Karlheinz Stockhausenwikipedia
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.
StockhausenKarlheinz StockhausenStockhausen, KarlheinzControversyStockhausianStockhausen’sStockhausensStockhausen calling 9/11 a work of art

Punkte

Compositions from this phase include Kreuzspiel (1951), the Klavierstücke I–IV (1952—the fourth of this first set of four Klavierstücke, titled Klavierstück IV, is specifically cited by Stockhausen as an example of "punctual music" ), and the first (unpublished) versions of Punkte and Kontra-Punkte (1952).
Punkte (Points) is an orchestral composition by Karlheinz Stockhausen, given the work number ½ in his catalogue of works.

Zeitmaße

Zeitmasze
His position as "the leading German composer of his generation" was established with Gesang der Jünglinge and three concurrently composed pieces in different media: Zeitmaße for five woodwinds, Gruppen for three orchestras, and Klavierstück XI.
Zeitmaße (Time Measures) for five woodwinds (1955–56) is a chamber-music work by German composer Karlheinz Stockhausen, and is Number 5 in the composer's catalog.

Plus-Minus (Stockhausen)

Plus-MinusPlus MinusPlus-Minus'' (Stockhausen)
In 1963, Stockhausen created Plus-Minus, "2 × 7 pages for realisation" containing basic note materials and a complex system of transformations to which those materials are to be subjected in order to produce an unlimited number of different compositions.
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.

Die Reihe

Together with Eimert, Stockhausen edited the journal Die Reihe from 1955 to 1962.
Die Reihe was a German-language music journal, edited by Herbert Eimert and Karlheinz Stockhausen and published by Universal Edition (Vienna) between 1955 and 1962 . An English edition was published, under the original German title, between 1957 and 1968 by the Theodore Presser Company (Bryn Mawr, Pennsylvania), in association with Universal Edition (London) . A related book series titled Bücher der Reihe was begun, but only one title ever appeared in it, Herbert Eimert's Grundlagen der musikalischen Reihentechnik.

Ylem (Stockhausen)

Ylem
Some of his later works, such as Ylem (1972) and the first three parts of Herbstmusik (1974), also fall under this rubric.
Ylem is a composition by Karlheinz Stockhausen for a variable ensemble of 19 or more players, and is given the work number 37 in his catalogue of compositions.

Herbstmusik

Some of his later works, such as Ylem (1972) and the first three parts of Herbstmusik (1974), also fall under this rubric.
Herbstmusik (Autumn Music) is a music-theatre work for four performers composed by Karlheinz Stockhausen in 1974.

Sonatine (Stockhausen)

SonatineSonatine for violin and pianoSonatina
His early student compositions remained out of the public eye until, in 1971, he published Chöre für Doris, Drei Lieder for alto voice and chamber orchestra, Choral for a cappella choir (all three from 1950), and a Sonatine for Violin and Piano (1951).
The Sonatine (Sonatina) for violin and piano is a chamber-music composition by Karlheinz Stockhausen, written while he was still a student in 1951.

Spiral (Stockhausen)

SpiralSpiral'' (Stockhausen)
Through the rest of the 1960s, he continued to explore such possibilities of "process composition" in works for live performance, such as Prozession (1967), Kurzwellen, and Spiral (both 1968), culminating in the verbally described "intuitive music" compositions of Aus den sieben Tagen (1968) and Für kommende Zeiten (1968–70).
Spiral (Spiral [adj.], Spirally), for a soloist with a shortwave receiver, is a composition by Karlheinz Stockhausen, written in 1968.

Chöre für Doris

His early student compositions remained out of the public eye until, in 1971, he published Chöre für Doris, Drei Lieder for alto voice and chamber orchestra, Choral for a cappella choir (all three from 1950), and a Sonatine for Violin and Piano (1951).
Chöre für Doris (Choruses for Doris), after poems by Paul Verlaine, is a three-movement a cappella choral composition by Karlheinz Stockhausen, written in 1950 and later given the number 1/11 in the composer's catalogue of works.

