{"version":"1.0","provider_name":"mdwPress","provider_url":"https:\/\/www.mdw.ac.at\/mdwpress","author_name":"Max Bergmann","author_url":"https:\/\/www.mdw.ac.at\/mdwpress\/author\/bergmann-max\/","title":"Harley: Common Sonic Entities &#8211; mdwPress","type":"rich","width":600,"height":338,"html":"<blockquote class=\"wp-embedded-content\" data-secret=\"koyx9Hh4S3\"><a href=\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp013-006\/\">Common Sonic Entities in the Electroacoustic and\u00a0Orchestral Music of\u00a0Iannis Xenakis<\/a><\/blockquote><iframe sandbox=\"allow-scripts\" security=\"restricted\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp013-006\/embed\/#?secret=koyx9Hh4S3\" width=\"600\" height=\"338\" title=\"&#8222;Common Sonic Entities in the Electroacoustic and\u00a0Orchestral Music of\u00a0Iannis Xenakis&#8220; &#8211; mdwPress\" data-secret=\"koyx9Hh4S3\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\" class=\"wp-embedded-content\"><\/iframe><script type=\"text\/javascript\">\n\/* <![CDATA[ *\/\n\/*! This file is auto-generated *\/\n!function(d,l){\"use strict\";l.querySelector&&d.addEventListener&&\"undefined\"!=typeof URL&&(d.wp=d.wp||{},d.wp.receiveEmbedMessage||(d.wp.receiveEmbedMessage=function(e){var t=e.data;if((t||t.secret||t.message||t.value)&&!\/[^a-zA-Z0-9]\/.test(t.secret)){for(var s,r,n,a=l.querySelectorAll('iframe[data-secret=\"'+t.secret+'\"]'),o=l.querySelectorAll('blockquote[data-secret=\"'+t.secret+'\"]'),c=new RegExp(\"^https?:$\",\"i\"),i=0;i<o.length;i++)o[i].style.display=\"none\";for(i=0;i<a.length;i++)s=a[i],e.source===s.contentWindow&&(s.removeAttribute(\"style\"),\"height\"===t.message?(1e3<(r=parseInt(t.value,10))?r=1e3:~~r<200&&(r=200),s.height=r):\"link\"===t.message&&(r=new URL(s.getAttribute(\"src\")),n=new URL(t.value),c.test(n.protocol))&&n.host===r.host&&l.activeElement===s&&(d.top.location.href=t.value))}},d.addEventListener(\"message\",d.wp.receiveEmbedMessage,!1),l.addEventListener(\"DOMContentLoaded\",function(){for(var e,t,s=l.querySelectorAll(\"iframe.wp-embedded-content\"),r=0;r<s.length;r++)(t=(e=s[r]).getAttribute(\"data-secret\"))||(t=Math.random().toString(36).substring(2,12),e.src+=\"#?secret=\"+t,e.setAttribute(\"data-secret\",t)),e.contentWindow.postMessage({message:\"ready\",secret:t},\"*\")},!1)))}(window,document);\n\/\/# sourceURL=https:\/\/www.mdw.ac.at\/mdwpress\/wp-includes\/js\/wp-embed.min.js\n\/* ]]> *\/\n<\/script>\n","description":"James Harley Introduction At approximately the same time as Iannis Xenakis was penning his radical early scores such as Metastaseis (1954) and Pithoprakta (1956) that changed the history of orchestral music, he was embarking on his apprenticeship at what became known as GRM (Groupe de recherches musicales), producing his first electroacoustic work, Diamorphoses, in 1957. &hellip;","thumbnail_url":"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/2021\/02\/orcid.png"}