Sainte Marie de La Tourette is a Dominican Order priory, located on a hillside near Lyon, France, designed by the architect Le Corbusier, the architect’s final building. The design of the building began in May 1953 and completed in 1960. The committee that decided the creation of the building considered that the primary duty of the monastery should be the spiritual awakening of the people and in particular the inhabitants of nearby areas. As a result, the monastery was constructed in Eveux-sur-Arbresle, which is just 25 km from Lyon and is accessible by train or car. In July 2016, the building and sixteen other works by Le Corbusier were inscribed as UNESCO World Heritage Sites because of their outstanding testimony to the development of modern architecture.

Evryali (from Ancient Greek: Εὐρυάλη Euryale) is a piece for solo piano composed by Iannis Xenakis in 1973. It is based on a technique Xenakis invented in early 1970s, called arborescences—proliferations of melodic lines created from a generative contour. The title refers to the name of one of the Gorgon sisters, and is also Greek for open sea. Written in 1973, Evryali was Xenakis' second major work for piano solo after Herma, written in 1961. Evryali was composed for, and dedicated to, pianist Marie-Françoise Bucquet. According to her, upon presenting her the score, Xenakis said: "Here's the piece. Look at it, and if you think you can do something with it, play it". Conventional notation is used throughout the score; however, instead of using two or three staves as is customary for piano scores, Xenakis frequently employs four and five staves. Numerous passages are impossible to play as written either because it is physically impossible to reach the notes, or, in one case (a C-sharp in the penultimate passage of arborescences), because the written note is not available on most pianos (this particular difficulty was rectified in a later edition of the work). Therefore, the performer has to create a reduction of the piece, omitting some notes, transposing others, etc., in order to make it playable. Citing these and other difficulties of Evryali, pianist-composer Marc Couroux compares the performer to the "warrior" from Carlos Castaneda's books: when confronted with the piece, one must remain "lucid" and choose "which aspects [of the piece] are essential and must be preserved", and which must be sacrificed. The music consists almost entirely of a limited number of distinct kinds of texture. On the most basic level, one can distinguish five of these: fixed rhythmic passages, stochastic clouds, polyphonic arborescences, monophonic waves and silence. Chung offers different names for the textures, but with essentially the same content). A more complex analysis, offered by musicologist Ronald Squibbs, reveals that Evryali has four distinct "configuration types". The first is derived from applying set theory to time-point sequences, each of which is then assigned to a specific pitch. This is the configuration type the work starts with. The second type is generated by stochastic methods, arborescences constitute the third, and finally, the fourth configuration type is silence. According to this classification, there are fifty segments overall in Evryali: 23 for time-point sequences, 4 for stochastic material (appearing only at two points in the work, both times as consecutive pairs), 20 for arborescences, and 3 are silences. In the score, the silences are notated in seconds. In adopting a single tempo throughout, Evryali is unique in Xenakis' oeuvre for solo piano. Evryali is connected to earlier works, particularly Synaphaï (1969), certain parts of which led to the creation of the arborescence technique. Several passages from Evryali were later reused, with some modification, in the chamber work Dikhthas (1979).

Herma (from Greek ἕρμα "a stringing together, a foundation") is a piece for solo piano composed by Iannis Xenakis in 1961. About ten minutes long, it is based on a formulation of the algebraic equations of Boolean algebra, and is also an example of what Xenakis called symbolic music.

Khoaï, also referred to by its original Greek title, Χοαί, is a 1976 composition for solo harpsichord by Iannis Xenakis.

Mists is a composition for the piano by Iannis Xenakis. It was written in 1980, and was premiered on April 16, 1981, by Roger Woodward, to whom it is dedicated. Its duration is approximately 12 minutes.

Naama (in Greek, Nάαμα) is a composition for amplified harpsichord by Greek/French composer Iannis Xenakis. Completed in 1984, it is the composer's last work for solo harpsichord.