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{{short description|German composer (1928–2007)}}
<b>Karlheinz Stockhausen</b> August 22 1928 -
{{Redirect|Stockhausen}}
{{Use dmy dates|date=August 2020}}
{{Use British English|date=August 2012}}
{{Use shortened footnotes|date=June 2022}}
<!-- Before adding an infobox, please consult [[Wikipedia:WikiProject Composers#Biographical infoboxes]] and seek consensus on this article's talk page. -->
[[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.
Modern composer.
 
His notable compositions include the series of nineteen ''[[Klavierstücke (Stockhausen)|Klavierstücke]]'' (Piano Pieces), ''[[Kontra-Punkte]]'' for ten instruments, the electronic/[[musique concrète|musique-concrète]] ''[[Gesang der Jünglinge]]'', ''[[Gruppen]]'' for three orchestras, the percussion solo ''[[Zyklus]]'', ''[[Kontakte]]'', the cantata ''[[Momente]]'', the live-electronic ''[[Mikrophonie (Stockhausen)|Mikrophonie I]]'', ''[[Hymnen]]'', ''[[Stimmung]]'' for six vocalists, ''[[Aus den sieben Tagen]]'', ''[[Mantra (Stockhausen)|Mantra]]'' for two pianos and electronics, ''[[Tierkreis (Stockhausen)|Tierkreis]]'', ''[[Inori (Stockhausen)|Inori]]'' for soloists and orchestra, and the gigantic opera cycle ''[[Licht]]''.
Born in Burg Modarath, near [[Koln]]. He studied at the [[Cologne]] Musikhochschule and University (1947-51), at [[Darmstadt]] in 1951 and with [[Olivier Messiaen|Messiaen]] in [[Paris]] (1951-53). From 1954 to 1956, at the University of [[Bonn]], he studied phonetics, acoustics, and information theory and composition. After lecturing at the contemporary music seminars at Darmstadt (1957), Stockhausen gave lectures and concerts in Europe and North America.
 
He died at the age of 79, on 5 December 2007 at his home in [[Kürten]], Germany.
Stockhausen worked with serial and electronic procedures, with spatial placements of sound sources, and with graphical notation. Stockhausen is unconcerned with musical tradition and his work is influenced by Messiaen and [[Anton Webern|Webern]]. He claims that he explores fundamental psychological and acoustic aspects of music. Despite his interest in electronic music he gives performers a large role in determining certain 'parameters' of a composition, in "Zyklus" for example the score is written is written so that the performance can start on any page, and it may be read upside down, or from right to left, or not, as the performer chooses.
 
==Biography==
In most of his works elements are played off against one another, simultaneously and successively: in "Kontrapunkte" (1953) pairs of instruments and extremes of note values 'confront' one another; in "Gruppen" (1959) fanfares and passages of varying speed are flung between three full orchestras, giving the impression of movement in space.
 
===Childhood===
Stockhausen has written over 200 individual works.
Stockhausen was born in [[Mödrath#Alt-Mödrath (Old Mödrath)|Burg Mödrath]], the "castle" of the village of Mödrath. The village, located near [[Kerpen]] in the [[Cologne]] region, was displaced in 1956 to make way for [[lignite]] strip mining, but the castle itself still stands. Despite its name, the building is more a manor house than a castle. Built in 1830 by a local businessman named Arend, it was called by locals ''Burg Mödrath''. From 1925 to 1932 it was the maternity home of the [[Rhein-Erft-Kreis|Bergheim district]], and after the war it served for a time as a shelter for war refugees. In 1950, the owners, the Düsseldorf chapter of the [[Sovereign Military Order of Malta|Knights of Malta]], turned it into an orphanage, but it was subsequently returned to private ownership and became a private residence again.{{sfn|Anon.|n.d.}}{{sfn|Anon.|1950}} In 2017, an anonymous patron purchased the house and opened it in April 2017 as an exhibition space for modern art, with the first floor to be used as the permanent home of the museum of the [[Studio for Electronic Music (WDR)|WDR Electronic Music Studio]], where Stockhausen had worked from 1953 until shortly before WDR closed the studio in 2000.{{sfn|Bos|2017}}
 
His father, Simon Stockhausen, was a [[schoolteacher]], and his mother Gertrud (née Stupp) was the daughter of a prosperous family of farmers in Neurath in the [[Cologne Bight]]. A daughter, Katherina, was born the year after Karlheinz, and a second son, Hermann-Josef ("Hermännchen") followed in 1932. Gertrud played the piano and accompanied her own singing but, after three pregnancies in as many years, experienced a mental breakdown and was [[Psychiatric hospital|institutionalized]] in December 1932, followed a few months later by the death of her younger son, Hermann.{{sfn|Kurtz|1992|loc=8, 11, 13}}
 
[[File:Altenberger Dom 1925.jpg|thumb|[[Altenberger Dom]], c.&nbsp;1925, where Stockhausen had his first music lessons]]
From the age of seven, Stockhausen lived in [[Altenberg (Bergisches Land)|Altenberg]], where he received his first piano lessons from the Protestant [[organist]] of the [[Altenberger Dom]], Franz-Josef Kloth.{{sfn|Kurtz|1992|loc=14}} In 1938, his father remarried. His new wife, Luzia, had been the family's housekeeper. The couple had two daughters.{{sfn|Kurtz|1992|loc=18}} Because his relationship with his new stepmother was less than happy, in January 1942 Karlheinz became a boarder at the teachers' training college in [[Xanten]], where he continued his piano training and also studied oboe and violin.{{sfn|Kurtz|1992|loc=18}} In 1941, he learned that his mother had died, ostensibly from leukemia, although everyone at the same hospital had supposedly died of the same disease. It was generally understood that she had been a victim of the Nazi policy of killing "[[Action T4#Killing of adults|useless eaters]]".{{sfn|Stockhausen|1989a|loc=20–21}}{{sfn|Kurtz|1992|loc=19}} The official letter to the family falsely claimed she had died 16 June 1941, but recent research by Lisa Quernes, a student at the Landesmusikgymnasium in [[Montabaur]], has determined that she was murdered in the gas chamber, along with 89 other people, at the [[Hadamar Killing Facility]] in Hesse-Nassau on 27 May 1941.{{sfn|Anon.|2014}} Stockhausen dramatized his mother's death in hospital by lethal injection, in Act 1 scene 2 ("[[Donnerstag aus Licht#Scene 2: Mondeva|Mondeva]]") of the opera ''[[Donnerstag aus Licht]]''.{{sfn|Kurtz|1992|loc=213}}
 
In late 1944, Stockhausen was conscripted to serve as a stretcher bearer in [[Bedburg]].{{sfn|Kurtz|1992|loc=18}} In February 1945, he met his father for the last time in Altenberg. Simon, who was on leave from the front, told his son, "I'm not coming back. Look after things." By the end of the war, his father was regarded as missing in action, and may have been killed in Hungary.{{sfn|Kurtz|1992|loc=19}} A comrade later reported to Karlheinz that he saw his father wounded in action.{{sfn|Maconie|2005|loc=19}} Fifty-five years after the fact, a journalist writing for ''[[The Guardian]]'' stated that Simon Stockhausen was killed in Hungary in 1945.{{sfn|O'Mahony|2001}}<!--O'Mahony almost certainly relied on Kurtz, but simplified his account and removed the uncertainties, as journalists are prone to do. Still, O'Mahony does not cite his sources, so maybe he knew things that no-one, including Stockhausen himself, knew. A pity he offered no evidence.-->
 
