Academic literature on the topic 'Stockhausen, Karlheinz, 1928-2007 Philosophy'

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 segmentado como si se tratara de un museo de arte. Finalmente su ópera Licht, Die Sieben tage der Woche específicamente en la tercera sección Helikopter–Streichquartett (1993) pieza en la que por primera vez se usó el aire como espacio para la interpretación musical, con la ayuda de helicópteros.

Travelling the space-ways, two figures. One from Saturn, one from Sirius: brought together in a speculative conversation that crosses space and time. A message to Earth: ‘Get your house in order!’ Sun Ra (1914–1993) wrote extensively throughout his life. Of his over 350 prose-poems, nearly half are directly concerned with exploring concepts of meta-reality, astro-Black identity, and lost time via the coming and consequences of ‘the cosmic age’. For Karlheinz Stockhausen (1928–2007), the ‘astro’ played out through the interpenetration of the micro and the macro in text and music. Interplanetary vibrations mingle with earthly micro-particles, the celestial and the fantastic combine in music’s transformative ability to bring profound change. Using a combination of Jacques Derrida’s (1930–2004) deconstructive technique of the animadversion, and the interview ‘cut-up’, as employed by Christian Marclay (b. 1955), this provocation will take the form of a ‘sampled cosmic conversation’ of Ra and Stockhausen’s own words.

L'évolution de la musique savante au XXème siècle a mis en avant la spatialité en tant que qualité inhérente à la musique, à sa composition et à sa saisie mentale. Depuis Debussy et Schönberg la perception spatiale devient un élément essentiel de la perception musicale. Cette « spatialisation » atteint son apogée dans l'avant-garde des années 1950-60, où elle s'impose sur tous les plans – des techniques d'écriture jusqu'à l'intégration de l'espace physique dans la composition. Dans cette thèse, les composantes spatiales de la musique sont étudiées du point de vue phénoménologique, qui se focalise particulièrement sur l'expérience esthétique. L'appareil conceptuel développé permet d'interpréter les spécificités de l'espace musical dans divers contextes stylistiques. La notion d'espace musical est présentée en cinq grandes catégories : espace quasi-géométrique (« espace de formes »), matière sonore (« espace-matière »), espace énergétique, espace physique, espace à grande échelle (espace « temporel »). L'examen de ces catégories passe par des réflexions sur le temps musical (notamment, sur la narrativité et la linéarité), sur le phénomène de geste expressif (abordé entre autres sous l'éclairage de la théorie de l'intonation de B. Assafiev), ainsi que sur les implications de la philosophie bergsonienne. La partie théorique générale est suivie de trois essais consacrés à l'oeuvre de Karlheinz Stockhausen, Iannis Xenakis et György Ligeti dans les années 1950-60. L'analyse des propriétés de l'espace musical dans ce corpus débouche sur des considérations liées aux fondements esthétiques et stylistiques de l'art de chaque compositeur et aux stratégies d'écoute impliquées par leurs musiques
The evolution of art music in the 20th century highlighted spatiality as an inherent quality of music, its composition and its mental conception. Since Debussy and Schönberg, spatial perception has become an essential element of musical perception. This « spatialisation » reached its peak in the avant-garde of the 1950s and 1960s, where it was present on all levels – from writing techniques to the integration of physical space in composition. In this thesis, music's spatial components are studied from a phenomenological point of view, which focuses particularly on the aesthetic experience. A developed conceptual tool allows the specificities of musical space to be interpreted in different stylistic contexts. The notion of musical space is presented in five broad categories : quasi-geometric space, sound as matter, energetic space, physical space, large-scale (« temporal ») space. These categories are studied by considerations on musical time (notably narrativity and linearity), the phenomenon of the expressive gesture (especially in the light of B. Assafiev's theory of intonation), as well as the implications of Bergson's philosophy. The general theoretical part is followed by three essays devoted to the work of Karlheinz Stockhausen, Iannis Xenakis and György Ligeti in the 1950s and 1960s. Analysing the musical space properties within this corpus results in reflections on the aesthetic and stylistic basis of each composer's work and the listening strategies implicated by their music

