Difference between revisions of "Karlheinz Stockhausen"

From WikiDelia
Jump to navigationJump to search
Line 1: Line 1:
 
Delia had an exploratory encounter with [[Karlheinz Stockhausen]].<ref>[http://delia-derbyshire.org delia-derbyshire.org]</ref>
 
Delia had an exploratory encounter with [[Karlheinz Stockhausen]].<ref>[http://delia-derbyshire.org delia-derbyshire.org]</ref>
  
[[Louis Niebur]] says that Delia admired Stockhausen's piece ''Gesang der Jünglinge'',<ref>[[Special Sound]], p.106.</ref> though he gives no source for this assertion, and one of her [[Attic Tapes]] is labelled "Stockhausen [[Electronic Study 2|Study 2]]".<ref>[[DD165]]: "Stockhausen Study 2"</ref>
+
= Pieces known by Delia =
  
[[Louis Niebur]] says that Delia admired<ref>[[Special Sound]], p.106.</ref> [[Karlheinz Stockhausen]]'s 1955-56<ref name=Kohl/> piece ''Gesang der Jünglinge'', described as "the first masterpiece of electronic music",<ref name=Kohl>[https://www.jstor.org/stable/833576 Jerome Kohl, ''Perspectives of New Music''], p.61.</ref> though he gives no source for this assertion.
+
== Electronic Study 2 (1954)<ref name=Harvey>[[Jonathan Harvey]], [https://books.google.it/books?id=wtldEmoFR-MC&pg=PA25 ''The Music of Stockhausen: An Introduction''], University of California Press, 1975, pp.25-28.</ref> ==
  
[[Jonathan Harvey]] says that "the overall structure of ''Gesang der Jünglinge'' is remarkably like that of ''[[Electronic Study 2]]''; both final sections combine and develop the ideas stated in the preceding sections."<ref name=Kohl/>
+
In it, "he selects quite a constricted range of material, the proceeds to cover it totally, to use up ''all'' the possibilities that the imagination considers worth while".<ref name=Harvey/>
 +
 
 +
<BLOCKQUOTE>
 +
''Studie 2'' is eighty-one sine tones pitched along an exponential frequency scale which spans just over seven octaves. The steps are all perceived as equal and are a little over 1/16th of an octave in size. [...] The most significant thing about these intervals chosen by the 25th root of 5 is that no octaves occur. The lowest frequency is 100&nbsp;c.p.s, and no multiple of 100 by any whole number occurs throughout the scale.<ref name=Harvey/>
 +
</BLOCKQUOTE>
 +
 
 +
This, presumably, is what is on Delia's [[DD165|Attic Tape "Stockhausen Study 2"]].
 +
 
 +
== Gesang der Jünglinge (1955-56)<ref name=Kohl/> ==
 +
 
 +
[[Louis Niebur]] says that Delia admired<ref>[[Special Sound]], p.106.</ref> [[Karlheinz Stockhausen]]'s piece ''Gesang der Jünglinge'', described as "the first masterpiece of electronic music",<ref name=Kohl>[https://www.jstor.org/stable/833576 Jerome Kohl, ''Perspectives of New Music''], p.61.</ref> though he gives no source for this assertion.
 +
 
 +
[[Jonathan Harvey]] says that "the overall structure of ''Gesang der Jünglinge'' is remarkably like that of ''Electronic Study 2''; both final sections combine and develop the ideas stated in the preceding sections."<ref name=Kohl/>
  
 
=References=
 
=References=

Revision as of 15:45, 11 April 2020

Delia had an exploratory encounter with Karlheinz Stockhausen.[1]

Pieces known by Delia

Electronic Study 2 (1954)[2]

In it, "he selects quite a constricted range of material, the proceeds to cover it totally, to use up all the possibilities that the imagination considers worth while".[2]

Studie 2 is eighty-one sine tones pitched along an exponential frequency scale which spans just over seven octaves. The steps are all perceived as equal and are a little over 1/16th of an octave in size. [...] The most significant thing about these intervals chosen by the 25th root of 5 is that no octaves occur. The lowest frequency is 100 c.p.s, and no multiple of 100 by any whole number occurs throughout the scale.[2]

This, presumably, is what is on Delia's Attic Tape "Stockhausen Study 2".

Gesang der Jünglinge (1955-56)[3]

Louis Niebur says that Delia admired[4] Karlheinz Stockhausen's piece Gesang der Jünglinge, described as "the first masterpiece of electronic music",[3] though he gives no source for this assertion.

Jonathan Harvey says that "the overall structure of Gesang der Jünglinge is remarkably like that of Electronic Study 2; both final sections combine and develop the ideas stated in the preceding sections."[3]

References