Makis Solomos

Makis Solomos (born 1962 in Athens) is a Franco-Greek musicologist specialising in contemporary music and particularly in the work of Iannis Xenakis of whom he is one of the most important specialists. He is also one the specialists of Adorno's thought. His current work focuses on the issue of sound ecology and decay. He has published numerous articles and books and regularly participates in meetings and symposia. In 2005, he also participated in the creation of the magazine "Filigranes" which aims to broaden the field of musicology.

Biography

Makis Solomos has been living in Paris since 1980. He studied musical composition with Yoshihisa Taira and Sergio Ortega and later studied musicology at the Paris-Sorbonne University. He taught at the Paul Valéry University, Montpellier III until 2010. He currently is a professor at the université Paris VIII and a junior member of the institut universitaire de France.

Research Areas

In his writings, Makis Solomos tries to marry the analytical, historical and hermeneutical approaches. In addition to his many writings on the work of Xenakis, his research focuses on various aspects of recent music (Webern, Varèse, Boulez, Criton, Vaggione, Di Scipio, spectral music, electronic music, popular music, and in particular the aesthetic questions from a perspective very often inspired by the philosophical thought of Adorno. Defending a radical modernist aesthetic approach to contemporary music, he particularly criticizes the aesthetics that he considers conservative in particular neoclassicism and postmodernism,[1] (postmodernism being clearly in modernity). He remains relatively distant from the aesthetics known as "moderate modernists".

He is also positioned against historicism, that is to say, a linear reading of the history of music, which consists in considering the evolution of aesthetics only in a uniform sense, relying only on the milestones that constitute the great names of history (the "winners" to use Solomos' term). He defends the idea that musical evolution throughout history is a complex and multifaceted movement of different conceptions and aesthetics. This fact is not without some paradox for a defender of musical modernism.

His recent work has focused on themes such as the emergence of sound, sound ecology and decay, for which he has devoted books, articles or papers to symposiums.

Bibliography

  • Le devenir du matériau musical au XXe siècle, in SOULEZ Antonia, SCHMITZ François, SEBESTIK Jan (ed)., Musique, rationalité, langage : L'harmonie, du monde au matériau, Cahiers de philosophie du langage (No 3), Paris, L’Harmattan, 1998; (pp. 137–151)
  • Notes sur la spatialisation de la musique et l'émergence du son, in GENEVOIS Hugues, ORLAREY Yann (ed)., Le son et l'espace, Lyon, Aléas, 1998; (pp. 105–125). (Musique et Sciences).
  • Schaeffer phénoménologue, in Ouïr, entendre, écouter, comprendre après Schaeffer, Paris, Buchet-Chastel / INA, 1999, (pp. 53–68) (Bibliothèque de Recherche Musicale).
  • Le ‘Savant’ et le ‘Populaire‘, le postmodernisme et la mondialisation, in Musurgia, vol. IX/1, Le Savant et le Populaire, 2002.
  • Analyse et idéologie chez Xenakis, in BARDEZ Jean-Michel (ed). Analyse et création musicales, Colloque (1995, Montpellier), Paris, L’Harmattan, 2001, (pp. 87–100) (Musique et Musicologie).
  • Du projet bartokien au son : L’évolution du jeune Xenakis, in SOLOMOS, Makis (ed.), Présences de Iannis Xenakis, colloque (1998, Paris), Paris, CDMC, 2001.
  • De la musique contemporaine à la société, in Filigrane, No 1, Musicologies ?, 2005, (pp. 49–61)
  • Notes pour une comparaison des paradigmes technologiques des musiques électroniques savantes et populaires, in BARBANTI Roberto, LYNCH Enrique, PARDO Carmen, SOLOMOS Makis (ed.), Musiques, arts et technologies : Pour une approche critique, symposium (2000, Montpellier, Barcelone), Paris, L’Harmattan, 2004, (pp. 281–290) (Musique Philosophie).
  • Iannis Xenakis, Mercues, PO Editions, 1996; (updated in 2004)
  • Formel / Informel in SOLOMOS, Makis, SOULEZ, Antonia, VAGGIONE, Horacio, Formel Informel : Musique – Philosophie, Paris, L’Harmattan, 2003. His article De l'apollinien et du dionysiaque dans les écrits de Xenakis can be found in SOLOMOS, Makis, SOULEZ, Antonia, VAGGIONE, Horacio, Formel Informel : Musique – Philosophie, Paris, L’Harmattan, 2003, (pp. 49–90) (Musique Philosophie).
  • L’espace : musique-philosophie (with Jean-Marc Chouvel: Paris, l’Harmattan, 1998),
  • La métaphore lumineuse. Xenakis-Grisey (Paris, l’Harmattan, 2003)
  • Musiques, arts, technologies. Pour une approche critique / Music, arts and technologies. Towards a critical approach / Musicas, artes y tecnologías. Por una aproximacion critica (avec Roberto Barbanti et Carmen Pardo: Paris, l’Harmattan, 2004)
  • Horacio Vaggione: Composition theory (Contemporary Music Review vol 24 part 4+5)
  • Makis Solomos(éd), Espaces composables : essais sur la musique et la pensée musicale d'Horacio Vaggione, Paris, L'Harmattan, 2007, ISBN 978-2-296-02832-6 (ouvrage reprenant en grande partie en version française les textes de "Horacio Vaggione: Composition theory)
  • Rythme, temps et émergence in Rythmes de l'homme, rythmes du monde, Séminaire de l'École normale supérieure de la rue d'Ulm 2006-2008, under the direction of Christian Doumet and Aliocha Wald Lasowski, Éditions Hermann, 2010

References

  1. ↑ Makis Solomos Néoclassicisme et postmodernisme : deux antimodernismes, revue Musurgia, Paris, Editions Eska, 1998, Volume V, No 3/4, (pp. 91-107)
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