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Studie II
''Studie II'' () is an electronic music composition by Karlheinz Stockhausen from the year 1954 and, together with his ''Studie I'', comprises his work number ("opus") 3. It is serially organized on all musical levels and was the first published score of electronic music. History The composition was provisionally titled ''Bewegungen'' (Motions), but the name was later changed to ''Studie II''. It was commissioned by what was then the NWDR, in whose Studio für elektronische Musik in Cologne the piece was created. The world premiere took place in Cologne on 19 October 1954 in the concert series Musik der Zeit, together with Stockhausen's ''Studie I'' and works by Henri Pousseur, Karel Goeyvaerts, Herbert Eimert, and Paul Gredinger. In contradistinction to musique concrète, Stockhausen wanted no longer "to use any electronic acoustic sources, with the sound spectra already built up (Melochord, Trautonium), but only produced from the pure tones of a frequency generator ("pure" note ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Electronic Music
Electronic music is a genre of music that employs electronic musical instruments, digital instruments, or circuitry-based music technology in its creation. It includes both music made using electronic and electromechanical means ( electroacoustic music). Pure electronic instruments depended entirely on circuitry-based sound generation, for instance using devices such as an electronic oscillator, theremin, or synthesizer. Electromechanical instruments can have mechanical parts such as strings, hammers, and electric elements including magnetic pickups, power amplifiers and loudspeakers. Such electromechanical devices include the telharmonium, Hammond organ, electric piano and the electric guitar."The stuff of electronic music is electrically produced or modified sounds. ... two basic definitions will help put some of the historical discussion in its place: purely electronic music versus electroacoustic music" ()Electroacoustic music may also use electronic effect units to ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Octave
In music, an octave ( la, octavus: eighth) or perfect octave (sometimes called the diapason) is the interval between one musical pitch and another with double its frequency. The octave relationship is a natural phenomenon that has been referred to as the "basic miracle of music," the use of which is "common in most musical systems." The interval between the first and second harmonics of the harmonic series is an octave. In Western music notation, notes separated by an octave (or multiple octaves) have the same name and are of the same pitch class. To emphasize that it is one of the perfect intervals (including unison, perfect fourth, and perfect fifth), the octave is designated P8. Other interval qualities are also possible, though rare. The octave above or below an indicated note is sometimes abbreviated ''8a'' or ''8va'' ( it, all'ottava), ''8va bassa'' ( it, all'ottava bassa, sometimes also ''8vb''), or simply ''8'' for the octave in the direction indicated by placing ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Robin Maconie
Robin John Maconie (born 22 October 1942) is a New Zealand composer, pianist, and writer. Born in Auckland, New Zealand, Maconie studied with Frederick Page and Roger Savage at the Victoria University of Wellington, receiving a Master of Arts in the History and Literature of Music in 1964. He studied analysis with Olivier Messiaen in 1963–64 at the Paris Conservatoire, and in 1964–65 studied composition for film and radio under Bernd Alois Zimmermann, and electronic music under Herbert Eimert at the Cologne Conservatory. He also studied composition with Karlheinz Stockhausen, Henri Pousseur, and Luc Ferrari at the Second Cologne Courses for New Music at the , also in Cologne, as well as piano with Aloys Kontarsky, conducting with Herbert Schernus, and information science with Georg Heike. Following a temporary lectureship at the University of Auckland, New Zealand, in 1967–69, Maconie emigrated to England to study for a Ph.D in the Psychology of Music at Southampton Univers ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bernd Enders
Bernd Enders (born 9 September 1947) is a German musicologist and from 1994 until his emeritus in 2015, University Professor for Systematic Musicology at the University of Osnabrück. Life Born in Siegen, Enders studied at the and at the Hochschule für Musik und Tanz Köln. He graduated with a state examination in several subjects. In 1980 Enders received his doctorate in musicology, philosophy and pedagogy at the University of Cologne and began his teaching career as Studienrat. Since 1981 he was a lecturer in the field of music/musicology at the University of Osnabrück where he received his habilitation in 1986. From 1992 to 1994, Enders was professor at the Musicological Institute of the University of Cologne (''Music in the 20th Century'') and since 1994 he has been professor of systematic musicology at the University of Osnabrück (''Institut für Musikwissenschaft und Musikpädagogik'') with a focus on music electronics / musical computer science. Enders has publish ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hans Heinrich Eggebrecht
Hans Heinrich Eggebrecht (5 January 1919 – 30 August 1999) was a German musicologist and professor of historical musicology at the Albert-Ludwigs-Universität in Freiburg. Life Eggebrecht was born in Dresden. His father was a Protestant minister and since 1929 superintendent in Prussian Schleusingen and early on sympathized with political right-wing movements. In 1933 he joined the German Christians. At the beginning of his studies in 1937/38 at the in Hirschberg Eggebrecht was a member of the National Socialist German Students' League (NSDStB) and was temporarily active as a music consultant for Hitler Youth. With the beginning of the war he interrupted his music studies. After the military basic training he was transferred in February 1940 to the Feldgendarmerie. According to Claudia Zenck, who evaluated the estate in the Freiburg University Archive, he was only fit for service to a limited extent, also used every opportunity to make music during his training and afterwar ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Archiv Für Musikwissenschaft
