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Karlheinz Stockhausen Mikrophonie I Mikrophonie II

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You already recently rated Karlheinz Stockhausen Mikrophonie I Mikrophonie II item. Your rating has been recorded. Write a review Rate this item: 1 2 3 4 5. Preview this item Preview this item. Subjects Electronic music. Electronic and percussion music. Choruses, Secular Mixed voices with organ.

Mikrophonie I Work Number 15Karlheinz Stockhausen Mikrophonie I Mikrophonie II tamtam, 2 microphones, 2 filters, and controllers, is an example of moment form Everything Everything Arc, polyvalent formvariable form, and process composition.

It consists of 33 structural units, or "moments", which can be Karlheinz Stockhausen Mikrophonie I Mikrophonie II in a number of different ways, according to a "connection scheme" specifying the relationships between successive moments by a combination of three elements, one from each of the following groups: 1 similar, different, or opposite; 2 supporting, neutral, or destroying; 3 increasing, constant, or decreasing Davies9. In Mikrophonie Karlheinz Stockhausen Mikrophonie I Mikrophonie II two percussionists play a large tam-tam with a variety of implements.

Another pair of players use hand-held microphones to amplify subtle details and noises, inflecting the sound through quick and precisely scored motions. The last two performers, seated in the audience, apply resonant bandpass filters to the microphone outputs and distribute the resulting sounds to Karlheinz Stockhausen Mikrophonie I Mikrophonie II quadraphonic speaker system.

Burns The piece was composed on the basis of the results of an experiment carried out by the composer and Jaap Spek in August I now made some experiments, exciting the tamtam with a great variety of implements Karlheinz Stockhausen Mikrophonie I Mikrophonie II of glass, cardboard, metal, wood, rubber, plastic — that I collected from around the house, and connected a microphone with strong directional sensitivity that I held in my hand and moved around, to an electrical filter, whose output led to a potentiometer and was then made audible over a loudspeaker.

My collaborator Spek was in the house Karlheinz Stockhausen Mikrophonie I Mikrophonie II changed the filter settings and the dynamic levels, improvising. At the same time, we recorded the result on tape. The tape recording of this first microphony experiment was for me a discovery of the greatest importance.

We had made no Puscifer Cuntry Boner about what the other would do; I used some of the implements that lay to hand as the mood took me, and at the same time I probed the surface of the tamtam with the microphone, as a doctor probes a body with a stethoscope; Spek also reacted spontaneously to what he heard as the result of our combined activity.

This is surely a very positive and optimistic, forward-looking attitude, which we really do need more of Karlheinz Stockhausen Mikrophonie I Mikrophonie II this too retrospective Western 21st century world! Exciting is one word that comes to mind, since this piece so much is an investigation into sounds, close-up; microscopic sounds, magnified and altered in ways described above.

It is also startling to think about the fact that all the sounds we hear actually come from a giant tam-tam! If you listen carefully you may even hear frogs, bears, wolves, whales, parrots, crickets etcetera speaking through the tam-tam!

Here I am! These excerpts are woven into the fabric of sounds, and do not stand out clear and obvious, even though it just takes a measure of knowledge of the Stockhausen oeuvre to recognize these time-windows.

I think Stockhausen has penetrated deep into the human psyche with this work, and I believe that any person with an open mind would feel the same on hearing this scary music.

There is a Swedish contemporary opera by Carl Unander-Scharin that actually deals with schizophrenia. The groups are sub-divided into groups of 3, and each group Karlheinz Stockhausen Mikrophonie I Mikrophonie II one microphone.

The choir conductor is facing the choir, conducting individual layers of the piece, which is polyphonically composed. Beside the conductor a person who times the Moments Karlheinz Stockhausen Mikrophonie I Mikrophonie II a stopwatch sits. Behind the singers, elevated and facing the audience, the Hammond organist sits. The four microphones connect to four ring modulators. The electrical output of the Hammond organ is also channeled through all four modulators. The sounds of the singers and the sounds from the organ then modulate each other in the ring modulators.

The input frequencies are suppressed, and the sums and differences of the inputs come out of Karlheinz Stockhausen Mikrophonie I Mikrophonie II modulators. I: croaking, quacking.

II Knisternd - Gackernd. II: crisping, crinkling - cackling. I Winselnd - Jaulend. II Wirbelnd - Trommelnd - Knarrend. II: whirling - drumming - grating. I Various Gremlins Music From The Original Motion Picture Sound Track - Aechzend - Donnernd.

I: clashing, clanking - groaning, creaking - thundering. I Wispernd. I: whispering. II Berstend Krachend. II: bursting crashing. I Trillernd Knallend Gellend.


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8 thoughts on “ Karlheinz Stockhausen Mikrophonie I Mikrophonie II

  1. Monris
    Mikrophonie is the title given by Karlheinz Stockhausen to two of his compositions, written in and , in which “normally inaudible vibrations are made audible by an active process of sound detection (comparable to the auscultation of a body by a physician); the microphone is used actively as a musical instrument, in contrast to its former passive function of reproducing sounds as faithfully as .
  2. Mabar
    Each CD in this series is identified by Stockhausen's signature followed by an encircled number. The numbers indicate the general historical order of the works. Stockhausen realised the electronic music and participated in these recordings as conductor, performer, sound projectionist, and musical director.
  3. Tujinn
    Discover releases, reviews, track listings, recommendations, and more about Karlheinz Stockhausen - Mikrophonie I - Mikrophonie II at Discogs. Complete your Karlheinz Stockhausen collection/5(55).
  4. Zolojind
    Mikrophonie I = Microphony I () () (Aloys Kontarsky and Alfred Alings, tam-tams ; Johannes G. Fritsch and Harald Bojé, microphones ; Karlheinz Stockhausen, filter operator and volume control ; Hugh Davies, filter operator, Jaap Spek, volume control --Mikrophonie II = Microphony II () () (Members of the WDR Choir and Studio.
  5. Zolokree
    Analysis and appreciation of MIKROPHONIE I (MICROPHONY I), Karlheinz Stockhausen's avant-garde work for amplified metal objects. II: rushing, rustling - ringing, resounding purposes only and is designed to illuminate and otherwise share the great work of the composer/sound designer Karlheinz Stockhausen. Please support the.
  6. Mezijar
    Sep 14,  · I ask myself oftentimes, in an absolutely candid, sincere way, a propos of compositions stemming from the same epistemic traditions: What makes Karlheinz Stockhausen ‘s Mikrophonie I; Mikrophonie II so much more interesting than most contemporary compositions of their ilk? At the end of the day, it is a matter of organising noises obtained from unusual electronic sources/5(4).
  7. Nelkree
    Dec 23,  · Although I am indifferent to Stockhausen's piano music and only moderately interested in Mikrophonie I, Mikrophonie II is a masterpiece, I would say the greatest electronic (or partially electronic) piece ever written, and possibly Stockhausen's best (though there is plenty of competition).5/5(4).
  8. Tygonris
    Studie I (English: Study I) is an electronic music composition by Karlheinz Stockhausen from the year It lasts 9 minutes 42 seconds and, together with his Studie II, .

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