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'Karlheinz Stockhausen' (born August 22 1928) is a German composer. He is best known for his ground-breaking work in electronic music and controlled chance in serial composition.
Biography
Stockhausen was born in the Burg (Castle) of the village of Mödrath, at the time serving as the maternity home of the Bergheim Kreis. (The village, located near Kerpen in the vicinity of Cologne, was dislocated in 1956 by the strip-mining of lignite in the region, though the Burg itself still exists). He grew up in Altenberg from the age of 7, where he received his first piano lessons from the Protestant organist of the Altenberg Cathedral, Franz-Josef Kloth (Kurtz 1992, 14). He studied music pedagogy and piano at the Cologne Musikhochschule, and musicology, philosophy, and Germanics at the University of Cologne (1947–51). Although he had the usual training in harmony and counterpoint, the latter with Hermann Schroeder, it was only in 1950 that he developed a real interest in composition, and was admitted at the end of the year to the class of the Swiss composer Frank Martin, who had just begun a seven-year tenure in Cologne (Kurtz 1992, 28). At the Darmstadt Summer Courses in 1951 he met the Belgian composer Karel Goeyvaerts, who had just completed studies with Olivier Messiaen (analysis) and Darius Milhaud (composition) in Paris, and Stockhausen resolved to do likewise (1952-53). In March 1953 he left Paris to take up a position as assistant to Herbert Eimert, at the newly established Electronic Music Studio of NWDR (from 1 January 1955, WDR) in Cologne. (In 1962 he succeeded Eimert as director of the studio.) From 1954 to 1956 he studied phonetics, acoustics, and information theory with Werner Meyer-Eppler at the University of Bonn. Together with Eimert, he edited the influential journal Die Reihe from 1955 to 1962.
After lecturing at the Internationale Ferienkurse für Neue Musik at Darmstadt (first in 1953), Stockhausen gave lectures and concerts in Europe, North America, and Asia. He was guest professor of composition at the University of Pennsylvania in 1965, and at the University of California, Davis, in 1966-67 (Kramer 1998). He founded and directed the Cologne Courses for New Music from 1963 to 1968, and was appointed Professor of Composition at the National Conservatory of Music, Cologne, in 1971, where he taught until 1977 (Kurtz 1992, 126–28 & 194).
In 1961 he acquired a parcel of land in the vicinity of Kürten, a village east of Cologne, near Bergisch Gladbach in the Bergisches Land. He had a house built there, designed to his specifications by the architect Erich Schneider-Wessling, where he has resided since its completion in the autumn of 1965 (Kurtz 1992, 116–17, 137–38). In 1998, he founded the Stockhausen Courses, held annually in Kürten.
In 1951 he married Doris Andreae, with whom he had four children: Suja (b. 1953), Christel (b. 1956), Markus (b. 1957), and Majella (b. 1961).
In 1967 he married Mary Bauermeister, with whom he had two children: Julika (b. 1966) and Simon (b. 1967) who today is a well known composer and musician himself.
Works
Stockhausen has written over 300 individual works. He often departs radically from musical tradition and his work is influenced by Messiaen, Edgard Varèse, and Anton Webern, as well as by film (Stockhausen 1996) and by painters such as Piet Mondrian and Paul Klee.
1950s
Stockhausen began to compose in earnest only during his third year at the conservatory (Kurtz 1992, 26–27). He has published only four of his early student compositions, ''Chöre für Doris'', ''Drei Lieder'' for alto voice and chamber orchestra, ''Choral'' for a capella choir (all three from 1950), and a Sonatina for Violin and Piano (1951).
Starting from just after his first Darmstadt visit in 1951, Stockhausen began working with a form of athematic serial composition that rejected the twelve-tone technique of Schoenberg (Felder 1977, 92). He characterizes many of these earliest compositions (together with the music of other, like-minded composers of the period) as ''punktuelle'' ("punctual" or "pointist" music, commonly mistranslated as "pointillist") ''Musik'', though one critic concluded after analysing several of these early works that Stockhausen "never really composed punctually" (Sabbe 1981). Compositions from this phase include ''Kreuzspiel'' (1951), the ''Klavierstücke I–IV'' (1952—the fourth is specifically cited by Stockhausen as an example of "punctual music" in ''Texte'' 2, 19), and the first (unpublished) versions of ''Punkte'' and ''Kontra-Punkte'' (1952) (''Texte'' 2, 20).
