Abstract
Abstract This paper discusses spatial sound movement in Xenakis's music from Pithoprakta (1955–56) to Alax (1985). Evolution of stochastic sound masses in Pithoprakta is linked to a rudimentary form of motion of sound on the stage. Eonta (1963–64) explores performer movement and the directional quality of brass instruments (e.g., change of timbre through axial rotations of the players). In Terretektorh (1965–66), for orchestra scattered among the audience, apparent sound motion is constructed by means of Archimedean, logarithmic and hyperbolical spirals. The climax of Persephassa (1969) consists of several superimposed layers of sound, rotating simultaneously in different directions. Alax (1985) for three identical ensembles, presents spatial canons, sound planes, etc. Xenakis's original use of spatial sound movement in music juxtaposes technical sophistication with an overwhelming forcefulness of expression.
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