Escolar Documentos
Profissional Documentos
Cultura Documentos
-Studio 1
1953
!Utilizza dei rapporti di intervalli musicali come frazioni con cui moltiplicare la sua frequenza di
partenza di 1920 hz e creare la lista delle 216 altezze che viene suonata 4 volte durante la
composizione.
Divide le altezze in 6 gruppi composti da 1-2-3-4-5-6 altezze.
Serializza le intensit dei gruppi e delle singole altezze nei gruppi tramite rapporti di -3 db.
Utilizza sei inviluppi per le intensit che serializza tramite una sequenza (4-2-3-5-6-1)
Le durate sono inversamente proporzionali all differenza di frequenza (l=1/10 f in hz)
la somma delle durate della sequenza e la sua sequenza echo oppure con una sequenza verticale
raggruppando in modo uguale la sequenza pi lunga con la sua sequenza eco; in sintesi, la durata
di una sequenza uguale alla somma delle sue strutture.
!Ogni struttura abbinata alla sua trasposizione, gli intervalli della trasposizione seguono la serie
originale delle frequenze 12/5 4/5 8/5 5/12 5/4 pi 5 permutazioni di questa serie con i suoi valori
proporzionali.
La struttura 1 cos abbinata alla sua trasposizione, che una decima minore pi bassa., la
struttura 2 abbinata alla sua trasposizione, che una terza maggiore pi altra e cos via
Il secondo sistema dallalto contiene la seconda sequenza e ha 5 insiemi di suoni a cui segue leco
di sequenza di 4/6 della durata della sequenza.
La terza sequenza ha 3 insiemi di suoni a cui segue la sequenza eco di 6/6 della durata della
sequenza.
La quarta sequenza ha 6 insiemi di suoni, a cui segue la sequenza eco di 3/6 della durata della
sequenza.
Nei cambiamenti di chiave in tutti e quattro i sistemi in contemporanea ha inizio la trasposizione
delle strutture secondo il rapporto 12/5.
La prima parte sistema logaritmico con 10 linee per la notazione delle frequenze, che vanno da
100 a 1000 Hz. (ogni campo tra le linee di 100 Hz.) Quando devono essere segnate frequenze
che oltrepassano questo ambito Stockhausen ricorre a delle chiavi di ottava, 2 significa che tutte le
frequenze sono spostate di unottava (frequenza moltiplicata per 2), 4 significa due ottave pi
sopra (frequenza moltiplicata per 4) e 1/2 significa unottava pi in basso (frequenza divisa per 2);
se quindi i suoni sono molto distanti tra di loro li si distribuir su pi sistemi con differenti chiavi.
La modalit di lettura inizia quindi con lindividuazione della linea che indica la presenza di un
suono parziale, una volta individuata deve essere misurata la zona del campo in cui si trova e poi
dopo aver visto la chiave se serve deve venir moltiplicata o divisa la frequenza misurata (ad
esempio il numero 30 tra la quarta e la quinta linea indica una frequenza di 430 Hz., se la chiave
4 la frequenza sar quindi 1720 Hz.).
!La seconda parte identica alla prima e viene utilizzata per la notazione delle intensita o per gli
inviluppi dei suoni o delle misure. Su questo sistema si possono dunque segnare otto diverse
intensit delle misure con una differenza di -4 db., anche in questo caso si possono cambiare le
chiavi di intensit scrivendo ad esempio -4, -8, -16.
Su questo sistema sono indicati anche gli inviluppi che in qualche caso hanno delle frecce alla fine
che indicano che questi suoni durano ancora come eco finch una linea verticale non interrome
leco di sequenza riverberata.
Le durate sono indicate con la durata in cm. del nastro in scala 1:20 sulla notazione rispetto alla
lunghezza reale del nastro.
Indicazioni di durata senza definizioni di frequenza e di intensit sono pause.
The work, routinely described as "the first masterpiece of electronic music" (Simms 1986, 391;
Kohl 1998, 61) and "an opus, in the most emphatic sense of the term" (Decroupet and Ungeheuer
1998, 97), is significant in that it seamlessly integrates electronic sounds with the human voice by
means of matching voice resonances with pitch and creating sounds of phonemes electronically. In
this way, for the first time ever it successfully brought together the two opposing worlds of the
purely electronically generated German elektronische Musik and the French Musique Concrte,
which transforms recordings of acoustical events. Gesang der Jnglinge is also noted for its early
use of spatiality; it was originally in five-channel sound, which was later reduced to just four
channels (mixed to monaural and later to stereo for commercial recording release).
There are four basic types of material used: (1) the recorded voice of a boy soprano, (2)
electronically generated sine tones, (3) electronically generated pulses (clicks), and (4) filtered
white noise. Each of these may be composed along a scale running from discrete events to
massed "complexes" structured statistically (Decroupet and Ungeheuer 1998, 99100). The last
category occurs in Stockhausen's electronic music for the first time in Gesang der Jnglinge, and
originates in the course of studies Stockhausen took between 1954 and 1956 with Werner MeyerEppler at the University of Bonn.
