396:
3347:
100:
sounds. The pitch range is deliberately kept rather high, between 6 and 12 kHz, so that the intermodulation can occasionally project sounds downwards, sections "that seem to be so far away because the ear cannot analyse it, so that it entered the normal audible range and suddenly became understandable". In this way, register becomes a means of bringing the âdistantâ close up (Greek
1157:
19:
1205:
3465:
161:
3635:
263:
However, the actual duration values used in the score are systematically varied above these base values so that from longest to shortest there are 1, 2, 3, 4, 3, and 2 variants (144, 89/91, 55/56/57, 34/35/36/37, 21/22/23, and 13/14). In order to achieve the specified numbers of moments, the variants
66:
to visit Tokyo, and to carry out two commissions in their electronic music studio, in connection with the 50th anniversary of the founding of NHK in 1965. Because of other commitments, Stockhausen was unable to meet this schedule but finally, under pressure from Tokyo, he flew to Japan on 19 January
99:
music from the Amazon, and then further impos a rhythm of
Hungarian music on the melody of the monks. In this way, symbiotic things can be generated, which have never before been heard". Only seven of the work's thirty-two momentsânos. 1, 2, 4, 6, 8, 10, and 16âare restricted entirely to electronic
94:
The substance of the work consists of recordings of a variety of traditional ethnic musics from around the world, together with electronically generated sounds. More than twenty of these recorded fragments are intermodulated on tape with electronic sounds and with each other to produce "odd
1181:(é). Of the six resulting structural layers, or "formant rhythms" fourâthe second, third, fourth, and fifthâare internally symmetrical. However, their centres of symmetry, marked in the table by the symbol "â", do not coincide, so that the composite structure is not itself symmetrical. The
107:
The work was created using a six-track tape recorder custom-built for the NHK studios. One track was reserved for editing during production, with the completed music being intended for playback in five channels, arranged in a circle around the audience. However, there are none of the
79:
The score is dedicated to the
Japanese people. The first public performance took place at the NHK studios in Tokyo on 25 April 1966, in a program which also featured the first and second performances (in versions for trombone and for flute) of Stockhausen's other NHK commission,
74:
was realized between
January 23 and March 2, 1966 in the Studio for Electronic Music of the Japanese broadcasting system Nippon Hoso Kyokai (NHK), in collaboration with the director of the studio, Wataru Uenami and the studio technicians Hiroshi Shiotani, Shigeru SatĂŽ and Akira
140:, which was also originally in five channels. For performances elsewhere than at the NHK studios, Stockhausen mixed down several two-channel stereo copies, using a panorama console to approximately position the five channels from left to right as I IV III II V.
1172:
with a 12,000 Hz sine wave, briefly "notched" with a dip to 2,000 Hz at the point corresponding to the division between moments 6 and 7. This insert is marked at the beginning by a stroke on a
Japanese temple instrument found nowhere else in
1230:
describes moments 15, 16 and 17 as a "structural episode" consisting of a sustained "resonance of consciousness", superimposing and transforming material taken from moments 1, 4, 5, 6, 7, 9, and 14. Others variously regard as groupings:
149:
407:
Each of the 32 moments is then subdivided into from two to thirteen subsections, again using
Fibonacci numbers, in most cases with some values repeated. For example, one of the composer's sketches (reproduced in
412:, 146) shows that moment 22, with a total duration of 91 seconds, has subdivisions of 34 + 21 + 13 + 8 + 5 + 3 + 2 + 1 + 2 + 1 + 1, though not used in that order in the composition itself.
180:" by the composer. Each begins with the stroke of a Japanese temple instrument. These six instruments are each associated with a moment duration according to their natural decay time: the
3547:
208:
between 13 and 144. The numbers of occurrences of these steps are also drawn from
Fibonacci numbers, from 1 to 13. The longer the step, the fewer times it occurs, and vice versa:
3527:
2079:
264:
of the shorter values are duplicated, again according to the
Fibonacci series (13 Ă 5, 14 Ă 8; 21 Ă 3, 22 Ă 3, 23 Ă 2; 34 Ă 2, and the rest with single instances).
