performances, they laughed in my face.<a href=\"#fn14\" class=\"footnote-ref\" id=\"fnref14\" role=\"doc-noteref\"><sup>14<\/sup><\/a> (Xenakis 2003:\u00a093)<\/p>\n<\/blockquote>\n<p>The otherness of Japanese music fascinated Xenakis deeply. In particular, the biwa caught his attention: a three-stringed instrument played with a large plectrum and which accompanies sprawling narrative chants with its noisy sound. It was probably Xenakis who made the release of biwa music on Chants du Monde possible, as he knew the label since the early 1950s (see above). His handwritten dedication was printed inside the gatefold cover of the LP:<\/p>\n<blockquote>\n<p class=\"tsquotation\">In 1966, I had a revelation in Tokyo through the art of Kinshi Tsuruta: the Japanese troubadour singing, preserved with love for generations. It enchants you even if you don\u2019t understand the lyrics; you can listen to this music for hours, fascinated. (Xenakis 1972)<\/p>\n<\/blockquote>\n<p><img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/08Fig02_neu.jpg\" alt=\"Sheet music with densely written notes and annotations, including time signatures and musical symbols.\"><br \/>\n<span class=\"caption-text\"><strong>Figure 8.2:<\/strong> Iannis Xenakis, orchestra score to be recorded for <em>Hibiki Hana Ma<\/em>, p. 3, detail, Collection Famille Xenakis DR, OM 12.<\/span><\/p>\n<p>Xenakis wanted to include these sounds in his music. The opportunity arose in 1970 on the occasion of the World Exhibition in Osaka. In the electronic music studio of Japan\u2019s Broadcasting Corporation NHK, Xenakis composed the 12-track tape piece <em>Hibiki Hana Ma<\/em> for the pavilion of the Japan Iron and Steel Federation. As sound material, Xenakis recorded some musical sketches (for orchestra, biwa, etc.) with the National Japan Philharmonic Symphony Orchestra under Seiji Ozawa and with Kinshi Tsuruta, whom he held in high esteem, playing the biwa (Figure\u00a08.2).<\/p>\n<p>On the individual tracks of <em>Hibiki Hana Ma<\/em>, the biwa sounds can be clearly discerned (Xenakis 1970: track\u00a01, 5:00\u20135:50), the same holds for recorded Japanese tone woods (ibid., track\u00a08, 3:12\u20134:00). These ingredients amalgamate into a dense mass of sound whose individual elements, however, emerge again and again and can still be well distinguished in the stereo releases (Xenakis 2022: CD2, 2:20\u201310:00).<\/p>\n<p>In <em>Hibiki Hana Ma<\/em>, Xenakis adapted the new fascinating sounds, but not as clearly recognisable quotations or in an eclectic sense; instead, he incorporates single notes but also treated sound by using techniques of \u2018<em>musique concr\u00e8te<\/em>\u2019: recording, editing, alienating, cutting, looping, superimposing, etc.<\/p>\n<h6><em>Persepolis (1971)<\/em><\/h6>\n<p>Xenakis\u2019s concept for <em>Persepolis<\/em> was more reduced. There was no special recording session anymore, but a limited list of sounds he assembled in a modular way: Each sound module appears once in each of the eight tracks, always for exactly the same length of time. As the drafts for the composition are well preserved, there is an almost full list of the sounds he superposed in a modular way, including a distorted \u201cJapanese gong\u201d (Collection Famille Xenakis DR: OM\u00a027-4-3, 01). It is well perceptible in the commercial stereo versions of <em>Persepolis<\/em> as a kind of drone, similar to the transposed khen in <em>Bohor<\/em> (Xenakis 2022, CD3, e.g., after 7:32).<\/p>\n<h6><em>Polytope de Cluny<\/em> (1972)<\/h6>\n<p>In <em>Polytope de Cluny<\/em>, Xenakis used mostly recordings of African instruments which he called \u201cguimbardes\u201d. The Collection Famille Xenakis DR contains extensive material including mixing plans, scores and lists of the sounds for the montage of each of the seven tracks (Figure\u00a08.3; \u201cGuimbarde\u201d 1 to 5). Xenakis named five different guimbardes recordings.