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Copyright

Julio Estrada

Published On

2024-10-09

Page Range

pp. 467–482

Language

  • English

Print Length

16 pages

28. A Pythagorean Wall of Visual and Auditory Drama

Chapter of: Meta-Xenakis: New Perspectives on Iannis Xenakis’s Life, Work, and Legacies(pp. 467–482)
This chapter focuses on Iannis Xenakis through his perception, affected by a wound in his youth and, in my opinion, the origin of the need to repair the damage by expressing it, not necessarily voluntarily but as a creative manifestation in the face of visual and auditory losses. The permanent musical interest and esteem for Xenakis lead me to speculate here about the link between the man and his work, through the critical analysis of some theoretical aspects in it, the integration of the visual as an auditory resource, as well as from my perceptive experience, perhaps useful for further research on the composer.

Contributors

Julio Estrada

(author)
Founder of the Musical Creation Laboratory, Coordinator of the University Research Seminar on Artistic Creation, and member of the Research Institute of Aesthetics at Universidad Nacional Autónoma de México
https://orcid.org/0000-0001-6811-503X

Julio Estrada is the founder of the Musical Creation Laboratory (LACREMUS: Laboratorio de Creación Musical), first at the National School of Music (ENM: Escuela Nacional de Música) and later at the Faculty of Music (FaM: Facultad de Música), the Coordinator of the University Research Seminar on Artistic Creation (SUICREA: Seminario Universitario de Investigación en Creación Artística), and is a member of the Research Institute of Aesthetics (IIE: Instituto de Investigaciones Estéticas), all at the National Autonomous University of Mexico (UNAM: Universidad Nacional Autónoma de México). He is co-author (with Jorge Gil) of Música y teoría de grupos finitos: 3 variables booleanas (Music and Finite Groups Theory: 3 Boolean Variables), 1984, published by IIE-UNAM, and MUSIIC-Win, Theory d1, 2006, published by ENM-UNAM. He is the author of Canto roto: Silvestre Revueltas (Broken Chant: Silvestre Revueltas), 1st ed. 2012, 2nd ed. 2023, published by FCE (Fondo de Cultura Económica)-IIE-UNAM, Realidad e imaginación continuas (Continuous Imagination and Reality) (forthcoming) published by IIE-UNAM, as well as thirty-five articles in books, forty articles in academic journals, and ninety texts on Indigenous music, Mexico and Latin America, contemporary music, music and mathematics and computer science, musical aesthetics, music theory, and creative musical imagination. He is also the Editor of La música de México (The Music of Mexico), 1984–8, 10 volumes, published by IIE-UNAM, and is the Editorial Director of the annual magazine PILACREMUS (Perspectiva Interdisciplinaria del Laboratorio de Creación Musical) since 2016, published by IIE-SUICREA-UNAM. Among his musical works are: 5 Cantos (1973-9), 8 yuunohui (1983-2019), ensemble’yuunohui (1985-2020), eua’on (1980), eua’on’ome (1985-95), ishini'ioni (1984-90), eolo'oolin (1981-98), and the opera Murmullos del páramo (Murmurs of the Wasteland), libretto by J. Estrada, 1992-2006, published by Juliusedimus, based on Estrada’s own research on the novel Pedro Paramo by Juan Rulfo: El sonido en Rulfo: “el ruido ese” (The Sound in Rulfo: “that noise"), 1st ed. 1990, 2nd ed. 2008, published by IIE-UNAM. Estrada received the Premio Universidad Nacional en Difusión y Extensión de la Cultura (National University Prize for the Diffusion and Extension of Culture) in 2000, and the Fine Arts Medal (2016), from the Instituto Nacional de Bellas Artes y Literatura (INBAL), Mexico. He is an Emeritus Researcher of the National (Mexican) Network of Researchers (SNI: Sistema Nacional de Investigadores), a member of the Mexican Academy of Sciences (AMC: Academia Mexicana de Ciencias) and has been promoted to Officier de l’Ordre des Arts et des Lettres (France).