• Figure 1. (1)Zyia:a) Opening Fibonacci pattern of. b) Synthetic scale (Fibonacci), mm. 57-59.p. 5

    Figure 2. (2)Le Sacrifice:Pitch series with associated durations.p. 6

    Figure 3.Modulor proportions, from Le Corbusier.p. 9

    Figure 4.La Tourette: Undulatory glass panels designed by Xenakis.p. 10

    Figure 5.Metastaseis:Graph of opening glissandi, with reference to Philips Pavilion (taken from Philips Technical Review). p. 10
    [audio] Metastaseis: Opening glissandi. Iannis Xenakis. "Metastaseis". Xenakis: orchestral works & chamber music. Perf. SWF Symphony Orchestra. Hans Rosbaud, conductor. col legno, 2000.
    Copyright © 2000 col legno

    Figure 6. (3)Metastaseis:Chart of formal outline.p. 11

    Figure 7. (4)Pithoprakta:Layered notation of "stochastic" rhythms (10 attack points per half-measure).p. 14

    Figure 8.Pithoprakta:Density chart of mm. 1-15 showing number of attacks and instruments per attack, for each half-measure.p. 14

    Figure 9.Pithoprakta:Chart of formal outline with listing of sonic entities.p. 14

    Figure 10.Pithoprakta:Composer's graphic sketch from the final sectionp. 16

    Figure 11.Philips Pavilion, Brussels World Fair, 1958p. 17

    Figure 13.Achorripsis:Formal outline (Formalized Music, p. 28) p. 22

    Figure 14. (5)Analogique A+B:Chart of formal outline.p. 23

    Figure 15.Syrmos:The eight sonic entitiesp. 24

    Figure 16.Duel:Game matrix.p. 25

    Figure 17.Herma:Diagrams of Boolean structure (Formalized Music, p. 176).p. 26

    Figure 18.HermaOutline of symbolic form (Formalized Music, p. 176).p. 26

    Figure 19. (table 2)Sequential description of the ST algorithm.p. 27

    Figure 20. (table 3)The family of ST compositions.p. 27

    Figure 21a-d.ST/48, ST/10, Morsima-Amorsima, Atrées:Comparison charts of fomal outlines showing section duration and average density.p. 29

    Figure 22.ST/10, ST/4:Comparison of mm. 1-3p. 29
    [audio] ST/10 mm. 1-3. Iannis Xenakis. "ST/10 = 1-080262 for Ten Instruments". Album 2. Perf. Paris Instrumental Ensemble for Contemporary Music, Cond. Konstantin Simonovitch. Angel - EMI, .
    Copyright ©
    [audio] ST/4 mm. 1-3. Iannis Xenakis. "ST/4". Musique de Chambre [1955-1990]. Perf. Arditti String Quartet, Claude Helffer. WDR Köln - Disques Montaigne, 1992.
    Copyright © 1992 Disques Montaigne sarl, paris

    Figure 23.ST/4:Cello part: mm. 242-248p. 30
    [audio] Cello part: mm. 242-248. Iannis Xenakis. "ST/4". Musique de Chambre [1955-1990]. Perf. Arditti String Quartet, Claude Helffer. WDR Köln - Disques Montaigne, 1992.
    Copyright © 1992 Disques Montaigne sarl, paris

    Figure 24.Atrées:Movement III, mm. 63-75p. 30
    [audio] Movement III, mm. 63-75. Iannis Xenakis. "Atrées". . Perf. . Salabert Promotional Tape, .
    Copyright ©

    Figure 25.Polla ta dhina:Text from Sophocles' Antigone.p. 32

    Figure 26.Polla ta dhina:Chart of formal outline, including divisions of the text.p. 32

    Figure 27.Polla ta dhina:Sustained woodwind harmony, mm. 1-7.p. 32
    [audio] Sustained woodwind harmony, mm. 1-7. Iannis Xenakis. "Polla ta dhina". Album 2. Perf. Paris Instrumental Ensemble for Contemporary Music, Cond. Konstantin Simonovitch. Angel - EMI, .
    Copyright ©

    Figure 28.Polla ta dhina:Wind glissandi, vibraphone, mm. 153-168p. 33
    [audio] Wind glissandi, vibraphone, mm. 153-168. Iannis Xenakis. "Polla ta dhina". Album 2. Perf. Paris Instrumental Ensemble for Contemporary Music, Cond. Konstantin Simonovitch. Angel - EMI, .
    Copyright ©

    Figure 29.Polla ta dhina:Concluding quasi-spectral string harmony, mm. 169-185p. 33
    [audio] Concluding quasi-spectral string harmony, mm. 169-185. Iannis Xenakis. "Polla ta dhina". Album 2. Perf. Paris Instrumental Ensemble for Contemporary Music, Cond. Konstantin Simonovitch. Angel - EMI, .
    Copyright ©

    Figure 30.Eonta:Chart showing density, dynamics, and register (piano solo), mm. 0-39.p. 34

    Figure 31.Eonta:Dynamic, registral and density shift, mm. 30-33.p. 34
    [audio] Dynamic, registral and density shift, mm. 30-33. Iannis Xenakis. "Eonta". Xenakis: Metastasis, Pithoprakta, Eonta. Perf. Yuji Takahashi, Cond. Konstanin Simonovic. Le Chant du Monde, 2001.
    Copyright © 2001 Le Chant du Monde

    Figure 32. (6a-f)Eonta:Key structural harmonies and voice-leading. a) Opening three brass chords, mm. 40-91; b) Expanding register, mm. 100-121, with culmination at mm. 127-137; c) Brass chords, with registrally complementary piano chords, mm. 144-189; d) Sustained brass chord with two-chord rhythmic gesture in piano, mm. 310-322; e) Registral contraction in final five-note chords, mm. 450-466; f) Cadential voice-leading motion in bass, concluding measures.p. 35

    Figure 33.Eonta:Example of pitch sets, mm. 375-382.p. 37
    [audio] Example of pitch sets, mm. 375-382. Iannis Xenakis. "Eonta". Xenakis: Metastasis, Pithoprakta, Eonta. Perf. Yuji Takahashi, Cond. Konstanin Simonovic. Le Chant du Monde, 2001.
    Copyright © 2001 Le Chant du Monde

    Figure 34.Hiketides:Two-part modal excerpt, mm. 330-334.p. 38

    Figure 35.Hiketides:Chart of formal outline.p. 38

    Figure 36.Akrata:Opening, mm. 0-12.p. 41
    [audio] Opening, mm. 0-12. Iannis Xenakis. "Akrata". Xenakis Ensemble Music 2. Perf. ST-X Ensemble, Cond. Charles Zachary Bornstein. Mode Records, 1996.
    Copyright © 1996 Mode Records

    Figure 37.Akrata:Chart of pitch distribution, mm. 1-59.p. 41

    Figure 38a.Akrata:Event analysis, mm. 1-59.p. 41

    Figure 38b.Akrata:Event analysis, mm. 122-199p. 41

    Figure 39. (table 4)Sieve method for deriving a major scalep. 42

    Figure 40.Sieve derivation of scale used in Nomos alpha. p. 42

    Figure 41a.Nomos alpha:Annotated score of opening section (Formalized Music, p. 235). p. 43
    [audio] Opening section. Iannis Xenakis. "Nomos alpha". Musique de Chambre [1955-1990]. Perf. Arditti String Quartet, Claude Helffer. WDR Köln - Disques Montaigne, 1992.
    Copyright © 1992 Disques Montaigne sarl, paris