<\/p>\n<p>Only one of them, most prominent on track\u00a07, sounds like a\u00a0\u2013 probably African\u00a0\u2013 wooden Jew\u2019s harp, as used, for example, in Namibia. The other recordings denoted as \u201cguimbardes\u201d do not sound like a Jew\u2019s harp, but much more like a senza, a Central African thumb piano often also called a kalimba. The recordings seem to be made by an amateur. The instruments are played in an arhythmical way and do not show clear musical structure or virtuosity, and no great recording quality either. It is quite possible that Xenakis played on these recordings himself or used some historic recordings.<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/08Fig03.jpg\" alt=\"Handwritten detailed music score on lined paper, featuring various timings, annotations, and calculations in both black and red ink.\"><br \/>\n<span class=\"caption-text\"><strong>Figure 8.3:<\/strong> Iannis Xenakis, montage list for track 5 of <em>Hibiki Hana Ma<\/em>, names of the sounds on the left side, Collection Famille Xenakis DR, OM 4-3, p. 7.<\/span><\/p>\n<p>Where his sound material came from, who recorded it and when, apparently mattered little to Xenakis. He seemed to regard these recordings merely as raw material from which new sound material could be formed. In <em>Polytope de Cluny<\/em>, he layers seven \u2018guimbardes\u2019 recordings for several minutes (Figure\u00a08.4) and creates a kind of an imaginary senza\/Jew\u2019s harp orchestra (Xenakis 2022: CD 2, e.g., 16:00\u201320:00).<\/p>\n<p>This can sound very \u2018electronic\u2019, as composer Tr\u00e2n Quang Hai described it in respect to his tape music <em>V\u00ea Ngu\u00f4n<\/em> composed in 1975: \u201cThe Jew\u2019s harp can produce electronic sounds. It can give me the impression of synthetic speech. I\u2019ve used it in cartoon sound effects to imitate the robot.\u201d<a href=\"#fn15\" class=\"footnote-ref\" id=\"fnref15\" role=\"doc-noteref\"><sup>15<\/sup><\/a> (Quang Hai 2001: 298).<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/08Fig04_neu.jpg\" alt=\"Annotated graph paper with hand-drawn lines and mathematical notations. Multicolored lines are labeled with numbers and words in a structured layout.\"><br \/>\n<span class=\"caption-text\"><strong>Figure 8.4:<\/strong> Iannis Xenakis, Montage plan for <em>Polytope de Cluny<\/em>, p. 1, detail, Collection Famille Xenakis DR, OM 4-3.<\/span><\/p>\n<p>In that period, traditional musics were pretty popular and were also used prominently in movies, as for example in the soundtracks for Federico Fellini\u2019s <em>Satyricon<\/em> (1969) or Pier Paolo Pasolini\u2019s <em>Medea<\/em> (1969). African sanza music had been released among others by the label Ocora, as for example <em>Chant et sanza \u2013 Musiques traditionnelles de Burundi<\/em>\u00a0(1968).<\/p>\n<p>Xenakis even discovered similarities between his stochastic approach and African music:<\/p>\n<blockquote>\n<p class=\"tsquotation\">Authentic African music is not primitive. It has undoubtedly undergone a development that we know only very poorly or not at all.\u00a0[\u2026] African music corresponds more to a probabilistic, stochastic approach\u00a0[\u2026]. That is, it is unpredictable, while at the same time it is predictable: a kind of unpredictability in detail. (Solomos 2010)<\/p>\n<\/blockquote>\n<h6><em>La L\u00e9gende d\u2019Eer<\/em> (1978)<\/h6>\n<p>The musical part of the <em>Diatope<\/em>, produced at Westdeutscher Rundfunk, shows the same concept as <em>Polytope de Cluny<\/em>: Seven tracks are fixed on an 8-track tape in order to be spatialised automatically. Xenakis reused the sounds he had already included in <em>Polytope de Cluny<\/em>, but for the first time he added his new electronic sounds created by stochastic synthesis (Friedl 2015).<\/p>\n<p>Xenakis did not mind combining all these heterogeneous influences:<\/p>\n<blockquote>\n<p class=\"tsquotation\">My music is not a revolution. My greatest achievement would be to compose music that embraces all forms of expression. However, it requires me to break free from all ties and preconditions that make me unfree. Tonal music is such a bondage, serial music, Indian music, Japanese music, and so on. They all represent worlds separate from each other, continents or islands, each with its own self-contained system of rules. The task is to find out what these islands have in common, what common structure of thought underlies them all; whether one can find access to each of them and whether the creation of a higher level of abstraction is possible. (Xenakis 1995:\u00a052)<\/p>\n<\/blockquote>\n<p>Xenakis\u2019s solution was pragmatic: In his electroacoustic music, especially in the multi-channel polytopes, he simply used recorded sounds, also combining them with electronic sounds and orchestral recordings, and weaving all of this into complex sound layers. Xenakis loved the view of the foreign. It is not for nothing that the interviews Francois Delalande did with Xenakis bear the title \u201cOne must always be a migrant\u201d (Xenakis 1997).