Difference between revisions of "Karlheinz Stockhausen"
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| − | + | 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/> == | == Gesang der Jünglinge (1955-56)<ref name=Kohl/> == | ||
Revision as of 15:47, 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]
Louis Niebur says that Delia admired[5] Karlheinz Stockhausen's piece 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.
