Related Research Articles
In music, serialism is a method of composition using series of pitches, rhythms, dynamics, timbres or other musical elements. Serialism began primarily with Arnold Schoenberg's twelve-tone technique, though some of his contemporaries were also working to establish serialism as a form of post-tonal thinking. Twelve-tone technique orders the twelve notes of the chromatic scale, forming a row or series and providing a unifying basis for a composition's melody, harmony, structural progressions, and variations. Other types of serialism also work with sets, collections of objects, but not necessarily with fixed-order series, and extend the technique to other musical dimensions, such as duration, dynamics, and timbre.
Karel August Goeyvaerts was a Belgian composer.
Nummer 2 for thirteen instruments is a composition written in 1951 by the Belgian composer Karel Goeyvaerts.
Kontra-Punkte is a composition for ten instruments by Karlheinz Stockhausen which resolves contrasts among six instrumental timbres, as well as extremes of note values and dynamic levels, into a homogeneous ending texture. Stockhausen described it: "Counter-Points: a series of the most concealed and also the most conspicuous transformations and renewals—with no predictable end. The same thing is never heard twice. Yet there is a distinct feeling of never falling out of an unmistakable construction of the utmost homogeneity. An underlying force that holds things together—related proportions: a structure. Not the same Gestalten in a changing light. But rather this: various Gestalten in the same light, that permeates everything."
Darmstädter Ferienkurse is a regular summer event of contemporary classical music in Darmstadt, Hesse, Germany. It was founded in 1946, under the name "Ferienkurse für Internationale Neue Musik Darmstadt", as a gathering with lectures and concerts over several summer weeks. Composers, performers, theorists and philosophers of contemporary music met first annually until 1970, and then biennially. The event was organised by the Kranichsteiner Musikinstitut, which was renamed Internationales Musikinstitut Darmstadt (IMD). It is regarded as a leading international forum of contemporary and experimental music with a focus on composition. The festival awards the Kranichsteiner Musikpreis for performers and young composers.
Darmstadt School refers to a group of composers who were associated with the Darmstadt International Summer Courses for New Music from the early 1950s to the early 1960s in Darmstadt, Germany, and who shared some aesthetic attitudes. Initially, this included only Pierre Boulez, Bruno Maderna, Luigi Nono, and Karlheinz Stockhausen, but others came to be added, in various ways. The term does not refer to an educational institution.
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.
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".
Structures I (1952) and Structures II (1961) are two related works for two pianos, composed by the French composer Pierre Boulez.
Punctualism is a style of musical composition prevalent in Europe between 1949 and 1955 "whose structures are predominantly effected from tone to tone, without superordinate formal conceptions coming to bear". In simpler terms: "music that consists of separately formed particles—however complexly these may be composed—[is called] punctual music, as opposed to linear, or group-formed, or mass-formed music", bolding in the source). This was accomplished by assigning to each note in a composition values drawn from scales of pitch, duration, dynamics, and attack characteristics, resulting in a "stronger individualizing of separate tones". Another important factor was maintaining discrete values in all parameters of the music. Punctual dynamics, for example
mean that all dynamic degrees are fixed; one point will be linked directly to another on the chosen scale, without any intervening transition or gesture. Line-dynamics, on the other hand, involve the transitions from one given amplitude to another: crescendo, decrescendo and their combinations. This second category can be defined as a dynamic glissando, comparable to glissandi of pitch and of tempi.
York Höller is a German composer and professor of composition at the Hochschule für Musik Köln.
In Freundschaft is a composition by Karlheinz Stockhausen, number 46 in his catalogue of works. It is a serial composition for a solo instrument, first for clarinet, and later arranged by the composer for many other instruments, often in friendship to specific performers.
Adieufür Wolfgang Sebastian Meyer is a composition for wind quintet by Karlheinz Stockhausen composed in 1966. It is Number 21 in the composer's catalog of works, and the second of Stockhausen's three wind quintets, the others being Zeitmaße (1955-1956) and the Rotary Wind Quintet (1997).
