#glissandi

[atmospheric-minimalism]

Iannis Xenakis, Study for Terretektorh (glissandi), c. 1965–66, pencil on paper, 8 1/2 x 11 3/4 inches, Iannis Xenakis Archives, Bibliothèque nationale de France, Paris (From MOCA)

[exofanficquotes]

—Glissandi by lababoreine

[demaglia]

Just finished reading glissandi ! Good writing skills! Story wasnt too great tho and I wish there was more character development.

[demaglia]

/reads fanfiction for the story /pukes when it turns into porn

[pup-and-potato-blog]

hi! i just read glissandi and it was breath-taking *_____________* do you have the link to your prompt? thank you!

actually the prompt was this: 

http://youtu.be/7cOKNF3lqGc

and chanyeol going to an alternate universe just to find the one he loves (baekhyun) :D

[pup-and-potato-blog]

Any guesses on who wrote glissandi?

i have my guesses but im too shy to say it? LOL

all i can say tho is if ever my hunch is correct imma die cause the author im thinking of is AWESOMEST and im really lucky that Glissandi was written from my prompt..OMGGGGG???

lol

[baekyeolfanfics-blog]

lababoreine: Glissandi

Title: Glissandi Author: lababoreine Genre: - Rating: R Summary/Description:

-

Status: completed Link: 

Part 1

Part 2

Final

A/N: this is an entry in SNCJ's Secret Santa exchange :D

[designprobz]

Iannis Xenakis

Iannis Xenakis (1922-2001) is best known as an early composer of electronic music.  His treatise Formalized Music (1971) applies stochastic processes to music, which he realizes through computer-generated scores, elaborately drawn schematics, and rigorous mathematical calculations. Less known, but highly relevant to the development of his musical theories, are Xenakis' contributions to architecture as a student of Le Corbusier.

Xenakis emphasized that both architecture and music can be perceived from any direction, but while this notion is fundamental to architectural practice and criticism, music has largely remained limited by conventions of unidirectional orientations in space. Several of Xenakis' compositions involved experimental placements of musicians in relation to the audience, such as circular formations with the audience located in the center (see Terretektorh, 1965; Nomos Gamma, 1967; Persephassa 1969).

The following image shows the relationship between diagrams of the coda to Xenakis' piece Metastasis, 1955, and the Philips Pavillion that he designed for Expo 58, the Brussels World Fair of 1958.

This video uses a marquee to follow the final glissandi illustrated in the score:

Edgard Varèse composed and recorded an original soundscape to be played continuously inside the Philips Pavilion, in addition to light and image projections envisioned by Le Corbusier.