A refrain (from Vulgar Latin refringere, "to repeat", and later from Old French refraindre) is the line or lines that are repeated in music or in verse; the "chorus" of a song. Poetic fixed forms that feature refrains include the villanelle, the virelay, and the sestina.

The use of refrains is particularly associated with where the verse-chorus-verse song structure typically places a refrain in almost every song. The refrain or chorus often sharply contrasts the verse melodically, rhythmically, and harmonically, and assumes a higher level of dynamics and activity, often with added instrumentation. Chorus form, or strophic form, is a sectional and/or additive way of structuring a piece of music based on the repetition of one formal section or block played repeatedly. See also verse-chorus form.

In music, a refrain has two parts: the lyrics of the song, and the melody. Sometimes refrains vary their words slightly when repeated; recognisability is given to the refrain by the fact that it is always sung to the same tune, and the rhymes, if present, are preserved despite the variations of the words. Such a refrain is featured in "The Star-Spangled Banner," which contains a refrain which is introduced by a different phrase in each verse, but which always ends:

O'er the land of the free, and the home of the brave.

A similar refrain is found in the "Battle Hymn of the Republic," which affirms in successive verses that "Our God," or "His Truth." is "marching on."

Refrains usually, but not always, come at the end of the verse. Some songs, especially ballads, incorporate refrains into each verse. For example, one version of the traditional ballad The Cruel Sister includes a refrain mid-verse:

There lived a lady by the North Sea shore,

Lay the bent to the bonny broom

Two daughters were the babes she bore.

Fa la la la la la la la la.

As one grew bright as is the sun,

Lay the bent to the bonny broom

So coal black grew the other one.

Fa la la la la la la la.

. . .

(Note : the refrain of 'Lay the Bent to the Bonny Broom' is not traditionally associated with the ballad of The Cruel Sister (Child #10). This was the work of 'pop-folk' group Pentangle on their 1970 LP 'Cruel Sister' which has subsequently been picked up by many folk singers as being traditional. Both the melody and the refrain come from the ballad known as Riddles Wisely Expounded (Child #1).)

Here, the refrain is syntactically independent of the narrative poem in the song, and has no obvious relationship to its subject, and indeed little inherent meaning at all. The device can also convey material which relates to the subject of the poem. Such a refrain is found in Dante Gabriel Rossetti's Troy Town:

Heavenborn Helen, Sparta's queen,

O Troy Town!

Had two breasts of heavenly sheen,

The sun and moon of the heart's desire:

All Love's lordship lay between,

A sheen on the breasts I Love.

O Troy's down,

Tall Troy's on fire!

. . .

Phrases of apparent nonsense in refrains (Lay the bent to the bonny broom?), and solfege syllables such as fa la la, familiar from the Christmas carol Deck the Halls with Boughs of Holly, have given rise to much speculation. Some believe that the traditional refrain Hob a derry down O encountered in some English folksongs is in fact an ancient Celtic phrase meaning "dance around the oak tree." These suggestions remain controversial.

In popular music[link]

In popular music the chorus may include the entire AABA section in thirty-two bar form (the bridge consisting of B), or it may consist of every B section (with the bridge being C), as in ABABCAB. The chorus contrasts with the verse, which leads into it, while the bridge contrasts with and leads into both. "Many popular songs, particularly from early in this century, are in a verse and a chorus (refrain) form. Most popular songs from the middle of the century consist only of a chorus."^[1]

A pop chorus is not the same as a refrain. A writer on pop-song theory, Davis^[2] opines that a refrain musically and lyrically resolves a verse and therefore ends it, whereas a chorus begins a distinctively new music section of at least eight bars. A refrain is often a two line repeated lyrical statement commenting on or summarizing the preceding verse, for example:

"Like a bridge over troubled water I will lay me down.
Like a bridge over troubled water I will lay me down"

This contrasts with the chorus of a typical modern pop song, which often consists of more than one line repeated, for example the chorus to Cher's "Believe":

"Do you believe in life after love
I can feel something inside me say
I really don't think you're strong enough, no."

Arranger's chorus[link]

In jazz, an arranger's chorus is where the arranger uses particularly elaborate techniques to exhibit his skill and to impress the listener. This may include use of counterpoint, reharmonization, tone color, or any other arranging device. The arranger's chorus is generally not the first or the last chorus of a jazz performance.^{[citation needed]}

Shout chorus[link]

In jazz, a shout chorus is usually the last chorus of a Big Band arrangement, and is characterized by being the most energetic, lively, and exciting and by containing the musical climax of the piece. A shout chorus characteristically employs extreme ranges, loud dynamics, and a re-arrangement of melodic motives into short, accented riffs. Shout choruses often feature tutti or concerted writing, but may also use contrapuntal writing or call and response between the brass and saxophones, or between the ensemble and the drummer. Additionally, brass players frequently use extended techniques such as falls, doits, turns, and shakes to add excitement.

See also[link]

• Burden (music)
• Hook (music)

References[link]

External links[link]

Look up refrain in Wiktionary, the free dictionary.

• Poems of Dante Gabriel Rossetti, inc. Troy Town

v t e Parts of a song Introduction Verse Refrain/Chorus Bridge Solo Guitar Drum Outro Break

Jose Mari Chan (born March 11, 1945) is a Chinese Filipino singer, songwriter and businessman in the sugar industry. He was born in Iloilo City on March 11, 1945. He graduated with a Bachelor of Arts Degree in Economics from the Ateneo de Manila University in 1967.^[1] He is married to Mary Ann Ansaldo^[2] and has five children, Jose Antonio, Elizabeth Ann, Michael Philip Ciprian, Francisco Rafael and Marie Angelica. Chan also engage in business in addition to his musical career. He is currently Chairman and CEO of BISCOM, Inc. and A. Chan Sugar Corporation. He is also the Chairman and President of Signature Music Inc.

Musical Career[link]

He first appeared on the local scene as the Host & Singer of a Television show called "9 Teeners" of ABS-CBN in 1966. His first single Afterglow was released in 1967.^[3] His first long playing album "Deep in My Heart (album)" was issued in 1969. In 1973 he represented the Philippines in the World Popular Song Festival in Tokyo where his song "Can We Just Stop and Talk A While" went into the final entries.^[4]

In 1975 he moved to the United States for his sugar business and remained there for 11 years. In 1986, he went back to the music industry with the release of his album A Golden Change.^[3]

In 1989, he released his album "Constant Change".^[3] It was named Album of the Year by the Awit Awards, the local equivalent of the American Grammy Awards and reached the Diamond Record in terms of sales. It also sold in other Asian countries such as Malaysia, Singapore and Indonesia.

In 1990 his Christmas album "Christmas in Our Hearts" was released.^[3] It reached triple platinum status that same year, eventually earning the Double Diamond Record Award. His 2001 album "A Heart's Journey" won Album of the year in the Awit Awards.

In 2005 he composed "We're All Just One" as the theme song of the 2005 Southeast Asian Games.^[5]

In 2011, he released his 13th full length album, The Manhattan Connection: The Songs of Jose Mari Chan. The album, which was produced by Janis Siegel of The Manhattan Transfer. The songs were reimagined by music producer Yaron Gershovsky.^[6]

Awards[link]

Discography[link]

Albums[link]

• Deep in My Heart (1969)
• Can We Just Stop and Talk a While (1973)
• Afterthoughts (1974)
• Here and Now (1975)
• A Golden Collection (1985)
• Constant Change (1989) - 2× Diamond
• Christmas in Our Hearts (1990) - 2× Diamond
• Thank You Love (1994)
• Souvenirs (1998)
• A Heart's Journey (2001) - Awit Awards, Album of the Year
• Strictly Commercial: The Jingles Collection (1997)
• Love Letters and Other Souvenirs (2007)
• The Manhattan Connection" (2011)

Singles[link]

• Beautiful Girl
• Can We Just Stop and Talk A while
• Christmas In Our Hearts
• A Perfect Christmas
• Please Be Careful with My Heart
• Can't We Start Over Again
• Constant Change
• Is She Thinking About Me?
• If We Only Had More Time Together
• Easier Said Than Done
• Love At Thirty Thousand Feet
• My Girl, My Woman, My Friend
• Perhaps Love (with his daughter Liza Chan)
• So I'll Go
• Here and Now
• We're All Just One (2005 SEA Games Theme)
• Afraid for Love to Fade
• Counterpoint to Lennon & McCartney's "Here, There & Everywhere"
• Big Beautiful Country
• Love At 30,000 Feet
• Refrain
• Tell Me Your Name
• Good Old Fashioned Romance
• A Love to Last a Lifetime
• Afterglow
• Deep In My Heart
• Leave You
• High and Mighty
• Night Time
• Mr. Songwriter
• Sing Me Your Song Again, Daddy
• No Rewind, No Replay
• The Sound of Life
• Empty Space

Collaborations[link]

• Gold Ito! (Dyna Music, 1988)
• Ginintuang Diwa ng Pasko (Universal Records, 1989)
• Maayong Pasko (Universal Records, 1990)
• Presence (Universal Records 2002)
• Only Selfless Love 2 (Universal Records, 2003)
• Something More (JesCom Music, 2004)
• Best of OPM Love Songs (Universal Records, 2005)
• Best of OPM Acoustic Hits (Universal Records, 2005)
• OPM Gold Christmas (Universal Records, 2006)
• OPM Superstars Christmas (Universal Records, 2006)
• Sail On...His Most Holy Face (Universal Records, 2006)
• OPM Platinum Christmas (Universal Records, 2007)
• HOPE... Healing Of Pain and Enlightenment (Star Records, 2007)
• No. 1 Signature Hits OPM's Best (Vicor Music Corp., 2008)
• Senti 18 Pinoy Love Hits (Vicor Music Corp., 2008)
• Bongga! (The Biggest Retro OPM Hits) (Universal Records, 2008)
• Bongga 2 (The Biggest Retro OPM Hits) (Universal Records, 2009)
• Paalam, Maraming Salamat Pres. Aquino (A Memorial Tribute Soundtrack) (Star Records, 2009)

References[link]

External links[link]

• Planet Philippines feature - Jose Mari Chan

Lys Assia
Lys Assia (2009)
Background information
Birth name	Rosa Mina Schärer
Born	(1926-03-03) 3 March 1926 (age 86)
Origin	Aargau, Switzerland
Occupations	Singer
Instruments	Vocals
Years active	1942–present

Lys Assia (born Rosa Mina Schärer on 3 March 1926, Rupperswil, Aargau, Switzerland) is a Swiss singer who won the first Eurovision Song Contest in 1956. When Lys Assia was a young girl she was a dancer. In 1940, however, she stood in for a female singer. People who heard her singing liked it, so she changed from dancing to singing.

In 1956 she was the winner of the very first Eurovision Song Contest, in which she sang for Switzerland. She had also been in the German national final of that year and returned to the contest again for Switzerland in 1957 and 1958.

In September 2011, Assia entered her song "C'était ma vie" written by Ralph Siegel and Jean Paul Cara into the Swiss national selection for the Eurovision Song Contest 2012 in Baku, Azerbaijan.^[1] The song, however, only came eighth in a closely fought national selection.

Discography[link]

• Oh Mein Papa
• Ein kleiner goldner Ring
• Refrain(s)
• Das alte Karussell
• Holland Mädel
• Jolie Jacqueline
• L'enfant que j'étais
• Giorgio
• C'était ma vie

External links[link]

Wikimedia Commons has media related to: Lys Assia

• Official homepage

References[link]

Awards and achievements
Preceded by None	Winner of the Eurovision Song Contest 1956	Succeeded by Corry Brokken with "Net als toen"
Preceded by Debut entry	Switzerland in the Eurovision Song Contest 1956 with "Das alte Karussell" and "Refrain" 1957 with "L'enfant que j'étais", 1958 with "Giorgio"	Succeeded by Christa Williams with "Irgendwoher"

v t e Eurovision Song Contest 1956   Countries Final (in order of appearance) Netherlands Switzerland Belgium Germany France Luxembourg Italy   Artists First performance Jetty Paerl Lys Assia Fud Leclerc Walter Andreas Schwarz Mathé Altéry Michèle Arnaud Franca Raimondi Second performance Corry Brokken Lys Assia Mony Marc Freddy Quinn Dany Dauberson Michèle Arnaud Tonina Torrielli   Songs First performance "De vogels van Holland" "Das alte Karussell" "Messieurs les noyés de la Seine" "Im Wartesaal zum großen Glück" "Le temps perdu" "Ne crois pas" "Aprite le finestre" Second performance "Voorgoed voorbij" "Refrain" "Le plus beau jour de ma vie" "So geht das jede Nacht" "Il est là" "Les amants de minuit" "Amami se vuoi" (Note: all countries performed twice)

v t e Eurovision Song Contest 1957   Countries Final Belgium Luxembourg United Kingdom Italy Austria Netherlands {winner) Germany France Denmark Switzerland   Artists Final Bobbejaan Schoepen Danièle Dupré Patricia Bredin Nunzio Gallo Bob Martin Corry Brokken (winner) Margot Hielscher Paule Desjardins Birthe Wilke & Gustav Winckler Lys Assia   Songs Final "Straatdeuntje" "Amours mortes (tant de peine)" "All" "Corde della mia chitarra" "Wohin, kleines Pony?" "Net als toen" (winner) "Telefon, Telefon" "La belle amour" "Skibet skal sejle i nat" "L'enfant que j'étais" (Note: All information are in order of appearance)

v t e Eurovision Song Contest 1958   Countries Final (in order of appearance) Italy Netherlands France (winner) Luxembourg Sweden Denmark Belgium Germany Austria Switzerland   Artists Final (in order of appearance) Domenico Modugno Corry Brokken André Claveau Solange Berry Alice Babs Raquel Rastenni Fud Leclerc Margot Hielscher Liane Augustin Lys Assia   Songs Final (in order of appearance) "Nel blu diplinto di blu" "Heel de wereld" "Dors, mon amour" "Un grand amour" "Lilla stjärna" "Jeg rev et blad ud af min dagbog" "Ma petite chatte" "Für zwei Groschen Musik" "Die ganze Welt braucht Liebe" "Giorgio" (Note: "Withdrawn" refers to entries that withdrew after applying to enter)

Karlheinz Stockhausen in the Electronic Music Studio of the WDR, October 1994

Karlheinz Stockhausen (German pronunciation: [kaʁlˈhaɪnts ˈʃtɔkhaʊzn̩]; 22 August 1928 – 5 December 2007) was a German composer, widely acknowledged by critics as one of the most important (Barrett 1988, 45; Harvey 1975b, 705; Hopkins 1972, 33; Klein 1968, 117) but also controversial (Power 1990, 30) composers of the 20th and early 21st centuries. Another critic calls him "one of the great visionaries of 20th-century music" (Hewett 2007). He is known for his ground-breaking work in electronic music, aleatory (controlled chance) in serial composition, and musical spatialization.

