DOCSLIB.ORG

STOCKHAUSEN-VERLAG Price List English

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
STOCKHAUSEN-VERLAG Price List English Stockhausen-Verla g Price list 2018 All Stockhausen scores which are published by Universal Edition , Vienna, may also be ordered directly from the Stockhausen-Verlag (prices on request) . scores / books / posters / music boxes: Scores Quantity € 3 x REFRAIN 2000 ............................................................ –––– 45.00 AM HIMME L WANDR E ICH . ............................................ –––– 38.00 AMOUR for clarinet ........................................................... –––– 22.00 for flute ............................................................... –––– 22.00 for saxophone . ..................................................... –––– 33.00 ANTRAG ......................................................................... –––– 35.00 ARGUMENT .................................................................... –––– 46.00 ARIES ............................................................................. –––– 24.50 ATMEN GIBT DAS LEBEN .............................................. –––– 50.50 AVE ................................................................................. –––– 76.00 th BALANCE – 7 Hour from KLANG ................................... –––– 60.00 BASSETSU ...................................................................... –––– 40.00 BASSETSU-TRIO ............................................................. –––– 34.00 Betmoment ....................................................................... –––– 60.00 BIJOU .............................................................................. –––– 49.00 CADENZAS for the Haydn Trumpet Concerto ......................... –––– 16.50 CADENZAS for the Mozart Clarinet Concerto ......................... –––– 16.50 CADENZAS for the Mozart Flute Concertos in G and D ............ –––– 16.50 CADENZA for the Leopold Mozart Trumpet Concerto .............. –––– 16.50 CAPRICORN .................................................................... –––– 65.00 CD electronic music for 11 soli (ORCHESTER-FINALISTEN ) .... –––– 19.00 CD for ENTFÜHRUNG ..................................................... –––– 19.00 CD for KLAVIERSTÜCK XVI ........................................... –––– 19.00 CD for KOMET (CD 64) ..................................................... –––– 23.00 CHOR-SPIRALE ............................................................... –––– 23.00 CUCHULAINN .................................................................. –––– 36.00 …denn die Liebe ist stärker als der Tod . ................................. –––– 60.00 DE R JAHRESLAUF .......................................................... –––– 79.00 DER KINDERFÄNGER ...................................................... –––– 86.00 DER KLEINE HARLEKIN ................................................. –––– 23.50 des Nachts… ..................................................................... –––– 60.00 DIE 7 LIEDER DER TAGE ................................................. –––– 34.00 DIENSTAGS-ABSCHIED ................................................... –––– 40.00 DIENSTAGS-GRUSS ........................................................ –––– 45.00 DONNERSTAGS-ABSCHIED ............................................. –––– 18.50 DONNERSTAGS-GRUSS / MICHAELS-RUF ....................... –––– 33.00 DRACHENKAMPF ........................................................... –––– 46.00 Du, den meine Seele liebet… .......................................... –––– 60.00 1 Scores (cont.) Quantity € DÜFTE – ZEICHEN . ......................................................... –––– 140.00 EDENTIA – 20 th Hour from KLANG .................................. –––– 36.00 EINGANG UN D FORMEL ................................................. –––– 18.50 ELUFA ............................................................................. –––– 44.00 ENGEL-PROZESSIONEN .................................................. –––– 140.00 ENTFÜHRUNG for piccolo flute .......................................... –––– 24.50 ENTFÜHRUNG for saxophone and tape ................................. –––– 60.00 ERWACHEN – 12 th Hour from KLANG .............................. –––– 60.00 EUROPA-GRUSS . ............................................................. –––– 34.00 EVAs ERSTGEBURT ......................................................... –––– 203.50 EVAs SPIEGEL . ................................................................ –––– 16.50 EVAs ZAUBER . ................................................................ –––– 153.00 EVAs ZWEITGEBURT . ...................................................... –––– 163.00 EXAMEN ......................................................................... –––– 56.50 FAGOTT .......................................................................... –––– 19.50 FALL ............................................................................... –––– 35.00 FESTIVAL ........................................................................ –––– 101.50 FLAUTINA ....................................................................... –––– 25.00 FLÖTE ............................................................................. –––– 19.50 FREIA for basset-horn ........................................................ –––– 29.50 FREIA for flute .................................................................. –––– 26.50 FREITAG-VERSUCHUNG ................................................. –––– 203.50 FREUDE – 2nd Hour from KLANG ...................................... –––– 60.00 FÜNF STERNZEICHEN for orchestra ................................... –––– 55.00 FÜNF WEITERE STERNZEICHEN for orchestra .................... –––– 80.00 FÜR KOMMEND E ZEITEN ............................................... –––– 19.50 GEBURTS-FEST ............................................................... –––– 61.50 GESANG DER JÜNGLINGE ( sketches ) ................................ –––– 199.00 GLANZ – 10 th Hour from KLANG ..................................... –––– 80.00 GLÜCK – 8th Hour from KLANG ........................................ –––– 60.00 HALT ............................................................................... –––– 27.50 HARLEKIN ...................................................................... –––– 46.00 HARMONIEN for bass clarinet – 5th Hour from KLANG ........ –––– 36.00 HARMONIEN for flute – 5th Hour from KLANG ................... –––– 36.00 HARMONIEN for trumpet – 5th Hour from KLANG ............... –––– 36.00 HAVONA – 14 th Hour from KLANG ................................... –––– 36.00 HELIKOPTER-STREICHQUARTETT .................................. –––– 102.00 HERBSTMUSIK with duet LAU B UN D REGEN ................... –––– 47.00 HIMMELFAHRT – 1st Hour from KLANG ............................ –––– 80.00 HIMMELS-DUFT ............................................................. –––– 40.00 HIMMELS-TÜR – 4th Hour from KLANG ............................ –––– 60.00 HOCH-ZEITEN for choir .................................................... –––– 168.00 HOCH-ZEITEN for orchestra .............................................. –––– 158.00 th HOFFNUNG – 9 Hour from KLANG ................................ –––– 60.00 HYMNEN Electronic Music with Orchestra ............................ –––– 100.00 2 Scores (cont.) Quantity € HYMNEN study score . ....................................................... –––– 55.00 IN FREUNDSCHAFT for clarinet ......................................... –––– 15.50 for flute ............................................. –––– 15.50 for recorder ........................................ –––– 15.50 for oboe ............................................. –––– 15.50 for bassoon . ....................................... –––– 15.50 for basset-horn or bass clarinet . ............. –––– 15.50 for saxophone . .................................... –––– 15.50 for violin ........................................... –––– 15.50 for viola ............................................ –––– 20.50 for violoncello .................................... –––– 15.50 for double bass . .................................. –––– 20.50 for horn . ............................................ –––– 15.50 for trumpet ......................................... –––– 30.00 for trombone ...................................... –––– 15.50 for tuba ............................................. –––– 15.50 INORI .............................................................................. –––– 110.50 INVASION – EXPLOSION mit ABSCHIED .......................... –––– 163.00 JAHRESLAUF ................................................................... –––– 148.50 JERSUSEM – 18 th Hour from KLANG ................................. –––– 36.00 JUBILÄUM ...................................................................... –––– 40.00 KAMEL-TANZ ................................................................. –––– 30.00 KATHINKAs GESAN G als LUZIFERs REQUIEM ................ –––– 84.00 KATHINKAs GESAN G for flute and electronic music .............. –––– 86.00 KINDER-KRIEG ............................................................... –––– 35.00 KINDER-ORCHESTER – KINDER-CHOR – KINDER-TUTTI –––– 50.00 KINDHEIT ....................................................................... –––– 56.50 KINNTANZ ...................................................................... –––– 40.00 Klangmoment e .................................................................. –––– 60.00 KLARINETTE .................................................................. –––– 19.50 KLAVIERSTÜCK XII ........................................................ –––– 27.50 KLAVIERSTÜCK XIII
Load more

Recommended publications
  • 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: 2​3-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.
