The Work of Karlheinz Stockhausen Volume 1

This three-volume work is the most comprehensive study ever undertaken, of the musical compositions of Karlheinz Stockhausen (1928-2007), one of the major figures of Post-World War II classical music in Europe. Stockhausen's impact on global music-making was huge and he has been influential for a wide range of music makers in classical music and on music creators in various popular music traditions. Flo Menezes provides both in-depth analytical studies of Stockhausen's works from his entire career and also places these into broader cultural, technological, and political contexts. The three volumes address the three most fundamental phases of Stockhausen's work: Serial Music, Intuitive Music, and Music by Formulas.

Flo Menezes is Full Professor at the São Paulo State University (Unesp), Brazil. He studied composing at the University of São Paulo as well as the Studio fur Elektronische Musik in Cologne, Germany. He specialized at Centro di Sonologia Computazionale of Padua, Italy, completed his doctorate in Belgium in 1992 on Luciano Berio, under the supervision of Henri Pousseur, and postdoctoral fellow at the Paul Sacher Foundation. At Stockhausen's invitation, he taught analysis at the Kürten Courses in Germany. As a composer, his works have been performed by leading ensembles and orchestras around the world and he has received many awards for composition, including the Prix Ars Electronica, Austria (1995) and Giga-Hertz-Preis of Karlsruhe/Freiburg, Germany (2007), with Pierre Boulez and Wolfgang Rihm on the jury.

1 A period almost as long as the LIGHT 1.1 About the origins of this book 1.2 "Too many notes?" 1.3 The structure of the book 1.4 Writing criteria Volume 1: Serial Music 11 2 PUNKTE 3 Mixtures 4 KONTRA-PUNKTE 5 STUDIE I 5.1 The frequencies and correlations of sound parameters 5.2 Regarding the groups 5.3 Regarding intensities 5.4 Regarding durations 5.5 Regarding the overall musical form and its balance 5.6 Sketches or score? 5.7 Rigor versus imponderability 6 STUDIE II 6.1 A Realisationspartitur? 6.2 Regarding frequencies and variants of "sound mixtures" 6.3 Regarding the simultaneity of sinusoidal sounds 6.4 The serial structure 6.5 Regarding the overall musical form 6.6 Regarding intensities 6.7 Is there subtractive synthesis in STUDIE II? 6.8 Regarding attack durations and distances 6.9 Are there mixtures in STUDIE II? 6.10 Remaking STUDIE II 6.11 A mixture is missing in STUDIE II! 6.12 A strange episode 7 KLAVIERSTÜCK VIII 8 GESANG DER JÜNGLINGE 8.1 The choice of text and its characteristic marks 8.2 The binary opposition at the interval level 8.3 Sound spatiality 8.4 Sprachkomposition (verbal composition) 8.5 Regarding timbres and intensities 8.6 Regarding the serial matrix 8.7 Regarding sound Textures 8.8 Concerning text intelligibility 8.9 Fixed time versus real time? 8.10 The restored Song 9 Phonemes 10 KLAVIERSTÜCK IX 11 KLAVIERSTÜCK X 12 KLAVIERSTÜCK XI 13 Polysemias 14 ZEITMASZE 15 GRUPPEN 15.1 Interlocution with Luciano Berio 15.2 Regarding the spatial distribution of orchestral groups 15.3 About the tone row 15.4 Regarding the tempos 15.5 Concerning the Global Form of the work 15.6 About the Groups and durations 15.7 About the Inserts 15.8 The three spatial chords 15.9 An "electronic" orchestral scripture 15.10 Regarding formantic structures 15.11 The many musics of GRUPPEN 15.12 Regarding spatiality 16 Virtualities 17 ZYKLUS