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Summary:

Abstract: In the summer of 1953, Karlheinz Stockhausen began composing his first piece of elektronische Musik at the Westdeutscher Rundfunk Studio for Electronic Music in Cologne. Up to that point, Stockhausen's only experience with electroacoustic music was his time spent at the Radiodiffusion-Télévision Française the previous year, where he assisted Pierre Schaeffer and composed a piece of musique concrète. An early case study in the marriage of serial aesthetics and electroacoustic techniques, Studie I is a rigorously organized work that reflects Stockhausen's compositional philosophy of a unified structural principle in which all musical materials and parametric values are generated by and arranged according to a single governing series. In spite of this meticulously wrought serial structure, Studie I displays features that are the consequences of the realities of electronic sound production either imposing on the sonic result, or altering the compositional plan entirely. I use a three-part approach to my analysis of Studie I by examining Stockhausen's serial system, the electroacoustic studio techniques in use in 1953, and the original recorded realization through spectrographic analysis. Using this methodology, I expose the blurring of the supposed divide between elektronische Musik and musique concrète by exploring the features that lie between the serial plan and the technical processes Stockhausen used to realize Studie I.

Table of Contents:

• Introduction
• Methodology. Serialism ; Electroacoustic practice ; Electroacoustic music analysis ; Reconstructive realization
• Background on Studie I. The WDR Studio for Electronic Music ; Philosophy of elektronische Musik ; Influence of musique concrète ; Conception of Studie I ; Studio techniques
• Materials. Recording ; Stockhausen's analysis ; Sketches ; Graphic score
• Analysis of Studie I. Serial arrays ; Serial parameters ; Tones ; Groups ; Sequences ; Units
• Extra-serial features. Technical artifacts ; Structural modifications ; The Böllerschuß ; Webern op. 24 hexachord
• Conclusions
• Appendix A: Pre-compositional data
• Appendix B: Realization score
• Appendix C: Graphic score of units 1-7.

Author/Creator:

Huff, David, 1976- , author

Contributors:

Schwarz, David, 1952- , major professor

Languages:

English

Language Notes:

Item content: English

Main Work:

Sounds Themselves: Intersections of Serialism and Musique Concrète in Karlheinz Stockhausen's "Elektronische Studie I" [by Huff, D.]

Related Series:

NT dissertation, Music (Complete); [volume] 2020

Subjects:

Stockhausen, Karlheinz, 1928-2007 — Studien, electronic music — No. 1

Electronic music — Analysis, appreciation

Serialism (Music)

Musique concrète — Analysis, appreciation

Computer music — Analysis, appreciation

Sound — Recording and reproducing

Studien (Stockhausen, Karlheinz)

Electronic music

Musique concrète

Computer music

Sound

Genres:

Academic theses

Dissertation Notes:

Ph. D. ― University of North Texas, 2020.

General Notes:

Includes bibliographical references (pages 867-882).
Open access 20210301
Description based on: Online resource; title from PDF title page (UNT Digital Library, viewed January 6, 2022).

Physical Description:

1 online resource (xiii, 882 pages) : illustrations, music.

Digital Characteristics:

text file

Call Numbers:

Electronic Dissertation

OCLC Numbers:

1300233884