===Education===
From 1947 to 1951, Stockhausen studied music [[pedagogy]] and piano at the [[Hochschule für Musik Köln]] (Cologne Conservatory of Music) and [[musicology]], philosophy, and [[German studies]] at the [[University of Cologne]]. He had training in [[harmony]] and [[counterpoint]], the latter with [[Hermann Schroeder]], but he did not develop a real interest in [[Musical composition|composition]] until 1950. He was admitted at the end of that year to the class of Swiss composer [[Frank Martin (composer)|Frank Martin]], who had just begun a seven-year tenure in Cologne.{{sfn|Kurtz|1992|loc=28}} At the [[Darmstädter Ferienkurse]] in 1951, Stockhausen met Belgian composer [[Karel Goeyvaerts]], who had just completed studies with [[Olivier Messiaen]] (analysis) and [[Darius Milhaud]] (composition) in Paris, and Stockhausen resolved to do likewise.{{sfn|Kurtz|1992|loc=34–36}} He arrived in Paris on 8 January 1952 and began attending Messiaen's courses in aesthetics and analysis, as well as Milhaud's composition classes. He continued with Messiaen for a year, but he was disappointed with Milhaud and abandoned his lessons after a few weeks.{{sfn|Kurtz|1992|loc=45–48}} In March 1953, he left Paris to take up a position as assistant to [[Herbert Eimert]] at the newly established [[Studio for Electronic Music (WDR)|Electronic Music Studio]] of [[Nordwestdeutscher Rundfunk]] (NWDR) (from 1 January 1955, [[Westdeutscher Rundfunk]], or WDR) in Cologne.{{sfn|Kurtz|1992|loc=56–57}} In 1963, he succeeded Eimert as director of the studio.{{sfn|Morawska-Büngeler|1988|loc=19}} From 1954 to 1956, he studied phonetics, acoustics, and information theory with [[Werner Meyer-Eppler]] at the [[University of Bonn]].{{sfn|Kurtz|1992|loc=68–72}} Together with Eimert, Stockhausen edited the journal ''[[Die Reihe]]'' from 1955 to 1962.{{sfn|Grant|2001|loc=1–2}}
 
===Career and adult life===
 
====Family and home====
[[File:St. im Garten Mai 2005 RGB.jpg|thumb|Stockhausen in the garden of his home in Kürten, 2005]]
On 29 December 1951, in Hamburg, Stockhausen married [[Doris Stockhausen|Doris Andreae]].{{sfn|Kurtz|1992|loc=45}}{{sfn|Maconie|2005|loc=47}} Together they had four children: Suja (b. 1953), Christel (b. 1956), [[Markus Stockhausen|Markus]] (b. 1957), and Majella (b. 1961).{{sfn|Kurtz|1992|loc=90}}{{sfn|Tannenbaum|1987|loc=94}} They were divorced in 1965.{{sfn|Rathert|2013}} On 3 April 1967, in San Francisco, he married [[Mary Bauermeister]], with whom he had two children: Julika (b. 22 January 1966) and [[Simon Stockhausen|Simon]] (b. 1967).{{sfn|Kurtz|1992|loc=141, 149}}{{sfn|Tannenbaum|1987|loc=95}} They were divorced in 1972.{{sfn|Rathert|2013}}<ref name=biography />
 
Four of Stockhausen's children became professional musicians,{{sfn|Kurtz|1992|loc=202}} and he composed some of his works specifically for them. A large number of pieces for the trumpet—from ''[[Sirius (Stockhausen)|Sirius]]'' (1975–77) to the trumpet version of ''[[In Freundschaft]]'' (1997)—were composed for and premièred by his son Markus.{{sfn|Kurtz|1992|loc=208}}{{sfn|M. Stockhausen|1998|loc=13–16}}{{sfn|Tannenbaum|1987|loc=61}} Markus, at the age of 4 years, had performed the part of The Child in the Cologne première of ''[[Originale]]'', alternating performances with his sister Christel.{{sfn|Maconie|2005|loc=220}} ''Klavierstück XII'' and ''Klavierstück XIII'' (and their versions as scenes from the operas ''Donnerstag aus Licht'' and ''[[Samstag aus Licht]]'') were written for his daughter Majella, and were first performed by her at the ages of 16 and 20, respectively.{{sfn|Maconie|2005|loc=430, 443}}{{sfn|Stockhausen ''Texte''|loc=5:190, 255, 274}}{{sfn|Stockhausen ''Texte''|loc=6:64, 373}} The saxophone duet in the second act of ''Donnerstag aus Licht'', and a number of synthesizer parts in the ''Licht'' operas, including ''Klavierstück XV'' ("Synthi-Fou") from ''[[Dienstag aus Licht|Dienstag]]'', were composed for his son Simon,{{sfn|Kurtz|1992|loc=222}}{{sfn|Maconie|2005|loc=480, 489}}{{sfn|Stockhausen ''Texte''|loc=5:186, 529}} who also assisted his father in the production of the electronic music from ''[[Freitag aus Licht]]''. His daughter Christel is a flautist who performed and gave a course on interpretation of ''Tierkreis'' in 1977,{{sfn|Stockhausen ''Texte''|loc=5:105}} later published as an article.{{sfn|C. Stockhausen|1978}}
 
In 1961, Stockhausen acquired a parcel of land in the vicinity of [[Kürten]], a village east of Cologne, near [[Bergisch Gladbach]] in the [[Bergisches Land]]. He had a house built there, which was designed to his specifications by the architect Erich Schneider-Wessling, and he resided there from its completion in the autumn of 1965.{{sfn|Kurtz|1992|loc=116–117, 137–138}}
 
====Teaching====
[[File:Bundesarchiv B 145 Bild-F004566-0002, Darmstadt, Internationaler Kurs für neue Musik.jpg|thumb|Stockhausen lecturing at the 12th [[Darmstädter Ferienkurse|International Summer Courses for New Music]] in Darmstadt, 1957]]
After lecturing at the [[Darmstädter Ferienkurse|Internationale Ferienkurse für Neue Musik]] at Darmstadt (first in 1953), Stockhausen gave lectures and concerts in Europe, North America, and Asia.{{sfn|Stockhausen-Verlag|2010|loc=2, 14–15}} He was guest professor of composition at the [[University of Pennsylvania]] in 1965 and at the [[University of California, Davis]] in 1966–67.{{sfn|Kramer|1998}}{{sfn|Stockhausen-Verlag|2010|loc=2–3}} He founded and directed the Cologne Courses for New Music from 1963 to 1968, and was appointed Professor of Composition at the Hochschule für Musik Köln in 1971, where he taught until 1977.{{sfn|Kurtz|1992|loc=126–128, 194}}{{sfn|Stockhausen-Verlag|2010|loc=3}} In 1998, he founded the Stockhausen Courses, which are held annually in Kürten.{{sfn|Stockhausen-Verlag|2010|loc=6–9, 15}}
 
====Publishing activities====
From the mid-1950s onward, Stockhausen designed (and in some cases arranged to have printed) his own musical scores for his publisher, [[Universal Edition]], which often involved unconventional devices. The score for his piece ''Refrain'', for instance, includes a rotatable ([[refrain]]) on a transparent plastic strip. Early in the 1970s, he ended his agreement with Universal Edition and began publishing his own scores under the Stockhausen-Verlag imprint.{{sfn|Kurtz|1992|loc=184}} This arrangement allowed him to extend his notational innovations (for example, dynamics in ''Weltparlament'' [the first scene of ''[[Mittwoch aus Licht]]''] are coded in colour) and resulted in eight German Music Publishers Society Awards between 1992 (''Luzifers Tanz'') and 2005 (''Hoch-Zeiten'', from ''Sonntag aus Licht'').{{sfn|Stockhausen-Verlag|2010|loc=12–13}} The ''Momente'' score, published just before Stockhausen's death in 2007, won this prize for the ninth time.{{sfn|Deutscher Musikeditionspreis|2009}}
 
In the early 1990s, Stockhausen reacquired the licenses to most of the recordings of his music he had made to that point, and started his own record company to make this music permanently available on Compact Disc.{{sfn|Maconie|2005|loc=477–478}}
 
===Death===
[[File:Kürten - Waldfriedhof - Stockhausen 01 ies.jpg|thumb|Stockhausen's grave, Waldfriedhof, Kürten]]
[[File:Karlheinz Stockhausens Grab Rückseite.jpg|thumb|Grave monument (rear view)]]
Stockhausen died of sudden heart failure on the morning of 5 December 2007 in [[Kürten]], North Rhine-Westphalia. The night before, he had finished a recently commissioned work for performance by the [[Mozart Orchestra]] of Bologna.{{sfn|Bäumer|2007}} He was 79 years old.
 
