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| | Karlheinz Stockhausen - Wikipedia, the free encyclopedia |
 | | Stockhausen is among the figures on the cover of the Beatles album, Sgt. | | | In the early 1990s Stockhausen gained access to all the recordings of his music he had made to that point, and began his own record company to make this music permanently available on compact disc. | | | Stockhausen, himself, has incorporated most recent musical innovations he did not originate himself, such as in the LaMonte Young influenced Stimmung. |
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http://en.wikipedia.org/wiki/Karlheinz_Stockhausen
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| | The Ensemble Sospeso - Karlheinz Stockhausen |
| | Stockhausen's explorations of fundamental psychological and acoustical aspects of music were highly independent and remarkably free of outside influences. | | | Stockhausen also began using tape recorders and other machines in the 1950s to analyze and investigate sounds through the electronic manipulation of their fundamental elements, sine waves. | | | Sospeso presents Stockhausen's In Absentia, a collaboration with the animators the Brothers Quay, at the Sospeso Xponential concert on Tuesday, November 11, 2003. |
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http://www.sospeso.com/contents/composers_artists/stockhausen.html
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| | CDeMUSIC |
| | Karlheinz Stockhausen's 'Hymnen' (1967, 'Anthems' in English), epic in its scope, uses the national anthems of the world as source material and combines them through what Stockhausen called "intermodulation," which means that the timbre of one anthem is, for example, modulated by the loudness of another. | | | Karlheinz Stockhausen's 'Solo', for melody instrument with feedback, is another pioneering performance piece from the 1960s. | | | Music by Karlheinz Stockhausen for orchestra and electronic music. |
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http://www.cdemusic.org/store/cde_search.cfm?keywords=st1
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| | Stockhausen, Karlheinz on Encyclopedia.com |
| | Stockhausen towers over 20th century; Karlheinz Stockhausen may have been the enfant terrible of avant-garde music but The Beatles still found room for him on the cover of Sgt Pepper. | | | Among Stockhausen's other compositions are Kreuzspiel (1948); Kontrapunkte No. 1 (1953), for 10 instruments; Kontakte (1959), for electronic music; Stimmung (American premiere, 1971), for voices; and Jubilee (1981), for orchestra. | | | He is an adherent of aleatory music and allows performers to determine certain aspects of a performance; that is, they can improvise, begin and end at different points, and decide at what speed to sing and play. |
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http://www.encyclopedia.com/html/s/stockhau.asp
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| | Official Short Biography of Karlheinz Stockhausen |
| | Stockhausen is the perfect example of the composer who has participated at nearly all world premières and in innumerable exemplary performances and recordings of his works world-wide – as conductor, performer, musical director or sound projectionist. | | | In a spherical auditorium conceived by the composer, most of Stockhausen’s works composed until 1970 were performed at the Expo ’70 world fair in Osaka, Japan: for 51/2 hours daily for 183 days by twenty instrumentalists and singers, thereby reaching an audience of over a million listeners. | | | In 1991, the Stockhausen-Verlag began to release compact discs in the Stockhausen Complete Edition which comprises 116 compact discs to date, and all Stockhausen scores, books, videos and CDs may be ordered directly by mail order from them. |
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http://www.stockhausen.org/biography.html
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| | Karlheinz Stockhausen |
| | I hadn’t heard this live before, but the stereo version on Stockhausen Verlag CD 41 is remarkable when listened to on headphones, and I didn’t think the Queen’s Hall performance compared. | | | In his introduction to Oktophonie, Stockhausen avoided reference to the opera, and instead concentrated on the bare essentials of the music – how it consists of a melody stretched over 69 minutes; how he was able to compose the inner structures of the electronic sounds. | | | Stockhausen has spent over forty years making the case for new performance spaces for electronic and new music – spaces which dispense with the proscenium arch. |
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http://www.whitenoise02.co.uk/stockhausen.html
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| | [No title] |
