DOCSLIB.ORG

PDF Download Stockhausen on Music Ebook, Epub

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

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. London and New York: I. Norman: University of Oklahoma. And nobody had told them: "You could be killed in the process. Sabbe, Herman. From to it was the maternity home of the Bergheim district , and after the war it served for a time as a shelter for war refugees. Karlheinz Stockhausen — A Pioneer in Utopia. Stockhausen on Music Writer Some of these ideas, considered from a purely theoretical point of view divorced from their context as explanations of particular compositions drew significant critical fire. Some musicians, fed up with the monkeyshines, left after an hour, though the performance was planned for four to five hours. A period of trials and experiences]. Stravinsky, Igor, and Robert Craft. Seattle: University of Washington. The Guardian 29 September Accessed 8 May Both were notable for featuring large groups of notes, a significant shift away from the isolated points that typified the music of avant-gardists like Messiaen and Anton Webern; his fascination with the abstract further extended into a series of essays as well as his lectures at Darmstadt, which profoundly influenced contemporaries including Luciano Berio and Pierre Boulez. Grand Street 14, no. Sign in to Purchase Instantly. New York: Simon and Schuster. Miller, Paul. What does it mean, my music? View all 4 comments. As a friend of mine sd: "Sounds conflicted! Tommasini, Anthony. Frobenius, Wolf. Prendergast, Mark. Kontakte —60 is an encounter between electronic sounds and instrumental music, with an emphasis on their similarities of timbre. Xav rated it really liked it Mar 22, Ulrich, Thomas. Stockhausen Reprinted in The Musical Quarterly 75, no. Fritsch, Johannes. Le Souffle du temps: Quodlibet pour Karlheinz Stockhausen. The Musical Quarterly 87, no. Error rating book. English translation by Donato Totaro under the same title here. He was admitted at the end of that year to the class of Swiss composer Frank Martin , who had just begun a seven-year tenure in Cologne. To ask other readers questions about Stockhausen on Music , please sign up. It's just something that has come into my mind and I am working all the time and that's it. Asked "Have you heard any Stockhausen? Acht Kongressreferate , edited by Reinhold Brinkmann, — With penetrating philosophical and spiritual insights Stockhausen describes, in this collection of lectures and inter If a genius is someone whose ideas survive all attempts at explanation', writes the well-known contemporary musicologist Robin Maconie, 'then by that definition Stockhausen is the nearest thing to Beethoven this century has produced. Jones, Stephen. But he was very clear and thorough. For other uses, see Stockhausen disambiguation. Karlheinz Stockhausen emerged early on as one of the most influential and unique voices in the post-WWII European musical avant-garde and his prominence continued throughout the rest of the twentieth century and into the twenty first. Stockhausen on Music Reviews As with possibly no other composer in musical history, there's a literal and metaphorical universe of sound to explore in Stockhausen's work. In Stimmung , a group of singers intones various mystical names to the harmony of the overtone series. Landschoof, Elke. What gives Stockhausen's music its vitality is precisely the tension between a desire for structural experimentation, and the irresistible energies of its surfaces. Macon, Edward L. Darmstadt Aural Documents, Box 4: Pianists In , the West German government invited Stockhausen to collaborate on the German Pavilion at the World Fair in Osaka and to create a joint multimedia project for it with artist Otto Piene. I have been listening all week to the piano music of a composer now greatly esteemed for his ability to stay an hour or so ahead of his time, but I find the alternation of note-clumps and silences of which it consists more monotonous than the foursquares of the dullest eighteenth-century music. Stockhausen's Mikrophonie II ". Mainz: Schott Musik International. Seit dem Lebrecht, Norman. May 30, Jesse rated it it was amazing. Ars Electronica Website accessed 20 August Open Preview See a Problem? Pepper's Lonely Hearts Club Band. Stravinsky's Late Music. Stockhausen's conception of opera was based significantly on ceremony and ritual, with influence from the Japanese Noh theatre, [] as well as Judeo-Christian and Vedic traditions. Appears On. Hopp, Winrich. Kelsall, John. Stockhausen on Music Read Online Berlin: Free University Berlin, Grant, Morag Josephine. In , the West German government invited Stockhausen to collaborate on the German Pavilion at the World Fair in Osaka and to create a joint multimedia project for it with artist Otto Piene. Crimes of Art and Terror. In my work, I have defined Lucifer as the cosmic spirit of rebellion, of anarchy. Eloy, Jean-Claude. History at your fingertips. A guide to contemporary classical music Classical music. Stockhausen made his first trip to the U. Gimpel, Othmar ed. I have 3 Stockhausen bks - I definitel I've been on a Stockhausen spree lately. Translated by Elaine Barkin. Although Stockhausen and Piene's planned multimedia project, titled Hinab-Hinauf , was developed in detail, [] the World Fair committee rejected their concept as too extravagant and instead asked Stockhausen to present daily five- hour programs of his music. Kaletha, Holger. Dec 15, Snufkin rated it it was amazing. Karlheinz Stockhausen. It's something that didn't appeal to all of Stockhausen's contemporaries: Ligeti, for example, accused him of a stultifying surfeit of pre-compositional "plannification". Holbein, Ulrich. All but Plastikman obliged. Online Variant of this text some omissions, some supplements, different illustrations. Towards a Cosmic Music. I have renounced him. I-kai rated it really liked it Jul 30, So: I am a myth, I am a name, and if I go away then they just attach on something that vibrates within yourself, where you are confronted with this so-called music. In Mikrophonie I , performers produce an enormous variety of sounds on a large gong with the aid of highly amplified microphones and electronic filters. Stockhausen's major open form work, Momente, began taking shape in as well. Kontakte resurfaced a year later as part of Originale, a new work in the realm of musical theater in which the actions of participants were coordinated according to the rigors of the score. In addition, his pianist daughter announced to the press that she would no longer appear under the name "Stockhausen". https://files8.webydo.com/9585907/UploadedFiles/B1559799-1FF2-F553-802E-60FBACF69667.pdf https://files8.webydo.com/9585823/UploadedFiles/D6026A9A-6DF1-6CE9-143C-2DA2984B7FCE.pdf https://img1.wsimg.com/blobby/go/94f71512-28ab-47fb-9b20-cb8148cbd208/my-favorite-coworker-gave-me-this-notebook-lin.pdf https://files8.webydo.com/9585829/UploadedFiles/34C22EEB-0CDC-2823-213B-F74904ABA4CC.pdf https://files8.webydo.com/9584823/UploadedFiles/C1EE7E90-5C96-2590-0747-7FDB5116DFE1.pdf https://img1.wsimg.com/blobby/go/6ec727eb-5189-4481-a8e0-e4ea74410ccf/the-essential-louise-hay-collection-902.pdf https://files8.webydo.com/9585397/UploadedFiles/1A1C4682-D504-1F97-3ABD-BA73F8EAF39A.pdf.
Recommended publications
  • På Sporet Af Else Marie Pades Konkrete Musik

