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 RE: Understanding

Jerry, I did meet Phillipa Cullen once and it would have to have been in 1974 when I visited Kürten to gather material in preparation for The Works 1976. On our arrival she greeted us since KS was having a nap. She was short, poised, curvaceous for a dancer, with small hands and feet. I remember her association with the Oeldorf Group but cannot add to your description of the planned sonic event and was not in the audience but now you mention it I do have a dim memory of the topic being discussed. She disappeared in tragic circumstances I understand. The question is whether her ideas were transferred to or otherwise influenced the actions of MUSIK IM BAUCH and HARLEKIN, or had any input to HERBSTMUSIK. All of the above works involving sounds moving in real space present manifest challenges for recording in surround sound, which has the potential to allow the listener to "listen inside" the music rather than from the outside. Levi-Strauss as well as being a trendy figure in the hippie era, was also one source of the plus-minus notation, which L-S adapted from Malinowski who shared it with Information Theorists John von Neumann, popularizer of the "tree diagram" adapted for MOMENTE.



Robin Maconie, Tue Mar 18, 2014 1:18 am
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I feel that it could be useful to have a discussion-forum on the music of Stockhausen. There are so many people from all over the world, young and old, learned and eager to get into contact with this musical world: musicologists, composers, musicians, music lovers; people who plan concerts - who write books or have to give lectures and so on. So there should be much stuff, many ideas that we can share. And when we have open questions, there may be people who studied just that and could give a hint or a stimulus. A problem might be the English language, but i feel that is the only possibility that many people who are interested can participate. And we can exercise tolerance to mistakes! Thomas Ulrich
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