3660:
3350:
1981:
Musik und
Globalisierung: Zwischen kultureller Homogenisierung und kultureller DifferenzâBericht des Symposions an der KunstuniversitĂ€t Graz, 17.â18. Oktober 2006
1168:
The "extra" moment marked "7 Fortsetzung" (7 continued) is an insertion which repeats the long composite of descending glissandos from the two preceding moments,
2097:
3685:
3612:
2019:
204:, ending with a group of four large temple bells for the longest of the six durations used. The durations in seconds of these moments are taken from the six
3382:
2005:
3532:
1915:
Internationales
Stockhausen-Symposion 1998, Musikwissenschaftliches Institut der UniversitÀt zu Köln, 11. bis. 14. November 1998: Tagungsbericht
1613:
Internationales
Stockhausen-Symposion 1998, Musikwissenschaftliches Institut der UniversitÀt zu Köln, 11. bis. 14. November 1998: Tagungsbericht
3199:
3655:
1973:
1881:
2072:
3607:
3587:
1930:
1904:
1866:
1805:
1784:
1738:
1721:
1701:
1693:
1672:
1648:
1628:
1596:
3675:
3597:
3517:
3375:
2065:
2703:
1222:
1585:
Kompositorische Stationen des 20. Jahrhunderts: Debussy, Webern, Messiaen, Boulez, Cage, Ligeti, Stockhausen, Höller, Bayle
1979:
Utz, Christian. 2007. "Zur kompositorischen Relevanz kultureller Differenz: Historische und Àsthetische Perspektiven", in
3625:
3670:
3512:
1925:, Dieter Gutknecht, Dietrich KĂ€mper, and RĂŒdiger Schumacher, 103â111. Signale aus Köln 4. SaarbrĂŒcken: Pfau-Verlag.
3665:
3161:
2234:
2047:
1918:
1636:
1588:
3368:
2881:
2873:
2668:
1828:
1271:
1265:
1216:
Moments are often more or less casually grouped together into successions of two or more moments, similar to the
3582:
3479:
3254:
2449:
104:, "afar, far off", as in "telephone" or "television") the concept from which the title of the work is derived.
3204:
3040:
3489:
3484:
3324:
3284:
2774:
2513:
136:
3680:
3639:
3209:
3016:
2481:
2394:
2289:
3522:
3507:
3395:
2433:
2088:
47:
3146:
3024:
2660:
1984:
1876:. Mainz, London, Berlin, Madrid, New York, Paris, Prague, Tokyo, Toronto: Schott Musik International.
3274:
2913:
2814:
2711:
2652:
2465:
2313:
2265:
2226:
2139:
2116:
1947:
1874:
Karlheinz Stockhausen II: Die Werke 1950â1977; GesprĂ€ch mit Karlheinz Stockhausen, "Es geht aufwĂ€rts"
1810:
116:
395:
184:(a high-pitched sandalwood clapper with almost instantaneous decay) with the shortest duration, the
3444:
3048:
2993:
2985:
2977:
2969:
2961:
2953:
2945:
2854:
2727:
2719:
2633:
2625:
2617:
2609:
2601:
2593:
2585:
2577:
2569:
2561:
2552:
2521:
2457:
2372:
2329:
2273:
2242:
2051:
3419:
3090:
2929:
2921:
2889:
2489:
2305:
2179:
2163:
1826:
Stockhausen, Karlheinz. 1996. "Electroacoustic Performance Practice", translated by Jerome Kohl.
1750:: Vortrag". Radio lecture. Released on Stockhausen Text-CD 16. KĂŒrten: Stockhausen-Verlag, 2008.
82:
1620:
188:(a larger clapper with longer decay time) with the next longer duration, then a hollow-sounding
2029:
3602:
3239:
3194:
3096:
3084:
3066:
2830:
2751:
2187:
2171:
2147:
1969:
1926:
1900:
1877:
1862:
1801:
1780:
1734:
1717:
1697:
1689:
1668:
1644:
1624:
1592:
108:
continually-moving-sound techniques found in other of Stockhausen's electronic works, such as
2473:
3563:
3454:
3391:
3269:
3249:
3224:
3151:
3120:
3078:
3072:
2739:
2155:
1922:
1616:
1604:
205:
59:
43:
1966:
Kompositorische Grundlagen Neuer Musik: Sechs Seminare fĂŒr die DarmstĂ€dter Ferienkurse 1970
1913:. 1999. "Stockhausens Konzeption der 'Weltmusik' und die Zitathaftigkeit seiner Musik". In
3409:
3289:
3189:
2529:
1776:
1751:
1169:
1989:
3414:
3360:
3329:
3299:
3279:
3264:
3219:
3214:
2505:
2009:
1952:
1815:
96:
415:
The moments' durations are distributed over the length of the composition as follows:
3649:
3464:
3309:
3294:
3234:
3156:
2846:
2409:
1910:
1837:
1709:
1227:
1209:
1198:
95:
hybrid-types"âmodulating, for example, "the chant of monks in a Japanese temple with
1615:, ed. Imke Misch and Christoph von Blumröder, in association with Johannes Fritsch,
3429:
3424:
3184:
3125:
2537:
1840:. 1981. "Stockhausen's Electronic Works: Sketches and Work-Sheets from 1952â1967."
1685:
196:
3319:
1156:
1659:. 2002. "Serial Composition, Serial Form, and Process in Karlheinz Stockhausen's
1623:, and RĂŒdiger Schumacher, 177â185. Signale aus Köln 4. SaarbrĂŒcken: Pfau-Verlag.
