Relevant bibliographies by topics / Stockhausen, Karlheinz, – 1928- – Influence

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Academic literature on the topic 'Stockhausen, Karlheinz, – 1928- – Influence'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Stockhausen, Karlheinz, – 1928- – Influence"

1

Normandeau, Robert. "Influence de Stockhausen chez les compositeurs électroacoustiques québécois." Circuit 19, no. 2 (2009): 51–56. http://dx.doi.org/10.7202/037450ar.

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Résumé Quelle a été l’influence de la musique électroacoustique de Karlheinz Stockhausen sur la production québécoise de cette même discipline ? Un certain nombre de compositeurs québécois de différentes générations ont été sollicités afin de connaître leur avis sur la question : Kevin Austin (1948), Walter Boudreau (1947), Yves Daoust (1946), Jean-François Denis (1960), Marcelle Deschênes (1939), Francis Dhomont (1926), Gisèle Ricard (1944), Stéphane Roy (1959), Alain Thibault (1956). Aux réponses de ce groupe de compositeurs se sont ajoutés les commentaires et souvenirs de l’auteur.
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2

Martínez Álvarez, Juan Diego. "Más allá de la tierra: el espacio en la obra de Karlheinz Stockhausen." Ensayos: Historia y Teoría del Arte 23, no. 37 (2019): 71–91. http://dx.doi.org/10.15446/ensayos.v23n37.89988.

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Este artículo analiza la importancia del espacio escénico en la obra del compositor Karlheinz Stockhausen (1928-2007), bien sea en su uso tradicional como lugar de exhibición y como elemento compositivo y herramienta para incentivar experiencia estéticas en sus espectadores. Desde esta optica se analizan obras emblemáticas, como Gesang der Jünglinge (1956) y Der Kleine Harlekin (1987) y otras en las que el espacio se usó de forma más innovadora como Musik für die Beethovenhalle (1989), una selección de obras mostrada en forma simultánea en esta sala de conciertos, donde el espacio fue segmenta
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Erwin, Max. "Karlheinz Stockhausen, aus LICHT, Holland Festival, 31 May–10 June 2019." Tempo 74, no. 291 (2019): 99–101. http://dx.doi.org/10.1017/s0040298219000810.

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Why Karl Heinz [sic] Stockhausen entitled his music for oboe, bass clarinet, piano, and four percussionists Kreuzspiel is incomprehensible. Following a system of ‘static music’, the indefensibleness of which Theodor Adorno already demonstrated the previous year to its Flemish inventor, the sound of the piece goes far beyond that which we have been accustomed to call music. That he finds a few devotees to celebrate his work … doesn't change things a jot. Every idea finds its prophets. And its sect.Albert Rodemann, Darmstädter Tagblatt, 23 July 1952.Quoted and translated in Martin Iddon, New Mus
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LEIPERT, TRENT. "Lachenmann's Silent Voices (and the Speechless Echoes of Nono and Stockhausen)." Twentieth-Century Music 16, no. 3 (2019): 589–619. http://dx.doi.org/10.1017/s1478572219000021.

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AbstractIn order to assess Helmut Lachenmann's characterization of (his) music as an ‘existential experience’ this article focuses on a specific aspect of many of his compositions: stretches of near-silence and minimized musical activity such as reduced dynamics and gestures which contrasts the surrounding material. I argue that in the case of his early vocal compositions Consolation I and II (1967 and 1968) these ‘meta-musical fermatas’ relate to a key portion of each work's text in order to encourage self-reflection on the part of the listener. My analyses reveal the influence of Luigi Nono
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Salem, Joseph. "Boulez's Künstlerroman: Using blocs sonores to Overcome Anxieties and Influence in Le marteau sans maître." Journal of the American Musicological Society 71, no. 1 (2018): 109–54. http://dx.doi.org/10.1525/jams.2018.71.1.109.