Starting in 1953, he turned to electronic music, first producing two ''Electronic Studies'' (1953 and 1954), and then introducing spatial placements of sound sources with his noted work ''Gesang der Jünglinge'' (1955–56). His position as "the leading German composer of his generation" (Toop 2001) was established with this work and three concurrently composed pieces in different media: ''Zeitmasze'' for five woodwinds, ''Gruppen'' for three orchestras, and ''Klavierstück XI''.
His work with electronic music and its utter fixity led him to explore modes of instrumental and vocal music in which performers' individual capabilities and the circumstances of a particular performance (e.g., hall acoustics) may determine certain aspects of a composition. He calls this "variable form" (Wörner 1973, 101–105). In other cases, a work may be presented from a number of different perspectives. In ''Zyklus'' (1959), for example, he began using graphical notation for instrumental music. The score is written so that the performance can start on any page, and it may be read upside down, or from right to left, as the performer chooses (Stockhausen, ''Texte'' 2, 73–100). Still other works permit different routes through the constituent parts. Stockhausen calls both of these possibilities "polyvalent form" (Stockhausen, ''Texte'' 1, 241–51), which may be either open form (essentially incomplete, pointing beyond its frame), as with ''Klavierstück XI'' (1956), or "closed form" (complete and self-contained) as with Momente (1962-64/69).
In many of his works, elements are played off against one another, simultaneously and successively: in ''Kontra-Punkte'' ("Against Points", 1952-53) which, in its revised form became his official "opus 1", a process leading from an initial "point" texture of isolated notes toward a florid, ornamental ending is opposed by a tendency from diversity (six timbres, dynamics, and durations) toward uniformity (timbre of solo piano, a nearly constant soft dynamic, and fairly even durations); in ''Gruppen'' (1955-7) fanfares and passages of varying speed (superimposed durations based on the harmonic series) are occasionally flung between three full orchestras, giving the impression of movement in space.
In his ''Kontakte'' for electronic sounds (optionally with piano and percussion) (1958–60) he achieved for the first time an isomorphism of the four parameters of pitch, duration, dynamics, and timbre (Stockhausen 1962, 40).
1960s
In 1960 Stockhausen returned to the composition of vocal music (for the first time since ''Gesang der Jünglinge'') with ''Carré'' for four choirs and four orchestras. Two years later he began an expansive cantata titled Momente (1962-64/69), for solo soprano, four choir groups and thirteen instrumentalists. He pioneered live electronics in ''Mixtur'' (1964/67/2003) for orchestra and electronics, ''Mikrophonie I'' (1964) for tam-tam, two microphones, two filters with potentiometers (6 players), ''Mikrophonie II'' (1965) for choir, Hammond organ, and four ring modulators, and ''Solo'' for a melody instrument with feedback (1966). He also composed two electronic works for tape, ''Telemusik'' (1966) and ''Hymnen'' (1966-67). The latter also exists in a version with soloists, and the third of its four "regions" in a version with orchestra. At this time, Stockhausen also began to incorporate pre-existent music from world traditions into his compositions (Stockhausen, "Weltmusik" in ''Texte'' 4, 468–76; English trans. online at [1]). ''Telemusik'' was the first overt example of this trend (Kohl 2002). Through the 1960s, Stockhausen explored the possibilities of "process composition" in works for live performance, such as ''Prozession'' (1967), ''Kurzwellen'', and ''Spiral'' (both 1968), culminating in the verbally described "intuitive music" compositions of Aus den sieben Tagen (1968), ''Für kommende Zeiten'' (1968-70), and ''Ylem'' (1972). In 1968 Stockhausen composed the vocal sextet Stimmung, for the Collegium Vocale Köln, an hour-long work based entirely on the overtones of a low B-flat.