Anton Webern

WebernAnton WebernWebern, Anton
He often departs radically from musical tradition and his work is influenced by Olivier Messiaen, Edgard Varèse, and Anton Webern, as well as by film and by painters such as Piet Mondrian and Paul Klee.
His innovations in schematic organization of pitch, rhythm, register, timbre, dynamics, articulation, and melodic contour; his eagerness to redefine imitative contrapuntal techniques such as canon and fugue; and his inclination toward athematicism, abstraction, and lyricism all greatly informed and oriented intra- and post-war European, typically serial or avant-garde composers such as Olivier Messiaen, Pierre Boulez, Karlheinz Stockhausen, Luigi Nono, Bruno Maderna, Henri Pousseur, and György Ligeti.

Fresco (Stockhausen)

FrescoFresco'' (Stockhausen)
In the following year, he created Fresco for four orchestral groups, a Wandelmusik ("foyer music") composition.
Fresco ("wall sounds for meditation") is an orchestral composition written in 1969 by the German composer Karlheinz Stockhausen as foyer music for an evening-long retrospective programme of his music presented simultaneously in three auditoriums of the Beethovenhalle in Bonn.

Studie II

Elektronische Studie IIElectronic StudiesSecond Electronic Study
In March 1953, he moved to the NWDR studio in Cologne and turned to electronic music with two Electronic Studies (1953 and 1954), and then introducing spatial placements of sound sources with his mixed concrète and electronic work Gesang der Jünglinge (1955–56).
Studie II (Study 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.

Für kommende Zeiten

Through the rest of the 1960s, he continued to explore such possibilities of "process composition" in works for live performance, such as Prozession (1967), Kurzwellen, and Spiral (both 1968), culminating in the verbally described "intuitive music" compositions of Aus den sieben Tagen (1968) and Für kommende Zeiten (1968–70).
Für kommende Zeiten (For Times to Come) is a collection of seventeen text compositions by Karlheinz Stockhausen, composed between August 1968 and July 1970.

Inori (Stockhausen)

InoriInori'' (Stockhausen)
His notable compositions include the series of nineteen Klavierstücke (Piano Pieces), Kontra-Punkte for ten instruments, the electronic/musique-concrète Gesang der Jünglinge, Gruppen for three orchestras, the percussion solo Zyklus, Kontakte, the cantata Momente, the live-electronic Mikrophonie I, Hymnen, Stimmung for six vocalists, Aus den sieben Tagen, Mantra for two pianos and electronics, Tierkreis, Inori for soloists and orchestra, and the gigantic opera cycle Licht.
Inori (Adorations), for one or two soloists with orchestra, is a composition by Karlheinz Stockhausen, written in 1973–74 (Nr.

Mixtur

Mixtur 2003
He pioneered live electronics in Mixtur (1964/67/2003) for orchestra and electronics, Mikrophonie I (1964) for tam-tam, two microphones, two filters with potentiometers (6 players), Mikrophonie II (1965) for choir, Hammond organ, and four ring modulators, and Solo for a melody instrument with feedback (1966).
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.

Sternklang

This had precedents in two collective-composition seminar projects that Stockhausen gave at Darmstadt in 1967 and 1968: Ensemble and Musik für ein Haus, and would have successors in the "park music" composition for five spatially separated groups, Sternklang ("Star Sounds") of 1971, the orchestral work Trans, composed in the same year and the thirteen simultaneous "musical scenes for soloists and duets" titled Alphabet für Liège (1972).
Sternklang (Star Sound), is "park music for five groups" composed in 1971 by Karlheinz Stockhausen, and bears the work number 34 in his catalogue of compositions.

Musique concrète

musique concrètemusique concreteconcrete music
His notable compositions include the series of nineteen Klavierstücke (Piano Pieces), Kontra-Punkte for ten instruments, the electronic/musique-concrète Gesang der Jünglinge, Gruppen for three orchestras, the percussion solo Zyklus, Kontakte, the cantata Momente, the live-electronic Mikrophonie I, Hymnen, Stimmung for six vocalists, Aus den sieben Tagen, Mantra for two pianos and electronics, Tierkreis, Inori for soloists and orchestra, and the gigantic opera cycle Licht.
It quickly attracted many who either were or were later to become notable composers, including Olivier Messiaen, Pierre Boulez, Jean Barraqué, Karlheinz Stockhausen, Edgard Varèse, Iannis Xenakis, Michel Philippot, and Arthur Honegger.