==Compositions==
{{See also|List of compositions by Karlheinz Stockhausen}}
Stockhausen wrote 370 individual works. He often departs radically from musical tradition and his work is influenced by [[Olivier Messiaen]], [[Edgard Varèse]], and [[Anton Webern]], as well as by film{{sfn|Stockhausen|1996b}} and by painters such as [[Piet Mondrian]]{{sfn|Stockhausen|1996a|loc=94}}{{sfn|Stockhausen ''Texte''|loc=3:92–93}}{{sfn|Toop|1998}} and [[Paul Klee]].{{sfn|Maconie|2005|loc=187}}
 
===1950s===
Stockhausen began to compose in earnest only during his third year at the conservatory.{{sfn|Kurtz|1992|loc=26–27}} His early student compositions remained out of the public eye until, in 1971, he published ''[[Chöre für Doris]]'', ''[[Drei Lieder (Stockhausen)|Drei Lieder]]'' for alto voice and chamber orchestra, ''Choral'' for a cappella choir (all three from 1950), and a [[Sonatine (Stockhausen)|Sonatine]] for violin and piano (1951).{{sfn|Maconie|1990|loc=5–6, 11}}
 
In August 1951, just after his first Darmstadt visit, Stockhausen began working with a form of [[Theme (music)|athematic]] [[serialism|serial]] composition that rejected the [[twelve-tone technique]] of [[Arnold Schoenberg|Schoenberg]].{{sfn|Felder|1977|loc=92}} He characterized many of these earliest compositions (together with the music of other, like-minded composers of the period) as ''[[Punctualism|punktuelle Musik]]'', "punctual" or "pointist" music, commonly mistranslated as "pointillist", though one critic concluded after analysing several of these early works that Stockhausen "never really composed punctually".{{sfn|Sabbe|1981}} Compositions from this phase include ''[[Kreuzspiel]]'' (1951), the ''[[Klavierstücke (Stockhausen)|Klavierstücke I–IV]]'' (1952—the fourth of this first set of four ''Klavierstücke'', titled ''Klavierstück IV'', is specifically cited by Stockhausen as an example of "punctual music",{{sfn|Stockhausen ''Texte''|loc=2:19}} and the first (unpublished) versions of ''[[Punkte]]'' and ''Kontra-Punkte'' (1952).{{sfn|Stockhausen ''Texte''|loc=2:20}} However, several works from these same years show Stockhausen formulating his "first really ground-breaking contribution to the theory and, above all, practice of composition", that of "group composition", found in Stockhausen's works as early as 1952 and continuing throughout his compositional career.{{sfn|Toop|2005|loc=3}} This principle was first publicly described by Stockhausen in a radio talk from December 1955, titled "Gruppenkomposition: ''[[Klavierstücke (Stockhausen)|Klavierstück I]]''".{{sfn|Stockhausen ''Texte''|loc=1:63–74}}
 
In December 1952, he composed a ''Konkrete Etüde'', realized in [[Pierre Schaeffer]]'s Paris [[musique concrète]] studio. In March 1953, he moved to the NWDR studio in Cologne and turned to [[electronic music]] with two ''[[Studie II|Electronic Studies]]'' (1953 and 1954), and then introducing spatial placements of sound sources with his mixed ''concrète'' and electronic work ''[[Gesang der Jünglinge]]'' (1955–56). Experiences gained from the ''Studies'' made plain that it was an unacceptable oversimplification to regard timbres as stable entities.{{sfn|Stockhausen ''Texte''|loc=1:56}} Reinforced by his studies with Meyer-Eppler, beginning in 1955, Stockhausen formulated new "statistical" criteria for composition, focussing attention on the [[Aleatoric music|aleatoric]], directional tendencies of sound movement, "the change from one state to another, with or without returning motion, as opposed to a fixed state".{{sfn|Decroupet and Ungeheuer|1998|loc=98–99}} Stockhausen later wrote, describing this period in his compositional work, "The first revolution occurred from 1952/53 as ''musique concrète'', ''electronic tape music'', and ''space music'', entailing composition with transformers, generators, modulators, magnetophones, etc; the integration of {{em|all}} concrete and abstract (synthetic) sound possibilities (also all noises), and the controlled projection of sound in space".<ref>{{harvnb|Stockhausen|1989b|loc=127}}, reprinted in {{harvnb|Schwartz, Childs, and Fox|1998|loc=374}}</ref> His position as "the leading German composer of his generation"{{sfn|Toop|2001}} was established with ''Gesang der Jünglinge'' and three concurrently composed pieces in different media: ''[[Zeitmaße]]'' for five woodwinds, ''Gruppen'' for three orchestras, and ''[[Klavierstücke (Stockhausen)|Klavierstück XI]]''.{{sfn|Kohl|1998a|loc=61}} The principles underlying the latter three compositions are presented in Stockhausen's best-known theoretical article, "... wie die Zeit vergeht ..." ("... How Time Passes ..."), first published in 1957 in vol. 3 of ''[[Die Reihe]]''.{{sfn|Stockhausen ''Texte''|loc=1:99–139}}
 
His work with electronic music and its utter fixity led him to explore modes of instrumental and vocal music in which performers' individual capabilities and the circumstances of a particular performance (e.g., hall acoustics) may determine certain aspects of a composition. He called this "variable form".{{sfn|Wörner|1973|loc=101–105}} In other cases, a work may be presented from a number of different perspectives. In ''[[Zyklus]]'' (1959), for example, he began using [[graphic notation (music)|graphic notation]] for instrumental music. The [[Sheet music|score]] is written so that the performance can start on any page, and it may be read upside down, or from right to left, as the performer chooses.{{sfn|Stockhausen ''Texte''|loc=2, 73–100}} Still other works permit different routes through the constituent parts. Stockhausen called both of these possibilities "polyvalent form",{{sfn|Stockhausen ''Texte''|loc=1:241–251}} which may be either [[Aleatoric music#"Open form" chance music|open form]] (essentially incomplete, pointing beyond its frame), as with ''Klavierstück XI'' (1956), or "closed form" (complete and self-contained) as with ''Momente'' (1962–64/69).{{sfn|Kaletha|2004|loc=97–98}}
 
In many of his works, elements are played off against one another, simultaneously and successively: in ''Kontra-Punkte'' ("Against Points", 1952–53), which, in its revised form became his official "opus 1", a process leading from an initial "point" texture of isolated notes toward a florid, ornamental ending is opposed by a tendency from diversity (six timbres, dynamics, and durations) toward uniformity (timbre of solo piano, a nearly constant soft dynamic, and fairly even durations).{{sfn|Stockhausen ''Texte''|loc=2, 20–21}} In ''Gruppen'' (1955–57), fanfares and passages of varying speed (superimposed durations based on the [[harmonic series (music)|harmonic series]]) are occasionally flung between three full orchestras, giving the impression of movement in space.{{sfn|Maconie|2005|loc=486}}
 
In his ''[[Kontakte]]'' for electronic sounds (optionally with piano and percussion) (1958–60), he achieved for the first time an [[isomorphism]] of the four parameters of pitch, duration, dynamics, and timbre.{{sfn|Stockhausen|1962|loc=40}}
 
===1960s===
In 1960, Stockhausen returned to the composition of vocal music (for the first time since ''Gesang der Jünglinge'') with ''[[Carré (Stockhausen)|Carré]]'' for four orchestras and four choirs.{{sfn|Stockhausen-Verlag|2010|loc=18}} Two years later, he began an expansive [[cantata]] titled ''Momente'' (1962–64/69), for solo soprano, four choir groups and thirteen instrumentalists.{{sfn|Stockhausen-Verlag|2010|loc=18}} In 1963, Stockhausen created ''[[Plus-Minus (Stockhausen)|Plus-Minus]]'', "2 × 7 pages for realisation" containing basic note materials and a complex system of transformations to which those materials are to be subjected in order to produce an unlimited number of different compositions.{{sfn|Stockhausen-Verlag|2010|loc=20}}{{sfn|Toop|2005|loc=175–178}} Through the rest of the 1960s, he continued to explore such possibilities of "[[process music|process composition]]" in works for live performance, such as ''Prozession'' (1967), ''[[Kurzwellen]]'', and ''[[Spiral (Stockhausen)|Spiral]]'' (both 1968), culminating in the verbally described "intuitive music" compositions of ''[[Aus den sieben Tagen]]'' (1968) and ''[[Für kommende Zeiten]]'' (1968–70).{{sfn|Fritsch|1979}}{{sfn|Kohl|1981|loc=192–193, 227–251}}{{sfn|Kohl|1998b|loc=7}}{{sfn|Toop|2005|loc=191–192}} Some of his later works, such as ''[[Ylem (Stockhausen)|Ylem]]'' (1972) and the first three parts of ''[[Herbstmusik]]'' (1974), also fall under this rubric.{{sfn|Maconie|2005|loc=254, 366–368}} Several of these process compositions were featured in the all-day programmes presented at Expo 70, for which Stockhausen composed two more similar pieces, ''Pole'' for two players, and ''Expo'' for three.{{sfn|Kohl|1981|loc=192–193}}{{sfn|Maconie|2005|loc=323–324}} In other compositions, such as ''Stop'' for orchestra (1965), ''[[Adieu (Stockhausen)|Adieu]]'' for wind quintet (1966), and the ''Dr. K Sextett'', which was written in 1968–69 in honour of Alfred Kalmus of Universal Edition, he presented his performers with more restricted improvisational possibilities.{{sfn|Maconie|2005|loc=262, 267–268, 319–320}}
 
