Download Musiques formelles: nouveaux principes formels de by Iannis Xenakis PDF

By Iannis Xenakis

Xenakis I. Musiques formelles.. nouveaux principes formels de composition musicale (fr)(1981)(ISBN 2234015103)(KA)(T)(206s)

Show description

Read or Download Musiques formelles: nouveaux principes formels de composition musicale PDF

Best music: guitar books

La pasion musical (Paidos de Musica)

L. a. m? sica desconcierta al an? lisis. Ese arte de los angeles presencia, que no muestra ning? n objeto, que no es m? s que una acumulaci? n de mediadores --instrumentos, partituras, int? rpretes, escenarios, medios de comunicaci? n. .. --, parece ser, sin embargo, l. a. encarnaci? n de los angeles inmediatez, los angeles expresi?

One Handed: A Guide to Piano Music for One Hand (Music Reference Collection)

This consultant to the piano literature for the one-handed pianist surveys over 2,100 person piano items which come with not just live performance literature yet pedagogical items to boot. Following the advent are 4 chapters cataloguing unique works for the fitting hand by myself, unique works for the left hand by myself, tune prepared or transcribed for one hand on my own, and concerted works for one hand in live performance with different pianists, tools, or voices.

Additional info for Musiques formelles: nouveaux principes formels de composition musicale

Example text

Glaucon is able to characterise the ‘types’ (on these  Barker ,  n. ,  n. .  Musical education of sensibility eid¯e, below, p. ) from which the rhythms spring – just as he is able to characterise ‘types’ of sounds – but he does not know how to show which of these are ‘representations’ of certain types of life: he is not able to insert his notional techniques regarding rhythm into an ethical context. The problem is directly resolved under the authority of Damon: another interesting development in this analysis of the figure deputed to conduct an ethical reflection on music.

Following is the list of values of the intervals in fractions of a tone. Lydian: /   / /  / (full octave); Dorian:  / /   / /  (octave plus a tone); Phrygian:  / /   / /  (full octave); Ionian: / /  /  (octave minus a tone); Mixolydian: / /   / /  (full octave); Syntonolydian: / /  / (octave minus two tones). Mixolydian: / /  / /  ; Lydian: /  / /   / ; Phrygian:  / /   / / ; Dorian; / /   / / ; Hypolydian: /   / /  / ; Hypophrygian:   / /  / / ; Hypodorian:  / /  / / .

Furthermore, the reference to math¯emata seems out of place at this stage of education, although the introduction of myth presupposes a certain intellective capacity, as we have said. Less problematic seems to me to be the reference to ‘beautiful speeches’ (logoi kaloi): we can liken them to kala panta (‘all beautiful things’) that in Leg. b represent the verbal content of musical education. But again in e–a we note that in the place of the ‘philosophical’ element of e–, appears the rational element (to logistikon): these are terms that, in the Republic, do not seem to indicate   Socrates is proposing the novelty that gymnastics also concern the cure of the soul, that of the body only in a supplementary way.

Download PDF sample

Rated 4.86 of 5 – based on 37 votes