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[[File:Stockhausen 1994 WDR.jpg|thumb|upright=1.3|Stockhausen in the [[Studio for Electronic Music (WDR)|Electronic Music Studio of the WDR]], 1994]]
'''Karlheinz Stockhausen''' ({{IPA-|de|kaʁlˈhaɪnts ˈʃtɔkhaʊzn̩|lang|KarlheinzStockhausenAussprache.ogg}}; 22 August 1928 – 5 December 2007) was a German composer, widely acknowledged by critics as one of the most important{{sfn|Barrett|1988|loc=45}}{{sfn|Harvey|1975b|loc=705}}{{sfn|Hopkins|1972|loc=33}}{{sfn|Klein|1968|loc=117}} but also controversial{{sfn|Power|1990|loc=30}} composers of the [[20th-century classical music|20th]] and early [[21st-century classical music|21st]] centuries. He is known for his groundbreaking work in [[electronic music]], having been called the "father of electronic music",<ref>{{cite web | url=https://sites.barbican.org.uk/stockhausen/ | title=Stockhausen: The Father of Electronic Music }}</ref> for introducing controlled chance ([[Aleatoric music|aleatory techniques]]) into [[Serialism|serial composition]], and for musical [[spatial music|spatialization]].
 
He was educated at the [[Hochschule für Musik Köln]] and the [[University of Cologne]], later studying with [[Olivier Messiaen]] in Paris and with [[Werner Meyer-Eppler]] at the [[University of Bonn]]. As one of the leading figures of the [[Darmstadt School]], his compositions and theories were and remain widely influential, not only on composers of [[art music]], but also on [[jazz]] and [[popular music]]. His works, composed over a period of nearly sixty years, eschew traditional forms. In addition to electronic music—both with and without live performers—they range from miniatures for [[musical box]]es through works for solo instruments, songs, [[chamber music]], [[Choir|choral]] and orchestral music, to a cycle of seven full-length operas. His [[Music theory|theoretical]] and other writings comprise ten large volumes. He received numerous prizes and distinctions for his compositions, recordings, and for the scores produced by his publishing company.
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===Space music and Expo '70===
[[File:Osaka Expo'70 Korean Pavilion.jpg|thumb|The German Pavilion at Expo '70 (the spherical auditorium is out of view to the right)]]
Since the mid-1950s, Stockhausen had been developing concepts of [[spatial music|spatialization]] in his works, not only in electronic music, such as the 5-channel ''[[Gesang der Jünglinge]]'' (1955–56) and ''[[Telemusik]]'' (1966), and 4-channel ''[[Kontakte]]'' (1958–60) and ''[[Hymnen]]'' (1966–67). Instrumental/vocal works like ''Gruppen'' for three orchestras (1955–57) and ''Carré'' for four orchestras and four choirs (1959–60) also exhibit this trait.{{sfn|Stockhausen ''Texte''|loc=2:71–72, 49–50, 102–103}}{{sfn|Stockhausen|1989a|loc=105–108}}{{sfn|Cott|1973|loc=200–201}} In lectures such as "Music in Space" from 1958,{{sfn|Stockhausen ''Texte''|loc=1:152–175}} he called for new kinds of concert halls to be built, "suited to the requirements of spatial music". His idea was {{Blockquote|a spherical space which is fitted all around with loudspeakers. In the middle of this spherical space a sound-permeable, transparent platform would be suspended for the listeners. They could hear music composed for such standardized spaces coming from above, from below and from all points of the compass.{{sfn|Stockhausen ''Texte''|loc=1:153}}}} In 1968, the [[West Germany|West German]] government invited Stockhausen to collaborate on the German Pavilion at the [[Expo '70|1970 World Fair]] in [[Osaka]] and to create a joint multimedia project for it with artist [[Otto Piene]]. Other collaborators on the project included the pavilion's architect, [[Fritz Bornemann]], Fritz Winckel, director of the Electronic Music Studio at the [[Technical UniversityTechnische ofUniversität Berlin]], and engineer Max Mengeringhausen. The pavilion theme was "gardens of music", in keeping with which Bornemann intended "planting" the exhibition halls beneath a broad lawn, with a connected auditorium "sprouting" above ground. Initially, Bornemann conceived this auditorium in the form of an [[amphitheatre]], with a central orchestra podium and surrounding audience space. In the summer of 1968, Stockhausen met with Bornemann and persuaded him to change this conception to a spherical space with the audience in the centre, surrounded by loudspeaker groups in seven rings at different "latitudes" around the interior walls of the sphere.{{sfn|Kurtz|1992|loc=166}}{{sfn|Föllmer|1996}}
 
