KREUZSPIEL SCORE PDF

History[ edit ] Stockhausen regarded Kreuzspiel as his first original composition, as opposed to the style-imitation exercises he did as part of his music studies Stockhausen , 34, According to Stockhausen, the performance "ended in a scandal" Stockhausen , Analysis[ edit ] Kreuzspiel has been analysed in print more often than any other work by Stockhausen, though all but one Borio and Garda restrict themselves to just the first of its three stages. Though routinely described by the composer as well as others as a " serial " composition, Kreuzspiel does not employ a referential, recurring twelve-tone ordered set. Rather, it uses constant reordering of twelve-element linked pitch, duration, dynamic, and—in the original version—attack sets—a device sometimes called " permutational serialism " e. It also uses a permutational seven-element system to control register Toop , —

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The sets gradually meet in the middle register and then move back outwards, with the original pair of 6 note sets ending up in opposite registers see moving red dot in the picture above. The structure of this idea came to Stockhausen almost spontaneously and completely formed in its shape, but without the details worked out sort of like visualizing a mountain landscape but without drawing in each of the trees and rocks.

This work, which he considered his first "real" composition, also marked his first steps into "point" music, that is, manipulating notes to follow patterns based more on astronomical or biological processes, rather than forming thematic melodic motifs.

The work was eventually premiered at the Darmstadt Vacation Summer Courses the next year alongside works by Pierre Boulez, Luigi Nono and others , but the performance was disrupted by a rowdy audience and "ended in a scandal". It was eventually recorded in by the London Sinfonietta during a period in the s where Stockhausen was reviving many of his early works for re-release. Working out the mathematical proportions of the individual elements Writing out a fully-notated score, and at the same time Changing abstract elements as they occur to make them more "musical" ie - changing registers, shifting rhythmic values of notes to create chords, etc And finally, revising the score during rehearsals or after initial performances.

In his British Lecture "Musical Forming", Stockhausen charts his development from "points" to "groups" to "statistical" and aleatory forms, but points out that this was not a planned evolution, that this conceptual arc is only apparent in retrospect. Composer Jonathan Harvey describes this crossing concept in more detail in his book "The Music of Stockhausen".

Just on the pitches alone, there are several kinds of "crossings" going on over 12 permutations of the original 12 note 2 x 6 pitch row sequence. Eventually 4 of the "voices" have an equal number of notes 3 , and after that the oboe and bass clarinet "own" most of the notes.

The process then reverses, leaving high and low piano alone at the end.. If a note starts in the left hand, it proceeds through this rotation in reverse. However, Stockhausen often "massages" some of their personalized traits to make their interactions more musical in this way, he fought against the dryness of purely mathematical composition.

A pair of Tumba drums Percussion-wise, there are 4 drums used in the 1st stage, made up of tumbas or congas and tom-toms. A woodblock accelerando marks the point where the percussion duration series has become completely "backwards", after which it begins a process of reversing back to its original duration sequence a ritardando. The woodblock crescendo also marks the point where all of the pitches are spread equally over the 4 voices. In the 2nd stage, ringing cymbals replace the rhythmic drums.

The piano here as revised in also plays additional soft chords in between the single note points, and in general the "cross play" is not as methodical as in the 1st stage. In the 3rd stage, the 1st and 2nd stage processes and percussion instruments are combined super-imposed and played backwards except for the tumbas from the 1st stage.

The oboe and bass clarinet basically just play material from the 1st stage. The percussion parts drums versus cymbals have exchanged rhythmic meters 16th-notes vs. There is no rhythmic tremolo pattern from the 1st stage, but instead the tom-toms dominate with rolled attacks. Besides the 3 stages, the work has a measure introduction which is based on the first 3 permutations of the note series, but expressed as soft chords.

The stages have brief transition phases between each other which are usually percussion-based. The first 6 tracks feature other early works, so here the first part is numbered track 7.

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Kreuzspiel No.1/7

The sets gradually meet in the middle register and then move back outwards, with the original pair of 6 note sets ending up in opposite registers see moving red dot in the picture above. The structure of this idea came to Stockhausen almost spontaneously and completely formed in its shape, but without the details worked out sort of like visualizing a mountain landscape but without drawing in each of the trees and rocks. This work, which he considered his first "real" composition, also marked his first steps into "point" music, that is, manipulating notes to follow patterns based more on astronomical or biological processes, rather than forming thematic melodic motifs. The work was eventually premiered at the Darmstadt Vacation Summer Courses the next year alongside works by Pierre Boulez, Luigi Nono and others , but the performance was disrupted by a rowdy audience and "ended in a scandal". It was eventually recorded in by the London Sinfonietta during a period in the s where Stockhausen was reviving many of his early works for re-release. Working out the mathematical proportions of the individual elements Writing out a fully-notated score, and at the same time

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Kreuzspiel

Home About Help Search. They are placed beside the instruments at the left and right, at least 4. The oboe and bass clarinet are amplified, with one microphone each. Before the audience enters the auditorium, the piece should be played through once completely. Cancel Forgot your password? Crossplay is a composition by Karlheinz Stockhausen written for oboebass clarinetpiano and four percussionists in it was later revised for just three percussionists, along with other changes. Linked Data More info about Linked Data.

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KARLHEINZ STOCKHAUSEN

The E-mail Address es field is required. List of compositions by Karlheinz Stockhausen Category: Document, Internet resource Document Type: Find a copy in the library Finding libraries that hold this item Stockhausen realised the electronic music and participated in these recordings as conductor, performer, sound projectionist, and musical director. In the first stage, six notes begin in the highest register, and six others begin in the lowest register. Privacy Policy Terms and Conditions. Views Read Edit View history. The amplification should be adjusted so that all the instruments can be heard equally well even in pianissimo passages, when the drums are playing and and so that the highest and lowest notes on the piano sound equally loud.

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