He pioneered live electronics in ''[[Mixtur]]'' (1964/67/2003) for orchestra and electronics,{{sfn|Kohl|1981|loc=51–163}} ''[[Mikrophonie (Stockhausen)|Mikrophonie I]]'' (1964) for [[tam-tam]], two microphones, two filters with [[potentiometer]]s (6 players),{{sfn|Maconie|1972}}{{sfn|Maconie|2005|loc=255–257}} ''[[Mikrophonie (Stockhausen)|Mikrophonie II]]'' (1965) for choir, [[Hammond organ]], and four [[Ring modulation|ring modulators]],{{sfn|Peters|1992}} and ''Solo'' for a melody instrument with feedback (1966).{{sfn|Maconie|2005|loc=262–265}} Improvisation also plays a part in all of these works, but especially in ''Solo''.{{sfn|Maconie|2005|loc=264}} He also composed two electronic works for [[Tape recorder|tape]], ''Telemusik'' (1966) and ''[[Hymnen]]'' (1966–67).{{sfn|Kohl|2002}}{{sfn|Stockhausen-Verlag|2010|loc=21}} The latter also exists in a version with partially improvising soloists, and the third of its four "regions" in a version with orchestra.{{sfn|Stockhausen-Verlag|2010|loc=21}} At this time, Stockhausen also began to incorporate pre-existent music from world traditions into his compositions.{{sfn|Kohl|1981|loc=93–95}}{{sfn|Stockhausen ''Texte''|loc=4, 468–476}} ''Telemusik'' was the first overt example of this trend.{{sfn|Kohl|2002|loc=96}}
 
In 1968, Stockhausen composed the vocal sextet ''[[Stimmung]]'', for the [[Collegium Vocale Köln]], an hour-long work based entirely on the [[overtone]]s of a low [[B♭ (musical note)|B-flat]].{{sfn|Toop|2005|loc=39}} In the following year, he created ''[[Fresco (Stockhausen)|Fresco]]'' for four orchestral groups, a ''Wandelmusik'' ("foyer music") composition.{{sfn|Maconie|2005|loc=321}} This was intended to be played for about five hours in the foyers and grounds of the Beethovenhalle auditorium complex in [[Bonn]], before, after, and during a group of (in part simultaneous) concerts of his music in the auditoriums of the facility.{{sfn|Maconie|2005|loc=321–323}} The overall project was given the title ''Musik für die Beethovenhalle''.{{sfn|Maconie|2005|loc=296}} This had precedents in two collective-composition seminar projects that Stockhausen gave at Darmstadt in 1967 and 1968: ''Ensemble'' and ''Musik für ein Haus'',{{sfn|Gehlhaar|1968}}{{sfn|Ritzel|1970}}{{sfn|Iddon|2004}}{{sfn|Maconie|2005|loc=321}} and would have successors in the "park music" composition for five spatially separated groups, ''[[Sternklang]]'' ("Star Sounds") of 1971, the orchestral work ''Trans'', composed in the same year and the thirteen simultaneous "musical scenes for soloists and duets" titled ''[[Alphabet für Liège]]'' (1972).{{sfn|Maconie|2005|loc=334–336, 338, 341–343}}
 
===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 [[Technische Universität 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}}
 
===1970s===
[[File:Shiraz 37.jpg|thumb|Stockhausen (front centre) at the mixing desk for a performance by [[Aloys and Alfons Kontarsky|Alfons and Aloys Kontarsky]] of ''Mantra'', [[Shiraz Arts Festival]], Iran, 1972]]
Beginning with ''[[Mantra (Stockhausen)|Mantra]]'' for two pianos and electronics (1970), Stockhausen turned to [[formula composition]], a technique which involves the projection and multiplication of a single, double, or triple [[melody|melodic]]-line formula.{{sfn|Kohl|1983–84a}}{{sfn|Kohl|1990}}{{sfn|Kohl|2004}} Sometimes, as in ''Mantra'' and the large orchestral composition with mime soloists, ''Inori'', the simple formula is stated at the outset as an introduction. He continued to use this technique (e.g., in the two related solo-clarinet pieces, ''Harlekin'' [Harlequin] and ''Der kleine Harlekin'' [The Little Harlequin] of 1975, and the orchestral ''[[Jubiläum]]'' [Jubilee] of 1977) through the completion of the opera-cycle ''Licht'' in 2003.{{sfn|Blumröder|1982}}{{sfn|Conen|1991}}{{sfn|Kohl|1983–84a}}{{sfn|Kohl|1990}}{{sfn|Kohl|1993}}{{sfn|Kohl|2004}}{{sfn|Stockhausen-Verlag|2010|loc=10}} Some works from the 1970s did not employ formula technique—e.g., the vocal duet "[[Alphabet für Liège#Indianerlieder|Am Himmel wandre ich]]" (In the Sky I am Walking, one of the 13 components of the multimedia ''Alphabet für Liège'', 1972, which Stockhausen developed in conversation with the British biophysicist and lecturer on mystical aspects of sound vibration [[Jill Purce]]), "Laub und Regen" (Leaves and Rain, from the theatre piece ''Herbstmusik'' (1974), the unaccompanied-clarinet composition ''[[Amour (Stockhausen)|Amour]]'', and the choral opera ''[[Atmen gibt das Leben]]'' (Breathing Gives Life, 1974/77)—but nevertheless share its simpler, melodically oriented style.{{sfn|Conen|1991|loc=57}}{{sfn|Kurtz|1992|loc=192–193}} Two such pieces, ''Tierkreis'' ("Zodiac", 1974–75) and ''[[In Freundschaft]]'' (In Friendship, 1977, a solo piece with versions for virtually every orchestral instrument), have become Stockhausen's most widely performed and recorded compositions.{{sfn|Anon.|2007a}}{{sfn|Deruchie|2007}}{{sfn|Nordin|2004}}
 
This dramatic simplification of style provided a model for a new generation of German composers, loosely associated under the label ''neue Einfachheit'' or [[New Simplicity]].{{sfn|Andraschke|1981}} The best-known of these composers is [[Wolfgang Rihm]], who studied with Stockhausen in 1972–73. His orchestral composition ''Sub-Kontur'' (1974–75) quotes the formula of Stockhausen's ''Inori'' (1973–74), and he has also acknowledged the influence of ''Momente'' on this work.{{sfn|Frobenius|1981|loc=53 + note 59–60}}
 
Other large works by Stockhausen from this decade include the orchestral ''[[Trans (Stockhausen)|Trans]]'' (1971) and two music-theatre compositions utilizing the ''Tierkreis'' melodies: ''[[Musik im Bauch]]'' ("Music in the Belly") for six percussionists (1975), and the science-fiction "opera" ''[[Sirius (Stockhausen)|Sirius]]'' (1975–77) for eight-channel electronic music with soprano, bass, trumpet, and bass clarinet, which has four different versions for the four seasons, each lasting over an hour and a half.{{sfn|Stockhausen-Verlag|2010|loc=24–25}}
[[File:Stockhausen March 2004 excerpt.jpg|thumb|upright|Stockhausen in 2004 during the mix-down of the recording of ''Angel Processions'' from ''[[Sonntag aus Licht]]'', in Sound Studio N, Cologne]]
 