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
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, the achievement of such a conquest of new forms ended up bursting the language that had been at their origin. Demonstrative analysis through Momente, from Karlheinz Stockausen

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. Notre thèse, principalement centrée sur le livret de Licht, a pour but d'étudier les éléments autobiographiques et les relations intertextuelles présents tout au long des opéras, afin de cerner les éléments d'unification au sein du cycle. La première partie de cette thèse est consacrée à une présentation générale du projet de Licht, du livret et des personnages. Le cycle s'inscrit en effet dans la continuité de l'œuvre de Stockhausen, notamment des pièces construites sur le principe d'une formule et de celles faisant appel à un propos extra-musical. S'ensuit une étude de la dimension autobiographique des opéras. Dans cette partie, nous établissons tout particulièrement le lien entre la volonté de délivrer un message universel, cosmique intemporel, et l'évocation des souvenirs, des voyages et des influences du compositeur. Enfin, notre étude se clôt par une analyse de la dimension religieuse, philosophique et ésotérique du cycle. Stockhausen a en effet été profondément influencé par les cultures et religions asiatiques, notamment d'Inde et du Japon. À ces influences viennent s'ajouter la Bible, ainsi que l'ésotérisme et l'influence prégnante de divers courants et ouvrages néo-chrétiens, en particulier celle du Livre d'Urantia. Sous un argument centré sur les relations entre les trois principaux protagonistes, Licht devient ainsi un résumé de la vie et de l'œuvre de Stockhausen
Licht. Die sieben Tage der Woche (1977-2003) is a cycle of seven operas composed by Karlheinz Stockhausen (1928-2007) who also wrote the libretto. The main topic of the cycle is the cyclical fulfilment of the destiny of three spirits – Michael, Eva and Luzifer – whose destiny is related to the characteristics of each of the seven days of the week. A multitude of events will however be added to the main story, making the progress of the action sometimes difficult to understand. Our thesis, mainly focused on the libretto, aims at studying the autobiographical elements and the intertextual relationships throughout each opera in order to identify the elements of unity into the cycle. The first part of this thesis is dedicated to a general presentation of the Licht project and to the libretto and characters’ introduction. The cycle follows indeed in the footsteps of Stockhausen’s work, including parts based on the principle of a formula and those appealing an extra-musical theme. A study of the autobiographical dimension of the operas follows. In this part, we particularly establish the link between the desire to deliver a universal, cosmic and timeless message and the evocation of the composer’s memories, travels and influences. Finally, our work closes with an analysis of the religious, philosophical and esoteric dimensions of the cycle. Stockhausen has indeed been deeply influenced by the Asian cultures and religions, in particular from India and Japan. There are other influences like The Bible, but also esotericism and the significant influence of many new-Christian movements and books like the Urantia Book. Under the guise of focusing on the relationships between the three main characters, Licht becomes a summary of Stockhausen’s life and work

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Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)
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 seriais, tal como ocorre nas primeiras obras, e outros situados em um âmbito mais alargado de possibilidades, onde os primeiros preceitos são remodelados e estendidos. Sob estas asserções proponho diálogos que versem sobre os vários desdobramentos da organização do discurso musical de sua música eletrônica. Como exemplo utilizo sobretudo Gesang der Jünglinge (1955- 1956) e Hymnen (1966-1967), mas também perfaço algumas incursões em sua obra instrumental e em seus primeiros estudos eletrônicos. Desta forma busco auxílios para uma melhor compreensão dos procedimentos composicionais que percorrem seu labor entre os anos de 1950 e 1966, sob o viés compositivo e auditivo.
The work of Karlheinz Stockhausen (1928-2007) is contoured by several approaches that concern the range of the explorations of the very musical phenomena, and some others that permeate the musical discourse. Among them there is the relation between the serial procedures, as in the early works, and the procedures within a wider range of possibilities, where the first concepts are reviewed and extended. On these assertions, I propose a dialog that verse on the several implications on the organization of musical discourse in Stockhausen’s electronic music. I use Gesang der Jünglinge (1955-1956) and Hymnen (1966-1967) as main examples, but all the same I do some incursions in his instrumental works, as so as in his electronic studies. Thus I search for subsidies to a better understanding of the compositional procedures used along 1950 and 1966, through the compositional and aural aspects.

