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Abstract
We present computer models of two works for solo instrument by lannis Xenakis: Herma for piano (1962) and Nomos
Alpha for cello (1965). Both works were described by the
composer (in his book Formalized Music) as examples of
"symbolic music." Xenakis' detailed description of formal
aspects in his compositional process makes it possible to
implement computer models that recreate essential elements
of the final scores. For our implementations, we use OPENMusiC, a visual programming language based on CommoQLisp/CLOS developed at Ircam. Based on the experiences
gathered from developing and exploring these computer
models., we discuss the theoretical concepts used by Xenakis
in his creative process. Further, we examine how the algebraic organization of Nomos Alpha can be considered as an
abstraction of the set-theoretical one used in Herma. We
finally suggest to extend Xenakis' outside-of-timelin-time
dichotomy by means of a third conceptual category: the
"logical time."
1. Introduction
lannis Xenakis is known as an extremely original and prolific composer, the author of masterpieces that had a profound impact on the music of his time, and the proponent of
a number of novel approaches to musical composition. A
trained engineer, having closely collaborated with the architect Le Corbusier. Xenakis was particularly fascinated by
science and, more specifically, by mathematics. His lifelong
interest in these matters deeply influenced his approach to
musical composition, so much so that formal/mathematical
considerations represent an integral part of his creative
process. In the middle of the 1950s, he started with stochastic
music, using probability distributions to shape large masses
Convspnndence: Carlos Agon, Equipe Representations Musicales, IRCAM Centre Georges Pompidou. 1 Place L Stravinsky. 75004 Paris,
France. E-mail: agonc@ircam.fr
DOI: IO.1080/0929821O42OO03I0621 2004 Taylor & Francis Ltd.
146
C. Agon et al.
2. Herma
2.1. The theoretical framework
2.1.1. The basic material
Xenakis describes Herma as a presentation in "sonorous
symbols" - instead of "graphic symbols" - of three pitch sets
A B C - ( - A B C - I - A B C - F A B C
147
148
C. Agon et al.
At
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100
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150
C. Agon et al.
mv.
Fig, 6. Connection patterns in the maquette.
151
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self
getthesttual duration of the block
(extent * stretchingfsctdr) ir^
order lo distribute *vent* across
density
Density
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constructed from
input 3et3
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ternpout
152
C Agon et al.
3. Nomos Alpha
3.1. The formal compositional process
Nomos Alpha is probably one of the most analyzed works
in contemporary music. At the present there are at least
four lengthy analyses (DeLio. 1980; Solomos, 1993;
Vandenbogaerde, 1968; Vriend, 1981), To this list we may
also add the composer's detailed description, in his book Formalized Music (Chapter B, "Toward a Philosophy of Music").
The special length of these analyses can be viewed as a
symptom of the difficulties found in the attempt to summarize the questions raised by this piece in few pages. Nevertheless, it seems not useless to offer the reader a concise
discussion of mathematical aspects not developed in previous studies, and to draw some conclusions based on our
implementation of the compositional process. We arc aware
that, in doing so, we disregard important aspects that resist
foniialization. as the sieve-theoretical pitch organization, and
the question of the so-called "kinematic diagrams" by which
Xenakis supposedly detennined pitch-regions and playing
techniques (pizzicati, battuto col legno, pizzicati glissandi,
etc.).''
As already mentioned, we are interested in a more general
issue, namely the process of abstraction leading from the
amorphous sets of Herma to the more complex algebraic
structures o^ Nomos Alpha. The group-theoretieal conception
behind the latter work utilizes mathematical group structures
in two ways: (1) as an organizing principle for what Xenakis
calls "sound complexes;" and (2) as the theoretical background in the eonstruction of musical scales by means of the
so-called "sieves."
3.1.1. Abstract (or outside-of-time) sound complexes
Figure 8 illustrates tbe eight prototypical "sound complexes"
as described and graphically represented by Xenakis himself.
The order of sound complexes is provided by means of a
mathematieal group, in this ease the 24 rotations that transform a cube into itself The eight sound complexes are
attached to the eight vertices of the cube, such that every
single rotation determines a permutation of the order of tbe
sound complexes.^
asccnituu! ta
4fimn1iiig cloud <tf scnuid
Relatively mdac
f
ncitlict ascmduis lun desrendine
Figure 9 shows the sequence of eight abstract sound complexes attached to the group transformation D that ha.s been
chosen as the starting point for the piece. Thanks to the group
property, any combination of two elements remains in the set
of rotations. In other words, the product of two rotations is
still a rotation, as shown in the group table illustrated in
Figure 10.