    Figure 41b.Nomos alpha:Two widely diverging lines, final section.p. 44
    [audio] Final section. Iannis Xenakis. "Nomos alpha". Musique de Chambre [1955-1990]. Perf. Arditti String Quartet, Claude Helffer. WDR Köln - Disques Montaigne, 1992.
    Copyright © 1992 Disques Montaigne sarl, paris

    Figure 42.Oresteïa:Table of dramatic/musical polarities in Xenakis' suite.p. 45

    Figure 43. (7)Terretektorh:Seating arrangement.p. 46

    Figure 44.Terretektorh:Reduction of opening unison showing spatialized sound path.p. 48
    [audio] Opening unison. Iannis Xenakis. "Terretektorh". Iannis Xenakis. Perf. Orchestre Philharmonique de l'O.R.T.F., Ltg. Charles Brück. Edition RZ, 2003.
    Copyright © 2003 Edition RZ

    Figure 45.Terretektorh:Massed sirens (orchestral sectors A-D only), mm. 312-326.p. 48
    [audio] Massed sirens, mm. 312-326. Iannis Xenakis. "Terretektorh". Iannis Xenakis. Perf. Orchestre Philharmonique de l'O.R.T.F., Ltg. Charles Brück. Edition RZ, 2003.
    Copyright © 2003 Edition RZ

    Figure 46.Medea:Cloud of whispered text, m. 385.p. 49
    [audio] Cloud of whispered text, m. 385. Iannis Xenakis. "Medea". . Perf. . , .
    Copyright ©

    Figure 47.Medea:Unsynchronized choral repetitions--Climax, mm. 633-644.p. 50
    [audio] Unsynchronized choral repetitions--Climax, mm. 633-644. Iannis Xenakis. "Medea". . Perf. . , .
    Copyright ©

    Figure 48.MedeaChart of sonorities.p. 50

    Figure 49.Polytope de Montréal:Sketch of lighting cables over five floors of the French Pavilion.p. 51

    Figure 52a-b.Nuits:Soprano section glissandi. a) mm. 1-5; b) mm. 38-41.p. 53
    [audio] Soprano section glissandi. Iannis Xenakis. "Nuits". Pupils of Messiaen: A cappella works by Messiaen, Stockhausen and Xenakis. Perf. Danish National Radio Choir, Cond. Jesper Grove Jørgensen. Chandos Records Ltd., 1999.
    Copyright © 1999 Chandos Records Ltd.
    [audio] Soprano section glissandi. Iannis Xenakis. "Nuits". Pupils of Messiaen: A cappella works by Messiaen, Stockhausen and Xenakis. Perf. Danish National Radio Choir, Cond. Jesper Grove Jørgensen. Chandos Records Ltd., 1999.
    Copyright © 1999 Chandos Records Ltd.

    Figure 53.Nuits:Layered pulsations, mm. 84-87.p. 55
    [audio] Layered pulsations, mm. 84-87. Iannis Xenakis. "Nuits". Pupils of Messiaen: A cappella works by Messiaen, Stockhausen and Xenakis. Perf. Danish National Radio Choir, Cond. Jesper Grove Jørgensen. Chandos Records Ltd., 1999.
    Copyright © 1999 Chandos Records Ltd.

    Figure 54.Nuits:Twelve-note chords, m. 120.p. 55
    [audio] Twelve-note chords, m. 120. Iannis Xenakis. "Nuits". Pupils of Messiaen: A cappella works by Messiaen, Stockhausen and Xenakis. Perf. Danish National Radio Choir, Cond. Jesper Grove Jørgensen. Chandos Records Ltd., 1999.
    Copyright © 1999 Chandos Records Ltd.

    Figure 55.Nomos gamma:Combinatorial texture, oboes/clarinets, mm. 18-21.p. 56
    [audio] mm. 18-21. Iannis Xenakis. "Nomos gamma". Iannis Xenakis. Perf. Orchestre Philharmonique de l'O.R.T.F., Ltg. Charles Brück. Edition RZ, 2003.
    Copyright © 2003 Edition RZ

    Figure 56. (table 5)Nomos gamma:Chart showing formal sections defined by dominance of instrumental family.p. 57

    Figure 57.Nomos gamma:Low register passage, with silences, mm. 72-80p. 58
    [audio] mm. 72-80. Iannis Xenakis. "Nomos gamma". Iannis Xenakis. Perf. Orchestre Philharmonique de l'O.R.T.F., Ltg. Charles Brück. Edition RZ, 2003.
    Copyright © 2003 Edition RZ

    Figure 58. (table 6)Nomos gamma:Chart showing textural subdivisions of Section IV for strings (mm. 230-441).p. 59

    Figure 59.Nomos gamma:Imitative treatment of complex string texture, mm. 362-365.p. 59

    Figure 60.Nomos Gamma:Chart of descending clusters, mm. 442-559.p. 59

    Figure 61.Kraanerg:View of stage setting designed by Victor Vasarely.p. 60

    Figure 62.Kraanerg:Chart of formal outline.p. 61

    Figure 63.Kraanerg:Soloistic passage for contrabass clarinet and contrabassoon.p. 61

    Figure 64.Anaktoria:Intricate, narrow-range polyphony, mm. 79-82.p. 63
    [audio] Intricate, narrow-range polyphony, mm. 79-82. Iannis Xenakis. "Anaktoria". Iannis Xenakis. Perf. Octuor de Paris. Accord, 1996.
    Copyright © 1996

    Figure 65.Persephassa:Rotating accents, mm. 430-437.p. 64
    [audio] Rotating accents, mm. 430-437. Iannis Xenakis. "Persephassa". Iannis Xenakis: Perséphassa - Psappha - Okho. Perf. Demoé Percussion Ensemble. Daniele Vineis. Stradivarius, 1997.
    Copyright © 1997 Stradivarius

    Figure 66. (9)Persephassa:Rhythmic sieve, in imitation and layered tempo, m. 222.p. 64

    Figure 67.Persephassa:Comparison of two rhythmic sieves, used for mm. 221-226.p. 64
    [audio] Comparison of two rhythmic sieves, used for mm. 221-226. Iannis Xenakis. "Persephassa". Iannis Xenakis: Perséphassa - Psappha - Okho. Perf. Demoé Percussion Ensemble. Daniele Vineis. Stradivarius, 1997.
    Copyright © 1997 Stradivarius

    Figure 68.Persephassa:Fibonacci-derived rhythmic pattern, distributed in imitative fashion, mm. 151-156.p. 64
    [audio] Fibonacci-derived rhythmic pattern, distributed in imitative fashion, mm. 151-156. Iannis Xenakis. "Persephassa". Iannis Xenakis: Perséphassa - Psappha - Okho. Perf. Demoé Percussion Ensemble. Daniele Vineis. Stradivarius, 1997.
    Copyright © 1997 Stradivarius

    Figure 69.Persephassa:Layered pulsations, mm. 65-70.p. 66
    [audio] Layered pulsations, mm. 65-70. Iannis Xenakis. "Persephassa". Iannis Xenakis: Perséphassa - Psappha - Okho. Perf. Demoé Percussion Ensemble. Daniele Vineis. Stradivarius, 1997.
    Copyright © 1997 Stradivarius

    Figure 71.Polytope de Cluny:Composer's diagrams showing distribution of flashbulbs and laser trajectories.p. 70

    Figure 72.Synaphaï:Graphic reprsentation of final piano passage.p. 71
    [audio] Graphic representation of final piano passage. Iannis Xenakis. "Synaphaï". Iannis Xenakis: Orchestral Works Vol III. Perf. Piano: Hiroaki Ooï, Cond: Arturo Tamayo, Orchestre Philharmonique de Luxembourg. Timpani, 2002.
    Copyright © 2002 Timpani

