Work of Karlheinz Stockhausen Volume 2

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.

‘Anyone interested in the evolution of post-World War II music, particularly in terms of musical structure and thought, will find profound insight in the detailed analysis of the music of German composer Karlheinz Stockhausen.Spanning three volumes, the analysis covers distinct phases of Stockhausen's work, from structural serialism, intuitive music, and moment-form, to his later development of formula-composition, culminating in the monumental work LICHT, Stockhausen’s seven-day opera cycle. Flo Menezes, who personally knew several key composers of the second half of the twentieth century, including Luciano Berio, Henry Pousseur, and Pierre Boulez, taught analysis classes at the Stockhausen Summer School in Kürten, Germany. Menezes even surprised Stockhausen by revealing structural insights in STUDIE 2 that the composer himself had not been aware of.Although Menezes’ writings primarily focus on Stockhausen's work, readers will find it to be a profound treatise on composition in the second half of the twentieth century.’Hans Tutschku, Fanny P. Mason Professor of Music, Harvard University

• 18 KONTAKTE (1958–60) 18.1 The origins of the piece 18.2 KONTAKTE and its mysticism 18.3 The versions of KONTAKTE 18.4 The surprising fusion between the instrumental and electronic universes 18.5 Innovations in KONTAKTE 18.6 About the differences of durations in the score 18.7 Regarding spatiality 18.8 The use of electronic pulses 18.9 Regarding timbre families 18.10 The iterative copy procedure (Dauerkopierverfahren) 18.11 Serial music? 18.12 The invention of the Moment-Form 18.13 The types of Moment in KONTAKTE 18.14 Motive recurrences 18.15 The use of the Fibonacci Sequence 18.16 The Unity of Musical Time19 MOMENTE (1962–64/69) 19.1 The typology of Moments and the Love 19.2 Regarding instrumentation 19.3 Regarding the texts used 19.4 The open form of MOMENTE 19.5 The binary oppositions and their stratification 19.6 Harmonic center and expansions in MOMENTE 19.7 A review of MOMENTE and its actuality20 Extensions 21 MIKROPHONIE I (1964) 21.1 The spectral extent of the physical instrument 21.2 The organological extent of the physical instrument 21.3 The internalization of polyphony: micro-phony 21.4 Serial numerology in MIKROPHONIE I 21.5 The microphone as an instrument 21.6 Towards words: sound categories and quasi-onomatopoeias 21.7 The Moments and form of MIKROPHONIE I 21.8 Rite and communion 21.9 Approaching and distancing in relation to musique concrète22 MIXTUR (1964) 22.1 The strangeness with Boulez 22.2 Ring modulation and its complexity 22.3 Regarding instrumentation 22.4 The musical form: its characters and reversibility 22.5 Regarding serial thought and the organization of pitches 22.6 Tachism-music?23 TELEMUSIK (1966) 23.1 Collage of materials or new polyphony? 23.2 The form and realization of the work 23.3 A work full of signals 23.4 Intermodulation 23.5 Music of the nervous system 23.6 An undeniable, yet unrealizable request24 HYMNEN (1966–67) 24.1 Origins of the piece and its designation 24.2 The different versions of HYMNEN 24.3 Once again intermodulation and radical extensions 24.4 Regarding materials and form 24.5 The use of quotations and referentiality in HYMNEN 24.6 The controversy surrounding the anthems 24.7 The making of the magnetic tape and the sonoritiesof HYMNEN 25 Universals26 STIMMUNG (1968) 26.1 The formants’ song 26.2 A vocalic music 26.3 Enjoyment or alienation? 26.4 STIMMUNG’s vocal micro-macro-spatiality 26.5 Regarding the form 26.6 As for the Poems used 26.7 Regarding the days of the week 26.8 Stockhausen’s Vocalic Square 26.9 The tempos, the rhythm of the Models, and their main vowels 26.10 The “error” as a deviation 26.11 From multiple to one, from one to multiple27 KURZWELLEN (1968) 28 Processes29 AUS DEN SIEBEN TAGEN (1968) and FÜR KOMMENDE ZEITEN (1968–70)