Der Mann, Der Vom Sirius Kam Elbphilharmonie Kaistudio
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Classic Albums: the Berlin/Germany Edition
Course Title Classic Albums: The Berlin/Germany Edition Course Number REMU-UT 9817 D01 Spring 2019 Syllabus last updated on: 23-Dec-2018 Lecturer Contact Information Course Details Wednesdays, 6:15pm to 7:30pm (14 weeks) Location NYU Berlin Academic Center, Room BLAC 101 Prerequisites No pre-requisites Units earned 2 credits Course Description A classic album is one that has been deemed by many —or even just a select influential few — as a standard bearer within or without its genre. In this class—a companion to the Classic Albums class offered in New York—we will look and listen at a selection of classic albums recorded in Berlin, or recorded in Germany more broadly, and how the city/country shaped them – from David Bowie's famous Berlin trilogy from 1977 – 79 to Ricardo Villalobos' minimal house masterpiece Alcachofa. We will deconstruct the music and production of these albums, putting them in full social and political context and exploring the range of reasons why they have garnered classic status. Artists, producers and engineers involved in the making of these albums will be invited to discuss their seminal works with the students. Along the way we will also consider the history of German electronic music. We will particularly look at how electronic music developed in Germany before the advent of house and techno in the late 1980s as well as the arrival of Techno, a new musical movement, and new technology in Berlin and Germany in the turbulent years after the Fall of the Berlin Wall in 1989, up to the present. -
Stockhausen's Cosmic Pulses
Robin Maconie: Stockhausen’s Cosmic Pulses 2009–14 (copyright) 1 Stockhausen’s Cosmic Pulses ROBIN MACONIE Some people chase tornados; others go after black holes. From the late 1950s Stockhausen was fascinated by the idea of sounds in rotation and how to realise them in a technical sense, by means of an array of loudspeakers. Completed in 2007, Cosmic Pulses is Stockhausen’s final electronic composition.1 For a number of reasons I believe the composer knew it would be his last. The work was completed in a rush. In many ways, notably in terms of the sound material, which is very basic, it remains a sketch. The music can be described as a massive rotating sound mass, composed in 24 separately spinning frequency layers. The work thickens gradually to 24 layers, then reduces symmetrically upward in an ascending spiral that ends quite abruptly. An audience may experience the sensation of falling headlong into a black hole, or, if one is an optimist, of being carried aloft on the whirlwind like Dorothy in The Wizard of Oz. A tornado is an effect of a natural imbalance between temperature layers in the atmosphere, tipped into motion by the earth’s rotation, which moves progressively faster toward the equator. The rotating air mass that results spirals upwards and generates a powerful electrical charge. A black hole by comparison is an effect of gravitation creating an imbalance in spacetime. The rotational process that results spirals downward or inward and leads to the extinction of reality as we know it, or again, if one is an optimist, creates a wormhole leading either into another universe, or into our own universe at Robin Maconie: Stockhausen’s Cosmic Pulses 2009–14 (copyright) 2 another point in time. -
Karlheinz Stockhausen: Works for Ensemble English
