OLTRE L'ALEA, DISSOLUZIONE DELLA SERIALITA' POST-WEBERNIANA. Come già visto nella 1° parte di questo studio sui rapporti tra il progetto strutturalista e la fondazione di una 'nuova musica', la complessa opera di Iannis Xenakis si immette come un'esplosione teorica di immenso valore, che può essere compresa solo attraverso l'immenso materiale scritto, prodotto nell'arco della sua attività artistica. Si rende necessario un approccio ermeneutico, interpretazione di un'estetica artistica che trova molti punti di contatto con la scienza e con le più complesse teorie matematiche, fino alle implicazioni filosofiche di un costruttivismo o di uno strutturalismo messo in moto dalle fondamentali theories of J. Piaget and G. Deleuze . And 'that is necessary to understand what is often identified with a pure determinism or
conceptualization of much contemporary music, attempting a correct reading of composers like Olivier Messiaen, Pierre Boulez, Karlheinz Stockhausen or that, through their experiments, they sought new forms of creation from dissolution of the post-Webern serialism and dell'alea overrun by John Cage. Specifically Iannis Xenakis expected to overcome the full serial through the determination of combinatorics, control of the composer on the parameters and outcome, a narrowing of stochastic processes by random chance . The scientific practice is put to the aesthetic and artistic production, its achievement since the evolutionary developments of the post-Webern serialism and dell'estremizzazione the method put forth by the Second Viennese School, the twelve-tone technique. "There is a category of composers wrote serial music, and for this reason of course, is now in a post-serial. But there are others who were strangers to that movement and have never written serial music and therefore they are not in a post-serial. It's my chance, but also that of others who have followed a path similar to mine "(I. Xenakis). repeat here the structural study of the program with knowledge of the fundamental importance of this (just as the integral serialism of Webern ) in " path Metaelettronico ", that this site we want to search and analyze. Not being able to fully investigate the influences of the theories of J. Piaget and G. Deleuze, the psychology of Gelstat and structural programs in this way, we give an overview through summaries of texts interesting as "The sound of ghosts Gilles Deleuze", "Iannis Xenakis: structuralism and the poetics of sound objective" , both Thomas Campaner, "Structuralism" , etc-network texts are shown as links in the queue. MODELS AND STRUCTURES. The duality of the Universe ILET and shape. For Xenakis, in that eighth of its structural programs, music is the place where human logic is reflected, the sound representation dell'inafferrabilità of thought. Makis Solomos identifies three specific moments of structuralist formalization through the abstraction of models and the production on the level of reality:
1. Finding a structure
(sensible plan: natural phenomena, social)
2. Creating a model that shares the logical perfection of the structure found
(piano numb, "hors-temps": design)
3. Incarnation Sound
(piano sensitive, "en-temps": establishment of the model work)
epistemological THE NUMBER OF FORMAL Essence REALITY ': the "quantification" of the sound phenomenon . The number represents the model so that Xenakis uses to reduce every phenomenon to a "quantification", to music production and in the final event, the aesthetic: "All activity intellectual property, including the arts, is currently immersed in the world of numbers "(" La voie de la recherche et de la question ", 1965) . Analyzing the issue in light of the structuralist method, the number represents the formal essence of all things, speaking to the Pythagorean method whereby "All things are known numbers. Why can not that nothing can be understood or known without this ", and playing a leading role in the understanding and solution of the epistemological question for which more than one thing to be counted can be understood in the light of mathematical relationships in it contained, say that something has to give this number equals “una struttura descrivibile in termini matematici” (C. Huffman, "Philolaus of Croton" -Cambridge University Press, 1993). Le cose quindi, più che riconoscersi ontologicamente nel numero, hanno un ordine riscontrabile nei loro rapporti, “conosciamo qualcosa solo quando ne individuiamo le relazioni fra le varie parti”(C.Huffman). L'analisi strutturalista di una composizione attraverso i rapporti numerici che intercorrono negli intervalli e nella costituzione ad esempio dell'ottava, rimanda alla posizione degli elementi strutturali e, non essendo Xenakis interessato ad un generico riconoscimento di un ordine, si propone in realtà di far emergere una struttura del fenomeno , relying heavily on Pythagoreanism with regard to the concept of number as a parameter identification unit position to be organized in the composition.