===1977–2003===
 
{{Main|Licht}}
Between 1977 and 2003, Stockhausen composed seven operas in a cycle titled ''[[Licht|Licht: Die sieben Tage der Woche]]'' ("Light: The Seven Days of the Week").{{sfn|Maconie|2005|loc=403–544}} The ''Licht'' cycle deals with the traits associated in various historical traditions with each weekday (Monday = birth and fertility, Tuesday = conflict and war, Wednesday = reconciliation and cooperation, Thursday = traveling and learning, etc.) and with the relationships between three archetypal characters: [[Michael (archangel)|Michael]], [[Lucifer]], and [[Adam and Eve|Eve]].{{sfn|Kohl|1983–84b|loc=489}}{{sfn|Stockhausen ''Texte''|loc=6:152–156, 175, 200–201}} Each of these characters dominates one of the operas (''Donnerstag'' [Thursday], ''Samstag'' [Saturday], and ''Montag'' [Monday], respectively), the three possible pairings are foregrounded in three others, and the equal combination of all three is featured in ''Mittwoch'' (Wednesday).{{sfn|Kohl|1990|loc=274}}
 
Stockhausen's conception of opera was based significantly on ceremony and ritual, with influence from the Japanese [[Noh]] theatre,{{sfn|Stockhausen, Conen, and Hennlich|1989|loc=282}} as well as [[Judeo-Christian]] and [[Vedic mythology|Vedic]] traditions.{{sfn|Bruno|1999|loc=134}} In 1968, at the time of the composition of ''Aus den sieben Tagen'', Stockhausen had read a biography by [[Satprem]] about the Bengali guru [[Sri Aurobindo]],{{sfn| Guerrieri|2009}} and subsequently he also read many of the published writings by Aurobindo himself. The title of ''Licht'' owes something to Aurobindo's theory of "[[Agni]]" (the Hindu and Vedic fire deity), developed from two basic premises of nuclear physics; Stockhausen's definition of a formula and, especially, his conception of the ''Licht'' superformula, also owes a great deal to Sri Aurobindo's category of the "supramental".{{sfn|Peters|2003|loc=227}} Similarly, his approach to voice and text sometimes departed from traditional usage: Characters were as likely to be portrayed by instrumentalists or dancers as by singers, and a few parts of ''Licht'' (e.g., ''Luzifers Traum'' from ''Samstag'', ''Welt-Parlament'' from ''Mittwoch'', ''Lichter-Wasser'' and ''Hoch-Zeiten'' from ''Sonntag'') use written or improvised texts in simulated or invented languages.{{sfn|Kohl|1983–84b|loc=499}}{{sfn|Moritz|2005}}{{sfn|Stockhausen|1999|loc=18–25}}{{sfn|Stockhausen|2001b|loc=20}}{{sfn|Stockhausen|2003|loc=20}}
 
The seven operas were not composed in "weekday order" but rather starting (apart from ''Jahreslauf'' in 1977, which became the first act of ''Dienstag'') with the "solo" operas and working toward the more complex ones: ''Donnerstag'' (1978–80), ''Samstag'' (1981–83), ''Montag'' (1984–88), ''Dienstag'' (1977/1987–91), ''Freitag'' (1991–94), ''Mittwoch'' (1995–97), and finally ''Sonntag'' (1998–2003).{{sfn|Stockhausen-Verlag|2010|loc=3–7, 26–48}}
 
Stockhausen had dreams of flying throughout his life, and these dreams are reflected in the ''[[Helikopter-Streichquartett]]'' (the third scene of ''Mittwoch aus Licht''), completed in 1993. In it, the four members of a [[string quartet]] perform in four [[helicopter]]s flying independent flight paths over the countryside near the concert hall. The sounds they play are mixed together with the sounds of the helicopters and played through speakers to the audience in the hall. Videos of the performers are also transmitted back to the concert hall. The performers are synchronized with the aid of a [[click track]], transmitted to them and heard over headphones.{{sfn|Stockhausen|1996c|loc=215}}
 
The first performance of the piece took place in Amsterdam on 26 June 1995, as part of the [[Holland Festival]].{{sfn|Stockhausen| 1996c|loc=216}} Despite its extremely unusual nature, the piece has been given several performances, including one on 22 August 2003 as part of the [[Salzburg Festival]] to open the Hangar-7 venue,{{sfn|Stockhausen-Verlag|2010|loc=7}} and the German première on 17 June 2007 in [[Braunschweig]] as part of the Stadt der Wissenschaft 2007 Festival.{{sfn|Stockhausen-Stiftung|2007}} The work has also been recorded by the [[Arditti Quartet]].<ref>{{Cite web |title=STOCKHAUSEN: Helicopter String Quartet - Arditti Quartet (DVD) |url=https://www.classicselectworld.com/products/stockhausen-helicopter-string-quartet-arditti-quartet |access-date=2024-06-12 |website=ClassicSelect World |language=en}}</ref>
 
In 1999 he was invited by [[Walter Fink]] to be the ninth composer featured in the annual [[Rheingau Musik Festival#Portraits of living composers|Komponistenporträt]] of the [[Rheingau Musik Festival]].{{sfn|Rheingau Musik Festival|2017}}
 
In 1999, [[BBC]] producer Rodney Wilson asked Stockhausen to collaborate with [[Brothers Quay|Stephen and Timothy Quay]] on a film for the fourth series of Sound on Film International. Although Stockhausen's music had been used for films previously (most notably, parts of [[Hymnen]] in [[Nicolas Roeg]]'s ''[[Walkabout (film)|Walkabout]]'' in 1971), this was the first time he had been asked to provide music specially for the purpose. He adapted 21 minutes of material taken from his electronic music for ''Freitag aus Licht'', calling the result ''Zwei Paare'' (Two Couples), and the Brothers Quay created their animated film, which they titled ''In Absentia'', based only on their reactions to the music and the simple suggestion that a window might be an idea to use.{{sfn|Anon.|2001}} When, at a preview screening, Stockhausen saw the film, which shows a madwoman writing letters from a bleak asylum cell, he was moved to tears. The Brothers Quay were astonished to learn that his mother had been "imprisoned by the Nazis in an asylum, where she later died. ... This was a very moving moment for us as well, especially because we had made the film without knowing any of this".{{sfn|Aita|2001}}
 
===2003–2007===
[[File:Stockhausen+Antonio.jpg|thumb|Stockhausen and Antonio Pérez Abellán during a recording session in 2007 for ''Natürliche Dauern'', the Third Hour of ''Klang'']]
{{Main|Klang (Stockhausen)}}
After completing ''Licht'', Stockhausen embarked on a new cycle of compositions based on the hours of the day, ''[[Klang (Stockhausen)|Klang]]'' ("Sound"). Twenty-one of these pieces were completed before Stockhausen's death.{{sfn|Stockhausen-Verlag|2010|loc=49–50}} The first four works from this cycle are First Hour: ''Himmelfahrt'' (Ascension), for organ or synthesizer, soprano and tenor (2004–2005); Second Hour: ''Freude'' (Joy) for two harps (2005); Third Hour: ''Natürliche Dauern'' (Natural Durations) for piano (2005–2006); and Fourth Hour: ''Himmels-Tür'' (Heaven's Door) for a percussionist and a little girl (2005).{{sfn|Stockhausen-Verlag|2010|loc=49}} The Fifth Hour, ''Harmonien'' (Harmonies), is a solo in three versions for flute, bass clarinet, and trumpet (2006).{{sfn|Stockhausen-Verlag|2010|loc=49}} The Sixth through Twelfth hours are chamber-music works based on the material from the Fifth Hour.{{sfn|Stockhausen-Verlag|2010|loc=49}} The Thirteenth Hour, ''[[Cosmic Pulses]]'', is an electronic work made by superimposing 24 layers of sound, each having its own spatial motion, among eight loudspeakers placed around the concert hall.{{sfn|Stockhausen|2007a}} Hours 14 through 21 are solo pieces for bass voice, baritone voice, basset-horn, horn, tenor voice, soprano voice, soprano saxophone, and flute, respectively, each with electronic accompaniment of a different set of three layers from ''[[Cosmic Pulses]]''.{{sfn|Stockhausen-Verlag|2010|loc=50}} The twenty-one completed pieces were first performed together as a cycle at the Festival MusikTriennale Köln on 8–9 May 2010, in 176 individual concerts.{{sfn|Gimpel|2010}}
 