composed 137 works for ensemble (2 players or more) from 1950 to 2007. SCORES , compact discs, books , posters, videos, music boxes may be ordered directly from the Stockhausen-Verlag . A complete list of Stockhausen ’s works and CDs is available free of charge from the Stockhausen-Verlag , Kettenberg 15, 51515 Kürten, Germany (Fax: +49 [0 ] 2268-1813; e-mail [email protected]) www.stockhausen.org Karlheinz Stockhausen Works for ensemble (2 players or more) (Among these works for more than 18 players which are usu al ly not per formed by orches tras, but rath er by cham ber ensem bles such as the Lon don Sin fo niet ta , the Ensem ble Inter con tem po rain , the Asko Ensem ble , or Ensem ble Mod ern .) All works which were composed until 1969 (work numbers ¿ to 29) are pub lished by Uni ver sal Edi tion in Vien na, with the excep tion of ETUDE, Elec tron ic STUD IES I and II, GESANG DER JÜNGLINGE , KON TAKTE, MOMENTE, and HYM NEN , which are pub lished since 1993 by the Stock hau sen -Ver lag , and the renewed compositions 3x REFRAIN 2000, MIXTURE 2003, STOP and START. Start ing with work num ber 30, all com po si tions are pub lished by the Stock hau sen -Ver lag , Ket ten berg 15, 51515 Kürten, Ger ma ny, and may be ordered di rect ly. [9 ’21”] = dura tion of 9 min utes and 21 sec onds (dura tions with min utes and sec onds: CD dura tions of the Com plete Edi tion ). -
Developing Sound Spatialization Tools for Musical Applications with Emphasis on Sweet Spot and Off-Center Perception
Sweet [re]production: Developing sound spatialization tools for musical applications with emphasis on sweet spot and off-center perception Nils Peters Music Technology Area Department of Music Research Schulich School of Music McGill University Montreal, QC, Canada October 2010 A thesis submitted to McGill University in partial fulfillment of the requirements for the degree of Doctor of Philosophy. c 2010 Nils Peters 2010/10/26 i Abstract This dissertation investigates spatial sound production and reproduction technology as a mediator between music creator and listener. Listening experiments investigate the per- ception of spatialized music as a function of the listening position in surround-sound loud- speaker setups. Over the last 50 years, many spatial sound rendering applications have been developed and proposed to artists. Unfortunately, the literature suggests that artists hardly exploit the possibilities offered by novel spatial sound technologies. Another typical drawback of many sound rendering techniques in the context of larger audiences is that most listeners perceive a degraded sound image: spatial sound reproduction is best at a particular listening position, also known as the sweet spot. Structured in three parts, this dissertation systematically investigates both problems with the objective of making spatial audio technology more applicable for artistic purposes and proposing technical solutions for spatial sound reproductions for larger audiences. The first part investigates the relationship between composers and spatial audio tech- nology through a survey on the compositional use of spatialization, seeking to understand how composers use spatialization, what spatial aspects are essential and what functionali- ties spatial audio systems should strive to include. The second part describes the development process of spatializaton tools for musical applications and presents a technical concept. -
Practical Theology Reflecting on the Public Sphere
HTS Teologiese Studies/Theological Studies ISSN: (Online) 2072-8050, (Print) 0259-9422 Page 1 of 6 Original Research Sounding the sacred in the age of fake news – Practical theology reflecting on the public sphere Author: The public sphere, in which religion is lived and in which religious singing functions, is briefly 1 Elsabé Kloppers discussed and related to manipulated truths and ‘fake news’ regarding the use of spiritual Affiliation: songs and hymns as religious and cultural offerings, with reference especially to texts displaying 1Department of Philosophy, a disregard for responsible hermeneutical principles. A plea is made not only for a practical Practical and Systematic theology that engages critically with the fundamentals of the current culture and the use of Theology, School of religious symbols in public, but also for a sounding theology