He was educated at the Hochschule für Musik Köln and the University of Cologne, and later studied 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 solo instruments, songs, chamber music, choral and orchestral music, to a cycle of seven full-length operas. His theoretical and other writings comprise ten large volumes. He received numerous prizes and distinctions for his compositions, recordings, and for the scores produced by his publishing company.

Some of 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.

He died of sudden heart failure at the age of 79, on 5 December 2007 at his home in Kürten, Germany.

Biography[link]

Childhood[link]

Altenberg Cathedral, ca. 1925, where Stockhausen had his first music lessons

Stockhausen was born in the Burg Mödrath, the so-called (by local residents) "castle" of the village of Mödrath (German Burg = "castle"). The village, located near Kerpen in the vicinity of Cologne, was displaced in 1956 by the strip mining of lignite in the region, although the castle itself still exists. Despite its name, the building is not actually a castle at all, but rather was a manor house built in 1830 by a local businessman named Arend. Because of its imposing size, locals began calling it "the Mödrath Castle". From 1925 to 1932 it became the maternity home of the Bergheim district, and after the war served for a time as a shelter for war refugees. In 1950, the owners, the Düsseldorf chapter of the Knights of Malta, turned it into an an orphanage, but it has subsequently returned to private ownership and is today a private residence again (Anon. n.d.; Anon. 1950).

His father, Simon Stockhausen, was a schoolteacher, and his mother Gertrud (née Stupp) was the daughter of a prosperous family of farmers in Neurath in the Cologne Bight. A daughter, Katherina, was born the year after Karlheinz, and a second son, Hermann-Josef ("Hermännchen") followed in 1932. Gertrud played the piano and accompanied her own singing but, after three pregnancies in as many years, experienced a mental breakdown and was institutionalized in December 1932, followed a few months later by the death of her younger son, Hermann (Kurtz 1992, 8, 11, & 13).

From the age of seven, Stockhausen grew up in Altenberg, where he received his first piano lessons from the Protestant organist of the Altenberg Cathedral, Franz-Josef Kloth (Kurtz 1992, 14). In 1938 his father remarried. His new wife, Luzia, had been the family's housekeeper. The couple had two daughters (Kurtz 1992, 18). Because his relationship with his new stepmother was less than happy, in January 1942 Karlheinz became a boarder at the teachers' training college in Xanten, where he continued his piano training and also studied oboe and violin (Kurtz 1992, 18). In the first half of 1942, he learned that his mother had died, ostensibly from leukemia, although everyone at the same hospital had supposedly died of the same disease. It was generally understood that she had been a victim of the Nazi policy of killing "useless eaters" (Stockhausen 1989a, 20–21; Kurtz 1992, 19). Stockhausen later dramatized his mother's death in hospital by lethal injection, in Act 1 scene 2 ("Mondeva") of the opera Donnerstag aus Licht (Kurtz 1992, 213). According to one source, as a young teenager he worked as a cobbler (Prendergast 2000, 52^{[unreliable source?]}). In the autumn of 1944, he was conscripted to serve as a stretcher bearer in Bedburg (Kurtz 1992, 18). In February 1945, he met his father for the last time in Altenberg. Simon, who was on leave from the front, told his son, "I'm not coming back. Look after things". By the end of the war, his father was regarded as missing in action, and may have been killed in Hungary (Kurtz 1992, 19). A comrade later reported to Karlheinz that he saw his father wounded in action (Maconie 2005, 19). Fifty-five years after the fact, a journalist writing for the Guardian newspaper stated unequivocally, though without offering any fresh evidence, that Simon Stockhausen was killed in Hungary in 1945 (O'Mahony 2001).

Education[link]

From 1947 to 1951, Stockhausen studied music pedagogy and piano at the Hochschule für Musik Köln (Cologne Conservatory of Music) and musicology, philosophy, and Germanics at the University of Cologne. He had training in harmony and counterpoint, the latter with Hermann Schroeder, but he did not develop a real interest in composition until 1950. He was admitted at the end of that year to the class of Swiss composer Frank Martin, who had just begun a seven-year tenure in Cologne (Kurtz 1992, 28). At the Darmstädter Ferienkurse in 1951, Stockhausen met Belgian composer Karel Goeyvaerts, who had just completed studies with Olivier Messiaen (analysis) and Darius Milhaud (composition) in Paris, and Stockhausen resolved to do likewise (Kurtz 1992, 34–36). He arrived in Paris on 8 January 1952 and began attending Messiaen's courses in aesthetics and analysis, as well as Milhaud's composition classes. He continued with Messiaen for a year, but he was disappointed with Milhaud and abandoned his lessons after a few weeks (Kurtz 1992, 45–48). In March 1953, he left Paris to take up a position as assistant to Herbert Eimert at the newly established Electronic Music Studio of Nordwestdeutscher Rundfunk (NWDR) (from 1 January 1955, Westdeutscher Rundfunk, or WDR) in Cologne (Kurtz 1992, 56–57). In 1962, he succeeded Eimert as director of the studio (Morawska-Büngeler 1988, 19). From 1954 to 1956, he studied phonetics, acoustics, and information theory with Werner Meyer-Eppler at the University of Bonn (Kurtz 1992, 68–72). Together with Eimert, Stockhausen edited the journal Die Reihe from 1955 to 1962 (Grant 2001, 1–2).

Career and adult life[link]

Family and home[link]

Karlheinz Stockhausen in the garden of his home in Kürten, 2005

On 29 December 1951, in Hamburg, he married Doris Andreae (Kurtz 1992, 45; Maconie 2005, 47). Together they had four children: Suja (b. 1953), Christel (b. 1956), Markus (b. 1957), and Majella (b. 1961) (Kurtz 1992, 90; Tannenbaum 1987, 94). On 3 April 1967, in San Francisco, he married Mary Bauermeister, with whom he had two children: Julika (b. 22 January 1966) and Simon (b. 1967) (Kurtz 1992, 141 & 149; Tannenbaum 1987, 95).

Four of Stockhausen's children became professional musicians (Kurtz 1992, 202), and he composed some of his works specifically for them. A large number of pieces for the trumpet—from Sirius (1975–77) to the trumpet version of In Freundschaft (1997)—were composed for and premièred by his son Markus (Kurtz 1992, 208; Markus Stockhausen 1998, 13–16; Tannenbaum 1987, 61). Markus, at the age of 4 years, had performed the part of The Child in the Cologne première of Originale, alternating performances with his sister Christel (Maconie 2005, 220). Klavierstück XII and Klavierstück XIII (and their versions as scenes from the operas Donnerstag aus Licht and Samstag aus Licht) were written for his daughter Majella, and were first performed by her at the ages of 16 and 20, respectively (Maconie 2005, 430 & 443; Stockhausen Texte 5:190, 255, 274; Stockhausen Texte 6:64, 373). The saxophone duet in the second act of Donnerstag aus Licht, and a number of synthesizer parts in the Licht operas, including Klavierstück XV ("Synthi-Fou") from Dienstag, were composed for his son Simon (Kurtz 1992, 222; Maconie 2005, 480 & 489; Stockhausen Texte 5:186, 529), who also assisted his father in the production of the electronic music from Freitag aus Licht. His daughter Christel is a flautist who performed and gave a course on interpretation of Tierkreis in 1977 (Stockhausen Texte 5:105), later published as an article (C. Stockhausen 1978).

In 1961, Stockhausen acquired a parcel of land in the vicinity of Kürten, a village east of Cologne, near Bergisch Gladbach in the Bergisches Land. He had a house built there, which was designed to his specifications by the architect Erich Schneider-Wessling, and he resided there from its completion in the autumn of 1965 (Kurtz 1992, 116–17, 137–38).

Teaching[link]

Stockhausen lecturing at the 12th International Summer Courses for New Music in Darmstadt, 1957

After lecturing at the Internationale Ferienkurse für Neue Musik at Darmstadt (first in 1953), Stockhausen gave lectures and concerts in Europe, North America, and Asia (Stockhausen-Verlag 2010, 2, 14–15). He was guest professor of composition at the University of Pennsylvania in 1965 and at the University of California, Davis in 1966–67 (Kramer 1998; Stockhausen-Verlag 2010, 2–3). He founded and directed the Cologne Courses for New Music from 1963 to 1968, and was appointed Professor of Composition at the Hochschule für Musik Köln in 1971, where he taught until 1977 (Kurtz 1992, 126–28 & 194; Stockhausen-Verlag 2010, 3). In 1998, he founded the Stockhausen Courses, which are held annually in Kürten (Stockhausen-Verlag 2010, 6–9, 15).

Publishing activities[link]

From the mid-1950s onward, Stockhausen designed (and in some cases had had printed) his own musical scores for his publisher, Universal Edition, which often involved unconventional devices. The score for his piece Refrain, for instance, includes a rotatable (refrain) on a transparent plastic strip. Early in the 1970s, he ended his agreement with Universal Edition and began publishing his own scores under the Stockhausen-Verlag imprint (Kurtz 1992, 184). This arrangement allowed him to extend his notational innovations (for example, dynamics in Weltparlament [the first scene of Mittwoch aus Licht] are coded in colour) and resulted in eight German Music Publishers Society Awards between 1992 (Luzifers Tanz) and 2005 (Hoch-Zeiten, from Sonntag aus Licht) (Stockhausen-Verlag 2010, 12–13). The score of Momente, published just before the composer's death in 2007, won this prize for the ninth time (Deutscher Musikeditionspreis 2009)

In the early 1990s, Stockhausen reacquired the licenses to most of the recordings of his music he had made to that point, and started his own record company to make this music permanently available on Compact Disc (Maconie 2005, 477–78).

Death[link]

Grave of the composer, Waldfriedhof, Kürten.

Grave monument (rear view)

Stockhausen died of sudden heart failure on the morning of 5 December 2007 in Kürten, North Rhine-Westphalia. He had just the night before finished a work recently commissioned for performance by the Mozart Orchestra of Bologna (Bäumer 2007).

Compositions[link]

Stockhausen wrote 370 individual works. 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 (Stockhausen 1996b) and by painters such as Piet Mondrian (Stockhausen 1996a, 94; Texte 3, 92–93; Toop 1998) and Paul Klee (Maconie 2005, 187).

1950s[link]

Stockhausen began to compose in earnest only during his third year at the conservatory (Kurtz 1992, 26–27). 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 capella choir (all three from 1950), and a Sonatine for Violin and Piano (1951) (Maconie 1990, 5–6 and 11).

In August 1951, just after his first Darmstadt visit, Stockhausen began working with a form of athematic serial composition that rejected the twelve-tone technique of Schoenberg (Felder 1977, 92). He characterized many of these earliest compositions (together with the music of other, like-minded composers of the period) as punktuelle ("punctual" or "pointist" music, commonly mistranslated as "pointillist") Musik, though one critic concluded after analysing several of these early works that Stockhausen "never really composed punctually" (Sabbe 1981). 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" in Texte 2, 19), and the first (unpublished) versions of Punkte and Kontra-Punkte (1952) (Texte 2, 20). However, several works from these same years show Stockhausen formulating his "first really ground-breaking contribution to the theory and, above all, practice of composition" (Toop 2005, 3), that of "group composition" (Toop 2005, 3), found in Stockhausen's works as early as 1952 and continuing to the present time (Toop 2005, 3). This principle was first publicly described by Stockhausen in a radio talk from December 1955, titled "Gruppenkomposition: Klavierstück I" (Texte 1, 63–74).

In December 1952, he composed a Konkrete Etüde, realized in Pierre Schaeffer's Paris musique concrète studio. 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). Experiences gained from the Studies made plain that it was an unacceptable oversimplification to regard timbres as stable entities (Texte 1, 56). Reinforced by his studies with Meyer-Eppler, beginning in 1955, Stockhausen formulated new "statistical" criteria for composition, focussing attention on the aleatoric, directional tendencies of sound movement, "the change from one state to another, with or without returning motion, as opposed to a fixed state" (Decroupet and Ungeheuer 1998, 98–99). Stockhausen later wrote, describing this period in his compositional work, "The first revolution occurred from 1952/53 as musique concrète, electronic tape music, and space music, entailing composition with transformers, generators, modulators, magnetophones, etc; the integration of all concrete and abstract (synthetic) sound possibilities (also all noises), and the controlled projection of sound in space" (Stockhausen 1989b, 127; reprinted in Schwartz & Childs 1998, 374). His position as "the leading German composer of his generation" (Toop 2001) 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 (Kohl 1998a, 61). The principles underlying the latter three compositions are presented in Stockhausen's best-known theoretical article, ". . . wie die Zeit vergeht . . ." (". . . How Time Passes . . ."), first published in 1957 in vol. 3 of Die Reihe (Texte 1, 99–139).

His work with electronic music and its utter fixity led him to explore modes of instrumental and vocal music in which performers' individual capabilities and the circumstances of a particular performance (e.g., hall acoustics) may determine certain aspects of a composition. He called this "variable form" (Wörner 1973, 101–105). In other cases, a work may be presented from a number of different perspectives. In Zyklus (1959), for example, he began using graphic notation for instrumental music. The score is written so that the performance can start on any page, and it may be read upside down, or from right to left, as the performer chooses (Stockhausen, Texte 2, 73–100). Still other works permit different routes through the constituent parts. Stockhausen called both of these possibilities "polyvalent form" (Stockhausen, Texte 1, 241–51), which may be either open form (essentially incomplete, pointing beyond its frame), as with Klavierstück XI (1956), or "closed form" (complete and self-contained) as with Momente (1962–64/69) (Kaletha 2004, 97–98).

