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Re: [microsound] process [was :new autechre]

Christos Carras wrote on 5/8/05:

>i think that one of the major differences between Xenakis and Cage is 
>that the former did not want to relinquish control. On the contrary, if 
>you read his first text in the Gravesaner Blaetter (sorry, no umlaut in 

I think you're correct here, Christos. Xeankis goes into it in his
interviews with Balint Varga of which I include some tidbits:

"In mathematics, an aleatoric variable is an exactly circumscribed
notion. The serialists [Boulez, Stockhausen], however, loosened up its
meaning and identified it with improvisation. They continued to write
rows, because that was what they were used to, but gave the interpreter
the choice of playing this or that, here or there. The interpreter could
choose according to instinct. However that is not aleatorism but
improvisation on a given  material computed according to the serial

"Yes, I liked his [Cage's] thinking, which is of course a characteristic
product of American society. I was attracted by the freedom and lack of
bias with hwich he approached music. He also uses improvisation - not in
a vulgar way but with the help of the I Ching."

"Cage's music can be interesting, until he relies too heavily on the
interpreters, on improvisation. That's why I've kept aloof from  this
trend. In my opinion it is the composer's privilege to determine his
works, down tot he minutest detail. Otherwise he ought to share the
copyright with his  performers."

Conversation with Iannis Xenakis
Balint Varga, Faber, 1996 pp. 55-56

(Are you going to be at the Xenakis symposium on the 18th?)



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