<\/p>\n<p>Xenakis even stated that he has no relation with Western music:<\/p>\n<blockquote>\n<p class=\"tsquotation\">\u201cMy music has no roots in Western music except for the instrumentation.\u201d (Solomos 2010)<\/p>\n<\/blockquote>\n<p>Consequently, he also used non-western instrumentation, as in, e.g., <em>Okho<\/em> (1989) for African percussion instruments: three djembes, West African tin drums, and a \u201cbig African skin\u201d. Xenakis attempted a kind of new synthesis: stochastically organised music on non-European instruments. The same holds for <em>Nyuyo<\/em> (1985) (<em>nyuyo<\/em>\u00a0= sinking sun) for shakuhachi, a Japanese bamboo flute, and three stringed instruments: shamisen and two kotos, composed for Ensemble Yonin No Ka\u00ef from Tokyo and commissioned by the Festival d\u2019Angers, France. We might be tempted\u00a0\u2013 at least in the first part\u00a0\u2013 to think it is Japanese music.<\/p>\n<h6><em>Voyage absolu des Unari vers Androm\u00e8de<\/em> (1989)<\/h6>\n<p>Xenakis composed <em>Voyage absolu des Unari vers Androm\u00e8de<\/em> in 1989 for a Japanese kite festival with an exhibition of flying objects organised by the Goethe Institute in Osaka. To compose this piece, he used the UPIC system he had developed as a graphical interface at his research centre CEMAMu (Centre d\u2019\u00c9tudes de Math\u00e9matique et Automatique Musicales) in Paris. Its interface allows electronic sounds to be drawn on a touch-sensitive screen with a special pen.<\/p>\n<p>In the Xenakis Archives there is an audio cassette from 8 January 1989, labelled \u201cSound of Unari (Kites)\u201d (Xenakis\u00a01054, DONAUD 0604-999) and accompanied by a business card of \u201cIkuko Matsumoto, Goethe Institute Osaka\u201d. Obviously, Xenakis had requested sound recordings of Japanese stunt kites from Japan in advance: These kites are equipped with wooden bows that start singing and humming with the airstream.<\/p>\n<p><img decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/08Fig05_neu.jpg\" alt=\"Abstract line drawing on a white page labeled \"PAGE 30.\" Features chaotic, interconnected lines, creating a sense of tangled complexity and movement.\"><br \/>\n<span class=\"caption-text\"><strong>Figure 8.5<\/strong> Iannis Xenakis, <em>Voyage absolu des Unari vers Androm\u00e8de<\/em>, screenshot UPIC, p. 6, Collection Famille Xenakis DR, OM 33-12.<\/span><\/p>\n<p>Xenakis finished <em>Voyage absolu des Unari vers Androm\u00e8de<\/em> (\u2018Journey of the Kites towards the Andromeda Galaxy\u2019; see Figure\u00a08.5) the same year, and the music sounds very similar to kite sounds.<\/p>\n<p>The second generation of the UPIC system allowed it to work with recorded samples\u00a0\u2013 or at least the waveform of existing samples. As Pierre Couprie assumes, Xenakis already did so in <em>Taurhiphanie<\/em> (1987), a composition for a bull arena in Southern France: \u201cI realized that the waveforms used in UPIC probably all come from recordings of bull\u2019s roars\u201d (Couprie 2020: 450). If this is right, it would be obvious to assume the same for <em>Voyage absolu des Unari vers Androm\u00e8de<\/em>: Xenakis might have used the kite recordings he got from Japan as waveforms for the composition. This would explain why the sounds are so similar to the real kite sounds.<\/p>\n<h4 id=\"4\">Conclusion<\/h4>\n<p>Recording sounds on tape, manipulating the playback speed or direction, assembling new sequences is reminiscent of Xenakis\u2019s origins in <em>musique concr\u00e8te<\/em>. His sound material\u00a0\u2013 especially in compositions like <em>Polytope de Cluny<\/em>\u00a0\u2013 largely uses recordings of instruments of other cultures, often simply layering long passages on top of each other, even though Xenakis had great respect for the music of other cultures.