| Book
One - The Electronic Landscape Introductory
Essay
Forty
two entries including: Gustav Mahler, Erik Satie, Claude Debussy,
Frederick Delius, Charles Ives, Luigi Russolo, Leon Theremin, Arnold
Schoenberg, Leopold Stokowski, Edgard Varese, Olivier Messiaen,
Paul Bowles, John Cage, Karlheinz Stockhausen, Miles Davis, Gyorgi
Ligeti, Pierre Boulez, Iannis Xenakis, Wendy Carlos, Toru Takemitsu
and the individual histories of Vinyl Records, Magnetic Tape, Keyboards,
Synthesizers, Computers and Compact Disc.
"It was the summer of 1968. For some
a time of student unrest, for others a time of discovery. For the
German composer Karlheinz Stockhausen it was a time of intense emotional
upheaval. His wife and children had left him. Alone in his house
in Kurten, near Cologne, he contemplated his fate. Ideas of suicide
crossed his mind. He went on hunger strike and vowed to wait for
his family to return. As time passed he began to write Japanese-style
verses like:
Play a sound,
Play it for so long,
Until you feel that you should stop
or
Play a vibration in the rhythm of the universe
Play a vibration in the rhythm of dreaming
That such words could lead to what
Stockhausen termed 'intuitive music' is one of the great fascinations
of the twentieth century. Here the composer was getting right inside
what it meant to create sound, no longer only concentrating on the
external but also the internal processes of becoming aware of what
a sound was actually like when first encountered. Or, more accurately,
when it was encountered in a different way. Stockhausen played a
piano tone after four days of fasting. What he heard changed his
life forever." |

Karlheinz
Stockhausen
in his studio.
Ennio
Morricone
at the podium.
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