1970s
Beginning with ''Mantra'' (1970), Stockhausen turned to formula composition, a technique which involves the projection and multiplication of a single melody, double- or triple-line formula, sometimes stated at the outset as an introduction (''Mantra'', ''Inori''). He continued to use this technique through the completion of the opera-cycle ''Licht'' in 2003. Some works from the 1970s did not employ formula technique—e.g., the vocal duet "Am Himmel wandre ich" ("In the Sky I am Walking", 1972), "Laub und Regen" ("Leaves and Rain", from the theatre piece ''Herbstmusik'' (1974), and the choral opera ''Atmen gibt das Leben'' ("Breathing Gives Life", 1974/77)—but nevertheless share its simpler, melodically oriented style. Two such pieces, ''Tierkreis'' ("Zodiac", 1974–75) and ''In Freundschaft'' ("In Friendship", 1977), have become Stockhausen's most widely performed and recorded compositions. This dramatic simplification of style provided a model for a new generation of German composers, loosely associated under the label ''neue Einfachheit'' or New Simplicity (Andraschke 1981). The best-known of these composers is Wolfgang Rihm, who studied with Stockhausen in 1972-73, and whose orchestral composition ''Sub-Kontur'' (1974-75) quotes the formula of Stockhausen's ''Inori'' (1973–74).
1977–2003
Between 1977 and 2003 he composed a cycle of seven operas called ''Licht: Die sieben Tage der Woche'' ("Light: The Seven Days of the Week"). The ''Licht'' cycle deals with the traits historically associated with each weekday (Monday = birth and fertility, Tuesday = conflict, Wednesday = reconciliation and cooperation, Thursday = learning, etc.), and with the relationships between and among three archetypal characters; Lucifer, Michael, and Eve. Stockhausen's conception of opera is based significantly on ceremony and ritual, with influence from the Japanese Noh theatre (Stockhausen, Conen, and Hennlich 1989, 282), as well as Judeo-Christian and Vedic traditions (Bruno 1999, 134). Similarly, his approach to voice and text somethimes departs from traditional usage: characters are as likely to be portrayed by instrumentalists or dancers as by singers, and a few parts of ''Licht'' (e.g., ''Luzifers Traum'' from ''Samstag'', and ''Michaelion'' from ''Mittwoch'') use texts written or improvised in simulated languages.
After 2003
Since completing ''Licht'', Stockhausen has embarked on a new cycle of compositions, based on the hours of the day, titled ''Klang'' ("Sound"). The works from this cycle performed to date are First Hour: ''Himmelfahrt'' (Ascension), for organ or synthesizer, soprano and tenor (2004-5); Second Hour: ''Freude'' (Joy) for two harps (2005); Third Hour: ''Natürliche Dauern'' (Natural Durations) for piano (2005-6); and Fourth Hour: ''Himmels-Tür'' (Heaven's Door) for a percussionist and a little girl (2005). The Fifth Hour, ''Harmonien'' (Harmonies) is for flute, bass clarinet, and trumpet (2006); the bass clarinet and flute solos from this piece were premièred in Kürten on 11 July 2007 and 13 July 2007, respectively. The Sixth through Twelfth hours are planned to be chamber-music works based on the material from the Fifth Hour. The Thirteenth Hour, ''Cosmic Pulses''—an electronic work made by superimposing 24 layers of sound, each having its own spatial motion, among 8 loudspeakers placed around the concert hall—was premièred in Rome on 7 May 2007 at Auditorium Parco della Musica, ''Sala Sinopoli''.
In the early 1990s Stockhausen reacquired the licenses to most of the recordings of his music he had made to that point, and began his own record company to make this music permanently available on compact disc. He also designs and prints his own musical scores, which often involve unconventional devices. The score for his piece ''Refrain'', for instance, includes a rotatable (refrain) on a transparent plastic strip, and dynamics in ''Weltparlament'' (the first scene of ''Mittwoch aus Licht'') are coded in colour.
Stockhausen is one of the few major twentieth-century composers to write a large amount of music for the trumpet, inspired by his son Markus Stockhausen, a trumpeter.