    På Sporet Af Else Marie Pades Konkrete Musik

    A-PDF Merger DEMO : Purchase from www.A-PDF.com to remove the watermark På sporet af Else Marie Pades konkrete musik En analyse af den æstetiske forbindelse mellem Else Marie Pades Symphonie magnétophonique og Pierre Schaeffers musique concrète Speciale ved Stine Kvist Jeppesen Afdeling for Musikvidenskab Institut for Æstetiske Fag, Aarhus Universitet Vejleder: Erling Kullberg Den 24. juli 2010 Forsidebilledet er en visualisering af en passage fra Else Marie Pades Symphonie magnétophonique, skabt af den grafiske designer Lisbeth Damgaard i 2006. Damgaards visuelle fortolkning af musikken er skabt med udgangspunkt i spektrogrammer fra det originale værk. De blå, brune, gule og grønne farver illustrerer lyden af hhv. lærketrille, fuglesang, mælkemandsfløjt og mælkeflasker, som er de lyde, der indleder Pades Symphonie magnétophonique. Billedet er hentet fra bogen Else Marie Pade og Symphonie magnétophonique, der er redigeret af Inge Bruland i 2006. Abstract This master thesis investigates to which extend it is possible to categorise the works of Danish composer Else Marie Pade (1924‐) as musique concrète, a term often used in Danish music research and critique to descibe Pade’s music. The thesis presumes that the appraisal of Pade’s music as musique concrète rests on a reduced understanding of musique concrète, inasmuch as this has only been sporadic and cursorily accounted for in a Danish context. To make a scholarly qualified reappraisal of Pade’s pioneer works of musique concrète, the master thesis will investigate the aesthetic link between Pades Symphonie magnétophonique and the music and aesthetics of the French composer and founder of musique concrète Pierre Schaeffer. The first two parts of the thesis will include an introduction to Pade’s work as well as an account and discussion of the reception of her music.
  • Stockhausen's Cosmic Pulses