Plato and "ideal model" / STRTTURALISTA NEED OF PIAGET AND J. G. Deleuze. The search for Xenakis and knowledge systems used by him, are intended eventually to the measurement of relationships and the structural investigation of the event or the constructivism of the work planned by the mathematical model quantifying the number and research, interaction between music , mathematics and abstract models. E 'in this context that prove the similarities with the Bourbaki group (character imaginary pseudonym under which between 1935 and 1983 a group of mathematicians has published several treatises on the systematic exposition of modern advanced knowledge of mathematics) and the research Levi-Strauss , postponing the idea of \u200b\u200bthe number of Xenakis to an ideal "struttralista" according to the parameters set out by Jean Piaget . As regards the composition
Xenakis fact does not use function-type models , but is intended to abstract models, so that the number corresponds to a need for structural and design a "Platonic", manifested in their structural relationships form / model. Model structure and therefore: "According to the radical and unorthodox Deleuzian conception, structuralism does not establish irreducible opposition between structure and event" that is' does not make the relationship between diachronic and synchronic "according to a simple causal relationship to one another" (MT Ramirez "Deleuze and the philosophy"). As in Plato, the structuralist perspective of Deleuze, it tends to simplify the method, or a flattening of structuralism on a particular formalism or subjective, and the main reasons Deleuze's reversal of Platonism and then-unorthodox-structuralism become central elements for the understanding of his musical thinking, which structuralism Xenakis aligns strongly. In his conception of a dialectical structuralism, Piaget proposed the following definition: "As a first approximation, a structure is a system of transformations, which involves the laws as a system (as opposed to the properties of the elements) and which is preserved or enriched through the game itself of its transformations, without their conduct outside its borders or to rely on external factors. In short, a structure that corresponds to these characters: wholeness, transformation, and self-regulation. In this second approximation structure (...) must lead to a formalization. " (From Structuralism) IL RADICAL STRUCTURAL. According to the structuralist model developed in the idea, which works "Nomos Alpha" are made to embody the idea of \u200b\u200bsymmetry sound, based on the symmetries of a solid rotation and explicit that 'Platonism' that from an ideal model (derived from the rotation symmetry of the cube) on the plasma and the processes of matter (opera) in the categories of their own world of form. Based on the structures of extra-time then, Xenakis builds the composition follow the model of the cube 
DISPERSION MODELS BETWEEN THE INTERSECTIONS OF COMPOSITION. OVER the structural model, the formal autonomy. And the lyricism "THE FURY MATTER IN THE WORK XENANIANA. E 'however important to note that while using these complex logical procedures, the work of Xenakis has never crushed under the weight of the models he wanted in the abstraction and formalization of the composition, it exists in fact a force absolutely material, to the limits of a sometimes poignant lyricism (often his last works were even placed in juxtaposition to the latest works of Franz Liszt!). In the case of "Herma" , for example, it is difficult to distinguish the three subsets of sounds that Xenakis is repeated through different combinations, and the extreme complexity of the rhythmic figures only committed in fact our perception to the extent possible, the structure scattering the model, between the folds of sound ; complessissima the construction and sound expression prevents sensory feedback to the model, between intersections, prompts and exclusions set of sounds that stand. We are witnessing a system that seems most points scored by the collapse of denial with respect to setting originaria e di smarrimento in lunghissime deviazioni, piuttosto che all’esigenza di un controllo che segna interamente "Musique formelles" . Nel momento in cui, a livello sensibile, la nostra percezione deve ripercorrere la strada che ha portato alla composizione, si genera una vera e propria frattura: il gesto eclatante (musicale, strumentale) sembra “pesare” così tanto da far pensare a un sistema costruito addirittura per essere trasgredito (Harry Halbreich, "Da Cendrées a Waarg: quindici anni di creatività"). In questo senso la percezione del suono di Xenakis sembra entrare in quelle aree proprie della musica concreta , dove il suono percepito come rumore is a sound "next to the things and matters , and despite the abstractness of the model, we found that the work of Xenakis " fury material " which manifests itself with such force as to deny the recognition of the model, although that plays a central role in the extension theory. A "autonomy" of the formal parameter then, drawing an "objective of matter."
