An Analysis of Karlheinz Stockhausen`s Traum
... digressions that subvert the formal plan to some degree. These digressions or 'inserts' (Einschübe) as Stockhausen terms them, have formed a fundamental part of Stockhausen's musical language from his earliest years as a composer. ...
... digressions that subvert the formal plan to some degree. These digressions or 'inserts' (Einschübe) as Stockhausen terms them, have formed a fundamental part of Stockhausen's musical language from his earliest years as a composer. ...
Sounds of Heavy Metal: Revisiting Mikrophonie I
... Prior to 1950, through to the early years of serialism, percussion instruments were widely regarded by composers and audiences as primitive special effects, from the Turkish cymbals of Mozart to Ionisation by Varèse and the Double Music of John Cage and Lou Harrison. Stockhausen was friendly with Va ...
... Prior to 1950, through to the early years of serialism, percussion instruments were widely regarded by composers and audiences as primitive special effects, from the Turkish cymbals of Mozart to Ionisation by Varèse and the Double Music of John Cage and Lou Harrison. Stockhausen was friendly with Va ...
Introducing MANTRA
... through the air. These were no ordinary concerts, more like open master classes in advanced method acting for musicians. For the previous ten years, after travelling to America and being introduced to the inspired conversational music-making of John Lewis, the Modern Jazz Quartet, and Count Basie a ...
... through the air. These were no ordinary concerts, more like open master classes in advanced method acting for musicians. For the previous ten years, after travelling to America and being introduced to the inspired conversational music-making of John Lewis, the Modern Jazz Quartet, and Count Basie a ...
Aleatoric Music - Hamden High School Music Program
... For your aleatoric composition, you need to decide how to go about randomizing the music. This gets into the concepts of structure vs. freedom. Do you want to limit the choices of pitches to only three pitches, white notes of the keyboard, black notes, all the keys, just pitches in a one octave rang ...
... For your aleatoric composition, you need to decide how to go about randomizing the music. This gets into the concepts of structure vs. freedom. Do you want to limit the choices of pitches to only three pitches, white notes of the keyboard, black notes, all the keys, just pitches in a one octave rang ...
Klavierstücke (Stockhausen)
The Klavierstücke (German for ""Piano Pieces"") constitute a series of nineteen compositions by German composer Karlheinz Stockhausen.Stockhausen has said the Klavierstücke ""are my drawings"" (Stockhausen 1971, 19). Originating as a set of four small pieces composed between February and June 1952 (Blumröder 1993, 109–10), Stockhausen later formulated a plan for a large cycle of 21 Klavierstücke, in sets of 4 + 6 + 1 + 5 + 3 + 2 pieces (Smalley 1969, 30; Toop 1983, 348). He composed the second set in 1954–55 (VI was subsequently revised several times and IX and X were finished only in 1961), and the single Klavierstück XI in 1956. Beginning in 1979, he resumed composing Klavierstücke and finished eight more, but appears to have abandoned the plan for a set of 21 pieces. The pieces from XV onward are for the synthesizer or similar electronic instruments, which Stockhausen had come to regard as the natural successor to the piano. The dimensions vary considerably, from a duration of less than half a minute for Klavierstück III to around half an hour for Klavierstücke VI, X, XIII, and XIX.