The text of Gesang der Jnglinge is from a Biblical story in The Book of Daniel where
Nebuchadnezzar throws Shadrach, Meshach, and Abednego into a fiery furnace but miraculously
they are unharmed and begin to sing praises to God. This text is presented in a carefully devised
scale of seven degrees of comprehensibility, an idea which also came from Werner Meyer-Eppler's
seminars
!Kontakte (1958-1960)
!Kontakte ("Contacts") is a celebrated electronic music work by Karlheinz Stockhausen, realized in
195860 at the Westdeutscher Rundfunk (WDR) electronic-music studio in Cologne with the
assistance of Gottfried Michael Koenig (Morawska-Bngeler 1988, 109). The score is Nr. 12 in the
composer's catalogue of works, and is dedicated to Otto Tomek.
The title of the work refers both to contacts between instrumental and electronic sound groups and
to contacts between self-sufficient, strongly characterized moments. In the case of four-channel
loudspeaker reproduction, it also refers to contacts between various forms of spatial
movement (Stockhausen 1964, 105). The composition exists in two forms: (1) for electronic
sounds alone, designated "Nr. 12" in the composer's catalog of works, and (2) for electronic
sounds, piano, and percussion, designated "Nr. 12" (Frisius 2008, 132; Heikinheimo 1972, 115;
Stockhausen 19, 104; Stockhausen 1971, 384). A further, theatrical work, Originale (Nr. 12),
composed in 1961, incorporates all of the second version of Kontakte.
According to the composer, In the preparatory work for my composition Kontakte, I found, for the
first time, ways to bring all properties [i.e., timbre, pitch, intensity, and duration] under a single
control (Stockhausen 1962, 40), thereby realizing a longstanding goal of total serialism. On the
other hand, "Kontakte is arguably the last of Stockhausen's tape pieces in which serial proportions
intervene decisively at anything but the broad formal level" (Toop 1981, 189). The most famous
moment, at the very center of the work, is a potent illustration of these connections: a high, bright,
slowly wavering pitch descends in several waves, becoming louder as it gradually acquires a
snarling timbre, and finally passes below the point where it can be heard any longer as a pitch. As
it crosses this threshold, it becomes evident that the sound consists of a succession of pulses,
which continue to slow until they become a steady beat. With increasing reverberation, the
individual pulses become transformed into tones once again (Clarke 1998, 225).
Stockhausen also made advances over his previous electronic composition, Gesang der
Jnglinge, in the realm of spatial composition, adding the parameters of spatial location, group
type, register, and speed (Toop 2005, 170). Kontakte is composed in four channels, with
loudspeakers placed at the corners of a square surrounding the audience. With the aid of a
"rotation table", consisting of a rotatable loudspeaker surrounded by four microphones, he was
able to send sounds through and around the auditorium with unprecedented variety
Mikrophonie I 1964
Mikrophonie I (Work Number 15), for tamtam, 2 microphones, 2 filters, and controllers, is an
example of moment form, polyvalent form, variable form, and process composition. It consists of
33 structural units, or "moments", which can be ordered in a number of different ways, according to
a "connection scheme" specifying the relationships between successive moments by a
combination of three elements, one from each of the following groups: (1) similar, different, or
opposite; (2) supporting, neutral, or destroying; (3) increasing, constant, or decreasing.
After an initial attempt to notate the actions and implements proved impractically complicated,
Stockhausen decided to categorize the sounds according to their perceived qualities: "groaning, "
"trumpeting, " "whirring, " "hooting," "roaring," "grating, " "chattering, " "wailing, " "sawing, " "ringing,
" "choking, " "cawing, " "clacking, " "snorting, " "chirping, " "hissing, " "grunting, " "crunching, "
"clinking, " "tromboning, " "scraping, " etc., in a scale of 36 steps from the darkest and lowest to the
brightest and highest sounds (Stockhausen 1989, 8283). Through this emphasis on subjectively
perceived qualities, "For the first time a perceptual equivalent to totally organized structure has
been discovered, and it is particularly significant that this has been done with very simple means.
This successful fusion of abstract theory and expression makes Mikrophonie I a work of singular
importance" (Maconie 1972, 101). Someone said, must it be a tam-tam? I said no, I can imagine
the score being used to examine an old Volkswagen musically, to go inside the old thing and bang
it and scratch it and do all sorts of things to it, and play MIKROPHONIE I, using the
microphone (Stockhausen 1989, 87). However, when it came to tam-tams, some were less
suitable than others, and the assortment of implements used to excite the tam-tam in the original
performances could be substituted only with difficulty, if the desired range of sounds was to be
obtained (Stockhausen 1996, 9597).
Mikrophonie I was first performed in Brussels on 9 December 1964. The score is dedicated to the
composer's godson, Alexander (Xandi) Schlee.
