|
Kurzwellen
''Kurzwellen'' (Short Waves), for six players with shortwave radio receivers and live electronics, is a composition by Karlheinz Stockhausen, written in 1968. It is Number 25 in the catalog of the composer's works. Conception ''Kurzwellen'' 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 ''Kurzwellen'' and three subsequent works (''Spiral'' for a soloist, ''Pole'' for two, and ''Expo'' for three), this material is to be drawn spontaneously during the performance from shortwave radio broadcasts. While this separate treatment of the genetic rules for development had existed in Stockhausen's earlier compositions, the emphasis on the process of transformation and less specificity of what is to be transfo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Spiral (Stockhausen)
''Spiral'' (Spiral dj. Spirally), for a soloist with a shortwave receiver, is a composition by Karlheinz Stockhausen, written in 1968. It is Number 27 in the catalogue of the composer's works. Conception ''Spiral'' 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 ''Spiral'' and three companion works ('' Kurzwellen'' for six performers, ''Pole'' for two, and ''Expo'' for three), this material is to be drawn spontaneously during the performance from shortwave radio broadcasts. The processes, indicated primarily by plus, minus, and equal signs, constitute the composition and, despite the unpredictability of the materials, these processes can be heard from one performance to another as being "the same". ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Process Music
Process music is music that arises from a process. It may make that process audible to the listener, or the process may be concealed. Primarily begun in the 1960s, diverse composers have employed divergent methods and styles of process. "A 'musical process' as Christensen defines it is a highly complex dynamic phenomenon involving audible structures that evolve in the course of the musical performance ... 2nd order audible developments, i.e., audible developments within audible developments". These processes may involve specific systems of choosing and arranging notes through pitch and time, often involving a long term change with a limited amount of musical material, or transformations of musical events that are already relatively complex in themselves. Steve Reich defines process music not as, "the process of composition but rather pieces of music that are, literally, processes. The distinctive thing about musical processes is that they determine all the note-to-note (sound-to ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pole (Stockhausen)
''Pole'' (Poles), for two performers with shortwave radio receivers and a sound projectionist, is a composition by Karlheinz Stockhausen, written in 1970. It is Number 30 in the catalogue of the composer's works. Conception ''Pole'' is the last in a series of works dating from the late 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 ''Pole'' and three companion works (''Kurzwellen'' for six performers, ''Spiral'' for a soloist, and ''Expo'' for three), this material is to be drawn spontaneously during the performance from shortwave radio broadcasts. The processes, indicated primarily by plus, minus, and equal signs, constitute the composition and, despite the unpredictability of the materials, these processes can be heard from one performance ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Expo (Stockhausen)
''Expo'', for three performers with shortwave radio receivers and a sound projectionist, is a composition by Karlheinz Stockhausen, written in 1969–70. It is Number 31 in the catalogue of the composer's works. Conception ''Expo'' is the penultimate in a series of works dating from the late 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 ''Expo'' and three companion works (''Kurzwellen'' for six performers, ''Spiral'' for a soloist, and ''Pole'' for two), this material is to be drawn spontaneously during the performance from short-wave radio broadcasts. The processes, indicated primarily by plus, minus, and equal signs, constitute the composition and, despite the unpredictability of the materials, these processes can be heard from one performa ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Litanei 97
(Litany 97) is a choral composition by Karlheinz Stockhausen, written in 1997. Although the words are taken from the text-composition cycle ''Aus den sieben Tagen'' and the conductor sings and plays elements from the Michael formula used in the composer's ''Licht'' cycle of operas, it is an independent work assigned the number 74 in Stockhausen's catalogue of works. It lasts about twenty minutes in performance. History ''Litanei 97'' was composed in 1997 for the Europäisches Musikfest für geistliche Musik, a European festival of sacred music organised by Ewald Liske and held in Schwäbisch Gmünd. The world premiere took place on 26 July 1997 in the , with Rupert Huber conducting the choir of the Südwestrundfunk (SWR)—the same performers who had premiered Stockhausen's '' Welt-Parliament'' the preceding year, and would premiere ''Michaelion'' in 1998. The first recording was made under the same conductor, but with a different choir, the SWR Vokalensemble, at the Villa Berg ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Karlheinz Stockhausen
Karlheinz Stockhausen (; 22 August 1928 – 5 December 2007) was a German composer, widely acknowledged by critics as one of the most important but also controversial composers of the 20th and early 21st centuries. He is known for his groundbreaking work in electronic music, for introducing controlled chance ( aleatory techniques) into serial composition, and for 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 s ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Live Electronic Music