Stockhausen has had flying dreams throughout his life, and these dreams are reflected in the ''Helikopter-Streichquartett'' (the third scene of ''Mittwoch aus Licht''), completed in 1993. In it, the four members of a string quartet perform in four helicopters flying independent flight-paths over the countryside near the concert hall. The sounds they play are mixed together with the sounds of the helicopters and played through speakers to the audience in the hall. Videos of the performers are also transmitted back to the concert hall. The performers are synchronized with the aid of a click-track. Despite its extremely unusual nature, the piece has been given several performances, including one on 22 August 2003 as part of the Salzburg Festival to open the Hangar-7 venue, and the German première on 17 June 2007 in Braunschweig as part of the Stadt der Wissenschaft 2007 Festival. The work has also been recorded by the Arditti Quartet.
Reception
Stockhausen and his music have been controversial and influential. The influence of his ''Kontra-Punkte'', ''Zeitmasse'' and ''Gruppen'' may be seen in the work of many composers, including Igor Stravinsky's ''Threni'' (1957-58) and ''Movements'' for piano and orchestra (1958-59) and other works up to the ''Variations: Aldous Huxley In Memoriam'' (1963-64). Jazz musicians such as Miles Davis (Bergstein 1992), Cecil Taylor, Charles Mingus, Herbie Hancock, Yusef Lateef (Feather 1964; Tsahar 2006), and Anthony Braxton (Radano 1993, 110) cite Stockhausen as an influence, as do pop and rock artists such as Frank Zappa, who acknowledges Stockhausen in the liner notes of his 1965 debut with the Mothers of Invention, ''Freak Out!''; The Beatles, who include an image of Stockhausen on the cover of their 1967 Sgt. Peppers Lonely Hearts Club Band album; San Francisco psychedelic groups Jefferson Airplane and the Grateful Dead; Cologne-based experimental band Can, whose founding members Irmin Schmidt and Holger Czukay in fact studied with Stockhausen; German electronic pioneers Kraftwerk; New York guitar experimentalists Sonic Youth; Icelandic vocalist Björk; British industrial group Coil; and British techno artist Aphex Twin. Pianist Glenn Gould occasionally played a humorous character who he based on Stockhausen, which can be seen in the ''Glenn Gould Collection'' videos.
Notable students
September 11, 2001 terrorist attack statement controversy
After the September 11, 2001 terrorist attacks in the United States, Stockhausen was alleged to have made the statement that the attacks were "works of art". In a subsequent message, he stated that the press had hideously misinterpreted his meaning, and clarified as follows:
''At the press conference in Hamburg, I was asked if Michael, Eve and Lucifer were historical figures of the past and I answered that they exist now, for example Lucifer in New York. In my work, I have defined Lucifer as the cosmic spirit of rebellion, of anarchy. He uses his high degree of intelligence to destroy creation. He does not know love. After further questions about the events in America, I said that such a plan appeared to be Lucifer's greatest work of art. Of course I used the designation "work of art" to mean the work of destruction personified in Lucifer. In the context of my other comments this was unequivocal.'' [2]
Stockhausen in literature
★ Stockhausen was referred to in Philip K. Dick's novel ''Flow My Tears, The Policeman Said'' and Alan Moore's ''Watchmen''.
★ In Thomas Pynchon's 1966 novel ''The Crying of Lot 49'', the characters Oedipa Maas and Metzger visit "The Scope," a bar with "a strict electronic music policy," and a hang-out for the Yoyodyne corporation's "electronic assembly people." Inquiring on a "sudden chorus of whoops and yibbles" coming out of "a kind of jukebox," Oedipa is told: "'That's by Stockhausen,' the hip graybeard informed her, 'the early crowd tends to dig your Radio Cologne sound. Later on we really swing.[']"
★ In Donald Barthelme's 1975 novel ''The Dead Father'', Stockhausen's music is mentioned as part of the title character's extensive system of torture for "triflers," alongside with the works of Teilhard de Chardin. As the context and the Dead Father's overall characterization suggest, Barthelme's treatment seems rather to satirize, not to iterate, popular derogative witticisms and sentiments aimed at serial music in general and Stockhausen in particular from the 1960s and 1970s.
