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This topic has 11 replies
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Adorján F Offline

Posts: 24

Sun Aug 05, 2018 6:18 pm
#11 RE: DIENSTAG aus LICHT reply

There is a dissertation on OKTOPHONIE by Paul Miller (”Stockhausen and the serial,shaping of space”). In a very smart way, he succeeds in establishing a topography of the shots, bombs, and other musical objects. By computerized connection of tape, this topography, and stage design/lighting, it should be possible to create a scene quite exactly visualizing the music.

Jerry Offline

Posts: 164

Sun Aug 05, 2018 11:20 pm
#12 RE: DIENSTAG aus LICHT reply

I know Paul Miller's dissertation very well, since I was the outside reader on his dissertation committee. The problem with his calculations are that they assume a listener is sitting in the exact centre of the auditorium. As I said in my previous post, different listening positions place the "hits" on somewhat different points on the ceiling. The farther forward you are sitting in the hall, the farther forward on the ceiling the "hits" seem to be. (I did not experiment with left-to-right differences, since they did not repeat the performaces enough times to allow this, but I would expect similar dislocations in that dimension, as well.) I am no expert in laser technology, or even old-fashioned stage lighting, but I cannot believe that such things can duplicate the proximity effect of sounds coming from an octophonic speaker array. The size of the hall would certainly have an influence on this. My experience was in the Sulztalhalle in Kürten, which is comparatively small, and also much wider than it is deep (as set up for that performance). I remember how different Cosmic Pulses sounded in the Queen Elizabeth Hall in London and in the experimental theatre in Boulder, from how it seemed in Kürten. I am not sure whether a larger hall would increase or decrease the difference of the audio proximity effect, and it is of course also possible that a fairly close approximation of location would be sufficient for staging purposes.

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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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