ABSTRACT
For the whole period from Metastaseis to the ST pieces, during which he was creating his compositional identity and establishing his reputation, Xenakis wrote only instrumental and electroacoustic music. Beginning in 1962, however, he began writing for the voice, following two streams of development over the course of different compositions: in one he returned explicitly to his Greek identity; in the other he integrated the voice into his explorations of extended performance techniques and new manifestations of solo and ensemble virtuosity.
