Congrès et conférences - Architecture -- 20e siècle]]> Congrès et conférences - Musicologie -- 20e siècle]]> Continu (philosophie)]]> Economou, Athanassios. Conférencier]]> European University of Cyprus]]> Novak, Marcos. Modérateur]]> Kavallaris, Faidros. Intervenant]]> Sammoutis, Evis. Intervenant]]> Lieberman, David. Intervenant]]> Lanzilotti, Anne. Intervenant]]> Parthenios, Panagiotis. Intervenant]]> Vasquez Hadjilyra, Aswaldo Emiddio. Intervenant]]> Kanach, Sharon (1957-....). Intervenante]]> Hadjichristos, Christos. Intervenant]]> Chatzopoulou, Nicoleta. Intervenant]]> Kavallaris, Faidros. Intervenant]]>

Ce(tte) œuvre est mise à disposition selon les termes de la Licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International]]> en]]> http://www.centre-iannis-xenakis.org/items/show/4107]]> Congrès et conférences - Architecture -- 20e siècle]]> Congrès et conférences - Musicologie -- 20e siècle]]> Continu (philosophie)]]> Xenakis adopts a western-scientific approach on composing his music. I Ching, on the other hand, from the East, is the object of more discussion and comprehension with the help of the development of mathematics and science. I will compare Xenakis’s approach and the I Ching to answer the above questions in three parts: philosophy, music, and human beings.
Conclusion
As the discussion above, a strong correlation between the western scientific approach on music and the eastern mysterious web of signs of math has appeared. To find out the concrete answer, a physical space with experimental music could be taken as a tool to take future steps on this analysis.]]> Yu, Yin. Conférencière]]> European University of Cyprus]]> Novak, Marcos. Modérateur]]> Hadjichristos, Christos. Intervenant]]> Ham, Jeremy. Intervenant]]> Lieberman, David. Intervenant]]> Kanach, Sharon (1957-....). Intervenante]]>