    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

    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 ).
  • Stockhausen Works for Orchestra

    Stockhausen Works for Orchestra

    composed 37 works for orchestra 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 Duration Publisher CD of the Stockhausen Complete Edition 1950 DREI LIEDER (THRE E SONGS [19 ’26”] U.E. e1 for alto voice and chamber orchestra ( cond. )(Universal Edition ) (fl. / 2 cl. / bsn. / tp. / trb. / 2 perc. / piano / elec. harpsichord / strings) 1951 FORMEL (FORMULA) [12 ’57”] U. E e2 for orchestra [28 players] ( cond. ) 1952 SPIEL (PLAY) [16 ’01”] U. E. e2 for orchestra ( cond. ) 195 2/ PUNKTE (POINTS) [ca. 27 ’] U. E. e2 E81‰ 1962 / 1993 for orchestra ( cond. ) 195 2 KONTRA-PUNKTE (COUNTER-POINTS) [14 ’13”] U. E. e4 to 53 for 10 instruments ( cond. ) (fl. / cl. / bass cl. / bsn. / tp. / trb. / piano / harp / vl. / vc.) 195 5 GRUPPEN (GROUPS) [24 ’25”] U. E. e5 to 57 for 3 orchestras ( 3 cond. ) 195 9 CARRÉ [ca. 36’] U. E. e5 to 60 for 4 orchestras and 4 choirs ( 4 cond. ) 196 2 MOMENTE (MOMENTS) [113’] St. e7 E80‰ to 64 for solo soprano, 4 choir groups (Stockhausen-Verlag ) (finished in ’69) and 13 instrumentalists ( cond. ) 1964 MIXTUR (MIXTURE) [ca. 2 x 27’] U. E for orchestra, 4 sine-wave generators and 4 ring modulators ( cond. ) 1964 / MIXTUR (MIXTURE) [2 x 27’] U. E. e8 1967 for small orchestra (cond.
  • Karlheinz Stockhausen: Hudba a Prostor

    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.
  • Holmes Electronic and Experimental Music

    Holmes Electronic and Experimental Music

    C H A P T E R 3 Early Electronic Music in the United States I was at a concert of electronic music in Cologne and I noticed that, even though it was the most recent electronic music, the audience was all falling asleep. No matter how interesting the music was, the audience couldn’t stay awake. That was because the music was coming out of loudspeakers. —John Cage Louis and Bebe Barron John Cage and The Project of Music for Magnetic Tape Innovation: John Cage and the Advocacy of Chance Composition Cage in Milan Listen: Early Electronic Music in the United States The Columbia–Princeton Electronic Music Center The Cooperative Studio for Electronic Music Roots of Computer Music Summary Milestones: Early Electronic Music of the United States Plate 3.1 John Cage and David Tudor, 1962. (John Cage Trust) 80 EARLY HISTORY – PREDECESSORS AND PIONEERS Electronic music activity in the United States during the early 1950s was neither organ- ized nor institutional. Experimentation with tape composition took place through the efforts of individual composers working on a makeshift basis without state support. Such fragmented efforts lacked the cohesion, doctrine, and financial support of their Euro- pean counterparts but in many ways the musical results were more diverse, ranging from works that were radically experimental to special effects for popular motion pictures and works that combined the use of taped sounds with live instrumentalists performing on stage. The first electronic music composers in North America did not adhere to any rigid schools of thought regarding the aesthetics of the medium and viewed with mixed skepticism and amusement the aesthetic wars taking place between the French and the Germans.
  • New 2014–2017

    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
  • MIXTUR - Karlheinz Stockhausen Prima Esecuzione Incontro Tra Elettronica E Orchestra Svizzera Domenica 10 Febbraio 2013 | 17.30 Auditorio RSI | Lugano

    MIXTUR - Karlheinz Stockhausen Prima Esecuzione Incontro Tra Elettronica E Orchestra Svizzera Domenica 10 Febbraio 2013 | 17.30 Auditorio RSI | Lugano

