Boulez also said that with IRCAM for instance there is a kind-of community established amoungst composers, but KS didn't want to be apart of that. And also KS developed all of his activities outside of the general institution of classical music whereas Boulez tried to make changes from within.

Anthony Braxton from a recent interview ..

Though individual coups de theatre abound in Stockhausen’s Licht (“Light”) cycle of seven operas, those works are also built on a largely daft cosmology. When I spoke to Braxton about the clear influence of Licht on the Trillium cycle, he professed his love for Stockhausen’s operas—even as he acknowledged some of their flaws. “I love the music—but listening to the CDs, I don’t get a sense of the real storyline,” he said. “And for me this aspect of Stockhausen’s Light is… complex. I have found it difficult to listen to one opera from beginning to end, in CD form. And the difficulty for me involves not being able to understand the poetic intent of the operas.… And so what I’ve tried to do in responding to the Light operas is to first create a fantasy story base, and from there, I can open it up and perform it in a classical way, later change the instrumentations, later, bring two and three Trilliums and put them together. This kind of thing.… But I always learn from Stockhausen.”

http://www.nybooks.com/blogs/gallery/201...ton/?insrc=wbll

Seth Colter Walls is a big Stockhausen booster. He's always been very receptive to reviewing Stockhausen for my group.