Herbert Eimert (8 April 1897 – 15 December 1972) was a German music theorist, musicologist, journalist, music critic, editor, radio producer, and composer.
Herbert Eimert was born in Bad Kreuznach. He studied music theory and composition from 1919–1924 at the Cologne Musikhochschule with Hermann Abendroth, Franz Bölsche, and August von Othegraven. In 1924, while still a student, he published an Atonale Musiklehre (Atonal Music Theory Text) which, together with a twelve-tone string quartet composed for the end-of-term examination concert, led to an altercation with Bölsche, who withdrew the quartet from the program and expelled Eimert from his composition class.
In 1924, he began studies in musicology at the University of Cologne with Ernst Bücken, Willi Kahl, and Georg Kinsky, and read philosophy with Max Scheler (a pupil of Husserl) and Nicolai Hartmann. He attained his doctorate in 1931 with a dissertation titled Musikalische Formstrukturen im 17. und 18. Jahrhundert. Versuch einer Formbeschreibung (Musical Form Structures in the 17th and 18th Century. Attempt at a Description of Form).
From 1927 until 1933 he was employed at the Cologne Radio and wrote for music magazines such as Melos and the Neue Zeitschrift für Musik. In 1930 he became a music critic for the Kölner Stadtanzeiger, and from 1935 until 1945 worked as an editor at the Kölnische Zeitung.
In 1945, he became the first salaried staff member of the Cologne Radio (NWDR), administered by the British occupation forces. In 1947, he took over the NWDR Department of Cultural Reporting, and, in 1948, initiated the Musikalische Nachtprogramme (late-night music programs), which he directed until 1965.In 1951, Eimert and Werner Meyer-Eppler persuaded the director of NWDR, Hanns Hartmann, to create a Studio for Electronic Music, which Eimert directed until 1962. This became the most influential studio in the world during the 1950s and 1960s, with composers such as Michael von Biel, Konrad Boehmer, Herbert Brün, Jean-Claude Éloy, Péter Eötvös, Franco Evangelisti, Luc Ferrari, Johannes Fritsch, Rolf Gehlhaar, Karel Goeyvaerts, Hermann Heiss, York Höller, Maki Ishii, David C. Johnson, Mauricio Kagel, Gottfried Michael Koenig, Petr Kotik, Włodzimierz Kotoński, Ernst Krenek, Ladislav Kupkovič, György Ligeti, Mesías Maiguashca, Bo Nilsson, Henri Pousseur, Roger Smalley, Karlheinz Stockhausen (who succeeded Eimert as director), Dimitri Terzakis, Iannis Xenakis, and Bernd Alois Zimmermann working there. Cornelius Cardew also worked there in 1958.
In 1950, he published the Lehrbuch zur Zwölftonmusik, which became one of the best-known introductory texts on Schoenbergian twelve-tone technique, and was translated into Italian, Spanish, and Hungarian. From 1955 until 1962 he edited in conjunction with Karlheinz Stockhausen the influential journal Die Reihe . His book Grundlagen der musikalischen Reihentechnik appeared in 1964. From 1951 until 1957 he lectured at the Darmstadt International Vacation Courses for New Music. In 1965 he became Professor at the Hochschule für Musik in Cologne and directed their studio for electronic music until 1971.Together with Hans Ulrich Humpert, his successor at the electronic studio of the Musikhochschule, he worked on the Lexikon der elektronischen Musik (Dictionary of Electronic Music). Just short of completing the manuscript, Eimert died on 15 December 1972, either in Düsseldorf or Cologne.
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.
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.
Electroacoustic music is a genre of Western art music in which composers use technology to manipulate the timbres of acoustic sounds, sometimes by using audio signal processing, such as reverb or harmonizing, on acoustical instruments. It originated around the middle of the 20th century, following the incorporation of electric sound production into compositional practice. The initial developments in electroacoustic music composition to fixed media during the 20th century are associated with the activities of the Groupe de recherches musicales at the ORTF in Paris, the home of musique concrète, the Studio for Electronic Music in Cologne, where the focus was on the composition of elektronische Musik, and the Columbia-Princeton Electronic Music Center in New York City, where tape music, electronic music, and computer music were all explored. Practical electronic music instruments began to appear in the early 1900s.
Karel August Goeyvaerts was a Belgian composer.
Gottfried Michael Koenig is a contemporary German-Dutch composer.
Franco Evangelisti was an Italian composer specifically interested in the scientific theories behind sound.
Gruppen for three orchestras (1955–57) is amongst the best-known compositions of German composer Karlheinz Stockhausen, and is Work Number 6 in the composer's catalog of works. Gruppen is "a landmark in 20th-century music. .. probably the first work of the post-war generation of composers in which technique and imagination combine on the highest level to produce an undisputable masterpiece".
Werner Meyer-Eppler, was a Belgian-born German physicist, experimental acoustician, phoneticist and information theorist.
Die Reihe was a German-language music academic journal, edited by Herbert Eimert and Karlheinz Stockhausen and published by Universal Edition (Vienna) between 1955 and 1962. An English edition was published, under the original German title, between 1957 and 1968 by the Theodore Presser Company in association with Universal Edition (London). A related book series titled Bücher der Reihe was begun, but only one title ever appeared in it, Herbert Eimert's Grundlagen der musikalischen Reihentechnik.
Kontakte ("Contacts") is an electronic music work by Karlheinz Stockhausen, realized in 1958–60 at the Westdeutscher Rundfunk (WDR) electronic-music studio in Cologne with the assistance of Gottfried Michael Koenig. The score is Nr. 12 in the composer's catalogue of works, and is dedicated to Otto Tomek.
York Höller is a German composer and Professor of composition at the Hochschule für Musik Köln.
Hans Günter Helms was a German experimental writer, composer, and social and economic analyst and critic.
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.
Helmut Franz Maria Kirchmeyer is a German musicologist, philologist and historian.
Studie II is an electronic music composition by Karlheinz Stockhausen from the year 1954 and, together with his Studie I, comprises his work number ("opus") 3. It is serially organized on all musical levels and was the first published score of electronic music.
Studie I is an electronic music composition by Karlheinz Stockhausen from the year 1953. It lasts 9 minutes 42 seconds and, together with his Studie II, comprises his work number ("opus") 3.
Nummer 5 met zuivere tonen is a musical work by the Belgian composer Karel Goeyvaerts, realized at the WDR Studio for Electronic Music in 1953 and one of the earliest pieces of electronic music.
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 Studio for Electronic Music of the West German Radio was a facility of the Westdeutscher Rundfunk (WDR) in Cologne. It was the first of its kind in the world, and its history reflects the development of electronic music in the second half of the twentieth century.
Fred K. Prieberg was a German musicologist. He was a pioneer in the field of history of music and musicians under the Nazi regime.