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“Kontakte” – Reflexionen naturwissenschaftlich‐technischer Innovationsprozesse in der frühen Elektronischen Musik Karlheinz Stockhausens (1952–1960)

Identifieur interne : 001388 ( Istex/Corpus ); précédent : 001387; suivant : 001389

“Kontakte” – Reflexionen naturwissenschaftlich‐technischer Innovationsprozesse in der frühen Elektronischen Musik Karlheinz Stockhausens (1952–1960)

Auteurs : Marco Böhlandt

Source :

RBID : ISTEX:C18AB0E50241C62D8E658A06C70B29B8B0CB7272

English descriptors

Abstract

“Kontakte” – Reflections of Innovative Processes in Science and Technology in Karlheinz Stockhausen's Early Electronic Music (1952–1960). The following article will give an overview of the interdependence of aesthetic and scientific/technical developments in German composer Karlheinz Stockhausen's early works of electronic music. It is an outline of the major steps in his artistic evolution between the works “Etude (Musique concrète)” and “Kontakte”, their relation to innovations in psychoacoustic and sound‐studio technology as well as the impact, that the works from that period had on the fundamental changes in musical aesthetics during the course of the 20th century.

Url:
DOI: 10.1002/bewi.200801308

Links to Exploration step

ISTEX:C18AB0E50241C62D8E658A06C70B29B8B0CB7272

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<p>Schriftliche Fassung des Vortrags “‘Kontakte’ – Das kompositorische Schaffen Karlheinz Stockhausens zwischen technischer Innovation, Mathematizismus und neuer Klangästhetik” (Vortrag mit Klangbeispielen), gehalten im Rahmen des XLIV. Symposiums der Gesellschaft für Wissenschaftsgeschichte (“Wissenschaft und Musik”, 17–19. Mai 2007, Deutsches Museum München).</p>
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<title>“Kontakte” – Reflexionen naturwissenschaftlich‐technischer Innovationsprozesse in der frühen Elektronischen Musik Karlheinz Stockhausens (1952–1960)</title>
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<title>“Kontakte” – Reflexionen naturwissenschaftlich‐technischer Innovationsprozesse in der frühen Elektronischen Musik Karlheinz Stockhausens (1952–1960)</title>
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<namePart type="given">Marco</namePart>
<namePart type="family">Böhlandt</namePart>
<affiliation>Holzstr. 15, 80469 München</affiliation>
<affiliation>E-mail: M.Boehlandt@lrz.uni‐muenchen.de</affiliation>
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<dateIssued encoding="w3cdtf">2008-09</dateIssued>
<copyrightDate encoding="w3cdtf">2008</copyrightDate>
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<languageTerm type="code" authority="iso639-2b">ger</languageTerm>
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<abstract>“Kontakte” – Reflections of Innovative Processes in Science and Technology in Karlheinz Stockhausen's Early Electronic Music (1952–1960). The following article will give an overview of the interdependence of aesthetic and scientific/technical developments in German composer Karlheinz Stockhausen's early works of electronic music. It is an outline of the major steps in his artistic evolution between the works “Etude (Musique concrète)” and “Kontakte”, their relation to innovations in psychoacoustic and sound‐studio technology as well as the impact, that the works from that period had on the fundamental changes in musical aesthetics during the course of the 20th century.</abstract>
<note type="content">*Schriftliche Fassung des Vortrags “‘Kontakte’ – Das kompositorische Schaffen Karlheinz Stockhausens zwischen technischer Innovation, Mathematizismus und neuer Klangästhetik” (Vortrag mit Klangbeispielen), gehalten im Rahmen des XLIV. Symposiums der Gesellschaft für Wissenschaftsgeschichte (“Wissenschaft und Musik”, 17–19. Mai 2007, Deutsches Museum München).</note>
<subject lang="en">
<genre>keywords</genre>
<topic>Karlheinz Stockhausen</topic>
<topic>electroacoustic</topic>
<topic>sound research</topic>
<topic>composing</topic>
<topic>music aesthetics</topic>
<topic>music history</topic>
<topic>musicology</topic>
<topic>psychoacoustics</topic>
<topic>realisation technology</topic>
<topic>sound studio technology.</topic>
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<subject lang="de">
<genre>keywords</genre>
<topic>Karlheinz Stockhausen</topic>
<topic>Elektroakustik</topic>
<topic>Klangforschung</topic>
<topic>Komposition</topic>
<topic>Musikästhetik</topic>
<topic>Musikgeschichte</topic>
<topic>Musikwissenschaft</topic>
<topic>Psychoakustik</topic>
<topic>Realisationstechnik</topic>
<topic>Tonstudiotechnik.</topic>
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<topic>Beitrag</topic>
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<identifier type="ISSN">0170-6233</identifier>
<identifier type="eISSN">1522-2365</identifier>
<identifier type="DOI">10.1002/(ISSN)1522-2365</identifier>
<identifier type="PublisherID">BEWI</identifier>
<part>
<date>2008</date>
<detail type="volume">
<caption>vol.</caption>
<number>31</number>
</detail>
<detail type="issue">
<caption>no.</caption>
<number>3</number>
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<extent unit="pages">
<start>226</start>
<end>248</end>
<total>23</total>
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<identifier type="DOI">10.1002/bewi.200801308</identifier>
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<accessCondition type="use and reproduction" contentType="copyright">Copyright © 2008 WILEY‐VCH Verlag GmbH & Co. KGaA, Weinheim</accessCondition>
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