Orchestral Sources EA Music Xenackis

Orchestral Sources in the Electroacoustic Music of Iannis Xenakis: From Polytope
de Montréal to Kraanerg and Hibiki-Hana-Ma
James Harley
University of Guelph
In Makis Solomos, (ed.), Proceedings of the international Symposium Xenakis. La

musique électroacoustique / Xenakis. The electroacoustic music (université Paris 8, May
2012).
In most of his electroacoustic works prior to the computer-generated music (the UPIC
and GENDYN works dating from 1978) Iannis Xenakis used instrumental sources from
the Western orchestral tradition, often in combination with other sounds, and often
focusing on extended sonorities (e.g., woodwind multiphonics, harsh string bowing). In
his early works, the instrumental sources, aside from obvious percussion sonorities in
Orient-Occident, were intended to contribute to massed, often noisy, textures. This is
especially the case for Diamorphoses (1957) and Bohor (1962). His studio training at
GRM, beginning in 1955, taught him the classic techniques of Schaefferian “musique
concrète.” He would have learned to listen closely to recorded sounds, to analyze their
components, and to manipulate them utilizing standard tape techniques and processing.
While these works could not be considered exemplars of the “musique concrète”
aesthetic, given that they tend to direct the listener to the global evolution of composite
textures rather than particular sound objects, they nonetheless achieved their aims by
shaping individual sounds in the same ways other composers at GRM were doing.
The first project that brought Xenakis back to the studio after leaving GRM in 1962 was
his Polytope de Montréal (1967). This was a multimedia project, an installation of
vertical steel cables, several hundred programmed flashbulbs, and music. Without easy
access to an electroacoustic, Xenakis opted to write a score for four identical instrumental
ensembles intended to be placed in the cardinal points of the floor space of the atrium
housing the installation (the French Pavilion of World Expo 1967 in Montreal). However,
documentation from the Xenakis Archives indicates that there was never any intention to
present this music live in Montreal. The music was recorded in the studios of
ORTF/GRM. Part of the design of his installation there included placement of groups of
loudspeakers not only around the floor level of the atrium but also vertically so
the loudspeakers would project onto the different levels overlooking the atrium (in
conjunction with the cables and lights that stretched vertically throughout the entire
space). Therefore, while Polytope de Montréal can be thought of as an orchestral work,
with the score functioning independently from the original installation, it more truly
functioned as an electroacoustic work, the sounds being projected from a sophisticated
diffusion system.
The music of this score is built from complex composite instrumental textures that are
spatialized around the four “channels” by means of delays and amplitude fluctuations. In
terms of basic compositional approach, Polytope de Montréal is very much related to
Xenakis's earlier electroacoustic works. Indeed, a reading of his fundamental approach to
music composition (as outlined in Formalized Music) reveals that “sonic entities,”
whether instrumental or electroacoustic, are the building blocks of all his work, shaped
by
stochastically-generated densities and textures. While the technical conditions may be
different, Xenakis did not approach instrumental and electroacoustic projects with
distinctive aesthetic aims, unlike many other composers active in both fields.
Xenakis’s next electroacoustic composition was Kraanerg, a mixed work for chamber
orchestra and four-channel pre-recorded sounds, completed in 1969. This was his largest
work in terms of overall duration: 75 minutes of continuous music. Intended for a full-
length ballet, originally choreographed by Roland Petit, the tape part is made up entirely
of orchestral recordings involving the same instrumentation as the score for live
musicians. In this case, however, these recordings are treated in the studio, primarily
using filters,
reverberation, transposition, and gain distortion. The recordings are also spatialized for
the four-channel presentation. The strategy for spatialization is very similar to that used
for Polytope de Montréal, although the use of channel delay is much less utilized. The
four-channel pre-recorded part, which mostly alternates with the live orchestra (with
occasional overlapping), can never be mistaken for the other, even if it shares common
score material. This is due to the studio treatment of the orchestral recordings and the
spatial presentation (the loudspeakers are intended to surround the audience whereas the
orchestra is seated together onstage or in the pit). Kraanerg is one of Xenakis’s very few
ventures into the domain of mixed instrumental-electronic music (the only other such
work he completed is Pour La Paix, for voices and computer-generated sounds from
1981, and it is actually a radiophonic work, intended for broadcast).
In Hibiki-Hana-Ma, from 1970, for tape alone, Xenakis again uses recorded orchestral
sources, but adds traditional Japanese instruments (the work was produced in the NHK
Studio in Tokyo for the Osaka World Fair). This work utilizes even more extensive
studio processing than Kranerg, and the shaping of the music is less tied to notated score
material. Originally, Hibiki-Hana-Ma was produced as a 12-track work, and was
projected over a large number of loudspeakers using routing technology similar to that
used in the Philips Pavilion in 1958 (Xenakis was involved in the design of this pavilion
and worked closely with the Philips engineers on the installation of the custom-built
sound system involving a routing mechanism and several hundred loudspeakers). The
primary innovation in terms of studio techniques in Hibiki-Hana-Ma is the extensive use
of editing, i.e., cutting recordings into fragments. These fragments are usually
distinguished by instrumental-textural (sometimes spectral) characteristics, and they are
assigned to distinct tracks. While the work evolves over time into complex, sustained
textures, there is a “collage” character to the first half of the 17-minute work, as different
strands of distinctive instrumental/orchestral textures are introduced. Some of the
materials are borrowed from recordings of existing orchestral works while some were
produced in Japan for this project. The materials created from traditional Japanese
instruments (struck and plucked) are most distinctive, but some percussive textures are
highly developed, producing complex textures, in one case resembling the stochastic
“grains” of Concret PH. The treatment of instrumental sources in the studio to create
textures that bear little direct resemblance to the sources became Xenakis’s main
approach to sonic materials for subsequent electroacoustic works.
The spatialization strategy for Hibiki-Hana-Ma is quite different from Polytope de

Montréal and Kraanerg: there is little “movement” of material from one track to another
by means of “panning”. Rather, each track is generally assigned distinctive materials, and
the movement occurs through the routing of the tracks through the several hundred
loudspeakers Xenakis had at his disposal for the premiere in Osaka. This strategy of
placing distinct material onto the tracks at his disposal to be routed to available
loudspeakers would become Xenakis’s primary means of spatializing sound in
subsequent electroacoustic works.
In the later compositions—Persepolis (1971), Polytope de Cluny (1972), and La Légende

d’Er (1978)—Xenakis blends highly-developed instrumental sources with electronic and
digital sources. Some materials, such as the re-use of Japanese percussion, are easily
recognized within the overall sonic textures; other materials, even those derived from
instrumental sources, are much less easily identified. These works are definitive
studio creations, where the sonorities are shaped to create the structure and pitch-based
materials are much less significant.
This “instrumental” phase of Xenakis’s electroacoustic output raises questions about the
treatment of source materials and the intentions of the composer, especially in the case of
Polytope de Montréal, where the work could be performed as an instrumental
composition (but rarely has, and not at all for the premiere). Ultimately, an understanding
of such issues rests in the common aesthetic and formal approach Xenakis developed for
all his music, instrumental or electroacoustic, where organizational strategies rest on the
definition of sonic entities, whether they be defined by score or by studio production.

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Orchestral Sources in the Electroacoustic Music of Iannis Xenakis: From Polytope

de Montréal to Kraanerg and Hibiki-Hana-Ma

In Makis Solomos, (ed.), Proceedings of the international Symposium Xenakis. La

The spatialization strategy for Hibiki-Hana-Ma is quite different from Polytope de

In the later compositions—Persepolis (1971), Polytope de Cluny (1972), and La Légende

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