In many of his works, elements are played off against one another, simultaneously and successively: in Kontra-Punkte ("Against Points", 1952–53), which, in its revised form became his official "opus 1", a process leading from an initial "point" texture of isolated notes toward a florid, ornamental ending is opposed by a tendency from diversity (six timbres, dynamics, and durations) toward uniformity (timbre of solo piano, a nearly constant soft dynamic, and fairly even durations). In Gruppen (1955–57), fanfares and passages of varying speed (superimposed durations based on the harmonic series) are occasionally flung between three full orchestras, giving the impression of movement in space (Maconie 2005, 486).

In his Kontakte for electronic sounds (optionally with piano and percussion) (1958–60), he achieved for the first time an isomorphism of the four parameters of pitch, duration, dynamics, and timbre (Stockhausen 1962, 40).

1960s[link]

In 1960, Stockhausen returned to the composition of vocal music (for the first time since Gesang der Jünglinge) with Carré for four choirs and four orchestras (Stockhausen-Verlag 2010, 18). Two years later, he began an expansive cantata titled Momente (1962–64/69), for solo soprano, four choir groups and thirteen instrumentalists (Stockhausen-Verlag 2010, 18). 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 (Stockhausen-Verlag 2010, 20; Toop 2005, 175–78). 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) (Fritsch 1979; Kohl 1981, 192–93, 227–51; Kohl 1998b, 7; Toop 2005, 191–92). Some of his later works, such as Ylem (1972) and the first three parts of Herbstmusik (1974), also fall under this rubric (Maconie 2005, 254 and 366–68). Several of these process compositions were featured in the all-day programmes presented at Expo 70, for which Stockhausen composed two more similar pieces, Pole for two players, and Expo for three (Kohl 1981, 192–93; Maconie 2005, 323–24). In other compositions, such as Stop for orchestra (1965), Adieu for wind quintet (1966), and the Dr. K Sextett, which was written in 1968–69 in honour of Alfred Kalmus of Universal Edition, he presented his performers with more restricted improvisational possibilities (Maconie 2005, 262, 267–68, 319–20).

He pioneered live electronics in Mixtur (1964/67/2003) for orchestra and electronics (Kohl 1981, 51–163), Mikrophonie I (1964) for tam-tam, two microphones, two filters with potentiometers (6 players) (Maconie 1972; Maconie 2005, 255–57), Mikrophonie II (1965) for choir, Hammond organ, and four ring modulators (Peters 1992), and Solo for a melody instrument with feedback (1966) (Maconie 2005, 262–65). Improvisation also plays a part in all of these works, but especially in Solo (Maconie 2005, 264). He also composed two electronic works for tape, Telemusik (1966) and Hymnen (1966–67) (Kohl 2002; Stockhausen-Verlag 2010, 21). The latter also exists in a version with partially improvising soloists, and the third of its four "regions" in a version with orchestra (Stockhausen-Verlag 2010, 21). At this time, Stockhausen also began to incorporate pre-existent music from world traditions into his compositions (Kohl 1981, 93–95; Texte 4, 468–76). Telemusik was the first overt example of this trend (Kohl 2002, 96).

In 1968, Stockhausen composed the vocal sextet Stimmung, for the Collegium Vocale Köln, an hour-long work based entirely on the overtones of a low B-flat (Toop 2005, 39). In the following year, he created Fresco for four orchestral groups, a Wandelmusik ("foyer music") composition (Maconie 2005, 321). This was intended to be played for about five hours in the foyers and grounds of the Beethovenhalle auditorium complex in Bonn, before, after, and during a group of (in part simultaneous) concerts of his music in the auditoriums of the facility (Maconie 2005, 321–23). The overall project was given the title Musik für die Beethovenhalle (Maconie 2005, 296). This had precedents in two collective-composition seminar projects that Stockhausen gave at Darmstadt in 1967 and 1968: Ensemble and Musik für ein Haus (Gehlhaar 1968; Ritzel 1970; Iddon 2004; Maconie 2005, 321), 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) (Maconie 2005, 334–36, 338, 341–43).

"Space music" and Expo '70[link]

The spherical auditorium (right) of the German Pavilion at Expo '70

Since the mid-1950s, Stockhausen had been developing concepts of spatialization in his works, not only in electronic music, such as the 5-channel Gesang der Jünglinge (1955–56) and Telemusik (1966), and 4-channel Kontakte (1958–60) and Hymnen (1966–67). Instrumental/vocal works like Gruppen for three orchestras (1955–57) and Carré for four orchestras and choirs (1959–60) also exhibit this trait (Stockhausen Texte 2:71–72, 49–50, 102–103; Stockhausen 1989, 105–108; Cott 1973, 200–201). In lectures such as "Music in Space" from 1958 (Stockhausen Texte 1:152–75), he called for new kinds of concert halls to be built, "suited to the requirements of spatial music". His idea was

a spherical space which is fitted all around with loudspeakers. In the middle of this spherical space a sound-permeable, transparent platform would be suspended for the listeners. They could hear music composed for such standardized spaces coming from above, from below and from all points of the compass. (Stockhausen Texte 1:153)

In 1968, the West German government invited Stockhausen to collaborate on the German Pavilion at the 1970 World Fair in Osaka and to create a joint multimedia project for it with artist Otto Piene. Other collaborators on the project included the pavilion's architect, Fritz Bornemann, Fritz Winckel, director of the Electronic Music Studio at the Technical University of Berlin, and engineer Max Mengeringhausen. The pavilion theme was "gardens of music", in keeping with which Bornemann intended "planting" the exhibition halls beneath a broad lawn, with a connected auditorium "sprouting" above ground. Initially, Bornemann conceived this auditorium in the form of an amphitheatre, with a central orchestra podium and surrounding audience space. In the summer of 1968, Stockhausen met with Bornemann and persuaded him to change this conception to a spherical space with the audience in the center, surrounded by loudspeaker groups in seven rings at different "latitudes" around the interior walls of the sphere (Kurtz 1992, 166; Föllmer 1996).

Although Stockhausen and Piene's planned multimedia project, titled Hinab-Hinauf, was developed in detail (Stockhausen, Texte 3:155–74), the World Fair committee rejected their concept as too extravagant and instead asked Stockhausen to present daily five-hour programs of his music (Kurtz 1992, 178). Stockhausen's works were performed for 5½ hours every day over a period of 183 days to a total audience of about a million listeners (Wörner 1973, 256). According to Stockhausen's biographer, Michael Kurtz, "Many visitors felt the spherical auditorium to be an oasis of calm amidst the general hubbub, and after a while it became one of the main attractions of Expo 1970" (Kurtz 1992, 179).

1970s[link]

Stockhausen (front centre) at the mixing desk for a performance by Alfons and Aloys Kontarsky of Mantra, Shiraz Arts Festival, Iran, 2 September 1972

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 (Kohl 1983–84a; Kohl 1990; Kohl 2004). Sometimes, as in Mantra and the large orchestral composition with mime soloists, Inori, the simple formula is stated at the outset as an introduction. 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 (Blumröder 1982; Conen 1991; Kohl 1983–84a; Kohl 1990; Kohl 1993; Kohl 2004; Stockhausen-Verlag 2010, 10). 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), "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 (Conen 1991, 57). Two such pieces, Tierkreis ("Zodiac", 1974–75) and In Freundschaft ("In Friendship", 1977, a solo piece with versions for virtually every orchestral instrument), have become Stockhausen's most widely performed and recorded compositions (Anon. 2007a; Deruchie 2007; Nordin 2004).

This dramatic simplification of style provided a model for a new generation of German composers, loosely associated under the label neue Einfachheit or New Simplicity (Andraschke 1981). The best-known of these composers is Wolfgang Rihm, who studied with Stockhausen in 1972–73. His orchestral composition Sub-Kontur (1974–75) quotes the formula of Stockhausen's Inori (1973–74), and he has also acknowledged the influence of Momente on this work (Frobenius 1981, 53 + note 59–60). Other large works 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 (Stockhausen-Verlag 2010, 24–25).

Stockhausen on 7 March 2004 during the mix-down of the recording of Angel Processions from Sonntag aus Licht, in Sound Studio N, Cologne. (Photo: Kathinka Pasveer).

1977–2003[link]

Between 1977 and 2003, he composed seven operas in a cycle titled Licht: Die sieben Tage der Woche ("Light: The Seven Days of the Week") (Maconie 2005, 403–544). The Licht cycle deals with the traits associated in various historical traditions with each weekday (Monday = birth and fertility, Tuesday = conflict and war, Wednesday = reconciliation and cooperation, Thursday = traveling and learning, etc.) and with the relationships between three archetypal characters: Michael, Lucifer, and Eve (Kohl 1983–84b, 489; Stockhausen Texte 6:152–56, 175, 200–201). Each of these characters dominates one of the operas (Donnerstag [Thursday], Samstag [Saturday], and Montag [Monday], respectively), the three possible pairings are foregrounded in three others, and the equal combination of all three is featured in Mittwoch (Wednesday) (Kohl 1990, 274).

Stockhausen's conception of opera was based significantly on ceremony and ritual, with influence from the Japanese Noh theatre (Stockhausen, Conen, and Hennlich 1989, 282), as well as Judeo-Christian and Vedic traditions (Bruno 1999, 134). In 1968, at the time of the composition of Aus den sieben Tagen, Stockhausen had read a biography by Satprem about the Bengali guru Sri Aurobindo (Guerreri 2009), and subsequently he also read many of the published writings by Aurobindo himself. The title of Licht owes something to Aurobindo's theory of "Agni" (the Hindu and Vedic fire deity), developed from two basic premises of nuclear physics; Stockhausen's definition of a formula and, especially, his conception of the Licht superformula, also owes a great deal to Sri Aurobindo's category of the "supramental" (Peters 2003, 227). Similarly, his approach to voice and text sometimes departed from traditional usage: Characters were as likely to be portrayed by instrumentalists or dancers as by singers, and a few parts of Licht (e.g., Luzifers Traum from Samstag, Welt-Parlament from Mittwoch, Lichter-Wasser and Hoch-Zeiten from Sonntag) use written or improvised texts in simulated or invented languages (Kohl 1983–84b, 499; Moritz 2005; Stockhausen 1999, 18–25; Stockhausen 2001b, 20; Stockhausen 2003, 20).

The seven operas were not composed in "weekday order" but rather starting (apart from Jahreslauf in 1977, which became the first act of Dienstag) with the "solo" operas and working toward the more complex ones: Donnerstag (1978–80), Samstag (1981–83), Montag (1984–88), Dienstag (1977/1987–91), Freitag (1991–94), Mittwoch (1995–97), and finally Sonntag (1998–2003) (Stockhausen-Verlag 2010, 3–7, 26–48).

Stockhausen had dreams of flying throughout his life, and these dreams are reflected in the Helikopter-Streichquartett (the third scene of Mittwoch aus Licht), completed in 1993. In it, the four members of a string quartet perform in four helicopters flying independent flight paths over the countryside near the concert hall. The sounds they play are mixed together with the sounds of the helicopters and played through speakers to the audience in the hall. Videos of the performers are also transmitted back to the concert hall. The performers are synchronized with the aid of a click track, transmitted to them and heard over headphones (Stockhausen 1996c, 215).

The first performance of the piece took place in Amsterdam on 26 June 1995, as part of the Holland Festival (Stockhausen 1996c, 216). Despite its extremely unusual nature, the piece has been given several performances, including one on 22 August 2003 as part of the Salzburg Festival to open the Hangar-7 venue (Stockhausen-Verlag 2010, 7), and the German première on 17 June 2007 in Braunschweig as part of the Stadt der Wissenschaft 2007 Festival (Stockhausen-Stiftung 2007). The work has also been recorded by the Arditti Quartet.

In 1999 he was Invited by Walter Fink to be the ninth composer featured in the annual Komponistenporträt of the Rheingau Musik Festival.^{[citation needed]}

In 1999, BBC producer Rodney Wilson asked Stockhausen to collaborate with Stephen and Timothy Quay on a film for the fourth series of Sound on Film International. Although Stockhausen's music had been used for films previously (most notably, parts of Hymnen in Nicolas Roeg's Walkabout in 1971), this was the first time he had been asked to provide music specially for the purpose. He adapted 21 minutes of material taken from his electronic music for Freitag aus Licht, calling the result Zwei Paare (Two Couples), and the Brothers Quay created their animated film, which they titled In Absentia, based only on their reactions to the music and the simple suggestion that a window might be an idea to use (Anon. 2001). When, at a preview screening, Stockhausen saw the film, which shows a madwoman writing letters from a bleak asylum cell, he was moved to tears. The Brothers Quay were astonished to learn that his mother had been "imprisoned by the Nazis in an asylum, where she later died. … This was a very moving moment for us as well, especially because we had made the film without knowing any of this" (Aita 2001).

