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Karlheinz Stockhausen (22 August 1928-5 December 2007) was a German composer, widely acknowledged by critics as one of the most important (Barrett 1988, 45; Harvey 1975b, 705; Hopkins 1972, 33; Klein 1968, 117) but also controversial (Power 1990, 30) composers of the twentieth and early twenty-first centuries. Another critic calls him "one of the great visionaries of 20th-century music" (Hewett 2007). He is known for his ground-breaking work in electronic music, aleatory (controlled chance) in serial composition, and musical spatialization. He was educated at the Hochschule für Musik Köln and the University of Cologne, and later studied with Olivier Messiaen in Paris, and with Werner Meyer-Eppler at the University of Bonn. One of the leading figures of the Darmstadt School, his compositions and theories were and remain widely influential, not only on composers of art music, but also on jazz and popular-music artists. His works, composed over a period of nearly sixty years, eschew traditional forms. ... Read more

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Kapitel: Wolf Vostell, Joseph Beuys, John Cage, Karlheinz Stockhausen, Yoko Ono, Dieter Roth, I Like America and America Likes Me, Nam June Paik, George Maciunas, Dick Higgins, Eurasienstab, Daniel Spoerri, Horst Gläsker, Genesis P-Orridge, Robert Filliou, Allan Kaprow, Robin Page, Celtic+~, Mary Bauermeister, Art's Birthday, Charlotte Moorman, Ines Eck, Jonas Mekas, La Monte Young, Emmett Williams, George Brecht, Arthur Køpcke, Peter Brötzmann, Henning Christiansen, Tomas Schmit, Ben Vautier, Gustav Metzger, Ausgabe, Al Hansen, Edition and Gallery Hundertmark, Mimmo Jodice, Joachim Pfeufer, Yoshi Wada, Eine Kirche Der Angst Vor Dem Fremden in Mir, Ruud Janssen, Alison Knowles, Robert Watts, Wim T. Schippers, Litsa Spathi. Aus Wikipedia. Nicht dargestellt. Auszug: Joseph Beuys (German pronunciation: ; May 12, 1921, Krefeld - January 23, 1986, Düsseldorf) was a German performance artist, sculptor, installation artist, graphic artist, art theorist and pedagogue of art. His extensive work is grounded in concepts of humanism, social philosophy and anthroposophy; it culminates in his "extended definition of art" and the idea of social sculpture as a gesamtkunstwerk, for which he claimed a creative, participatory role in shaping society and politics. His career was characterized by passionate, even acrimonious public debate, but he is now regarded as one of the most influential artists of the 20th century. Joseph Beuys was the son of the merchant Josef Jakob Beuys (1888-1958) and Johanna Maria Margarete Beuys (born Hülsermann, 1889-1974). The parents had moved from Geldern to Krefeld in 1910 and Beuys was born there on May 12. 1921. In autumn of that year the family moved to Kleve, an industrial town in the Lower Rhine region of Germany, close to the Dutch border. There, Joseph attended primary school (Katholische Volksschule) and secondary/high- school (Staatliches Gymnasium Cleve, now the Freiherr-vom-Stein-Gymnasium). His teachers ...http://booksllc.net/?l=de ... Read more