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Previous scholarship on Pierre Boulez's Le marteau sans maître celebrates the analytical basis of the piece, with particular emphasis on Boulez's concept of the bloc sonore and its role in Le marteau's design. This article synthesizes aspects of this scholarship with Boulez's personal reflections from the years 1953–55, many of which remain unpublished to this day. Utilizing Boulez's correspondence with Karlheinz Stockhausen and John Cage, as well as his own published writings and the sketches for Le marteau, I present the story of an artist on the path to self-discovery. I also shift the disc
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Dissertations / Theses on the topic "Stockhausen, Karlheinz, – 1928- – Influence"

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O'Connor, Jennifer. "Black snow by Michael Smetanin : an analysis : and original compositions." University of Western Australia. School of Music, 2004. http://theses.library.uwa.edu.au/adt-WU2004.0054.

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Black Snow, an orchestral work composed by Michael Smetanin in 1987, was named after the book Black Snow by Mikhael Bulgakov. Newspaper articles, reviews and the literature researched, all comment on Smetanin’s style and on the influences that shaped that style. The aggressive and confrontational style of much of Smetanin’s music can be attributed partly to his love of rock music and jazz and partly to his mentor in the Netherlands, Louis Andriessen. The same sources quote other composers who also influenced Smetanin’s style. Three works in particular are named, that is, Trans by Stockhausen,
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Amaral, Pedro. "Momente de Karlheinz Stockhausen ou le paradigme de la forme." Paris, EHESS, 2003. http://www.theses.fr/2003EHES0107.

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La constitution du langage sériel, au cours des années cinquante, ne s'est entièrement accomplie qu'à travers l'instauration de formes émanées de sa propre démarche théorique et cohérentes avec elle; paradoxalement l'achèvement de cette conquête de nouvelles formes finit par éclater définitivement le langage qui est à leur origine. Analyse démonstrative à partir de Momente, de Karlheinz Stockhausen<br>The establishment of the serial language, during the fifties, was only fully accomplished after the introduction of forms issued from and coherent with its own theoritical appraoch; paradoxically
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Prynda, Maya. "Licht (1977-2003) de Karlheinz Stockhausen : aspects autobiographiques et intertextualité." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040194.

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Licht. Die sieben Tage der Woche (1977-2003) est un cycle constitué de sept opéras composés par Karlheinz Stockhausen (1928-2007) qui en a également conçu le livret. Le cycle a pour thème principal l'accomplissement cyclique du destin de trois esprits – Michael, Eva et Luzifer – dont le destin est lié aux caractéristiques de chacun des sept jours de la semaine. Cependant, une multitude d'éléments vient s'ajouter au propos général, rendant le déroulement parfois difficilement intelligible. De plus, le propos universel vient se heurter à la dimension personnelle et autobiographique de l'œuvre. N
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Mendes, Daniel de Souza [UNESP]. "O cálculo e a invenção na poética de Stockhausen." Universidade Estadual Paulista (UNESP), 2009. http://hdl.handle.net/11449/93758.

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Made available in DSpace on 2014-06-11T19:26:46Z (GMT). No. of bitstreams: 0 Previous issue date: 2009-08-18Bitstream added on 2014-06-13T20:34:39Z : No. of bitstreams: 1 mendes_ds_me_ia.pdf: 2189081 bytes, checksum: e5a221ee7c7fac1bd8978c913d023cfd (MD5)<br>Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)<br>A obra de Karlheinz Stockhausen (1928-2007) é contornada por uma série de questões que concernem tanto ao âmbito das especulações próprias do fenômeno musical, quanto àquelas que permeiam este discurso. Dentre estas está a relação entre os procedimentos composicionais seria
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Almeida, Alexandre Zamith 1972. "Forma lírica e campos temporais = fundamentos das multiplicidades de performance em Klaviestuck XI de Karlheinz Stockhausen." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284940.