2003–2007[link]

Stockhausen and Antonio Pérez Abellán during a recording session on 4 April 2007 for Natürliche Dauern, the Third Hour of Klang

After completing Licht, Stockhausen embarked on a new cycle of compositions, based on the hours of the day, entitled Klang ("Sound"). Twenty-one of these pieces were completed before the composer's death (Stockhausen-Verlag 2010, 49–50). The works from this cycle performed to date are First Hour: Himmelfahrt (Ascension), for organ or synthesizer, soprano and tenor (2004–2005); Second Hour: Freude (Joy) for two harps (2005); Third Hour: Natürliche Dauern (Natural Durations) for piano (2005–2006); and Fourth Hour: Himmels-Tür (Heaven's Door) for a percussionist and a little girl (2005) (Stockhausen-Verlag 2010, 49). The Fifth Hour, Harmonien (Harmonies), is a solo in three versions for flute, bass clarinet, and trumpet (2006) (Stockhausen-Verlag 2010, 49); the bass clarinet and flute versions were premièred in Kürten on 11 July 2007 and 13 July 2007, respectively (Stockhausen 2007b and Stockhausen 2007c), and the trumpet version was premièred on 2 August 2008 in London at a BBC Proms concert (Stockhausen-Stiftung 2008, 7). The Sixth through Twelfth hours are chamber-music works based on the material from the Fifth Hour (Stockhausen-Verlag 2010, 49). Of these, the Seventh (Balance, for flute, English horn, and bass clarinet), Ninth (Hoffnung, for string trio), and Tenth, Glanz (commission of the Asko Ensemble and the Holland Festival), were premièred on 22 August (Stockhausen-Stiftung 2008, 9), 31 August (Stockhausen-Stiftung 2008, 10), and 19 June (Beer 2008; Voermans 2008), respectively. The première of the Sixth (Schönheit, for flute, trumpet, and bass clarinet) took place on 5 October 2009 at the Grande Auditório of the Gulbenkian Foundation in Lisbon, and that of the Twelfth, Erwachen, on 13 October 2009 in Brussels. The Thirteenth Hour, Cosmic Pulses—an electronic work made by superimposing 24 layers of sound, each having its own spatial motion, among eight loudspeakers placed around the concert hall—was premièred in Rome on 7 May 2007 at Auditorium Parco della Musica, (Sala Sinopoli) (Stockhausen 2007a). Hours 14 through 21 are solo pieces for bass voice, baritone voice, basset-horn, horn, tenor voice, soprano voice, soprano saxophone, and flute, respectively, each with electronic accompaniment of a different set of three layers from Cosmic Pulses (Stockhausen-Verlag 2010, 50). Of these, the Twentieth (Edentia for soprano saxophone and electronic music) was premièred on 6 August 2008 (Mischke 2008), the Nineteenth (Urantia for soprano and electronic music) on 8 November 2008 in London, the Fourteenth (Havona for bass voice and electronic music) on 10 January 2009 in Paris (Stockhausen-Stiftung 2008, 15 and 13), and the Twenty-first (Paradies, for flute and electronic music) at the Schleswig-Holstein Musik Festival, at the Laeiszhalle in Hamburg on 24 August 2009. All of the remaining pieces were first performed in the context of the collective premiere of the cycle, at the Festival MusikTriennale Köln on 8–9 May 2010, in 176 individual concerts (Gimpel 2010).

Theories[link]

Stockhausen lecturing on Inori in March 2005

In the 1950s and early 1960s, Stockhausen published a series of articles that established his importance in the area of music theory. Although these include analyses of music by Mozart, Debussy, Bartók, Stravinsky, Goeyvaerts, Boulez, Nono, Johannes Fritsch, Michael von Biel, and, especially, Webern (Texte 1:24–31, 39–44, 75–85, 86–98; Texte 2:136–39, 149–66, 170–206; Texte 3:236–38; Texte 4:662–63), the items on compositional theory directly related to his own work are regarded as the most important generally. "Indeed, the Texte come closer than anything else currently available to providing a general compositional theory for the postwar period" (Morgan 1975, 16). His most celebrated article is "... wie die Zeit vergeht ..." (". . . How Time Passes . . ."), first published in the third volume of Die Reihe (1957). In it, he expounds a number of temporal conceptions underlying his instrumental compositions Zeitmaße, Gruppen, and Klavierstück XI. In particular, this article develops (1) a scale of twelve tempos analogous to the chromatic pitch scale, (2) a technique of building progressively smaller, integral subdivisions over a basic (fundamental) duration, analogous to the overtone series, (3) musical application of the concept of the partial field (time fields and field sizes) in both successive and simultaneous proportions, (4) methods of projecting large-scale form from a series of proportions, (5) the concept of "statistical" composition, (6) the concept of "action duration" and the associated "variable form", and (7) the notion of the "directionless temporal field" and with it, "polyvalent form" (Stockhausen Texte 1:99–139).

Other important articles from this period include "Elektronische und Instrumentale Musik" ("Electronic and Instrumental Music", 1958, Texte 1:140–51; Stockhausen 2004), "Musik im Raum" ("Music in Space", 1958, Texte 1:152–75), "Musik und Graphik" ("Music and Graphics", 1959, Texte 1:176–88), "Momentform" (1960, Texte 1:189–210), "Die Einheit der musikalischen Zeit" ("The Unity of Musical Time", 1961, Texte 1:211–21; Stockhausen 1962), and "Erfindung und Entdeckung" ("Invention and Discovery", 1961, Texte 1:222–58), the last summing up the ideas developed up to 1961. Taken together, these temporal theories

suggested that the entire compositional structure could be conceived as "timbre": since "the different experienced components such as color, harmony and melody, meter and rhythm, dynamics, and form correspond to the different segmental ranges of this unified time" [Texte 1:120], the total musical result at any given compositional level is simply the "spectrum" of a more basic duration—i.e., its "timbre," perceived as the overall effect of the overtone structure of that duration, now taken to include not only the "rhythmic" subdivisions of the duration but also their relative "dynamic" strength, "envelope," etc.

… Compositionally considered, this produced a change of focus from the individual tone to a whole complex of tones related to one another by virtue of their relation to a "fundamental"—a change that was probably the most important compositional development of the latter part of the 1950s, not only for Stockhausen's music but for "advanced" music in general. (Morgan 1975, 6)

Some of these ideas, considered from a purely theoretical point of view (divorced from their context as explanations of particular compositions) drew significant critical fire (Backus 1962, Fokker 1968, Perle 1960). For this reason, Stockhausen ceased publishing such articles for a number of years, as he felt that "many useless polemics" about these texts had arisen, and he preferred to concentrate his attention on composing (Texte 4:13).

Through the 1960s, although he taught and lectured publicly (Texte 3:196–211), Stockhausen published little of an analytical or theoretical nature. Only in 1970 did he again begin publishing theoretical articles, with "Kriterien", his six seminar lectures for the Darmstädter Ferienkurse (Texte 3:222–29).

Reception[link]

Musical influence[link]

Stockhausen's two early Electronic Studies (especially the second) had a powerful influence on the subsequent development of electronic music in the 1950s and 1960s, particularly in the work of the Italian Franco Evangelisti and the Poles Andrzej Dobrowolski and Włodzimierz Kotoński (Skowron 1981, 39). The influence of his Kontra-Punkte, Zeitmasse and Gruppen may be seen in the work of many composers, including Igor Stravinsky's Threni (1957–58) and Movements for piano and orchestra (1958–59) and other works up to the Variations: Aldous Huxley In Memoriam (1963–64), whose rhythms "are likely to have been inspired, at least in part, by certain passages from Stockhausen's Gruppen" (Neidhöffer 2005, 340). Though music of Stockhausen's generation may seem an unlikely influence, Stravinsky said in a 1957 conversation:

I have all around me the spectacle of composers who, after their generation has had its decade of influence and fashion, seal themselves off from further development and from the next generation (as I say this, exceptions come to mind, Krenek, for instance). Of course, it requires greater effort to learn from one's juniors, and their manners are not invariably good. But when you are seventy-five and your generation has overlapped with four younger ones, it behooves you not to decide in advance "how far composers can go," but to try to discover whatever new thing it is makes the new generation new. (Stravinsky and Craft 1959, 133)

Amongst British composers, Sir Harrison Birtwistle readily acknowledges the influence of Stockhausen's Zeitmaße (especially on his two wind quintets, Refrains and Choruses and Five Distances) and Gruppen on his work more generally (Cross 2000, 48; Cross 2001; Hall 1984, 3 and 7–8; Hall 1998, 99 and 108; Pace 1996, 27). Brian Ferneyhough says that, although the "technical and speculative innovations" of Klavierstücke I–IV, Kreuzspiel and Kontra-Punkte escaped him on first encounter (Ferneyhough 1988), they nevertheless produced a "sharp emotion, the result of a beneficial shock engendered by their boldness" (Ferneyhough 1988) and provided "an important source of motivation (rather than of imitation) for my own investigations" (Ferneyhough 1988). While still in school, he became fascinated upon hearing the British première of Gruppen, and

listened many times to the recording of this performance, while trying to penetrate its secrets—how it always seemed to be about to explode, but managed nevertheless to escape unscathed in its core—but scarcely managed to grasp it. Retrospectively, it is clear that from this confusion was born my interest for the formal questions which remain until today. (Ferneyhough 1988)

With respect to Stockhausen's later work, he said,

I have never subscribed (whatever the inevitable personal distance) to the thesis according to which the many transformations of vocabulary characterizing Stockhausen's development are the obvious sign of his inability to carry out the early vision of strict order that he had in his youth. On the contrary, it seems to me that the constant reconsideration of his premises has led to the maintenance of a remarkably tough thread of historical consciousness which will become clearer with time. . . . I doubt that there has been a single composer of the intervening generation who, even if for a short time, did not see the world of music differently thanks to the work of Stockhausen. (Ferneyhough 1988)

In a short essay describing Stockhausen's influence on his own work, Richard Barrett concludes that "Stockhausen remains the composer whose next work I look forward most to hearing, apart from myself of course" and names as works that have had particular impact on his musical thinking Mantra, Gruppen, Carré, Klavierstück X, Inori, and Jubiläum (Barrett 1998).

French composer and conductor Pierre Boulez once declared, "Stockhausen is the greatest living composer, and the only one whom I recognize as my peer" (Anon. 1967; Anon. 1971). Boulez also acknowledged the influence of performing Stockhausen's Zeitmaße on his subsequent development as a conductor (Boulez 1976, 79–80). Another French composer, Jean-Claude Éloy, regards Stockhausen as the most important composer of the second half of the 20th century, and cites virtually "all his catalog of works" as "a powerful discoveration [sic], and a true revelation" (Éloy 2008).

Dutch composer Louis Andriessen acknowledged the influence of Stockhausen's Momente in his pivotal work Contra tempus of 1968 (Schönberger 2001). German composer Wolfgang Rihm, who studied with Stockhausen, was influenced by Momente, Hymnen, and Inori (Williams 2006, 382).

At the Cologne ISCM Festival in 1960, the Danish composer Per Nørgård heard Stockhausen's Kontakte as well as pieces by Kagel, Boulez, and Berio. He was profoundly affected by what he heard and his music suddenly changed into "a far more discontinuous and disjunct style, involving elements of strict organization in all parameters, some degree of aleatoricism and controlled improvisation, together with an interest in collage from other musics" (Anderson 2001).

Jazz musicians such as Miles Davis (Bergstein 1992), Cecil Taylor, Charles Mingus, Herbie Hancock, Yusef Lateef (Feather 1964; Tsahar 2006), and Anthony Braxton (Radano 1993, 110) cite Stockhausen as an influence.

Stockhausen was influential within pop and rock music as well. Frank Zappa acknowledges Stockhausen in the liner notes of Freak Out!, his 1966 debut with The Mothers of Invention. On the back of The Who's second LP released in the US, "Happy Jack", their primary composer and guitarist Pete Townshend, is said to have "an interest in Stockhausen". Rick Wright and Roger Waters of Pink Floyd also acknowledge Stockhausen as an influence (Macon 1997, 141; Bayles 1996, 222). San Francisco psychedelic groups Jefferson Airplane and the Grateful Dead are said to have done the same (Prendergast 2000, 54); Stockhausen himself says the former band included students of Luciano Berio, and the Grateful Dead were "well orientated toward new music" (Texte 4, 505). Founding members of Cologne-based experimental band Can, Irmin Schmidt and Holger Czukay, both studied with Stockhausen at the Cologne Courses for New Music (Texte 3, 196, 198, 200). German electronic pioneers Kraftwerk also say they studied with Stockhausen (Flur 2003, 228), and Icelandic vocalist Björk has acknowledged Stockhausen's influence (Heuger 1998, 15; Björk 1996; Ross 2004, 53 & 55).

Wider cultural renown[link]

Stockhausen, along with John Cage, is one of the few avant-garde composers to have succeeded in penetrating the popular consciousness (Anon. 2007b; Broyles 2004; Hewett 2007). The Beatles included his face on the cover of Sgt. Pepper's Lonely Hearts Club Band (Guy and Llewelyn-Jones 2004, 111). This reflects his influence on the band's own avant-garde experiments as well as the general fame and notoriety he had achieved by that time (1967). In particular, "A Day in the Life" (1967) and "Revolution 9" (1968) were influenced by Stockhausen's electronic music (Aldgate, Chapman, and Marwick 2000, 146; MacDonald 1995, 233–34). Stockhausen's name, and the perceived strangeness and supposed unlistenability of his music, was even a punchline in cartoons, as documented on a page on the official Stockhausen web site (Stockhausen Cartoons). Perhaps the most caustic remark about Stockhausen was attributed to Sir Thomas Beecham. Asked "Have you heard any Stockhausen?", he is alleged to have replied, "No, but I believe I have trodden in some" (Lebrecht 1983, 334, annotated on 366: "Apocryphal; source unknown").

Stockhausen's fame is also reflected in works of literature. For example, he is mentioned in Philip K. Dick's 1974 novel Flow My Tears, the Policeman Said (Dick 1993, 101) and in Thomas Pynchon's 1966 novel The Crying of Lot 49. The Pynchon novel features "The Scope", a bar with "a strict electronic music policy". Protagonist Oedipa Maas asks "a hip graybeard" about a "sudden chorus of whoops and yibbles" coming out of "a kind of jukebox." He replies, "That's by Stockhausen... the early crowd tends to dig your Radio Cologne sound. Later on we really swing" (Pynchon 1999, 34).

Later in his life, Stockhausen was portrayed by at least one journalist, John O'Mahony of the Guardian newspaper, as an eccentric, for example being alleged to live an effectively polygamous lifestyle with two women, to whom O'Mahoney referred as his "wives", while at the same time stating he was not married to either of them (O'Mahoney 2001). In the same article, O'Mahony claims Stockhausen said he was born on a planet orbiting the star Sirius. In the German newspaper Die Zeit, Stockhausen unmistakably stated that he was educated at Sirius (see Controversy below).

