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INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced teciinoiogy lias been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1. The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting througli an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image of the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photographed, a definite method of “sectioning” the material has been followed. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. 4. For illustrations that cannot be satisfactorily reproduced by xerographic means, photographic prints can be purchased at additional cost and inserted into your xerographic copy. These prints are available upon request from the Dissertations Customer Services Department. 5. Some pages in any document may have indistinct print. In all cases the best available co; y has been filmed. UnK^ersiV MicîOTlms International aoON.Zeeb Road Ann ,‘Vbor, Ml 48106 8425549 Truelove, Nathan M. Stephen KARLHEINZ STOCKHAUSEN’S "KLAVIERSIUCK XI": AN ANALYSIS OF ITS COMPOSITION VIA A MATRIX SYSTEM OF SERIAL POLYPHONY AND THE TRANSLATION OF RHYTHM INTO PITCH The University of Oklahoma D.M.A. 1984 University Microfilms I nternetions! æo N. Zeeb Road, Ann Arbor. Ml 48106 Copyright 1984 by Truelove, Nathan M. Stephen All Rights Reserved PLEASE NOTE: Im all cases this material has been filmed in the best possible way from the available copy. Problems encountered with this document have been identified here with a check mark __ 1. Glossy photographs or pages. 2. Colored illustrations, paper or print ______ 3. Photographs with dark background ______ 4. Illustrations are poor copy _______ 5. Pages with black marks, not original copy. 6. Print shows through as there is text on both sides of page. 7. Indistinct, broken or small print on several pages / 8. Print exceeds margin requirements _______ 9. Tightly bound copy with print lost in spine _______ 10. Computer printout pages with indistinct print. 11. P a g e (s ) _____________lacking when material received, and not available from school or author. 12. P a g e (s ) _____________seem to be missing in numbering only as text follows. 13. Tw o pages n u m b e re d _____________. Text follows. 14. Curling and w rinkled p ag es _______ 15. O ther _______________________________ University Microfilms International THE UNIVERSITY OF OKLAHOMA. GRADUATE COLLEGE KARLHEINZ STOCKHAUSEN'S KLAVIERSTUCK XI: AN ANALYSIS OF ITS COMPOSITION VIA A MATRIX SYSTEM OF SERIAL POLYPHONY AND THE TRANSLATION OF RHYTHM INTO PITCH A DOCUMENT SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS By N. M. Stephen Truelove Norman, Oklahoma 19 8 4 KARLHEINZ STOCKHAUSEN'S KLAVIERSTUCK XI: AN ANALYSIS OF ITS COMPOSITION VIA A MATRIX SYSTEM OF SERIAL POLYPHONY AND THE TRANSLATION OF RHYTHM INTO PITCH A DOCUMENT APPROVED FOR THE DEPARTMENT OF MUSIC Copyright 1984 by Stephen Truelove 111 TABLE OF CONTENTS Chapter Page I. BACKGROUND AND ORIENTATION .... 1 II. A MATRIX SYSTEM OF SERIAL POLYPHONY....... 8 Introduction. 8 Interrelationships of natrxces. ........... 8 The Construction of the Rhythm Matrices.......T 12 Pitch enrichment processes. 14 Random pitch deletions. 24 Pitch enrichment in conjunc­ tion with switched pitch char­ acteristics between voices. 32 Suspensions ......... 35 Durations shortened by the inclusion of rests. ..... 41 Fermati as organizers of rhy­ thmic texture ..............48 Duration-Groups ............... 49 Aspects relating to Klavier- stuck XI. ................ 60 Written instructions below the Final Rhythm Matrix . 61 Serial ordering of all dur­ ations in the Final Rhythm Matrix. ..... ............ 63 The Construction of Fragment # 1 7 ................................64 The Construction of the Final Element Matrix.....................88 The 19 Fragments of Klavier- stuck XI............. 96 Summary ...... ............ 101 III. THE TRANSLATION OF RHYTHM INTO PITCH................................. 103 IV P a g e APPENDIX I............... 147 BIBLIOGRAPHY................................... 