==Theories==
[[File:St. März 2005.jpg|thumb|Stockhausen lecturing on ''Inori'' in 2005]]
In the 1950s and early 1960s, Stockhausen published a series of articles that established his importance in the area of music theory. Although these include analyses of music by [[Wolfgang Amadeus Mozart|Mozart]], [[Claude Debussy|Debussy]], [[Béla Bartók|Bartók]], [[Igor Stravinsky|Stravinsky]], [[Karel Goeyvaerts|Goeyvaerts]], [[Pierre Boulez|Boulez]], [[Luigi Nono (composer)|Nono]], [[Johannes Fritsch]], [[Michael von Biel]], and, especially, [[Anton Webern|Webern]],{{sfn|Stockhausen ''Texte''|loc=1:24–31, 39–44, 75–85, 86–98; 2:136–139, 149–166, 170–206; 3:236–238; 4:662–663}} the items on compositional theory directly related to his own work are regarded as the most important generally. "Indeed, the ''Texte'' come closer than anything else currently available to providing a general compositional theory for the postwar period".{{sfn|Morgan|1975|loc=16}} His most celebrated article is "...&nbsp;wie die Zeit vergeht&nbsp;..." ("...&nbsp;How Time Passes&nbsp;..."), first published in the third volume of ''[[Die Reihe]]'' (1957). In it, he expounds a number of temporal conceptions underlying his instrumental compositions ''Zeitmaße'', ''Gruppen'', and ''Klavierstück XI''. In particular, this article develops (1) a scale of twelve [[tempo]]s analogous to the chromatic pitch scale, (2) a technique of building progressively smaller, integral subdivisions over a basic (fundamental) duration, analogous to the [[Overtone|overtone series]], (3) musical application of the concept of the partial field (time fields and field sizes) in both successive and simultaneous proportions, (4) methods of projecting large-scale [[Musical form|form]] from a series of proportions, (5) the concept of "statistical" composition, (6) the concept of "action duration" and the associated "variable form", and (7) the notion of the "directionless temporal field" and with it, "polyvalent form".{{sfn|Stockhausen ''Texte''|loc=1:99–139}}
 
Other important articles from this period include "Elektronische und Instrumentale Musik" ("Electronic and Instrumental Music", 1958),{{sfn|Stockhausen ''Texte''|loc=1:140–151}}{{sfn|Stockhausen|2004}} "Musik im Raum" ("Music in Space", 1958),{{sfn|Stockhausen ''Texte''|loc=1:152–175}} "Musik und Graphik" ("Music and Graphics", 1959),{{sfn|Stockhausen ''Texte''|loc=1:176–188}} "[[Moment form|Momentform]]" (1960),{{sfn|Stockhausen ''Texte''|loc=1:189–210}} "Die Einheit der musikalischen Zeit" ("The Unity of Musical Time", 1961),{{sfn|Stockhausen ''Texte''|loc=1:211–221}}{{sfn|Stockhausen|1962}} and "Erfindung und Entdeckung" ("Invention and Discovery", 1961),{{sfn|Stockhausen ''Texte''|loc=1:222–258}} the last summing up the ideas developed up to 1961.<ref>{{Cite journal |last=Zagorsky |first=Marcus |date=Dec 2015 |title=Making the Postwar Avant-garde More German |url=https://www.proquest.com/docview/1862643453 |journal=Studia Musicologica; Budapest |volume=56 |issue=4 |pages=459–466 |doi=10.1556/6.2015.56.4.12 |id={{ProQuest|1862643453}} |via=ProQuest}}</ref> Taken together, these temporal theories <blockquote>suggested that the entire compositional structure could be conceived as "[[timbre]]": since "the different experienced components such as colour, [[harmony]] and [[melody]], [[Meter (music)|meter]] and rhythm, [[Dynamics (music)|dynamics]], and form correspond to the different segmental ranges of this unified time",{{sfn|Stockhausen ''Texte''|loc=1:120}} the total musical result at any given compositional level is simply the "[[Spectral music|spectrum]]" of a more basic duration—i.e., its "timbre", perceived as the overall effect of the [[Overtone|overtone structure]] of that duration, now taken to include not only the "rhythmic" subdivisions of the duration but also their relative "dynamic" strength, "envelope", etc.
<div style="text-align: center;">...</div>
Compositionally considered, this produced a change of focus from the individual tone to a whole complex of tones related to one another by virtue of their relation to a "[[Fundamental frequency|fundamental]]"—a change that was probably the most important compositional development of the latter part of the 1950s, not only for Stockhausen's music but for "advanced" music in general.{{sfn|Morgan|1975|loc=6}}</blockquote> Some of these ideas, considered from a purely theoretical point of view (divorced from their context as explanations of particular compositions) drew significant critical fire.{{sfn|Backus|1962}}{{sfn|Fokker|1968}}{{sfn|Perle|1960}} For this reason, Stockhausen ceased publishing such articles for a number of years, as he felt that "many useless polemics" about these texts had arisen, and he preferred to concentrate his attention on composing.{{sfn|Stockhausen ''Texte''|loc=4:13}}
 
Through the 1960s, although he taught and lectured publicly,{{sfn|Stockhausen ''Texte''|loc=3:196–211}} Stockhausen published little of an analytical or theoretical nature. Only in 1970 did he again begin publishing theoretical articles, with "Kriterien", the abstract for his six seminar lectures for the [[Darmstädter Ferienkurse]].{{sfn|Stockhausen ''Texte''|loc=3:222–229}} The seminars themselves, covering seven topics ("Micro- and Macro-Continuum", "Collage and Metacollage", "Expansion of the Scale of Tempos", "Feedback", "Spectral Harmony—Formant Modulation", "Expansion of Dynamics—A Principle of ''Mikrophonie I''", and "Space Music—Spatial Forming and Notation") were published only posthumously.{{sfn|Stockhausen|2009}}
 
His collected writings were published in ''Texte zur Musik'', including his compositional theories and analyses on music as a general phenomenon.{{sfn|Stockhausen ''Texte''}}
 
==Reception==
 
===Musical influence===
Stockhausen has been described as "one of the great visionaries of 20th-century music".{{sfn|Hewett|2007}} His two early ''Electronic Studies'' (especially the second) had a powerful influence on the subsequent development of electronic music in the 1950s and 1960s, particularly in the work of the Italian [[Franco Evangelisti (composer)|Franco Evangelisti]] and the Poles [[Andrzej Dobrowolski]] and [[Włodzimierz Kotoński]].{{sfn|Skowron|1981|loc=39}} The influence of his ''Kontra-Punkte'', ''Zeitmaße'' and ''Gruppen'' may be seen in the work of many composers, including [[Igor Stravinsky]]'s ''[[Threni (Stravinsky)|Threni]]'' (1957–58) and ''[[Movements for Piano and Orchestra|Movements]]'' for piano and orchestra (1958–59) and other works up to the ''Variations: Aldous Huxley in Memoriam'' (1963–64), whose rhythms "are likely to have been inspired, at least in part, by certain passages from Stockhausen's ''Gruppen''".{{sfn|Neidhöfer|2005|loc=340}} Though music of Stockhausen's generation may seem an unlikely influence, Stravinsky said in a 1957 conversation: <blockquote>I have all around me the spectacle of composers who, after their generation has had its decade of influence and fashion, seal themselves off from further development and from the next generation (as I say this, exceptions come to mind, Krenek, for instance). Of course, it requires greater effort to learn from one's juniors, and their manners are not invariably good. But when you are seventy-five and your generation has overlapped with four younger ones, it behooves you not to decide in advance "how far composers can go", but to try to discover whatever new thing it is makes the new generation new.{{sfn|Stravinsky and Craft|1980|loc=133}}</blockquote>
 