Criticism[link]

Robin Maconie finds that, "Compared to the work of his contemporaries, Stockhausen's music has a depth and rational integrity that is quite outstanding... His researches, initially guided by Meyer-Eppler, have a coherence unlike any other composer then or since" (Maconie 1989, 177–78). Maconie also compares Stockhausen to Beethoven: "If a genius is someone whose ideas survive all attempts at explanation, then by that definition Stockhausen is the nearest thing to Beethoven this century has produced. Reason? His music lasts" (Maconie 1988), and "As Stravinsky said, one never thinks of Beethoven as a superb orchestrator because the quality of invention transcends mere craftsmanship. It is the same with Stockhausen: the intensity of imagination gives rise to musical impressions of an elemental and seemingly unfathomable beauty, arising from necessity rather than conscious design" (Maconie 1989, 178).

Christopher Ballantine, while comparing and contrasting the categories of experimental and avant-garde music, concludes that

Perhaps more than any other contemporary composer, Stockhausen exists at the point where the dialectic between experimental and avant-garde music becomes manifest; it is in him, more obviously than anywhere else, that these diverse approaches converge. This alone would seem to suggest his remarkable significance. (Ballantine 1977, 244)

Igor Stravinsky expressed great, but not uncritical, enthusiasm for Stockhausen's music in the conversation books with Robert Craft (e.g., Craft and Stravinsky 1960, 118) and for years organised private listening sessions with friends in his home where he played tapes of Stockhausen's latest works (Stravinsky 1984, 356; Craft 2002, 141). In an interview published in March 1968, however, he says of an unidentified person,

I have been listening all week to the piano music of a composer now greatly esteemed for his ability to stay an hour or so ahead of his time, but I find the alternation of note-clumps and silences of which it consists more monotonous than the foursquares of the dullest eighteenth-century music. ([Craft] 1968, 4)

The following October, a report in Sovetskaia Muzyka (Anon. 1968) translated this sentence (and a few others from the same article) into Russian, substituting for the conjunction "but" the phrase "Ia imeiu v vidu Karlkheintsa Shtokkhauzena" ("I am referring to Karlheinz Stockhausen"). When this translation was quoted in Druskin's Stravinsky biography, the field was widened to all of Stockhausen's compositions and Druskin adds for good measure, "indeed, works he calls unnecessary, useless and uninteresting", again quoting from the same Sovetskaia Muzyka article, even though it had made plain that the characterization was of American "university composers" (Druskin 1974, 207).

Early in 1995, BBC Radio 3 sent Stockhausen a package of recordings from contemporary artists Aphex Twin, Richie Hawtin (Plastikman), Scanner and Daniel Pemberton, and asked him for his opinion on the music. In August of that year, Radio 3 reporter Dick Witts interviewed Stockhausen about these pieces for a broadcast in October, subsequently published in the November issue of the British publication The Wire asking what advice he would give these young musicians. Stockhausen made suggestions to each of the musicians, who were then invited to respond. All but Plastikman obliged (Witts 1995).

Controversy[link]

Throughout his career, Stockhausen excited controversy. One reason for this is that his music displays high expectations about "shaping and transforming the world, about the truth of life and of reality, about the creative departure into a future determined by spirit," so that Stockhausen's work "like no other in the history of new music, has a polarizing effect, arouses passion, and provokes drastic opposition, even hatred" (Ulrich 2001, 25). Another reason was acknowledged by Stockhausen himself in a reply to a question during an interview on the Bavarian Radio on 4 September 1960, reprinted as a foreword to his first collection of writings:

I have often been reproached—especially recently—for being too candid, and through this making not a few enemies for myself—being undiplomatic. … It must be admitted: I am not gifted as an esotericist, not as a mystic or a hermit, and not as a diplomat; it corresponds that my love of my fellow humans expresses itself in candour … I hope my enemies will not on this account destroy me; I also hope my enemies find forms of retort that I can find richly fanciful, witty, pertinent, instructive—that grant me respect through a noble and truly humane form of enmity. (Stockhausen Texte 1:12–13)

After the student revolts in 1968, musical life in Germany became highly politicized, and Stockhausen found himself a target for criticism, especially from the leftist camp who wanted music "in the service of the class struggle". Cornelius Cardew and Konrad Boehmer denounced their former teacher as a "servant of capitalism". In a climate where music mattered less than political ideology, some malicious critics held that Stockhausen was too élitist, while others complained he was too mystical (Kurtz 1992, 188–89).

[edit] Scandal at the Fresco premiere

As reported in the German magazine Der Spiegel, the première (and only performance to date) on 15 November 1969 of Stockhausen's work Fresco for four orchestral groups (playing in four different locations) was the scene of a scandal. The rehearsals were already marked by objections from the orchestral musicians questioning such directions as "glissandos no faster than one octave per minute" and others phoning the artists union to clarify whether they really had to perform the Stockhausen work as part of the orchestra. In the backstage warm-up room at the premiere a hand-lettered sign could be seen saying: "We're playing, otherwise we would be fired". During the première the parts on some music stands suddenly were replaced by placards reading things like "Stockhausen-Zoo. Please don't feed", that someone had planted. Some musicians, fed up with the monkeyshines, already left after an hour, though the performance was planned for four to five hours. Stockhausen fans protested, while Stockhausen foes were needling the musicians asking: "How can you possibly participate in such crap?" ("Wie könnt ihr bloß so eine Scheiße machen!"). At one point someone managed to switch off the stand lights, leaving the musicians in the dark. After 260 minutes the performance ended with nobody participating any more (Anon. 1969).

Sirius star system[link]

In an obituary in the German newspaper Die Zeit, Karlheinz Stockhausen was quoted as having said:

I was educated at Sirius and want to return to there, although I am still living in Kürten near Cologne. (Reier 2007)

On hearing about this, conductor Michael Gielen stated: "When he said he knew what was happening at Sirius, I turned away from him in horror. I haven't listened to a note since", and called Stockhausen's statements "hubris" and "nonsense", while at the same time defending his own belief in astrology: "Why should these large celestial bodies exist if they do not stand for something? I cannot imagine that there is anything senseless in the universe. There is much we do not understand" (Hagedorn 2010).

11 September attacks[link]

In a press conference in Hamburg on 16 September 2001, Stockhausen was asked by a journalist whether the characters in Licht were for him "merely some figures out of a common cultural history" or rather "material appearances". The composer replied, "I pray daily to Michael, but not to Lucifer. I have renounced him. But he is very much present, like in New York recently" (Stockhausen 2002, 76). The same journalist then asked how the events of 11 September had affected him, and how he viewed reports of the attack in connection with the harmony of humanity represented in Hymnen. He answered:

Well, what happened there is, of course—now all of you must adjust your brains—the biggest work of art there has ever been. The fact that spirits achieve with one act something which we in music could never dream of, that people practise ten years madly, fanatically for a concert. And then die. [Hesitantly.] And that is the greatest work of art that exists for the whole Cosmos. Just imagine what happened there. There are people who are so concentrated on this single performance, and then five thousand people are driven to Resurrection. In one moment. I couldn't do that. Compared to that, we are nothing, as composers. [...] It is a crime, you know of course, because the people did not agree to it. They did not come to the "concert". That is obvious. And nobody had told them: "You could be killed in the process." (Stockhausen 2002, 76–77.)

(To see how the excerpt appeared out of its context, and in English translation, see Tommasini 2001. For a translation of a larger context of the exchange, see Hänggi 2011. The full text of the press conference, in German, is printed as Stockhausen 2002.)

As a result of the reaction to the press report of Stockhausen's comments, a four-day festival of his work in Hamburg was canceled. In addition, his pianist daughter announced to the press that she would no longer appear under the name "Stockhausen" (Lentricchia and McAuliffe 2003, 7).

In a subsequent message, he stated that the press had published "false, defamatory reports" about his comments, and clarified as follows:

At the press conference in Hamburg, I was asked if Michael, Eve and Lucifer were historical figures of the past and I answered that they exist now, for example Lucifer in New York. In my work, I have defined Lucifer as the cosmic spirit of rebellion, of anarchy. He uses his high degree of intelligence to destroy creation. He does not know love. After further questions about the events in America, I said that such a plan appeared to be Lucifer's greatest work of art. Of course I used the designation "work of art" to mean the work of destruction personified in Lucifer. In the context of my other comments this was unequivocal. (Stockhausen 2001a)

Honours[link]

Amongst the numerous honors and distinctions that were bestowed upon Stockhausen are:

• 1964 German gramophone critics award;
• 1966 and 1972 SIMC award for orchestral works (Italy);
• 1968 Grand Art Prize for Music of the State of North Rhine-Westphalia; Grand Prix du Disque (France); Member of the Free Academy of the Arts, Hamburg;
• 1968, 1969, and 1971 Edison Prize (Holland);
• 1970 Member of the Royal Swedish Academy of Music;
• 1973 Member of the Academy of the Arts, Berlin;
• 1974 Federal Cross of Merit, 1st class (Germany);
• 1977 Member of the Philharmonic Academy of Rome;
• 1979 Member of the American Academy and Institute of Arts and Letters;
• 1980 Member of the European Academy of Science, Arts and Letters;
• 1981 Prize of the Italian music critics for Donnerstag aus Licht;
• 1982 German gramophone prize (German Phonograph Academy);
• 1983 Diapason d'or (France) for Donnerstag aus Licht;
• 1985 Commandeur de l'Ordre des Arts et des Lettres (France);
• 1986 Ernst von Siemens Music Prize;
• 1987 Honorary Member of the Royal Academy of Music, London;
• 1988 Honorary Citizen of the Kuerten community (Gemeinde Kürten website);
• 1989 Honorary Member of the American Academy of Arts and Sciences;
• 1990 Prix Ars Electronica, Linz, Austria;
• 1991 Honorary Fellow of the Royal Irish Academy of Music; Accademico Onorario of the Accademia Nazionale di Santa Caecilia, Rome; Honorary Patron of Sound Projects Weimar;
• 1992 IMC-UNESCO Picasso Medal; Distinguished Service Medal of the German state North Rhine-Westphalia; German Music Publishers Society Award for the score of Luzifers Tanz (3rd scene of Saturday from Light);
• 1993 Patron of the European Flute Festival; Diapason d'or for Klavierstücke I–XI and Mikrophonie I and II;
• 1994 German Music Publishers Society Award for the score Jahreslauf (Act 1 of Tuesday from Light);
• 1995 Honorary Member of the German Society for Electro-Acoustic Music; Bach Award of the city of Hamburg;
• 1996 Honorary doctorate (Dr. phil. h. c.) of the Free University of Berlin; Composer of the European Cultural Capital Copenhagen; Edison Prize (Holland) for Mantra; Member of the Free Academy of the Arts Leipzig; Honorary Member of the Leipzig Opera; Cologne Culture Prize;
• 1997 German Music Publishers Society Award for the score of Weltparlament (1st scene of Wednesday from Light); Honorary member of the music ensemble LIM (Laboratorio de Interpretación Musical), Madrid;
• 1999 Entry in the Golden Book of the city of Cologne;
• 2000 German Music Publishers Society Award for the score of Evas Erstgeburt (Act 1 of Monday from Light);
• 2000–2001 The film In Absentia made by the Quay Brothers (England) to concrete and electronic music by Karlheinz Stockhausen won the Golden Dove (first prize) at the International Festival for Animated Film in Leipzig. More awards: Special Jury Mention, Montreal, FCMM 2000; Special Jury Award, Tampere 2000; Special Mention, Golden Prague Awards 2001; Honorary Diploma Award, Cracow 2001; Best Animated Short Film, 50th Melbourne International Film Festival 2001; Grand Prix, Turku Finland 2001;
• 2001 German Music Publishers Society Award for the score Helicopter String Quartet (3rd scene of Wednesday from Light); Polar Music Prize of the Royal Swedish Academy of the Arts;
• 2002 Honorary Patron of the Sonic Arts Network, England;
• 2003 German Music Publishers Society Award for the score of Michaelion (4th scene of Wednesday from Light);
• 2004 Associated member of the Academie Royale des Sciences, des Lettres & des Beaux-arts (Belgium); Honorary doctorate (Dr. phil. h. c.) of the Queen's University in Belfast; German Music Publishers Society Award for the score of Stop and Start for 6 instrumental groups;
• 2005 German Music Publishers Society Award for the score of Hoch-Zeiten for choir (5th scene of Sunday from Light).
• 2006 Honorary member of the Accademia Filarmonica di Bologna
• 2008 On 22 August, Stockhausen's birthday, the Rathausplatz in his home town of Kürten was renamed Karlheinz-Stockhausen-Platz in his honour (Bäumer 2008).
• 2009 German Music Publishers Society Award for the score of Momente for solo soprano, four choral groups, and 13 instrumentalists.
• 2010 The municipality of Kürten adopts the designation "Stockhausengemeinde" in honour of the late composer (Landschoof 2010).