    [Show full text]
  • 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.
    [Show full text]
  • 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 ).
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 2019 Performances.Qxp 2009 Performance Update
    Stock hau sen Aufführungen / Per for manc es 2019 Tuesday, Febr. 5th, 7:30pm Stuttgart | Theater Atelier (Information: http://mixedsoundpersonnel.com) NASENFLÜGELTANZ (TIP-OF-THE-NOSE-DANCE) for a percussionist Tuesday, Febr. 14th, 7:30pm Stuttgart | Theater Atelier (Information: http://mixedsoundpersonnel.com) NASENFLÜGELTANZ (TIP-OF-THE-NOSE-DANCE) for a percussionist Saturday, Febr. 9th, 8 pm Orange , Chapman University, Salmon Recital Hall (https://events.chapman.edu/61798) HAVONA – 14th Hour of KLANG for bass and electronic music Saturday, Febr. 16th, 7 pm Brooklyn, NY (http://www.spectrumnyc.com/site/calendar.php) CAPRICORN for bass and electronic music Saturday, Febr. 23rd, 7pm Köln | Funkhaus (Information: Kölnticket, Tel +49 2212801, koelnticket.de) KONTAKTE (CONTACTS) for electronic sounds, piano and percussion Tuesday, Febr. 26th Boston | MA at Brown Hall, New England Conservatory (Information: http://www.callithumpian.org/feb-26-klang/) EDENTIA – 20th Hour of KLANG for saxophone and electronic music NATÜRLICHE DAUERN (NATURAL DURATIONS) – 3rd Hour of KLANG for piano HARMONIEN (HARMONIES) – 5th Hour of KLANG for trumpet HIMMELS-TÜR (HEAVEN’S DOOR) – 4rd Hour of KLANG for a percussionist and little girl Saturday, March 2nd, 6:30pm Montréal, Montréal en Lumière 2019. (Information: http://www.smcq.qc.ca/mnm/en/2019/prog/concert/41235/) FREITAGS-GRUSS (FRIDAY GREETING) Sunday, March 3rd,3:30 am FREITAGS-ABSCHIED (FRIDAY FAREWELL) Electronic Music Monday, March 4th Montréal, Théâtre Rouge of the Conservatoire de Musique de Montréal
    [Show full text]
  • Stockhausen Concerts and Classes for Clarinettists and Others. Clarinettists Have Reason to Be Very Happy with the Development
    Stockhausen concerts and classes for clarinettists and others. Clarinettists have reason to be very happy with the development of their repertoire in de 20th century, as it had a previously unseen growth. One of the main figures of post war new music has been Karlheinz Stockhausen (1928-2007). This often controversial composer has enriched clarinet literature with an unprecedented number of works for clarinet, bassethorn and bass clarinet, especially after 1974. These sometimes demanding pieces, often with theatrical elements, require a specific approach and way of playing, easily underestimated. Stockhausen was well aware of this and started coaching a new generation of players in the 1980’s, in order to pass this tradition of interpretation on to others. In spite of Stockhausen’s compositions having the reputation of being difficult and intellectual (if not quasi-religious), to play, watch and listen to them is generally great fun, and very satisfying to work on - if done well. Because the music calls on many apects of performing (e.g. fysical and mental attitude on stage, memory, presentation, awareness of the structure of the music, disciplin) the leaning process has a beneficial influence on performing traditional music too. This series of concerts and courses offers the possibility to watch, listen, study and rehearse a number of Stockhausen’s works with Michel Marang, a clarinettist who worked with the composer since 1986 and performed his music hundreds of times worldwide. The course can have the character of an introductory lecture and concert, but eventually may result in seminars over a longer stretch of time, as much as needed to bring specific works on concert level.