Although Stockhausen and Piene's planned multimedia project, titled ''Hinab-Hinauf'', was developed in detail,{{sfn|Stockhausen ''Texte''|loc=3:155–174}} the World Fair committee rejected their concept as too extravagant and instead asked Stockhausen to present daily five-hour programs of his music.{{sfn|Kurtz|1992|loc=178}} Stockhausen's works were performed for 5½ hours every day over a period of 183 days to a total audience of about a million listeners.{{sfn|Wörner|1973|loc=256}} According to Stockhausen's biographer, Michael Kurtz, "Many visitors felt the spherical auditorium to be an oasis of calm amidst the general hubbub, and after a while it became one of the main attractions of Expo 1970".{{sfn|Kurtz|1992|loc=179}}
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===Criticism===
[[Robin Maconie]] finds that, "Compared to the work of his contemporaries, Stockhausen's music has a depth and rational integrity that is quite outstanding... His researches, initially guided by Meyer-Eppler, have a coherence unlike any other composer then or since".{{sfn|Maconie|1989|loc=177–178}} Maconie also compares Stockhausen to [[Ludwig van Beethoven|Beethoven]]: "If a genius is someone whose ideas survive all attempts at explanation, then by that definition Stockhausen is the nearest thing to Beethoven this century has produced. Reason? His music lasts",{{sfn|Maconie|1988}} and "As Stravinsky said, one never thinks of Beethoven as a superb orchestrator because the quality of invention transcends mere craftsmanship. It is the same with Stockhausen: the intensity of imagination gives rise to musical impressions of an elemental and seemingly unfathomable beauty, arising from necessity rather than conscious design".{{sfn|Maconie|1989|loc=178}}
 
Christopher Ballantine, comparing the categories of [[Experimental music|experimental]] and [[avant-garde music]], concludes that <blockquote>Perhaps more than any other contemporary composer, Stockhausen exists at the point where the dialectic between experimental and avant-garde music becomes manifest; it is in him, more obviously than anywhere else, that these diverse approaches converge. This alone would seem to suggest his remarkable significance.{{sfn|Ballantine|1977|loc=244}}</blockquote>
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* 1993 Patron of the European Flute Festival; Diapason d'or for ''Klavierstücke I–XI'' and ''Mikrophonie I'' and ''II'';{{sfn|Akademie der Künste|n.d.}}
* 1994 German Music Publishers Society Award for the score ''Jahreslauf'' (Act 1 of ''Tuesday from Light'');{{sfn|Akademie der Künste|n.d.}}
* 1995 Honorary Member of the German Society for Electro-Acoustic Music; [[Bach AwardPrize of the cityFree and Hanseatic City of Hamburg]];{{sfn|Akademie der Künste|n.d.}}
* 1996 Honorary doctorate (Dr. phil. h. c.) of the [[Free University of Berlin]]; Composer of the European Cultural Capital Copenhagen; Edison Prize (Netherlands) for ''Mantra'';{{sfn|Akademie der Künste|n.d.}} Member of the Free Academy of the Arts Leipzig;<ref name=biography /> Honorary Member of the Leipzig Opera;<ref name=biography /> Cologne Culture Prize;{{sfn|Akademie der Künste|n.d.}}
* 1997 German Music Publishers Society Award for the score of ''Weltparlament'' (first scene of ''Wednesday from Light'');{{sfn|Akademie der Künste|n.d.}} Honorary member of the music ensemble LIM (Laboratorio de Interpretación Musical), Madrid;<ref name=biography />
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{{Ernst von Siemens Music Prize}}
{{Polar Music Prize}}
{{Bach Prize of the Free and Hanseatic City of Hamburg}}
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[[Category:Karlheinz Stockhausen| ]]
[[Category:1928 births]]
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[[Category:Experimental composers]]
[[Category:Members of the Royal Swedish Academy of Music]]
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