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Stockhausen Karlheinz:     more books (100)

Other Planets: The Music of Karlheinz Stockhausen by Robin Maconie, 2005-04 Stockhausen on Music: Lectures and Interviews by Karlheinz Stockhausen, Robin Maconie, 2000-09-01 The Works of Karlheinz Stockhausen by Robie MacOnie, 1981-07 Karlheinz Stockhausen Volume 1: German Language (Schott) Karlheinz Stockhausen-- wie die Zeit verging-- (Musik-Konzepte) (German Edition) by Herman Sabbe, 1981 Unsere Wagner: Joseph Beuys, Heiner Muller, Karlheinz Stockhausen, Hans Jurgen Syberberg : Essays (German Edition) Die Grundlegung der Musik Karlheinz Stockhausens (Beihefte zum Archiv fur Musikwissenschaft (AFMW-B)) (German Edition) by Christoph von Blumroder, 1993-12-01 Le reve de Lucifer de Karlheinz Stockhausen (La trace des silences) (French Edition) by Michel Rigoni, 2001 Kurzwellen von Karlheinz Stockhausen: Konzeption und musikalische Poiesis (Kolner Schriften zur neuen Musik) (German Edition) by Winrich Hopp, 1998 Sacrificium Intellectus: Das Opfer des Verstandes in der Kunst Karl-Heinz Stockhausens, Botho StrauÃ? und Anselm Kiefers by Christian Bauer, Towards a Cosmic Music by Karlheinz Stockhausen, 1990-06 Music of Stockhausen by Jonathan Harvey, 1975-03 STOCKHAUSEN: CONVERSATIONS WITH THE COMPOSER by JONATHAN COTT (EDITOR), 1974 Grand Street 56: Dreams (Spring 1996) by Jean Stein, Deborah Treisman, 1996-03-02

lists with details

1. Stockhausen,Karlheinz
   Stoker Richard stockhausen karlheinz (1928) segment of the super-formula for Light), Stockhausen's original notation, and Stephens' realization with fingering  
   http://www.woodwind.org/Databases/Composers/Names/009618.html

2. KARLHEINZ STOCKHAUSEN
   KARLHEINZ STOCKHAUSEN. ( photo courtesy of Stockhausen Verlag) More extensive information on KARLHEIZ STOCKHAUSEN. Return to COMPOSERS. All contents of these WWW pages Copyright ©19971999 Eyeneer Music Archives.  
   http://www.eyeneer.com/CCM/Composers/Stock

3. Karlheinz Stockhausen
   Karlheinz Stockhausen. Music and the Centers of Man. Each of us is, as you know, a person with many levels there are after all whole cultures which have differentiated them. I will tell you  
   http://newalbion.com/artists/stockhausenk
   
   Extractions: Each of us is, as you know, a person with many levels there are after all whole cultures which have differentiated them. I have a sexual center, three vital centers, two mental centers and a suprapersonal center. If I can perceive that, I have come far enough to have awoken seven different centers in myself. And with different things I can bring each center into vibration. I can set my sexual center in vibration with a certain sort of music, but with another music I can set my supranatural center in vibration. And I will add to that: have you perhaps gone far enough yet to discover which parts of a type of music, or which pieces of music, set which of your centers especially in vibration? There is also music that goes through all the centers: hence there are moments in which you are addressed in a purely sacred, a purely religious way; and other moments in which you are addressed purely sensually, purely erotically. That is pretty reckless music. One must be very strong to be able to experience that completely. Above all, this music must be exceptionally well balanced, fantastically composed. If it is not, then there are overloadings, and when one hears it one is overexcited in a certain way, and brought out of equilibrium. Hence it is naturally better if one hears music that draws one up higher than one is by nature. We are mostly pretty physical sacks, are we not all of us? Most of us spend most of our time on feeding ourselves, taking care of clothing and shelter, copulating and sleeping; primarliy satisfying physical desires, then. Now and again one reminds oneself: "We are spirits, and spirits should be connected with the superhuman, with the Cosmos, with God." Much music also serves for that! But such music is very rare today, extremely rare. Most music is just physical, and speaks to centers in us that belong more to the animal than to the superhuman (I mean here by "superhuman" what we are as spirits, when we are freed from flesh and bones).