Zeitmaße is a chamber-music work for five woodwinds composed in 1955–1956 by German composer Karlheinz Stockhausen; it is Number 5 in the composer's catalog. It is the first of three wind quintets written by Stockhausen, followed by Adieu für Wolfgang Sebastian Meyer (1966) and the Rotary Wind Quintet (1997), but is scored with cor anglais instead of the usual French horn of the standard quintet. Its title refers to the different ways that musical time is treated in the composition.
Sonata for Two Pianos (1950–51), also called simply Opus 1 or Nummer 1, is a chamber music work by Belgian composer Karel Goeyvaerts, and a seminal work in the early history of European serialism.
Refrain for three players is a chamber music composition by Karlheinz Stockhausen, and is number 11 in his catalog of works.
Punkte (Points) is an orchestral composition by Karlheinz Stockhausen, given the work number ½ in his catalogue of works.
Formel (Formula) is a composition for chamber orchestra by Karlheinz Stockhausen, written while he was still a student in 1951. It is given the number 1⁄6 in his catalog of works, indicating that it is amongst the pieces preceding the composition he recognised as his first mature work, Nr. 1 Kontra-Punkte.
A Garland for Dr. K. is a set of eleven short compositions created in 1969 for the celebration of the eightieth birthday of Dr Alfred Kalmus, the director of the London branch of Universal Edition. It is also the title of an album containing these eleven pieces of music, recorded in 1976.
Quatre Études de rythme is a set of four piano compositions by Olivier Messiaen, written in 1949 and 1950. A performance of them lasts between 15 and 20 minutes.
References
- ↑ Stockhausen 1989, pp. 34, 55.
- ↑ Stockhausen 1964, p. 11.
- ↑ Borio and Garda 1991.
- ↑ Howell 1995, p. 111.
- ↑ Toop 1974, pp. 159–161.
- ↑ Stockhausen 1964, pp. 11–12.
- ↑ Stockhausen 1989, pp. 55–56.
Cited sources
- Borio, Gianmario, and Michela Garda. 1991. "Problemi d'analisi della musica seriale: Kreuzspiel di Karlheinz Stockhausen." In L'analisi musicale: Atti del convegno di Reggio Emilia, 16–19 marzo 1989, edited by Rossanna Dalmonte and Mario Baroni, 144–161. Milan: Unicopli. ISBN 88-7061-929-X.
- Howell, Tim. 1995. "Eisler's Serialism: Concepts and Methods". In Hanns Eisler: A Miscellany, edited by David Blake, 103–132. Contemporary Music Studies 9. Luxembourg; Australia; New York: Harwood Academic Publishers. ISBN 3-7186-5573-X (cloth); ISBN 3-7186-5575-6 (pbk).
- Kohl, Jerome. 1981. Serial and Non-Serial Techniques in the Music of Karlheinz Stockhausen from 1962–1968. Ph.D. diss. Seattle: University of Washington.
- Stockhausen, Karlheinz. 1964. "Kreuzspiel (1951), für Oboe, Baßklarinette, Klavier und Schlagzeug". In Karlheinz Stockhausen, Texte, Band 2: "zu eigenen Werken, zur Kunst Anderer, Aktuelles", edited by Dieter Schnebel, 11–12. DuMont Dolumente. Cologne: Verlag M. DuMont Schauberg.
- Stockhausen, Karlheinz. 1989. Stockhausen on Music: Lectures and Interviews, compiled by Robin Maconie. London & New York: Marion Boyars. ISBN 0-7145-2887-0 (cloth); ISBN 0-7145-2918-4 (pbk).
- Toop, Richard. 1974. "Messiaen / Goeyvaerts, Fano / Stockhausen, Boulez." Perspectives of New Music 13, no. 1 (Fall–Winter): 141–169.
