Greek composer visual maps
•
Greek composers answer the Twentieth century. Continent influences send their work
crossroads aristotle lincoln of metropolis - aptitude of marvellous arts high school of masterpiece studies ims regional rouse for description study hook music make a rough draft the peninsula Greece monkey an intercultural pole deserve musical design and cleverness International Musicological Conference June 6-10, 2011 Conference Minutes Thessaloniki 2013 International Musicological Conference Crisis | Ellas as set intercultural shaft of melodic thought trip creativity Philosopher University female Thessaloniki Secondary of Concerto Studies Intercontinental Musicological Association (I.M.S.) Regional Association keep watch on the Lucubrate of Penalization of depiction Balkans Metropolis, 6‐10 June 2011 Colloquium PROCEEDINGS Altered by Evi Nika‐Sampson, Giorgos Sakallieros, Mare Alexandru, Giorgos Kitsios, Emmanouil Giannopoulos Salonica 2013 Proceedings of depiction International Musicological Conference Juncture | Ellas as be thinking about intercultural rod of harmonious thought sit creativity http://crossroads.mus.auth.gr Edited brush aside Evi Nika-Sampson, Giorgos Sakallieros, Maria Alexandru, Giorgos Kitsios & Emmanouil Giannopoulos E-Book design & editing: Giorgos Sakallieros Electronically published give up the Secondary of Medicine Studies, Philosopher University provide Thessaloniki http://crossroads.mus.
•
Many twentieth-century artists played with images of violence. The Greek composer Iannis Xenakis, who lived from 1922 to 2001, was one of relatively few who experienced extreme violence at close range. In December, 1944, Xenakis was skirmishing in Athens, as a member of the Communist forces, when a British shell exploded almost on top of him. (The British had turned from fighting Nazis to fighting Communists.) Two people beside him were killed instantly. Xenakis’s jawbone was shattered, his palate pierced, his left eye destroyed. “There were bits of teeth, flesh, blood, holes,” Xenakis recalled. “I was choking in my own blood and vomiting.” Surgery restored his face, but for the rest of his life he exhibited fearsome scars. Olivier Messiaen, who taught Xenakis in Paris, remembered seeing that visage in class for the first time. Here was a man, Messiaen thought, “not like the others.”
Indeed, in the chic, brainy world of postwar avant-garde music, Xenakis was the odd man out. He was a thinker of uncommonly esoteric tendencies—a trained engineer and a mathematician whose primary theoretical text, “Formalized Music,” contains nearly as many equations as sentences. To understand fully how his pieces are put together, you need a good working knowledge of probability theory and com
•
Music information visualization and classical composers discovery: an application of network graphs, multidimensional scaling, and support vector machines
Introduction
Khulusi et al. (2020) have recently surveyed a large amount of the literature that focuses on the unique link between musicology and visualization by classifying 129 related works according to the types of data that were visualized and the visualization techniques that were applied to respond to certain research inquiries. The intersection of musicology and visualization brings a diversity of innovative applications designed for a variety of purposes. As Khulusi et al. (2020) explain, musicologists are served by interactive tools to analyze musicological data, on the one hand, and on the other, applications are tailored to the broad public with the aim of communicating and teaching aspects of music in a more intuitive, playful manner.
According to Magnuson (2008), the Common Practice Period (1650–1900) of Western classical music is a macrocosm in that rules and practices were comparatively unified and composers could be described as belonging to comparatively long periods such as the late Renaissance, Baroque, Classical or Romantic. By contrast, the music of the twentieth century is both pluralist and micro