3557:
3449:
3314:
3259:
3244:
3229:
3179:
3166:
2425:
2337:
2210:
1667:, ed. Thomas Licata, 91â118. Westport, Connecticut and London: Greenwood Press.
1656:
190:
177:
153:
27:
23:
3439:
3304:
3130:
3032:
2905:
2897:
2822:
2684:
2545:
2417:
2401:
2038:
3434:
2766:
2218:
18:
1800:
3, edited by Dieter Schnebel, 79â84. Cologne: Verlag M. DuMont Schauberg.
1204:
1201:
by incrementally increasing distances to the left, right, and left again.
2937:
2838:
2782:
2758:
2676:
2497:
110:
2057:
160:
2356:
2281:
1957:
1989. "Universalismus und Exotik in Karlheinz Stockhausens Telemusik".
2806:
2790:
2441:
2364:
2321:
2297:
1256:
30:, containing one of the four large bronze bells used in moment 31 of
1899:, edited by Dieter Zimmerschied, 251â265. Mainz: B. Schott's Söhne.
1591:, 129â171. Signale aus Köln: Musik der Zeit 7. MĂŒnster: Lit Verlag.
1936:
Nanni, Matteo. 2009. "World Music e globalizzazione della cultura:
148:
3552:
3537:
2129:
1203:
1155:
417:
394:
266:
159:
147:
126:
17:
1994:, 29â49. Musiktheorien der Gegenwart 1. SaarbrĂŒcken: Pfau-Verlag.
176:
is duration. The work consists of thirty-two structures, called "
3542:
1968:, edited by Imke Misch. KĂŒrten: Stockhausen-Stiftung fĂŒr Musik.
62:, Stockhausen was invited by the Japan Broadcasting Corporation
3364:
2061:
3592:
63:
1897:
Perspektiven Neuer MusikâMaterial und didaktische Information
1643:. Berkeley and Los Angeles: University of California Press.
194:("wooden fish"), higher and lower-pitched cup gongs called
1733:. Lanham, Maryland, Toronto, Oxford: The Scarecrow Press.
1558:
1556:
156:(æšé) marks the beginning of moments 3, 9, 15, 21, and 27.
1507:
1505:
1503:
1501:
1416:
1414:
1226:
in 1952. Opinions on these groupings differ somewhat.
3623:
1389:
1387:
3573:
3498:
3472:
3402:
3139:
3113:
3106:
3059:
3008:
2865:
2738:
2695:
2644:
2387:
2348:
2253:
2202:
2127:
2104:
1895:6 (January): 24â29. Published at the same time in
1887:Fuhrmann, Roderich. 1974. "Karlheinz Stockhausen:
1731:Other Planets: The Music of Karlheinz Stockhausen
1278:Stockhausen Text-CD 16 (remastered November 2007)
1212:(Kyoto), one of the four bells heard in moment 31
2012:, an audio circuit widely used in Stockhausen's
1185:layer is centred on the overall form, while the
1792:Stockhausen, Karlheinz. 1971b. "Interview ĂŒber
1164:introduces the inserted moment "7 Fortsetzung".
1779:, 75â77. Cologne: Verlag M. DuMont Schauberg.
1762:(score). Vienna: Universal Edition (UE 14807).
1665:Electroacoustic Music: Analytical Perspectives
3376:
2073:
2022:â the glissandi from structures 6 & 7 of
2008:â a reconstruction of the Gagaku circuit for
168:marks the beginning of moments 8, 16, and 24.
8:
3613:Studio di fonologia musicale di Radio Milano
2020:Klankwereld.org â GLISSANDI vom STRUKTUR 6|7
1859:Stockhausen: Conversations with the Composer
1579:Erbe, Marcus. 2004. "Karlheinz Stockhausens
1405:
1330:
50:, and is number 20 in his catalog of works.
1366:
1342:
1306:
1238:moments 5â7 cont'd, 10â11, 17â23, and 27â31
3608:Studio for Electronic Music (WDR, Cologne)
3383:
3369:
3361:
3110:
2744:
2257:
2108:
2080:
2066:
2058:
1641:The Music of Stockhausen: An Introduction
1260:, small ensemble 1967, backwards version)
1263:Stockhausen Complete Edition CD 9 (with
67:1966. According to a note in the score,
3630:
1547:
1535:
1523:
1287:
1688:. London and Boston: Faber and Faber.
1492:
3661:Compositions by Karlheinz Stockhausen
1318:
1294:
7:
1562:
1511:
1480:
1468:
1456:
1444:
1432:
1420:
1393:
1378:
1354:
409:
3686:Music dedicated to causes or groups
1716:. London: Oxford University Press.
3200:Center for Art and Media Karlsruhe
1771:(1966)" In Karlheinz Stockhausen,
1752:English translation by Jayne Obst.