Live electronic music (also known as live electronics) is a form of music that can include traditional electronic sound-generating devices, modified electric musical instruments, hacked sound generating technologies, and computers. Initially the practice developed in reaction to sound-based composition for fixed media such as musique concrète, electronic music and early computer music. Musical improvisation often plays a large role in the performance of this music. The timbres of various sounds may be transformed extensively using devices such as amplifiers, filters, ring modulators and other forms of circuitry. Real-time generation and manipulation of audio using live coding is now commonplace. History 1800s–1940s Early electronic instruments Early electronic instruments intended for live performance, such as Thaddeus Cahill's Telharmonium (1897) and instruments developed between the two world wars, such as the Theremin (1919), Spharophon (1924), ondes Martenot (1928), and t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Shortwave Radio
Shortwave radio is radio transmission using shortwave (SW) radio frequencies. There is no official definition of the band, but the range always includes all of the high frequency band (HF), which extends from 3 to 30 MHz (100 to 10 metres); above the medium frequency band (MF), to the bottom of the VHF band. Radio waves in the shortwave band can be reflected or refracted from a layer of electrically charged atoms in the atmosphere called the ionosphere. Therefore, short waves directed at an angle into the sky can be reflected back to Earth at great distances, beyond the horizon. This is called skywave or "skip" propagation. Thus shortwave radio can be used for communication over very long distances, in contrast to radio waves of higher frequency, which travel in straight lines ( line-of-sight propagation) and are limited by the visual horizon, about 64 km (40 miles). Shortwave broadcasts of radio programs played an important role in the early days of radi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jerome Kohl
Jerome Joseph Kohl (November 27, 1946 – August 4, 2020) was an American musicologist, academic journal editor, and recorder teacher. A music theorist at the University of Washington, he became recognized internationally as an authority on the music of Karlheinz Stockhausen. Kohl was also a contributor at Wikipedia (a "Wikipedian"). Life and work Kohl grew up in Lincoln, Nebraska, with three siblings. During high school and college, he played the clarinet in the local symphony orchestra. He received his undergraduate, and in 1971, his master's degree in music from the University of Nebraska. Drafted into the army, he played in an army band during the Vietnam War. Afterwards, he started his doctoral studies in music theory at the University of Washington in Seattle. In the 1970s, Kohl joined the Seattle Recorder Society, attending and running classes at their meetings, as well as teaching privately. In 1976, Kohl co-founded and became the board president of the Early Music Guil ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Péter Eötvös
Péter Eötvös ( hu, Eötvös Péter, ; born 2 January 1944) is a Hungarian composer, conductor and teacher. Eötvös was born in Székelyudvarhely, Transylvania, then part of Hungary, now Romania. He studied composition in Budapest and Cologne. From 1962, he composed for film in Hungary. Eötvös played regularly with the Stockhausen Ensemble between 1968 and 1976. He was a founding member of the Oeldorf Group in 1973, continuing his association until the late 1970s. From 1979 to 1991, he was musical director and conductor of the Ensemble InterContemporain (EIC). From 1985 to 1988, he was principal guest conductor of the BBC Symphony Orchestra. Early life As a child, Eötvös received a thorough musical education, including works by Béla Bartók. He felt a strong link between Hungarian grammar and Bartók's music, claiming that the specific "Hungarian" interpretations of music by Bartók and Kodály (as well as other Hungarian conductors such as Szell, Fricsay, Ormandy, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mesías Maiguashca
Mesías Maiguashca (born 24 December 1938) is an Ecuadorian composer and an advocate of '' Neue Musik'' (New Music), especially electroacoustic music. Biography Born in Quito, Maiguashca studied music at the Conservatorio Nacional de Quito, at the Eastman School of Music in Rochester, New York (1958–65), with Alberto Ginastera at the Instituto di Tella in Buenos Aires, and at the Hochschule für Musik in Cologne. In 1965–66 he returned to Quito to teach at the National Conservatory, but then moved back to Germany to attend the Internationale Ferienkurse für Neue Musik in Darmstadt, and the Fourth Cologne Courses for New Music in 1966–67 where he studied with Karlheinz Stockhausen. He is regarded as one of the central figures of the Cologne School, active since the mid-1970s. Maiguashca worked closely with Stockhausen in the Electronic Music Studio of the Westdeutscher Rundfunk in Cologne from 1968 to 1972, and joined Stockhausen's ensemble for performances at the German ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Paul Méfano
Paul Méfano (March 6, 1937 – September 15, 2020), was a French composer and conductor. Biography Paul Méfano was born in Basra, Iraq. He pursued musical studies at the École Normale de Musique de Paris, and then later at the Paris Conservatory (CNSMP), where he was a student of Andrée Vaurabourg-Honegger, Darius Milhaud, and Georges Dandelot. He completed his studies in Basel at the courses taught by Pierre Boulez, Karlheinz Stockhausen, and Henri Pousseur. He regularly attended the concerts of the Domaine Musical, as well as the seminars at Darmstadt, and enrolled in Olivier Messiaen's class at the CNSMP. Messiaen described Méfano as "restless, intense, and always in search of radical solutions". In 1965 his music was performed publicly for the first time, at the Domaine Musical under the baton of Bruno Maderna. From 1966 to 1968 he lived in the United States, and then in 1969 he moved to Berlin at the invitation of the German Academic Exchange Service (DAAD). In 1970 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