Amongst British composers, [[Harrison Birtwistle|Sir Harrison Birtwistle]] readily acknowledges the influence of Stockhausen's ''Zeitmaße'' (especially on his two wind quintets, ''Refrains and Choruses'' and ''Five Distances'') and ''Gruppen'' on his work more generally.{{sfn|Cross|2000|loc=48}}{{sfn|Cross|2001}}{{sfn|Hall|1984|loc=3, 7–8}}{{sfn|Hall|1998|loc=99, 108}}{{sfn|Pace|1996|loc=27}} [[Brian Ferneyhough]] says that, although the "technical and speculative innovations" of ''Klavierstücke I–IV'', ''Kreuzspiel'' and ''Kontra-Punkte'' escaped him on first encounter, they nevertheless produced a "sharp emotion, the result of a beneficial shock engendered by their boldness" and provided "an important source of motivation (rather than of imitation) for my own investigations".{{sfn|Ferneyhough|1988}} While still in school, he became fascinated upon hearing the British première of ''Gruppen'', and <blockquote>listened many times to the recording of this performance, while trying to penetrate its secrets—how it always seemed to be about to explode, but managed nevertheless to escape unscathed in its core—but scarcely managed to grasp it. Retrospectively, it is clear that from this confusion was born my interest for the formal questions which remain until today.{{sfn|Ferneyhough|1988}}</blockquote> Although it eventually evolved in a direction of its own, Ferneyhough's 1967 wind sextet, ''Prometheus'', began as a wind quintet with cor anglais, stemming directly from an encounter with Stockhausen's ''Zeitmaße''.{{sfn|Kohl|2017|loc=137}} With respect to Stockhausen's later work, he said, <blockquote>I have never subscribed (whatever the inevitable personal distance) to the thesis according to which the many transformations of vocabulary characterizing Stockhausen's development are the obvious sign of his inability to carry out the early vision of strict order that he had in his youth. On the contrary, it seems to me that the constant reconsideration of his premises has led to the maintenance of a remarkably tough thread of historical consciousness which will become clearer with time. ... I doubt that there has been a single composer of the intervening generation who, even if for a short time, did not see the world of music differently thanks to the work of Stockhausen.{{sfn|Ferneyhough|1988}}</blockquote> In a short essay describing Stockhausen's influence on his own work, [[Richard Barrett (composer)|Richard Barrett]] concludes that "Stockhausen remains the composer whose next work I look forward most to hearing, apart from myself of course" and names as works that have had particular impact on his musical thinking ''Mantra'', ''Gruppen'', ''Carré'', ''Klavierstück X'', ''Inori'', and ''Jubiläum''.{{sfn|Barrett|1998}}
 
French composer and conductor Pierre Boulez once declared, "Stockhausen is the greatest living composer, and the only one whom I recognize as my peer".{{sfn|Anon.|1967}}{{sfn|Anon.|1971}} Boulez also acknowledged the influence of performing Stockhausen's ''Zeitmaße'' on his subsequent development as a conductor.{{sfn|Boulez|1976|loc=79–80}} Another French composer, [[Jean-Claude Éloy]], regards Stockhausen as the most important composer of the second half of the 20th century, and cites virtually "all his catalog of works" as "a powerful discoveration {{sic}}, and a true revelation".{{sfn|Éloy|2008}}
 
Dutch composer [[Louis Andriessen]] acknowledged the influence of Stockhausen's ''Momente'' in his pivotal work ''Contra tempus'' of 1968.{{sfn|Schönberger|2001}} German composer [[Wolfgang Rihm]], who studied with Stockhausen, was influenced by ''Momente'', ''Hymnen'', and ''Inori''.{{sfn|Williams|2006|loc=382}}
 
At the Cologne ISCM Festival in 1960, the Danish composer [[Per Nørgård]] heard Stockhausen's ''Kontakte'' as well as pieces by Kagel, Boulez, and Berio. He was profoundly affected by what he heard and his music suddenly changed into "a far more discontinuous and disjunct style, involving elements of strict organization in all parameters, some degree of aleatoricism and controlled improvisation, together with an interest in collage from other musics".{{sfn|Anderson|2001}}
 
Jazz musicians such as [[Miles Davis]],{{sfn|Bergstein|1992}} [[Charles Mingus]],<ref>{{cite news |last1=O'Toole |first1=Fintan |title=How Stockhausen made pop weird |url=https://www.irishtimes.com/news/how-stockhausen-made-pop-weird-1.992067 |newspaper=The Irish Times}}</ref> [[Herbie Hancock]],{{sfn|Hancock|2014|loc=104–105}} [[Yusef Lateef]],{{sfn|Feather|1964}}{{sfn|Tsahar|2006}} and [[Anthony Braxton]]{{sfn|Radano|1993|loc=110}} cite Stockhausen as an influence.
 
Stockhausen was influential within pop and rock music as well. [[Frank Zappa]] acknowledges Stockhausen in the liner notes of ''[[Freak Out!]]'', his 1966 debut with [[The Mothers of Invention]]. On the back of [[The Who]]'s second LP released in the US, "[[Happy Jack (song)|Happy Jack]]", their primary composer and guitarist [[Pete Townshend]], is said to have "an interest in Stockhausen". [[Richard Wright (musician)|Rick Wright]] and [[Roger Waters]] of [[Pink Floyd]] also acknowledge Stockhausen as an influence.{{sfn|Macon|1997|loc=141}}{{sfn|Bayles|1996|loc=222}} San Francisco psychedelic groups [[Jefferson Airplane]] and the [[Grateful Dead]] are said to have done the same;{{sfn|Prendergast|2000|loc=54}} Stockhausen said that the Grateful Dead were "well orientated toward new music".{{sfn|Stockhausen ''Texte''|loc=4:505}}{{Verify source|date=July 2018}}<!--Perhaps I made a mistake here, but I'm sure Stockhausen said it was members of Jefferson Airplane. Of course he could have been wrong, but the quotation is from him, not members of either band.--> Founding members of Cologne-based experimental band [[Can (band)|Can]], [[Irmin Schmidt]] and [[Holger Czukay]], both studied with Stockhausen at the Cologne Courses for New Music.{{sfn|Stockhausen ''Texte''|loc=3:196, 198, 200}} German electronic pioneers [[Kraftwerk]] also say they studied with Stockhausen,{{sfn|Flur|2003|loc=228}} and Icelandic vocalist [[Björk]] has acknowledged Stockhausen's influence.{{sfn|Heuger|1998|loc=15}}{{sfn|Björk|1996}}{{sfn|Ross|2004|loc=53 & 55}}
 
=== Wider cultural renown ===
Stockhausen, along with [[John Cage]], is one of the few avant-garde composers to have succeeded in penetrating the popular consciousness.{{sfn|Anon.|2007b}}{{sfn|Broyles|2004}}{{sfn|Hewett|2007}} [[The Beatles]] included his face on the cover of ''[[Sgt. Pepper's Lonely Hearts Club Band]]''.{{sfn|Guy and Llewelyn-Jones|2004|loc=111}} In particular, "[[A Day in the Life]]" (1967) and "[[Revolution 9]]" (1968) were influenced by Stockhausen's electronic music.{{sfn|Aldgate, Chapman, and Marwick|2000|loc=146}}{{sfn|MacDonald|1995|loc=233–234}} Stockhausen's name, and the perceived strangeness and supposed unlistenability of his music, was even a punchline in cartoons, as documented on a page on the official Stockhausen website ([http://www.stockhausen.org/cartoons.html Stockhausen Cartoons]). Perhaps the most caustic remark about Stockhausen was attributed to Sir [[Thomas Beecham]]. Asked "Have you heard any Stockhausen?", he is alleged to have replied, "No, but I believe I have trodden in some".{{sfn|Lebrecht|1985|loc=334, annotated on 366: "Apocryphal; source unknown"}}
 
Stockhausen's fame is also reflected in works of literature. For example, he is mentioned in [[Philip K. Dick]]'s 1974 novel ''[[Flow My Tears, the Policeman Said]]'',{{sfn|Dick|1993|loc=101}} and in [[Thomas Pynchon]]'s 1966 novel ''[[The Crying of Lot 49]]''. The Pynchon novel features "The Scope", a bar with "a strict electronic music policy". Protagonist Oedipa Maas asks "a hip graybeard" about a "sudden chorus of whoops and yibbles" coming out of "a kind of jukebox." He replies, "That's by Stockhausen ... the early crowd tends to dig your Radio Cologne sound. Later on we really swing".{{sfn|Pynchon|1999|loc=34}}
 
The French writer [[Michel Butor]] acknowledges that Stockhausen's music "taught me a lot", mentioning in particular the electronic works ''Gesang der Jünglinge'' and ''Hymnen''.{{sfn|Santschi|1982|loc=204}}
 
Later in his life, Stockhausen was portrayed by at least one journalist, John O'Mahony of the ''Guardian'' newspaper, as an eccentric, for example being alleged to live an effectively [[Polygamy|polygamous]] lifestyle with two women, to whom O'Mahony referred as his "wives", while at the same time stating he was not married to either of them.{{sfn|O'Mahony|2001}} In the same article, O'Mahony says Stockhausen said he was born on a planet orbiting the star Sirius. In the German newspaper ''[[Die Zeit]]'', Stockhausen stated that he was educated at Sirius (see [[#Sirius star system|Sirius star system]] below).
 
