#stockhausen

[postpunkindustrial]

Experimental Music: Cage and Beyond by Michael Nyman

Michael Nyman is a composer popularly known for his film scores for movies such as The Piano, Gattica and his collaborations with filmmaker Peter Greenway.

(Side note is you have someone who for some reason is still holding on to their Harry Potter fandom and you want to RUIN their thoughts about beloved Dumbledor. Have them watch Peter Greenway's The Cook, the Thief, His Wife & Her Lover.)\

But before he paid the bills with film scores he spent some time in the Conceptual Avant Garde music scene of the 60's. This book is a firsthand account of his time in the conceptual and experimental art scene.

If you interest in music is a more historica, philosphical, conceptual and more academic you might like this book.

You can get it from my Google Drive HERE

[alisafoxx20]

Сонный барашек Шток Рисовали совместно с подругой в магме, немец нарисовался

[lanativite]

the main reason i don't view 1980s music as "old" is because when I think of music I think of classical composers and classical composers from time are guys like stockhausen (labelled modernist) and people today are indeed still not ready for Guys Like Stockhausen. to me old music is like. bach. stockhausen is more like a gen z there

[kswwxr]

I love him ❤️🍄

[schibborasso]

MANTRA 1970

[thephilosopheroftheboudoir]

Karlheinz Stockhausen

Telemusik

[berio-visage-asmr]

mmmmmmmmm makes brain nice and head mushy

[spaceintruderdetector]

Die Reihe (German pronunciation: [diː ˈʀaɪ̯ə]) was a German-language music academic journal, edited by Herbert Eimert and Karlheinz Stockhausen and published by Universal Edition (Vienna) between 1955 and 1962 . All 8 issues in english-

Die Reihe 1-8 (1957-1968) – English : Herbert Eimert & Karlheinz Stockhausen : Free Download, Borrow, and Streaming : Internet Archive

[rofilm1]

The cradles of electronic music part 10

(excerpt from my e-book “New Concepts for Music and Sound”: https://www.dev.rofilm-media.net/node/537)

One of the “backbone” devices in the studio of electronic music of the WDR broadcasting station in Cologne, Germany was the Tieftone Generator.

The perhaps most famous user of this generator is Karlheinz Stockhausen. In his piece “Kontakte” (https://www.youtube.com/watch?v=7XWNR_TcPFI) he used this Tieftone Generator for producing structure (it can be used as an LFO with cycle lenghts up to 10 seconds) as well as for modulations (it goes up to 1.1 kHz).

“Kontakte” is a piece for electronics, piano and percussion. In the performance two solists (a pianist and a percussionist) play live together with the pre-recorded electronic parts coming from a tape.

According to Stockhausen the name “Kontakte” means the contact between the human performance and the fixed electronic music from the tape, and builds a symbiosis between these seemingly contrary worlds.

It also means the contact of the audience with so far unknown sounds and completely new kinds of musical compositions (Stockhausen says).

In “Kontakte” the principles of “classic” serial music are translated into electronic music and expanded from mere tone/pitch related rules to the realm of timbre, sound and spectra.

A more detailed description and explanation of “Kontakte” is given here: http://stockhausenspace.blogspot.com/2015/11/kontakte-planning-design.html.

Please let me say a little “warning”: in the blogspot article, which is very interesting and helpful otherwise, they mention the compositional element of “moments”. Stockhausen has written and lectured about the structural element of a “moment” a lot (I have found only some of it on the Internet unfortunately, but I write a bit more about it in my e-books about generative music - https://www.dev.rofilm-media.net/node/331). The kind of definition of a structural “moment” given in the blogspot article is a bit too much “compacted” and destilled down, I think.

The Tieftone Generator is also one of the devices in the software Berna 3.