| | Stockhausen is credited in pioneering electronic music, open forms, new uses of space in music, "intuitive music," and many other important developments in music after 1950. | | | The first concert performance of Lucifer's Dance was on March 9, 1984 by the University of Michigan Symphony Band. | | | This is the beginning of the percussion player as a soloist and an equal in chamber music. |
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http://cctr.umkc.edu/user/knolen/stockhausen.html
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| | ACIDplanet.com: Contests: Stockhausen |
| | Karlheinz Stockhausen is widely regarded as the father of modern electronic music. | | | Karlheinz Stockhausen continues to amaze the musical world. | | | Professor Stockhausen seeks to do the same, but rather than induce this response with an inward-focused, minimalist mantra, he molds the universe of sound to take listeners to entirely new dimensions. |
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http://www.acidplanet.com/contests/stockhausen
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| | Karlheinz Stockhausen (1928- ) |
| | In 1964, Stockhausen formed a group for performing live electronic music which is still in existence today. | | | For the next four years, Stockhausen attended the National Conservatory of Music studying music education and piano and Cologne University studying German philology, musicology, and philosophy. | | | The following year, 1953, Stockhausen secured a position as a lecturer for new music courses at Darmstadt and became one of the collaborators at the West German Radio Studio for Electronic Music in Cologne. |
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http://www-camil.music.uiuc.edu/Projects/EAM/stockhausen.html
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| | KARLHEINZ STOCKHAUSEN |
| | Composer-supervised recordings of Stock-hausen's music — as well as scores, videos and books about Stockhausen's music — are available from Stockhausen-Verlag (www.stockhausen.org). | | | That air is inextricably linked with Stockhausen, who has long been an outspoken and controversial figure in contemporary music. | | | His music has had an effect across a wide range of genres, from chamber music and opera to rock (he's in the cover collage of the Beatles' Sgt. |
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http://remixmag.com/mag/remix_karlheinz_stockhausen/index.html
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| | OhioLINK ETD: GERBER, STUART |
| | Although much has been written about Stockhausen and his music, most of it is theoretical and/or biographical in nature. | | | Karlheinz Stockhausen; percussion; 20th Century Music and Analysis | | | Karlheinz Stockhausen's Solo Percussion Music: A Comprehensive Study |
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http://rave.ohiolink.edu/etdc/view?acc_num=ucin1060182585
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| | Stockhausen's New Morphology of Musical Time, Serialism: C. Koenigsberg December 1991 |
| | Stockhausen's need for a system of proportions that is perceivable as the fundamental organizational characteristic of his music is, in part, a reaction to these and other perceived shortcomings of the "pointillist" style which lacked such a characteristic. | | | We see in this passage that Stockhausen is interested in setting up and then applying a series of fixed proportional relations (the "same musical light") successively to different musical parameters (the objects viewed in that same light). | | | Webern's atomization of the theme in his music is also important to Stockhausen: |
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http://www.music.princeton.edu/~ckk/smmt/serialism.3.html
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| | Guardian Unlimited Arts Arts features Beam me up, Stocky |
| | Composer Karlheinz Stockhausen has turned himself into a musical myth. | | | This is the man who has influenced everyone from Brian Eno to Björk, and who appeared on the cover of the Beatles' Sergeant Pepper's album, sandwiched between Carl Jung and Mae West. | | | The great man goes on: "New Space Music is for the ears, for the invisible world (I switch out the lights during the projections of my space music)." This visionary, new electronic music, like Oktophonie, requires absolute darkness for its performance. |
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http://arts.guardian.co.uk/features/story/0,11710,1590848,00.html
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| | Biography for Karlheinz Stockhausen |
| | Stockhausen began his experiments with live music and recorded sounds in the late 1940s and early 1950s. | | | In the early 1960s Stockhausen collaborated with Yoko Ono in her New York loft concerts. | | | His thought-provoking output was cited as an influence by the The Beatles, Yoko Ono, Kraftwerk, Miles Davis, Frank Zappa, Herbie Hancock, and Bj&. |
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http://www.imdb.com/name/nm0830838/bio
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| | FAQ Karlheinz Stockhausen |
