Difference between revisions of "Karlheinz Stockhausen"
Martinwguy (talk | contribs) |
Martinwguy (talk | contribs) |
||
| (11 intermediate revisions by the same user not shown) | |||
| Line 1: | Line 1: | ||
| − | Delia had an exploratory encounter with [[Karlheinz Stockhausen]]<ref>[http://delia-derbyshire.org delia-derbyshire.org]</ref> | + | Delia had an exploratory encounter with [[Karlheinz Stockhausen]].<ref>[http://delia-derbyshire.org delia-derbyshire.org]</ref> |
| − | [[ | + | = Pieces known by Delia = |
| + | |||
| + | == Electronic Study 2 (1954)<ref name=Harvey>[[Jonathan Harvey]], [https://books.google.it/books?id=wtldEmoFR-MC&pg=PA25 ''The Music of Stockhausen: An Introduction''], University of California Press, 1975, pp.25-28.</ref> == | ||
| + | |||
| + | In it, "he selects quite a constricted range of material, the proceeds to cover it totally, to use up ''all'' the possibilities that the imagination considers worth while".<ref name=Harvey/> | ||
| + | |||
| + | <BLOCKQUOTE> | ||
| + | ''Studie 2'' is eighty-one sine tones pitched along an exponential frequency scale which spans just over seven octaves. The steps are all perceived as equal and are a little over 1/16th of an octave in size. [...] The most significant thing about these intervals chosen by the 25th root of 5 is that no octaves occur. The lowest frequency is 100 c.p.s, and no multiple of 100 by any whole number occurs throughout the scale.<ref name=Harvey/> | ||
| + | </BLOCKQUOTE> | ||
| + | |||
| + | There appers to be a copy of this on one of Delia's [[Attic Tapes]].<ref>[[DD165]]: "Stockhausen Study 2"</ref> | ||
| + | |||
| + | == Gesang der Jünglinge (1955-56)<ref name=Kohl/> == | ||
| + | |||
| + | It is said that Delia admired<ref>[[Special Sound]], p.106.</ref> Stockhausen's ''Gesang der Jünglinge'', described as "the first masterpiece of electronic music",<ref name=Kohl>[https://www.jstor.org/stable/833576 Jerome Kohl, ''Perspectives of New Music''], p.61.</ref> though he gives no source for this assertion. | ||
| + | |||
| + | [[Jonathan Harvey]] says that "the overall structure of ''Gesang der Jünglinge'' is remarkably like that of ''Electronic Study 2''; both final sections combine and develop the ideas stated in the preceding sections."<ref name=Kohl/> | ||
=References= | =References= | ||
| Line 7: | Line 23: | ||
[[Category:Person]] | [[Category:Person]] | ||
| + | [[Category:Influence]] | ||
Latest revision as of 15:49, 11 April 2020
Delia had an exploratory encounter with Karlheinz Stockhausen.[1]
Contents
Pieces known by Delia
Electronic Study 2 (1954)[2]
In it, "he selects quite a constricted range of material, the proceeds to cover it totally, to use up all the possibilities that the imagination considers worth while".[2]
Studie 2 is eighty-one sine tones pitched along an exponential frequency scale which spans just over seven octaves. The steps are all perceived as equal and are a little over 1/16th of an octave in size. [...] The most significant thing about these intervals chosen by the 25th root of 5 is that no octaves occur. The lowest frequency is 100 c.p.s, and no multiple of 100 by any whole number occurs throughout the scale.[2]
There appers to be a copy of this on one of Delia's Attic Tapes.[3]
Gesang der Jünglinge (1955-56)[4]
It is said that Delia admired[5] Stockhausen's Gesang der Jünglinge, described as "the first masterpiece of electronic music",[4] though he gives no source for this assertion.
Jonathan Harvey says that "the overall structure of Gesang der Jünglinge is remarkably like that of Electronic Study 2; both final sections combine and develop the ideas stated in the preceding sections."[4]
References
- ↑ delia-derbyshire.org
- ↑ 2.0 2.1 2.2 Jonathan Harvey, The Music of Stockhausen: An Introduction, University of California Press, 1975, pp.25-28.
- ↑ DD165: "Stockhausen Study 2"
- ↑ 4.0 4.1 4.2 Jerome Kohl, Perspectives of New Music, p.61.
- ↑ Special Sound, p.106.