4. Classical Net - Stockhausen Page Redirect
   Karlheinz Stockhausen. ( b. 1928 ) German composer of modern music, electronic music and operas. Ensemble Intercontemporain (Peter Eötvös, Cond.) Karlheinz Stockhausen, Dir. Samstag aus LICHT  
   http://www.classical.net/music/comp.lst/stockhsn.html

5. Karlheinz Stockhausen
   Karlheinz Stockhausen. Music and the Centers of Man. Each of us is, as you know, a person with many levels there are after all  
   http://www.newalbion.com/artists/stockhausenk/
   
   Extractions: Each of us is, as you know, a person with many levels there are after all whole cultures which have differentiated them. I have a sexual center, three vital centers, two mental centers and a suprapersonal center. If I can perceive that, I have come far enough to have awoken seven different centers in myself. And with different things I can bring each center into vibration. I can set my sexual center in vibration with a certain sort of music, but with another music I can set my supranatural center in vibration. And I will add to that: have you perhaps gone far enough yet to discover which parts of a type of music, or which pieces of music, set which of your centers especially in vibration? There is also music that goes through all the centers: hence there are moments in which you are addressed in a purely sacred, a purely religious way; and other moments in which you are addressed purely sensually, purely erotically. That is pretty reckless music. One must be very strong to be able to experience that completely. Above all, this music must be exceptionally well balanced, fantastically composed. If it is not, then there are overloadings, and when one hears it one is overexcited in a certain way, and brought out of equilibrium. Hence it is naturally better if one hears music that draws one up higher than one is by nature. We are mostly pretty physical sacks, are we not all of us? Most of us spend most of our time on feeding ourselves, taking care of clothing and shelter, copulating and sleeping; primarliy satisfying physical desires, then. Now and again one reminds oneself: "We are spirits, and spirits should be connected with the superhuman, with the Cosmos, with God." Much music also serves for that! But such music is very rare today, extremely rare. Most music is just physical, and speaks to centers in us that belong more to the animal than to the superhuman (I mean here by "superhuman" what we are as spirits, when we are freed from flesh and bones).

6. Classical Net - Basic Repertoire List - Stockhausen
   Karlheinz Stockhausen. ( b. 1928 ). A young Karlheinz Stockhausen can be spotted on the Beatles famous Sgt. Peppers Lonely Hearts Club Band album cover.  
   http://www.classical.net/music/comp.lst/stockhausen.html
   
   Extractions: Karlheinz Stockhausen ( b. 1928 ) German composer of modern music, electronic music and operas. He was initially influenced by the music of Anton Webern , and by serialism (a method of composing non-tonal music). He studied under Olivier Messiaen in 1952, and his early works, like Spiel and Kreuzspiel , show the influence of both these masters. He was one of the first composers to write electronic music, having first studied phonetics and information/communication theory at Bonn University. Kontakte is a compostion which includes a tape playback of electronic sounds which zip and swirl about via loudspeakers placed around the audience. The Klavierstücke (Piano pieces) start out using strict serial principles (Klavierstücke I - IV), but later become expansive (VI), exquisite (VII), and even dramatic (IX and X). Zyklus , for solo percussion, is written so that the performance can start on any page, and it may be read upside down, or from right to left, or not, as the performer chooses. Refrain is somewhat meditative with its rarefied, ringing chords of bell-like sonorities, and occasional tutti vocalizations by the three instrumentalists. The piece Mantra is written for two pianos, the sounds from which are modulated in real time by ring modulators. If you are not accustomed to dissonance

7. WIEM: Stockhausen Karlheinz
   stockhausen karlheinz (1928), kompozytor niemiecki. Muzyka, Niemcy stockhausen karlheinz (1928-). stockhausen karlheinz (1928-), kompozytor niemiecki.  
   http://wiem.onet.pl/wiem/00c62f.html
   
   Extractions: Stockhausen Karlheinz (1928-), kompozytor niemiecki. Studiowa³ w Hochschule für Musik w Kolonii oraz na tamtejszym uniwersytecie, 1952 przyby³ do Pary¿a, gdzie studiowa³ u  O. Messiaena i pracowa³ w studiu muzyki konkretnej przy francuskim radiu, 1953-1956 studiowa³ teoriê komunikacji i fonetykê u W. Meyera-Epplera na uniwersytecie w Bonn, od 1953 dzia³a³ równie¿ w Studiu Muzyki Elektronicznej Westdeutscher Rundfunk w Kolonii (1963-1975 dyrektor artystyczny). Od 1957 wyk³ada³ kompozycjê na Miêdzynarodowych Wakacyjnych Kursach Nowej Muzyki w Darmstadt. 1963 za³o¿y³ Kölner Kurse für Neue Musik. Jeden z pierwszych twórców muzyki elektronicznej . Komponowa³ pocz±tkowo w technice serialnej ( serializm ), pó¼niej zwróci³ siê ku muzyce aleatorycznej (