-Telemusik 1966
Telemusik is an electronic composition
The substance of the work consists of recordings of a variety of traditional ethnic musics from
around the world, together with electronically generated sounds (Stockhausen 1971b, 79). More
than twenty of these recorded fragments are intermodulated on tape with electronic sounds and
with each other to produce "odd hybrid-types"modulating, for example, "the chant of monks in a
Japanese temple with Shipibo music from the Amazon, and then further impos[ing] 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" (Stockhausen 1996, 94). Only seven of the work's thirty-two
momentsnos. 1, 2, 4, 6, 8, 10, and 16are restricted entirely to electronic sounds (Kohl 2002,
97). 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 distant close up
(Greek tele, "afar, far off", as in "telephone" or "television") the concept from which the title of the
work is derived (Stockhausen 1966).
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
continually-moving-sound techniques found in other of Stockhausen's electronic works, such as
Kontakte, Sirius, or Oktophonie from Dienstag aus Licht. The spatial conception of Telemusik is
therefore closer to that of Gesang der Jnglinge, 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.
The principal forming element of Telemusik is duration (Kohl 2002, 100). The work consists of
thirty-two structures, called "moments" by the composer (Stockhausen 1971a, 77). 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 taku (a high-pitched sandalwood
clapper with almost instantaneous decay) with the shortest duration, the bokush (a larger clapper
with longer decay time) with the next longer duration, then a hollow-sounding mokugyo ("wooden
fish"), higher and lower-pitched cup gongs called rin and keisu, ending with a group of four large
temple bells for the longest of the six durations used (Kohl 2002, 102). The durations in seconds of
these moments are taken from the six Fibonacci numbers between 13 and 144. The numbers of
occurrences of these steps are also drawn from Fibonacci numbers, from 1 to 13.
-Mantra 1970
Mantra is a composition by the German composer Karlheinz Stockhausen. It was composed in
1970 and premiered in autumn of the same year in Donaueschingen. The work is scored for two
ring-modulated pianos; each player is also equipped with a chromatic set of crotales (antique
cymbals) and a wood block, and one player is equipped with a short-wave radio producing morse
code or a magnetic tape recording of morse code. In his catalogue of works, the composer
designated it as work number 32.
!
LUCIANO BERIO
Luciano Berio (Imperia, 24 ottobre 1925 Roma, 27 maggio 2003)
!
Perspectives 1957 per nastro magnetico
Visage (1961)
Visage
per suoni elettronici e la voce di Cathy Berberian, su nastro magnetico (1961)
Quando componevo Visage ero attratto, come sempre, da una ricerca che mi permettesse di
allargare le possibilit di convergenza fra processi musicali e processi acustici, e di trovare
equivalenti musicali delle articolazioni linguistiche. In questo senso si rivela fondamentale
lesperienza della musica elettronica, perch essa fornisce al compositore la possibilit concreta di
assimilare musicalmente una vasta area di fenomeni sonori non riconducibili a codici musicali
prestabiliti.
Visage essenzialmente un programma radiofonico: quasi una colonna sonora per un dramma
mai scritto. La sua destinazione, dunque, non solo la sala da concerto ma qualsiasi luogo o
mezzo che permetta la riproduzione di suoni registrati. Fondato sulla carica simbolica e
rappresentativa dei gesti e delle inflessioni vocali, con le ombre di significato e le associazioni
mentali che li accompagnano, Visage pu essere inteso come una trasformazione di
comportamenti vocali reali e concreti, che vanno dal suono inarticolato alla sillaba, dal riso al
pianto e al canto, dallafasia a modelli di inflessione derivati da lingue specifiche: linglese e
litaliano della radio, lebraico, il dialetto napoletano, ecc. Visage non propone dunque un testo e
una lingua significanti in quanto tali, ma ne sviluppa le sembianze. Ununica parola pronunciata
due volte: parole. La dimensione vocale costantemente amplificata e commentata da un
rapporto molto stretto, uno scambio di natura organica, direi, con i suoni prodotti elettronicamente.
La voce quella di Cathy Berberian.
Ho composto Visage nel 1961, prima di lasciare lo Studio di Fonologia Musicale della Radio
Italiana a Milano: questo lavoro voleva essere anche un omaggio alla radio come il mezzo pi
usato nella diffusione di parole inutili.
!
!
!
Bruno Maderna (Venezia, 21 aprile 1920 Darmstadt, 13 novembre 1973)
Continuo 1958 per nastro magnetico
costruito su un unico suono che attraversa 22 stadi di lenta e graduale elaborazione, che si
alternano senza soluzione di continuit;
Syntaxis 1957
nasce quasi come un'improvvisazione, basata sugli stimoli offerti di volta in volta dal materiale, e fa
ricorso anche a un selezionatore di ampiezza che imprime una certa articolazione ritmica al pezzo;
Musica su due dimensioni 1958 per flauto e nastro magnetico
combina suoni elettronici e suoni prodotti dal vivo (da un flauto e un piatto)