Karlheinz Stockhausen

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Karlheinz Stockhausen <tr style="text-align: center;"><td colspan="3">Image:Karlheinz Stockhausen 2005.jpg Karlheinz Stockhausen at Old Billingsgate Market, London, October 22, 2005 </td></tr>
Background information <tr><td>Birth name</td><td colspan="2">Karlheinz Stockhausen</td></tr><tr><td>Born</td><td colspan="2">August 22 1928</td></tr><tr><td>Origin</td><td colspan="2">Mödrath-Kerpen, Germany</td></tr><tr><td>Occupation(s)</td><td colspan="2">Composer</td></tr>

Karlheinz Stockhausen (born August 22 1928) is a German composer, and one of the most important and controversial composers of the 20th century. He is best known for his groundbreaking work in electronic music and controlled chance in serial composition.

1 Biography
2 Works
3 Reception
4 Notable students
5 September 11, 2001 terrorist attack statement controversy
6 Stockhausen in literature
7 Stockhausen in popular culture
8 Criticism
9 References
10 External links
- 10.1 Listening

[edit] Biography

Stockhausen was born in (Alt-)Mödrath (near Kerpen, in the vicinity of Cologne), a village that was later dislocated by the strip-mining of lignite in the region. He grew up from the age of 7 in Altenberg, where he received his first piano lessons from the Protestant organist of the Altenberg Cathedral, Franz-Josef Kloth. 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. 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. 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.

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. 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).

[edit] Works

Stockhausen has written over 300 individual works. He often departs radically from musical tradition and his work is influenced by Messiaen, Edgar Varèse, and Anton Webern, as well as by film (Stockhausen 1996) and by painters such as Mondrian and Klee.

[edit] 1950s

Stockhausen began to compose in earnest only during his third year at the conservatory. He has published only four of his early student compositions, Chöre für Doris, Drei Lieder for alto voice and chamber orchestra, Chorale 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. 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"), and the first (unpublished) versions of Punkte and Kontra-Punkte (1952).

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 composer of his generation 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." 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. Still other works permit different routes through the constituent parts. Stockhausen calls both of these possibilities "polyvalent form," 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.

[edit] 1960s

In 1962 Stockhausen returned to the composition of vocal music (for the first time since Gesang der Jünglinge), with 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), and 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.

[edit] 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, but nevertheless share its simpler, melodically oriented style. Tierkreis ("Zodiac", 1974-75) and In Freundschaft ("In Friendship", 1977) are amongst these, and 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 in his orchestral composition Sub-Kontur (1974-75) quoted the formula of Stockhausen's Inori (1973-74).

[edit] 1977-2003

Between 1977 to 2003 he composed a cycle of seven operas called Licht ("Light"). The Licht cycle deals with the relationships between three characters; Lucifer, Michael and Eve. Stockhausen's conception of opera is based significantly on ceremony and ritual and his approach to characterisation shows the influence of Artaud in its rejection of psychological perspective. Similarly, his approach to voice and text suggests a change from the traditional emphasis: a few parts of Licht are written in simulated languages.

[edit] 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 flute and bass clarinet solos from this piece will be premièred in Kürten in July 2007. The Sixth Hour, Cosmic Pulses, an electronic work, is to be premiered in Rome on 7 May 2007.

In the early 1990s Stockhausen reacquired the licenses to most 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.

The dream of flying has accompanied Karlheinz Stockhausen's career since the very beginning. Back in the early 1950s, when he was enthralling some and infuriating others in the avant-garde community around the Darmstadt Summer Courses in New Music with his first works Punkte, Kontra-Punkte and Kreuzspiel, he was already developing his first ideas for liberating musicians from the constraints of gravity. This interest came to a head with the Helikopter-Streichquartett, completed in 1993. In this, the four members of a string quartet each perform from their own helicopter flying above 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. The work has also been recorded by the Arditti Quartet.

[edit] 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). Popular and jazz musicians such as Cecil Taylor and Anthony Braxton (Radano 1993, 110), Can, The Beatles, Kraftwerk, Coil, Björk, Sonic Youth, Miles Davis (Bergstein 1992), Frank Zappa, Yusef Lateef (Feather 1964; Tsahar 2006), and Herbie Hancock cite Stockhausen as an influence.

[edit] Notable students

[edit] 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. (http://www.stockhausen.org/message_from_karlheinz.html)

[edit] Stockhausen in literature

Stockhausen was referred to in Thomas Pynchon's novel The Crying of Lot 49, Philip K. Dick's novel Flow My Tears, The Policeman Said and Alan Moore's Watchmen.

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.")

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.

[edit] Stockhausen in popular culture

Stockhausen is among the figures on the cover of the Beatles album Sgt. Pepper's Lonely Hearts Club Band.

Stockhausen is cited as an influence in the liner notes of Frank Zappa's first album, Freak Out!.

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) "Stocky", about Karlheinz Stockhausen, and (4) "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. ^{[citation needed]}

A Sound collage artist goes by the pseudonym Stock, Hausen & Walkman (clearly a parody of 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 Gehrin, Das (sic) Ich Suche." 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.

[edit] 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."[2][3]

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).

[edit] 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.
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.
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.
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.
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. 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.
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. 2005. Six Lectures from the Stockhausen Courses Kürten 2002. Stockhausen-Verlag.
Tsahar, Assif. 2006. "Gentle Giant". Haaretz Daily Newspaper [Tel-Aviv] (17 March).
Wörner, Karl Heinz. 1973. Stockhausen: Life and Work. Translated by Bill Hopkins. Berkeley: University of California Press.

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