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Orientador: Mauricy Matos Martin<br>Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-17T10:26:29Z (GMT). No. of bitstreams: 1 Almeida_AlexandreZamith_D.pdf: 6012522 bytes, checksum: 99e58d9ea116d2a98a993274a748f8fe (MD5) Previous issue date: 2010<br>Resumo: Esta tese trata das multiplicidades inerentes à manifestação musical, decorrentes de seus fatores de performance. Após a observação das aberturas enquanto ambiguidades presentes em toda mensagem artística e da performance enquanto momento integralizador da obra musical, este t
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Chiarelli, Ivan [UNESP]. "Do micro ao macro: aproximações entre oriente e ocidente em Der Jahreslauf." Universidade Estadual Paulista (UNESP), 2015. http://hdl.handle.net/11449/128024.

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Made available in DSpace on 2015-10-06T13:02:54Z (GMT). No. of bitstreams: 0 Previous issue date: 2015-06-23. Added 1 bitstream(s) on 2015-10-06T13:19:19Z : No. of bitstreams: 1 000849563.pdf: 5366473 bytes, checksum: 2b1d09e18ed8645e40f4ba2c14bd586e (MD5)<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)<br>Este trabalho discute a aproximação do compositor Karlheinz Stockhausen à tradição musical japonesa, presentificada na obra DER JAHRESLAUF(1977), detendo-se sobre alguns aspectos da tradição nipônica incorporados à peça e discutindo a maneira como foram abordados pel
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Tugny, Rosângela Pereira de. "Le piano et les dés : étude sur "Music of changes", "Constellation-Miroir", "Klavierstück XI"." Tours, 1996. http://www.theses.fr/1996TOUR2047.

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Les trois œuvres citées dans le titre représentent, après le tournant de la première moitié du siècle, des expériences pivots, ayant autant porté sur des questions de technique et d'esthétique musicale que sur le destin de l'instrument, et inaugurant la pratique de ce qui sera nommé ultérieurement la "forme ouverte". Cette recherche, fondée sur la consultation d'une importante documentation inédite conservée à la Fondation Paul Sacher (Bâle) et appuyée sur un important cahier d'exemples, vérifie attentivement les aspects de la technique musicale liés à ces œuvres et passe en revue nombre d'élé
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Carney, Michael R. (Michael Reed) 1952. "An Examination of Two Significant Percussion Compositions: Karlheinz Stockhausen's Zyklus and Ingolf Dahl's Duettino Concertante, a Lecture Recital Together with Five Recitals of Selected Works of A. Ginastera, A. Wilder, W. Kraft, and Others." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc332140/.

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Zvklus (1959) by Karlheinz Stockhausen and Duettino Concertante (1966) by Ingolf Dahl represent two of the most significant percussion compositions that present the percussionist as soloist. The performer of these works, either unaccompanied or accompanied by a non-percussion instrument, is featured as executant, interpreter, and improvisor. They are regarded as classics in the medium of multiple percussion because of their frequency of performance and their profound effect on notation, musical composition, and the technical expectations of the percussionist. This paper examines these composit
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Sulpício, Carlos Afonso [UNESP]. "Transformação e formação da técnica do trompete: de Monteverdi a Stockhaunsen." Universidade Estadual Paulista (UNESP), 2012. http://hdl.handle.net/11449/103395.

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Made available in DSpace on 2014-06-11T19:32:42Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-08-13Bitstream added on 2014-06-13T20:23:50Z : No. of bitstreams: 1 sulpicio_ca_dr_ia.pdf: 7470036 bytes, checksum: 2fbae8d3ec3077336f3d5bf6542ea06f (MD5)<br>Esta tese tem como objetivo traçar um panorama histórico sobre a evolução da técnica do trompete percorrendo uma linha cronológica que parte de Monteverdi e chega a Stockhausen com enfoque na relação compositor/instrumento/instrumentista. Inicialmente, apresentamos uma breve abordagem dos primórdios do trompete e apontamos a importânci
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Dousson, Lambert. "L’écran sonore : politiques de l’écriture et de l’écoute musicale, 1950-2001." Thesis, Paris 10, 2011. http://www.theses.fr/2011PA100170.