<\/p>\n<blockquote>\n<p class=\"tsquotation\">When we say \u2018developed country\u2019, we think only of washing machines, cars or the A or H bomb, but we forget that civilisations\u00a0\u2013 such as those of India, for example, or Africa\u00a0\u2013 are far more developed than the artistic civilisations of capitalist or socialist countries. There is no comparison between the traditional arts of India\u00a0\u2013 music, dance, architecture\u00a0\u2013 or those of China, Indonesia, Africa, which are the heritage of all humanity and what exists in the artistic field in Europe, the United States, or the Soviet Union. (Xenakis 1994: 129)<\/p>\n<\/blockquote>\n<p>Xenakis puts himself in a tradition of \u201csolidarity between ethnology and avant-garde\u201d in the 20th\u00a0century that \u201cshows how cultural \u2018appropriation\u2019 can also occur beyond categories of domination and transgression\u201d<a href=\"#fn16\" class=\"footnote-ref\" id=\"fnref16\" role=\"doc-noteref\"><sup>16<\/sup><\/a> (Borio 2011: 127).<\/p>\n<p>Most of Xenakis\u2019s electroacoustic compositions comprise more or less treated recordings of instruments and further sound objects of other cultures (bells, jewels, kites, etc.). But there are a lot of open questions: Who played the instruments? Who made the recordings and where? Is it at all possible to find out the exact roots? Did he sometimes use existing commercial records or original field recordings?<\/p>\n<p>This article shows that comparative listening and historical context in conjunction with meta-information of sources can provide a new point of view on an \u0153uvre. This holds especially true for electroacoustic music, where most sources are auditive. Even knowing only some classification or the nature of existing sources can already enable us to deduce some theses. These theses allow us to go back to the sources with concrete questions and thus provide important clues for studying some aspects more precisely.<\/p>\n<p>Xenakis himself rejected any association with musical sources:<\/p>\n<blockquote>\n<p class=\"tsquotation\">I don\u2019t want to have roots. Of course, I have some too. I too was exposed to influences, but fortunately so many that none of them could prove to be decisive. I have already mentioned them: Romanian and Greek folk music, Byzantine church singing, Western music, extra-European music. I tried to understand them, some I liked more, others less; but I let each of them approach me, none of them I claimed was not music. In this way, I gave myself the freedom to be without roots. (Xenakis 1995:\u00a053)<\/p>\n<\/blockquote>\n<h4>Endnotes<\/h4>\n<hr>\n<ol>\n<li id=\"fn1\">\n<p>\u201cPas d\u2019exp\u00e9dition en Amazonie, au Sikkim, au Kilimamdjaro, sans magn\u00e9tophone. Pas d\u2019exploration magn\u00e9tique, pas de phonog\u00e8ne ni de musique \u00e9lectronique \u00e0 Paris, \u00e0 Milan ou \u00e0 New York sans zoulous, sans sorciers, sans lamas.\u201d Unless otherwise stated, all translations by the author.<a href=\"#fnref1\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn2\">\n<p>\u201cl\u2019int\u00e9gration s\u2019effectua le plus souvent \u00e0 des fins structurelles\u00a0\u2013 c\u2019est-\u00e0-dire pr\u00e9cis\u00e9ment pour renouveler radicalement le langage musical\u00a0\u2013 et non pas dans une optique d\u2019exotisme pour apporter une \u2018couleur\u2019 locale.\u201d<a href=\"#fnref2\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn3\">\n<p>\u201cCet int\u00e9r\u00eat s\u2019entend assez peu dans son \u0153uvre, puisque la r\u00e9f\u00e9rence aux musiques locales s\u2019effectue d\u2019une mani\u00e8re structurelle\u201d.<a href=\"#fnref3\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn4\">\n<p>\u201cSi [\u2026] on fait entendre \u00e0 un auditoire non pr\u00e9vuenu des \u0153uvres de musique exotique et des \u0153uvres de musique \u00e9xperimentale, il peut arriver qu\u2019on vienne \u00e0 les confondre. Ce n\u2019est pas un effet du hasard mais parce qu\u2019il existe de grandes ressemblances entre les deux musiques.