| | Karlheinz Stockhausen re-gained the copyright to his recordings because it was the only way to keep his recordings permanently available to listeners. | | | The ECM issue of Michael's Reise, The recording of Helikopter Streichquartett, and the Stockhausen Verlag CD of Lichter-Wasser are all music taken from the LICHT cycle. | | | The late english Composer Cornelius Cardew, who had worked with Stockhausen during the composition of Carré for 4 orchestras and 4 choirs) questioned the right of a composer to dictate the role of a performer within a composition. |
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http://homepage.mac.com/bernardp/Stockhausen/ksfaq.html
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| | Karlheinz Stockhausen, Royal Festival Hall, London. 28 February 2000 |
| | Stockhausen's introduction to the second performance of Gruppen was illuminating on the music but more so on his theories of auditorium architecture. | | | We also heard a number of Stockhausen's Klavierstück played by Ellen Corver, a Stockhausen specialist (and recently commissioned by the composer to record his entire piano oeuvre for his Stockhausen Verlag label) and the young British pianist, Nicholas Hodges. | | | His music is about the direction and movement of sound in space, and the new halls must be built to take account of this. |
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http://www.musicweb-international.com/SandH/2000/feb00/stockh.htm
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| | fUSION Anomaly. Karlheinz Stockhausen |
| | Paul McCartney listened to composer Karlheinz Stockhausen, a messiah in the world of electronic music but to the mid-60s pop star an unknown commodity. | | | The album was a potpourri of rock 'n' roll, Western classical music, Indian classical music, early 20th-century vaudeville music, and modern electronic music employing compositional techniques such as indeterminacy and playing tapes backwards, as pioneered by the composer Karlheinz Stockhausen whose photo appeared on the album cover along with a host of other celebrities. | | | Salvador Dali likes to listen to the music of Webern, Stockhausen, and Babbit. |
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http://fusionanomaly.net/karlheinzstockhausen.html
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| | Stockhausen tribute by Holger Czukay |
| | It seemed to look like a composition directory to me. The musicians were searching on the radio for some short wave specific in sound and rhythm, keeping it in tune for a while, playing with their "ordinary" instruments and again searching for another sound signal coming from the radio. | | | In order to make a naked electronic music event more live and adequate, Stockhausen additionally composed a score for percussionists, so that the electronic music and the musicians came closer to the audience this way. | | | And that his "Kurzwellen" piece had become such an important key event, especially for me. Karlheinz replied that this piece got released on a record, but as the record company didn't sell more than 3 discs in one year they wanted to take it off the catalogue. |
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http://www.furious.com/perfect/stockhausen.html
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| | Browse by Artist: STOCKHAUSEN, KARLHEINZ |
| | Recorded in 1969, with Stockhausen in the control room operating filters and potentiometers, this is performed by long time electronic music ensemble members like Aloys Kontarsky (piano), Michel Portel (reeds), Johannes Fritsch (viola), Alfred Ailings (tam-tam), Rolf Gehlhaar (tam-tam), Harold Boje (electronium), Jean-Pierre Drouet (percussion) & Jean-Francois Jenny-Clark (bass). | | | Kontakte is a Stockhausen classic from 1959, for electronics, percussion and piano (played here by David Tudor). | | | "As part of the celebration of Karlheinz Stockhausen's 75th birthday, Wergo is proud to release an exceptional new recording of Tierkreis and Zodiac, under the direction of Mike Svoboda. |
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http://www.forcedexposure.com/artists/stockhausen.karlheinz.html
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| | Salon.com People Karlheinz Stockhausen |
| | Stockhausen also showed up on the cover of "Sgt. Pepper's Lonely Hearts Club Band," and if you've ever gone back to "The Beatles" (aka "The White Album") to listen to "Revolution 9" a second time, he's there, too. | | | Long before the Beatles, Stockhausen turned the sound desk into instrument, doubling as the soundman at most of his shows. | | | The band took center stage at Expo 70 in Osaka, Japan, where Stockhausen installed it to play his music for five-and-a-half hours solid every day for 183 days. |
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http://archive.salon.com/people/bc/2001/01/16/stockhausen/print.html
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| | Karlheinz Stockhausen- Comments by Holger Czukay |
