CCMIX (Center for the Composition of Music Iannis Xenakis, 2000), formerly Les Ateliers UPIC UPIC workshops, CEMAMu (Centre d'Etudes de Mathématique et Automatique Musicales, 1972), and EMAMu (Equipe de Mathématique et Automatique Musicales), is a center established by Iannis Xenakis in 1966 to encourage interdisciplinary research between arts and sciences.
Fred Lerdahl's "Cognitive Constraints on Compositional Systems" cites Pierre Boulez's Le Marteau sans Maître (1955) as an example of "a huge gap between compositional system and cognized result," though he "could have illustrated just as well with works by Milton Babbitt, Elliott Carter, Luigi Nono, Karlheinz Stockhausen, or Iannis Xenakis".
The ST-X Ensemble is an American ensemble dedicated to performing the music of Iannis Xenakis.
His book on solo percussion music, "The Percussionist's Art: Same Bed, Different Dreams," was published by the University of Rochester Press; his recording of "The Mathematics of Resonant Bodies" by John Luther Adams was released by Cantaloupe Music; and, a 3 CD set of the complete percussion music of Iannis Xenakis, made in collaboration with red fish blue fish, was issued by Mode Records.
He also assisted and took part in private sessions with a number of composers, including Brian Ferneyhough, Joji Yuasa, Peter Garland, Lorenc Barber, Leo Brouwer, François Bernard Mâche, James Tenney, Stefano Scodanibio and Iannis Xenakis.
For instance, in his latest publication Cahier M (2000) Raaymakers elaborated upon the connections he saw between the 19th-century French physiologist Étienne-Jules Marey, composer Pierre Boulez, architect Iannis Xenakis and the musical views of Piet Mondrian.
World premières he presided over included works by Bussotti, Ferneyhough, Górecki, Ligeti, Rihm, Stockhausen and Xenakis, and he gave the French premières of Hindemith's Symphony Mathis der Maler and Stravinsky's The Rake's Progress and the European premiere of Susman's Trailing Vortices.
She took courses at the Institut de Recherche et de Coordination Acoustique/Musique in Paris and studied Iannis Xenakis's music in Aix-en-Provence.
These include Iannis Xenakis’ Dox Orkh and Toshio Hosokawa’s Landscape III, both for violin and orchestra, as well as Brian Ferneyhough’s Terrain, Luca Francesconi’s Riti Neurali and Body Electric, James Dillon’s Vernal Showers, Jonathan Harvey’s Scena, Brice Pauset's Vita Nova, Roger Reynolds Aspiration and Salvatore Sciarrino's Le Stagioni Artificiali all for violin and ensemble.
His wide-ranging repertoire, which spans Bach to Xenakis, has enabled him to lead such accomplished groups as the American Composers Orchestra, the New York New Music Ensemble, the Chamber Music Society of Lincoln Center, Columbia Sinfonietta, Speculum Musicae, Cygnus Ensemble, the Fromm Players at Harvard University, the Composers' Ensemble at Princeton University, and the New York Philharmonic chamber music series.
He went on to receive his B.A. in music from Vassar College, and did further study at the Accademia Musicale Chigiana (with Xenakis and Donatoni), Westminster Choir College, and The Juilliard School, as well as numerous professional workshops with ASCAP, The American Music Center, and Carnegie Hall (including contemporary conducting techniques with Boulez).
At the same time, between 1990 and 1998, he regularly attended the Ars musica contemporary music festival composition seminars and workshops, with the participation of Luciano Berio, Witold Lutosławski, György Ligeti, Pierre Boulez, Karlheinz Stockhausen, Brian Ferneyhough, Pascal Dusapin, Iannis Xenakis, Magnus Lindberg, Luca Francesconi and Wolfgang Rihm.
Citing Giacinto Scelsi and Iannis Xenakis as influences, his early work was mostly written for traditional instruments.
They have premiered over 250 works of contemporary classical music, including Iannis Xenakis's Pléïades, Inventions by Miloslav Kabeláč and Karlheinz Stockhausen's Musik im Bauch.
With the orchestra, as Principal Music Advisor for Leicestershire, he embarked upon a series of tours throughout Europe, and as a group they became known for the quality of their performances of Gustav Mahler, Dmitri Shostakovich, Messaien, Charles Ives, Michael Tippett, Elliott Carter, Douglas Young, Iannis Xenakis and other 20th-century composers.
Wallin’s music combines an intuitive freedom with a rigorous mathematical approach, such as use of fractal algorithms to construct melody and harmony, resulting in a music that often hints at the influence of Ligeti, Xenakis and Berio.
He has recorded more than a dozen records (Etcetera, REM, Adès, Salabert Actuel, MFA, Accord) and conducted many pieces by composers from all over the world: from Claudio Monteverdi, Wolfgang Amadeus Mozart, Franz Schubert, Maurice Ravel, Claude Debussy, to Iannis Xenakis, Mauricio Kagel, Luciano Berio, Karlheinz Stockhausen, Bruno Maderna.