«Deconstruction» of Symphony Orchestra in Electroacoustic Compositions by I. Xenakis

Anna V. Stoyanova

Abstract


The article describes the evolution of timbres in electroacoustic compositions by I. Xenakis with an accent on composer’s usage of «timbre citations». It follows three steps of Xenakis’ electroacoustic music development: noise compositions (1957–1962), compositions with timbres of acoustic instruments (1959, 1967–1971), computer works (1977–1994). The first two periods are considered in the context of Jaques Dеrridа’s theory of deconstruction.

Key words: I. Xenakis, electroacoustic music, deconstruction, timbre citation.


References


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Copyright (c) 2017 Anna V. Stoyanova

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