1714:The Works of Karlheinz Stockhausen
1220:Stockhausen conceived as early as
14:
3588:Philips Natuurkundig Laboratorium
172:The principal forming element of
58:Through his composition student,
3633:
3463:
3346:
3345:
2006:Klankwereld.org â GAGAKU-CIRCUIT
1861:. New York: Simon and Schuster.
1767:Stockhausen, Karlheinz. 1971a. "
3598:San Francisco Tape Music Center
2030:Stockhausen: Sounds in Space â
1746:Stockhausen, Karlheinz. 1966. "
1611:: Fragment des Verstehens." In
1244:moments 16â21, 22â23, and 27â30
134:is therefore closer to that of
3518:Groupe de Recherches Musicales
1983:, edited by Christian Utz and
1964:Stockhausen, Karlheinz. 2009.
1758:Stockhausen, Karlheinz. 1969.
1:
3656:20th-century classical music
1796:" In Karlheinz Stockhausen,
403:announces moments 11 and 22.
130:. The spatial conception of
3513:Electronic Music Foundation
268:Distribution of moments in
3702:
2235:Helikopter-Streichquartett
2040:Lecture by Stockhausen on
1940:di Karlheinz Stockhausen".
1808:. Originally published in
3461:
3342:
3175:
2747:
2260:
2111:
2095:
1832:34, no. 1 (Fall): 74â105.
1829:Perspectives of New Music
3583:BBC Radiophonic Workshop
3255:Gottfried Michael Koenig
1682:Stockhausen: A Biography
452:
447:
442:
437:
432:
427:
422:
3676:Electronic compositions
2704:KlavierstĂŒcke Nos. 1â19
1919:Christoph von Blumröder
1872:Frisius, Rudolf. 2008.
1589:Christoph von Blumröder
1241:moments 12â14 and 24â26
292:total durations (secs.)
1942:Il Saggiatore musicale
1921:, in association with
1857:Cott, Jonathan. 1973.
1729:Maconie, Robin. 2005.
1680:Kurtz, Michael. 1992.
1213:
1165:
404:
277:identifying instrument
169:
157:
90:Materials and concepts
77:
44:electronic composition
34:
3523:Institute of Sonology
3508:Computer Music Center
3396:electroacoustic music
3205:Collegium Vocale Köln
2322:Hymnen (Third Region)
2089:Karlheinz Stockhausen
1917:, ed. Imke Misch and
1207:
1159:
453:cumulative durations
398:
163:
151:
69:
48:Karlheinz Stockhausen
21:
3140:Stockhausen Ensemble
2775:Gesang der JĂŒnglinge
2466:Aus den sieben Tagen
2117:Atmen gibt das Leben
2098:List of compositions
2035:, analysis, Ed Chang
2026:programmed in Max 5.
137:Gesang der JĂŒnglinge
3671:Serial compositions
2482:FĂŒr kommende Zeiten
2052:University of Essex
1254:DG LP 643546 (with
272:
3420:Experimental music
3091:Markus Stockhausen
3041:Alphabet fĂŒr LiĂšge
3025:Musik fĂŒr ein Haus
1214:
1177:: a gong called a
1166:
405:
287:no. of occurrences
267:
170:
158:
127:Dienstag aus Licht
35:
3666:1966 compositions
3621:
3620:
3358:
3357:
3338:
3337:
3275:MesĂas Maiguashca
3240:Nicolaus A. Huber
3195:Boudewijn Buckinx
3097:Simon Stockhausen
3085:Doris Stockhausen
3067:Mary Bauermeister
3004:
3003:
2815:Unsichtbare Chöre
2720:NatĂŒrliche Dauern
2383:
2382:
2198:
2197:
1974:978-3-00-027313-1
1944:16, no. 1:75â102.
1893:Musik und Bildung
1882:978-3-7957-0249-6
1605:Fritsch, Johannes
1406:Stockhausen 1971a
1331:Stockhausen 1971b
1154:
1153:
393:
392:
353:2 + 1 + 1 + 1 = 5
298:temple bells
206:Fibonacci numbers
3693:
3638:
3637:
3636:
3629:
3467:
3455:Octophonic sound
3445:Musique concrĂšte
3385:
3378:
3371:
3362:
3349:
3348:
3250:David C. Johnson
3225:Karel Goeyvaerts
3152:Johannes Fritsch
3121:Cornelius Cardew
3111:
3079:Suzanne Stephens
3073:Kathinka Pasveer
2745:
2258:
2109:
2082:
2075:
2068:
2059:
2044:
1993:
1985:Otto Kolleritsch
1956:
1948:Schatt, Peter W.
