The Work of Karlheinz Stockhausen by Menezes, Flo;

Rövid leírás:

This three-volume work is the most comprehensive study ever undertaken, of the musical compositions of Karlheinz Stockhausen (1928-2007), one of the major figures of Post-World War II classical music in Europe. 

Hosszú leírás:

This three-volume work is the most comprehensive study ever undertaken, of the musical compositions of Karlheinz Stockhausen (1928-2007), one of the major figures of Post-World War II classical music in Europe. Stockhausen’s impact on global music-making was huge and he has been influential for a wide range of music makers—in classical music and on music creators in various popular music traditions. Flo Menezes provides both in-depth analytical studies of Stockhausen’s works from his entire career and also places these into broader cultural, technological, political contexts. The three volumes address the three most fundamental phases of Stockhausen's work: Serial Music, Intuitive Music, and Music by Formulas.

‘Anyone interested in the evolution of post-World War II music, particularly in terms of musical structure and thought, will find profound insight in the detailed analysis of the music of German composer Karlheinz Stockhausen.

Spanning three volumes, the analysis covers distinct phases of Stockhausen's work, from structural serialism, intuitive music, and moment-form, to his later development of formula-composition, culminating in the monumental work Licht, Stockhausen’s seven-day opera cycle. Flo Menezes, who personally knew several key composers of the second half of the 20th century, including Luciano Berio, Henry Pousseur, and Pierre Boulez, taught analysis classes at the Stockhausen Summer School in Kürten, Germany. Menezes even surprised Stockhausen by revealing structural insights in Studie 2 that the composer himself had not been aware of.

Although Menezes’ writings primarily focus on Stockhausen's work, readers will find it to be a profound treatise on composition in the second half of the 20th century.’

Hans Tutschku, Fanny P. Mason Professor of Music, Harvard University

Tartalomjegyzék:

VOLUME 1: SERIAL MUSIC

1. A period almost as long as the LIGHT (by way of introduction)
   1.1. About the origins of this book
   1.2. “Too many notes?”
   1.3. The structure of the book
   1.4. Writing criteria


2. PUNKTE (1952/1962)


3. Mixtures


4. KONTRA-PUNKTE (1952-53)


5. STUDIE I (1953)
   5.1. The frequencies and correlations of sound parameters
   5.2. Regarding the groups
   5.3. Regarding intensities
   5.4. Regarding durations
   5.5. Regarding the overall musical form and its balance
   5.6. Sketches or score?
   5.7. Rigor versus imponderability


6. STUDIE II (1954)
   6.1. A Realisationspartitur?
   6.2. Regarding frequencies and variants of "sound mixtures"
   6.3. Regarding the simultaneity of sinusoidal sounds
   6.4. The serial structure
   6.5. Regarding the overall musical form
   6.6. Regarding intensities
   6.7. Is there subtractive synthesis in STUDIE II?
   6.8. Regarding attack durations and distances
   6.9. Are there mixtures in STUDIE II?
   6.10. Re-realize STUDIE II
   6.11. A mixture is missing in STUDIE II!
   6.12. A strange episode


7. KLAVIERSTÜCK VIII (1954)


8. GESANG DER JÜNGLINGE (1955-56)
   8.1. The choice of text and its characteristic marks
   8.2. The binary opposition at the interval level
   8.3. Sound spatiality
   8.4. Sprachkomposition (verbal composition)
   8.5. Regarding timbres and intensities
   8.6. Regarding the serial matrix
   8.7. Regarding sound textures
   8.8. Concerning text intelligibility
   8.9. Fixed time versus real time?
   8.10. The restored Song


9. Phonemes


10. KLAVIERSTÜCK IX (1954/1961)


11. KLAVIERSTÜCK X (1954/1961)


12. KLAVIERSTÜCK XI (1956)


13. Polysemias


14. ZEITMASZE (1955-56)


15. GRUPPEN (1955-57)
    15.1. Interlocution with Luciano Berio
    15.2. Regarding the spatial distribution of orchestral groups
    15.3. About the tone row
    15.4. Regarding the tempos
    15.5. Concerning the Global Form of the work
    15.6. About the Groups and durations
    15.7. About the Inserts
    15.8. The three spatial chords
    15.9. An "electronic" orchestral scripture
    15.10. Regarding formantic structures
    15.11. The many musics of GRUPPEN
    15.12. Regarding spatiality


