finalists were selected by a panel of three judges. These final seven entries
were sent to Professor Stockhausen, who chose the winner.
Polscher: Along with his work as a composer of theater and film
Polscher has toured as flutist/saxophonist with numerous international jazz
and rock bands. He founded his own record company, and has produced music for
500+ sequels of a daily game show, contributed as a recording artist for numerous
recording and radio productions, and published more than 20
recordings of his own works. Since 1998 Polscher has been working on a four
piece cycle titled DIE MECHANISCHE BRAUT / THE MECHANICAL BRIDE: AUTOMATIK (Munich,
1999); DIE MECHANISCHE BRAUT, opera (Darmstadt 2000); TOWARDS A COMPREHENSIVE
MODEL OF CHANGE (Darmstadt, 2004); and BRAUTLIEDER / SONGS FOR THE BRIDE (Cologne,
2005). Polscher completes his concert commissions and studio work by giving
lectures and writing essays about music and related subjects.
Toop is a Reader in Music and Chair of the Musicology Unit at the Sydney
Conservatorium, University of Sydney, Australia. He was Stockhausen's teaching
assistant at the Cologne Musiikhochschule in 1973-4, wrote the Stockhausen entry
in the Revised New Grove Dictionary of Music, and taught at the Stockhausen
Kürten Courses in 2002 and 2003. His publications
include a biography of György Ligeti (Phaidon, 1999), several analytical studies
of works by Brian Ferneyhough and Karlheinz Stockhausen, and more recently of
younger composers such as Richard Barrett, Chris Dench, and Robert HP Platz.
Truelove teaches piano and composition at Southern Oregon University, and
is active as a composer, teacher, and pianist. His compositions include scores
for solo instruments, chamber ensembles and orchestra; music for ballet and
film; electronic and computer music; improvisational scores and tape recordings
of improvisations; and a mixed media chamber opera, 'Flowers and Butterflies'.
His article regarding "Karlheinz Stockhausen's Klavierstuck XI: An Analysis
of its Composition via a Matrix System of Serial Polyphony and the Translation
of Rhythm into Pitch" was published in Perspectives
of New Music, Vol. 36, #1.
hope that many musicians are interested in generating new musical organisms
from the nucleus and genetic impulses which I have given you. Good craft and
efficient equipment wishes to all experimentalists.
Stockhausen is widely regarded as the father of modern electronic music.
Born in 1928, he started composing at the age of 20. While at the Cologne
Musikhochschule he heard Messiaen's
Mode de valeurs. This inspired him to incorporate serial processes in
his music. Thereafter, he moved to Paris to study with Messiaen, and began composing
electronic music as well as working the soundboard for Edgar
Varese and collaborating with Pierre
1956 Professor Stockhausen composed Gesang
der Junglinge for vocals and synthesized sounds on tape, a touchstone
in electronica. In his composing, he concerned himself with abstract processes,
and ways to create things out of the ordinary. He began to look at sound as
a substance, and started to manipulate it accordingly. He produced a wealth
of electronic works, such as Mikrophonie I (1964), Prozession
(1967), Kurzwellen (1968), and Aus den Sieben Tagen (1968). In
Mantra (1970), Professor Stockhausen composed for two pianos and electronics.
While a seeming return to conventional form, his style remained heterophonic.
Stockhausen's works and techniques have always been groundbreaking. A true iconoclast,
his compositional technique has astounded and befuddled his contemporaries,
as he moved from conventional to serial to formula and beyond. He has influenced
every twentieth-century composer. Love him or hate him, his ideas cannot be
ignored. They must either be acted upon or reacted against.
list of artists influenced by Professor Stockhausen reads like a "Who's Who"
of modern music. Holger
Czukay and Irmin
Schmidt of Can
studied under him. Ralf Huetter of Kraftwerk
cites him as an influence, as do Orbital, William Orbit, Talvin Singh, Bjork,
Aphex Twin. His ideas have helped shape the music of The Beatles,
Miles Davis, Pink Floyd, Frou
Frou, and the Grateful
Dead. In fact, the Dead, Jefferson
Airplane, and members of the Mothers
of Invention all studied under him in 1967 at the University of California
to form, Professor Stockhausen is not one to give into trends. "I like to tell
musicians that they should learn from works which have already gone through
a lot of temptations," he says, "and have refused to give in to these stylistic
or to the fashionable temptations…"
to electronica form today, he dislikes repetition. Music is bigger than that.
"The same laws which ruled the inner life of atoms and galaxies apply to music,"
he writes. Much of modern electronica relies on repetition to create a trance-like,
otherworldly response in the listener. Professor Stockhausen seeks to do the
same, but rather than induce this response with an inward-focused, minimalist
mantra, he molds the universe of sound to take listeners to entirely new dimensions.
Mind blowing stuff, this.
Stockhausen continues to amaze the musical world. Slated for completion in 2003
is his seven part opera Licht. Begun in 1977, this monumental work, named
after days of the week, is the story of three characters that personify Stockhausen's
concepts of creativity. His recent "Helicopter
String Quartet" from Mittwoch aus Licht (1998) captured headlines
cannot provide more than a brief overview of Professor Stockhausen's catalog
and impact on modern music. For a more detailed introduction, visit the Stockhausen
website at www.stockhausen.org.
Foundry and ACIDplanet are honored to work with this musical pioneer, and respectfully
offer the following Stockhausen music creation event.
Stockhausen has developed an approach to creating music which he calls "formula
composition". For this contest at ACIDplanet, he has provided Sagittarius
from his Tierkreis (Zodiac) as the formula, along with 12 sound samples and
instructions. Following his instructions, excerpts from the sound samples are
to be transposed onto the pitches of the formula after it has been stretched
in time by a factor of eight. Inside the time span of this stretched version
of the formula, various other versions of the formula can be juxtaposed and