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Ylem (Stockhausen)
''Ylem'' is a composition by Karlheinz Stockhausen for a variable ensemble of 19 or more players, and is given the work number 37 in his catalogue of compositions. History ''Ylem'' is " phoenix music", in that it represents the continual rebirth of the universe, according to the theory of the oscillating universe, which holds that the universe periodically explodes every 80,000,000,000 years. The title of the work is taken from the term ''ylem'', a word used in medieval Latin, the accusative of the borrowed Greek term '' hylē'' (ὕλη, "matter"), and adopted in the 1940s by the physicists George Gamow and Ralph Alpher to refer to the essential material of the universe, in the context of the "Big Bang theory. The subject of the composition is, in short, "the 'breath' of the universe". The score is dedicated to the composer's son Simon, who was five years old at the time of composition. It was composed in December 1972 for a tour with the London Sinfonietta, who gave the premi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
M51 Zoom , a smartphone released in 2020
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M51 or M-51 may refer to: * M-51 (Michigan highway), a state highway in Michigan * M51 highway (Russia) * M51 (Cape Town), a Metropolitan Route in Cape Town, South Africa * M51 Skysweeper, an anti-aircraft gun * M51 MACI mine * M51 SLBM, a French nuclear ballistic missile * BMW M51, a 1991 straight-6 Diesel engine * Sherman M-51, an Israeli modification of American M4 Sherman tank * Eidgenössischer Stutzer 1851, a historical service rifle of the Swiss Army * Messier 51, a spiral galaxy also known as the Whirlpool Galaxy * Samsung Galaxy M51 The Samsung Galaxy M51 is a mid-range Android smartphone manufactured by Samsung Electronics as part of their M series. It was announced in late August 2020 and released the following month. The phone has a 6.7 in sAMOLED Plus display, a 64 MP ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Glissando
In music, a glissando (; plural: ''glissandi'', abbreviated ''gliss.'') is a wikt:glide, glide from one pitch (music), pitch to another (). It is an Italianized Musical terminology, musical term derived from the French ''glisser'', "to glide". In some contexts, it is equivalent to portamento, which is a continuous, seamless glide between notes. In other contexts, it refers to discrete, stepped glides across notes, such as on a piano. Some terms that are similar or equivalent in some contexts are slide, sweep bend, smear, rip (for a loud, violent glissando to the beginning of a note), lip (in jazz terminology, when executed by changing one's embouchure on a wind instrument), plop, or falling hail (a glissando on a harp using the back of the fingernails). On wind instruments, a scoop is a glissando ascending to the onset of a note achieved entirely with the embouchure, except on instruments that have a slide (such as a trombone). Notation The glissando is indicated by following the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Adieu (Stockhausen)
''Adieu'' ''für Wolfgang Sebastian Meyer'' is a composition for wind quintet by Karlheinz Stockhausen composed in 1966. It is Number 21 in the composer's catalog of works, and the second of Stockhausen's three wind quintets, the others being ''Zeitmaße'' (1955-1956) and the ''Rotary'' Wind Quintet (1997). History In June 1966 the oboist Wilhelm Meyer, who had frequently performed Stockhausen's earlier quintet ''Zeitmaße'' under the composer's direction, asked Stockhausen to compose a new wind quintet for an upcoming tour of Asia. Stockhausen initially demurred because a new quintet would probably take months to compose, and the current production of ''Hymnen'' in the Cologne electronic studio was taking up all of his time. A visit made a few days later to a comprehensive exhibition in The Hague of Piet Mondrian's paintings made Stockhausen ask himself, when confronted with Mondrian's well-known series of paintings titled simply "compositions"—with their strict organization by ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mixtur