Orientador: Mauricy Matos Martin
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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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 trabalho acata Klavierstück XI de Karlheinz Stockhausen como objeto de estudo, por ser representativa da estética da obra aberta e potencializar as variáveis e imprevisibilidades de performance. A obra é investigada a partir de seu projeto composicional, por meio da consideração do pensamento musical de Stockhausen que determinou aspectos que caracterizam a sua multiplicidade, com ênfase nos interesses do compositor por novas concepções de forma e de tempo musical. A partir desta investigação, Klavierstück XI é observada no contexto das práticas interpretativas, com o intuito de reconhecer que tipo de estímulo oferece a estas práticas. A tese apresenta ainda estratégias de estudo técnico-instrumental da obra, com vistas a proporcionar uma postura interpretativa mais condizente com o complexo jogo de itinerários e conexões proposto pela partitura. Por fim, busca-se conclusões sobre se obras tais como Klavierstück XI inauguram novas multiplicidades interpretativas ou se reconhecem, exploram e potencializam aspectos há muito tempo latentes na manifestação musical ocidental
Abstract: This thesis addresses the multiplicity inherent in the musical manifestation and result of their performance factors. After the observation of the openings as ambiguities inherent in any artistic message and the performance as the defining moment of a musical work, Klavierstück XI by Karlheinz Stockhausen has been chosen as the object of study, because it is a representative work of the aesthetics of open work, with emphasis in the variables and unpredictability of performance. The work was investigated from its compositional design taking in consideration the musical thought of Stockhausen which determined features of the multiplicity of performance related to the interests of the composer in new conceptions of form and musical time. From this research, Klavierstück XI is observed in the context of performance practices. The thesis also presents strategies for a technicalinstrumental work, with a view to providing an interpretative approach more in line with the complex set of routes and connections proposed by the score. Finally, we seek to conclusions about whether such works as Klavierstück XI inaugurate new interpretive multiplicities or explore and enhance features that are implicit in the music for a long time
Doutorado
Doutor em Música

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
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 pelo compositor alemão. O estudo apresenta uma sinopse da produção teórico-composicional de Stockhausen, bem como um breve apanhado acerca da música gagaku, e é elaborado a partir de uma base metalinguística, à qual são acrescentados tópicos de intratextualidade e narrativa, com vistas a tratar do processo de leitura e interpretação de informação estética. Por fim, segue-se uma análise da obra DER JAHRESLAUF, localizando os tópicos apontados e discutindo suas implicações musicológicas e simbólicas
This research discusses composer Karlheinz Stockhausen's approach to Japanese musical tradition, as presentified in the work DER JAHRESLAUF(1977), focusing on some of the aspects incorporated to the piece from the Japanese tradition and debating the manner by which they were approached by the German composer. The study presents a synopsis of Stockhausen's productions, both theoretical- and compositionalwise, as well as an overview on gagakumusic. It develops from a metalinguistic basis, to which were added topics on intratextuality and narrative, in order to deal with the process of reading and interpreting aesthetic information. Finally, there follows an analysis of the piece DER JAHRESLAUF, identifying discussed topics and debating their musicological and simbolic implications

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'éléments ayant été intégrés au discours musical d'après-guerre
The three works refered to in the title represent, during the second half of the century, a key point in musical experience, adressing, as they do, not only questions of technique and musical aesthetic but also the destiny of the instrument, and beginning the practice of what would later be known as the open form. This research, founded on the consultation of an important body of inedited documentation conserved at the Fondation Paul Sacher (Basel) and supported by considerable examples, checks meticulously the aspects of musical technique related to these works and examines numerous elements comprising musical theory in the post war period