    Figure 73.Synaphaï:Signatory accelerating-decelerating rhythmic figure.p. 72

    Figure 74.Synaphaï:Cadenza passage of six chords, treated in deterministic and indeterminate style, mm. 260-266.p. 73
    [audio] Cadenza passage of six chords, treated in deterministic and indeterminate style, mm. 260-266. Iannis Xenakis. "Synaphaï". Iannis Xenakis: Orchestral Works Vol III. Perf. Piano: Hiroaki Ooï, Cond: Arturo Tamayo, Orchestre Philharmonique de Luxembourg. Timpani, 2002.
    Copyright © 2002 Timpani

    Figure 75. (table 7)Antikhthon:Chart of formal outline.p. 74

    Figure 76.Antikhthon:Melodic passage, mm. 80-85.p. 75

    Figure 77a-b. (11a-b)ArouraFormal outline. a) Sonic entities; b) Sub-entities of "arco" sonority.p. 75

    Figure 79.Mikka "S":Glissando with rhythmic articulation.p. 78
    [audio] Glissando with rhythmic articulation. Iannis Xenakis. "Mikka "S"". Musique de Chambre [1955-1990]. Perf. Arditti String Quartet, Claude Helffer. WDR Köln - Disques Montaigne, 1992.
    Copyright © 1992 Disques Montaigne sarl, paris

    Figure 80.Eridanos:Permutations of Pitch Set II (Oxygen).p. 79

    Figure 81.Evryali:Graphic transcription of arborescence, mm. 102-126.p. 80
    [audio] Graphic transcription of arborescence, mm. 102-126. Iannis Xenakis. "Evryali". Musique de Chambre [1955-1990]. Perf. Arditti String Quartet, Claude Helffer. WDR Köln - Disques Montaigne, 1992.
    Copyright © 1992 Disques Montaigne sarl, paris

    Figure 82.Evryali:"Impossible" passage, mm. 82-83.p. 80
    [audio] "Impossible" passage, mm. 82-83. Iannis Xenakis. "Evryali". Musique de Chambre [1955-1990]. Perf. Arditti String Quartet, Claude Helffer. WDR Köln - Disques Montaigne, 1992.
    Copyright © 1992 Disques Montaigne sarl, paris

    Figure 83.Evryali:Chart of formal outline.p. 80

    Figure 84.CendréesOpening string glissandi, mm. 1-6.p. 82

    Figure 85.Cendrées:Hocket-like passage featuring altos and violas, mm. 171-175p. 82

    Figure 86b.Erikhthon:Musical notation of passage given in graphic sketch, mm. 245-249.p. 84
    [audio] mm. 245-249. Iannis Xenakis. "Erikhthon". Iannis Xenakis: Orchestral Works Vol. IV. Perf. Orchestre Philharmonique du Luxembourg, Cond. Arturo Tamayo, Piano. Hiroaki Ooï. Timpani, 2004.
    Copyright © 2004 Timpani

    Figure 87.Gmeeoorh:Clusters and timbral variations, p. 8 of score.p. 86
    [audio] Clusters and timbral variations, p. 8 of score. Iannis Xenakis. "Gmeeoorh". L'orgue Contemporain A Notre-Dame de Paris. Perf. Françoise Rieunier. Solstice, 2001.
    Copyright © 2001

    Figure 88.Noomena:Central woodwind fermata, mm. 210-212.p. 87
    [audio] mm. 210-212. Iannis Xenakis. "Noomena". Iannis Xenakis: Orchestral Works Vol I. Perf. Orchestre Philharmonique de Luxembourg, Cond: Arturo Tamayo. Timpani, 2000.
    Copyright © 2000 Timpani

    Figure 89.Noomena:Staccato, interlocking rhythmic passage for woodwinds, mm. 327-329.p. 87
    [audio] mm. 327-329. Iannis Xenakis. "Noomena". Iannis Xenakis: Orchestral Works Vol I. Perf. Orchestre Philharmonique de Luxembourg, Cond: Arturo Tamayo. Timpani, 2000.
    Copyright © 2000 Timpani

    Figure 90.Empreintes:Layered rhythmic sieves, mm. 109-110.p. 88
    [audio] Layered rhythmic sieves, mm. 109-110. Iannis Xenakis. "Empreintes". Iannis Xenakis: Orchestral Works Vol I. Perf. Orchestre Philharmonique de Luxembourg, Cond: Arturo Tamayo. Timpani, 2000.
    Copyright © 2000 Timpani

    Figure 91.Phlegra:String glissando and oboe quasi-glissando, m. 79.p. 89
    [audio] String glissando and oboe quasi-glissando, m. 79. Iannis Xenakis. "Phlegra". Iannis Xenakis: Phlegra/Jalons/Keren/Nomos/Alpha/Thalleïn. Perf. Ensemble Intercontemporain, Dir. Michel Tabachnik. Erato, 1992.
    Copyright © 1992 Erato

    Figure 92.Phlegra:Fast, unison glissandi for woodwinds and strings, mm. 35-37.p. 90
    [audio] Fast, unison glissandi for woodwinds and strings, mm. 35-37. Iannis Xenakis. "Phlegra". Iannis Xenakis: Phlegra/Jalons/Keren/Nomos/Alpha/Thalleïn. Perf. Ensemble Intercontemporain, Dir. Michel Tabachnik. Erato, 1992.
    Copyright © 1992 Erato

    Figure 93. (14)Phlegra:Six-segment scale-melody, segmented by octave.p. 90

    Figure 94.N'Shima:Chart of formal outline.p. 93

    Figure 95. (table 8)Psappha:Formal proportions.p. 95

    Figure 96. (15)Psappha:Opening passage, showing rhythmic sieves.p. 95

    Figure 97.Windungen:Spatial distribution of musical material, mm. 101-105.p. 98
    [audio] mm. 101-105. Iannis Xenakis. "Windungen". . Perf. . , .
    Copyright ©

    Figure 98.Theraps:Main pitch sieve.p. 99

    Figure 99. (table 9)Theraps:Chart of formal outline.p. 99

    Figure 100.Kottos:Succession of sonic entities, mm. 1-8.p. 101
    [audio] mm. 1-8. Iannis Xenakis. "Kottos". Musique de Chambre [1955-1990]. Perf. Arditti String Quartet. WDR Köln - Disques Montaigne, 1992.
    Copyright © 1992 Disques Montaigne sarl, paris

    Figure 101.Kottos:Chart of formal outline, Section I.p. 101

    Figure 102.Kottos:Intricate double-stops, mm. 35-38.p. 101
    [audio] mm. 35-38. Iannis Xenakis. "Kottos". Musique de Chambre [1955-1990]. Perf. Arditti String Quartet. WDR Köln - Disques Montaigne, 1992.
    Copyright © 1992 Disques Montaigne sarl, paris

    Figure 103.Kottos:Toccata passage mm. 74-75p. 102
    [audio] mm. 74-75. Iannis Xenakis. "Kottos". Musique de Chambre [1955-1990]. Perf. Arditti String Quartet. WDR Köln - Disques Montaigne, 1992.
    Copyright © 1992 Disques Montaigne sarl, paris

    Figure 104a.Khoaï:Layered patterns built from Fibonacci sequence, mm. 286-288.p. 103
    [audio] Khoaï mm. 286-288. Iannis Xenakis. "Khoaï". Iannis Xenakis. Perf. Musifrance. Erato, 1990.
    Copyright © 1990 Erato-Disques S.A.

    Figure 104b.Khoaï:Final Fibonacci sequence, mm. 323-331p. 103
    [audio] Khoaï mm. 323-331. Iannis Xenakis. "Khoaï". Iannis Xenakis. Perf. Musifrance. Erato, 1990.
    Copyright © 1990 Erato-Disques S.A.