that reflects on communication Humanities, University of South Africa, Pretoria, through singing and other forms of art in the public space of worship as well as in the more South Africa ‘visible’ public sphere whilst creating beauty in the process of reflection. Through this means, spaces of resonance could be opened where people become participants drawn in into a Corresponding author: performance of practical theology, reflecting together on the religion they live and finding new Elsabé Kloppers, [email protected] ways of voicing their faith in the public sphere, unveiling aspects of authenticity and truth. Dates: Contribution: From an interdisciplinary perspective fitting the scope of the journal, it is Received: 17 May 2020 shown how hymns, texts and music draw people into a performance of a practical theology Accepted: 10 Aug. -
KARLHEINZ STOCKHAUSEN the 24 Hours of The
KARLHEINZ STOCKHAUSEN KLANG The 24 Hours of the Day The Metropolitan Museum of Art and Analog Arts present the US premiere of Karlheinz Stockhausen’s KLANG cycle. The production consists of the 21 pieces Stockhausen managed to finish before his death in 2007. For more information on KLANG, please visit www.analogarts.org/klangnyc. FRIDAY, March 25, 2016 Metropolitan Museum Auditorium The Met Breuer 5:00 pm EDENTIA, 20th Hour Soprano saxophone and tape.19’ 5:30 pm HARMONIEN (Harmonies), 5th Hour GLÜCK (Bliss), 8th Hour Flute, trumpet, and bass clarinet, 15’ Bassoon, English horn, and oboe, 5:45 pm COSMIC PULSES,13th Hour US premiere. 40’ Tape. 32’ 6:15 pm NATÜRLICHE-DAUERN (Natural rd th 6:30 pm Durations), 3 Hour JERUSEM, 18 Hour Piano, NY premiere. 45’ Tenor and tape, US Premiere. 21’ 7:00 pm NEBADON, 17th Hour The Metropolitan Museum GLANZ (Brilliance), 10th Hour Horn and tape, NY premiere. 22’ 1000 Fifth Avenue Bassoon, clarinet, viola, oboe, trumpet, 7:30 pm PARADIES, 21st Hour trombone, tuba, US premiere. 40’ Flute and tape, US premiere. 19’ The Met Breuer 7:45 pm HIMMELS-TÜR (Heaven’s Door), 4th Hour 945 Madison Avenue Percussion, little girl, NY premiere. 21’ 8:15 pm HAVONA, 14th Hour The Cloisters Bass and tape. NY premiere. 25’ 99 Margaret Corbin Drive SATURDAY, March 26, 2016 Metropolitan Museum Auditorium The Met Breuer The Cloisters 11:00 am COSMIC PULSES, 13th Hour HIMMELFAHRT (Ascension), 1st Hour 11:15 am UVERSA, 16th Hour Tape. 32’ Organ, soprano, tenor. NY premiere. 39’ Basset horn and tape, US premiere. -
KLANG Schedule 2018.3
KARLHEINZ STOCKHAUSEN’s Presented by Elizabeth Huston and Analog Arts at FringeArts KLANG: The 24 Hours of the Day 140 North Columbus Boulevard Philadelphia, PA 19106 KLANG Up Close (Studio) KLANG Up Close (Studio) 10:00 a.m. 5. HARMONIEN for flute, bass clarinet, and trumpet 10:00 a.m. 5. HARMONIEN for flute, bass clarinet, and trumpet (Studio, Theater, La Peg) (Studio, Theater, La Peg) 10:15 a.m. 3. NATÜRLICHE DAUERN for piano 10:15 a.m. 3. NATÜRLICHE DAUERN for piano 10:45 a.m. 9. HOFFNUNG for violin, viola, and cello 10:45 a.m. 9. HOFFNUNG for violin, viola, and cello 11:20 a.m. 17. NEBADON for French horn and tape 11:20 a.m. 20. EDENTIA for soprano saxophone and tape 11:45 a.m. 3. NATÜRLICHE DAUERN for piano 11:40 p.m. 8. GLÜCK for bassoon, English horn, and oboe 12:15 p.m. 11. BALANCE for flute, English horn, and bass clarinet 12:20 p.m. 3. NATÜRLICHE DAUERN for piano 12:50 p.m. 11. TREUE for E-flat clarinet, basset horn, and bass clarinet Modular KLANG (Studio & Theater) Modular KLANG (Studio & Theater) 1:00 p.m. 19. URANTIA for soprano and tape (Studio) 1:20 p.m. 7. BALANCE for flute, English horn, and bass clarinet (Studio) 13. COSMIC PULSES for tape (Theater) 5. HARMONIEN for flute (Theater) 1:35 p.m. 7. TREUE for E-flat clarinet, basset horn, and bass clarinet (Studio) 1:55 p.m. 19. URANTIA for soprano and tape (Studio) 8. GLÜCK for bassoon, English horn, and oboe (Theater) 13. -
A Symphonic Poem on Dante's Inferno and a Study on Karlheinz Stockhausen and His Effect on the Trumpet
