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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] |
Serialism
In music, serialism is a method of Musical composition, composition using series of pitches, rhythms, dynamics, timbres or other elements of music, musical elements. Serialism began primarily with Arnold Schoenberg's twelve-tone technique, though some of his contemporaries were also working to establish serialism as a form of atonality, post-tonal thinking. Twelve-tone technique orders the twelve notes of the chromatic scale, forming a tone row, row or series and providing a unifying basis for a composition's melody, harmony, structural progressions, and variation (music), variations. Other types of serialism also work with set (music), sets, collections of objects, but not necessarily with fixed-order series, and extend the technique to other musical dimensions (often called "parameter (music), parameters"), such as duration (music), duration, Dynamics (music), dynamics, and timbre. The idea of serialism is also applied in various ways in the visual arts, design, and architectu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Phasing
A phaser is an electronic sound processor used to filter a signal, and it has a series of troughs in its frequency-attenutation graph. The position (in Hz) of the peaks and troughs are typically modulated by an internal low-frequency oscillator so that they vary over time, creating a sweeping effect. Phasers are often used to give a "synthesized" or electronic effect to natural sounds, such as human speech. The voice of C-3PO from ''Star Wars'' was created by taking the actor's voice and treating it with a phaser. Process The electronic phasing effect is created by splitting an audio signal into two paths. One path treats the signal with an all-pass filter, which preserves the amplitude of the original signal and alters the phase. The amount of change in phase depends on the frequency. When signals from the two paths are mixed, the frequencies that are out of phase will cancel each other out, creating the phaser's characteristic notches. Changing the mix ratio changes the d ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Für Kommende Zeiten
''Für kommende Zeiten'' (For Times to Come) is a collection of seventeen text compositions by Karlheinz Stockhausen, composed between August 1968 and July 1970. It is a successor to the similar collection titled '' Aus den sieben Tagen'', written in 1968. These compositions are characterized as " Intuitive music"—music produced primarily from the intuition rather than the intellect of the performer(s). It is work number 33 in Stockhausen's catalog of works, and the collection is dedicated to the composer's son Markus. History Unlike the fifteen texts of ''Aus den sieben Tagen'', which were all written in a short span of time, the seventeen components of ''Für kommende Zeiten'' were written in four groups of texts, over a period of two years. The first five pieces were written in August 1968 (the fourth text, ''Über die Grenze'' on 13 August), as examples for the students in Stockhausen’s composition seminar at the Darmstädter Ferienkurse. The sixth text, ''Intervall'', wa ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Aus Den Sieben Tagen
''Aus den sieben Tagen'' (From the Seven Days) is a collection of 15 text compositions by Karlheinz Stockhausen, composed in May 1968, in reaction to a personal crisis, and characterized as "Intuitive music"—music produced primarily from the intuition rather than the intellect of the performer(s). It is Work Number 26 in the composer's catalog of works. History The seven days of the title were 7–13 May 1968. Although this coincided with the beginning of the May 1968 protests and general strike in Paris, Stockhausen does not appear to have been aware of them at the time. These texts were written at Stockhausen's home in Kürten during the first five of those days, at night or late in the evening. During daylight hours, including the remaining two days, Stockhausen wrote "many poems," as well as reading Satprem's book on Sri Aurobindo, and experienced "many extraordinary things". Some of the poems appear in Stockhausen's third volume of ''Texte zur Musik''. The first of the pi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Intuitive Music
Intuitive music is a form of musical improvisation based on instant creation in which fixed principles or rules may or may not have been given. It is a type of process music where instead of a traditional music score, verbal or graphic instructions and ideas are provided to the performers. The concept was introduced in 1968 by the German composer Karlheinz Stockhausen, with specific reference to the collections of text-notated compositions '' Aus den sieben Tagen'' (1968) and ''Für kommende Zeiten'' (1968–70). The first public performance of intuitive-music text compositions, however, was in the collective work '' Musik für ein Haus'', developed in Stockhausen's 1968 Darmstadt lectures and performed on 1 September 1968, several months before the first realisations of any of the pieces from ''Aus den sieben Tagen''. Intuitive music may appear to be synonymous with free improvisation or with improvised playing within open composition forms, but the collectively intuitive aspect, ... [...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] |
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] |
Prozession
''Prozession'' (Procession), for tamtam, viola, electronium, piano, microphones, filters, and potentiometers (six performers), is a composition by Karlheinz Stockhausen, written in 1967. It is Number 23 in the catalogue of the composer's works. Conception ''Prozession'' 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 ''Prozession'', the performers choose material from specific earlier compositions by Stockhausen. In the subsequent companion works, '' Kurzwellen'' for six performers, '' Spiral'' for a soloist, ''Pole'' for two, and ''Expo'' for three, this material is to be drawn spontaneously during the performance from short-wave radio broadcasts. The processes, indicated primarily by plus, minus, and ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Plus-Minus (Stockhausen)
''Plus-Minus'', 2 × 7 pages for realisation, is a composition for one or several performers by Karlheinz Stockhausen, first written in 1963 and redrafted in 1974. It is Nr. 14 in the composer's catalogue of works, and has a variable performing length that depends on the version worked out from the given materials. The score is dedicated to Mary Bauermeister. History ''Plus-Minus'' is a " polyvalent process composition", designed as a project for the composition students attending the first Cologne Courses for New Music, held at the in October to December 1963. In it, various compositional premises of Stockhausen's are presented in such a way as to enable the most radically different concrete results. ''Plus-Minus'' was composed in September 1963 while Stockhausen was in Siculiana, preparing for what proved to be an aborted performance of ''Momente'' at the Palermo Festival: The piece represents an extreme instance of the new, open type of composition Stockhausen was develo ... [...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] |
Kreuzspiel
(Crossplay) is a composition by Karlheinz Stockhausen written for oboe, bass clarinet, piano and four percussionists in 1951 (it was later revised for just three percussionists, along with other changes). It is assigned the number 1/7 in the composer's catalogue of works. History Stockhausen regarded ''Kreuzspiel'' as his first original composition, as opposed to the style-imitation exercises he did as part of his music studies. According to the composer, it was influenced by Olivier Messiaen's " Mode de valeurs et d'intensités" (1949) and Karel Goeyvaerts's Sonata for Two Pianos (1950), and is one of the earliest examples of "point" music. ''Kreuzspiel'' was premièred at the Darmstädter Ferienkurse in the summer of 1952, conducted by the composer. According to Stockhausen, the performance "ended in a scandal". Analysis ''Kreuzspiel'' has been analysed in print more often than any other work by Stockhausen, though all but one restrict themselves to just the first of its thre ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
