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Die Grundlegung der Musik Karlheinz Stockhausens. Hans Heinrich Eggebrecht. Stuttgart: Franz Steiner Verlag. Bos, Christian. Boulez, Pierre. London: Eulenburg Books. PhD diss. Broyles, Michael. Mavericks and Other Traditions in American Music. Computer Music Journal 32, no.
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Eloy, Jean-Claude. Ernst von Siemens Music Foundation. Prize-Winner Archive. Feather, Leonard. Felder, David. Ferneyhough, Brian. In Karlheinz Stockhausen Livre-programme , 18— In Kompositorische Stationen des Flur, Wolfgang. Kraftwerk: I Was a Robot. Second Edition. London: Sanctuary Publishing, Ltd. Fokker, Adriaan D. Hofheim: Wolke-Verlag. Frisius, Rudolf. Mainz: Schott Musik International. Fritsch, Johannes. In Improvisation und neue Musik. Acht Kongressreferate , edited by Reinhold Brinkmann, — Fritsch, Johannes , with Richard Toop.
Frobenius, Wolf. Studien zur Wertungsforschung Gather, John Philipp. Gehlhaar, Rolf. Mainz: Schott. Gilmore, Bob. Circuit: musiques contemporaines 19, no.
Gimpel, Othmar ed. Grant, Morag Josephine. Music in the Twentieth Century, Arnold Whittall, general editor. Cambridge: Cambridge University Press. Grant, M[orag] J[osephine], and Imke Misch eds. Hofheim: Wolke Verlag. Grohmann, Katerina. Each CD in this series is identified by Stockhausen's signature followed by an encircled number.
The numbers indicate the general historical order of the works. Karlheinz Stockhausen: …. Stockhausen: Stimmung. Influenced by. John Cage. Similar to. David Tudor. Others South American Traditional.
West Indies. Visual Kei. Shibuya Kei. Sound Tracks. Others Countries. Old Music. Ancient Music. Various Items. Accessories for protection and cleaning. Transport packaging. Brush and Cleaners. Plastic sleeves for records. Plastic sleeves for CD. Record Displays.
Autograph Items. Special Records. Colored Vinyls. Gold Disc. Picture Disc. Other Special Records. This was a rediscovery of melody, now conceived as a kind of "formula," whose components would no longer be simple notes, but types of musical behaviour clustered round a note. This formula would then be expanded over long stretches of time, surounded by the same formula in a smaller form. By this time Stockhausen was no longer the lean, rather hollow-cheeked and impoverishad composer of the s.
He was now something of a celebrity, with a reputation that had penetrated even into rock music circles his photo appears on the cover of Sergeant Pepper. He had acquired the long hair of a rock musician but not their appetite for drugs, of which he strongly disapproved and his domestic menage was becoming ever more extraordinary.
By the late s the four children of Stockhausen's second marriage to the painter Mary Bauermeister, who by now had parted from him , together with the children of the first marriage, had been joined in Stockausen's self-designed house at Kurten by two "companions" the flautist Kathinka Paeveer and the clarinettist Suzane Stephens. Both of these, and the composer's children Markus, Majella and Simon, were to become brilliant exponents of Stockhausen's music, and in his seven-opera cycle they assumed crucial roles.
This cycle was begun in Kyoto in , with a notation for the three "formulas" that attach to the three main characters of the cycle.
These are Lucifer, Eve and Michael. The whole cycle was a vast creation and redemption myth, in which the dark angel Lucifer battles with, and eventually is vanquished by, the Creator-Angel Michael and Eve, who symbolizes "the rebirth, in music, of mankind. The combination of vast mythical ambition with a strict permutational form is absolutely typical of Stockhausen. This is why it makes no sense to divide his career into a rationalist and a mystical phase; both were intertwined from the beginning, and they came together in the serial principle, to which Stockhausen, remained loyal to the end.
This is why his music has absolutely nothing in common with the "religious minimalists," of the s. The first original composition ever devised for music boxes, Tierkreis was conceived and created in the same period as Musik im Bauch Music in the Belly , a theater ritual during which ambulatory percussionists cut open the belly of an eagle-headed anthropomorphic sculpture and pulled out music boxes.
During the fall and winter of , Stockhausen visited the Jean Reuge music box factory in St. Croix, Switzerland, studying how the little mechanisms operated and researching possible modifications, including the installation of multiple teeth for the same tone.