\u201d<a href=\"#fnref4\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn5\">\n<p>\u201cJ\u2019ai donc travaill\u00e9 chez Le Corbusier, d\u2019abord comme ing\u00e9nieur puis comme architecte, tout en commen\u00e7ant \u00e0 composer\u2026 une musique folklorico-post-bart\u00f3kienne\u2026\u201d<a href=\"#fnref5\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn6\">\n<p>\u201cEn 1948, j\u2019\u00e9tais d\u00e9j\u00e0 compositeur. Mais je n\u2019\u00e9crivais que des mi\u00e8vreries quelque peu folklorisantes. Le folklore grec m\u2019aidait beaucoup. A l\u2019\u00e9poque ce type de musique marchait bien, gr\u00e2ce notamment \u00e0 l\u2019\u00e9quipe du Chant du Monde que finan\u00e7ait alors l\u2019Union Sovi\u00e9tique. Cet \u00e9diteur diffusait de tr\u00e8s belles choses. Et j\u2019allais au Trocad\u00e9ro chez Andr\u00e9 Schaeffner qui m\u2019a fait d\u00e9couvrir les musiques de Bali, de Java, du Japon. C\u2019\u00e9tait en 1950.\u201d<a href=\"#fnref6\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn7\">\n<p>Concerning Xenakis visiting Messiaen\u2019s class, the sources differ: Seurat states 1948\u20131949 (Xenakis 2003:\u00a045), Matossian 1951 (Matossian 1981:\u00a059), M\u00e2che 1952 (M\u00e2che 2011:\u00a022).<a href=\"#fnref7\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn8\">\n<p>\u201cLe carnet n\u00b0\u00a01 sur lequel Xenakis a not\u00e9 esquisses et r\u00e9flexions de septembre 1951 \u00e0 d\u00e9cembre 1952 porte la trace, en octobre 1951, d\u2019un int\u00e9r\u00eat pour \u2018la musique hindoue\u2019. Les remarques de Xenakis t\u00e9moignent d\u2019une admiration spontan\u00e9e, probablement li\u00e9e \u00e0 un spectacle de ballet indien, et peut-\u00eatre m\u00eame ant\u00e9rieure \u00e0 son contact avec Messiaen: Organisation la plus civilis\u00e9e du rythme et la plus parfaite.\u201d (M\u00e2che 2011:\u00a021)<a href=\"#fnref8\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn9\">\n<p>\u201cJe connaissais le N\u00f4 pour l\u2019avoir d\u00e9couvert chez Andr\u00e9 Schaeffner dans les greniers du mus\u00e9e de l\u2019Homme en 1951\u20131952. Schaeffner \u00e9tait aussi chauve que charmant. Il avait une curiosit\u00e9, une connaissance ph\u00e9nom\u00e9nale et nous recevait dans une poussi\u00e8re effroyable. Je passais dans son mus\u00e9e des dimanches entiers.\u201d<a href=\"#fnref9\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn10\">\n<p>\u201cMit Musik [&#8230;] hat dieses volldenaturierte Produkt aus der Montage physikalischer Sch\u00e4lle nichts mehr zu tun. Hier ist die Grenze entschieden \u00fcberschritten.\u201d<a href=\"#fnref10\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn11\">\n<p>\u201cDoch der klangliche Gehalt erinnert wenig an Musik. Nach heutigen Kriterien m\u00fcsste man eher von akustischer Kunst sprechen.\u201d<a href=\"#fnref11\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn12\">\n<p><a href=\"https:\/\/www.radiofrance.com\/les-editions\/collections\/ocora\">https:\/\/www.radiofrance.com\/les-editions\/collections\/Ocaora<\/a>\u00a0(accessed March 20, 2023).<a href=\"#fnref12\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn13\">\n<p>The name was changed to GRM, Groupe de recherches musicales, in 1958 (Gayou 2007: 107).<a href=\"#fnref13\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn14\">\n<p>\u201cJ\u2019ai contribu\u00e9 \u00e0 leur red\u00e9couverte du N\u00f4 et de leur musique traditionnelle. J\u2019estimais en effet que leur r\u00e9volution culturelle les conduisait \u00e0 rejeter trop cat\u00e9goriquement leurs traditions. Lorsque je leur ai demand\u00e9 d\u2019assister \u00e0 des spectacles N\u00f4, ils m\u2019ont ri au nez.\u201d<a href=\"#fnref14\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn15\">\n<p>\u201cLa guimbarde permet de donner des sons de type \u00e9lectronique. Elle peut me donner l\u2019impression d\u2019une parole synth\u00e9tique. Je l\u2019ai ainsi utilis\u00e9 dans le bruitage de dessin anim\u00e9 pour imiter le robot.\u201d<a href=\"#fnref15\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn16\">\n<p>\u201cDie Solidarit\u00e4t zwischen Ethnologie und Avantgarde\u00a0[\u2026] zeigt, wie kulturelle Aneignung auch jenseits der Kategorien von Herrschaft und \u00dcberschreitung stattfinden.