    [Show full text]
  • Michael Pelzel Gravity’S Rainbow 2
    Michael Pelzel Gravity’s Rainbow 2 Michael Pelzel 3 Michael Pelzel: Gravity’s Rainbow 4 1. Mysterious Anjuna Bell (2016) 18:47 für Ensemble und Kammerorchester Ensemble ascolta und Stuttgarter Kammerorchester, Peter Rundel (Leitung) 2. Carnaticaphobia (2017) 16:18 für Perkussion, Klavier und Violoncello ensemble recherche 3. Gravity’s Rainbow (2016) 21:00 für CLEX (Kontrabassklarinette extended) und Orchester Ernesto Molinari (CLEX), Basel Sinfonietta, Peter Rundel (Leitung) 4. „Alf“-Sonata (2014) 08:25 5 für Violine und Horn Jetpack Bellerive: Noëlle-Anne Darbellay (Violine) und Samuel Stoll (Horn) Danse diabolique (2016) für Bläser, Harfe, Orgel, Klavier und Schlagzeug WDR Sinfonieorchester, Bas Wiegers (Leitung) 5. I. Introduction 03:28 6. II. Danse diabolique 08:25 Gesamtspieldauer 76:26 Im Sog des Klangstroms 6 Ein Klang, so überwältigend reich und vielfältig, dass er das Ensemble, das ihn hervorbringt, geradezu transzendiert. Eine Fülle an Farben, die ans Maß- lose grenzt. Ein Gewimmel von Gestalten, das die Ohren überfordert. Ein Ganzes, das weit mehr ist als seine Teile, doch ohne diese zu verschlucken. Solcherart mögen die ersten Eindrücke sein, die man von der Musik Michael Pelzels empfängt. Viel (und vieles zugleich) geschieht in ihr, und wer sie unbefangen hört, wird sich von ihr geradezu aufgesogen fühlen, hinein- gestoßen ins Klanggeschehen und zunächst einmal aller refl exiven Distanz beraubt. Tatsächlich hat diese Musik in der Üppigkeit ihrer Mittel etwas Dionysisches, Anarchisch-Ungebundenes – was freilich keineswegs einen Verzicht auf planvolle Strukturierung und kompositorisches Kalkül bedeutet. Ganz im Gegenteil: Die erste Lektion allen Kunstmachens, dass der ästhe- tische Schein von Freiheit gerade nicht aus einer völligen Freiheit des Ge- staltens resultiert, ist selbstverständlich auch Michael Pelzel geläufi g.
    [Show full text]
  • 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.
    [Show full text]
  • AMRC Journal Volume 21
    American Music Research Center Jo urnal Volume 21 • 2012 Thomas L. Riis, Editor-in-Chief American Music Research Center College of Music University of Colorado Boulder The American Music Research Center Thomas L. Riis, Director Laurie J. Sampsel, Curator Eric J. Harbeson, Archivist Sister Dominic Ray, O. P. (1913 –1994), Founder Karl Kroeger, Archivist Emeritus William Kearns, Senior Fellow Daniel Sher, Dean, College of Music Eric Hansen, Editorial Assistant Editorial Board C. F. Alan Cass Portia Maultsby Susan Cook Tom C. Owens Robert Fink Katherine Preston William Kearns Laurie Sampsel Karl Kroeger Ann Sears Paul Laird Jessica Sternfeld Victoria Lindsay Levine Joanne Swenson-Eldridge Kip Lornell Graham Wood The American Music Research Center Journal is published annually. Subscription rate is $25 per issue ($28 outside the U.S. and Canada) Please address all inquiries to Eric Hansen, AMRC, 288 UCB, University of Colorado, Boulder, CO 80309-0288. Email: [email protected] The American Music Research Center website address is www.amrccolorado.org ISBN 1058-3572 © 2012 by Board of Regents of the University of Colorado Information for Authors The American Music Research Center Journal is dedicated to publishing arti - cles of general interest about American music, particularly in subject areas relevant to its collections. We welcome submission of articles and proposals from the scholarly community, ranging from 3,000 to 10,000 words (exclud - ing notes). All articles should be addressed to Thomas L. Riis, College of Music, Uni ver - sity of Colorado Boulder, 301 UCB, Boulder, CO 80309-0301. Each separate article should be submitted in two double-spaced, single-sided hard copies.