Notable students[link]

Sources[link]

• Adamenko, Victoria. 2007. Neo-mythologism in Music: From Scriabin and Schoenberg to Schnittke and Crumb. Interplay Series 5. Hillsdale, NY: Pendragon Press. ISBN 1-57647-125-X.
• Aita, Roberto. 2001. "Brothers Quay: In Absentia". OffScreen (30 September). English translation by Donato Totaro under the same title here.
• Aldgate, Anthony, James Chapman, and Arthur Marwick. 2000. Windows on the Sixties: Exploring Key Texts of Media and Culture. London and New York: I. B. Taurus & Co. Ltd. ISBN 1-86064-383-3.
• Anderson, Julian. 2001. "Nørgård, Per". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers.
• Andraschke, Peter. 1981. "Kompositorische Tendenzen bei Karlheinz Stockhausen seit 1965". In Zur Neuen Einfachheit in der Musik (Studien zur Wertungsforschung 14), edited by Otto Kolleritsch, 126–43. Vienna and Graz: Universal Edition (for the Institut für Wertungsforschung an der Hochschule für Musik und darstellende Kunst in Graz). ISBN 3-7024-0153-9.
• Anon. n.d. "http://www.rhein-erft-tourismus.de/de/poi-details/poi-details/12054/burg-moedrath/index.html Burg Mödrath]". Rhein-Erft Tourismus e.V. website (Accessed 2 March 2012)
• Anon. 1950. "Burg Mödrath wird Kinderheim". Kölnische Rundschau (27 June).
• Anon. 1967. "Composers: Flashes of a Mad Logic". Time 89, no. 6 (10 February): 75.
• Anon. 1968. "Interv'iu so Stravinskim". Sovetskaia Muzyka (October): 141.
• Anon. 1969. "Stockhausen: Zuviel verlangt". Der Spiegel, no. 49 (1 December): 218.
• Anon. 1971. "Stockhausen: Immer höher". Der Spiegel, 1971 no. 9 (22 February): 130, 132, 134.
• Anon. 2001. "Brief Liaisons Give Haunting Results: Visionary Fusion: In Absentia, Directed by Identical Twins Stephen and Timothy Quay with Music by Karlheinz Stockhausen". The Telegraph (17 February).
• Anon. 2007a. "Avant-garde Composer Karlheinz Stockhausen Dies at 79". CBCnews.ca (7 December). (Accessed 7 April 2008)
• Anon. 2007b. "Pioneer of Electronica Stockhausen Dead at 79". Sydney Morning Herald. 10 December.
• Anon. 2008. "Karlheinz Stockhausen—a Romantic Discovering the Universe" [radio transcript]. In Talking to Kinky and Karlheinz—170 musicians get vocal on The Music Show, edited by Anni Heino, 283–91. Sydney: ABC Books. ISBN 978-0-7333-2008-8.
• Backus, John. 1962. "Die Reihe—A Scientific Evaluation". Perspectives of New Music 1, no. 1:160–71.
• Ballantine, Christopher. 1977. "Towards an Aesthetic of Experimental Music". The Musical Quarterly 63, no. 2 (April): 224–46.
• Barrett, Richard. 1988. "First Performances: Montag aus LICHT at the Holland Festival". Tempo, new series, no. 166 (September): 43–45.
• Barrett, Richard. 1998. "Not Necessarily Anything to Do with Karlheinz Stockhausen (Excavated from Diary Entries 20 February – 10 November 1994)". Leonardo Music Journal 8 ("Ghosts and Monsters: Technology and Personality in Contemporary Music"): 17–19.
• Bauer, Christian. 2008. Sacrificium intellectus: Das Opfer des Verstandes in der Kunst von Karlheinz Stockhausen, Botho Strauß und Anselm Kiefer. Munich: Wilhelm Fink Verlag. ISBN 978-3-7705-4596-4.
• Bauermeister, Mary. 2011. Ich hänge im Triolengitter: Mein Leben mit Karlheinz Stockhausen. Munich: Edition Elke Heidenreich bei C. Bertelsmann. ISBN 978-3-570-58024-0.
• Bäumer, Ingrid. 2007. "'Eine ganz neue Zeit fängt an': Karlheinz Stockhausen arbeitete bis zum letzten Atemzug". Kölner Stadt-Anzeiger (9 December).
• Bäumer, Ingrid. 2008. "'Ehrung von Karlheinz Stockhausen: Rathausvorplatz trägt seinen Namen". Kölner Stadt-Anzeiger (19 June).
• Bayles, Martha. 1996. Hole in Our Soul: The Loss of Beauty and Meaning in American Popular Music. Chicago: University of Chicago Press. ISBN 0-226-03959-5.
• Beer, Roland de. 2008. "Magistraal klinkend in memoriam". De Volkskrant (21 June).
• Bergstein, Barry. 1992. "Miles Davis and Karlheinz Stockhausen: A Reciprocal Relationship." The Musical Quarterly 76, no. 4. (Winter): 502–25.
• Björk. 1996. "Compose Yourself" Interview of Stockhausen by Björk Dazed and Confused 23 (August 1996).
• Blumröder, Christoph von. 1982. "Formel-Komposition—Minimal Music—Neue Einfachheit: Musikalische Konzeptionen der siebziger Jahre." In Neuland Jahrbuch 2 (1981/82), edited by Herbert Henck, 160–78. Bergisch Gladbach: Neuland Verlag.
• Blumröder, Christoph von. 1993. Die Grundlegung der Musik Karlheinz Stockhausens. Beihefte zum Archiv für Musikwissenschaft 32, ed. Hans Heinrich Eggebrecht. Stuttgart: Franz Steiner Verlag.
• Boulez, Pierre. 1976. Conversations with Célestin Deliège. London: Eulenburg Books.
• Bridoux-Michel, Séverine. 2006. "Architecture et musique: croisements de pensées après 1950 (la collaboration de l'architecte et du musicien, de la conception à l'oeuvre)". PhD diss., l'Université Charles de Gaulle–Lille. Abstract.
• Broyles, Michael. 2004. Mavericks and Other Traditions in American Music. New Haven and London: Yale University Press. ISBN 0-300-10045-0
• Brümmer, Ludger. 2008. "Stockhausen on Electronics, 2004". Computer Music Journal 32, no. 4:10–16.
• Bruno, Pascal. 1999. "Donnerstag aus Licht: A New Myth, or Simply an Updating of a Knowledge?" Perspectives of New Music 37, no. 1 (Winter): 133–56.
• Cardew, Cornelius. 1974. Stockhausen Serves Imperialism. London: Latimer New Directions. (Reprinted in Prėvost, E. (ed) (2006). Cornelius Cardew (1936–1981) – A Reader. Harlow: Copula.
• Chaplygina, Marina. 1993. Карлхайнц Штокхаузен: когда-нибудь речь станет пением ["Karlheinz Stockhausen: Some Day Speech Will Become Singing" (interview)]. Музыкальная жизнь [Musical Life], nos. 15–16:24–26.
• Conen, Hermann. 1991. Formel-Komposition: Zu Karlheinz Stockhausens Musik der siebziger Jahre. Kölner Schriften zur Neuen Musik 1, ed. Johannes Fritsch and Dietrich Kämper. Mainz: Schott's Söhne. ISBN 3-7957-1890-2
• Cott, Jonathan. 1973. Stockhausen: Conversations with the Composer. New York: Simon and Schuster. ISBN 0-671-21495-0.
• Craft, Robert. 2002. An Improbable Life: Memoirs. Nashville: Vanderbilt University Press.
• [Craft, Robert]. 1968. "Side Effects: An Interview with Stravinsky". New York Review of Books (14 March): 3–8.
• Craft, Robert, and Igor Stravinsky. 1960. Memories and Commentaries Garden City, NY: Doubleday.
• Cross, Jonathan. 2000. Harrison Birtwistle: Man, Mind, Music. Ithaca: Cornell University Press. ISBN 0-8014-8672-6.
• Cross, Jonathan. 2001. "Birtwistle, Sir Harrison". The New Grove Dictionary of Music and Musicians, ed. S. Sadie and J. Tyrrell. London: Macmillan.
• Custodis, Michael. 2004. Die soziale Isolation der neuen Musik: Zum Kölner Musikleben nach 1945. Beihefte zum Archiv für Musikwissenschaft 54, edited by Albrecht Riethmüller, with Reinhold Brinkmann, Ludwig Finscher, Hans-Joachim Hinrichsen, Wolfgang Osthoff, and Wolfram Steinbeck. Stuttgart: Franz Steiner Verlag. ISBN 3-515-08375-8
• Davies, Hugh. 1968. "Working with Stockhausen." The Composer no. 27:8–11.
• Decroupet, Pascal, and Elena Ungeheuer. 1998. "Through the Sensory Looking-Glass: The Aesthetic and Serial Foundations of Gesang der Jünglinge". Translated from the French by Jerome Kohl. Perspectives of New Music 36, no. 1 (Winter): 97–142.
• Deruchie, Andrew. 2007. "Karlheinz Stockhausen: Tierkreis (Zodiac) (1974–75), (Karlheinz Stockhausen, arrangement)". Programme-booklet note for the North American première of Fünf Sternzeichen, 5 March 2007. Montréal: Société de musique contemporaine du Québec.
• Deutscher Musikeditionspreis. 2009. "Elf Preisträger des Deutschen Musikeditionspreis „BEST EDITION“ 2009". Deutscher Musikverleger-Verband. (Accessed 31 August 2009)
• Dick, Philip K. 1993. Flow My Tears, the Policeman Said. New York: Vintage Books. ISBN 0-679-74066-X
• Dirmeikis, Paul. 1999. Le Souffle du temps: Quodlibet pour Karlheinz Stockhausen. [La Seyne-sur-Mer]: Éditions Telo Martius. ISBN 2-905023-37-6 "[1]"
• Druskin, Mikhail Semenovich. 1974. Igor Stravinskii: Lichnost, Tvorchestvo, Vzgliady [Igor Stravinsky: Personality, Works, Opinions]. Leningrad, Moscow: Izdatelstvo "Sovietska kompozitor".
• Éloy, Jean-Claude. 2008. "I Owe to Him . . .". In Gedenkschrift für Stockhausen, edited by Suzanne Stephens and Kathinka Pasveer, 58. Kürten: Stockhausen-Stiftung für Musik.
• Feather, Leonard. 1964. "Blindfold Test: Yusef Lateef." Down Beat 31, no. 25 (10 September): 34.
• Felder, David. 1977. "An Interview with Karlheinz Stockhausen." Perspectives of New Music 16, no. 1 (Fall-Winter): 85–101.
• Ferneyhough, Brian. 1988. "Témoignage", translated by Jacques Demierre. In Karlheinz Stockhausen (Livre-programme), 18–19. Paris: Edition Contrechamps/Festival d'Automne à Paris.
• Feß, Eike. 2004. "Die Wirkung der Informationstheorie auf das Werk Karlheinz Stockhausens". In Kompositorische Stationen des 20. Jahrhunderts. Debussy, Webern, Messiaen, Boulez, Cage, Ligeti, Stockhausen, Höller, Bayle Signale aus Köln. Beiträge zur Musik der Zeit 7, edited by Christoph von Blumröder, 116–28. Münster: Lit-Verlag, 2004. ISBN 3-8258-7212-2.
• Flur, Wolfgang. 2003. Kraftwerk: I Was a Robot. Second Edition. London: Sanctuary Publishing, Ltd. ISBN 1-86074-417-6.
• Fokker, Adriaan D. 1968. "Wherefore, and Why?" Die Reihe 8 [English ed.], 68–79.
• Föllmer, Golo. 1996. "Osaka: Technik für das Kugelauditorium." In Musik…, verwandelt. Das Elektronische Studio der TU Berlin 1953–1995, edited by Frank Gertich, Julia Gerlach, and Golo Föllmer, 195–211. Hofheim: Wolke-Verlag. ISBN 3-923997-68-X.
• Frisius, Rudolf. 1996. Karlheinz Stockhausen I: Einführung in das Gesamtwerk; Gespräche mit Karlheinz Stockhausen. Mainz: Schott Musik International. ISBN 3-7957-0248-8
• Frisius, Rudolf. 2008. Karlheinz Stockhausen II: Die Werke 1950–1977; Gespräch mit Karlheinz Stockhausen, "Es geht aufwärts". Mainz, London, Berlin, Madrid, New York, Paris, Prague, Tokyo, Toronto: Schott Musik International. ISBN 978-3-7957-0249-6.
• Fritsch, Johannes, with Richard Toop. 2008. "Versuch, eine Grenze zu überschreiten … Johannes Fritsch im Gespräch über die Aufführungspraxis von Werken Karlheinz Stockhausens". MusikTexte: Zeitschrift für neue Musik, no. 116 (February): 31–40.
• Frobenius, Wolf. 1981. 'Die "Neue Einfachheit" und der bürgerliche Schönheitsbegriff', in Zur Neuen Einfachheit in der Musik, edited by Otto Kolleritsch, 48–60. Studien zur Wertungsforschung 14. Vienna and Graz: Universal Edition (for the Institut für Wertungsforschung an der Hochschule für Musik und darstellende Kunst in Graz). ISBN 3-7024-0153-9.
• Gather, John Philipp. 2003. "The Origins of Synthetic Timbre Serialism and the Parisian Confluence, 1949–52". PhD diss., State University of New York, Buffalo.
• Gehlhaar, Rolf. 1968. Zur Komposition Ensemble: Kompositionsstudio Karlheinz Stockhausen, International Ferienkurse Darmstadt 1967. Darmstädter Beiträge zur Neuen Musik 11, ed. Ernst Thomas. Mainz: Schott.
• Gilmore, Bob. 2009. "Claude Vivier and Karlheinz Stockhausen: Moments from a Double Portrait". Circuit: musiques contemporaines 19, no. 2:35–49.
• Gimpel, Othmar (ed.). 2010. Karlheinz Stockhausen, KLANG, 8. und. 9. Mai. Cologne: MusikTriennale Köln.
• Grant, Morag Josephine. 2001. Serial Music Serial Aesthetics: Compositional Theory in Post-War Europe. Music in the Twentieth Century, Arnold Whitall, general editor. Cambridge: Cambridge University Press. ISBN 0-521-80458-2.
• Guerrieri, Matthew. 2009. "At NEC, Six Hours of Stockhausen". The Boston Globe (27 February).
• Guy, Alun, and Iwan Llewelyn-Jones. 2004. Students Guide to Gcse Music for the Wjec Specification: English Language. London: Rhinegold Publishing. ISBN 1-904226-59-0.
