Iannis Xenakis (1922-2001): an examination of the implementation of stochastic procedures in selected compositions

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dc.contributor.advisorHerbst, T.en_ZA
dc.contributor.advisorVermeulen, J.
dc.contributor.authorDu Toit, Pierre Johannesen_ZA
dc.contributor.otherUniversity of Stellenbosch. Faculty of Arts and Social Sciences. Dept. of Music.
dc.date.accessioned2009-03-03T13:21:02Zen_ZA
dc.date.accessioned2010-06-01T08:29:33Z
dc.date.available2009-03-03T13:21:02Zen_ZA
dc.date.available2010-06-01T08:29:33Z
dc.date.issued2009-03en_ZA
dc.descriptionThesis (MMus (Music))--University of Stellenbosch, 2009.en_ZA
dc.description.abstractThe relationship between music and mathematics has been subjected to debate for centuries. There are two schools of thought with the one viewpoint holding that the relationship between mathematics, which is conceived as an abstract and cold discipline, compared to music, which is rich with emotion, must be very limited. Arguments for this view draws, for example, on recent research which indicates that musical talent is not inherently linked to mathematical capability. On the other pole of the debate is the belief that although music and mathematics contribute to different parts of society, there is a very important inter-relationship between the two fields. Of great interest to the latter is the Greek composer Iannis Xenakis whose musical aesthetics incorporates this philosophy. As composer, Xenakis used mathematical theories as basis for his musical works. He not only incorporated well known mathematical principles such as the Golden Section into his compositions but went further and, for instance, utilized Boolean Algebra, Probability theory and Stochastic processes in his music. His composition method based on these mathematical principles became known under the term Stochastic music and forms the focus of this thesis. The research project concentrates on the early part of Xenakis’ life in order to provide insight into the development of his composition methods. The mathematical principles at the centre of his stochastic compositions receive specific rationalisation. In doing so, the most significant probability distributions (Linear, Exponential, Poisson and Normal distribution) are defined in terms of their properties and Xenakis’ use of them. The application of these distributions is considered by looking at the early works Metastaseis (in which Xenakis confronted most of his musical problems and which formed the basis for his musical style) and Achorripsis (where he fully developed their implementation). An in-depth examination of the construction of Achorripsis is performed while scrutinizing Xenakis’ calculations. Specific attention is drawn to alterations and adjustments made to the calculations. His implementation of them into the final score is furthermore examined and it is shown where he deviated between the calculations and score. The thesis concludes by considering the extent and significance of the adjustments made by the composer in the name of artistic freedom.en_ZA
dc.identifier.urihttp://hdl.handle.net/10019.1/1645
dc.language.isoen
dc.publisherStellenbosch : University of Stellenbosch
dc.rights.holderUniversity of Stellenbosch
dc.subjectStochastic proceduresen_ZA
dc.subjectMusic and mathematicsen_ZA
dc.subjectCompositionn (Music)en_ZA
dc.subjectDissertations -- Musicen
dc.subjectTheses -- Musicen
dc.subject.nameXenakis, Iannis, 1922-2001en_ZA
dc.titleIannis Xenakis (1922-2001): an examination of the implementation of stochastic procedures in selected compositionsen_ZA
dc.typeThesisen_ZA
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