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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 importância da obra Orfeo de Monteverdi, pois é a partir desta obra que o instrumento adentra a orquestra e começa a fazer parte do que poderíamos chamar de música “séria”. O ápice deste processo culmina com a obra A Jornada de Miguel em Volta da Terra de Karlheinz Stockhausen, uma obra de porte e caráter monumental que coloca o instrumento em total evidência e explora a técnica expandida do instrumento, podendo ser considerada uma das obras mais representativas para o trompete no século XX
The objective of this thesis is to trace a historic overview about the evolution of the trumpet technique throughout a chronological line which starts at Monteverdi and reaches Stockhausen with a focus on composer/instrument/interpreter. Primarily, we present a short context of the initial period and appoint the importance of the work Orfeo by Monteverdi, because this is the first time that the instrument integrates the orchestra in what we can call by art music. The summit of this process is the work Michael`s Journey Round The Earth, by Karlheinz Stockhausen, a monumental work which explores the expanded technique and can be considered one of the most relevant work for trumpet solo in XX century

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 compositions and their historical significance to both percussion literature and the percussionist. Each of these compositions is analzyed by examining instrumentation, compositional procedures, and performance problems. Finally, the notational procedures and role of the performer in these compositions are compared. A discussion of the development of the percussion batterie, percussion ensemble, and the important early solo multiple percussion compositions provides historical perspective for these compositions. This perspective is enhanced by consideration of biography, influences, and stylistic development of each composer.

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 soit fabriqué dans un faire corps rituel avec la musique, voire qu’un homme nouveau, une humanité régénérée surgissent d’un laboratoire sacré de l’écoute — voilà ce qu’il faut entendre par politique de l’écoute musicale. Deux compositeurs que cette question travaille ; deux dates pour la circonscrire et la problématiser. Pierre Boulez en 1950, ou comment un degré zéro de l’écriture met en crise une subjectivité cherchant dans la structure le chiffre d’une expérience radicale, fondamentale, fondatrice — homme structural devenu la variable humaine d’une prolifération qui le dépasse. Karlheinz Stockhausen ou comment ce qu’il s’est passé à New York le 11 septembre 2001 fut la plus grande œuvre d’art pour le cosmos tout entier — rêve d’une œuvre d’art totale, réveil de l’obsession de Richard Wagner, et révélation d’une expérience musicale et d’une expérience politique que seules la technologie et la marchandise mettent en œuvre. Des structures et des hymnes, des hélicoptères et des éclats, et, à la fin du parcours, un carnaval symphonique
That reflection of the composer on the technique and the history of the rules of musical writing constitutes a practice of the self and the exercise of a subjectivation which suspends norms and powers from the outside, moves them, informs them in another way, passes through the screen of writing, and institutes, in the practice of composition, a subject of the writing, an autonomous, that is musical subjectivity — that is how one has to understand politics of musical writing. That music gathers powers capable of annihilating any screen which intervene between the work and the listener, that a subject of listening is ritually made by an identification between bodies and music, even that a new man, a regenerated humanity appear from a sacred laboratory of the listening — that is what it is necessary to listen by politics of musical listening. Two composers whom this question works; two dates to define and problematize it. Pierre Boulez in 1950, or how a writing degree zero puts into crisis a subjectivity looking in the structure for the figure of a radical, fundamental, founding experience — a structural man which becomes the human variable of a proliferation which exceeds him. Karlheinz Stockhausen, or how what it happened in New York September 11th, 2001 was the greatest work of art for the whole cosmos — dream of a total work of art, awakening of Richard Wagner's obsession, and revelation of a musical experience and a political experience which only the technology and the commodity operate.Structures and hymns, helicopters and fragments, and, at the end of the route, a symphonic carnival