ABSTRACT
Throughout the 1980s, Xenakis continued to compose at a prolific rate, completing works in most genres, from orchestral to ensemble to concertante scores, and chamber, solo, vocal, stage, and electroacoustic compositions as well. His concern for sonority, weighted so strongly toward glissando and noise entities in Tetras (1982), shifted in the direction of harmonic-melodic concerns. Still, for the composer, “the question of global structure and of timbre [is at] the forefront” (Restagno 1988, 61).