    Luganomodern MIXTUR - Karlheinz Stockhausen prima esecuzione incontro tra elettronica e orchestra svizzera domenica 10 febbraio 2013 | 17.30 Auditorio RSI | Lugano concerto con opere di Karlheinz Stockhausen Ensemble 900 del CSI Direttore Arturo Tamayo Regia Regiadel suono del suono Pietro FabrizioLuca Congedo Rosso Ingegnere del suono Paolo Brandi conservatorio.ch +41(0)91 960 30 40 Biglietto 15 CHF LuganoCard, Amici del Conservatorio e Club di Rete Due 10 CHF Fino a 18 anni e studenti entrata gratuita mixtur – karlheinz stockhausen domenica 10 febbraio 2013 | 17.30 auditorio RSI | lugano K. Stockhausen Gesang der Jünglinge (1955 – 56) 14’ 1928 – 2007 per elettronica 30’ Mixtur Nr. 16 ½ (1967) per piccola orchestra, oscillatori e modulatori ad anello arturo tamayo _direzione francesco bossaglia _assistente direzione musicale pietro luca congedo _regia del suono paolo brandi _ingegnere del suono roberto mucchiut _progetto software Con il concerto di oggi vogliamo ricordare, nel quinto anniversario dalla sua scomparsa (3 dicembre 2007), la figura di Karlheinz Stockhausen, una delle principali personalità dell'avanguardia storica. La prima composizione del programma odierno è “Gesang der Jünglinge”; in essa, già nel lontano 1955-1956, Stockhausen mescola procedimenti e tecniche della musica elettronica (prodotto prevalentemente tedesco) con elementi della musica concreta "francese”. Fino ad allora i due ambiti erano sempre stati accuratamente separati in maniera quasi "religiosa”, mentre qui si fondono in un'opera di profonda spiritualità. La prima idea era stata quella di comporre una "Messa" - infatti il testo di cui il compositore si è servito è un testo biblico: la storia dal Libro di Daniele che ci racconta come i giovani Neduchadnezzar, Shadrach, Meshach e Abendnego, buttati in un forno ardente, miracolosamente protetti dal fuoco, cominciano a cantare le lodi a Dio.
  • Holmes Electronic and Experimental Music

    Holmes Electronic and Experimental Music

    C H A P T E R 2 Early Electronic Music in Europe I noticed without surprise by recording the noise of things that one could perceive beyond sounds, the daily metaphors that they suggest to us. —Pierre Schaeffer Before the Tape Recorder Musique Concrète in France L’Objet Sonore—The Sound Object Origins of Musique Concrète Listen: Early Electronic Music in Europe Elektronische Musik in Germany Stockhausen’s Early Work Other Early European Studios Innovation: Electronic Music Equipment of the Studio di Fonologia Musicale (Milan, c.1960) Summary Milestones: Early Electronic Music of Europe Plate 2.1 Pierre Schaeffer operating the Pupitre d’espace (1951), the four rings of which could be used during a live performance to control the spatial distribution of electronically produced sounds using two front channels: one channel in the rear, and one overhead. (1951 © Ina/Maurice Lecardent, Ina GRM Archives) 42 EARLY HISTORY – PREDECESSORS AND PIONEERS A convergence of new technologies and a general cultural backlash against Old World arts and values made conditions favorable for the rise of electronic music in the years following World War II. Musical ideas that met with punishing repression and indiffer- ence prior to the war became less odious to a new generation of listeners who embraced futuristic advances of the atomic age. Prior to World War II, electronic music was anchored down by a reliance on live performance. Only a few composers—Varèse and Cage among them—anticipated the importance of the recording medium to the growth of electronic music. This chapter traces a technological transition from the turntable to the magnetic tape recorder as well as the transformation of electronic music from a medium of live performance to that of recorded media.
  • Karlheinz Stockhausen List of Works

    Karlheinz Stockhausen List of Works

    Karlheinz Stockhausen List of Works All works which were composed until 1969 (work numbers ¿ to 29) are published by Universal Edition in Vienna, with the exception of ETUDE, Electronic STUDIES I and II, GESANG DER JÜNGLINGE, KONTAKTE, MOMENTE, and HYMNEN, which are published since 1993 by the Stockhausen-Verlag, and the renewed compositions 3x REFRAIN 2000, MIXTURE 2003, STOP and START. Starting with work number 30, all compositions are published by the Stockhausen-Verlag, Kettenberg 15, 51515 Kürten, Germany, and may be ordered directly. 1 = numeration of the individually performable works. r1 = orchestra works with at least 19 players (or fewer when the instrumentation is unconventional), and works for orchestra with choir. o1 = chamber music works. Among these are several which have more than 18 players, but are usually not performed by orchestras, but rather by chamber ensembles such as the London Sinfonietta, the Ensemble Intercontemporain, the Asko Ensemble, or Ensemble Modern. J35 = Works, which may also be performed as “chamber music” (for example INORI with 2 dancer- mimes and tape [instead of orchestra] or works for choir in which the choir may be played back on tape. 1. ex 47 = 1st derivative of Work No. 47. [9’21”] = duration of 9 minutes and 21 seconds (durations with minutes and seconds: CD durations of the Complete Edition). U. E. = Universal Edition. St. = Stockhausen-Verlag. For most of the works, an electro-acoustic installation is indicated. Detailed information about the required equipment may be found in the scores. In very small halls (for less than 100 people), it is possible to omit amplification for some solo works and works for small ensembles.
  • Battles Around New Music in New York in the Seventies