| | Stockhausen invented a special rotating loudspeaker with a horn, which got picked up with four microphones standing in a circle. | | | But not Karlheinz though: “I can assure you that I have done this all out of musical reasons. | | | Now I was sitting in the audience and listened to his fascinating way of telling people what was moving him to become a creative man as he is. Then we heard "Gesang der Juenglinge." Some people were laughing. |
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http://www.furious.com/perfect/ohm/stockhausen.html
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| | Klang Technik, Karlheinz Stockhausen |
| | There is a certain problem in approaching Stockhausen, and that is precisely the extent to which he has already and obsessively charted his theoretical and artistic progress in lectures, notes and, above all, in interviews. | | | There are at least three current collections of 'conversations with the composer', and it's tempting to suggest that it is these that form more of the substance of Stockhausen's reputation than sympathetic listening to his music. | | | Some at least of that impetus came as a result of Stockhausen's very 1960s obsession with 'World Music', a global syncretism of sounds and procedures, but also from his contact with the ritual of Japanese Noh theatre. |
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http://www.thewire.co.uk/archive/interviews/karlheinz_stockhausen.html
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| | introduce me to KARLHEINZ STOCKHAUSEN |
| | Stockhausen's modern composition-non-electronic stuff (even though a lot of his pieces contain electronic modifications/tapes) doesn't get touted as much as say Kontakte, because electronic music has caught on as popular music. | | | The reason he's gotten the 'influential' tag in the last couple of decades is that he was an electronic music pioneer - the stuff collected on the Elektronische Musik LP is some of the most clever early musique concrete. | | | I recommend Robin Maconie's 'Stockhausen on Music' for a great starter book, epiphany-per-page, and Karl Heinrich Wörner's 'Stockhausen Life and Music' has a great piece-by-piece breakdown, and a record guide. |
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http://ilx.wh3rd.net/thread.php?msgid=6376796
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| | Karlheinz Stockhausen's Kontakte and Narrativity |
| | Thus, Stockhausen intends that the listener perceives this particular process of the "musical time continuum". | | | Stockhausen describes Kontakte as follows: "A series of forms of contact brings together electronic music and instrumental music. | | | Though composed nearly 40 years ago it remains one of the most celebrated examples of an electroacoustic work combining recorded synthesised sounds and live musicians. |
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http://cec.concordia.ca/econtact/SAN/Dack.htm
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| | Karlheinz Stockhausen - Edition No. 5: Gruppen / Carré |
| | Stockhausen gives the example of a prisoner who only hears one sound a year; the sound of the door slamming, and then after one year another slam of the door. | | | In Stockhausen’s music I get reassured that this indeed is true, on some higher level of existence. | | | The first piece on this CD originates in a commission that Stockhausen received from the WDR, but nobody – perhaps not even Stockhausen – could foresee the kind of music that would eventually come out of this commission. |
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http://home.swipnet.se/sonoloco2/Rec/Stockhausen/05.html
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| | Unofficial Stockhausen Weblog |
| | The text of Stockhausen's new music is not revealed, but a polyphonic work using the multitimbral resources of the organ as well as the two singers is expected. | | | Maconie studied with Messiaen and Stockhausen in the sixties and brings unrivaled insight into the era of avant-garde music, its personalities, and contradictions, mounting a persuasive defense not only of serialism, but also of the pioneers of aleatory, chance, concrete music, and electronic music. | | | With organist and singers hidden from view, Stockhausen has conceived this music to be heard without dramatic spectacle, as in an invisible realm where only music can be heard. |
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http://homepage.mac.com/bernardp/iblog/B1978509736
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| | Karlheinz Stockhausen - Edition No.13: Kurzwellen |