''Mixtur'', for orchestra, 4 sine-wave generators, and 4 ring modulators, is an orchestral composition by the German composer Karlheinz Stockhausen, written in 1964, and is Nr. 16 in his catalogue of works. It exists in three versions: the original version for full orchestra, a reduced scoring made in 1967 (Nr. 16), and a re-notated version of the reduced scoring, made in 2003 and titled ''Mixtur 2003'', Nr. 16. History ''Mixtur'' is one of the earliest compositions for orchestra with live electronics, and is amongst the first compositions using live-electronic techniques generally. The original version for large orchestra was premiered on 9 November 1965 at the Norddeutscher Rundfunk, Hamburg. The version for reduced orchestra was premiered in the large broadcasting hall of the Hessischer Rundfunk, Frankfurt am Main, as part of the Darmstädter Ferienkurse on 23 August 1967 by the Ensemble Hudba Dneska conducted by Ladislav Kupkovič, to whom this version is d ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Momente
''Momente'' (Moments) is a work by the German composer Karlheinz Stockhausen, written between 1962 and 1969, scored for solo soprano, four mixed choirs, and thirteen instrumentalists (four trumpets, four trombones, three percussionists, and two electric keyboards). A "cantata with radiophonic and theatrical overtones", it is described by the composer as "practically an opera of Mother Earth surrounded by her chicks". It was Stockhausen's first piece composed on principles of modular transposability, and his first musical form to be determined from categories of sensation or perception rather than by numerical units of musical terminology, which marks a significant change in the composer's musical approach from the abstract forms of the 1950s. History Stockhausen began work on ''Momente'' in January 1962, with a performance planned for the following May. He had been invited by Baron Francesco Agnello to withdraw for the period of composition of the work to his palazzo in Siculia ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kontakte
''Kontakte'' (, 'contacts') is an electronic music work by Karlheinz Stockhausen, realized in 1958–60 at the '' Westdeutscher Rundfunk'' (WDR) electronic-music studio in Cologne with the assistance of Gottfried Michael Koenig. The score is Nr. 12 in the composer's catalogue of works, and is dedicated to . Work history The title of the work "refers both to contacts between instrumental and electronic sound groups and to contacts between self-sufficient, strongly characterized moments. In the case of four-channel loudspeaker reproduction, it also refers to contacts between various forms of spatial movement". The composition exists in two forms: (1) for electronic sounds alone, designated "Nr. in the composer's catalog of works, and (2) for electronic sounds, piano, and percussion, designated "Nr. . A further, theatrical work, '' Originale'' (Nr. ), composed in 1961, incorporates all of the second version of ''Kontakte''. Section and subsection numbers The score is divided i ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gruppen
''Gruppen'' ( German for "Groups") for three orchestras (1955–57) is amongst the best-known compositions of German composer Karlheinz Stockhausen, and is Work Number 6 in the composer's catalog of works. ''Gruppen'' is "a landmark in 20th-century music ... probably the first work of the post-war generation of composers in which technique and imagination combine on the highest level to produce an undisputable masterpiece". History Early in 1955 Stockhausen received a commission from WDR for a new orchestral composition, but his ongoing work on '' Gesang der Jünglinge'' prevented him from starting right away. In August and September, he took the opportunity to retreat to an inexpensive rented room in the attic of a parsonage in Paspels, Switzerland, recommended to him by a colleague, Paul Gredinger. Surrounded by the splendour of the Graubünden alps, he created the entire plan of ''Gruppen'', "with a completely new conception of musical time". The surroundings provided mor ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Spiel (Stockhausen)
''Spiel'' (Play, or Game) is a two- movement orchestral composition by Karlheinz Stockhausen, written in 1952. Withdrawn by the composer after its first performance, it was later revised and restored to his catalogue of works, where it bears the work-number ¼. The score is dedicated to the composer's first wife, Doris. History In November 1951, Stockhausen sketched his first orchestral work and began composing the first of its three planned movements, provisionally titled ''Studie für Orchester'' (Study for Orchestra). Shortly afterward Herbert Eimert introduced Stockhausen to the director of the Donaueschinger Musiktage, Heinrich Strobel, who asked if he would be willing to compose an orchestral work for the festival, for which Strobel was prepared to pay a sum of 1500 DM—the largest sum of money Stockhausen had ever received for any single job up to that point in his life. Stockhausen agreed to send a two-piano reduction of the movement he had already begun to Hans Rosba ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Robin Maconie