1923:Johannes Fritsch
1845:
1833:
1822:
1819:
1788:
1763:
1760:Nr. 20 Telemusik
1754:
1742:
1725:
1705:
1684:, translated by
1676:
1652:
1637:Harvey, Jonathan
1632:
1617:Dieter Gutknecht
1600:
1566:
1560:
1551:
1545:
1539:
1533:
1527:
1521:
1515:
1509:
1496:
1490:
1484:
1478:
1472:
1466:
1460:
1454:
1448:
1442:
1436:
1430:
1424:
1418:
1409:
1403:
1397:
1391:
1382:
1376:
1370:
1367:Stockhausen 1966
1364:
1358:
1352:
1346:
1343:Stockhausen 1996
1340:
1334:
1328:
1322:
1316:
1310:
1307:Stockhausen 1969
1304:
1298:
1292:
418:
354:
282:duration (secs.)
273:
257:
252:
248:
243:
239:
234:
230:
225:
221:
216:
60:Makoto Shinohara
3701:
3700:
3696:
3695:
3694:
3692:
3691:
3690:
3646:
3645:
3644:
3640:Classical music
3634:
3632:
3624:
3622:
3617:
3575:
3569:
3500:
3494:
3468:
3459:
3425:Hyperinstrument
3410:Circuit bending
3398:
3389:
3359:
3354:
3334:
3290:Costin Miereanu
3190:Fritz Bornemann
3171:
3162:Aloys Kontarsky
3135:
3102:
3055:
3000:
2861:
2734:
2691:
2661:Chöre fĂŒr Doris
2640:
2530:In Freundschaft
2379:
2344:
2249:
2194:
2123:
2100:
2091:
2086:
2039:
2002:
1997:
1987:
1950:
1853:
1851:Further reading
1848:
1836:
1825:
1813:
1811:Christ und Welt
1791:
1777:Dieter Schnebel
1766:
1757:
1745:
1728:
1708:
1679:
1655:
1635:
1621:Dietrich KĂ€mper
1603:
1578:
1569:
1561:
1554:
1546:
1542:
1534:
1530:
1522:
1518:
1510:
1499:
1491:
1487:
1479:
1475:
1467:
1463:
1455:
1451:
1443:
1439:
1431:
1427:
1419:
1412:
1404:
1400:
1392:
1385:
1377:
1373:
1365:
1361:
1353:
1349:
1341:
1337:
1329:
1325:
1317:
1313:
1305:
1301:
1293:
1289:
1285:
1251:
1208:Bronze bell at
352:
261:
260:
255:
254:
250:
246:
245:
241:
237:
236:
232:
228:
227:
223:
219:
218:
214:
146:
92:
56:
12:
11:
5:
3699:
3697:
3689:
3688:
3683:
3678:
3673:
3668:
3663:
3658:
3648:
3647:
3643:
3642:
3619:
3618:
3616:
3615:
3610:
3605:
3603:Studio d'Essai
3600:
3595:
3590:
3585:
3579:
3577:
3571:
3570:
3568:
3567:
3561:
3555:
3550:
3545:
3540:
3535:
3530:
3525:
3520:
3515:
3510:
3504:
3502:
3496:
3495:
3493:
3492:
3487:
3482:
3476:
3474:
3470:
3469:
3462:
3460:
3458:
3457:
3452:
3447:
3442:
3437:
3432:
3427:
3422:
3417:
3415:Computer music
3412:
3406:
3404:
3400:
3399:
3390:
3388:
3387:
3380:
3373:
3365:
3356:
3355:
3343:
3340:
3339:
3336:
3335:
3333:
3332:
3330:Michael Vetter
3327:
3322:
3317:
3312:
3307:
3302:
3300:Jorge Peixinho
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3267:
3265:Mauricio Kagel
3262:
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3220:Vinko Globokar
3217:
3215:Herbert Eimert
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2882:Mikrophonie II
2878:
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2860:
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2752:Konkrete EtĂŒde
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2506:Musik im Bauch
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2000:External links
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1911:Gruber, Gernot
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1821:, 7 June 1968.