\u201d<a href=\"#fnref16\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<\/ol>\n<h4 id=\"5\">Bibliography<\/h4>\n<p><\/p>\n<p class=\"bibliography\">Baltensperger, Andr\u00e9 (1996) <em>Iannis Xenakis und die stochastische Musik. Komposition im Spannungsfeld von Architektur und Mathematik<\/em>, Bern: Haupt.<\/p>\n<p class=\"bibliography\">Blume, Friedrich (1959) <em>Was ist Musik? Ein Vortrag<\/em>, Kassel: B\u00e4renreiter (Musikalische Zeitfragen\u00a05).<\/p>\n<p class=\"bibliography\">Borio, Gianmario (2011) \u201cVom Ende des Exotismus oder: der Einbruch des Anderen in die westliche Musik des 20.\u00a0Jahrhunderts\u201d, in <em>Was bleibt? 100\u00a0Jahre Neue Musik<\/em>, ed. by Andreas Meyer, Mainz: Schott, 114\u2013134.<\/p>\n<p class=\"bibliography\">Borio, Gianmario (2015) \u201cDie Darstellung des Undarstellbaren. Zum Verh\u00e4ltnis von Zeichen und Performanz in der Musik des 20.\u00a0Jahrhunderts\u201d, in <em>Die Schrift des Ephemeren. Konzepte musikalischer Notationen<\/em>, ed. by Matteo Nanni, Basel: Schwabe (Resonanzen\u00a02), 129\u2013146.<\/p>\n<p class=\"bibliography\">Boulez, Pierre, and Schaeffner, Andr\u00e9 (1998) <em>Correspendance 1954\u20131970<\/em>, Paris: Fayard.<\/p>\n<p class=\"bibliography\">Brech, Martha (2006) <em>K\u00f6nnen eiserne Br\u00fccken nicht sch\u00f6n sein? \u00dcber das Zusammenwachsen von Technik und Musik im 20.\u00a0Jahrhundert<\/em>, Hofheim: Wolke.<\/p>\n<p class=\"bibliography\">Brody, James (1970) <em>Iannis Xenakis\u00a0\u2013 Electroacoustic Music<\/em>, liner notes on LP Cover, New York: Nonesuch Records.<\/p>\n<p class=\"bibliography\">Couprie, Pierre (2020) \u201cAnalytical Approaches to Taurhiphanie and <em>Voyage absolu des unari vers Androm\u00e8de<\/em> by Iannis Xenakis\u201d, in <em>From Xenakis\u2019s UPIC to graphic notation today<\/em>, ed. by Peter Weibel, Ludger Br\u00fcmmer, and Sharon Kanach, Karlsruhe\/Berlin: ZKM, Hatje Cantz Verlag, 434\u2013457.<\/p>\n<p class=\"bibliography\">De Morais, Ronan Gil (2022) \u201cXenakis\u2019 journey to Indonesia: Influence on Jonchaies (1977) and Pl\u00e9\u00efades (1978)\u201d, in <em>Centenary International Symposium XENAKIS\u00a022<\/em>, ed. by Anastasia Georgaki, Makis Solomos, Areti Andreopoulou, Dimitris Exarchos, Elisavet Kiourtsoglou, and Iakovos Steinhauer, Athens: Spyridon Kostarakis, 328\u2013337; <a href=\"https:\/\/xenakis2022.uoa.gr\/wp-content\/uploads\/2022\/05\/Xenakis-22_Proceedings.pdf\">https:\/\/xenakis2022.uoa.gr\/wp-content\/uploads\/2022\/05\/Xenakis-22_Proceedings.pdf<\/a> (accessed August 30, 2023).<\/p>\n<p class=\"bibliography\">Declercq, Zo\u00e9 (2022) \u201cThe score of <em>Rythmes sur Tabla<\/em>, a \u2018key document\u2019 in the work of Iannis Xenakis?\u201d, in <em>Centenary International Symposium XENAKIS 22<\/em>, ed. by Anastasia Georgaki, Makis Solomos, Areti Andreopoulou, Dimitris Exarchos, Elisavet Kiourtsoglou, and Iakovos Steinhauer, Athens: Spyridon Kostarakis, 338\u2013359; <a href=\"https:\/\/xenakis2022.uoa.gr\/wp-content\/uploads\/2022\/05\/Xenakis-22_Proceedings.pdf\">https:\/\/xenakis2022.uoa.gr\/wp-content\/uploads\/2022\/05\/Xenakis-22_Proceedings.pdf<\/a> (accessed August 30, 2023).<\/p>\n<p class=\"bibliography\">Friedl, Reinhold (2015) \u201cTowards a Critical Edition of Electroacoustic Music: Xenakis\u00a0\u2013 La L\u00e9gende d\u2019Eer\u201d, in <em>Iannis Xenakis\u00a0\u2013 La musique \u00e9lectroacoustique<\/em>, ed. by Makis Solomos, Paris: L\u2019Harmattan, 109\u2013122.<\/p>\n<p class=\"bibliography\">Friedl, Reinhold (2018) <em>Die Baschet-Instrumente und die GRM<\/em>, Radio Feature, Westdeutscher Rundfunk, WDR3, Studio elektronische Musik, Cologne, September 29, 2018.<\/p>\n<p class=\"bibliography\">Friedl, Reinhold (2019) \u201cPerformance in Iannis Xenakis\u2019s Electroacoustic Music\u201d, in <em>Exploring Xenakis. Performance, practice, philosophy<\/em>, ed. by Alfia Nakipbekova, Wilmington: Vernon Press (Vernon series in music), 69\u201388.<\/p>\n<p class=\"bibliography\">Gayou, \u00c9velyne (2007) <em>Le GRM, Groupe de recherches musicales. Cinquante ans d\u2019histoire<\/em>, Paris: Fayard.