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Helmut Friedrich Lachenmann is a German composer of contemporary classical music. His work has been associated with "instrumental musique concrète".
Nummer 2 for thirteen instruments is a composition written in 1951 by the Belgian composer Karel Goeyvaerts.
Kreuzspiel (Crossplay) is a composition by Karlheinz Stockhausen written for oboe, bass clarinet, piano and four percussionists in 1951. It is assigned the number 1/7 in the composer's catalogue of works.
Gottfried Michael Koenig was a contemporary German-Dutch composer.
Heinz-Klaus Metzger was a German music critic and theorist.
Aribert Reimann is a German composer, pianist and accompanist, known especially for his literary operas. His version of Shakespeare's King Lear, the opera Lear, was written at the suggestion of Dietrich Fischer-Dieskau, who sang the title role. His opera Medea after Grillparzer's play premiered in 2010 at the Vienna State Opera. He was a professor of contemporary Lied in Hamburg and Berlin. In 2011, he was awarded the Ernst von Siemens Music Prize for his life's work.
Gerd Zacher was a German composer, organist, and writer on music. He specialized in contemporary compositions, many of which feature extended techniques, and are written in graphic or verbal scores. He interpreted the scores of numerous contemporary composers, including John Cage, Juan Allende-Blin, Mauricio Kagel, György Ligeti, Hans Otte, Luis de Pablo, and Isang Yun. He is also known as an interpreter of the works of Johann Sebastian Bach.
Franco Evangelisti was an Italian composer specifically interested in the scientific theories behind sound.
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.
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.
Benjamin-Gunnar Cohrs is a German conductor, scholar, and publicist on music.
Hans G Helms was a German experimental writer, composer, and social and economic analyst and critic.
Rainer Riehn was a German composer and conductor, and a co-editor of music theory magazines.
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.
Il canto sospeso is a cantata for vocal soloists, choir, and orchestra by the Italian composer Luigi Nono, written in 1955–56. It is one of the most admired examples of serial composition from the 1950s, but has also excited controversy over the relationship between its political content and its compositional means.
The term Da Ponte operas describes the three operas composed by Mozart based on libretti by Lorenzo da Ponte. These works are:
Bernhard R. Appel is a German musicologist. His research focuses on the life and work of the composer Robert Schumann, music history of the 18th and 19th centuries, Ludwig van Beethoven's works, compositional creative processes as well as methodology, theory and practice of music philology, in particular genetic textual criticism and digital music edition. In addition, Appel deals with the history of the viola da gamba.
Mathias Spahlinger is a German composer. His work takes place in a field of tension between the most diverse musical influences and styles: between Renaissance music and Jazz, between musique concrète and Webernian minimalism, between noise, improvisation and notation, between aesthetic autonomy and political consciousness, Spahlinger's works carry out conflicts for which there are no fixed models.
Volker Straebel is a German musicologist and composer and performer of experimental music.
Manos Tsangaris is a German composer, musician, sound art installation and performance artist, and a poet.