★ In Alexander McCall Smith's mystery ''The Sunday Philosophy Club'' the main character attends a concert of the Reykjavík Symphony and is unpleasantly surprised to find them playing an (unnamed) Stockhausen work. ("It was impossible music, really and it wasn't something a visiting orchestra should inflict on its hosts.")
★ Similarly, Stuart Pawson's Charlie Priest mystery, ''Mushroom Man'' (Allison & Busby, 2004) ISBN 0749083859 mentions on p. 242 a concert where "... The warm-up piece was a Stockhausen. The orchestra plinked and clanged through it with concentrated enthusiasm ...".
★ From Jerzy Kosinski's novel ''Pinball'': "To Karlheinz Stockhausen, whose electronic compositions so clearly influenced Godard, a musical event was without a determined beginning or an inevitable end; it was neither a consequence of anything that preceded it nor a cause of anything to follow; it was eternity, attainable at any moment, not at the end of time. Whether one liked it or not, weren't life's events like that too?"
★ In Julio Cortázar's ''Libro de Manuel'' one of the main characters likes listening to ''Prozession''.
★ Peter Robinson's detective novel ''Cold Is the Grave'' (New York: William Morrow, 2000) ISBN 0380978083 contains a simile on p. 300: "... small waterfalls beside the graveyard and, along with the wind screaming through the gaps in the drystone wall like a Stockhausen composition, almost drowned out the vicar's words ..."
Stockhausen in popular culture
Stockhausen is among the figures on the cover of the Beatles' album ''Sgt. Pepper's Lonely Hearts Club Band''.
In the 1978 Italian movie "''Dove vai in vacanza?''" ("Where are you going on holiday?"), in the episode "''Le vacanze intelligenti''" ("The smart vacations") directed by Alberto Sordi, a group of intellectuals confuse the snoring of the two main characters (a couple, the actors are Alberto Sordi and Anna Longhi) with music by Stockhausen.
In the television sitcom Man about the House, series 2, episode 5 ("Two Foot Two, Eyes of Blue"), Jo's new boyfriend Philip takes her to a Stockhausen concert. She is not amused, but Philip is undaunted, explaining that she just doesn't yet appreciate his "exploration of the spatial possibilities of the twelve-note idiom, and his use of variant states patterned together."
In a 1985 episode of the satirical puppet-show Spitting Image a sketch speculates about sequels to the hit film Amadeus. The suggestions are (1) "Seb", about Johann Sebastian Bach, (2) "Van", about Ludwig van Beethoven, (3)-(5) "Stocky 1", "Stocky 2" and "Stocky 3" about Karlheinz Stockhausen, and (6) "Lloydy", about Andrew Lloyd Webber. In the first three, the title character is pronounced as being (like Mozart in ''Amadeus'') "a composer who farts a lot", but for Lloyd Webber "a fart who composes a lot."
In episode 5 of the second (1991) series of Lovejoy, apprentice Eric protests when Tinker offers 300 pounds to an old gent for a battered square piano. Tinker mildly responds that the young have no appreciation for the finer aspects of music, and strikes what might have been a C-major chord, had the instrument not been used as a potting table in a steamy greenhouse for the better part of a century. Upon hearing the resulting percussive racket, Tink looks up at Eric, smiles brightly, and says: "Stockhausen."
Track #2 on the Mysteries of Science 1995 album, ''Erotic Nature of Automated Universes'', is called "Guten tag, Herr Stockhausen", certainly a reference to Stockhausen himself.
Richard Wright, keyboardist for the band Pink Floyd, studied with Stockhausen.
A Sound collage artist goes by the pseudonym Stock, Hausen & Walkman (a parody of both Stockhausen and Stock, Aitken and Waterman).
The album Lover, the Lord Has Left Us... by the musical group The Sound of Animals Fighting was heavily influenced by Stockhausen and has a song entitled "Stockhausen, Es Ist Ihr Gehirn, Das (sic) Ich Suche" (German for "Stockhausen, It is your brain (or mind) that I seek"). Also, in the last song "There Can Be No Dispute That Monsters Live Among Us", the lyrics in that song are quotes from Stockhausen's views on modern music.