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1710:Maconie, Robin
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1223:KlavierstĂŒck I
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22:The belfry at
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3681:Spatial music
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3310:Roger Smalley
3308:
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3295:Nam June Paik
3293:
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3270:György Ligeti
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3157:Rolf Gehlhaar
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3107:Collaborators
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2874:Mikrophonie I
2871:
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2868:
2866:With soloists
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2849:
2848:
2847:Cosmic Pulses
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2410:Kontra-Punkte
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2349:With soloists
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1867:0-671-21495-0
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1838:Toop, Richard
1835:
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1806:3-7701-0493-5
1803:
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1785:3-7701-0493-5
1782:
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1775:3, edited by
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1266:Mikrophonie I
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1240:
1237:
1234:
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1232:
1229:
1228:Robin Maconie
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1199:phase-shifted
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797:
794:
793:
789:
787:
785:
783:
780:
777:
775:
772:
771:
767:
765:
763:
761:
759:
757:
754:
751:
750:
746:
744:
742:
740:
738:
735:
733:
730:
729:
725:
723:
721:
719:
717:
715:
712:
709:
708:
704:
702:
699:
697:
695:
693:
691:
688:
687:
683:
681:
679:
677:
675:
672:
670:
667:
666:
662:
660:
658:
656:
653:
651:
649:
646:
645:
641:
639:
637:
634:
632:
630:
628:
625:
624:
620:
618:
616:
614:
612:
610:
607:
604:
603:
599:
597:
595:
593:
591:
589:
586:
583:
582:
578:
576:
574:
572:
570:
568:
565:
562:
561:
557:
555:
553:
551:
549:
546:
544:
541:
540:
536:
534:
532:
530:
528:
526:
523:
520:
519:
515:
513:
511:
509:
506:
504:
502:
499:
498:
494:
492:
490:
488:
486:
484:
481:
478:
477:
473:
471:
469:
467:
465:
462:
460:
457:
456:
450:
445:
440:
435:
430:
425:
420:
419:
416:
413:
411:
402:
397:
388:
385:
382:
380:
377:
376:
372:
370:3 + 3 + 2 = 8
369:
366:
364:
361:
360:
356:
351:
348:
346:
343:
342:
338:
336:1 + 1 + 1 = 3
335:
332:
330:
327:
326:
322:
319:
316:
314:
311:
310:
306:
303:
300:
297:
296:
293:
290:
288:
285:
283:
280:
278:
275:
274:
271:
265:
259:
209:
207:
203:
199:
198:
193:
192:
187:
183:
179:
175:
167:
162:
155:
150:
143:
141:
139:
138:
133:
129:
128:
123:
119:
118:
113:
112:
105:
103:
98:
89:
87:
85:
84:
76:
73:
68:
65:
61:
53:
51:
49:
45:
41:
40:
33:
29:
25:
20:
16:
3344:
3325:Thomas Wells
3285:John McGuire
3185:Junsang Bahk
3147:Péter Eötvös
3126:Richard Toop
3047:
3039:
3031:
3023:
3015:
2992:
2984:
2976:
2968:
2960:
2952:
2944:
2936:
2928:
2920:
2912:
2904:
2896:
2888:
2880:
2872:
2853:
2845:
2837:
2829:
2821:
2813:
2805:
2798:
2797:
2789:
2781:
2773:
2765:
2757:
2726:
2718:
2710:
2702:
2683:
2675:
2667:
2659:
2651:
2632:
2624:
2616:
2608:
2600:
2592:
2584:
2576:
2568:
2560:
2553:
2544:
2538:Europa-Gruss
2536:
2528:
2520:
2512:
2504:
2496:
2488:
2480:
2474:Dr KâSextett
2472:
2464:
2456:
2448:
2440:
2432:
2424:
2416:
2408:
2400:
2371:
2363:
2355:
2336:
2328:
2320:
2312:
2304:
2296:
2288:
2280:
2272:
2264:
2241:
2233:
2225:
2217:
2209:
2186:
2178:
2170:
2162:
2154:
2146:
2138:
2128:
2115:
2041:
2031:
2023:
2013:
1980:
1965:
1958:
1941:
1937:
1914:
1896:
1892:
1888:
1873:
1858:
1841:
1827:
1809:
1797:
1793:
1772:
1768:
1759:
1747:
1730:
1713:
1686:Richard Toop
1681:
1664:
1660:
1657:Kohl, Jerome
1640:
1612:
1608:
1584:
1580:
1571:
1570:
1548:Fritsch 1999
1543:
1536:Maconie 2005
1531:
1524:Maconie 1976
1519:
1488:
1476:
1464:
1452:
1440:
1428:
1401:
1374:
1362:
1350:
1338:
1326:
1314:
1302:
1290:
1270:
1264:
1255:
1221:
1218:Hauptgruppen
1217:
1215:
1194:
1190:
1186:
1182:
1178:
1174:
1167:
1161:
449:temple bells
448:
443:
438:
433:
428:
423:
414:
406:
400:
378:
362:
344:
328:
312:
291:
286:
281:
276:
269:
262:
212:
201:
195:
189:
185:
181:
173:
171:
165:
135:
131:
125:
121:
115:
109:
106:
101:
93:
81:
78:
71:
70:
57:
38:
37:
36:
31:
15:
3450:Noise music
3315:Tim Souster
3280:TomĂĄs Marco
3260:Jerome Kohl
3245:Alden Jenks
3230:Georg Heike
3210:Hugh Davies
3180:David Ahern
3167:David Tudor
3009:Other works
2728:Himmelfahrt
2707:(1952â2003)
2669:Drei Lieder
2243:Himmels-TĂŒr
2211:Herbstmusik
1988: [
1961:43:315â320.
1951: [
1844:10:149â197.
