Karlheinz Stockhausen\u2019s \u2018Kontakte f\u00fcr elektronische Kl\u00e4nge, Klavier und Schlagzeug\u2019 (1960) remains one of the most celebrated works of \u2018mixed\u2019 music. My paper will analyse the role of the piano in this groundbreaking composition. In reference to the piano, Stockhausen wrote: \u2018Six instrumental sound categories are used: metal-sound\/metal-noise; skin-sound\/skin-noise; wood-sound\/wood-noise; the piano unites these categories, divides them or provides signals for interaction.\u2019 (Stockhausen, 1964: 104). The piano\u2019s multi-instrumental resources are, as Stockhausen claimed, exploited to mediate between the six disparate \u2018timbres\u2019 of the percussion instruments.<\/p>\n
Several issues of analytical significance are apparent. A central one is how an analyst of mixed\u2019 music can define \u2018timbre\u2019. The linguistic problems of the term \u2018timbre\u2019 are well-known. Part of my methodological strategy will be to use the Schaefferian definition of the term \u2018timbre\u2019 as reference to the source (real or imaginary) of a sound. This concept will be used in conjunction with additional terms drawn from Schaefferian \u2018instrumental analysis\u2019 such as \u2018genre\u2019 and \u2018register\u2019.<\/p>\n
My methodology will be the aural analysis of recordings of the \u2018mixed\u2019 version of \u2018Kontakte\u2019. I shall select sections which illustrate most effectively the creation of \u2018genres\u2019 and their interaction\/division by the piano. Moreover, by identifying and collating these genres I shall describe and, most importantly, I shall interpret how they function within the context of \u2018moment form\u2019.<\/p>\n
Born: Kings Cross, London 1950. Employed as photographer\u2019s assistant (1966-70), grave- digger (1970-73), guitar teacher (1973-77). Studied music as a mature student at Middlesex Polytechnic (BA Hons, 1980).<\/p>\n
Subsequent studies: PhD with Denis Smalley, 1989; Post-graduate Diploma in Music Information Technology (distinction), City University, 1992; MSc (distinction), City University, 1994; MMus in Theory and Analysis, Goldsmiths College, 1998; MA in Aesthetics and Art Theory (merit), Middlesex University, 2004.<\/p>\n
Since 1998, employed as Research Fellow at the Lansdown Centre for Electronic Arts, Middlesex University. In 2006 promoted to Senior Research Fellow. In 2011 appointed Senior Lecturer. Former visiting lecturer in the Music Department of Goldsmiths College, University of London; Music Department at City University, London; the Guildhall School of Music and Drama.<\/p>\n","protected":false},"excerpt":{"rendered":"
Karlheinz Stockhausen\u2019s \u2018Kontakte f\u00fcr elektronische Kl\u00e4nge, Klavier und Schlagzeug\u2019 (1960) remains one of the most celebrated works of \u2018mixed\u2019 music. My paper will analyse the role of the piano in this groundbreaking composition. In reference to the piano, Stockhausen wrote: … Continue reading