- published: 23 Aug 2013
- views: 16871
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Karlheinz Stockhausen (German pronunciation: [kaʁlˈhaɪnts ˈʃtɔkhaʊzn̩]; 22 August 1928 – 5 December 2007) was a German composer, widely acknowledged by critics as one of the most important (Barrett 1988, 45; Harvey 1975b, 705; Hopkins 1972, 33; Klein 1968, 117) but also controversial (Power 1990, 30) composers of the 20th and early 21st centuries. Another critic calls him "one of the great visionaries of 20th-century music" (Hewett 2007). He is known for his groundbreaking work in electronic music, aleatory (controlled chance) in serial composition, and musical spatialization.
He was educated at the Hochschule für Musik Köln and the University of Cologne, later studying with Olivier Messiaen in Paris and with Werner Meyer-Eppler at the University of Bonn. One of the leading figures of the Darmstadt School, his compositions and theories were and remain widely influential, not only on composers of art music, but also on jazz and popular music. His works, composed over a period of nearly sixty years, eschew traditional forms. In addition to electronic music—both with and without live performers—they range from miniatures for musical boxes through works for solo instruments, songs, chamber music, choral and orchestral music, to a cycle of seven full-length operas. His theoretical and other writings comprise ten large volumes. He received numerous prizes and distinctions for his compositions, recordings, and for the scores produced by his publishing company.
From Ceylon / Bird of Passage (Chrysalis, 1975). ghostcapital.org
for tam-tam, electrochord, electronium, piano, filters and potentiometers. Composed By, Electronics [2 Filters, Potentiometers], Technician,[Supervision Of The Sound System] – Karlheinz Stockhausen Piano – Aloys Kontarsky Electrochord With Synthesizer – Peter Eötvös Electronium – Harald Bojé Tam-tam – Christoph Caskel Technician [Microphone] – Joachim Krist Recorded By – WDR, Cologne 1971
PLEASE SUPPORT THE ARTIST. You can order this music on http://stockhausencds.com/. Thank you! Prozession (Procession), for tamtam, viola, electronium, piano, microphones, filters, and potentiometers (six performers), is a composition by Karlheinz Stockhausen, written in 1967. It is Number 23 in the catalogue of the composer’s works. Christoph Caskel, Joachim Krist, Péter Eötvös, Harald Bojé, Aloys Kontarsky, Karlheinz Stockhausen Conception Prozession is one of a series of works dating from the 1960s which Stockhausen designated as "process" compositions. These works in effect separate the "form" from the "content" by presenting the performers with a series of transformation signs which are to be applied to material that may vary considerably from one performance to the next. In Prozes...
N° 23 (1967) Karlheinz Stockhausen Esta obra –N° 23 de su catálogo- fue compuesta en el año 1967 en Colonia (Alemania) para el grupo de instrumentistas con el que Stockhausen trabajaba entonces. Está compuesta alrededor de lo que llamó música intuitiva y que consiste en una música que se construye alrededor de la improvisación y el azar partiendo de mínimas pautas. De acuerdo con los lineamientos generales que prescribe la partitura la composición ocurre en tiempo real por parte de los intérpretes que improvisan pero los materiales sonoros provienen de obras escritas o por escribir –según sus indicaciones- por el propio Stockhausen en una suerte de interpretación alrededor de su estilo o improvisación alrededor de su universo sonoro. La versión que presentamos aquí está estructurada ...
Telemusik is an electronic composition by German composer Karlheinz Stockhausen, and is number 20 in his catalog of works. Telemusik was realized between January 23 and March 2, 1966 in the Studio for Electronic Music of the Japanese broadcasting system Nippon Hoso Kyokai (NHK), in collaboration with the director of the studio, Wataru Uenami and the studio technicians Hiroshi Shiotani, Shigeru Satô and Akira Honma. The score is dedicated to the Japanese people. The first public performance took place at the NHK studios in Tokyo on 25 April 1966, in a program which also featured the first and second performances (in versions for trombone and for flute) of Stockhausen's other NHK commission, Solo (Kurtz 1992, 144). The substance of the work consists of recordings of a variety of traditional ...
filmed at my final dissertation recital at Stony Brook University on 5/4/2015 by Adele Dusenbury (thanks!). Musical arrangement and Pure Data realization by myself. A bit more well-balanced recording can be found at my soundcloud page https://soundcloud.com/dxkzh/karlheinz-stockhausen-nr-19-solo-for-melody-instrument-and-feedback
A: Prozession 00:07 B: Prozession (continued) 27:55 Filters & Potentiometers: Karlheinz Stockhausen Tamtams: Alfred Alings & Rolf Gehlhaar Viola: Johannes G. Fritsch Elektronium: Harald Bojé Piano: Aloys Kontarsky Genre: Experimental Label: Candide Full Title: Prozession for Tamtam, Viola, Elektronium, Piano, Filters and Potentiometers I do not own any of the rights to this music. If a video needs to be deleted, just ask, and I will take it down as soon as I can.
KONTRA-PUNKTE, GRUPPEN, GESANG DER JÜNGLINGE, ZEITMAßZE, ZYKLUS, KREUZSPIEL, MANTRA, CARRÉ, Given on February 13th 1972 at the Institute of Contemporary Arts, London.
Karlheinz Stockhausen "Spiral - version Electronium" Spiral / Wach / Japan / Pole 1973
Very interesting!
Karlheinz Stockhausen (German pronunciation: [kaʁlˈhaɪnts ˈʃtɔkhaʊzn̩]; 22 August 1928 – 5 December 2007) was a German composer, widely acknowledged by critics as one of the most important (Barrett 1988, 45; Harvey 1975b, 705; Hopkins 1972, 33; Klein 1968, 117) but also controversial (Power 1990, 30) composers of the 20th and early 21st centuries. Another critic calls him "one of the great visionaries of 20th-century music" (Hewett 2007). He is known for his groundbreaking work in electronic music, aleatory (controlled chance) in serial composition, and musical spatialization.
He was educated at the Hochschule für Musik Köln and the University of Cologne, later studying with Olivier Messiaen in Paris and with Werner Meyer-Eppler at the University of Bonn. One of the leading figures of the Darmstadt School, his compositions and theories were and remain widely influential, not only on composers of art music, but also on jazz and popular music. His works, composed over a period of nearly sixty years, eschew traditional forms. In addition to electronic music—both with and without live performers—they range from miniatures for musical boxes through works for solo instruments, songs, chamber music, choral and orchestral music, to a cycle of seven full-length operas. His theoretical and other writings comprise ten large volumes. He received numerous prizes and distinctions for his compositions, recordings, and for the scores produced by his publishing company.