1814: [
1493:Harvey 1975
1249:Discography
1235:moments 1â3
1197:layers are
349:34/35/36/37
164:A Japanese
3650:Categories
3473:By country
3440:Microsound
3403:Techniques
3392:Electronic
3305:Otto Piene
3131:Jill Purce
3114:Assistants
3087:(1st wife)
3069:(2nd wife)
3033:Sternklang
2906:Kurzwellen
2898:Prozession
2823:Oktophonie
2740:Electronic
2685:Litanei 97
2546:Trumpetent
2450:Plus-Minus
2418:Schlagtrio
2402:Kreuzspiel
2254:Orchestral
2140:Donnerstag
2054:, May 1972
1565:, 147â148.
1550:, 177â178.
1526:, 211â212.
1483:, 104â105.
1459:, 190â191.
1381:, 112â113.
1319:Kurtz 1992
1295:Kurtz 1992
1283:References
1210:MyĆshin-ji
386:5 + 8 = 13
122:Oktophonie
3435:Tape loop
3320:Avo SÔmer
3081:(partner)
3075:(partner)
2799:Telemusik
2767:Studie II
2586:Schönheit
2570:Harmonien
2514:Tierkreis
2219:Originale
2042:Telemusik
2032:Telemusik
2024:Telemusik
2014:Telemusik
1938:Telemusik
1889:Telemusik
1842:Interface
1794:Telemusik
1769:Telemusik
1748:Telemusik
1661:Telemusik
1609:Telemusik
1607:. 1999. "
1581:Telemusik
1563:Erbe 2004
1512:Kohl 2002
1481:Kohl 2002
1469:Kohl 2002
1457:Toop 1981
1445:Kohl 2002
1433:Erbe 2004
1421:Kohl 2002
1394:Kohl 2002
1379:Kohl 2002
1355:Kohl 2002
1175:Telemusik
410:Erbe 2004
320:1 + 1 = 2
270:Telemusik
174:Telemusik
132:Telemusik
72:Telemusik
39:Telemusik
32:Telemusik
3574:Inactive
3558:Toonzaal
3351:Category
3052:(2004â7)
3017:Ensemble
2986:Paradies
2978:Orvonton
2938:Strahlen
2839:Strahlen
2831:Weltraum
2783:Kontakte
2759:Studie I
2696:Keyboard
2677:Stimmung
2626:Hoffnung
2602:Erwachen
2578:Katikati
2498:Harlekin
2426:ZeitmaĂe
2395:Sonatine
2338:JubilÀum
2180:Mittwoch
2164:Dienstag
1712:. 1976.
1696:(cloth)
1639:. 1975.
605:7 cont'd
367:21/22/23
333:55/56/57
258:13 Ă 13
111:Kontakte
24:TĆdai-ji
3490:Germany
2970:Nebadon
2962:Jerusem
2946:Edentia
2594:Balance
2434:Refrain
2388:Chamber
2357:Momente
2282:Gruppen
2203:Theatre
2188:Sonntag
2172:Freitag
2148:Samstag
2048:YouTube
1572:Sources
1195:bokusho
1191:mokugyo
608:13 + 14
434:mokugyo
429:bokushĆ
363:bokushĆ
345:mokugyo
191:mokugyo
186:bokushĆ
178:moments
154:mokugyo
97:Shipibo
54:History
3626:Portal
3566:studio
3560:Studio
3548:SEAMUS
3499:Active
3485:France
3060:Family
3044:(1972)
3036:(1971)
3028:(1968)
3020:(1967)
2997:(2007)
2994:Uversa
2989:(2007)
2981:(2007)
2973:(2007)
2965:(2007)
2957:(2007)
2954:Havona
2949:(2007)
2941:(2002)
2933:(1970)
2925:(1970)
2917:(1968)
2914:Spiral
2909:(1968)
2901:(1967)
2893:(1966)
2885:(1965)
2877:(1964)
2858:(2006)
2850:(2006)
2842:(2002)
2834:(1994)
2826:(1991)
2818:(1979)
2810:(1967)
2807:Hymnen
2802:(1966)
2794:(1964)
2791:Mixtur
2786:(1960)
2778:(1956)
2770:(1954)
2762:(1953)
2754:(1952)
2731:(2005)
2723:(2006)
2715:(1970)
2712:Mantra
2688:(1997)
2680:(1968)
2672:(1950)
2664:(1950)
2656:(1950)
2653:Choral
2637:(2007)
2629:(2007)
2621:(2007)
2613:(2007)
2605:(2007)
2597:(2007)
2589:(2006)
2581:(2006)
2573:(2006)
2565:(2005)
2562:Freude
2557:(1997)
2554:Rotary
2549:(1995)
2541:(1992)
2533:(1977)
2525:(1976)
2517:(1975)
2509:(1975)
2501:(1975)
2493:(1972)
2485:(1971)
2477:(1969)
2469:(1968)
2461:(1966)
2453:(1963)
2445:(1959)
2442:Zyklus
2437:(1959)
2429:(1956)
2421:(1952)
2413:(1952)
2405:(1951)
2397:(1951)
2376:(1974)
2368:(1964)
2365:Mixtur
2360:(1964)
2341:(1977)
2333:(1971)
2325:(1969)
2317:(1969)
2314:Fresco
2309:(1965)
2301:(1962)
2298:Punkte
2293:(1960)
2285:(1957)
2277:(1952)
2269:(1951)
2266:Formel
2246:(2005)
2238:(1993)
2230:(1977)
2227:Sirius
2222:(1961)
2214:(1974)
2191:(2003)
2183:(1997)
2175:(1994)
2167:(1991)
2159:(1988)
2156:Montag
2151:(1983)
2143:(1980)
2120:(1977)
2105:Operas
1972:
1959:Musica
1929:
1903:
1880:
1865:
1804:
1783:
1737:
1720:
1704:(pbk).
