Work of Karlheinz Stockhausen Volume 2

Nyhet

Intuitive Music

Inbunden, Engelska, 2026

2 549 kr

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This three-volume work is the most comprehensive study ever undertaken, of the musical compositions of Karlheinz Stockhausen (1928-2007), one of the major figures of Post-World War II classical music in Europe. Stockhausen’s impact on global music-making was huge and he has been influential for a wide range of music makers—in classical music and on music creators in various popular music traditions. Flo Menezes provides both in-depth analytical studies of Stockhausen’s works from his entire career and also places these into broader cultural, technological, political contexts. The three volumes address the three most fundamental phases of Stockhausen's work: Serial Music, Intuitive Music, and Music by Formulas.

Produktinformation

Utgivningsdatum2026-05-01
Mått156 x 234 x undefined mm
FormatInbunden
SpråkEngelska
SerieAshgate Studies in Theory and Analysis of Music After 1900
Antal sidor268
FörlagTaylor & Francis Ltd
ISBN9781032547138

Tillhör följande kategorier

Musikvetenskap inom Kultur
Klassisk musik, konstmusik och orkestermusik inom Kultur
Tonsättare och låtskrivare inom Kultur
Musiker, sångare och grupper inom Kultur

Flo Menezes is a Full Professor at the São Paulo State University (Unesp), Brazil. He studied composing at the University of São Paulo as well as the Studio fur Elektronische Musik in Cologne, Germany. He specialized at Centro di Sonologia Computazionale of Padua, Italy, completed his doctorate in Belgium in 1992 on Luciano Berio, under the supervision of Henri Pousseur, and postdoctoral fellow at the Paul Sacher Foundation. At Stockhausen's invitation, he taught analysis at the Kürten Courses in Germany. As a composer, his works have been performed by leading ensembles and orchestras around the world and he has received many awards for composition, including the Prix Ars Electronica, Austria (1995) and Giga-Hertz-Preis of Karlsruhe/Freiburg, Germany (2007), with Pierre Boulez and Wolfgang Rihm on the jury.

KONTAKTE (1958-60), 18.1. The Origins of the Piece, 18.2. KONTAKTE and Its Mysticism, 18.3. The Versions of KONTAKTE, 18.4. The Surprising Fusion Between the Instrumental and Electronic Universes, 18.5. Innovations in KONTAKTE, 18.6. About the Differences of Durations in the Score, 18.7. Regarding Spatiality, 18.8. The Use of Electronic Pulses, 18.9. Regarding Timbre Families, 18.10. The Iterative Copy Procedure (Dauerkopierverfahren), 18.11. Serial Music?, 18.12. The Invention of the Moment-Form, 18.13. The Types of Moment in KONTAKTE, 18.14. Motive Recurrences, 18.15. The Use of the Fibonacci Series, 18.16. The Unity of Musical Time,MOMENTE (1962-64/69), 19.1. The Typology of Moments and the Love, 19.2. Regarding Instrumentation, 19.3. Regarding the Texts Used, 19.4. The Open Form of MOMENTE, 19.5. The Binary Oppositions and Their Stratification, 19.6. Harmonic Center and Expansions in MOMENTE, 19.7. A Review of MOMENTE and Its Actuality,Extensions,MIKROPHONIE I (1964), 21.1. The Spectral Extent of the Physical Instrument, 21.2. The Organological Extent of the Physical Instrument, 21.3. The Internalization of Polyphony: Micro-Phony, 21.4. Serial Numerology in MIKROPHONIE I, 21.5. The Microphone as an Instrument, 21.6. Towards Words: Sound Categories and Quasi-Onomatopoeias, 21.7. The Moments and Form of MIKROPHONIE I, 21.8. Rite and Communion, 21.9. Approaching and Distancing in Relation to Musique Concrète,MIXTUR (1964), 22.1. The Strangeness with Boulez, 22.2. Ring Modulation and Its Complexity, 22.3. Regarding Instrumentation, 22.4. The Musical Form: Its Characters and Reversibility, 22.5. Regarding Serial Thought and the Organization of Pitches, 22.6. Tachism-Music?,TELEMUSIK (1966), 23.1. Collage of Materials or New Polyphony?, 23.2. The Form and Realization of the Work, 23.3. A Work Full of Signals, 23.4. Intermodulation, 23.5. Music of the Nervous System, 23.6. An Undeniable, Yet Unrealizable Request,HYMNEN (1966-67), 24.1. Origins of the Piece and Its Designation, 24.2. The Different Versions of HYMNEN, 24.3. Once Again Intermodulation, and Radical Extensions, 24.4. Regarding Materials and Form, 24.5. The Use of Quotations and Referentiality in HYMNEN, 24.6. The Controversy Surrounding the Anthems, 24.7. The Making of the Magnetic Tape and the Sonorities of HYMNEN,Universals,STIMMUNG (1968), 26.1. The Formants' Song, 26.2. A Vocalic Music, 26.3. Enjoyment or Alienation?, 26.4. STIMMUNG's Vocal Micro-Macro-Spatiality, 26.5. Regarding the Form, 26.6. As for the Poems Used, 26.7. Regarding the Days of the Week, 26.8. Stockhausen's Vocalic Square, 26.9. The Tempos, the Rhythm of the Models and Their Main Vowels, 26.10. The "Error" as a Deviation, 26.11. From Multiple to One, From One to Multiple,KURZWELLEN (1968),Processes,AUS DEN SIEBEN TAGEN (1968) and FÜR KOMMENDE ZEITEN (1968-70)