3.1.2. The generalized Fibonacci process
The closure axiom, together with the fact that the group of
rotations is finite, enables the construction of Fibonacci
sequences of rotations {Xenakis did not call them such, but
we prefer to remain consistent with the mathematical terminology). The latter turn out to have a cyclic character. Indeed,
selecting two given elements .V] and X2 of the group and
applying the group operation "" we obtain a sequence of
C8
Ataxis field ol
soiuid&
153
Fig. 9.
Alpha.
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Fig. 10. Table of 24 rotations of the cube into itself (Xenakis' own notation).
154
C Agon et al.
-0,5.m/.2= \.mf
- 5 . i ? ' .4.5-22.5.^'
155
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ic
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if
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- 3 . 0 . / . 2.62 = 7.86/
143
I
1981,
p. 78). The initial sieve is provided by the following
set-theoretical expression:''
L(l 1,13) = (A n B) u {C n D) u E
where:
A = (133U B s u 137 u 139)'
B= 11:
^Note that basic set operations are now differently written, i.e., " u "
(union), " n " (intersection) and """' (complement).
'" We do not discuss how Xenakis practically attaches musical scales
(o the abstract sieve expression /,(m.n). We can only mention that
he used many metuholae (i.e.. transformations), by means of which
he would, for example, attribute "difFerent notes to the origins of
the sieves constituting the function" (Xenakis, 1992. p. 230), The
reader will find an excellent discussion of Xenakis' sieve-theory, as
utilized in Nomos Alpha, in {Solomos, 1993).
I n t a r v a l
s t r w c t w r e
Fig. 13. The full sieve-theory process, with one possible musical
realization.
156
C. Agon et al.
E (G> = A =
Fig. 16.
Of.
G<E) = B =
From a more analytical perspective, the OPHNMUSIC implementation ofiers a general parametrized model of the
compositional process with strong connections between
macro- and micro-structures. This interplay between different abstractions of the process is one of the most interesting
aspects of a piece that, surprisingly enough for a contemporary musical work, poses no problems of segmentation:
blocks are easily recognizable, in the score and in sound
analysis alike." But what is pointed out by our implementation is the great generality of the Fibonacci process, operating at many different levels in this music, from the logical
organization of outside-of-time sound complexes to their
157
'"This cyclic group structure is now commonly used by musicologists working in the field of music representation and formalization.
It must be stressed that Xenakis has been historically one of the first
composers to analyze the relevance of the coneept of cyclic groups
in music. Note that this idea has been developed independently by
the American theorist and composer Milton Babbitt, who had a
great influence on the set-theory approaches on music analysis and
composition.
158
C Agon et al.
5. Conclusion
As mentioned in the Introduction, our computational models
cannot be considered as an analysis of these musical works,
at least not in the meaning usually attached to that word in
traditional musicology. Nevertheless, the analytical relevance
of the computer-aided model is evident if we agree that a
musical work is a "field of potentialities," only a small part
of which comes to be actually realized in a given piece. This
''See. e.g.. Baltensperger (1995).
' Xenakis also discusses tlie idea of a third category, besides
oumdi'-of-!ime and in-time: that of the temporal. The latter is
however distinct irom our logical time.
Acknowledgements
This paper originated from a special session of the Ircam
MaMuX Seminar (Mathematics/Music and the relationship
with other disciplines) devoted to the interplay between
theory and composition in lannis Xenakis. We express our
thanks to Agostino Di Scipio for encouraging this collective
eflbrt. adding new points of discussion to the initial positions
'^Nonetheless, we could use the model with different goals in mind,
provided that the implementation takes into account all the pertinent parameters. Solomos (1993, p. 504) suggests that a detailed
analysis of Nomos Alpha may follow several orientations. For
example, it could be possible to rewrite the piece replacing Xenakis'
own deviations from the theory with the "correct" data. It could be
possible to compare two versions of the pieee. the first having the
same structure but a different material, and the second having the
same material but a different strueture. For us. a more interesting
experiment would be to produee several instances of Nomos Alpha
adopting loop solutions other than Xenakis' but having the same
general charaeteristies as those that he proposed.
References
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159