Stockhausen is namechecked in the track "I Am Damo Suzuki" by The Fall.
Stockhausen is Honorary Patron of the UK sound art and experimental electronic music organisation Sonic Arts Network.
Alexander Lauterwasser - photographer of imagery of water surfaces set into motion by sound sources ranging from pure sine waves to music by Ludwig van Beethoven, Karlheinz Stockhausen and even overtone singing.
A reader of a British newspaper (probably The Guardian) devised this anagram of "Karlheinz Stockhausen:" "Kraut shock: Henze slain."
The German guitar pop band Kettcar has a song called "Stockhausen, Bill Gates und ich" ("Stockhausen, Bill Gates, and me") in which the singer, in a dreamlike experience, discusses money, art, and women with Bill Gates and Stockhausen while stuck in an elevator with them.
Criticism
Perhaps the most caustic remark about Stockhausen was made by Sir Thomas Beecham. Asked if he had ever conducted any Stockhausen, he said, "No, but I once trod in some."[3][4]
Igor Stravinsky expressed great, but not uncritical enthusiasm for Stockhausen's music in the conversation books with Robert Craft (e.g., Craft and Stravinsky 1960, 118) and for years organised private listening sessions with friends in his home where he played tapes of Stockhausen's latest works (Stravinsky 1984, 356; Craft 2002, 141). In an interview published in March 1968, however, he says of an unidentified person,
I have been listening all week to the piano music of a composer now greatly esteemed for his ability to stay an hour or so ahead of his time, but I find the alternation of note-clumps and silences of which it consists more monotonous than the foursquares of the dullest eighteenth-century music. ([Craft] 1968, 4)The following October, a report in ''Sovetskaia Muzyka'' (Anon. 1968) translated this sentence (and a few others from the same article) into Russian, substituting for the conjunction "but" the phrase "Ia imeiu v vidu Karlkheintsa Shtokkhauzena" ("I am referring to Karlheinz Stockhausen"). When this translation was quoted in Druskin's Stravinsky biography, the field was widened to ''all'' of Stockhausen's compositions and adds for good measure, "indeed, works he calls unnecessary, useless and uninteresting”, again quoting from the same ''Sovetskaia Muzyka'' article, even though it had made plain that the characterization was of American "university composers" (Druskin 1974, 207).
References
★ Andraschke, Peter. 1981. “Kompositorische Tendenzen bei Karlheinz Stockhausen seit 1965”. In ''Zur Neuen Einfachheit in der Musik'' (Studien zur Wertungsforschung 14), edited by Otto Kolleritsch, 126–43. Vienna and Graz: Universal Edition (for the Institut für Wertungsforschung an der Hochschule für Musik und darstellende Kunst in Graz). ISBN 3-7024-0153-9.
★ Anon. 1968. "Interv'iu so Stravinskim". ''Sovetskaia Muzyka'' (October): 141.
★ Bergstein, Barry. 1992. "Miles Davis and Karlheinz Stockhausen: A Reciprocal Relationship." ''The Musical Quarterly'' 76, no. 4. (Winter): 502–25.
★ Blumröder, Christoph von. 1993. ''Die Grundlegung der Musik Karlheinz Stockhausens''. Beihefte zum Archiv für Musikwissenschaft 32, ed. Hans Heinrich Eggebrecht. Stuttgart: Franz Steiner Verlag.
★ Bruno, Pascal. 1999. "''Donnerstag aus Licht'': A New Myth, or Simply an Updating of a Knowledge?" ''Perspectives of New Music'' 37, no. 1(Winter): 133–56.
★ Cott, Jonathan. 1973. ''Stockhausen: Conversations with the Composer''. New York: Simon and Schuster.
★ Craft, Robert. 2002. ''An Improbable Life: Memoirs''. Nashville: Vanderbilt University Press.
★ [Craft, Robert]. 1968. "Side Effects: An Interview with Stravinsky". ''New York Review of Books'' (14 March): 3-8.
