Music and Time Annotation << Back Iannis Xenakis – «Nomos Alpha»: Interpretation Problems Yu Yalong The article is devoted to one of the iconic works not only for the work of Iannis Xenakis, but also for the avant-garde art of the twentieth century as a whole – «Nomos Alpha» (1965–1966). This opus changed the attitude towards the performing art of the cello, opened up new horizons in the sound of the instrument and its technical capabilities. The article considers this work from three positions: from the position of musical-theoretical analysis, algebraic theories (laid down in the ideological and structural basis of the composition) and from the position of performing analysis. It is no secret that the music of the twentieth century requires the composer and the performer to have relations in the format of a dialogue: when not only the author expresses his individuality in the composition, but also the soloist in the process of performance, as it were, deciphers and re-composes the musical text in the sounding world. The author of the article decided to approach this issue in a comprehensive manner: to reveal the author’s analyzes of different researchers and give them a certain assessment, to show the points of contact, in addition, the problem of interpreting the composition by different performers became important for the author of the article. In parallel with this, the article reveals the theme of the composer’s style dominants: his passion for microchromatics, the combination of electronic sounds with analog ones, the desire to combine non-musical components in the composition method, such as various mathematical theories and phenomena. (set theory, abstract algebra, probability theory, etc.). Keywords: Iannis Xenakis, stochastics, abstract algebra, complex of sounds, microchromatics, strokes, Siegfried Palm, Christophe Roy,Ame Deforce. Pp. 46-52.