| | However, Stockhausen goes way beyond that initial thought, applying the “ready-mades” (the sounds off the short-wave) in a constant interconnection with the musicians, producing a sound web that is unknown to everybody – to Stockhausen as well as to the players – until the sounds are heard. | | | There is a point at the beginning of this performance where the listener quite easily can follow the players’ development of a short-wave phrase, when the BBC station call appears, well-known to anybody who ever used the short-wave band for their listening pleasure. | | | This occurrence also, says Stockhausen, picked out this particular recording for release (any of the recordings that were made could have been chosen, but all sound completely different from one another). |
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http://home.swipnet.se/sonoloco2/Rec/Stockhausen/13.html
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| | CDeMUSIC |
| | Karlheinz Stockhausen's 'Geburts-Arien' ('Birth-arias') of 'Monday from Light' for 3 sopranos, 3 tenors, choir, children's voices and modern orchestra; 'Madcenprozession' ('Girls' Procession'), 1st version for girls' a cappella choir and piano, 2nd version for girls' choir, piano, choir, modern orchestra and sound scenes. | | | Karlheinz Stockhausen's 'Geburtsfest' ('Festival of Birth'), choir music with sound scenes from 'Monday from Light' (version of Eve's First Birth-Giving for a cappella choir and tape). | | | Music by Karlheinz Stockhausen, composed in 1992 - 1993. |
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http://www.cdemusic.org/store/cde_search.cfm?CurrentPage=4&keywords=kstockhausencds
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| | Disc of the Week (10/1/2001): Karlheinz Stockhausen: Mantra |
| | One of the things that comes to me most clearly when listening to Mantra is how it signifies Stockhausen's ultimate rejection of stochastic or random factors in his music. | | | Dating from 1971, it shows how Stockhausen went from pure sound to flamboyant and sometimes iconoclastic usages of more traditional instruments (in this case, two pianos), but combined with electronics and non-musical instruments (a short-wave radio) to yield a new whole. | | | The "standard issue" version of the piece was performed by the brothers Aloys and Alfons Kontarsky (the recording that Deutsche Grammpphon issued, which has since been reissued directly through Stockhausen Verlag), but apparently Stockhausen's favorite recording of the piece is not currently in print, with Dutch pianists Ellen Corver and Sepp Grotenhuis. |
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http://www.thegline.com/disc-of-the-week/2001/10-01-2001.htm
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| | Amazon.co.uk: Stockhausen - Tierkreis, \'Zodiac\': Music |
| | Around the mid-1970's, Karlheinz Stockhausen visited a music box factory in Switzerland and was inspired to write twelve little - endless - pieces of music for the boxes. | | | Never a man to "waste" a piece of music by writing it for only one format, he then recomposed the pieces for various solo instruments and also for instrumental ensembles. | | | I have listened to this recording, and I want to review it. |
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http://www.amazon.co.uk/exec/obidos/ASIN/B0000AB6UE
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| | Amazon.com: Stockhausen: Stimmung: Music: Karlheinz Stockhausen |
| | Buy this album with Stockhausen: Mantra ~ Karlheinz Stockhausen today! | | | Karlheinz Stockhausen Conducts Haydn & Mozart [Audio CD] Stockhausen, RSO Berlin (Price: $12.99) | | | The reason is that the Collegium Vocale singers seemed to have a very good time when singing and the piece progresses spontaneously (note that in this piece the singers have to make decisions almost all the time during each performance). |
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http://www.amazon.com/exec/obidos/tg/detail/-/B000002ZHD?v=glance
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| | Stockhausen, Karlheinz (1928 - ) |
| | Stockhausen has been among the leading avant-garde figures in German music since the 1950s. | | | A varied and fascinating series of compositions includes Stimmung for electronically treated voices, Mantra, for two pianos, woodblocks and crotales, the result of a visit to the Osaka World Fair, at which his music was featured. | | | Parallel to his work in electronic music, he explored the human element in performance, moving from total serialism, in which every aspect of a piece is controlled by a predetermined serial pattern, to a more flexible approach. |
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http://www.naxos.com/composer/stockhau.htm
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| | Alibris: Karlheinz Stockhausen |
| | Karlheinz Stockhausen, the most controversial composer to have emerged from postwar Germany, has had a powerful influence on contemporary music. | | | Stockhausen's unceasing curiosity and relentless self-discipline have led to musical discoveries of extraordinary beauty and power. | | | This collection of his writings is a composer's guide to a life and music that has influenced every sphere of present-day musical practice, both classical and popular, live as well as electro-acoustic. |
