David C. Johnson (born January 30, 1940 in Batavia, New York) is an American composer, flautist, and performer of live-electronic music.
Johnson studied, among other places, at Harvard University (M.A. in composition 1964), with Nadia Boulanger in Paris, and at the Cologne Courses for New Music in 1964–1965, 1965–1966, and 1966–1967.
In 1966–67 he was an independent collaborator at the Electronic Studio of the WDR, where he assisted Karlheinz Stockhausen with the production of his electronic work Hymnen . He also operated the live-electronics in the first performances of the chamber-orchestra version of Stockhausen's Mixtur (1967), and in the Darmstadt collaborative works directed by Stockhausen, Ensemble in 1967 and Musik für ein Haus in 1968.
In 1968 he was also instructor of electronic music at the Cologne Courses for New Music.From its formation in Cologne in 1968, he collaborated with the group formed by bass guitarist Holger Schüring (later known as Holger Czukay), keyboardist Irmin Schmidt, guitarist Michael Karoli and drummer Jaki Liebezeit in an experimental beat group that would later be known as Can. He left in 1969, disappointed at growing rock influences.
In 1970 he performed in a number of Stockhausen's "process" works ( Spiral , Pole , Expo ) at the German Pavilion of Expo 70, the Osaka World's Fair.After Osaka, together with Johannes Fritsch and Rolf Gehlhaar, he founded in 1971 the Feedback Studio in Cologne and became a technical collaborator in the Studio for Electronic Music of the Rijksuniversiteit Utrecht.
In the early 1970s, Johnson joined the Oeldorf Group, a musicians' cooperative, with Péter Eötvös, Mesías Maiguashca, Gaby Schumacher (cello) and Joachim Krist (viola), who organized a Summer Night Music series. Performances were held in the barn attached to the group's farmhouse in Oeldorf, near Kürten.
In 1972, with Helmut Lachenmann, he coordinated the Composition Studio at the International Vacation Course for New Music in Darmstadt. He remained Technical Director of the Feedback Studio until 1975, when he moved to Basel to become Director of the Electronic Studio of the Musikakademie there, a post he held until 1985. He now lives in Switzerland.
Karlheinz Stockhausen was a German composer, widely acknowledged by critics as one of the most important but also controversial composers of the 20th and early 21st centuries. He is known for his groundbreaking work in electronic music, for introducing controlled chance into serial composition, and for musical spatialization.
Johannes Georg Fritsch was a German composer.
Gesang der Jünglinge is an electronic music work by Karlheinz Stockhausen. It was realized in 1955–56 at the Westdeutscher Rundfunk studio in Cologne and is Work Number 8 in the composer's catalog of works. The vocal parts were supplied by 12-year-old Josef Protschka. It is exactly 13 minutes, 14 seconds long.
Aus den sieben Tagen is a collection of 15 text compositions by Karlheinz Stockhausen, composed in May 1968, in reaction to a personal crisis, and characterized as "Intuitive music"—music produced primarily from the intuition rather than the intellect of the performer(s). It is Work Number 26 in the composer's catalog of works.
Rolf Rainer Gehlhaar, was an American composer, Professor in Experimental Music at Coventry University and researcher in assistive technology for music.
Boudewijn Buckinx is a Belgian composer and writer on music.
Mesías Maiguashca is an Ecuadorian composer and an advocate of Neue Musik, especially electroacoustic music.
Alden Jenks is an American composer.
Intuitive music is a form of musical improvisation based on instant creation in which fixed principles or rules may or may not have been given. It is a type of process music where instead of a traditional music score, verbal or graphic instructions and ideas are provided to the performers. The concept was introduced in 1968 by the German composer Karlheinz Stockhausen, with specific reference to the collections of text-notated compositions Aus den sieben Tagen (1968) and Für kommende Zeiten (1968–70). The first public performance of intuitive-music text compositions, however, was in the collective work Musik für ein Haus, developed in Stockhausen's 1968 Darmstadt lectures and performed on 1 September 1968, several months before the first realisations of any of the pieces from Aus den sieben Tagen.
Avo Sõmer is an American musicologist music theorist, and composer, of Estonian birth.
Hymnen is an electronic and concrete work, with optional live performers, by Karlheinz Stockhausen, composed in 1966–67, and elaborated in 1969. In the composer's catalog of works, it is Nr. 22.
John McGuire is an American composer, pianist, organist, and music editor.
Fresco is an orchestral composition written in 1969 by the German composer Karlheinz Stockhausen as foyer music for an evening-long retrospective programme of his music presented simultaneously in three auditoriums of the Beethovenhalle in Bonn. It is Nr. 29 in his catalogue of works, and a performance takes about five hours.
Prozession (Procession), for tamtam, viola, electronium, piano, microphones, filters, and potentiometers, is a composition by Karlheinz Stockhausen, written in 1967. It is Number 23 in the catalogue of the composer’s works.
Thomas Wells is an American composer, pianist, organist, and arts-organization administrator.
Expo, for three performers with shortwave radio receivers and a sound projectionist, is a composition by Karlheinz Stockhausen, written in 1969–70. It is Number 31 in the catalogue of the composer's works.
In music, the Cologne School is a loosely associated group of composers and performers of the generation that came to prominence in the 1970s, who lived and worked in the city of Cologne, Germany.
The Oeldorf Group was a musicians' collective active in Germany in the 1970s. Based in the village of Oeldorf, near Cologne, their performances emphasized live-electronic music.
Ensemble is a group-composition project devised by Karlheinz Stockhausen for the 1967 Darmstädter Ferienkurse. Twelve composers and twelve instrumentalists participated, and the resulting performance lasted four hours. It is not assigned a work number in Stockhausen's catalogue of works.
Musik für ein Haus is a group-composition project devised by Karlheinz Stockhausen for the 1968 Darmstädter Ferienkurse. Fourteen composers and twelve instrumentalists participated, with the resulting performance lasting four hours. It was not regarded by Stockhausen as a composition belonging solely to himself, and therefore was not assigned a number in his catalog of works.