16. Virtualities


17. ZYKLUS (1959)

VOLUME 2: INTUITIVE MUSIC
18. KONTAKTE (1958-60)
18.1. The origins of the piece
18.2. KONTAKTE and its mysticism
18.3. The versions of KONTAKTE
18.4. The surprising fusion between the instrumental and electronic universes
18.5. Innovations in KONTAKTE
18.6. About the differences of durations in the score
18.7. Regarding spatiality
18.8. The use of electronic pulses
18.9. Regarding timbre families
18.10. The iterative copy procedure (Dauerkopierverfahren)
18.11. Serial music?
18.12. The invention of the Moment-form
18.13. The types of Moment in KONTAKTE
18.14. Motive recurrences
18.15. The use of the Fibonacci Series
18.16. The Unity of Musical Time
19. MOMENTE (1962-64/69)
19.1. The typology of Moments and the Love
19.2. Regarding instrumentation
19.3. Regarding the texts used
19.4. The open form of MOMENTE
19.5. The binary oppositions and their stratification
19.6. Harmonic center and expansions in MOMENTE
19.7. A review of MOMENTE and its actuality
20. Extensions
21. MIKROPHONIE I (1964)
21.1. The spectral extent of the physical instrument
21.2. The organological extent of the physical instrument
21.3. The internalization of polyphony: micro-phony
21.4. Serial numerology in MIKROPHONIE I
21.5. The microphone as an instrument
21.6. Towards words: sound categories and quasi-onomatopoeias
21.7. The Moments and form of MIKROPHONIE I
21.8. Rite and communion
21.9. Approaching and distancing in relation to musique concrète
22. MIXTUR (1964)
22.1. The strangeness with Boulez
22.2. Ring modulation and its complexity
22.3. Regarding instrumentation
22.4. The musical form: its characters and reversibility
22.5. Regarding serial thought and the organization of pitches
22.6. Tachism-music?
23. TELEMUSIK (1966)
23.1. Collage of materials or new polyphony?
23.2. The form and realization of the work
23.3. A work full of signals
23.4. Intermodulation
23.5. Music of the nervous system
23.6. An undeniable, yet unrealizable request
24. HYMNEN (1966-67)
24.1. Origins of the piece and its designation
24.2. The different versions of HYMNEN
24.3. Once again intermodulation, and radical extensions
24.4. Regarding materials and form
24.5. The use of quotations and referentiality in HYMNEN
24.6. The controversy surrounding the anthems
24.7. The making of the magnetic tape and the sonorities of HYMNEN
25. Universals
26. STIMMUNG (1968)
26.1. The formants' song
26.2. A vocalic music
26.3. Enjoyment or alienation?
26.4. STIMMUNG's vocal micro-macro-spatiality
26.5. Regarding the form
26.6. As for the Poems used
26.7. Regarding the days of the week
26.8. Stockhausen's Vocalic Square
26.9. The tempos, the rhythm of the Models and their main vowels
26.10. The "error" as a deviation
26.11. From multiple to one, from one to multiple
27. KURZWELLEN (1968)
28. Processes
29. AUS DEN SIEBEN TAGEN (1968) and FÜR KOMMENDE ZEITEN (1968-70)

