In Xenakis's instrumental works, large numbers of individual sounds tend to coalesce into textures that are homogeneous with respect to rhythm, density, dynamics, articulation, and pitch collection. Though these three perspectives inevitably intertwine somewhat through the course of the article, each will be the principal focus of a separate section below. from three perspectives: first, texture, segmentation and formal design second, sieve theory and pitch-class sets and finally temporal structure. This analysis will examine the structure of a r. Stylistically it is much more closely related to Xenakis's own chamber works from the same period, works such as Jalons (1986), XAS (1987), and Waarg (1988), which are particularly notable for their exuberance and intensity of expression. indicates that it is a tribute to Ravel, the work contains little stylistic resemblance to the older composer's work except for a general virtuosity and brilliance of harmonic color. At twenty-one measures and just over two minutes in duration, it is one of the most concentrated of Xenakis's works. (Hommage a Ravel) for piano, which was commissioned by the Radio-France International Festival at Montpellier in 1987 as part of its commemoration of the fiftieth anniversary of Ravel's death. The miniature that has been chosen for analysis here is a r.
(1) Xenakis's miniatures are attractive subjects for analytical study because, in spite of their brevity and relative simplicity, they nevertheless demonstrate a masterly coordination of texture, pitch materials and temporal structure comparable to that found in the larger works. Because of their limited duration and minimal instrumentation, these works may be thought of as miniatures in comparison to his lengthier and more numerous chamber and orchestral works. BETWEEN THE EARLY 1970s and the late 1990s Iannis Xenakis composed several short works for solo instruments and for small ensembles.
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