Difference between revisions of "Karlheinz Stockhausen"
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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> == | |
| − | [[Jonathan Harvey]] says that "the overall structure of ''Gesang der Jünglinge'' is remarkably like that of '' | + | 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> | ||
| + | |||
| + | This, presumably, is what is on Delia's [[DD165|Attic Tape "Stockhausen Study 2"]]. | ||
| + | |||
| + | == Gesang der Jünglinge (1955-56)<ref name=Kohl/> == | ||
| + | |||
| + | [[Louis Niebur]] says that Delia admired<ref>[[Special Sound]], p.106.</ref> [[Karlheinz Stockhausen]]'s piece ''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= | ||
Revision as of 15:45, 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]
This, presumably, is what is on Delia's Attic Tape "Stockhausen Study 2".
Gesang der Jünglinge (1955-56)[3]
Louis Niebur says that Delia admired[4] Karlheinz Stockhausen's piece Gesang der Jünglinge, described as "the first masterpiece of electronic music",[3] 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."[3]
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.
- ↑ 3.0 3.1 3.2 Jerome Kohl, Perspectives of New Music, p.61.
- ↑ Special Sound, p.106.
