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of "Concret PH" is full of many abrupt changes and juxtaposed sections without transitions. This happened because the original recorded sounds used by the composers consisted of a block of one kind of sound, then a block of another, and did not extend beyond this. I seek extremely rich sound (many high overtones) that have a long duration, yet with much internal change and variety. Also, I explore the realm of extremely faint sounds highly amplified. There is usually no electronic alteration of the original sound, since an operation such as filtering diminished the richness.
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98:. The piece was composed intuitively, rather than being guided by mathematical processes. In the Philips Pavilion, it was projected over 425 loudspeakers through an 11-channel sound system. Xenakis described the effect as "lines of sound moving in complex paths from point to point in space, like needles darting from everywhere."
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Start with a sound made up of many particles, then see how you can make it change imperceptibly, growing and developing, until an entirely new sound results... This was in defiance of the usual manner of working with concrète sounds. Most of the musique concrète which had been produced up to the time
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At 2 1/2 minutes long and focused primarily on density, "Concret PH" was created in the
Philips office in Paris (Varèse having exclusive access to the studio with
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texture from which
Xenakis creates a continuum. Using slight manipulation, the main techniques were
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Di Scipio, Agostino (1998). "Compositional Models in
Xenakis's Electroacoustic Music".
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capabilities established at the
Philips Research Laboratories in Eindhoven) or at the
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Sounding Art: Eight
Literary Excursions Through Electronic Music
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Thinking About Music: An
Introduction to the Philosophy of Music
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39:) and heard as audiences entered and exited the building (PH =
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Formalized Music: Thought and
Mathematics in Composition
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35:'s assistant) at the 1958 Brussels World's Fair (
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74:. The only sound source is burning
719:. You can help Knowledge (XXG) by
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540:Unité d'Habitation of Nantes-Rezé
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558:Maison de la Culture de Firminy
766:Compositions by Iannis Xenakis
72:Groupe de Recherches Musicales
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27:, originally created for the
192:36, no. 2 (Summer): 201–243.
791:Classical composition stubs
552:Sainte Marie de La Tourette
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195:Norman, Katharine (2004).
42:paraboloĂŻdes hyperboliques
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189:Perspectives of New Music
94:, tape speed change, and
568:Collaborators/influences
112:recording H-71246 quoted
108:Xenakis, Program notes,
31:(designed by Xenakis as
266:Six chansons pour piano
635:Indeterminacy in music
161:Rowell, Lewis (1985).
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708:This article about a
533:Architectural design
354:Polytope de Montréal
251:List of compositions
53:/musique concrète).
51:reinforced concrete
786:World's fair music
60:Poème électronique
771:1958 compositions
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580:Olivier Messiaen
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721:expanding it
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144:, p. 64–65.
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33:Le Corbusier
19:(1958) is a
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713:composition
370:Persephassa
348:(1965-1966)
341:(1965–1966)
338:Nomos Alpha
333:(1963–1964)
293:(1955–1956)
290:Pithoprakta
285:(1953–1954)
282:Metastaseis
277:(1952–1954)
274:Anastenaria
760:Categories
458:Palimpsest
386:Antikhthon
306:Concret PH
165:, p. 241.
142:Microsound
17:Concret PH
710:classical
23:piece by
663:Category
450:Pléïades
402:Charisma
378:SynaphaĂŻ
362:Kraanerg
140:(2004).
110:Nonesuch
106:—
92:splicing
88:granular
84:overdubs
76:charcoal
522:Troorkh
514:Rebonds
490:Keqrops
442:Theraps
426:Phlegra
418:Psappha
410:Evryali
346:Orestia
118:Sources
47:concret
37:Expo 58
676:Portal
610:(1963)
560:(1965)
554:(1960)
548:(1958)
542:(1955)
525:(1991)
517:(1989)
509:(1989)
506:Oophaa
501:(1989)
493:(1986)
485:(1981)
482:KomboĂŻ
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394:Aroura
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357:(1967)
325:(1962)
317:(1961)
309:(1958)
301:(1957)
269:(1950)
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169:
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96:mixing
715:is a
625:CCMIX
466:Mists
434:KhoaĂŻ
330:Eonta
322:Bohor
314:Herma
717:stub
630:UPIC
498:Okho
201:ISBN
167:ISBN
146:ISBN
86:, a
82:and
474:AĂŻs
57:'s
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126:^
49:=
45:,
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234:e
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152:.
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