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Purchase includes a free trial membership in the publisher's book club where you can select from more than a million books without charge. Chapters: Karlheinz Stockhausen, Benny Andersson, Sigrid Arnoldson, Pēteris Vasks. Source: Wikipedia. Free updates online. Not illustrated. Excerpt: Karlheinz Stockhausen (22 August 1928 5 December 2007) was a German composer, widely acknowledged by critics as one of the most important (Barrett 1988, 45; Harvey 1975b, 705; Hopkins 1972, 33; Klein 1968, 117) but also controversial (Power 1990, 30) composers of the twentieth and early twenty-first centuries. Another critic calls him "one of the great visionaries of 20th-century music" (Hewett 2007). He is known for his ground-breaking work in electronic music, aleatory (controlled chance) in serial composition, and musical spatialization. He was educated at the Hochschule für Musik Köln and the University of Cologne, and later studied with Olivier Messiaen in Paris, and with Werner Meyer-Eppler at the University of Bonn. One of the leading figures of the Darmstadt School, his compositions and theories were and remain widely influential, not only on composers of art music, but also on jazz and popular-music artists. His works, composed over a period of nearly sixty years, eschew traditional forms. In addition to electronic musicboth with and without live performersthey range from miniatures for musical boxes through works for solo instruments, songs, chamber music, choral and orchestral music, to a cycle of seven full-length operas. His theoretical and other writings comprise ten large volumes. He received numerous prizes and distinctions for his compositions, recordings, and for the scores produced by his publishing company. Some of his notable compositions include the series of nineteen Klavierstücke (Piano Pieces), Kontra-Punkte for ten instruments, the electronic/musique-concrète Gesang der Jünglinge, Gruppen for three orchestras, the perc...More: http://booksllc.net/?id=17268 ... Read more

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A great score that should be in the library of every composer and musician !! ... Read more

Customer Reviews (1)

Old relic of collective process music making
in the Sixties there existed a growing elitism in the post-war avant-garde, no audiences, or an elistist one was forming, everyone thought they knew everything, someone as today amongst the pop avant-garde cadre, afficianadoes; there was an ethos however as a reaction to this for "working" together,amongst musicians,composers and creators,to have more accessible kinds of music; a collective musical product was desired within the avant-garde, it was still referred to thusly. These departures largely developed or began with John Cage's work with musical graphics,also to a lesser extent in the music of Earle Brown, who was introducing also musical graphics from the Fifties but with more management control, that of a conductor leading the proceedings or Brown himself; With Cage's interesting creations there is hardly room for performative freedom in performance, the pieces as "Catridge Music", "Fontana Mix", the various "Solos for. . . "from thegraphically encyclopedic :Concert for Piano: all demand an "accountants" like approach to prepare a balance sheet of events to play within specifically prescribed timings,this without subjective interference from the lifeworld usually without actually listening to yourself or anything around you,anti-collective and not a user-friendly approach.
Stockhausen as well always influenced by someone;also not one to let any cultural/social "buzz" slip passed him or technical/concepetual development escape his purview, began to devisepieces that can be "put together" "constructed" by the performer, and here 'Plus Minus'is a classic from this era;it consists of a series of loose-leaf pages of instructions,boxes of symbols with meanings, specific additions or subtractions, designations from your materials the performer has chosen,registers,timbres, tones and xhordal configurations given. The performer can "realize", "read" the piece for any number of instruments, it has worked best however from the tyranny of performative history, as a solo, but for example even a pianist is required to produce timbres that are dramatically different, rare and outside the box than the core seminal ones,as using the sounds from a radio ( a la Cage) as the ones typically produced with the piano's resonance and register. As a trombone solo, muting and singing,multiphonics would be advisable but percussion moments would also be advisable,perhaps like a one-man-band, attaching cymbals and maracas to one's lower extremities. The result is quite thrilling to perform where the performer can make- construct numerous "readings" until one is suitable for performance. You can also merely keep these "readings" or realizations" as like a diary.
Cornelius Cardew's massive "Treatise"(193 pages of impeccable musical graphics) of course eclipsed this entire decade of the Sixties and all these works with this style o ftransformative musical graphics, genre,content and musical collective language pursued. But we need to give Stockhausen credit that he tries and does bring an interesting dimension to whatever he becomes engaged in. He himself came to pursue this genre of collective music making quite vigorously with his own group quite interestingly, with the Kontarsky pianists with live electronics.His "Telemusik" and "Kurzwellen" for example came to be seminal creations by Herr Stockhausen,also "word" compositions as "From the Seven Last Days" was interesting if derivative(like follow another's sound wherever it may lead) those were all recorded with the acoustics within the friendly confines of a cave in the early Seventies.His children have of course takened up this role in there work as well.
"Plus-Minus" however is perhaps the most interesting process composition for its orientation toward a solo performer. So it has resonance with today's scene more. You simply cannot do whatever you want, you need to work it through with the materials presented. ... Read more