Musical composition

compositionmusical compositionmusic composition
He had training in harmony and counterpoint, the latter with Hermann Schroeder, but he did not develop a real interest in composition until 1950.
Examples range from 20th century avant-garde music that uses graphic notation, to text compositions such as Karlheinz Stockhausen's Aus den sieben Tagen, to computer programs that select sounds for musical pieces.

Jubiläum

He continued to use this technique (e.g., in the two related solo-clarinet pieces, Harlekin [Harlequin] and Der kleine Harlekin [The Little Harlequin] of 1975, and the orchestral Jubiläum [Jubilee] of 1977) through the completion of the opera-cycle Licht in 2003.
Jubiläum (Jubilee) is an orchestral composition by Karlheinz Stockhausen, work-number 45 in the composer’s catalogue of works.

Alphabet für Liège

Indianerlieder
This had precedents in two collective-composition seminar projects that Stockhausen gave at Darmstadt in 1967 and 1968: Ensemble and Musik für ein Haus, and would have successors in the "park music" composition for five spatially separated groups, Sternklang ("Star Sounds") of 1971, the orchestral work Trans, composed in the same year and the thirteen simultaneous "musical scenes for soloists and duets" titled Alphabet für Liège (1972). Some works from the 1970s did not employ formula technique—e.g., the vocal duet "Am Himmel wandre ich" (In the Sky I am Walking, one of the 13 components of the multimedia Alphabet für Liège, 1972, which Stockhausen developed in conversation with the British biophysicist and lecturer on mystical aspects of sound vibration Jill Purce), "Laub und Regen" (Leaves and Rain, from the theatre piece Herbstmusik (1974), the unaccompanied-clarinet composition Amour, and the choral opera Atmen gibt das Leben (Breathing Gives Life, 1974/77)—but nevertheless share its simpler, melodically oriented style.
Alphabet für Liège, for soloists and duos, is a composition (or a musical installation) by Karlheinz Stockhausen, and is Work Number 36 in the composer's catalog of works.

Atmen gibt das Leben

Some works from the 1970s did not employ formula technique—e.g., the vocal duet "Am Himmel wandre ich" (In the Sky I am Walking, one of the 13 components of the multimedia Alphabet für Liège, 1972, which Stockhausen developed in conversation with the British biophysicist and lecturer on mystical aspects of sound vibration Jill Purce), "Laub und Regen" (Leaves and Rain, from the theatre piece Herbstmusik (1974), the unaccompanied-clarinet composition Amour, and the choral opera Atmen gibt das Leben (Breathing Gives Life, 1974/77)—but nevertheless share its simpler, melodically oriented style.
Atmen gibt das Leben (Breathing Gives Life), is a choral opera with orchestra by Karlheinz Stockhausen, written in 1974 and expanded in 1976–77.

Graphic notation (music)

graphic notationgraphic scoresgraphic score
In Zyklus (1959), for example, he began using graphic notation for instrumental music.
Examples of the former include Feldman's Projection and Stockhausen's Prozession.

Trans (Stockhausen)

TransTrans'' (Stockhausen)
Other large works by Stockhausen from this decade include the orchestral Trans (1971) and two music-theatre compositions utilizing the Tierkreis melodies: Musik im Bauch ("Music in the Belly") for six percussionists (1975), and the science-fiction "opera" Sirius (1975–77) for eight-channel electronic music with soprano, bass, trumpet, and bass clarinet, which has four different versions for the four seasons, each lasting over an hour and a half.
Trans is a composition for orchestra and tape by the German composer Karlheinz Stockhausen, written in 1971.

Kurzwellen

Through the rest of the 1960s, he continued to explore such possibilities of "process composition" in works for live performance, such as Prozession (1967), Kurzwellen, and Spiral (both 1968), culminating in the verbally described "intuitive music" compositions of Aus den sieben Tagen (1968) and Für kommende Zeiten (1968–70).
Kurzwellen (Short Waves), for six players with shortwave radio receivers and live electronics, is a composition by Karlheinz Stockhausen, written in 1968.

Formula composition

formulaformula compositionformula technique
Beginning with Mantra for two pianos and electronics (1970), Stockhausen turned to formula composition, a technique which involves the projection and multiplication of a single, double, or triple melodic-line formula.
Formula composition is a serially derived technique encountered principally in the music of Karlheinz Stockhausen, involving the projection, expansion, and Ausmultiplikation of either a single melody-formula, or a two- or three-voice contrapuntal construction (sometimes stated at the outset).