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2008 A Symphonic Poem on Dante's Inferno and a study on Karlheinz Stockhausen and his effect on the trumpet Michael Joseph Berthelot Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Berthelot, Michael Joseph, "A Symphonic Poem on Dante's Inferno and a study on Karlheinz Stockhausen and his effect on the trumpet" (2008). LSU Doctoral Dissertations. 3187. https://digitalcommons.lsu.edu/gradschool_dissertations/3187 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. A SYMPHONIC POEM ON DANTE’S INFERNO AND A STUDY ON KARLHEINZ STOCKHAUSEN AND HIS EFFECT ON THE TRUMPET A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agriculture and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The School of Music by Michael J Berthelot B.M., Louisiana State University, 2000 M.M., Louisiana State University, 2006 December 2008 Jackie ii ACKNOWLEDGEMENTS I would like to thank Dinos Constantinides most of all, because it was his constant support that made this dissertation possible. His patience in guiding me through this entire process was remarkable. It was Dr. Constantinides that taught great things to me about composition, music, and life. -
Where Conductors Fear to Tread (.Pdf)
Where conductors fear to tread ROBIN MACONIE This article was first published in PN Review 181 (Vol 34 No 5) May-June 2008. The chorus of recycled citations accompanying press obsequies of Karlheinz Stockhausen, who died unexpectedly on 5 December, 2007, hardly compensated for a general lack of information about the composer’s musical achievements. One was the composer’s description of himself as a being from the Sirius star system; a second, his alleged description of the events of 9/11 as a work of art, and a third, a remark attributed to conductor Sir Thomas Beecham in the fifties, that he was unsure whether he had heard any of Stockhausen’s music, but might have trodden in some. The extraordinary virulence of the press response to the passing of a composer of enormous stature and influence—as significant as Beethoven, and certainly as influential as Wagner—says a great deal about a recent history of paranoia and oppression in the West toward oral cultures, including gipsies and underclasses, along with contemporary western “art” music. That in addition, major figures in the contemporary music world also conspicuously declined to endorse the composer in the latter part of his life, or even in death, is not only sad and unintelligent, but professionally disreputable. When Stockhausen said “I am from Sirius” what he meant was “I am completely serious”—with the rider “if you don’t think I am serious, it is because we live in different worlds”. It was wordplay elevated to reality addressed to a literate culture obsessed with the idea that words alone correspond to reality.(1) An adolescent survivor of phosphor bombs dropped in1945 on American troops on a western front already overwhelmed by the Allies, Stockhausen first wanted to be a poet, then studied philosophy before taking up music as a career in 1950. -
Karlheinz Stockhausen
What to Expect: Welcome to KLANG! There is a lot happening Elizabeth Huston and Analog Arts Present today, so we recommend you take a quick look at this packet to orient yourself. Inside you will find the schedule and location Karlheinz Stockhausen of performances, the schedule and location of talks, interviews, and Q&As, and a guide to all amenities that will be available as you navigate this marathon. First, let’s start with the rules. The day is broken up into four sections. You may have purchased a ticket for just one section, KLANG or you may have purchased an all-day pass. Either way, please THE 24 HOURS OF THE DAY familiarize yourself with the rules for each section, as each is a distinctly different experience. PHILADELPHIA, PA • April 7–8, 2018 Welcome to KLANG: At 10am