History and Analysis - Columbia University.
Composer Karlheinz Stockhausen takes this idea of perceiving time as it occurs in his piece Kontakte, where he experiments with untraditional uses of sounds, form, and spatial positioning. Karlheinz Stockhausen was born in Cologne, Germany in 1928.He first began studying.
Stockhausen Essays on the Works by Albrecht Moritz. My other composer pages: Wolfgang Rihm Peter Maxwell Davies Richard Barrett Stockhausen today and tomorrow by composer Richard Barrett (external link) Latest addition (April 2019): IN THE SKY I AM WALKING (1972) for two singing voices. Introduction to the essays. Since the inception of this project in 2000 I have steadily added new texts to.
Through his studies of phonetics and spectral analysis Stockhausen knew that sung vowels, in their overtone structures, most resemble pure tones, whereas “plosive” consonants (b,p,t,d,k, and g) resemble noises. Consonants like n, which are voiced, fall somewhere in between the two poles.
The following text, transcribed by Rea in 2009 from a manuscript written in pencil, stands as perhaps the first analysis of a piece by Stockhausen in Canada, and because of both its historical significance, as well as the original observations which the young Rea makes in it, the editorial board of Circuit decided to include it in this issue.
As Stockhausen had recently discovered in his experiences with electronic music, speeding up rhythmic pulses (phases) creates different timbral colors. For example, a slow snare roll can be heard as individual hits, but a very fast drum roll becomes a solid sound (this effect is also well-represented in Structure X of KONTAKTE). By changing the.
Karlheinz Stockhausen's music, works and history of the famous 20th century composer.. 1958 to 60 KONTAKTE ( CONTACTS ) ( 35:30 ) for electronic sounds, piano and percussion (pianist, percussionist, sound projectionist) in two different editions: preface printed on both sides, bound, score printed on one side only, loose leaf, for performances ( 24 bound pages, 38 loose-leaf pages printed.
Karlheinz Stockhausen is one of the few, true musical pioneers. Right from the beginning of his composing career he has forged paths that others have followed. He’s a musical inventor, explorer and messenger. He has visited the outer reaches of music and reported back.
STOCKHAUSEN Kontakte (with composer etc) 1960. SEE PICTURE famous recording free option is for karlheinz stockhausen-musique vivante vinyl album. we hope these are of interest and if you have any specific questions we will be glad to clarify these. stockhausen in full working order and superb condition. very safely packed for shipping from.
Stockhausen was building on what he had originally intended for Kontakte: a relationship of tape as database to musicians as independent operators able to select, imitate, and freely combine musical tones and gestures continuously available on tape. At that time in 1959 after a number of trials it had become clear that the players were uncomfortable with such unfamiliar material and so the.
Compositional techniques in the music of Stockhausen (1951-1970) Kelsall, John (1975) Compositional techniques in the music of Stockhausen (1951-1970). PhD thesis, University of Glasgow.
Karlheinz Stockhausen is a classical musician and early pioneer in electronic music. Born in 1928, he studied at the music university in Cologne and became aware of the serial processes in large groups of notes rather than individual points. He suggested that electronic music gave the means to provide a new way of listening to sound as events rather than points in a pattern.
Despite (or perhaps because of) an abundance of interviews with Stockhausen, of essays and books about and by him, and of his compositional output, it remains difficult to find consistency in his underlying musico-philosophical thought. Perhaps searching for a theory behind his oeuvreis an inappropriate objective.
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Karlheinz Stockhausen was a pupil of Messiaen and Milhaud, and was greatly influenced by the serial works of Webern. The work “Zyklus” (cycle) for solo percussionist was composed in 1959 as a test piece for the Kranichstein Music Prize for percussion players. The work represents the application of a concept formulated by Webern and continued by Messiaen seeking the unification of all.
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