• Habib, André. 2002. "Through a Glass Darkly: Interview with the Quay Brothers". Senses of Cinema (February). French translation previously published in the Montreal-based online journal Hors Champ (15 January 2002).
• Hagedorn, Volker. 2010. ""Dirigent Michael Gielen: Der Unbeugsame" Die Zeit no. 18 (29 April).
• Hall, Michael. 1984. Harrison Birtwistle. The Contemporary Composers 4. Series editor, Nicholas Snowman. London: Robson Books. ISBN 0-86051-270-3.
• Hall, Michael. 1998. Harrison Birtwistle in Recent Years. The Contemporary Composers. Series editor, Nicholas Snowman. London: Robson Books. ISBN 1-86105-179-4.
• Harvey, Jonathan. 1975a. The Music of Stockhausen: An Introduction. Berkeley and Los Angeles: University of California Press. ISBN 0-520-02311-0.
• Hänggi, Christian. 2011. Stockhausen at Ground Zero. Fillip. ISBN 978-0-9868326-5-9.
• Harvey, Jonathan. 1975b. "Stockhausen's 'Hymnen'". The Musical Times, 116, no. 1590 (August): 705+707.
• Heikinheimo, Seppo. 1972. The Electronic Music of Karlheinz Stockhausen: Studies on the Esthetical and Formal Problems of Its First Phase, translated by Brad Absetz. Acta Musicologica Fennica 6 (ISSN 0587-2448). Helsinki: Suomen Musiikkitieteellinen Seura / Musikvetenskapliga Sällskapet i Finland. (Doctoral thesis, Helsinki University.)
• Heuger, Markus. 1998. "Stockhausen Goes to Town: Der öffentliche Stockhausen". Neue Zeitschrift für Musik 159, no. 4 (July–August): 10–15.
• Hewett, Ivan. 2007. "Karlheinz Stockhausen: Both a Rationalist and a Mystic, the Composer's Influence Stretched from Boulez to the Beatles" Guardian Unlimited" (Friday 7 December).
• Hollings, Ken. 1999. " Lost in the Stars: Karlheinz Stockhausen in Conversation with Ken Hollings, Kurten, Germany, 12 March 1999". The Wire, no. 184 (May).
• Hopkins, Bill. 1972. "Stockhausen and Others". Tempo, new series, no. 98:32–34.
• Hopp, Winrich. 1998. Kurzwellen von Karlheinz Stockhausen: Konzeption und musikalische Poiesis. Kölner Schriften zur neuen Musik 6. With CD recording. Mainz and New York: Schott. ISBN 3-7957-1895-3.
• Iddon, Martin. 2004. "The Haus that Karlheinz Built". The Musical Quarterly 87, no. 1:87–118.
• Ingram, James, and Paul Roberts. 2008. "Über das Unsichtbarsein: Ein E-mail Interview mit James Ingram zu seiner Tätigkeit als Stockhausens Notenkopist", translated by Gisela Gronemeyer. MusikTexte, no. 117 (May): 43–52. Expanded English text, as "On Being Invisible" (April 2009). James Ingram: Act Two website. Accessed 27 July 2010.
• Kaletha, Holger. 2004. "Decomposition of the Sound Continuum: Serialism and Development from a Genetic-Phenomenological Perspective", translated by Jerome Kohl. Perspectives of New Music 42, no. 1 (Winter): 84–128.
• Kirchmeyer, Helmut. 2009. "Stockhausens Elektronische Messe nebst einem Vorspann unveröffentlichter Briefe aus seiner Pariser Zeit an Herbert Eimert". Archiv für Musikwissenschaft 66, no. 3:234–59.
• Klein, Lothar. 1968. "Twentieth-Century Analysis: Essays in Miniature". Music Educators Journal 54, no. 6 (February): 117–19.
• Kohl, Jerome. 1981. "Serial and Non-Serial Techniques in the Music of Karlheinz Stockhausen from 1962–1968." PhD diss. Seattle: University of Washington.
• Kohl, Jerome. 1983–84a. "The Evolution of Macro- and Micro-Time Relations in Stockhausen's Recent Music". Perspectives of New Music 22, nos. 1 and 2:147–85.
• Kohl, Jerome. 1983–84b. "Stockhausen at La Scala: Semper idem sed non eodem modo". Perspectives of New Music 22, nos. 1 and 2:483–501.
• Kohl, Jerome. 1990. "Into the Middleground: Formula Syntax in Stockhausen's Licht". Perspectives of New Music 28, no. 2 (Summer): 262–91.
• Kohl, Jerome. 1993. "Time and Light." Contemporary Music Review 7, no. 2:203–19.
• Kohl, Jerome. 1998a. "A Seventieth-Birthday Festschrift for Karlheinz Stockhausen (Part One): Guest Editor's Introduction". Perspectives of New Music 36, no. 1 (Winter): 59–64.
• Kohl, Jerome. 1998b. "A Seventieth-Birthday Festschrift for Karlheinz Stockhausen (Part Two): Guest Editor's Introduction". Perspectives of New Music 36, no. 2 (Summer): 5–10.
• Kohl, Jerome. 2002. "Serial Composition, Serial Form, and Process in Karlheinz Stockhausen's Telemusik." In Electroacoustic Music: Analytical Perspectives, ed. Thomas Licata, 91–118. Westport, Conn. and London: Greenwood Press.
• Kohl, Jerome. 2004. "Der Aspekt der Harmonik in Licht." In Internationales Stockhausen-Symposion 2000: LICHT: Musikwissenschaftliches Institut der Universität zu Köln, 19. bis 22. Oktober 2000. Tagungsbericht. Signale aus Köln: Beiträge zur Musik der Zeit 10. Ed. Imke Misch and Christoph von Blumröder, 116–32. Münster, Berlin, London: LIT-Verlag. ISBN 3-8258-7944-5.
• Kohl, Jerome. 2008. Programme notes in the programme booklet for the Klang Festival, (1–9 November), Southbank Centre, London: 12–13, 16–17, 20–21, 24–25.
• Kohl, Jerome. 2009a. "Klang/Som: Die 24 Stunden des Tages/As 24 horas do dia". Temporada Gulbenkian de Música 2009–2010 (October): 13–14.
• Kohl, Jerome. 2009b. "Hoffnung/Esperança, para violino, viola e violoncelo (2007): 9ª hora de Klang, as 24 horas do dia". Temporada Gulbenkian de Música 2009–2010 (October): 18.
• Kohl, Jerome. 2009c. "Schönheit/Beleza, para clarinete baixo, flauta e trompete (2006): 6ª hora de Klang, as 24 horas do dia". Temporada Gulbenkian de Música 2009–2010 (October): 22.
• Kohl, Jerome. 2010. "A Child of the Radio Age". In Cut & Splice: Transmission, edited by Daniela Cascella and Lucia Farinati, 135–39. London: Sound and Music. ISBN 978-1-907378-03-4
• Kramer, Jonathan. 1998. "Karlheinz in California." Perspectives of New Music 36, no. 1 (Winter): 247–61.
• Krause, Peter. 2008. "Elektro-Esoterik: Uraufführung von Stockhausen-Klang". Welt-Online (8 August).
• Kurtz, Michael. 1992. Stockhausen: A Biography, translated by Richard Toop. London and Boston: Faber and Faber. ISBN 0-571-14323-7 (cloth) ISBN 0-571-17146-X (pbk)
• Landschoof, Elke. 2010. "Stockhausen: Ehrenbürger künftig Teil des Namens". Kölner Stadt-Anzeiger (30 November).
• Lebrecht, Norman. 1985. The Book of Musical Anecdotes. New York: Simon and Schuster; London: Sphere Books. ISBN 0-02-918710-9.
• Lentricchia, Frank, and Jody McAuliffe. 2003. Crimes of Art and Terror. Chicago: University of Chicago Press. ISBN 0-226-47205-1.
• MacDonald, Ian. 1995. Revolution in the Head: The Beatles' Records and the Sixties. London: Pimlico. ISBN 0-7126-6208-1.
• Macon, Edward L. 1997. Rocking the Classics: English Progressive Rock and the Counterculture. New York: Oxford University Press. ISBN 0-19-509887-0.
• Maconie, Robin. 1972. "Stockhausen's Mikrophonie I: Perception in Action." Perspectives of New Music 10, no. 2 (Spring-Summer): 92–101.
• Maconie, Robin. 1976. The Works of Karlheinz Stockhausen. London, New York, Toronto: Oxford University Press. [For second edition, see Maconie 1990.]
• Maconie, Robin. 1988. "Great Vintages". Classic CD 5.
• Maconie, Robin. 1989. "Afterword: Beauty and Necessity". In Karlheinz Stockhausen, Stockhausen on Music: Lectures and Interviews, edited by Robin Maconie. London and New York: Marion Boyars.
• Maconie, Robin. 1990. The Works of Karlheinz Stockhausen, 2nd edition. Oxford: Clarendon Press. ISBN 0-19-315477-3.
• Maconie, Robin. 2005. Other Planets: The Music of Karlheinz Stockhausen. Lanham, Maryland, Toronto, Oxford: The Scarecrow Press, Inc. ISBN 0-8108-5356-6.
• Mießgang, Thomas, and Robert Baumanns. 1997. "Schlagsahne, Irrengesang, Kirmesgeister: Karlheinz Stockhausen testet Krautrock". Die Zeit, 1997, no. 17 (18 April).
• Miller, Paul. 2009. "Stockhausen and the Serial Shaping of Space". PhD diss. Rochester: Eastman School of Music.
• Misch, Imke, and Markus Bandur (eds.). 2001. Karlheinz Stockhausen bei den Internationalen Ferienkursen für Neue Musik in Darmstadt 1951–1996: Dokumente und Briefe. Kürten: Stockhausen-Verlag. ISBN 3-00-007290-X.
• Mischke, Joachim. 2008. "SHMF: Neue Musik, visionär, von heute und wie von gestern". Hamburger Abendblatt (8 August).
• Morawska-Büngeler, Marietta. 1988. Schwingende Elektronen: Eine Dokumentation über das Studio für Elektronische Musik des Westdeutschen Rundfunks in Köln, 1951–1986. Köln-Rodenkirchen: P. J. Tonger Musikverlag.
• Morgan, Robert. 1975. "Stockhausen's Writings on Music". The Musical Quarterly 61, no. 1 (January): 1–16. Reprinted in the The Musical Quarterly 75, no. 4 (Winter 1991): 194–206.
• Moritz, Albrecht. 2005. "Stockhausen: LICHTER-WASSER (LIGHTS-WATERS), 1998–99". (Record review)
• Morreau, Annette. 2001. "Where Herzog Met Portishead: Only Connect, Barbican, London". The Independent (6 March).
• Mowitz, Michael. 2010. Die Form der Klänge. Stockhausens ›Konzeption einer einheitlichen musikalischen Zeit‹ am Beispiel der Komposition »Kontakte«. Osnabrück: epOs-Music. ISBN 978-3-940255-08-2.
• Neidhöfer, Christoph. 2005. "Joseph N. Strauss. Stravinsky's Late Music". Music Theory Spectrum 27:336–53.
• Nordin, Ingvar Loco. 2004. "George Crumb, Makrokosmos Books 1 and 2: 24 Fantasy Pieces after the Zodiac for Amplified Piano: Margaret Leng Tan (amplified piano)—Alex Nowitz (whistling). Mode 142". (Accessed 7 April 2008) Also found at Mode Records website
• O'Mahony, John. 2001. "The Sound of Discord". The Guardian (29 September). (Accessed 8 May 2011)
• Pace, Ian. 1996. "'Secret Theatres': The Harrison Birtwistle Retrospective, 12 April – 4 May 1996". Tempo, new series, no. 197. (July): 25–27.
• Perle, George. 1960. "Book Review: Die Reihe III: Musical Craftsmanship". Journal of Music Theory 4, no. 1 (April): 102–104.
• Peters, Günter. 1992. "Meditations Modulated: H. Heissenbüttel's 'Einfache Grammatische Meditationen' in K. Stockhausen's Mikrophonie II. " German Literature and Music—An Aesthetic Fusion: 1890–1989, ed. C. Reschke and H. Pollock, Houston Germanic Studies 8, 247–61. Munich: Wilhelm Fink Verlag. Revised German edition 1993: "Die ringmodulierte Meditation: Helmut Heissenbüttels 'Einfache grammatische Meditationen' in Karlheinz Stockhausens Mikrophonie II." In Musik-Konzepte 81: Autoren-Musik. Sprache im Grenzbereich der Künste, 16–40. Munich: Edition Text+Kritik. Reprinted in Peters 2003, 27–62 (German) and 163–98 (English).
• Peters, Günter. 2003. Heiliger Ernst im Spiel—Texte zur Musik von Karlheinz Stockhausen / Holy Seriousness in the Play—Essays on the Music of Karlheinz Stockhausen (bilingual edition, German and English). Kürten: Stockhausen-Stiftung für Musik. ISBN 978-3-00-009182-7
• Power, David. 1990. "Book Reviews: Towards a Cosmic Music, Karlheinz Stockhausen; Tim Nevill". Tempo, new series, no. 175. (December): 30–31.
• Prendergast, Mark. 2000. The Ambient Century: From Mahler to Trance—The Evolution of Sound in the Electronic Age. New York: Bloomsbury Publishing. ISBN 1-58234-134-6.
• Pynchon, Thomas. 1999. The Crying of Lot 49 New York: HarperPerennial.
• Radano, Ronald M. 1993. New Musical Figurations: Anthony Braxton's Cultural Critique Chicago: University of Chicago Press.
• Reier, Sebastian. 2007. "Im Rhythmus der Sterne". Die Zeit (9 December).
• Rigoni, Michel. 1998. Stockhausen: ... un vaisseau lancé vers le ciel, 2nd edition, revised, corrected, and enlarged. Lillebonne: Millénaire III Editions. ISBN 2-911906-02-0.
• Rigoni, Michel. 2001. Le rêve de Lucifer de Karlheinz Stockhausen. La trace des silences. [Paris]: M. de Maule. ISBN 978-2-87623-103-0.
• Ritzel, Fred. 1970. Musik für ein Haus: Kompositionsstudio Karlheinz Stockhausen, Internationale Ferienkurse für Neue Musik, Darmstadt 1968. Darmstädter Beiträge zur Neuen Musik 12, edited by Ernst Thomas. Mainz: B. Schott's Söhne.
• Roads, Curtis. 2001. Microsound. Cambridge: MIT Press. ISBN 0-262-18215-7.