    [Show full text]
  • The Computational Attitude in Music Theory
    The Computational Attitude in Music Theory Eamonn Bell Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2019 © 2019 Eamonn Bell All rights reserved ABSTRACT The Computational Attitude in Music Theory Eamonn Bell Music studies’s turn to computation during the twentieth century has engendered particular habits of thought about music, habits that remain in operation long after the music scholar has stepped away from the computer. The computational attitude is a way of thinking about music that is learned at the computer but can be applied away from it. It may be manifest in actual computer use, or in invocations of computationalism, a theory of mind whose influence on twentieth-century music theory is palpable. It may also be manifest in more informal discussions about music, which make liberal use of computational metaphors. In Chapter 1, I describe this attitude, the stakes for considering the computer as one of its instruments, and the kinds of historical sources and methodologies we might draw on to chart its ascendance. The remainder of this dissertation considers distinct and varied cases from the mid-twentieth century in which computers or computationalist musical ideas were used to pursue new musical objects, to quantify and classify musical scores as data, and to instantiate a generally music-structuralist mode of analysis. I present an account of the decades-long effort to prepare an exhaustive and accurate catalog of the all-interval twelve-tone series (Chapter 2). This problem was first posed in the 1920s but was not solved until 1959, when the composer Hanns Jelinek collaborated with the computer engineer Heinz Zemanek to jointly develop and run a computer program.
    [Show full text]
  • Karlheinz Stockhausen – Klang Bilder 03.11.2018 – 24.02.2019
    Karlheinz Stockhausen – Klang Bilder 03.11.2018 – 24.02.2019 Finissage mit Konzert: Sonntag 24.02.2019, 18:00 Uhr DIENSTAG aus LICHT, II. Akt, 1990, Djurskog 6.VI.90, Filzstift auf Papier, 19,5 x 28 cm Zur Finissage der Ausstellung „Klang Bilder“ von Karlheinz Stockhausens besonderen Notationen, seiner „Musikalischen Graphik“, im Kunstmuseum Villa Zanders werden der Pianist Ivan Pavlov sowie Denise van Leeuwen am Bassetthorn und der Trompeter Valentin Francois zwei Stücke aus der Oper DONNERSTAG aus LICHT zum Besten geben. Alle drei Musiker sind Studierende des Koninklijk Conservatorium Den Haag, in dem auf die Musik Karlheinz Stockhausens spezialisierten Masterstudiengang „aus LICHT“. Höhepunkt dieses Studiums ist die dreitägige Marathon‐Aufführung wesentlicher Teile des Opernzyklus LICHT in Amsterdam im Juni 2019: insgesamt 15 Stunden aus dem 29‐stündigen Magnum Opus des Meisters, das den sieben Tagen der Woche gewidmet ist. Ivan Pavlov am Flügel in der Villa Zanders anlässlich der Vernissage der Ausstellung am 02.11.2018 Thematisch geben das KLAVIERSTÜCK XII (EXAMEN) und MISSION UND HIMMELFAHRT einen schönen Einblick in die Handlung der DONNERSTAG‐Oper (und sind gleichermaßen auch bezeichnend für Stockhausens Lebensweg), in der der Protagonist im Laufe seines Lebens mehrere Examen bestehen muss, um schließlich Erfüllung in der Musik zu finden – ein würdiger Abschluss für die erfolgreiche Ausstellung. Login‐Daten für das Presseportal Webseite: presse.villa‐zanders.de Benutzername: presse‐villa‐zanders Kennwort: 7aJ8)SnG Kuratorin Dr. Petra Oelschlägel Tel. 02202‐142486 p.oelschlaegel@stadt‐gl.de Pressekontakt Sabine Elsa Müller Tel. 02202‐142303 presse@villa‐zanders.de Konrad‐Adenauer‐Platz 8 51465 Bergisch Gladbach Tel.
    [Show full text]