<\/p>\n<p class=\"bibliography\">Gerhards, Hugues, ed. (1972) <em>Iannis Xenakis<\/em>, Paris: Discoth\u00e8que de France.<\/p>\n<p class=\"bibliography\">Gibson, Beno\u00eet (2015) \u201c\u00c0 propos de Bohor (1962) de Iannis Xenakis\u201d, in <em>Iannis Xenakis\u00a0\u2013 La musique \u00e9lectroacoustique<\/em>, ed. by Makis Solomos, Paris: L\u2019Harmattan, 84\u201396.<\/p>\n<p class=\"bibliography\">Harley, Maria Anna (1998) \u201cMusic of Sound and Light: Xenakis\u2019s Polytopes\u201d, in <em>Leonardo\u00a0<\/em>31\/1, Cambridge: MIT Press, 55\u201365.<\/p>\n<p class=\"bibliography\">Holmes, Thom (2016) <em>Electronic and experimental music. Technology, music, and culture<\/em>, New York: Routledge.<\/p>\n<p class=\"bibliography\">Le Bail, Karine, and Kaltenecker, Martin (2012) <em>Pierre Schaeffer. Les constructions impatientes<\/em>, Paris: CNRS.<\/p>\n<p class=\"bibliography\">M\u00e2che, Fran\u00e7ois-Bernard (2011) \u201cXenakis et la musique indienne\u201d, in <em>Filigrane. Musique, esth\u00e9tique, sciences, soci\u00e9t\u00e9<\/em>\u00a010\/2, Paris: Delatour, 21\u201326; <a href=\"https:\/\/revues.mshparisnord.fr:443\/filigrane\/index.php?id=320\">https:\/\/revues.mshparisnord.fr:443\/filigrane\/index.php?id=320<\/a> (accessed August 30, 2023).<\/p>\n<p class=\"bibliography\">Matossian, Nouritza (1981) <em>Iannis Xenakis<\/em>, Paris: Fayard.<\/p>\n<p class=\"bibliography\">Nettl, Bruno (2006) \u201cWas ist Musik? Ethnomusikologische Perspektive\u201d, in <em>Musik\u00a0\u2013 Zu Begriff und Konzepten: Berliner Symposion zum Andenken an Hans Heinrich Eggebrecht<\/em>, ed. by Michael Beiche and Albrecht Riethm\u00fcller, Stuttgart: Franz Steiner Verlag, 9\u201318.<\/p>\n<p class=\"bibliography\">Oswald, John (1985) <em>Plunderphonics, or Audio Piracy as a Compositional Prerogative<\/em>, Wired Society Electro-Acoustic Conference, Toronto; <a href=\"http:\/\/www.bitwisemusic.com\/wp-content\/uploads\/2015\/08\/Plunderphonics-or-Audio-Piracy-as-a-Compositional-Prerogative.pdf\">http:\/\/www.bitwisemusic.com\/wp-content\/uploads\/2015\/08\/Plunderphonics-or-Audio-Piracy-as-a-Compositional-Prerogative.pdf<\/a> (accessed August 30, 2023).<\/p>\n<p class=\"bibliography\">Quang Hai, Tr\u00e2n (2001) \u201cUn dialogue occident-orient : l\u2019exemple de V\u00ea Ngu\u00f4n (1975)\u201d, in <em>Du sonore au musicale\u00a0\u2013 Cinquante ann\u00e9es de recherches concr\u00e8tes (1948\u20131998)<\/em>, ed. by Sylvie Dallet and Anne Veitl, Paris: L\u2019Harmattan.<\/p>\n<p class=\"bibliography\">Rice, Timothy (2014) <em>Ethnomusicology. A Very Short Introduction<\/em>, New York: Oxford University Press.<\/p>\n<p class=\"bibliography\">Schaeffer, Pierre (1960) in \u201cCahiers d\u2019\u00e9tudes de la Radio-T\u00e9l\u00e9vision\u201d, num\u00e9ro\u00a027\/28. Quoted from Quang Hai, Tr\u00e2n (2001) \u201cUn dialogue occident-orient: l\u2019exemple de V\u00ea Ngu\u00f4n (1975)\u201d, in <em>Du sonore au musicale\u00a0\u2013 Cinquante ann\u00e9es de recherches concr\u00e8tes (1948\u20131998)<\/em>, ed. by Sylvie Dallet and Anne Veitl, Paris: L\u2019Harmattan.<\/p>\n<p class=\"bibliography\">Schaeffer, Pierre (2017) <em>Treatise on Musical Objects. An Essay across Disciplines<\/em>, transl. by Christine North and John Dack, Berkeley: University of California Press.<\/p>\n<p class=\"bibliography\">Solomos, Makis (2002) \u201cAnalysing the First Electroacoustic Music of Iannis Xenakis\u201d, in <em>5th\u00a0European Music Analysis Conference<\/em>, Bristol; <a href=\"https:\/\/hal.science\/hal-02055242\/document\">https:\/\/hal.science\/hal-02055242\/document<\/a> (accessed August 30, 2023).<\/p>\n<p class=\"bibliography\">Solomos, Makis (2010) \u201cXenakis, du Japon \u00e0 l\u2019Afrique\u201d, in Musique et globalisation: musicologie-ethnomusicologie, ed. by Jacques Bou\u00ebt and Makis Solomos, Paris: L\u2019Harmattan, 227\u2013240.<\/p>\n<p class=\"bibliography\">Tournet-Lammer, Jocelyne (2006) <em>Sur les traces de Pierre Schaeffer. Archives 1942\u20131995<\/em>, Paris: Institut national de l\u2019audiovisuel.