Karlheinz Stockhausen Quotes

And I'll never forget the first time I took the possibility to project sound every day for six or seven hours with special devices which were built for me.

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Or in other works I have also projected the sound in a cube of loudspeakers. The sound can move vertically and diagonally at all speeds around the public.

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I no longer limit myself.

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Or the other process that is important is that I compress longer sections of composed music, either found or made by myself, to such an extent that the rhythm becomes a timbre, and formal subdivisions become rhythm.

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So there is a personal sense of style for a given work - I don't like a general style, but every work has its own style, and I want to create a style for every work.

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In particular what is most important to me is the transformation of a sound by slowing it down, sometimes extremely, so that the inner of sound becomes a conceivable rhythm.

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I became aware that all sounds can make meaningful language.

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And harmony means that the relationship between all the elements used in a composition is balanced, is good.

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No, what is important is neither linearity or non-linearity, but the change, the degree of change from something that doesn't move to other events with different tempos in particular.

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Many works I have composed are only for multiple channel tapes, or for traditional instruments, solo instruments, or groups of musicians.

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Schaeffer gave me permission to work in the studio with a technician, but I've never worked with him.

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One experiments and has to choose always the best results.

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And the invention of transformations of certain figures has become the most important in musical composition.

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And I'm always interested when other musicians are trying to discover new worlds of sound.

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Since I started composing I have always worked with series of tempos, even superimposed the music of different groups of musicians, of singers, instrumentalists who play and sing in different tempos simultaneously and then meet every now and then in the same tempo.

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And now even composers are proud of asking people to experience silent moments up to two or three minutes in a given piece of music.

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As I say, this is a new secret science, to master the emptiness and turn it into something that is filled with sound and visual images.

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Whenever I felt happy about having discovered something, the first encounter, not only with the public, with other musicians, with specialists, etc, was that they rejected it.

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So, for example, I produced a layer of sounds with the syllables sung by a young boy and elements from an impulse generator with filtered noises.

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I have composed several pieces which are performed outdoors, not only in the auditoria.

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But being quiet and meditating on sound is something completely different and will be discovered very soon by a lot of people who feel that the visual world doesn't reach their soul anymore.

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Already very early I thought of a microphone as a musical instrument, like a bow or like a percussion instrument, whatever you use.

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It is true that the eyes dominate the ears in our time.

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And when they encounter works of art which show that using new media can lead to new experiences and to new consciousness, and expand our senses, our perception, our intelligence, our sensibility, then they will become interested in this music.

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But I'm an adventurer. I like invention, I like discovery.

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