... to be continued

[dtpnews]

De Stockhausen a Monteverdi, uma mola das artes de Monte-Carlo sob o sinal da liberdade

O Neue VocalSolisten Ensemble, na Hauser & Wirth Gallery, durante o Printemps des Arts de Monte-Carlo, em 12 de março de 2025. Alice Bulgerro 41e Edição do Printemps des Arts de Monte-Carlo, cuja direção artística é confiada desde 2022 a Bruno Mantovani, só poderia assinar o tributo que celebra em 2025 o centenário do nascimento de seu ancião e mentor, Pierre Boulez (1925-2016). 12 de março, no…

[slack-wise]

Interviewer: Have you listened to Stockhausen? Sir Thomas Beecham: No, but I once trod in some.

[paleparadisenight]

"Опять двойка" Фёдора Решетникова, с персонажами Aтомика. // 'Low Marks Again' by Fyodor Reshetnikov, with Atomic Heart characters.

[moroniica]

yes

[netflix]

Spotlight: Adam Stockhausen

Production Designer, The Wonderful Story Henry Sugar

Oscar winning production designer Adam Stockhausen (not pictured above, that’s Benedict Cumberbatch), whose work you may know from Wes Anderson films like The Grand Budapest Hotel, Asteroid City, The French Dispatch, Isle of Dogs, and Moonrise Kingdom, as well as titles like Bridge of Spies, and West Side Story (2021), took the time to answer some questions.

Which details from or aspects of The Wonderful Story Henry Sugar did you focus the most on while adapting it to the screen? How did you meld Roald Dahl and Wes’s worlds?

The details on this one started with Dahl’s writing hut! We matched the details pretty carefully and exactly. As soon as we step outside of the hut though we start to move through the world of the story and the world of the stage at the same time. Wes had the idea of how he wanted to do this from the very beginning. My main challenge was trying to figure out how to pull it off—making the parts move and getting each to have the right detail.

What’s a small change you made on a project that ended up having an unexpectedly significant impact? 

Lots of times this happens—where what seems like a small thing at the time becomes a very significant turning point. I’m in Berlin now writing this and remembering being here scouting for East Berlin for Bridge of Spies. We were struggling to find a section of town that still felt old enough to show the early 60s, and decided to take a chance on a quick search in Poland. That quick search changed the whole production plan and ultimately gave us the look of our East Berlin.

How has technology changed the way you approach your work? 

Technology has definitely changed the way we plan the work. We used to model everything in cardboard or sometimes just plan in two dimensions with pencil and paper. We can now plan in 3-dimensional space using modeling programs and see what real lenses will do.  This allows for more accurate planning and makes scenery moves like the casino set in Henry Sugar possible.

Do you have any signature easter eggs you like to leave? Any small details that you are particularly fond of? 

I wouldn’t say there are easter eggs in this one. But there are loads of special details! I think my favorite might be the levitation boxes where we painted a perspective view of the background onto a prop box. The actor sitting on the box appears to be floating in a very special and theatrical way.

Did you talk about reflecting the iconic Quentin Blake illustrations in production design? How would you go about doing that? 

Not really. They are such incredible drawings and I’d say they’ve been inspiring me since I saw them as a child! But for this the starting point was really the machine Wes devised to move us through the story—and pairing that to specific references scene by scene.

There is such an intentionality to the aesthetics of a Wes world. Is there a set or frame that took you a long time to get perfectly right? 

All of them! It’s a very labor-intensive process getting these frames right. Occasionally one will click right away, but usually it’s a process of refining and refining. The jungle for instance went from sketches to models to samples and back again several times before the final look settled.

If you had to present one frame that showcases the best of your work, what would it be? 

Oh my. Maybe the jungle? I really enjoyed making the jungle!

With all the moving sets in the trailer for The Wonderful Story Henry Sugar, it feels reminiscent of a theatre production. Are there distinct differences in approach between film and theatre and how much do you blur the lines between them in your work? 

I think the lines are blurred completely! Or maybe they aren’t even there. I love that Henry Sugar is so incredibly theatrical in its storytelling.  It allows us to show the artifice of the sets all the time which somehow makes them even more satisfying when they finally do line up and create a complete picture. I think the casino set is a perfect example—the pauses where it all lines up for a second are even more enjoyable because we get to see it broken apart and sliding away.

Thanks, Adam!