    Battles Around New Music in New York in the Seventies

    Presenting the New: Battles around New Music in New York in the Seventies A Dissertation SUBMITTED TO THE FACULTY OF UNIVERSITY OF MINNESOTA BY Joshua David Jurkovskis Plocher IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY David Grayson, Adviser December 2012 © Joshua David Jurkovskis Plocher 2012 i Acknowledgements One of the best things about reaching the end of this process is the opportunity to publicly thank the people who have helped to make it happen. More than any other individual, thanks must go to my wife, who has had to put up with more of my rambling than anybody, and has graciously given me half of every weekend for the last several years to keep working. Thank you, too, to my adviser, David Grayson, whose steady support in a shifting institutional environment has been invaluable. To the rest of my committee: Sumanth Gopinath, Kelley Harness, and Richard Leppert, for their advice and willingness to jump back in on this project after every life-inflicted gap. Thanks also to my mother and to my kids, for different reasons. Thanks to the staff at the New York Public Library (the one on 5th Ave. with the lions) for helping me track down the SoHo Weekly News microfilm when it had apparently vanished, and to the professional staff at the New York Public Library for Performing Arts at Lincoln Center, and to the Fales Special Collections staff at Bobst Library at New York University. Special thanks to the much smaller archival operation at the Kitchen, where I was assisted at various times by John Migliore and Samara Davis.
  • Invisible Drives #8

    Invisible Drives #8

    Invisible Drives #8 Mittwoch, 05. Mai 2021 19.30 Uhr, MUMUTH, György-Ligeti-Saal PROGRAMM Call of the void choreographer / composer Luan de Lima da Silva / Victor Morato Ribera dancer Luan de Lima da Silva omnia in uno sunt et in omnibus unum choreographer / composer Alberto Cissello & Martina De Dominicis / Dominik Puk dancers Alberto Cissello & Martina De Dominicis Perfect Sense choreographer / composer Ivan Strelkin & Kasija Vrbanac / Alyssa Aska dancers Ivan Strelkin & Kasija Vrbanac Inter-Corps choreographer / composer Angela Wörgartner / Louis Bona dancer Angela Wörgartner Esoptron choreographer / composer Daniela Hanelova & Ariathney Coyne / Joan Gomez Alemany dancers Daniela Hanelova & Ariathney Coyne musicians Filip Novakovic – Akk Yuki Murakami – Pf Tijana Silinger – Va Anna Grenzner Matheu – Vc video Philip Steiner, Daniel Bierdümpfl masks Aleks Kaplun Inner B (from the „Lebensformen“ cycle) choreographer / composer Felix Chang / Alisa Kobzar dancers / motion capture actors Felix Chang & Lisa McGuire musicians Alisa Kobzar (electronics) Illia Bondarenko (el.v-n samples) video Alisa Kobzar Folk Cycle No. 1 choreographer / composer Jacqueline Lopez / Brian Questa dancer Jacqueline Lopez Prius Somnium choreographer / composer Shao-Yang Hsieh / Jose Luis Martinez M. dancer & video Shao-Yang Hsieh ~ ~ ~ ~ ~ ~ ~ Andraz Frece, Filip Novakovic – Akkordeon Alexandra Skrilec, Jakobus Weichinger – Flöte Felix Martl – Klarinette Christian Molina – Bassklarinette Anastasiia Gerasina – Viola Gyu Hui Heo, Eduardo Antiao – Violoncello Ana Ostojic – Klavier (PPCM-Studierende des Klangforum Wien) Einstudierung: Annette Bik, Andreas Lindenbaum Dirigent*innen: Algirdas Biveinis, Shu Jun Zhao Gesamtleitung: Rose Breuss & Clemens Gadenstätter Video & Bildregie & Beschallung Saal: Thomas Bergner Kameras: Ulrich Gladisch, Laurenz Gräber Tonmischung & Livestream: Alexander Zwierzina Licht: Ralf Beyer & Philipp Farasin Ivan Strelkin was born in Russia in 1988, completed his BA degree at the St.