    Figure 105.Épéï:Motivic variation, mm. 1-15.p. 104
    [audio] mm. 1-15. Iannis Xenakis. "Épéï". . Perf. . Salabert Promotion, .
    Copyright ©

    Figure 106.Épéï:Cycle of de-synchronization and return, mm. 67-71.p. 105
    [audio] mm. 67-71. Iannis Xenakis. "Épéï". . Perf. . Salabert Promotion, .
    Copyright ©

    Figure 107. (table 10)Akanthos:List of primary sonic entities.p. 105

    Figure 108a-b.Akanthos:Examples of soprano part. a) two-octave ascent, mm. 56-58; b) glissando rising over two octaves, mm. 39-40.p. 106
    [audio] a) two-octave ascent, mm. 56-58. Iannis Xenakis. "Akanthos". Xenakis Ensemble Music 1. Perf. ST-X Ensemble, Cond. Charles Zachary Bornstein. Mode Records, 1996.
    Copyright © 1996 Mode Records
    [audio] b) glissando rising over two octaves, mm. 39-40. Iannis Xenakis. "Akanthos". Xenakis Ensemble Music 1. Perf. ST-X Ensemble, Cond. Charles Zachary Bornstein. Mode Records, 1996.
    Copyright © 1996 Mode Records

    Figure 109. (16a)À Colone:Narrow two-part vocal writing, from p. 9.p. 107

    Figure 110. (16b)À Hélène:Slightly wider ambitus of two-part vocal writing, from p. 3.p. 107

    Figure 111.Jonchaies:Opening string melody, mm. 10-16.p. 108
    [audio] Opening string melody, mm. 10-16. Iannis Xenakis. "Jonchaies". Xenakis: orchestral works & chamber music. Perf. Nouvel Orchestre Philharmonique, Cond. Gilbert Amy. col legno, 2000.
    Copyright © 2000 col legno

    Figure 112. (17)Jonchaies:Pitch sieve for Section I (strings).p. 108

    Figure 113.Jonchaies:Graphic transcription of layered contours from the beginning of Section II.p. 109

    Figure 114.Jonchaies:Score passage exhibiting seven layers of sonic entities, mm. 221-225.p. 110
    [audio] Score passage exhibiting seven layers of sonic entities, mm. 221-225. Iannis Xenakis. "Jonchaies". Xenakis: orchestral works & chamber music. Perf. Nouvel Orchestre Philharmonique, Cond. Gilbert Amy. col legno, 2000.
    Copyright © 2000 col legno

    Figure 118.Mycenae alpha:Graphic design of complex glissandi, 4'17"-5'16".p. 115
    [audio] Graphic design of complex glissandi, 4'17"-5'16". Iannis Xenakis. "mycenae Alpha". CCMIX Paris. Perf. UPIC. Mode Records, 2001.
    Copyright © 2001 Mode Records

    Figure 119.Ikhoor:Diverging and converging lines, mm. 1-7.p. 119
    [audio] Diverging and converging lines, mm. 1-7. Iannis Xenakis. "Ikhoor". Musique de Chambre [1955-1990]. Perf. Arditti String Quartet. WDR Köln - Disques Montaigne, 1992.
    Copyright © 1992 Disques Montaigne sarl, paris

    Figure 120.Ikhoor:Diagram showing tempo shifts through Section I.p. 119

    Figure 121.Ikhoor:Rhythmic layering of single modal melody, mm. 94-95.p. 120
    [audio] Rhythmic layering of single modal melody, mm. 94-95. Iannis Xenakis. "Ikhoor". Musique de Chambre [1955-1990]. Perf. Arditti String Quartet. WDR Köln - Disques Montaigne, 1992.
    Copyright © 1992 Disques Montaigne sarl, paris

    Figure 123.Pléïades - Claviers:Gradual divergence of opening unison melody, mm. 1-5.p. 121
    [audio] Gradual divergence of opening unison melody, mm. 1-5. Iannis Xenakis. "Pléïades - Claviers". Iannis Xenakis: Idmen, Pléïades. Perf. Choeur Gulbenkian, Cond. Sylvio Gualda. Erato, 1992.
    Copyright © 1992 Erato Disques S.A./Radio France

    Figure 124.Pléïades - Claviers:Simple modal melody, mm. 52-56.p. 123
    [audio] Simple modal melody, mm. 52-56. Iannis Xenakis. "Pléïades - Claviers". Iannis Xenakis: Idmen, Pléïades. Perf. Choeur Gulbenkian, Cond. Sylvio Gualda. Erato, 1992.
    Copyright © 1992 Erato Disques S.A./Radio France

    Figure 125.Palimpsest:Simultaneous tempi, piano part with percussion, mm. 17-19.p. 123
    [audio] Simultaneous tempi, piano part with percussion, mm. 17-19. Iannis Xenakis. "Palimpsest". Xenakis Works for Piano. Perf. The Society for New Music, Piano: Aki Takahashi, Cond. Charles Peltz. Mode Records, 1999.
    Copyright © 1999 Mode Records

    Figure 126.Palimpsest:Chart of instrumental blocks.p. 124

    Figure 127.Palimpsest:Gradual introduction of "Jonchaies" sieve, mm. 89-91.p. 124
    [audio] Gradual introduction of "Jonchaies" sieve, mm. 89-91. Iannis Xenakis. "Palimpsest". Xenakis Works for Piano. Perf. The Society for New Music, Piano: Aki Takahashi, Cond. Charles Peltz. Mode Records, 1999.
    Copyright © 1999 Mode Records

    Figure 128.Anemoessa:Chart of formal outline showing instrumental blocks subdivided according to register and temporal proportions of sections.p. 125

    Figure 129.Anemoessa:Hocket-like choral passage, mm. 56-58.p. 126
    [audio] mm. 56-58. Iannis Xenakis. "Anemoessa". Casette Promotion, Editions Salabert. Perf. . , .
    Copyright ©

    Figure 130.Dikhthas:Layered rhythmic pulsations, mm. 55-57.p. 127
    [audio] Layered rhythmic pulsations, mm. 55-57. Iannis Xenakis. "Dikhthas". Musique de Chambre [1955-1990]. Perf. Arditti String Quartet, Claude Helffer. WDR Köln - Disques Montaigne, 1992.
    Copyright © 1992 Disques Montaigne sarl, paris

    Figure 131. (22)Dikhthas:Comparison of mm. 124-131 with Evryali, mm. 138-145.p. 127

    Figure 132.Dikhthas:Toccata-like passage, mm. 143-144.p. 127
    [audio] Toccata-like passage, mm. 143-144. Iannis Xenakis. "Dikhthas". Musique de Chambre [1955-1990]. Perf. Arditti String Quartet, Claude Helffer. WDR Köln - Disques Montaigne, 1992.
    Copyright © 1992 Disques Montaigne sarl, paris

    Figure 133. (table 11)Aïs:Texts used in the piece.p. 129

    Figure 134.Aïs:Staggered brass melody, mm. 76-80.p. 131
    [audio] Staggered brass melody, mm. 76-80. Iannis Xenakis. "Aïs". Iannis Xenakis: Orchestral Works Vol I. Perf. Orchestre Philharmonique de Luxembourg, Cond: Arturo Tamayo. Timpani, 2000.
    Copyright © 2000 Timpani

    Figure 135.Aïs:Sieve-derived melody harmonied in parallel, mm. 156-160.p. 132
    [audio] Sieve-derived melody harmonied in parallel, mm. 156-160. Iannis Xenakis. "Aïs". Iannis Xenakis: Orchestral Works Vol I. Perf. Orchestre Philharmonique de Luxembourg, Cond: Arturo Tamayo. Timpani, 2000.
    Copyright © 2000 Timpani

    Figure 137.Mists:Four transpositions of the pitch sieve for Section I.p. 133

    Figure 138.Embellie:Low-register melody emphasizing the open fifth, mm. 1-3.p. 135
    [audio] Low-register melody emphasizing the open fifth, mm. 1-3. Iannis Xenakis. "Embellie". Musique de Chambre [1955-1990]. Perf. Arditti String Quartet, Claude Helffer. WDR Köln - Disques Montaigne, 1992.
    Copyright © 1992 Disques Montaigne sarl, paris

    Figure 139. (24)Serment:Palindromic intervallic structure of main pitch-sieve.p. 135

    Figure 140.Komboï:Opening pitch-sieve, including positional structure of harpsichord's chordal material.p. 137

    Figure 141.Komboï:Interactive melodic-rhythmic pattern, beats 240-252.p. 137
    [audio] Beats 240-252. Iannis Xenakis. "Komboï". Iannis Xenakis. Perf. Musifrance. Erato, 1990.
    Copyright © 1990 Erato-Disques S.A.

