Karlheinz Stockhausen

Composer Karlheinz Stockhausen was born August 22, 1928 in the small town of Mödrath located just west of Cologne Germany. He was the first child of three born to Simon and Gertrud Stockhausen. Early in his life, the Stockhausen family struggled financially. Germany was in a low point of stability after WWI and most people had trouble making ends meet. Simon Stockhausen, a teacher at the time, was forced to move from one temporary post to another on average twice a year. Unfortunately in 1932 when

radiated into a resonance chamber and re-recorded. The original sine waves were distorted to generate a similarity to noise occurrences. The piece Gesang der junglinge (1955) was the first piece to combine music concrete with electronic music. Stockhausen practised in this what we now would consider, subtractive synthesis. With the use of noise generators a full frequency spectrum can be achieved, for example white noise. The frequency bands can be filtered to produce a single band of frequency or

The sublime Like the Just war theory, the sublime has been an important term in literary criticism and theory. It was first described by the Greek rhetorician known as Longinus in the text On Sublimity, which is seen ‘as one of the most influential classical works in the tradition of European criticism’ (Norton anthology of theory & criticism 133). He defines the sublime as something that ‘contains much food for reflection, is difficult or rather impossible to resist, and makes a strong and ineffaceable

EAMMON  MSETFI     Contextual studies (MU314) Convenor: Tim Howle Essay 1 Denis Smalley has suggested that the two most important musical developments in the 20th Century are the domains of the 'electro-acoustic' and the 'vernacular'. To what extent is his assumption correct? This piece will demonstrate an understanding of the developments in 20th century music, with a detailed view on the path and expansion of electro-acoustic technology and of the vernacular. This will also be highlighting

semi-quaver followed by a quaver followed by a minum. It is in this way that every conceivable musical element is manipulated. Although this music is very organized it is often, ironically, perceived to be very chaotic to the listener. *Listen Stockhausen – Gesang der Junglinge Serialism was greatly influential in post-War music. Serialism was “revolutionary” and declared itself as a “new tonality”. Serialism created an environment where experimentation with sound was at the forefront of composition

One of the largest contributors to electronic music today is Thaddeus Cahill (Lejaren Hiller, Electronic Music). His telharmonium was created with an assembly of rotary generators and telephone receivers to convert electronic signals to into sound (Lejaren Hiller). He developed his invention from 1895 and continued to work on it even though there were no ways for the sounds being created from the electrical signals to be heard. Speakers or amplifiers were non-existent for some time even after the

Where is the fear in horror films? In the following essay I will study and write about the contrast between sound and the moving image in horror films and how the use of sound can create intense feelings and unknown situations that the mind itself. I will look at the low budget, found footage, psychological horror film The Blair Witch (1999) because of it 's uncommon use of techniques used in a film and In Absentia because of it 's emotional efficacy. Ambient music and sound effects enhance

The realisation of what exactly happened on that morning of September came less than a week after the attacks. Karlheinz Stockhausen suggests, just a few days after the attacks, that the events were the ‘greatest work of art that is possible in the whole cosmos’, made in the image, for the show. In the aftermath of 9/11, Hollywood canceled certain films containing the towers and reduced the level of violence, and ‘took a break’ from anything related to mass destruction. After five years since the

Impressionism is a style of music that derived in the late 19th century thanks to French composer Claude Debussy. It was almost analogous to the impressionist art at the time, which was supposed to leave an “impression” on the audience, having meaning but never a clear one. The use of “color”, or timbre in the case of music, was heavily used to create the atmosphere of the pieces, achieved by orchestration and texture. This style was seen as a response to Romanticism, getting rid of the forward direction

The proliferation of graphic scores emerging in Europe and America from the mid-1950s has had a profound impact on musical thought, broadening links between performers and composers, audiences and art forms. Exploration of notational methods based on graphics flourished rapidly and diversely during the fifties and sixties, primarily as a trend amongst young radicals. So many composers producing scores of this kind used a personal vocabulary of symbols – often creating different notation systems