The ''Archiv für Musikwissenschaft'' is a quarterly German-English-speaking trade magazine devoted to music history and historical musicology, which publishes articles by well-known academics and young scholars. It was founded in 1918 as the successor of the ''Sammelbände der Internationalen Musikgesellschaft'' by Max Seiffert, Johannes Wolf and Max Schneider, who were also the first editors. It was under the patronage of the Fürstliches Institut für musikwissenschaftliche Forschung zu Bückeburg. The first two volumes 1918/1919 and 1919/1920 were published by Breitkopf & Härtel, then the volumes 1921 to 1926 by . With the 8th volume the publication of the journal was stopped in 1927, but resumed in 1952 with the 9th volume. Publisher of the quarterly was Wilibald Gurlitt (in connection with Heinrich Besseler, Walter Gerstenberg and Arnold Schmitz), who assigned the editorship to Hans Heinrich Eggebrecht. With the 19th/20th volume 1962/1963 the Archive for Musicology was ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Christoph Von Blumröder
Christoph von Blumröder (born 18 July 1951) is a German musicologist. Career Born in Northeim, Blumröder studied musicology at the Albert-Ludwigs-Universität Freiburg in Breisgau with Hans Heinrich Eggebrecht, philosophy and history of the . After his doctorate in 1979, Blumröder was a research assistant at the ' (1972–2006). From 1980 Blumröder also taught at the university there, where he received his habilitation in 1990. After assistant professorships at the University of Bonn in the winter semester of 1991/92 and at the Saarland University in the summer semester of 1995, he accepted an appointment as professor for contemporary music at the Musicological Institute of the University of Cologne in the winter semester of 1996/97. There he founded the cycles of events ''Composition and Musicology in Dialogue'' (1997) and ''Space Music'' (1998) as well as the publication series ''Signale aus Köln. Beiträge zur Musik der Zeit'' and was elected chairman of the associatio ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Telemusik
''Telemusik'' is an electronic composition by Karlheinz Stockhausen, and is number 20 in his catalog of works. History Through his composition student, Makoto Shinohara, Stockhausen was invited by the Japan Broadcasting Corporation NHK to visit Tokyo, and to carry out two commissions in their electronic music studio, in connection with the 50th anniversary of the founding of NHK in 1965. Because of other commitments, Stockhausen was unable to meet this schedule but finally, under pressure from Tokyo, he flew to Japan on 19 January 1966. According to a note in the score, ''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 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ring Modulation
In electronics, ring modulation is a signal processing function, an implementation of frequency mixing, in which two signals are combined to yield an output signal. One signal, called the carrier, is typically a sine wave or another simple waveform; the other signal is typically more complicated and is called the input or the modulator signal. A ring modulator is an electronic device for ring modulation. A ring modulator may be used in music synthesizers and as an effects unit. The name derives from the fact that the analog circuit of diodes originally used to implement this technique takes the shape of a ring: a diode ring. The circuit is similar to a bridge rectifier, except that instead of the diodes facing left or right, they face clockwise or counterclockwise. Ring modulation is quite similar to amplitude modulation, with the difference that in the latter the modulator is shifted to be positive before being multiplied with the carrier, while in the former the unshifted ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mikrophonie (Stockhausen)
''Mikrophonie'' is the title given by Karlheinz Stockhausen to two of his compositions, written in 1964 and 1965, in which "normally inaudible vibrations ... are made audible by an active process of sound detection (comparable to the auscultation of a body by a physician); the microphone is used actively as a musical instrument, in contrast to its former passive function of reproducing sounds as faithfully as possible". Together with Stockhausen's immediately preceding work ''Mixtur'', for five orchestra groups, four sine-wave generators, four ring modulators, they form a triptych of live-electronic works, where electronic transformations are accomplished during the performance (as opposed to studio-produced electronic music on tape). Similar to a group of three of the composer's works from the previous decade, ''Gruppen'', ''Zeitmaße'', and ''Gesang der Jünglinge'', there is one work each for orchestral, chamber, and vocal forces. Derivation of the term Stockhausen uses the t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mixtur
''Mixtur'', for orchestra, 4 sine-wave generators, and 4 ring modulators, is an orchestral composition by the German composer Karlheinz Stockhausen, written in 1964, and is Nr. 16 in his catalogue of works. It exists in three versions: the original version for full orchestra, a reduced scoring made in 1967 (Nr. 16), and a re-notated version of the reduced scoring, made in 2003 and titled ''Mixtur 2003'', Nr. 16. History ''Mixtur'' is one of the earliest compositions for orchestra with live electronics, and is amongst the first compositions using live-electronic techniques generally. The original version for large orchestra was premiered on 9 November 1965 at the Norddeutscher Rundfunk, Hamburg. The version for reduced orchestra was premiered in the large broadcasting hall of the Hessischer Rundfunk, Frankfurt am Main, as part of the Darmstädter Ferienkurse on 23 August 1967 by the Ensemble Hudba Dneska conducted by Ladislav Kupkovič, to whom this version is d ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gottfried Michael Koenig
Gottfried Michael Koenig (5 October 1926 – 30 December 2021) by Roland Kuit, , 4 January 2022 was a contemporary German-Dutch composer. Biography Born in , Koenig studied in at the , , |