8. Compositeurs XXè Siècle - Stockhausen Karlheinz
   stockhausen karlheinz. Conseils sur stockhausen karlheinz sur le Web. Conseils sur musique sur le Web.  
   http://www.ciao.fr/Stockhausen_Karlheinz_70163_5

9. STOCKHAUSEN Karlheinz - KONTAKTE
   stockhausen karlheinz KONTAKTE. wergo *david tudor piano, percussion *christoph caskel percussion *karlheinz stockhausen electronic  
   http://www.web-malls.net/modernclassical/listings/103.html

10. STOCKHAUSEN Karlheinz - AUS DEN SIEBEN TAGEN
    Translate this page stockhausen karlheinz - AUS DEN SIEBEN TAGEN. harmonia mundi *aloys kontarsky piano *michel portal clarinet, basset horn, bass  
    http://www.web-malls.net/modernclassical/listings/105.html

11. Karlheinz Stockhausen - Wikipedia, The Free Encyclopedia
    Karlheinz Stockhausen. From Wikipedia, the free encyclopedia. right. Karlheinz Stockhausen (born August 22, 1928) is a contemporary composer.  
    http://en.wikipedia.org/wiki/Karlheinz_Stockhausen
    
    Extractions: Other languages: Deutsch Polski From Wikipedia, the free encyclopedia. Karlheinz Stockhausen (born August 22 ) is a contemporary composer Born in Burg Mödrath, near Cologne (German: Köln ), he studied at the Cologne Musikhochschule and University (1947-51), at Darmstadt in 1951 and with Olivier Messiaen in Paris (1951-53). From 1954 to 1956, at the University of Bonn , he studied phonetics, acoustics, and information theory and composition. After lecturing at the contemporary music seminars at Darmstadt (1957), Stockhausen gave lectures and concerts in Europe and North America. Stockhausen has worked with serial and electronic procedures, with spatial placements of sound sources (for example in his noted work Gesang der Jünglinge ), and with graphical notation. Stockhausen is unconcerned with musical tradition and his work is influenced by Messiaen and Anton Webern . He claims that he explores fundamental psychological and acoustic aspects of music. Despite his interest in electronic music he gives performers a large role in determining certain parameters of a composition. In

12. Stockhausen Karlheinz Infos - Auktionen - Links - Musik - Songtext - Noten - Dow
    Translate this page Die grosse deutsche Musik-Suchmaschine MusicHits.de bietet Infos, Links und mehr zu stockhausen karlheinz. stockhausen karlheinz.  
    http://www.musichits.de/Artists/S/Stockhausen_Karlheinz/

13. Stockhausen Karlheinz - Das Shoppingportal Im Internet. Verlgeichen Sie Die Prei
    Translate this page Internet. Nie war Shopping so günstig, einfach und billig stockhausen karlheinz. Stockhausen,Karlheinz (geb.1928) Kontak jpc  
    http://www.literatur-auktion.de/stockhausen_karlheinz.html
    
    Extractions: Zeitgenössische Musik mit Trompeten und Flügelhörnern Markus Stockhausen Marcus Trompeter Markus Stockhausen konzertiert weltweit mit seinen Trompeten und Flügelhörnern als Solist ... Besprechungen und Hörbeispiele runden die Internetpräsenz ab. markus stockhausen, trompete, trompetenmusik, intuitive musik, flügelhörner, orchester ... zavelberg, terje rypdal, arild andersen, patrice heral, dhafer youssef, karlheinz stockhausen, margareta hürholz, fabrizio ottaviucci, simon stockhausen ...

14. Stockhausen Karlheinz
    Translate this page impalcatura musicale che si esprime nel ciclo Licht, il cui completamento è previsto per il 2002. dschwerdtfeger@stockhausen.org.  
    http://www.mmt.it/database/Autori/khstock_c.htm
    
    Extractions: Dal 1957 dirige i Ferienkurse di Darmstadt, imponendosi come uno dei protagonisti della musica contemporanea. Radicalizza la lezione di Webern, progettando una estensione dei procedimenti seriali a tutti i parametri del suono. La sua indagine si rivolge inoltre ad una nuova concezione del tempo musicale.