    Figure 142.Komboï:Collection of seven chords from final passage.p. 138
    [audio] Seven chords from final passage. Iannis Xenakis. "Komboï". Iannis Xenakis. Perf. Musifrance. Erato, 1990.
    Copyright © 1990 Erato-Disques S.A.

    Figure 143. (25)Nekuïa:Chart of formal outline.p. 139

    Figure 144.Nekuïa:Layered melodies for women's voices (and bassoons), all derived from a single sieve, mm. 50-54.p. 141
    [audio] mm. 50-54. Iannis Xenakis. "Nekuïa". Casette Promotion, Editions Salabert. Perf. . , .
    Copyright ©

    Figure 145.Nekuïa:Comparison of opening sieve and a second one from m. 167.p. 141
    [audio] m. 1. Iannis Xenakis. "Nekuïa". Casette Promotion, Editions Salabert. Perf. . , .
    Copyright ©
    [audio] m. 167. Iannis Xenakis. "Nekuïa". Casette Promotion, Editions Salabert. Perf. . , .
    Copyright ©

    Figure 146.Pour la paix:Comparison of two-part melodic writing from Sequences Two and Seven.p. 142
    [audio] seq. 2. Iannis Xenakis. "Pour La Paix". Musique Electro-Acoustique Iannis Xenakis. Perf. Le Choeur de Radio France, Dir. Michel Tranchant. Fractal Records, 2001.
    Copyright © 2001 Fractal Records
    [audio] seq. 7. Iannis Xenakis. "Pour La Paix". Musique Electro-Acoustique Iannis Xenakis. Perf. Le Choeur de Radio France, Dir. Michel Tranchant. Fractal Records, 2001.
    Copyright © 2001 Fractal Records

    Figure 147a. (66a)Pour Maurice:Pitches used in the voice part as they are introduced over time.p. 143

    Figure 147b. (66b)Pour Maurice:Piano's pitch-sieve, highlighting the long-held (rearticulated chord from the beginning).p. 143

    Figure 148.Shaar:Rhythmic layers, mm. 90-94.p. 145
    [audio] Rhythmic layers, mm. 90-94. Iannis Xenakis. "Shaar". Iannis Xenakis: Orchestral Works Vol II. Perf. Orchestre Philharmonique de Luxembourg, Cond. Arturo Tamayo. Timpani, 2001.
    Copyright © 2001 Timpani

    Figure 149.Shaar:Four layers of glissandi, mm. 115-119.p. 145
    [audio] Four layers of glissandi, mm. 115-119. Iannis Xenakis. "Shaar". Iannis Xenakis: Orchestral Works Vol II. Perf. Orchestre Philharmonique de Luxembourg, Cond. Arturo Tamayo. Timpani, 2001.
    Copyright © 2001 Timpani

    Figure 150.Shaar:Comparison of two sieves, mm. 125-135, mm. 136-137.p. 145
    [audio] mm. 125-135. Iannis Xenakis. "Shaar". Iannis Xenakis: Orchestral Works Vol II. Perf. Orchestre Philharmonique de Luxembourg, Cond. Arturo Tamayo. Timpani, 2001.
    Copyright © 2001 Timpani
    [audio] mm. 136-137. Iannis Xenakis. "Shaar". Iannis Xenakis: Orchestral Works Vol II. Perf. Orchestre Philharmonique de Luxembourg, Cond. Arturo Tamayo. Timpani, 2001.
    Copyright © 2001 Timpani

    Figure 152.Tetras:Transition from noise to pitch, beats 150-160.p. 148
    [audio] Transition from noise to pitch, beats 150-160. Iannis Xenakis. "Tetras". Musique de Chambre [1955-1990]. Perf. Arditti String Quartet, Claude Helffer. WDR Köln - Disques Montaigne, 1992.
    Copyright © 1992 Disques Montaigne sarl, paris

    Figure 153.Tetras:Exposition of pitch-sieve, beats 357-368.p. 148
    [audio] Exposition of pitch-sieve, beats 357-368. Iannis Xenakis. "Tetras". Musique de Chambre [1955-1990]. Perf. Arditti String Quartet, Claude Helffer. WDR Köln - Disques Montaigne, 1992.
    Copyright © 1992 Disques Montaigne sarl, paris

    Figure 154.Chant des soleils:Eight-part counterpoint, using a single pitch-sieve (shown underneath), m. 416.p. 152

    Figure 155.Khal Perr:Main pitch-sieve, with opening "tonal" configuration of four pitches.p. 153

    Figure 156.Khal Perr:Closing passage, beats 367-377.p. 153
    [audio] beats 367-377. Iannis Xenakis. "Khal Perr". Casette Promotion, Editions Salabert. Perf. . , .
    Copyright ©

    Figure 157.Lichens:Opening heterophonic passage, anchored by alternating unisons, mm. 1-5.p. 154
    [audio] Opening heterophonic passage, anchored by alternating unisons, mm. 1-5. Iannis Xenakis. "Lichens". Iannis Xenakis: Orchestral Works Vol II. Perf. Orchestre Philharmonique de Luxembourg, Cond. Arturo Tamayo. Timpani, 2001.
    Copyright © 2001 Timpani

    Figure 158.Lichens:Narrow melodic patterns harmonized in parallel clusters, mm. 101-104.p. 156
    [audio] Narrow melodic patterns harmonized in parallel clusters, mm. 101-104. Iannis Xenakis. "Lichens". Iannis Xenakis: Orchestral Works Vol II. Perf. Orchestre Philharmonique de Luxembourg, Cond. Arturo Tamayo. Timpani, 2001.
    Copyright © 2001 Timpani

    Figure 159.Naama:Chart of formal outline.p. 157

    Figure 160.Naama:Opening succession of material, mm. 1-12.p. 157
    [audio] Opening succession of material, mm. 1-12. Iannis Xenakis. "Naama". Iannis Xenakis. Perf. Musifrance. Erato, 1990.
    Copyright © 1990 Erato-Disques S.A.

    Figure 161.Naama:Simple modal melody, mm. 115-116.p. 158
    [audio] Simple modal melody, mm. 115-116. Iannis Xenakis. "Naama". Iannis Xenakis. Perf. Musifrance. Erato, 1990.
    Copyright © 1990 Erato-Disques S.A.

