Dack, John


Karlheinz Stockhausen's Kontakte and Narrativity

eContact!, vol. 2, no. 2. Montréal: CEC.

URL: http://cec.concordia.ca/econtact/SAN/Dack.htm

Language(s): English


Listening Experience Electronic Music Serialism


The author investigates the narrative potential of Stockhausen’s work. First, he defines how a narrative can be applied to music, including traditional music, through the temporal organisation of the listening experience. Then he explains the ultimate aim of Kontakte: making contact between two sound worlds, electronic and instrumental. He develops this concept through four criteria: composition in the musical time continuum, the decomposition of sound, composition of several layers in space and equality of musical sounds and noise. He concludes with his ideas concerning the humanist contribution of the concept of narrative in twentieth century music listening.

All references of the same author:


Dack, John (1993). A la Recherche de l'Instrument Perdu
Dack, John (1994). Pierre Schaeffer and the Significance of Radiophonic Art
Dack, John (1997). Pedagogy and the Studio
Dack, John (1998a). Strategies in the Analysis of Karlheinz Stockhausen's Kontakte für elektronische Klänge, Klavier, und Schlagzeug
Dack, John (1998b). Systematising the Unsystematic
Dack, John (1999b). The Creative Power of the Machine
Dack, John (2000). Ludwig Van Henry - An Interview with Pierre Henry
Dack, John (2001). Diffusion as Performance
Dack, John (2002a). Histories and Ideologies of Synthesis
Dack, John (2002b). Abstract and Concrete
Dack, John (2003a). Can the Analogue Past Inform the Digital Present?
Dack, John (2003b). Sound, Installations and Music
Dack, John (2003c). Ear-training using the computer and PROGREMU
Dack, John (2004). 'Open' Forms and the Computer