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Que la réflexion du compositeur sur la technique et l’histoire des règles de l’écriture musicale constitue une pratique de soi, l’exercice d’une subjectivation qui suspend normes et pouvoirs du dehors, les déplace, les informe autrement, crève l’écran de l’écriture, et institue, dans la pratique compositionnelle, un sujet de l’écriture, une subjectivité autonome, c'est-à-dire musicale — voilà ce qu’il faut entendre par politique de l’écriture musicale. Que la musique génère des puissances capables d’anéantir tous les écrans qui s’interposent entre l’œuvre et l’auditeur, qu’un sujet de l’écoute
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Books on the topic "Stockhausen, Karlheinz, – 1928- – Influence"

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Maconie, Robin. The works of Karlheinz Stockhausen. 2nd ed. Clarendon Press, 1990.

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Stockhausen, Karlheinz. Stockhausen on music. Marion Boyars Publishers, 1989.

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Robin, Maconie, ed. Stockhausen on Music: Lectures and interviews. Marion Boyars, 1991.

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Stockhausen, Karlheinz. Stockhausen on music: Lectures and interviews. Boyars, 1989.

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Robin, Maconie, ed. Stockhausen on music: Lectures and interviews. M. Boyars, 1989.

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Other Planets: The Music of Karlheinz Stockhausen. The Scarecrow Press, Inc., 2005.

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Other Planets: The Complete Works of Karlheinz Stockhausen. Rowman & Littlefield Publishers, Incorporated, 2016.

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Nakai, You. Reminded by the Instruments. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190686765.001.0001.

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David Tudor (1926–1996) is remembered today in two guises: as an extraordinary pianist of postwar avant-garde music who worked closely with composers like John Cage and Karlheinz Stockhausen, influencing the development of graphic notation and indeterminacy; and as a spirited pioneer of live-electronic music who realized idiosyncratic performances based on the interaction of homemade modular instruments, inspiring an entire generation of musicians. However, the fact that Tudor himself did not talk or write much about what he was doing, combined with the esoteric nature of electronic circuits a
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MacOnie, Robin, and Karlheinz Stockhausen. Stockhausen on Music. Marion Boyars Publishers, 2000.

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Wierzbicki, James. Modernists. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040078.003.0009.

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This chapter demonstrates how when it comes to modernism in postwar America, the most influential European composers were the Frenchman Pierre Boulez, the Italians Luciano Berio and Luigi Nono, and the German Karlheinz Stockhausen. Being born between 1924 and 1928, all of them had seen their homelands torn by the clash of Allied and Axis forces, and they had been personally shaken by the violence that nearly brought the whole of European civilization crashing down around them. The Americans were slower to respond to the perceived need for a drastically new music than were the Europeans, and wh
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Book chapters on the topic "Stockhausen, Karlheinz, – 1928- – Influence"

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Franklin, M. I. "Re-Imagining Westphalia." In Sampling Politics. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190855475.003.0005.

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Chapter 5 focuses on a work from Karlheinz Stockhausen entitled Hymnen (Anthems). Stockhausen’s influence on the electronic music avant-garde, in classical and popular music domains, on those from his native Germany to the UK, the US, and elsewhere, is legendary. The techniques Stockhausen was refining were also being put to work by the Beatles, Miles Davis, and Frank Zappa, to name a few. Working with national anthems that are sampled and transformed, Hymnen is a landmark work that I argue is as much about “remembering” as it is a research-based experiment in the early years of electronic and acoustic sound transformation. This work, completed during 1960s, evokes the cold war years where space exploration, civil rights, and nuclear (dis)armament standoffs between the communist East and the capitalist West predominated. It is also the decade of Woodstock, political assassinations, civil rights, and antiwar movements in the US and around the world. Hymnen still has a lot to offer for contemporary explorations into the geopolitics of any music-politics nexus.
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