Stockhausen Works for Orchestra
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2008 Performances Update
Stock hau sen Aufführungen / Per for manc es 2021 Sunday, May. 16th , 2 pm Altenberg | Altenberger Dom (Information: http://www.altenberger- dommusik.de/kontakt/ tickets: +49 2174/419930 ) Stockhausen – Beethoven (Mass in C) EINGANG und FORMEL (ENTRY and FORMULA) for trumpet DRACHENKAMPF (DRAGON FIGHT) for trumpet and trombone MICHAELs RUF (MICHAELs CALL) for 4 trumpets OBERLIPPENTANZ (UPPER-LIP-DANCE) for piccolo trumpet MICHAELs ABSCHIED (MICHAELs FAREWELL) for 5 trumpets Friday, June 4th , 7:30pm Cologne | rheinEnergieSTADION (Information: www.achtbruecken.de) STERNKLANG (STAR SOUND) Park Music for 5 groups July 17th to July 25th: Stockhausen Concerts and Courses 2021 (Information: Stockhausen-Stiftung für Musik / Stockhausen Foundation for Music , 51515 Kuerten, Germany; e-mail:[email protected]) 9 public concerts , Suelztalhalle, Kuerten Saturday, July 17 th , 5 p.m. Festive opening of the courses at the Karlheinz-Stockhausen-Platz . MICHAEL’S CALL for 4 trumpets will open and close the ceremony Saturday, July 17 th , 8 p.m. , Sülztalhalle SIRIUS (Summer Version ) Electronic music and trumpet, soprano, bass clarinet, bass Sunday, July 18 th , 8 p.m., Sülztalhalle SIRIUS (Summer Version ) Electronic music and trumpet, soprano, bass clarinet, bass Monday, July 19 th , 8 p.m., Sülztalhalle HYMNEN / ANTHEMS Electronic and Concrete music Tuesday, July 20 th , 8 p.m., Sülztalhalle PIANO PIECES VII, VIII, IX ZYKLUS / CYCLE for a percussionist REFRAIN for 3 players * KONTAKTE / CONTACTS für electronic sounds, piano and percussion -
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 ). -
Karlheinz Stockhausen: Hudba a Prostor
Ústav hudební vědy Filosofická fakulta Masarykovy univerzity v Brně Martin Flašar Bakalářská práce Karlheinz Stockhausen: hudba a prostor 'i. .,-Í.JLV , J v V/L •- » -i_ *"- Vedoucí práce: Prof. PhDr. Miloš Štědroň, Csc. V Brně 8. května 2003 Potvrzuji, že tuto práci, kterou podávám jako bakalářskou práci na Ústavu hudební védy FF MU v Brně, jsem napsal v souladu se svým nejlepším svědomím s využitím vlastních skrovných duševních schopností, nezralého rozhledu v celé problematice a bez nároku na postižení celé šíře dané problematiky. Martin Flašar Obsah Obsah 1 Předmluva 2 Úvod 2 1. Hudba a prostor - teoretický kontext 3 1.1 Prostor - pokus o definici 3 1.2 Walter Gieseler - kategorie zvaná prostor 5 1.3 Gisela Nauck - zkoumání prostoru..... 7 2. Případ Stockhausen 12 2.1 Hudba a prostor 12 2.2 Nutnost prostorové hudby 15 2.3 Pět hudebních revolucí od r. 1950 17 2.4 Stručná chronologie zvukově-prostorových kompozic 18 2.5 Hudba v prostoru - dvě cesty 22 2.6 Prostor pro hudbu 24 2.7 Pole für 2 (1969-70) a Expo für 3 (1969-70) 26 2.7.1 Notace prostorového pohybu zvuku 28 2.8 Dienstag z cyklu licht - Oktophonie (1990-91) 29 2.8.1 Postup práce - prostorová distribuce zvuku 35 2.8.2 Vrstvy a jejich pohyb v prostoru 38 Závěr ." 44 Resumé 45 Seznam pramenů 46 Použitá literatura: 47 Předmluva Za vedení práce bych rád poděkoval prof. PhDr. Miloši Štědroňovi, CSc. Dále nemohu opominout inspirační zdroj pro moji práci, kterým byla velmi podnetná série přednášek Dr. Marcuse Bandura na Albert-Ludwigs-Universität Freiburg. -
Department of Musicology, Faculty of Music, University of Arts in Belgrade Editors Prof. Dr. Tijana Popović Mladjenović Prof
Department of Musicology, Faculty of Music, University of Arts in Belgrade MUSICOLOGICAL STUDIES: MONOGRPAHS CONTEXTUALITY OF MUSICOLOGY – What, How, WHY AND Because Editors Prof. Dr. Tijana Popović Mladjenović Prof. Dr. Ana Stefanović Dr. Radoš Mitrović Prof. Dr. Vesna Mikić Reviewers Prof. Dr. Leon Stefanija Prof. Dr. Ivana Perković Prof. Dr. Branka Radović Proofreader Matthew James Whiffen Publisher Faculty of Music in Belgrade For Publisher Prof. Ljiljana Nestorovska, M.Mus. Dean of the Faculty of Music in Belgrade Editor-in-Chief Prof. Dr. Gordana Karan Executive Editor Marija Tomić Cover Design Dr. Ivana Petković Lozo ISBN 978-86-81340-25-7 This publication was supported by the Ministry of Education, Science and Technological Development of the Republic of Serbia. CONTEXTUALITY OF MUSICOLOGY What, How, Why and Because Editors Tijana Popović Mladjenović Ana Stefanović Radoš Mitrović Vesna Mikić UNIVERSITY OF ARTS IN BELGRADE FACULTY OF MUSIC Belgrade 2020 УНИВЕРЗИТЕТ УМЕТНОСТИ У БЕОГРАДУ ФАКУЛТЕТ МУЗИЧКЕ УМЕТНОСТИ UNIVERSITY OF ARTS IN BELGRADE FACULTY OF MUSIC Contents 7 Marija Maglov Musicology in the Context of Media – Media in the Context of Musicology ................................................... 