    Figure 162a-b.Thalleïn:Section V. a) Pitch-sieve; b) Graphic representation of parallel "chorale" moving to layered polyphony, mm. 99-107.p. 160-161
    [audio] mm. 99-107. Iannis Xenakis. "Thalleïn". Iannis Xenakis: Phlegra/Jalons/Keren/Nomos/Alpha/Thalleïn. Perf. Ensemble Intercontemporain, Dir. Michel Tabachnik. Erato, 1992.
    Copyright © 1992 Erato

    Figure 163.Thalleïn:mm. 123-125, compared to extracted passages from Lichens (mm. 16-19). p. 161
    [audio] mm. 123-125. Iannis Xenakis. "Thalleïn". Iannis Xenakis: Phlegra/Jalons/Keren/Nomos/Alpha/Thalleïn. Perf. Ensemble Intercontemporain, Dir. Michel Tabachnik. Erato, 1992.
    Copyright © 1992 Erato
    [audio] Lichens (mm. 16-19) . Iannis Xenakis. "Lichens". Iannis Xenakis: Orchestral Works Vol II. Perf. Orchestre Philharmonique de Luxembourg, Cond. Arturo Tamayo. Timpani, 2001.
    Copyright © 2001 Timpani

    Figure 164.Idmen B1: Chart of rhythmic structure, mm. 1-60.p. 165

    Figure 165.Idmen B2:Distribution of players and instrumentation.p. 165

    Figure 166.Idmen A3:Layered choral writing, mm. 61-63.p. 166
    [audio] mm. 61-63. Iannis Xenakis. "Idmen A3". Iannis Xenakis. Perf. Les Pleiades, Choeur Gulbenkian, Cond. Sylvio Gualda. Musifrance, 1992.
    Copyright © 1992 Erato Disques S.A./Radio France

    Figure 167.Alax:Violin motive from Shaar (and Lichens), mm. 1-3. p. 167
    [audio] mm. 1-3. Iannis Xenakis. "Alax". . Perf. . , .
    Copyright ©

    Figure 168.Alax:Staggered melody, mm. 43-45.p. 168
    [audio] mm. 43-45. Iannis Xenakis. "Alax". . Perf. . , .
    Copyright ©

    Figure 169.Alax:Brass "chant," in three layers of two-part polyphony, mm. 55-56.p. 168
    [audio] mm. 55-56. Iannis Xenakis. "Alax". . Perf. . , .
    Copyright ©

    Figure 170.Keqrops:Piano solo, with ostinato chords and "tolling" octaves in the bass, mm. 11-12.p. 170
    [audio] mm. 11-12. Iannis Xenakis. "Keqrops". Wien Modern III. Perf. Gustav Mahler Jugendorchester, Pno. Roger Woodward, Cond. Claudio Abbado. Deutsche Grammophon, 1997.
    Copyright © 1997 Deutsche Grammophon GmbH

    Figure 171a-b.Keqrops:Piano cadenza. a) Opening melodic material, mm. 58-59; b) Series of chords ending each phrase of melodic material, mm. 61-69.p. 170
    [audio] a) Opening melodic material, mm. 58-59. Iannis Xenakis. "Keqrops". Wien Modern III. Perf. Gustav Mahler Jugendorchester, Pno. Roger Woodward, Cond. Claudio Abbado. Deutsche Grammophon, 1997.
    Copyright © 1997 Deutsche Grammophon GmbH
    [audio] b) Series of chords ending each phrase of melodic material, mm. 61-69. Iannis Xenakis. "Keqrops". Wien Modern III. Perf. Gustav Mahler Jugendorchester, Pno. Roger Woodward, Cond. Claudio Abbado. Deutsche Grammophon, 1997.
    Copyright © 1997 Deutsche Grammophon GmbH

    Figure 172.À L'île de Gorée:Legato "chorale" texture, mm. 45-47.p. 174
    [audio] Legato "chorale" texture, mm. 45-47. Iannis Xenakis. "À L'île de Gorée". Iannis Xenakis. Perf. Musifrance. Erato, 1990.
    Copyright © 1990 Erato-Disques S.A.

    Figure 173.À L'île de Gorée:Harpsichord ostinato pattern, mm. 81-83.p. 174
    [audio] Harpsichord ostinato pattern, mm. 81-83. Iannis Xenakis. "À L'île de Gorée". Iannis Xenakis. Perf. Musifrance. Erato, 1990.
    Copyright © 1990 Erato-Disques S.A.

    Figure 174. (table 12)Keren:Chart of formal outline.p. 175

    Figure 175. (27)Numerical example of a cellular automaton.p. 176

    Figure 176. (28)Horos:Chart of orchestration and palindromic pitch structure of cellular automaton, m. 10.p. 177

    Figure 177.Horos:Chart of opening "isorhythmic" progression.p. 179

    Figure 178.Horos:Climactic flourish of staggered cluster runs, mm. 97-100.p. 179
    [audio] Climactic flourish of staggered cluster runs, mm. 97-100. Iannis Xenakis. "Horos". Iannis Xenakis: Orchestral Works Vol III. Perf. Cond: Arturo Tamayo, Orchestre Philharmonique de Luxembourg. Timpani, 2002.
    Copyright © 2002 Timpani

    Figure 179.Akea:Piano ostinato, mm. 21-23.p. 180
    [audio] Piano ostinato, mm. 21-23. Iannis Xenakis. "Akea". Musique de Chambre [1955-1990]. Perf. Arditti String Quartet, Claude Helffer. WDR Köln - Disques Montaigne, 1992.
    Copyright © 1992 Disques Montaigne sarl, paris

    Figure 180.Jalons:Chart of formal outline.p. 182

    Figure 181.Jalons:Extended sonorities, mm. 79-81.p. 183
    [audio] Extended sonorities, mm. 79-81. Iannis Xenakis. "Jalons". Iannis Xenakis: Phlegra/Jalons/Keren/Nomos/Alpha/Thalleïn. Perf. Ensemble Intercontemporain, Dir. Pierre Boulez. Erato, 1992.
    Copyright © 1992 Erato

    Figure 182.Tracées:Piano ostinato figure from Keqrops, mm. 26-27. p. 184
    [audio] Piano ostinato figure from Keqrops, mm. 26-27 . Iannis Xenakis. "Tracées". Iannis Xenakis: Orchestral Works Vol I. Perf. Orchestre Philharmonique de Luxembourg, Cond: Arturo Tamayo. Timpani, 2000.
    Copyright © 2000 Timpani

    Figure 183.Ata:Example of cluster sonorities (m. 19) and "harmonic" chords, (m. 20).p. 185
    [audio] mm. 19-20. Iannis Xenakis. "Ata". Xenakis: orchestral works & chamber music. Perf. SWF Symphony Orchestra. Hans Rosbaud, conductor. col legno, 2000.
    Copyright © 2000 col legno

    Figure 184.Ata:Rhythmic articulation of one- or two-unit vertical sonorities, mm. 76-78.p. 186
    [audio] mm. 76-78. Iannis Xenakis. "Ata". Xenakis: orchestral works & chamber music. Perf. SWF Symphony Orchestra. Hans Rosbaud, conductor. col legno, 2000.
    Copyright © 2000 col legno

    Figure 185.À r.Overall progression of eight-chord sequence.p. 187

    Figure 186. (29)Kassandra:Example of "neumatic," quasi-indeterminate notation.p. 188

    Figure 187.Xas:Harmonic links between two sections, mm. 58-60, mm. 73-80.p. 189
    [audio] Xas: mm58-60. Iannis Xenakis. "Xas". XASAX: Ensemble de Saxophones Modulable. Perf. XASAX. EROL Records, 1994.
    Copyright © 1994 EROL Records 7019, XASAX
    [audio] Xas: mm73-80. Iannis Xenakis. "Xas". XASAX: Ensemble de Saxophones Modulable. Perf. XASAX. EROL Records, 1994.
    Copyright © 1994 EROL Records 7019, XASAX

    Figure 188.Waarg:Dense contrapuntal passage, mm. 97-99.p. 192
    [audio] Dense contrapuntal passage, mm. 97-99. Iannis Xenakis. "Waarg". Iannissimo!. Perf. ST-X Ensemble USA, Cond. Charles Zacharie Bornstein. Vandenburg, 1997.
    Copyright © 1997 Vandenburg Wave Ltd.