<\/p>\n<p class=\"bibliography\">Vandelle, Romuald (1959) \u201cMusique exotique et musique exp\u00e9rimentale\u201d, in <em>Exp\u00e9riences musicales, musiques concr\u00e8te \u00e9lectronique exotique<\/em> (La revue musicale\u00a0244), 35\u201337.<\/p>\n<p class=\"bibliography\">Xenakis, Iannis (1972) Facsimile printed on LP cover: <em>Kinshi Tsuruta Et Katsuya Yokoyama, Japon: Biwa Et Shakuhachi<\/em>, Paris: Le Chant Du Monde.<\/p>\n<p class=\"bibliography\">Xenakis, Iannis (1992) <em>Formalized Music<\/em>, Stuyvesant: Pendragon Press.<\/p>\n<p class=\"bibliography\">Xenakis, Iannis (1994) \u201cCulture et cr\u00e9ativit\u00e9\u201d, in <em>K\u00e9le\u00fctha<\/em>, ed. by Iannis Xenakis and Beno\u00eet Gibson, Paris: L\u2019Arche.<\/p>\n<p class=\"bibliography\">Xenakis, Iannis, and Delalande, Fran\u00e7ois (1997) <em>Il faut \u00eatre constamment un immigr\u00e9. Entretiens avec Xenakis<\/em>, Paris\/Bry-sur-Marne: Buchet\/Chastel.<\/p>\n<p class=\"bibliography\">Xenakis, Iannis, and Serrou, Bruno (2003) <em>Iannis Xenakis\u00a0\u2013 l\u2019homme des d\u00e9fis, les entretiens de Bruno Serrou<\/em>, Paris: Editions Cig\u2019art\/Jobert.<\/p>\n<p class=\"bibliography\">Xenakis, Iannis, and Szendy, Peter (1994), \u201cIci et l\u00e0. Entretien avec Iannis Xenakis\u201d, in <em>Les Cahiers de l\u2019IRCAM<\/em>\u00a05, Paris.<\/p>\n<p class=\"bibliography\">Xenakis, Iannis, and Varga, B\u00e1lint Andr\u00e1s (1995): <em>Gespr\u00e4che mit Iannis Xenakis<\/em>, Z\u00fcrich: Atlantis.<\/p>\n<p class=\"bibliography\">Xenakis, Iannis, and Varga, B\u00e1lint Andr\u00e1s (1996) <em>Conversations with Iannis Xenakis<\/em>, London: Faber\u00a0&amp; Faber.<\/p>\n<h4 id=\"6\">Audio and Video Sources<\/h4>\n<p><\/p>\n<p class=\"bibliography\">Fulchigoni, Enrico (1960) <em>Orient-Occident. images d\u2019une exposition<\/em>, <a href=\"https:\/\/www.youtube.com\/watch?v=7siM9_9GSiI&amp;t=6s\">https:\/\/www.youtube.com\/watch?v=7siM9_9GSiI&amp;t=6s<\/a> (accessed August 30, 2023).<\/p>\n<p class=\"bibliography\">Xenakis, Iannis (1970) <em>Hibiki Hana Ma<\/em>, 8-track version, Paris: Durand Salabert Eschig.<\/p>\n<p class=\"bibliography\">Xenakis, Iannis (2022) <em>Iannis Xenakis\u00a0\u2013 The Complete Electroacoustic Works<\/em>, 5CD\/5LP-Box, Berlin: Karlrecords.<\/p>\n<h4 id=\"7\">List of Figures<\/h4>\n<p><\/p>\n<p class=\"bibliography\"><strong>Figure 8.1:<\/strong> Iannis Xenakis, <em>Bohor<\/em>, score, detail with the names of the four stereo tracks, Collection Famille Xenakis DR, OM 33-11, p. 10.<\/p>\n<p class=\"bibliography\"><strong>Figure 8.2:<\/strong> Iannis Xenakis, orchestra score to be recorded for <em>Hibiki Hana Ma<\/em>, p. 3, detail, Collection Famille Xenakis DR, OM 12.<\/p>\n<p class=\"bibliography\"><strong>Figure 8.3:<\/strong> Iannis Xenakis, montage list for track 5 of <em>Hibiki Hana Ma<\/em>, Collection Famille Xenakis DR, OM 4-3, p. 7.<\/p>\n<p class=\"bibliography\"><strong>Figure 8.4:<\/strong> Iannis Xenakis, montage plan for <em>Polytope de Cluny<\/em>, p. 1, detail, Collection Famille Xenakis DR, OM 4-3.<\/p>\n<p class=\"bibliography\"><strong>Figure\u00a08.5:<\/strong>\u00a0Iannis Xenakis, <em>Voyage absolu des Unari vers Androm\u00e8de<\/em>, UPIC screenshot, p. 6, Collection Famille Xenakis DR, OM 33-12.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Traces of Traditional Musics in\u00a0Xenakis\u2019s Electroacoustic\u00a0\u0152uvre Reinhold Friedl No expedition to Amazonia, Sikkim or Kilimamdjaro without a tape recorder. No tape experiments, no phonog\u00e8ne or electronic music in Paris, Milan or New York without Zulus, sorcerers and lamas.1 (Schaeffer 1960: 300) Introduction This article discusses a hitherto little-noticed aspect of Xenakis\u2019s \u0153uvre: the use of &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-5110","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: Sonic Otherness<\/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\/mdwp013-009\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Friedl: Sonic Otherness\" \/>\n<meta property=\"og:description\" content=\"Traces of Traditional Musics in\u00a0Xenakis\u2019s Electroacoustic\u00a0\u0152uvre Reinhold Friedl No expedition to Amazonia, Sikkim or Kilimamdjaro without a tape recorder. 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