VOLUME 3: MUSIC BY FORMULAS
30. Enchantments
31. MANTRA (1970)
31.1. Composition by Formula (Formel-Komposition)
31.2. The Formula of MANTRA
31.3. The structure of the Formula
31.4. The Scales and Formula projections: profile composition
31.5. The ring modulation
31.6. The structural constellation of the global form of MANTRA
31.7. The use of antique cymbals and wood blocks
31.8. "Morseing": the fascination for aperiodicity
31.9. The Inserts in MANTRA
31.10. Flaw or deviation?
31.11. Theme and Variations?
31.12. The place of MANTRA in Stockhausen's Work
32. TRANS (1971)
32.1. The oneiric function and the lights in TRANS
32.2. The spatial arrangement of the instruments: between visuality and acousmatics
32.3. The transcendental meditation has a color
32.4. The form of TRANS
32.5. Inserts in TRANS: the beginning of Scenic Music
32.6. Unusual aspects of the writing (notation) and musical scripture of TRANS
33. “Am Himmel wandre ich...” (Indianerlieder) (1972)
34. Melodies
35. INORI (1973-74) and “Vortrag über HU” (1974)
35.1. When the analysis becomes a work
35.2. The Urgestalt or INORI Formula
35.3. The arrangement of the musicians on stage
35.4. The Scales of Dynamics in INORI
35.5. The strict link between gestures of solo mimes and sounds
35.6. Unraveling the Formula
35.7. The tempos and the projection of the Formula in Global Form
35.8. Analysis of INORI's Main Parts
35.8.1. Rhythmus
35.8.2. Dynamik
35.8.3. Melodie
35.8.4. Harmonie
35.8.5. Polyphonie
35.9. Polyphony or heterophony?
35.10. Against the grain of history? Mystique, rigor and delicacy in INORI
36. MUSIK IM BAUCH (1974-75), TIERKREIS (1974-75) and SIRIUS (1975-77)
37. HARLEKIN and DER KLEINE HARLEKIN (1975)
37.1. Intertextualities and militant didacticism
37.2. Regarding form and its development
37.3. HARLEKIN’s Formula
37.4. Directional profile projection
37.5. DER KLEINE HARLEKIN: a rare gesture of temporal contraction
38. JUBILÄUM (1977)
38.1. In contrast to melody: a chordal Formula
38.2. The intervals under the magnifying glass
38.3. Musical scripture by layers and Global Form
39. IN FREUNDSCHAFT (1977-78)
39.1. A Formula that unfolds: from melody to latent polyphony
39.2. Form and its deconstructive Introduction
39.3. The trill as a metaphor for coitus and the three layers of the piece
39.4. The Cycles and their concentric directionality
39.5. The interchangeability of Cycles and the irregularities as a compositional strategy
39.6. The Explosions: how one Insert emancipates itself within another
39.7. Eroticism at scriptural level
40. DER JAHRESLAUF (1977) and JAHRESLAUF (1977/1990-91)
40.1. The illuminated access door to LICHT
40.2. An agonistic view of Nature
40.3. Multiple temporalities and the scenic arrangement of the work
40.4. Theater music
40.5. The Formal Scheme
40.6. A Music without Formula evoking past Formulas
40.7. A very simple writing for a very complex scripture
41. Introduction to LICHT – Die sieben Tage der Woche (1977-2003)
41.1. Thematic of LICHT
41.2. The influence of the Urantia Book
41.3. Dantesque roots
41.4. A polysemic structuring of the Joycean type
41.5. Recontextualizing the Opera
41.5.1. The authorship of the libretto and the relationship with operatic arbitrariness
41.5.2. The absence of a story and its apotheosis
41.5.3. The choice of leading characters
41.5.4. Multiple spaces: theatrical music everywhere
41.5.5. Multiple architectures?
41.6. LICHT’s Scenes as the apogee of Moment-Form
41.7. The LICHT Superformula: Themes and Variations?
41.8. The Superformula unraveled in its intervallic and directional structure
41.9. The Superformula in its final matrix configuration and the projection technique
41.10. Criticism of the omnipresence of the Superformula
41.11. DONNERSTAG aus LICHT (1978-1980)
41.12. SAMSTAG aus LICHT (1981-1983)
41.13. MONTAG aus LICHT (1984-1988)
41.14. DIENSTAG aus LICHT (1977; 1987-1991)
41.15. FREITAG aus LICHT (1991-1994)
41.16. MITTWOCH aus LICHT (1995-1997)
41.17. SONNTAG aus LICHT (1998-2003)
42. Introduction to KLANG – Die 24 Stunden des Tages (2004-2007)
42.1. Farewell to Formulas
42.2. From Love to Sound... and to every Moment
42.3. LICHT’s synesthesia in the Hours strand
42.4. The KLANG Series of 24 notes
42.5. The 21 Hours of KLANG
42.6. The first four Hours of KLANG
42.7. The 5th Hour of KLANG, HARMONIEN, and the 1st Subcycle
42.8. COSMIC PULSES and the farewell to Sound
42.9. The 2nd Subcycle and the arrival at PARADISE
42.10. KLANG: Stockhausen’s Requiem for himself

POST-MUSIC
43. Personæ