    Figure 189a-b.Rebonds "a":Repetitive rhythmic patterns. a) Opening, mm. 1-3; b) Conclusion, mm. 54-56.p. 192
    [audio] a) Opening, mm. 1-3. Iannis Xenakis. "Rebonds "a"". Xenakis Ensemble Music 1. Perf. ST-X Ensemble, Cond. Charles Zachary Bornstein. Mode Records, 1996.
    Copyright © 1996 Mode Records
    [audio] b) Conclusion, mm. 54-57. Iannis Xenakis. "Rebonds "a"". Xenakis Ensemble Music 1. Perf. ST-X Ensemble, Cond. Charles Zachary Bornstein. Mode Records, 1996.
    Copyright © 1996 Mode Records

    Figure 190.Rebonds "b":Chart of formal outline.p. 193

    Figure 191.Rebonds "b"Opening pattern with variations, mm. 1-8.p. 193
    [audio] Opening pattern with variations, mm. 1-8. Iannis Xenakis. "Rebonds "b"". Xenakis Ensemble Music 1. Perf. ST-X Ensemble, Cond. Charles Zachary Bornstein. Mode Records, 1996.
    Copyright © 1996 Mode Records

    Figure 192.Okho:Chart of formal outline showing variation of tempo.p. 194

    Figure 193.Okho:Opening rhythmic pattern with counter-rhythms, mm. 1-3.p. 194
    [audio] mm. 1-3. Iannis Xenakis. "Okho". Xenakis Ensemble Music 2. Perf. ST-X Ensemble, Cond. Charles Zachary Bornstein. Mode Records, 1996.
    Copyright © 1996 Mode Records

    Figure 194.Oophaa:Chart of formal outline.p. 195

    Figure 195.Échange:Passage of two-part chordal counterpoint, mm. 16-17.p. 196
    [audio] Passage of two-part chordal counterpoint, mm. 16-17. Iannis Xenakis. "Échange". Xenakis Ensemble Music 2. Perf. ST-X Ensemble, Cond. Charles Zachary Bornstein. Mode Records, 1996.
    Copyright © 1996 Mode Records

    Figure 196.Échange:Bass clarinet cadenza passage leading to "major" harmony, mm. 46-48.p. 197
    [audio] Bass clarinet cadenza passage leading to "major" harmony, mm. 46-48. Iannis Xenakis. "Échange". Xenakis Ensemble Music 2. Perf. ST-X Ensemble, Cond. Charles Zachary Bornstein. Mode Records, 1996.
    Copyright © 1996 Mode Records

    Figure 197.Epicycles:"Chant"-like opening of Section II, mm. 21-24.p. 198
    [audio] "Chant"-like opening of Section II, mm. 21-24. Iannis Xenakis. "Epicycles". Xenakis Live In New York. Perf. ST-X Ensemble Xenakis USA, Cond. Charles Zacharie Bornstein. Vandenburg, 1997.
    Copyright © 1997 Vandenburg Wave Ltd.

    Figure 198.Epicycles:Bifurcating solo cello lines, mm. 70-72.p. 199
    [audio] Bifurcating solo cello lines, mm. 70-72. Iannis Xenakis. "Epicycles". Xenakis Live In New York. Perf. ST-X Ensemble Xenakis USA, Cond. Charles Zacharie Bornstein. Vandenburg, 1997.
    Copyright © 1997 Vandenburg Wave Ltd.

    Figure 199.Knephas:Resonated melodic texture, mm. 13-16.p. 201

    Figure 200.Knephas:Four-part chordal counterpoint, m. 69.p. 201

    Figure 201.Tetora:Chart of sonic progression of opening section, mm. 1-21.p. 203

    Figure 202.Tetora:Two-part chordal counterpoint, with transposition of main pitch-sieve, mm. 115-120.p. 203
    [audio] Two-part chordal counterpoint, with transposition of main pitch-sieve, mm. 115-120. Iannis Xenakis. "Tetora". Musique de Chambre [1955-1990]. Perf. Arditti String Quartet, Claude Helffer. WDR Köln - Disques Montaigne, 1992.
    Copyright © 1992 Disques Montaigne sarl, paris

    Figure 203. (207)TetoraTable showing organization of chord progressions and durations of final section, mm. 128-137.p. 204
    [audio] mm. 128-137. Iannis Xenakis. "Tetora". Musique de Chambre [1955-1990]. Perf. Arditti String Quartet, Claude Helffer. WDR Köln - Disques Montaigne, 1992.
    Copyright © 1992 Disques Montaigne sarl, paris

    Figure 204.Kyania:Passage of six -layered chordal counterpoint, mm. 55-57.p. 208
    [audio] mm. 55-57. Iannis Xenakis. "Kyania". Iannis Xenakis: Orchestral Works Vol III. Perf. Piano: Hiroaki Ooï, Cond: Arturo Tamayo, Orchestre Philharmonique de Luxembourg. Timpani, 2002.
    Copyright © 2002 Timpani

    Figure 205.Dox-Orkh:Section III, dialogue between solo violin and horns, mm. 57-60.p. 210
    [audio] mm. 57-60. Iannis Xenakis. "Dox-Orkh". Ivine Arditti plays works for violin and orchestra by Iannis Xenakis, Rafael Mira and Luciano Berio. Perf. Irvine Arditti, Moscow Philharmonic, Cond. Jonathan Nott. BIS, 1995.
    Copyright © 1995 Grammofon AB BIS, Djursholm

    Figure 206.Dox-Orkh:Dance-like orchestral passage, mm. 104-108.p. 211
    [audio] mm. 104-108. Iannis Xenakis. "Dox-Orkh". Ivine Arditti plays works for violin and orchestra by Iannis Xenakis, Rafael Mira and Luciano Berio. Perf. Irvine Arditti, Moscow Philharmonic, Cond. Jonathan Nott. BIS, 1995.
    Copyright © 1995 Grammofon AB BIS, Djursholm

    Figure 207.Troorkh:List of sonic entities for solo trombone.p. 212

    Figure 208.Troorkh:Symmetrical harmonic configurations, mm. 1-2.p. 212
    [audio] mm. 1-2. Iannis Xenakis. "Troorkh". Musica Viva 06. Perf. Symphonieorchester des Bayerischen Rundfunks, Cond. Peter Rundel, Trombone Mike Svoboda. Col Legno, 2003.
    Copyright © 2003 Col Legno

    Figure 209.Troorkh:Staggered melodic phrases, high woodwinds, mm. 40-41.p. 213
    [audio] mm. 40-41. Iannis Xenakis. "Troorkh". Musica Viva 06. Perf. Symphonieorchester des Bayerischen Rundfunks, Cond. Peter Rundel, Trombone Mike Svoboda. Col Legno, 2003.
    Copyright © 2003 Col Legno

    Figure 210a-b.Troorkh:Pitch-sieve permutations. a) solo trombone material, mm. 81-99; b) Orchestral material, mm. 108-112.p. 214

    Figure 212. (table 14)GENDY3:Table of sections and durations.p. 216

    Figure 213.Krinoïdi:Opposing pitch-sieves, with intervallic identities.p. 218

    Figure 214.Krinoïdi:Rhythmic passage, opening of Section III, mm. 37-39.p. 219
    [audio] mm. 37-39. Iannis Xenakis. "Krinoïdi". Iannis Xenakis: Orchestral Works Vol. IV. Perf. Orchestre Philharmonique du Luxembourg, Cond. Arturo Tamayo. Timpani, 2004.
    Copyright © 2004 Timpani