• Romney, Jonathan. 2001. "The Barbican's Musical Jellyfish: Sound on Film Live". The Guardian (3 March).
• Ross, Alex. 2004. "Björk's Saga". The New Yorker 80, no. 23 (23 August): 49–53 +55–59. [2].
• Rudi, Jøran (editor), Flø, Asbjørn Blokkum, Schaathun, Asbjørn. 2008. Karlheinz Stockhausen – A Pioneer in Utopia. Oslo: Notam. ISBN 978-82-996867-2-3.
• Sabbe, Herman. 1981. "Die Einheit der Stockhausen-Zeit ...: Neue Erkenntnismöglichkeiten der seriellen Entwicklung anhand des frühen Wirkens von Stockhausen und Goeyvaerts. Dargestellt aufgrund der Briefe Stockhausens an Goevaerts". In Musik-Konzepte 19: Karlheinz Stockhausen: ... wie die Zeit verging ..., edited by Heinz-Klaus Metzger and Rainer Riehn, 5–96. Munich: Edition Text + Kritik.
• Schönberger, Elmer. 2001. "Andriessen: (4) Louis Andriessen". The New Grove Dictionary of Music and Musicians, ed. S. Sadie and J. Tyrrell. London: Macmillan.
• Schwartz, Elliott, and Barney Childs, with Jim Fox. 1998. Contemporary Composers on Contemporary Music. Expanded edition. New York: Da Capo Press. ISBN 0-306-80819-6
• Shimizu, Minoru. 1999. "Stockhausen und Japan, Licht und Schatten". In Internationales Stockhausen-Symposion 1998: Musikwissenschaftliches Institut der Universität zu Köln, 11. bis 14. November 1998. Tagungsbericht, edited by Imke Misch and Christoph von Blumröder, 87–94. Signale aus Köln: Beiträge zur Musik der Zeit 4. Saarbrücken: PFAU-Verlag. ISBN 3-89727-050-1.
• Sigel, Paul. 2000. "Der deutsche Beitrag auf der Expo70 in Osaka." Arch plus no. 149–150 (April): 116–33. Reprinted online Thema 5, no. 1 (July 2000)
• Skowron, Zbigniew. 1981. "Muzyka elektroniczna Karlheinza Stockhausena. Okres prób i doswiadczen" [Karlheinz Stockhausen's electronic music. A period of trials and experiences]. Muzyka: Kwartalnik Instytutu Sztuki Polskiej Akademii Nauk 26, nos. 3–4:17–40.
• Stenzl, Jürg. 1991. "York Höller's 'The Master and Margarita': A German Opera." Translated by Sue Rose. Tempo New Series, no. 179 (December): 8–15.
• Stephens, Suzanne, and Kathinka Pasveer (eds.). 2008. Gedenkschrift für Stockhausen. Kürten: Stockhausen-Stiftung für Musik. ISBN 978-3-00-023528-3.
• Stockhausen, Christel. 1978. "Stockhausens Tierkreis: Einführung und Hinweise zur praktischen Aufführung." Melos 45/Neue Zeitschrift für Musik 139 (July/August): 283–87. Reprinted together with an English trans. as "Stockhausen's ZODIAC, Introduction and Instructions for Performance Practice", in a booklet now included with the score of Tierkreis.
• Stockhausen, Karlheinz. Texte zur Musik. 10 vols. Vols. 1–3 edited by Dieter Schnebel; vols. 4–10 edited by Christoph von Blumröder. Vols. 1–3, Cologne: Verlag M. DuMont Schauberg (1963, 1964, 1971); vols. 4–6 DuMont Buchverlag (1978, 1989, 1989). Vols. 7–10 Kürten: Stockhausen-Verlag (1998). English edition, as Texts on Music, edited by Jerome Kohl, with translations by Jerome Kohl, Richard Toop, Tim Nevill, Suzanne Stephens, et al. Kürten: Stockhausen-Verlag, in preparation.
• Stockhausen, Karlheinz. 1962. "The Concept of Unity in Electronic Music". Translated by Elaine Barkin. Perspectives of New Music 1, no. 1 (Autumn): 39–48.
• Stockhausen, Karlheinz. 1989a. Stockhausen on Music: Lectures and Interviews, edited by Robin Maconie. London and New York: Marion Boyars. ISBN 0-7145-2887-0 (cloth) ISBN 0-7145-2918-4 (pbk).
• Stockhausen, Karlheinz. 1989b. Towards a Cosmic Music. Texts selected and translated by Tim Nevill. Shaftsbury: Element Books. ISBN 1-85230-084-1.
• Stockhausen, Karlheinz. 1996a. "Electroacoustic Performance Practice". Perspectives of New Music 34, no. 1 (Fall): 74–105.
• Stockhausen, Karlheinz. 1996b. "Kino-Bilder". In Bilder vom Kino: Literarische Kabinettstücke, edited by Wolfram Schütte, 138–40. Frankfurt am Main: Suhrkamp Verlag.
• Stockhausen, Karlheinz. 1996c. "Helikopter-Streichquartett". Grand Street 14, no. 4 (Spring, "Grand Street 56: Dreams"):213–25. ISBN 1-885490-07-0. Online Variant of this text (some omissions, some supplements, different illustrations).
• Stockhausen, Karlheinz. 1998. "Bildung ist große Arbeit: Karlheinz Stockhausen im Gespräch mit Studierenden des Musikwissenschaftlichen Instituts der Universität zu Köln am 5. Februar 1997." In Stockhausen 70: Das Programmbuch Köln 1998. Signale aus Köln: Musik der Zeit 1, edited by Imke Misch and Christoph von Blumröder, 1–36. Saarbrücken: Pfau-Verlag.
• Stockhausen, Karlheinz. 1999. Stockhausen-Kurse Kürten 1999: Kompositions-Kurs: Skizzen von Welt-Parlament (1995) für Chor a capella (mit singenden Dirigenten/Klangregisseur (1. Szene vom Mittwoch aus Licht). Kürten: Stockhausen-Verlag.
• Stockhausen, Karlheinz. 2001a. "Message from Professor Karlheinz Stockhausen" (Accessed 27 December 2007).
• Stockhausen, Karlheinz. 2001b. Stockhausen Courses Kürten 2001: Composition Course on Lights-Waters (Sunday Greeting) for Soprano, Tenor, and orchestra with synthesizer (1999). Kürten: Stockhausen-Verlag.
• Stockhausen, Karlheinz. 2002. "„Huuuh!“ Das Pressegespräch am 16. September 2001 im Senatszimmer des Hotel Atlantic in Hamburg". MusikTexte no. 91:69–77.
• Stockhausen, Karlheinz. 2003. Stockhausen Courses Kürten 2003: Composition Course on Hoch-Zeiten (of Sunday from Light) for Choir (2001/02). Kürten: Stockhausen-Verlag.
• Stockhausen, Karlheinz. 2004. "Electronic and Instrumental Music", translated by Jerome Kohl, with Suzanne Stephens and John McGuire. In Audio Culture: Readings in Modern Music, edited by Christoph Cox and Daniel Warner, 370–80. New York: Continuum. ISBN 0-8264-1614-4; ISBN 0-8264-1615-2.
• Stockhausen, Karlheinz. 2007a. "Cosmic Pulses: Electronic Music." (Accessed 30 March 2008) In programme book for the world première. Rome (8 May). Slightly expanded version in 2007 Stockhausen-Kurse Kürten: Programm zu den Interpretations- und Kompositionskursen und Konzerten der Musik von / Programme for the Interpretation and Composition Courses and Concerts of the Music of Karlheinz Stockhausen, 7. Juli bis 15. Juli 2007 in Kürten / from July 7th to 15th 2007 in Kuerten, notes for the German première on 13 July 2007, pp. 22 (German text) and 40 (English text), with illustrations divided between those pages and the programme cover. Kürten: Stockhausen-Verlag.
• Stockhausen, Karlheinz. 2007b. "Harmonien/Harmonies for Bass Clarinet (2006)". In 2007 Stockhausen-Kurse Kürten: Programm zu den Interpretations- und Kompositionskursen und Konzerten der Musik von / Programme for the Interpretation and Composition Courses and Concerts of the Music of Karlheinz Stockhausen, 7. Juli bis 15. Juli 2007 in Kürten / from July 7th to 15th 2007 in Kuerten, notes for the German première on 11 July 2007, pp. 33–34. Kürten: Stockhausen-Verlag.
• Stockhausen, Karlheinz. 2007c. "Harmonien/Harmonies for Flute (2006): 5th Hour of Klang / Sound, The 24 Hours of the Day". In 2007 Stockhausen-Kurse Kürten: Programm zu den Interpretations- und Kompositionskursen und Konzerten der Musik von / Programme for the Interpretation and Composition Courses and Concerts of the Music of Karlheinz Stockhausen, 7. Juli bis 15. Juli 2007 in Kürten / from July 7th to 15th 2007 in Kuerten, notes for the German première on 13 July 2007, p. 36. Kürten: Stockhausen-Verlag.
• Stockhausen, Karlheinz. 2009. Kompositorische Grundlagen Neuer Musik: Sechs Seminare für die Darmstädter Ferienkurse 1970, edited by Imke Misch. Kürten: Stockhausen-Stiftung für Musik. ISBN 978-3-00-027313-1
• Stockhausen, Karlheinz, Hermann Conen, and Jochen Hennlich. 1989. "Before and After Samstag aus Licht: Conversation of 24 May 1984, in Milan." Translated by Karin von Abrams. Contemporary Music Review 5, no. 1:267–97.
• Stockhausen, Markus. 1998. "Markus Stockhausen plays Karlheinz Stockhausen", notes on pp. 13–17 of booklet to CD recording, Markus Stockhausen plays Karlheinz Stockhausen: Aries, In Freundschaft, Halt, Pietà. EMI Classics 7243 5 56645 2 5.
• Stockhausen-Stiftung. 2007. Stockhausen Aufführungen/Performances 2007. Kürten: Stockhausen-Stiftung.
• Stockhausen-Stiftung. 2008. Stockhausen Aufführungen/Performances 2008. Kürten: Stockhausen-Stiftung.
• Stockhausen-Verlag. 2010. Stockhausen August 22nd 1928 – 5 December 5th 2007, English edition of brochure with official worklist and list of CDs. Kürten: Stockhausen-Verlag.
• Straus, Joseph N. 1997. "Babbitt and Stravinsky under the Serial 'Regime'" Perspectives of New Music 35, no. 2 (Summer): 17–32.
• Straus, Joseph N. 2001. Stravinsky's Late Music. Cambridge Studies in Music Theory and Analysis 16. New York: Cambridge University Press 33–35. ISBN 0-521-80220-2
• Stravinsky, Igor. 1984. Selected Correspondence, vol. 2. Edited and with commentaries by Robert Craft. New York: Alfred A. Knopf.
• Stravinsky, Igor, and Robert Craft. 1960. Memories and Commentaries. Berkeley and Los Angeles: University of California Press.
• Stravinsky, Igor, and Robert Craft. 1980. Conversations with Stravinsky. Berkeley and Los Angeles: University of California Press. ISBN 0-520-04040-6 (Reprint of the 1959 Doubleday edition).
• Tannenbaum, Mya. 1987. Conversations with Stockhausen, translated from the Italian by David Butchart. Oxford: Clarendon Press; New York: Oxford University Press. ISBN 0-19-315467-6.
• Tommasini, Anthony. 2001. "The Devil Made Him Do It". New York Times (30 September).
• Tilbury, John. 2008. Cornelius Cardew (1936–1981) – A Life Unfinished. Harlow: Copula.
• Toop, Richard. 1998. "Mondrian, Fibonacci . . . und Stockausen: Mass und Zahl in Adieu". Neue Zeitschrift für Musik 159, no. 4 (July–August): 31–35.
• Toop, Richard. 2001. "Karlheinz Stockhausen". The New Grove Dictionary of Music and Musicians ed. S. Sadie and J. Tyrrell. London: Macmillan.
• Toop, Richard. 2005. Six Lectures from the Stockhausen Courses Kürten 2002. Stockhausen-Verlag. ISBN 3-00-016185-6.
• Toop, Richard. 2008. "Kulturelle Dissidenten: Die Stockhausen-Klasse der Jahre 1973 und 1974". MusikTexte: Zeitschrift für neue Musik, no. 116 (February): 46–49.
• Truelove, Stephen. 1984. "Karlheinz Stockhausen's Klavierstück XI: An Analysis of Its Composition via a Matrix System of Serial Polyphony and the Translation of Rhythm into Pitch." DMA diss. Norman: University of Oklahoma.
• Truelove, Stephen. 1998. "The Translation of Rhythm into Pitch in Stockhausen's Klavierstück XI." Perspectives of New Music 36, no. 1 (Winter): 189–220.
• Tsahar, Assif. 2006. "Gentle Giant". Haaretz [Tel Aviv] (17 March).
• Ulrich, Thomas. 2001. "Sternklang: Karlheinz Stockhausens astronische Musik". Positionen: Beiträge zur neuen Musik 46 (February): 25–28.
• Ulrich, Thomas. 2006. Neue Musik aus religiösem Geist: theologisches Denken im Werk von Karlheinz Stockhausen und John Cage. Saarbrücken: Pfau. ISBN 978-3-89727-328-3
• Vermeil, Jean. 1996. Conversations with Boulez: Thoughts on Conducting, translated by Camille Nash, with a selection of programs conducted by Boulez and a discography by Paul Griffiths. Portland, Oregon: Amadeus Press.
• Voermans, Erik. 2008. "Besluit van een machtig oeuvre". Het Parool (20 June).
• Wager, Gregg. 1998. "Symbolism as a Compositional Method in the Works of Karlheinz Stockhausen. College Park, Maryland; diss. phil. Free University Berlin, 1996.
• Williams, Alastair. 2006. "Swaying with Schumann: Subjectivity and Tradition in Wolfgang Rihm's Fremde Szenen I–III and Related Scores". Music and Letters 87, no. 3:379–97.
• Witts, Dick. 1995. "Karlheinz Stockhausen: Advice to Clever Children ...". The Wire, issue 141 (November).
• Wolfson, Richard. 2001. "Hit and mismatch" The Telegraph (5 March).
• Wörner, Karl Heinz. 1973. Stockhausen: Life and Work. Translated by Bill Hopkins. Berkeley: University of California Press.