1700:
1692:
1671:
1663:." In
1647:
1627:
1595:
1587:, ed.
1583:". In
1538:, 267.
1514:, 110.
1495:, 101.
1471:, 103.
1447:, 101.
1435:, 132.
1423:, 102.
1396:, 100.
1321:, 144.
1297:, 141.
1257:Mixtur
1193:, and
213:144 Ă
117:Sirius
75:Honma.
42:is an
3553:STEIM
3538:IRCAM
3480:Chile
3099:(son)
3093:(son)
3049:Klang
2855:TĂŒrin
2645:Vocal
2634:Treue
2618:GlĂŒck
2610:Glanz
2522:Amour
2458:Adieu
2373:Inori
2330:Trans
2290:Carré
2274:Spiel
2130:Licht
2010:Max 5
1992:]
1955:]
1818:]
1798:Texte
1773:Texte
1408:, 77.
1357:, 97.
1345:, 94.
1333:, 79.
1183:keisu
1150:1047
1129:1034
444:keisu
401:keisu
383:13/14
317:89/91
313:keisu
249:21 Ă
240:34 Ă
231:55 Ă
222:89 Ă
202:keisu
124:from
120:, or
3564:WORM
3543:NIME
3533:ICMA
3528:ICEM
3430:Loop
3394:and
2930:Pole
2922:Expo
2890:Solo
2490:Ylem
2306:Stop
1970:ISBN
1927:ISBN
1901:ISBN
1878:ISBN
1863:ISBN
1802:ISBN
1781:ISBN
1735:ISBN
1718:ISBN
1698:ISBN
1690:ISBN
1669:ISBN
1645:ISBN
1625:ISBN
1593:ISBN
1269:and
1179:kane
1162:kane
1108:890
1087:876
1066:854
1045:840
1024:806
1003:792
982:771
961:715
940:701
919:610
898:574
877:551
856:537
834:524
812:502
804:â 57
790:445
768:408
747:394
726:371
705:358
684:269
663:248
642:213
621:158
600:131
579:117
558:104
424:taku
389:177
379:taku
373:175
357:176
339:168
323:180
307:144
200:and
182:taku
144:Form
102:tele
83:Solo
28:Nara
3593:NHK
2046:on
1891:".
1187:rin
1126:144
537:82
516:68
495:34
474:21
439:rin
329:rin
301:144
197:rin
166:rin
64:NHK
46:by
26:in
3652::
2050:,
1990:de
1953:de
1816:de
1619:,
1555:^
1500:^
1413:^
1386:^
1189:,
1160:A
1137:13
1134:32
1113:31
1095:14
1092:30
1076:22
1071:29
1053:14
1050:28
1036:34
1029:27
1011:14
1008:26
992:21
987:25
975:56
966:24
948:14
945:23
935:91
924:22
910:36
903:21
887:23
882:20
864:14
861:19
842:13
839:18
822:22
817:17
795:16
781:37
773:15
755:14
752:14
736:23
731:13
713:13
710:12
700:89
689:11
673:21
668:10
654:35
635:55
587:14
566:13
547:22
524:14
507:34
482:13
463:21
399:A
152:A
114:,
86:.
3628::
3384:e
3377:t
3370:v
2081:e
2074:t
2067:v
2016:.
1976:.
1933:.
1907:.
1884:.
1869:.
1787:.
1741:.
1724:.
1675:.
1651:.
1631:.
1599:.
1369:.
1309:.
1275:)
847:â
829:â
807:â
778:â
647:9
626:8
584:7
563:6
542:5
521:4
500:3
479:2
458:1
304:1
256:1
253:8
251:1
247:1
244:5
242:1
238:1
235:3
233:1
229:1
226:2
224:1
220:1
217:1
215:1
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