    Figure 215. (32)Roáï:Structure of opening string material, showing distribution of ordered four-note chords.p. 221

    Figure 216.Roáï:Dance-like passage (adapted from Dox-Orkh), mm. 25-27. p. 221
    [audio] mm. 25-27. Iannis Xenakis. "Roáï". Iannis Xenakis: Orchestral Works Vol I. Perf. Orchestre Philharmonique de Luxembourg, Cond: Arturo Tamayo. Timpani, 2000.
    Copyright © 2000 Timpani

    Figure 217.Roáï:Chordal progression with changing timbres, mm. 58-62.p. 223
    [audio] mm. 58-62. Iannis Xenakis. "Roáï". Iannis Xenakis: Orchestral Works Vol I. Perf. Orchestre Philharmonique de Luxembourg, Cond: Arturo Tamayo. Timpani, 2000.
    Copyright © 2000 Timpani

    Figure 218. (table 15)Oresteïa:Table showing order of complete set of pieces.p. 225

    Figure 219.La Déesse Athéna:Reduction of hocket-like diatonic passage, mm. 39-43.p. 225
    [audio] mm. 39-43. Iannis Xenakis. "La Déesse Athéna". Xenakis Varèse. Perf. Carnegie Mellon Philharmonic, Cond. Juan Pablo Izquierdo. Mode, 1997.
    Copyright © 1997 Mode

    Figure 220.Paille in the Wind:Conclusion of opening piano solo and beginning of cello solo, mm. 6-13.p. 227
    [audio] mm. 6-13. Iannis Xenakis. "Paille in the Wind". Casette Promotion, Editions Salabert. Perf. . , .
    Copyright ©

    Figure 221. (table 16)Mosaiques:Table showing identity of extracts.p. 229

    Figure 222.Plektó:Opening contrapuntal passage, with motivic permutations, mm. 1-3.p. 231
    [audio] mm. 1-3. Iannis Xenakis. "Plektó". Xenakis Ensemble Music 1. Perf. ST-X Ensemble, Cond. Charles Zachary Bornstein. Mode Records, 1996.
    Copyright © 1996 Mode Records

    Figure 223a-b.PlektóComparison of chordal passages in the piano, showing common entities. a) mm. 13-14; b) mm. 37-38.p. 232
    [audio] a) mm. 13-14. Iannis Xenakis. "Plektó". Xenakis Ensemble Music 1. Perf. ST-X Ensemble, Cond. Charles Zachary Bornstein. Mode Records, 1996.
    Copyright © 1996 Mode Records
    [audio] b) mm. 37-38. Iannis Xenakis. "Plektó". Xenakis Ensemble Music 1. Perf. ST-X Ensemble, Cond. Charles Zachary Bornstein. Mode Records, 1996.
    Copyright © 1996 Mode Records

    Figure 224. (table 17)Table of commissions from Gulbekian Foundation and WDR.p. 233

    Figure 225.DämmerscheinSpatialization of orchestral timbre, m. 19.p. 234
    [audio] m. 19. Iannis Xenakis. "Dämmerschein". Xenakis Varèse. Perf. Carnegie Mellon Philharmonic, Cond. Juan Pablo Izquierdo. Mode, 1997.
    Copyright © 1997 Mode

    Figure 226.Dämmerschein:Overlapping configurations of "rising" sonorities, mm. 53-54.p. 235
    [audio] mm. 53-54. Iannis Xenakis. "Dämmerschein". Xenakis Varèse. Perf. Carnegie Mellon Philharmonic, Cond. Juan Pablo Izquierdo. Mode, 1997.
    Copyright © 1997 Mode

    Figure 227.Dämmerschein:"Sweep" of rhythmically-layered ostinati, mm. 61-64.p. 235
    [audio] mm. 61-64. Iannis Xenakis. "Dämmerschein". Xenakis Varèse. Perf. Carnegie Mellon Philharmonic, Cond. Juan Pablo Izquierdo. Mode, 1997.
    Copyright © 1997 Mode

    Figure 228.Sea Nymphs:Reduction of opening measures, showing overlapping clusters and interjection of soloists, mm. 1-6.p. 237
    [audio] mm. 1-6. Iannis Xenakis. "Sea Nymphs". Casette Promotion, Editions Salabert. Perf. . , .
    Copyright ©

    Figure 229.Sea Nymphs:Climactic cluster passage for full choir, m. 49.p. 237
    [audio] m. 49. Iannis Xenakis. "Sea Nymphs". Casette Promotion, Editions Salabert. Perf. . , .
    Copyright ©

    Figure 230a-b.Ergma:Comparison of vertical sonorities. a) Opening, m. 1; b) Conclusion, mm. 52-53.p. 238
    [audio] a) Opening, m. 1. Iannis Xenakis. "Ergma". Casette Promotion, Editions Salabert. Perf. . , .
    Copyright ©
    [audio] b) Conclusion, mm. 52-53. Iannis Xenakis. "Ergma". Casette Promotion, Editions Salabert. Perf. . , .
    Copyright ©

    Figure 231.Koïranoï:Succession of harmonies and orchestrational combinations, m. 1.p. 240

    Figure 232.Koïranoï"Open-string" harmony, mm. 10-12.p. 240

    Figure 233.Voile:Sculpted sonority, mm. 1-2.p. 241

    Figure 234.Voile:Exposed melodic passage, m. 20.p. 241

    Figure 235.Kaï:Set-derived melodic patterns, superimposed, mm. 14-15.p. 242
    [audio] "Chant"-like opening of Section II, mm. 14-15. Iannis Xenakis. "Kaï". Xenakis Live In New York. Perf. ST-X Ensemble Xenakis USA, Cond. Charles Zacharie Bornstein. Vandenburg, 1997.
    Copyright © 1997 Vandenburg Wave Ltd.

    Figure 236.Kuïlenn:Harmonies built from thirds, mm. 8-9.p. 243
    [audio] mm. 8-9. Iannis Xenakis. "Kuïlenn". Xenakis Live In New York. Perf. ST-X Ensemble Xenakis USA, Cond. Charles Zacharie Bornstein. Vandenburg, 1997.
    Copyright © 1997 Vandenburg Wave Ltd.

    Figure 237.Ittidra:Set of vertical sonorities from opening, together with order of succession and durations.p. 244

    Figure 238.Ioolkos:Active winds versus sustained, trilling strings, mm. 13-15.p. 246
    [audio] mm. 13-15. Iannis Xenakis. "Ioolkos". Xenakis: orchestral works & chamber music. Perf. SWF Symphony Orchestra. Hans Rosbaud, conductor. col legno, 2000.
    Copyright © 2000 col legno

    Figure 239a. (33a)Roscobeck:Graphic transcription of opening, mm. 1-17.p. 247

    Figure 239b. (33b)Hunem-Iduhey:Graphic transcription of opening, mm. 1-12.p. 247

    Figure 240.Hunem-Iduhey:Outlined dominant-seventh sonority, m. 4.p. 247

    Figure 241.Zythos:Emphasis of "tonal center" (F), mm. 7-8.p. 249

    Figure 242a-b.Sea-Change:Organization of chordal passages. a) mm. 13-15; b) mm. 24-26.p. 250

    Figure 243.O-Mega:Reduction of ensemble entrance, mm. 5-10.p. 252
    [audio] mm. 5-10. Iannis Xenakis. "O-Mega". Xenakis Ensemble. Perf. Xenakis Ensemble, Cond. Diego Masson, Percussion: Johan Faber. BVHAAST, 1998.
    Copyright ©