★ Craft, Robert, and Igor Stravinsky. 1960. ''Memories and Commentaries'' Garden City, NY: Doubleday.
★ Davies, Hugh. 1968. "Working with Stockhausen." ''The Composer'' no. 27:8–11.
★ Dirmeikis, Paul. 1999. ''Le Souffle du temps: Quodlibet pour Karlheinz Stockhausen''. [La Seyne-sur-Mer]: Éditions Telo Martius.
★ Druskin, Mikhail Semenovich. 1974. ''Igor Stravinskii: Lichnost, Tvorchestvo, Vzgliady'' [Igor Stravinsky: Personality, Works, Opinions]. Leningrad, Moskow: Izdatelstvo "Sovietska kompozitor".
★ Feather, Leonard. 1964. "Blindfold Test: Yusef Lateef." ''Down Beat'' 31, no. 25 (10 September): 34.
★ Felder, David. 1977. "An Interview with Karlheinz Stockhausen." ''Perspectives of New Music'' 16, no. 1 (Fall-Winter): 85–101.
★ Frisius, Rudolf. 1996. ''Karlheinz Stockhausen I: Einführung in das Gesamtwerk; Gespräche mit Karlheinz Stockhausen''. Mainz: Schott Musik International.
★ Gather, John Philipp. 2003. “The Origins of Synthetic Timbre Serialism and the Parisian Confluence, 1949–52”. Ph. D. diss., State University of New York, Buffalo.
★ Harvey, Jonathan. 1975. ''The Music of Stockhausen: An Introduction''. Berkeley and Los Angeles: University of California Press.
★ Kohl, Jerome. 1981. “Serial and Non-Serial Techniques in the Music of Karlheinz Stockhausen from 1962–1968.” Ph. D. diss. Seattle: University of Washington.
★ Kohl, Jerome. 2002. "Serial Composition, Serial Form, and Process in Karlheinz Stockhausen's ''Telemusik''." In ''Electroacoustic Music: Analytical Perspectives'', ed. Thomas Licata, 91–118. Westport, Conn. and London: Greenwood Press.
★ Kohl, Jerome. 2004. “Der Aspekt der Harmonik in Licht.” In ''Internationales Stockhausen-Symposion 2000: LICHT: Musikwissenschaftliches Institut der Universität zu Köln, 19. bis 22. Oktober 2000. Tagungsbericht''. Signale aus Köln: Beiträge zur Musik der Zeit 10. Ed. Imke Misch and Christoph von Blumröder, 116–32. Münster, Berlin, London: LIT-Verlag. ISBN 3-8258-7944-5.
★ Kramer, Jonathan. 1998. "Karlheinz in California." ''Perspectives of New Music'' 36, no. 1 (Winter): 247-61.
★ Kurtz, Michael. 1992. ''Stockhausen: A Biography''. Trans. by Richard Toop. London: Faber and Faber.
★ Maconie, Robin. 1976. ''The Works of Karlheinz Stockhausen''. London, New York, Toronto: Oxford University Press. Second edition. Oxford: Clarendon Press.1990.
★ Maconie, Robin. 2005. ''Other Planets: The Music of Karlheinz Stockhausen''. Lanham, Maryland, Toronto, Oxford: The Scarecrow Press, Inc.
★ Radano, Ronald M. 1993. ''New Musical Figurations: Anthony Braxton's Cultural Critique'' Chicago: University of Chicago Press.
★ Rigoni, Michel. 1998. ''Stockhausen: ... un vaisseau lancé vers le ciel''. Lillebonne: Millénaire III Editions.
★ Sabbe, Herman. 1981. “Die Einheit der Stockhausen-Zeit ...: Neue Erkenntnismöglichkeiten der seriellen Entwicklung anhand des frühen Wirkens von Stockhausen und Goeyvaerts. Dargestellt aufgrund der Briefe Stockhausens an Goevaerts”. In ''Musik-Konzepte 19: Karlheinz Stockhausen: ... wie die Zeit verging ...'', edited by Heinz-Klaus Metzger and Rainer Riehn, 5–96. Munich: Edition Text + Kritik.
