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Becoming the Synthi-Fou: Stockhausen and the new keyboardism

Fowler, Michael

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.
Published in: Tempo, 10.1017/S0040298211000015, Cambridge University Press
  • Dieser Beitrag ist mit Zustimmung des Rechteinhabers aufgrund einer (DFG geförderten) Allianz- bzw. Nationallizenz frei zugänglich.
  • This publication is with permission of the rights owner freely accessible due to an Alliance licence and a national licence (funded by the DFG, German Research Foundation) respectively.