"Musiques FORMELLES. Abstraction and formalization of musical composition. TO THE FULL AUTOMATION. Fund 'music or, as expressed by Xenakis, "formalize" the goal in sight and which dominates the work more developed by Xenakis, "Musiques formelles" ("Formalized Music"), published in 1963. The route of theoretical research and pragmatic which is drawn in "Musiques formelles" corresponds to a path of Xenakis toward abstraction. The first period of the composer is often called "Bartók period", during which the taste for abstraction was already present, although part of a general reference to the elements of tradition 
FORMALIZZAZIONE E NATURALIZZAZIONE. PROPORZIONI SONORE E «SEZIONE AUREA». Nel tracciare un fondamento su procedure puramente matematiche -teoria degli insiemi e dei gruppi, probabilità, catena markoviana, processi stocastici, fino all'elaborazione della teoria dei setacci (derivata da quella dei gruppi)- Xenakis va anche cercando una "naturalizzazione" della musica e dell'opera artistica, attraverso le scienze naturali, e verso a search of universality that sometimes evokes organicism. In the preface to the score of "The Sacrifice" (where the composition is derived from rhythmic Fibonacci series , becoming known as the Golden Section ) Xenakis illustrates this systematization of the structure: "The golden rule is one of the biological laws of growth. It is found in the proportions of the human body. For example, the ratio between the height of the head and solar plexus is equal to the golden number, the phalanges of the fingers, the bones of the arms and legs are in golden proportion. Now, the lives of music are created by static muscle that drive the human limbs. It is clear that movements of these limbs have a tendency to occur in time proportional to the size of the limbs themselves. Hence the result: the lives that are related to the golden number is the most natural movements of the human body. " the avoidance of doubt it should be noted that Xenakis's music is the opposite of an organismic view of form, but simply finds the search for models derived from the natural sciences. Formalization and Naturalization are the two poles that allow xenaniana understanding of the work and its relationship to art / science. Two approaches that, in apparent contradiction, in fact reflect a precise symmetry conceptual abstraction of the first pole is opposed the suggestion almost naturalist of the second. The coexistence of the two approaches will complement each other and in reality there is no distinction between the two. The formalization of full automatization of the composition tends to produce masses of sounds from their probabilistic behavior of natural phenomena (acoustic phenomena analyzed in the light of the structural programs and the natural phenomenon investigated in the light of the stochastic process and probability calculation). E 'is this the power of music and complessissimo xenaniano system: the abstraction of the models and the suggestion of the representation of reality on the plans.
"Art, and especially the musica, ha una funzione fondamentale, catalizzare la sublimazione (...). Essa deve puntare a sospingere, attraverso punti fissi da reperire, verso quell'esaltazione totale nella quale l'individuo, perdendo la propria coscienza, si fonde con una verità immediata, r ara, enorme e perfetta. Se l'opera d'arte ottenesse questo risultato anche solo per un istante, raggiungerebbe così il suo scopo (...). L'arte può condurre verso ambiti che, per alcuni, sono ancora occupati dalle religioni. Questa metamorfosi dell'artigianato quotidiano, che trasforma i prodotii triviali in meta-arte, è un segreto. I posseduti vi giungono senza conoscerne i meccanismi" (Iannis Xenakis, "Musiques Formelles" - prefazione).
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