★ Sigel, Paul. 2000. "Der deutsche Beitrag auf der Expo70 in Osaka." ''Arch plus'' no. 149–150 (April): 116–33. Reprinted online ''Thema'' 5, no. 1 (July 2000)
★ Stenzl, Jürg. 1991. "York Höller's 'The Master and Margarita': A German Opera." Translated by Sue Rose. ''Tempo'' New Series, no. 179 (December): 8–15.
★ Stockhausen, Karlheinz. ''Texte zur Musik''. 10 vols. Vols. 1–3 edited by Dieter Schnebel; vols. 4–10 edited by Christoph von Blumröder. Vols. 1–3, Cologne: Verlag M. DuMont Schauberg (1963, 1964, 1971); vols. 4–6 DuMont Buchverlag (1978, 1989, 1989). Vols. 7–10 Kürten: Stockhausen-Verlag (1998). English edition, as ''Texts on Music'', edited by Jerome Kohl, with translations by Jerome Kohl, Richard Toop, Tim Nevill, Suzanne Stephens, et al. Kürten: Stockhausen-Verlag, in preparation.
★ Stockhausen, Karlheinz. 1962. "The Concept of Unity in Electronic Music". Translated by Elaine Barkin. ''Perspectives of New Music'' 1, no. 1 (Autumn): 39–48.
★ Stockhausen, Karlheinz. 1989. ''Stockhausen on Music: Lectures and Interviews'', edited by Robin Maconie. London and New York:
★ Stockhausen, Karlheinz. 1996. “Kino-Bilder”. In ''Bilder vom Kino: Literarische Kabinettstücke'', edited by Wolfram Schütte, 138–40. Frankfurt am Main: Suhrkamp Verlag.
★ Stockhausen, Karlheinz. 1998. “Bildung ist große Arbeit: Karlheinz Stockhausen im Gespräch mit Studierenden des Musikwissenschaftlichen Instituts der Universität zu Köln am 5. Februar 1997.” In ''Stockhausen 70: Das Programmbuch Köln 1998''. Signale aus Köln: Musik der Zeit 1, edited by Imke Misch and Christoph von Blumröder, 1–36. Saarbrücken: Pfau-Verlag.
★ Stockhausen, Karlheinz, Hermann Conen, and Jochen Hennlich. 1989. "Before and After ''Samstag aus Licht'': Conversation of 24 May 1984, in Milan." Translated by Karin von Abrams. ''Contemporary Music Review'' 5, no. 1:267–97.
★ Stravinsky, Igor. 1984. ''Selected Correspondence'', vol. 2. Edited and with commentaries by Robert Craft. New York: Alfred A. Knopf.
★ Stravinsky, Igor, and Robert Craft. 1960. ''Memories and Commentaries''. Berkeley and Los Angeles: University of California Press.
★ Toop, Richard. 2001. “Karlheinz Stockhausen”. ''The New Grove Dictionary of Music and Musicians'' ed. S. Sadie and J. Tyrrell. London: Macmillan.
★ Toop, Richard. 2005. ''Six Lectures from the Stockhausen Courses Kürten 2002''. Stockhausen-Verlag.
★ Tsahar, Assif. 2006. "Gentle Giant". ''Haaretz Daily Newspaper'' [Tel-Aviv] (17 March).
★ Wager, Gregg. 1998. "Symbolism as a Compositional Method in the Works of Karlheinz Stockhausen. College Park, Maryland; diss. phil. Free University Berlin, 1996.
★ Wörner, Karl Heinz. 1973. ''Stockhausen: Life and Work''. Translated by Bill Hopkins. Berkeley: University of California Press.
External links
★ Karlheinz Stockhausen official site
★ Aspekte des Seriellen bei Karlheinz Stockhausen by Karlheinz Essl (1989)
★ (pdf) Complete list of works by Stockhausen
★ Comprehensive Stockhausen Discography
★ Stockhausen at Expo 70 in Osaka
★ Interview with Stockhausen
Listening
★ Stockhausen website video and audio files
★ Epitonic.com: Karlheinz Stockhausen featuring tracks from ''Mantra''
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