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Makis Solomos

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Makis Solomos
Born1962 (age 62–63)
Athens, Greece
EducationParis-Sorbonne University
OccupationMusicologist

Makis Solomos (born 1962) is a Franco-Greek musicologist specializing in contemporary music, particularly the works of Iannis Xenakis and Theodor W. Adorno.

In 2005, he co-founded the magazine Filigranes, which aimed to broaden the field of musicology.[1] His research focuses on issues related to sound ecology and decay.[2]

Biography

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Solomos has lived in Paris since 1980. He studied musical composition with Yoshihisa Taira and Sergio Ortega, and musicology at the Paris-Sorbonne University.[3]

He taught at the Paul Valéry University Montpellier III until 2010. He is a professor at the Paris 8 University Vincennes-Saint-Denis and a junior member of the Institut Universitaire de France.[4]

Research areas

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Solomos research focuses on range of analytical, historical, and hermeneutical approaches in his writings. His research included the works of Xenakis but also encompasses influential composers such as Webern, Varèse, Boulez, Criton, Vaggione, and Di Scipio. Additionally, he explores various genres, including spectral music, electronic music, and popular music. His inquiries also address aesthetic questions inspired by the philosophical insights of Adorno.[5]

Adopting a modernist aesthetic perspective, Solomos engages critically with contemporary music, challenging aesthetics he perceives as conservative, particularly those associated with neoclassicism and postmodernism.[6]

He critiques historicism, which promotes a linear interpretation of the history of music that views the evolution of aesthetics as a uniform progression centered solely on prominent figures. Instead, Solomos argues that musical evolution represents a rich and intricate tapestry of diverse conceptions and aesthetics.[5]

In his recent work, he has concentrated on themes such as the emergence of sound, sound ecology, and the concept of decay.[7]

Bibliography

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Source:[8]

  • 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

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  1. ^ "musecology.art - Makis Solomos". www.musecology.art. Retrieved 2025-01-10.
  2. ^ Solōmos, Makēs (2023). Exploring the ecologies of music and sound: environmental, mental and social ecologies in music, sound art and artivisms. Translated by Higgins, Jennifer. London New York: Routledge, Taylor & Francis Group. ISBN 978-1-032-18424-1.
  3. ^ "Makis Solomos". www.icmc14-smc14.net. Retrieved 2025-04-17.
  4. ^ "SOLOMOS Makis - Musicologue". www.cirm-manca.org. Retrieved 2024-11-27.
  5. ^ a b "Makis Solomos - Routledge & CRC Press Author Profile". www.routledge.com. Retrieved 2025-01-10.
  6. ^ Makis Solomos Néoclassicisme et postmodernisme : deux antimodernismes, revue Musurgia, Paris, Editions Eska, 1998, Volume V, No 3/4, (pp. 91-107)
  7. ^ Delaere, Mark (2022). Noise as a constructive element in music: theoretical and music-analytical perspectives (PDF). Abingdon, Oxon New York: Routledge. ISBN 978-1-032-20039-2. Retrieved 1 June 2025.
  8. ^ "Makis SOLOMOS". musidanse.univ-paris8.fr (in French). Retrieved 2024-11-27.
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