sharp you will be welcomed by a welcome to enter and exit the spaces during performances. At performance of all three versions of HARMONIEN performed in all other times, please be courteous and enter and exit between La Peg, the Theater, and the Studio simultaneously. Feel free to performances. wander between the spaces, eventually settling in the Studio for… KLANG Immersion (4pm–7pm): A mix between KLANG up Close and KLANG in Concert, this time period showcases some of the KLANG up Close (10am–1pm): This time period is an opportu- most well known parts of KLANG, while still allowing the audi- nity to have an intimate concert experience with KLANG. This ence to be up close with the music. Taking place entirely in the will take place entirely in the Studio. -
TEXTE Zur MUSIK 199 8 –2007
Karlheinz Stockhausen TEXTE zur MUSIK 199 8 –2007 Band 17 KLANG-Zyklus – Geist und Musik – Ausblicke Im Auftrag der Stockhausen-Stiftung für Musik herausgegeben von Imke Misch Stockhausen-Verlag Kürten 2014 First edition 2014 Published by Stockhausen-Verlag 51515 Kürten, Germany Alle Rechte vorbehalten / All rights reserved. Kopieren gesetzlich verboten / Copying prohibited by law. Das Vorwort der Herausgeberin zu den TEXT EN zu r MUSIK 1991–1998 und 1998 –2007 befindet sich in Band 11 . Photo auf de m Umschlag vorn e: Stockhausen im Juli 2007 während der Stockhausen-Kursen Kürten Abbildung auf dem Umschlag hinten : Formschema von COSMIC PULSES, 13. Stunde aus KLANG © Copyright Stockhausen-Stiftung für Musik 2014 Satz: Kathinka Pasveer ISBN 978-3-9815317-7-0 Die TEXTE zur MUSIK 1991 –1998 sind in vier Bände mit zehn Kapiteln gegliedert: Band 11 I Nachsätze: Zu KREUZSPIEL (1951) bis LIBRA (1977) II Werktreue III Ergänzendes zu LICHT Band 12 IV FREITAG aus LICHT V Neue Konzertpraxis Band 13 VI MITTWOCH aus LICHT VII Elektronische Musik Band 14 VIII Über Musik, Kunst, Gott und die Welt IX Blickwinkel X Komponistenalltag V Die TEXTE zur MUSIK 1998 –2007 sind in drei Bände mit neun Kapiteln gegliedert: Band 15 I SONNTAG aus LICHT II Neue Einzelwerke III Stockhausen-Kurse Kürten Band 16 IV LICHT-Reflexe V Seitenzweige VI Klangproduktion / Klangprojektion Band 17 VII KLANG-Zyklus VIII Geist und Musik IX Ausblicke VI TEXT E zur MUSI K Band 17 Inhalt VII KLANG-Zyklus HIMMELFAHRT – 1. Stunde (Partiturvorwort) ...................... 1 FREUDE – 2. Stunde (Partiturvorwort) ................................... 11 NATÜRLICHE DAUERN – 3. Stunde (Partiturvorwort) ........ 15 HIMMELS-TÜR – 4. -
Karlheinz Stockhausen: BIOGRAPHY English
SHORT BIOG RA PHY Karl heinz Stock hau sen 1928 Born Wednesday, August 22nd in Mödrath near Cologne. 1947 – 51 In Cologne, stud ied at the State Con ser va to ry of Music (piano, music edu ca tion) and at the University of Cologne (Ger man phi lol o gy, phi los o phy, musi col o gy). Since l950 First com po si tions and per for manc es of his own works. (In the fol low ing enumeration, only a few of the more than 370 works and world premières are men tioned.) 1951 Serial Music: KREUZ SPIEL (CROSS-PLAY), FOR MEL (FOR MU LA), etc. Married Doris Andreae; four chil dren with Doris: Suja (1953), Chris tel (1956), Mark us (1957), Majel la (1961). 1952 Point Music: SPIEL (PLAY), KLAVIERSTÜCKE (PIANO PIECES), SCHLAGTRIO (PER CUS SIVE TRIO), PUNK TE (POINTS), KON TRA-PUNK TE (COUN TER- POINTS) etc. Attend ed Olivi er Messiaen’s cours es in rhyth mics and aes thet ics in Paris. Experi ments in the “ musique concrète” group at the French radio in Paris, and real isa tion of an ETUDE ( musique concrète). First syn the sis of sound-spec tra with elec tron ical ly gen er at ed sine tones. Since 1953 Per ma nent col lab o ra tor at the Studio for Elec tron ic Music of the West Ger man Radio in Cologne (artis tic direc tor from 1963–1977, artis tic con sul tant until 1990). Lec tur er at the annu al International Summer Cours es for New Music in Darm stadt from 1953 until 1974, and in 1996.