156 APPENDIX I I .................. (bound separately) ACKNOWLEDGEMENTS The author would like to acknowledge several people who assisted in the formation of this document/ which was done in connection with graduate study at the University of Oklahoma. Dr. Digby Bell suggested an analysis of Stock­ hausen's Klavierstuck XI and provided invaluable assistance in editing three drafts of the resulting D.M .A. document. Dr. Todd Welbourne/ Professor Michael Hennagin/ and Professor Lois Gauger also provided excellent suggestions and encour­ agement. Dr. Eugene Enrico/ in addition to providing excel­ lent standards for both academic research and musical anal­ ysis / also assisted— along with Dr. Kenneth L. Moving/ Dean of the Graduate College— in the procurement of an Oklahoma University Associates Graduate Study Grant which enabled the author to travel to Europe for research and study with Stock­ hausen. Dr. Peter F. Bruekner/ Chairman of Modern Languages and Literatures/ and the German pianist Herbert Henck gra­ ciously assisted in translating the verbal text contained within Stockhausen's sketches for Klavierstuck XI. Roy Gimpel and Dr. Richard V. Andree provided confirmation and descrip­ tion of the author's mathematical analysis relative to this study. vi The author wishes to anknowledge Karlheinz Stockhausen•s generosity in providing the original manu­ script and sketches for Klavierstuck XI/ access to his personal archive# and use of the photo-copy machine in his home. Study and travel with Stockhausen# at his personal invitation, during the 1980 European tour with Ensemble InterContemporain was extremely beneficial; further study at his home after the tour and a continuing correspondence have provided additional insights and inspiration. Vll KARLHEINZ STOCKHAUSEN'S KLAVIERSTUCK XI: AN ANALYSIS OF ITS COMPOSITION VIA A MATRIX SYSTEM OF SERIAL POLYPHONY AND THE TRANSLATION OF RHYTHM INTO PITCH CHAPTER I BACKGROUND AND ORIENTATION The musical stature of Karlheinz Stockhausen is exem­ plary both in the quantity and quality of his activities as a composer, conductor, performer, theoretician, teacher and pub­ lisher of music. At the age of fifty-five Stockhausen has completed eighty major works for various ensembles, so­ loists, electronic media, and combinations of live performers and electronic media. His symphonic works, which place him in the mainstream of major symphonists since Mahler, include: Jubilaum (1977), Inori (1973/74), Ylem (1972), Trans (1971), Stop (1965), Mixtur (1964), Gruppen (1955/57), Spiel (1952), Punkte (1952/62), and Formel (1951). His music for solo in­ struments, aside from those scores which do not designate the instrument (Plus Minus, Solo, and Spiral), constitutes an en­ richment of both piano and clarinet repertoire. Harlekin (1975) and The Little Harlekin (1975), both for solo clarinet, incor­ porate dance and a form of mime into the musical structure. Stockhausen was born in Modrath, Germany, on August 22, 1928. He attended primary school at Altenberg, and at the age of ten was enrolled in an Oberschule in Burscheid, where he stayed until the age of twelve. From 1941 to October# 1944 Stockhausen attended a Teacher Training College at Xanten. After entering the Grammar School for the Humanities at Bergisch Gladbach in February# 1946# Stockhausen graduated in March# 1947. That same year he began his studies at the State Academy of Music in Cologne# and also studied philosophy# musicology and German at Cologne University. After graduation from the State Academy of Music in 1951# Stockhausen attended the Darmstadt New Music Courses. His subsequent association with Darmstadt International Vacation Courses for New Music# as they are now called# has become legendary. During the years 1952/1953 Stockhausen studied with the French composer Olivier Messiaen at the Paris Conservatoire of Music. Stockhausen's last formal university studies were communications and phonetics at Bonn University from 1954 to 1956 with Dr. Werner Meyer-Eppler. Stockhausen's pianistic studies began at the age of six while living in Altenberg# his first teacher being a church organist. Stockhausen continued to study piano throughout his formal education# finally participating in Hans Otto Schmidt- Neuhaus's piano class in the Cologne Musikhochschule. At Xanten Stockhausen expanded his musical activities to include violin
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