Robin John Maconie (born 22 October 1942) is a New Zealand composer, pianist, and writer. Born in Auckland, New Zealand, Maconie studied with Frederick Page and Roger Savage at the Victoria University of Wellington, receiving a Master of Arts in the History and Literature of Music in 1964. He studied analysis with Olivier Messiaen in 1963–64 at the Paris Conservatoire, and in 1964–65 studied composition for film and radio under Bernd Alois Zimmermann, and electronic music under Herbert Eimert at the Cologne Conservatory. He also studied composition with Karlheinz Stockhausen, Henri Pousseur, and Luc Ferrari at the Second Cologne Courses for New Music at the , also in Cologne, as well as piano with Aloys Kontarsky, conducting with Herbert Schernus, and information science with Georg Heike. Following a temporary lectureship at the University of Auckland, New Zealand, in 1967–69, Maconie emigrated to England to study for a Ph.D in the Psychology of Music at Southampton Uni ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Iannis Xenakis
Giannis Klearchou Xenakis (also spelled for professional purposes as Yannis or Iannis Xenakis; , ; 29 May 1922 – 4 February 2001) was a Romanian-born Greek-French avant-garde composer, music theorist, architect, performance director and engineer. After 1947, he fled Greece, becoming a naturalised citizen of France eighteen years later. Xenakis pioneered the use of mathematical models in music such as applications of set theory, stochastic processes and game theory and was also an important influence on the development of electronic and computer music. He integrated music with architecture, designing music for pre-existing spaces, and designing spaces to be integrated with specific music compositions and performances. Among his most important works are '' Metastaseis'' (1953–54) for orchestra, which introduced independent parts for every musician of the orchestra; percussion works such as '' Psappha'' (1975) and '' Pléïades'' (1979); compositions that introduced spatializ ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Paul Griffiths (writer)
Paul Anthony Griffiths (born 1947) is a British music critic, novelist and librettist. He is particularly noted for his writings on modern classical music and for having written the libretti for two 20th-century operas, Tan Dun's ''Marco Polo'' and Elliott Carter's '' What Next?''. Career Paul Griffiths was born on 24 November 1947 in the Welsh town of Bridgend to Fred and Jeanne Griffiths. He received his BA and MSc in biochemistry from University of Oxford, and from 1971 worked as a freelance music critic. He joined the editorial staff of ''The New Grove Dictionary of Music and Musicians'' in 1973 and in 1982 became the chief music critic for ''The Times'', a post which he held for ten years. From 1992 to 1996, he was a music critic for ''The New Yorker'', and from 1997 to 2005, for ''The New York Times''. A collection of his musical criticism for these and other periodicals was published in 2005 as ''The substance of things heard: writings about music'', Volume 31 of '' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kontra-Punkte
''Kontra-Punkte'' (Counter-Points, or Against-Points) is a composition for ten instruments by Karlheinz Stockhausen which resolves contrasts among six instrumental timbres, as well as extremes of note values and dynamic levels, into a homogeneous ending texture. Stockhausen described it: "Counter-Points: a series of the most concealed and also the most conspicuous transformations and renewals—with no predictable end. The same thing is never heard twice. Yet there is a distinct feeling of never falling out of an unmistakable construction of the utmost homogeneity. An underlying force that holds things together—related proportions: a structure. Not the same ''Gestalten'' in a changing light. But rather this: various ''Gestalten'' in the same light, that permeates everything." History The first, untitled version, written in 1952–53, was a sparse-textured, " punctual" composition scored for flute, E-flat clarinet, contrabass clarinet, contrabassoon, trumpet, contrabass tuba, p ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