15. Damiens Clarinette Solos Stravinski Igor Boulez Pierre Denisov Edison Stockhause
    Translate this page Damiens Clarinette Solos Stravinski Igor Boulez Pierre Denisov Edison stockhausen karlheinz Donatoni Franco Berio Luciano Damiens (Clarinette) Alain.  
    http://www.fergusons-deli.com/Stravinski-Igor-Boulez-Damiens-Clarinette-Solo-B99

16. STRADIVARIUS - Musica Classica
    Translate this page autore, titolo, registraz. interprete, direttore, SCRIABIN Alexander stockhausen karlheinz, Musica per piano (, 1910 59, FEINBERG ALAN (piano) NEUHAUS WILHELM (piano),  
    http://www.stradivarius.it/classica/Search.jsp?autore=STOCKHAUSEN Karlheinz

17. Stauckhausen
    Translate this page stockhausen karlheinz *1928. Le site Klavierstück X Ce site est consacré au Klavierstück X de Karlheinz Stockhausen. Il est  
    http://www.musicologie.org/Biographies/stockhausen.html
    
    Extractions: Le site du compositeur, http://www.stockhausen.org/ Ce site est consacré au Klavierstück X de Karlheinz Stockhausen. Il est le premier d'une série destinée à faciliter l'accès à la musique classique contemporaine. L'auditeur est malheureusement souvent dérouté à l'approche du répertoire classique d'aujourd'hui. Les repères rythmiques, harmoniques et mélodiques semblent avoir disparu et les pièces sont perçues comme autant de chaos sonores dénués d'expression. Pianiste durant 11 ans à l'Ensemble Intercontemporain, j'ai appris à connaître et aimer ce répertoire passionnément, et il m'a semblé utile de proposer aux mélomanes des guides musicaux disponibles avant, ou même après l'écoute sur disque ou en concert. Le prochain "i-atelier" sera consacré aux 5 Pièces pour piano opus 23 d'Arnold Schönberg. http://fboffard.free.fr/stock.html

18. Karlheinz Stockhausen Home Page
    stockhausen Interviewed by Jim Lauden (1960 s). stockhausen COURSES KÜRTEN 2004. stockhausen Courses Kürten 2004 Brochure (PDF 3.4 MB).  
    http://www.stockhausen.org/

19. Stockhausen, Karlheinz (1928 - )
    stockhausen, karlheinz (1928 ). stockhausen has been among the leading avant-garde figures in German music since the 1950s. In  
    http://www.hnh.com/composer/stockhau.htm
    
    Extractions: Stockhausen has been among the leading avant-garde figures in German music since the 1950s. In spite of material difficulties, he studied in Cologne with Frank Martin and was subsequently strongly influenced by attendance at Darmstadt, where summer sessions contributed largely to the development of new music. He went on to study with Messiaen in Paris. 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. Works The numbering of Stockhausen's works allows his earlier compositions the numbering of fractions, with his Kontre-Punkte of 1952 as the first whole number, No. 1. 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. Zyklus has an important part in modern percussion repertoire, while work continues on Licht, a project divided into seven days and involving dramatic use of instrumental performance. The size of this work, calculated to reach completion in 2002, is characteristic of the composer's Wagnerian tendencies. Instrumental and Vocal Music Of particular interest in the development of Stockhausen's ideas is Gruppen, first performed in 1958, and using three orchestras surrounding the audience. Use of short-wave radio occurs in Hymnen, Spiral and his celebration of the bicentenary of Beethoven's birth, Kurzwellen mit Beethoven (Short-Wave with Beethoven). Aus den sieben Tagen (From the Seven Days), a series of fifteen compositions, is written without notes but with verbal directions to performers, on whose particular imagination and ability he as so often relies. His continuing work Licht (Light) allows a significant dramatic element for solo trumpet in Donnerstag (Thursday), but all in all the comprehensive nature of Stockhausen's work and its development over the last forty years defy succinct summary.

20. Karlheinz Stockhausen
    Classical Music Pages biographical essay with study of his influences from The Grove Concise Dictionary of Music.  
    http://w3.rz-berlin.mpg.de/cmp/stockhausen.html
    
    Extractions: Country: Germany Detailed Information about Introduction He studied with Martin at the Cologne Musikhochschule (1947-51), but the decisive stimulus came from his encounter with Messiaen 's Mode de valeurs at Darmstadt in 1951 . There he saw possibilities of long-range serial process which he pursued in Kreuzspiel (1951) and KontraPunkte (1952), both for piano-based ensemble. The latter piece was written during a period of study with Messiaen in Paris, and while there he made a first essay in electronic music. On returning to Cologne he continued this activity, notably in for vocal and synthesized sounds on tape (1956). At the same time, he pursued the ramifications of serial instrumental music in a cycle of 11 piano pieces (1956), in for wind quintet (1956) and in Gruppen for three orchestras (1957). In all these scores he began working with large groups of notes rather than with the isolated points that the avant garde had inherited from Webern and Messiaen. He also concerned himself with abstract processes and discoursed on these in a series of articles and in his teaching at Darmstadt, where he first lectured in 1953: his influence extended over a whole generation of European composers, including such contemporaries as

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