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Freedom in music on the example of the works of Karlheinz Stockhausen and Iannis Xenakis

100%
Humięcka-Jakubowska J.
Interdisciplinary Studies in Musicology
|
2019
|
issue 19
81-94
EN
In her article titled Niebezpieczne związki, czyli o granicach wolności w sztuce i w życiu [Dangerous liaisons, or on the limits of freedom in art and life] Elżbieta Korolczuk (2013) claimsthat ‘the sense of personal freedom and independence from other people – not only in the senseof intellectual and aesthetic influences, but also familial and emotional ties – is often perceived asnecessary in order to create new, original works, to be a truly creative individual’. It is not difficult to find new and original works in the oeuvre of Karlheinz Stockhausen and Iannis Xenakis and,paraphrasing the words of Maria Anna Potocka (2013) – it is thanks to them that ‘the world has moderniseditself and freed itself from outdated values’. In relation to creative work in music, this ‘senseof personal freedom and independence from other people‘ leads, on the one hand, to the ‘freedom ofmusic’ and, on the other, ensures achieving ‘freedom in music’. The aim of this discussion is to pointto those threads in the statements of Stockhausen and Xenakis, and those features of their works,which testify to the specific manifestations of the ‚‘freedom in music’ created by them.
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The Humanistic Pathos of Iannis Xenakis’ Choral Musical Legacy

75%
Ryzhinskii A. S.
Ars inter Culturas
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2020
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issue 9
81-93
EN
The article is devoted to study of the substantive vectors of Iannis Xenakis’ choral music. The author elicits the crucial themes declared for the first time in the 1960s, which have preserved their relevance during the course of the composer’s entire choral output. Also, the author di-scusses particularities of the interactions between the text and music, and the specificity of the timbral solution of the compositions, making it possible to speak of both the influence on the choral writing of the composer’s contemporaries and of the individuality of the creative man-ner of Xenakis himself. Within the framework of textural analysis, the main varieties of texture characteristic for Xenakis’ compositions of that time period are educed: along with the newest techniques of “artificial reverberation” and elements of diagonal organization, we can enco-unter the types of musical exposition characteristic for compositions of romantic composers – homophonic-harmonic, chordal, homophonic-polyphonic, and strata texture, as well as the classical techniques of juxtaposition of soli – tutti. Such a combination of traditional and the newest techniques of choral writing is analogous to the coexistence of techniques of phoneme composition and a strict adherence to ancient literary sources. In total, all of this stipulates the brilliant individuality of Iannis Xenakis’ choral musical legacy.
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Idee determinizmu i indeterminizmu w twórczości Iannisa Xenakisa i Györgyego Ligetiego na przykładzie Pithoprakty oraz Clocks and Clouds1

75%
Dąbek K.
Kwartalnik Młodych Muzykologów UJ
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2019
|
issue 1(40)
75-103
EN
The issue of determinism and indeterminism became essential in the music of the second half of the 20th century. It occupied a special place in artistic output of two avant-garde composers: Iannis Xenakis and György Ligeti. In both cases, the ideas of determinism and indeterminism are connected with their music: with Pithoprakta (written by Xenakis in 1955–1956) and with Clocks and Clouds (written by Ligeti in 1972). The following article presents some aspects of their artistic approach as well as an analysis and interpretation of the compositions. Xenakis proposed his own way of thinking about indeterminism in music linked to the “stochastic music”, and Pithoprakta is the first example of this compositional technique. Meanwhile, Ligeti’s main inspiration when composing Clocks and Clouds was the essay Of Clouds and Clocks written in 1965 by Karl Popper and published in 1972 (in his book Objective Knowledge). The Austrian-British philosopher used this metaphor to describe different physical phenomena which are more or less predictable. Pithoprakta as well as Clocks and Clouds represent specific kind of music called “sound-mass music”. In both of them some distinctive textural and timbral structures may be pointed out: in the first work, they can be described as figures (“galaxy” and “beam”), and in the second one – as bands (“clocks” and “clouds”).
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