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http://www.alibris.com/search/books/author/Karlheinz_Stockhausen
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| | View topic - Karlheinz Stockhausen |
| | Stockhausen is the godfather of abstract electronica in my opinion...his music is the stuff of genius. | | | There is alot to say about Stockhausen, he have more then 144 records, amazing weird stuff. | | | For me is one of the most important composer that have change music around the world with his projects. |
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http://www.synthtopia.com/phpBB2/viewtopic.php?p=1158
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| | Karlheinz Stockhausen |
| | More of an improvisation with Stockhausen electronically manipulating the music as is played. | | | He is supposed to pictured on the cover of the Beatles Sergeant Pepper album. | | | A critic for the London Observer described one of Stockhausens concerts, |
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http://csunix1.lvc.edu/~snyder/em/stock.html
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| | Grooves Magazine - Reviews: Karlheinz Stockhausen - Sonntags Abschied |
| | To sum up Karlheinz Stockhausen’s achievements in electronic music would be to attempt a brief history of the genre itself. | | | This newest offering, scored for five synthesizers and recorded percussion, demonstrates the fluidity and unity of Stockhausen’s conceptions while presenting a sonic document that stands with austerity on its own. | | | Stockhausen’s voice can be heard counting out the various tempos, while long-time musical associate Kathinka Pasveer announces page numbers. |
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http://www.groovesmag.com/review_item.php?id=00000241
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| | - Classical Music Dictionary - Free MP3 |
| | Hence the comparatively leisurely pace of Carré for four choral-orchestral groups (1960), Kontakte for piano, percussion and tape (1960) and Momente for soprano, choir and instruments (1964, extended 1972). | | | The return to a more conventional medium came abruptly in Mantra for two pianos and electronics (1970), an hour-long, fully notated work based on transformations of a melodic theme. | | | Since then all Stockhausen's works have been parts of Licht, intended to be a heptalogy for performance on the evenings of a week: so far Donnerstag (1980) Samstag (1984) and Montag (1988) have been completed. |
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http://www.karadar.it/Dictionary/stockhausen.html
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| | Internet Archive: Details: An Interview with Karlheinz Stockhausen, 1967 |
| | An Interview with German composer Karlheinz Stockhausen conducted by members of the Society for the Performance of Contemporary Music. | | | Author: Karlheinz Stockhausen, Society for the Performance of Contemporary Music | | | Karlheinz Stockhausen, Society for the Performance of Contemporary MusicAn Interview with Karlheinz Stockhausen, 1967 (January1967) |
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http://www.archive.org/details/KStockhausenJan67
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| | Karlheinz Stockhausen |
| | Having begun to explore aleatoric/statistical procedures during his studies with physicist Werner Meyer-Eppler in 1954, Cage's utilization of chance operations in composition further reinforced Stockhausen's own interest in these methods, as was reflected in pieces such as Carré (for four orchestras and choirs, 1960) and Kontakte (for piano, percussion and magnetic tape, also 1960). | | | One of the most unusual sections of Licht, Helikopter Streichquartett (premièred in 1993), required the four string players to perform in helicopters while audio and video of their performance was broadcast to the audience in the hall below. | | | With his first trip to the States in 1958, Stockhausen made the acquaintance of American composer John Cage - an associaton that was to have a noticable impact upon his subsequent work. |
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http://www.nndb.com/people/169/000057995
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| | U B U W E B :: Cornelius Cardew |
| | He turned away from improvisation and indeterminacy and began writing tonal piano pieces based on folk tunes, as well as utilitarian revolutionary songs. | | | Following Caudwell, Cardew begins by attacking the notion that a composer is a "free producer," that his music is his to do with as he sees fit. | | | Though killed 22 years ago, he had a tremendous impact on many colleagues in contemporary music, and his influence still determines much of how new music is seen in the context of the world political situation. |
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http://www.ubu.com/historical/cardew/cardew.html
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