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BECOMING THE SYNTHI-FOU: STOCKHAUSEN AND THE NEW KEYBOARDISM

Published online by Cambridge University Press:  07 January 2011

Michael Fowler
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Extract

Karlheinz Stockhausen embraced the potential of electronic music to generate new timbres and acoustic typologies early in his career. After first experimenting with magnetic tape in works such as Gesang der Jünglinge (1955) and Kontakte (1958–60), he later embraced other synthesis technologies for the production of large-scale spatial electro-acoustic works such as Sirius (1970) and Oktophonie (1990–91). His interest in technological advances in sound design and sound diffusion also managed to penetrate his highly evolved Klavierstücke.

Type
Research Article
Information
Tempo , Volume 65 , Issue 255 , January 2011 , pp. 2 - 8
Copyright
Copyright © Cambridge University Press 2011

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