279 Ivana Perković, Radmila Milinković, Ivana Petković Lozo Digital Music Collections in Serbian Libraries for New Music Research Initiatives .............................................. 293 IV What, How, Why and Because Nikola Komatović The Context(s) of Tonality/Tonalities ............................... 311 John Lam Chun-fai Stravinsky à Delage: (An)Hemitonic Pentatonicism as Japonisme ....... 319 Fabio Guilherme Poletto When Different Cultural Contexts Resize a Popular Song: A Study about The Girl from Ipanema .............................. 334 Ana Djordjević Music Between Layers – Music of Lepa sela lepo gore in The Context of Film Narrative ................................... -
KARLHEINZ STOCKHAUSEN Stockhausen
KARLHEINZ STOCKHAUSEN 1928-2007 Stockhausen German composer, widely acknowledged by critics as one of the most important, but also controversial composers of the 20th and early 21st centuries Another critic calls him "one of the great visionaries of 20th-century music" Stockhausen He is known for his groundbreaking work in electronic music, aleatory (controlled chance) in serial composition, and musical spatialization. Stockhausen Hymnen (1966-67) https://www.youtube.com/watch?v=Hyx0I8_kTAQ One of the finest examples of formal tape music from the 1960’s 113 minutes long - four album sides when first released on record Gesang der Jünglinge (1955–56) Song of the Youths Routinely described as "the first masterpiece of electronic music” Seamlessly integrates electronic sounds with the human voice by means of matching voice resonances with pitch and creating sounds of phonemes electronically. The vocal parts were supplied by 12-year- old Josef Protschka. https://www.youtube.com/watch?v=UmGIiBfWI0E Scores Scores Scores Scores Aphex Twin Richard David James (born 18 August 1971), best known by his stage name Aphex Twin British electronic musician and composer. He has been described by The Guardian as "the most inventive and influential figure in contemporary electronic music" Aphex Twin's album Selected Ambient Works 85-92 was called the best album of the 1990s by FACT Magazine. https://www.youtube.com/watch?v=Xw5AiRVqfqk Plastikman https://www.youtube.com/watch?v=Nsct-e-HVE0 Richard "Richie" Hawtin (born June 4, 1970) is an English-born Canadian electronic musician and DJ who was an influential part of Detroit techno's second wave of artists in the early 1990s A leading exponent of minimal techno since the mid-1990s. -
New 2014–2017
Stockhausen-Verlag, 51515 Kürten, Germany www.karlheinzstockhausen.org / [email protected] NEW 2014–2017 New scores (can be ordered directly online at www.stockhausen-verlag.com): TELEMUSIK (TELE MUSIC) Electronic Music (English translation) ................................ __________ 96 ¤ (54 bound pages, 9 black-and-white photographs) ORIGINALE (ORIGINALS) Musical Theatre (Textbook) ..................................................... __________ 88 ¤ (48 bound pages, 11 black-and-white photographs) TAURUS-QUINTET for tuba, trumpet, bassoon, horn, trombone .................................... __________ 60 ¤ (folder with score in C, 10 bound pages, cover in colour with Stockhausen’s original drawing, plus performance material: 5 loose-leaf parts for tuba, trumpet, bassoon, horn in F and trombone) CAPRICORN for bass and electronic music ................................................................................ __________ 65 ¤ (60 bound pages, cover in colour) KAMEL-TANZ (CAMEL-DANCE) .............................................................................................. __________ 30 ¤ (of WEDNESDAY from LIGHT) for bass, trombone, synthesizer or tape and 2 dancers (20 bound pages, cover in colour) MENSCHEN, HÖRT (MANKIND, HEAR) .................................................................................. __________ 30 ¤ (of WEDNESDAY from LIGHT) for vocal sextet (2 S, A, T, 2 B) (24 bound pages, cover in colour with Stockhausen’s original drawing) HYMNEN (ANTHEMS) Electronic and Concrete Music – study -
UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Performing Percussion in an Electronic World: An Exploration of Electroacoustic Music with a Focus on Stockhausen's Mikrophonie I and Saariaho's Six Japanese Gardens Permalink https://escholarship.org/uc/item/9b10838z Author Keelaghan, Nikolaus Adrian Publication Date 2016 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Performing Percussion in an Electronic World: An Exploration of Electroacoustic Music with a Focus on Stockhausen‘s Mikrophonie I and Saariaho‘s Six Japanese Gardens A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Musical Arts by Nikolaus Adrian Keelaghan 2016 © Copyright by Nikolaus Adrian Keelaghan 2016 ABSTRACT OF THE DISSERTATION Performing Percussion in an Electronic World: An Exploration of Electroacoustic Music with a Focus on Stockhausen‘s Mikrophonie I and Saariaho‘s Six Japanese Gardens by Nikolaus Adrian Keelaghan Doctor of Musical Arts University of California, Los Angeles, 2016 Professor Robert Winter, Chair The origins of electroacoustic music are rooted in a long-standing tradition of non-human music making, dating back centuries to the inventions of automaton creators. The technological boom during and following the Second World War provided composers with a new wave of electronic devices that put a wealth of new, truly twentieth-century sounds at their disposal. Percussionists, by virtue of their longstanding relationship to new sounds and their ability to decipher complex parts for a bewildering variety of instruments, have been a favored recipient of what has become known as electroacoustic music. -
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. -
PDF Download Stockhausen on Music Ebook, Epub
STOCKHAUSEN ON MUSIC PDF, EPUB, EBOOK Karlheinz Stockhausen,Robin Maconie | 220 pages | 01 Sep 2000 | Marion Boyars Publishers Ltd | 9780714529189 | English | London, United Kingdom Stockhausen on Music PDF Book English translation of "Symbolik als kompositorische Methode in den Werken von Karlheinz Stockhausen". Die Zeit 9 December. After completing Licht , Stockhausen embarked on a new cycle of compositions based on the hours of the day, Klang "Sound". There's more gnarly theory to get stuck into with Karlheinz than with almost anyone else in music history, thanks to his own writings and the mini-industry of Stockhausen arcana and analysis out there. Custodis, Michael. Ars Electronica. Cross, Jonathan. Iddon, Martin. Selected Correspondence , vol. The sounds they play are mixed together with the sounds of the helicopters and played through speakers to the audience in the hall. Grant, M[orag] J[osephine], and Imke Misch eds. Hartwell, Robin. Mixtur was a live work for orchestra, sine wave generators, and ring modulators, with the latter resurfacing again in in Mikrophonie II, also scored for chorus and Hammond organ. English translation by Donato Totaro under the same title here. Otto Luening. Winter : — The lectures which are the heart of this book clarified some of Stockhausen's ideas and methods for me, although some points remain obscure. Michele Marelli. Very good insights into Stockhausen's process and thinking. What does it mean, my music? No trivia or quizzes yet. Westport, Conn. Kaletha, Holger. Electronic Folk International. Rathert, Wolfgang. Kraftwerk: I Was a Robot. The Musical Quarterly 61, no. Le Souffle du temps: Quodlibet pour Karlheinz Stockhausen. -
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. -
Zeitmasze (Time-‐Measures)
ZEITMASZE Introduction – transcription from DVD ZEITMASZE (TIME-MEASURES) (Introduction to a concert on August 21st 1992 in which ZEITMASZE was performed by the Ensemble Modern under Stockhausen’s direction in the Mozartsaal of the Alte Oper Frankfurt. It was the first in the series of 7 concerts with introductions. The programme was: GESANG DER JÜNGLINGE (electronic music) – ZEITMASZE for five woodwinds – KONTAKTE for electronic sounds.) The composition ZEITMASZE, which we are going to play for you, came into being during the time I was composing GESANG DER JÜNGLINGE. Before we play the entire piece I would like to let you hear what we haVe practiced during the past two weeks By haVing you listen to seVeral sections of the work. Until ZEITMASZE, all music was written in Bars with prescriBed tempi. The music of the first minutes of ZEITMASZE is also notated in Bars, and the musicians play in time. The tempo changes seVeral times. Then, oVer the entire work, the following deVelopment takes place: For the first time, the musicians separate from one another in time, and I use different time-measures in order to ensure the independence of the individual instruments that one hears. There is a certain number of these time-measures. One of the time-measures is: Play as fast as possible. The English horn is the first instrument within a five-layered superimposition that plays as fast as possible. What does that mean? It means that in spite of the fast tempo, one should Be aBle to hear eVery note, and clearly articulate. The notes have various lengths, however.