In 1995, [[BBC Radio 3]] sent Stockhausen a package of recordings from contemporary [[techno]] and [[ambient music]] artists [[Aphex Twin]], [[Richie Hawtin]] (Plastikman), [[Robin Rimbaud|Scanner]] and [[Daniel Pemberton]], and asked him for his opinion on the music. In August of that year, Radio 3 reporter [[Richard Witts|Dick Witts]] interviewed Stockhausen about these pieces for a broadcast in October, called "The Technocrats" and asked what advice he would give these young musicians. Stockhausen made suggestions to each and they were then invited to respond. All but Plastikman obliged.{{sfn|Witts|1995a}}{{sfn|Witts|1995b}}
 
===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>
 
[[Igor Stravinsky]] expressed great, but not uncritical, enthusiasm for Stockhausen's music in the conversation books with [[Robert Craft]],<ref>E.g., {{harvnb|Craft and Stravinsky|1960|loc=118}}.</ref> and for years organised private listening sessions with friends in his home where he played tapes of Stockhausen's latest works.{{sfn|Stravinsky|1984|loc=356}}{{sfn|Craft|2002|loc=141}} In an interview published in March 1968, however, he says of an unidentified person, <blockquote>I have been listening all week to the piano music of a composer now greatly esteemed for his ability to stay an hour or so ahead of his time, but I find the alternation of note-clumps and silences of which it consists more monotonous than the foursquares of the dullest eighteenth-century music.{{sfn|[Craft]|1968|loc=4}}</blockquote> The following October, a report in ''Sovetskaia Muzyka''{{sfn|Anon.|1968}} translated this sentence (and a few others from the same article) into Russian, substituting for the conjunction "but" the phrase "Ia imeiu v vidu Karlkheintsa Shtokkhauzena" ("I am referring to Karlheinz Stockhausen"). When this translation was quoted in Druskin's Stravinsky biography, the field was widened to ''all'' of Stockhausen's compositions and Druskin adds for good measure, "indeed, works he calls unnecessary, useless and uninteresting", again quoting from the same ''Sovetskaia Muzyka'' article, even though it had made plain that the characterization was of American "university composers".{{sfn|Druskin|1974|loc=207}}
 
===Controversy===
Throughout his career, Stockhausen excited controversy. One reason for this is that his music displays high expectations about "shaping and transforming the world, about the truth of life and of reality, about the creative departure into a future determined by spirit", so that Stockhausen's work "like no other in the history of new music, has a polarizing effect, arouses passion, and provokes drastic opposition, even hatred".{{sfn|Ulrich|2001|loc=25}} Another reason was acknowledged by Stockhausen himself in a reply to a question during an interview on the [[Bayerischer Rundfunk|Bavarian Radio]] on 4 September 1960, reprinted as a foreword to his first collection of writings: {{blockquote|I have often been reproached—especially recently—for being too candid, and through this making not a few enemies for myself—being undiplomatic. ... It must be admitted: I am not gifted as an esotericist, not as a mystic or a hermit, and not as a diplomat; it corresponds that my love of my fellow humans expresses itself in candour ... I hope my enemies will not on this account destroy me; I also hope my enemies find forms of retort that I can find richly fanciful, witty, pertinent, instructive—that grant me respect through a noble and truly humane form of enmity.{{sfn|Stockhausen ''Texte''|loc=1:12–13}}}}
After the [[Protests of 1968|student revolts in 1968]], musical life in Germany became highly politicized, and Stockhausen found himself a target for criticism, especially from the leftist camp who wanted music "in the service of the class struggle". [[Cornelius Cardew]] and [[Konrad Boehmer]] denounced their former teacher as a "servant of capitalism". In a climate where music mattered less than political ideology, some critics held that Stockhausen was too élitist, while others complained he was too mystical.{{sfn|Kurtz|1992|loc=188–189}}
 
====Scandal at the ''Fresco'' premiere====
{{Main|Fresco (Stockhausen)}}
As reported in the German magazine ''[[Der Spiegel]]'', the [[première]] (and only performance to date) on 15 November 1969 of Stockhausen's work ''[[Fresco (Stockhausen)|Fresco]]'' for four orchestral groups (playing in four different locations) was the scene of a scandal. The rehearsals were already marked by objections from the orchestral musicians questioning such directions as "glissandos no faster than one octave per minute" and others phoning the artists' union to clarify whether they really had to perform the Stockhausen work as part of the orchestra. In the backstage warm-up room at the premiere a hand-lettered sign could be seen saying: "We're playing, otherwise we would be fired". During the première the parts on some music stands suddenly were replaced by placards reading things like "Stockhausen-Zoo. Please don't feed", that someone had planted. Some musicians, fed up with the monkeyshines, left after an hour, though the performance was planned for four to five hours. Stockhausen fans protested, while Stockhausen foes were needling the musicians asking: "How can you possibly participate in such crap?" ("Wie könnt ihr bloß so eine Scheiße machen!"). At one point someone managed to switch off the stand lights, leaving the musicians in the dark. After 260 minutes the performance ended with no-one participating any longer.{{sfn|Anon.|1969}}
 
====Sirius star system====
In an obituary in the German newspaper ''[[Die Zeit]]'', Karlheinz Stockhausen was quoted as having said: "I was educated at [[Sirius]] and want to return to there, although I am still living in Kürten near Cologne."{{sfn|Reier|2007}} On hearing about this, conductor [[Michael Gielen]] stated: "When he said he knew what was happening at Sirius, I turned away from him in horror. I haven't listened to a note since." He called Stockhausen's statements "hubris" and "nonsense", while at the same time defending his own belief in [[astrology]]: "Why should these large celestial bodies exist if they do not stand for something? I cannot imagine that there is anything senseless in the universe. There is much we do not understand".{{sfn|Hagedorn|2010}}
 
====11 September attacks====
In a press conference in [[Hamburg]] on 16 September 2001, Stockhausen was asked by a journalist whether the characters in ''Licht'' were for him "merely some figures out of a common cultural history" or rather "material appearances". Stockhausen replied, "I pray daily to Michael, but not to Lucifer. I have renounced him. But he is very much present, like in New York recently."{{sfn|Stockhausen|2002|loc=76}} The same journalist then asked how the [[September 11 attacks|events of 11 September]] had affected him, and how he viewed reports of the attack in connection with the harmony of humanity represented in ''[[Hymnen]]''. He answered:<blockquote>Well, what happened there is, of course—now all of you must adjust your brains—the biggest work of art there has ever been. The fact that spirits achieve with one act something which we in music could never dream of, that people practise ten years madly, fanatically for a concert. And then die. [Hesitantly.] And that is the greatest work of art that exists for the whole Cosmos. Just imagine what happened there. There are people who are so concentrated on this single performance, and then five thousand people are driven to Resurrection. In one moment. I couldn't do that. Compared to that, we are nothing, as composers. [...] It is a crime, you know of course, because the people did not agree to it. They did not come to the "concert". That is obvious. And nobody had told them: "You could be killed in the process."{{sfn|Stockhausen|2002|loc=76–77}}</blockquote>
 
As a result of the reaction to the press report of Stockhausen's comments, a four-day festival of his work in Hamburg was cancelled. In addition, his pianist daughter announced to the press that she would no longer appear under the name "Stockhausen".{{sfn|Lentricchia and McAuliffe|2003|loc=7}} In a subsequent message, he stated that the press had published "false, defamatory reports" about his comments, and said:
 
<blockquote>At the press conference in Hamburg, I was asked if Michael, Eve and Lucifer were historical figures of the past and I answered that they exist now, for example Lucifer in New York. In my work, I have defined Lucifer as the cosmic spirit of rebellion, of anarchy. He uses his high degree of intelligence to destroy creation. He does not know love. After further questions about the events in America, I said that such a plan appeared to be Lucifer's greatest work of art. Of course I used the designation "work of art" to mean the work of destruction personified in Lucifer. In the context of my other comments this was unequivocal.{{sfn|Stockhausen|2001a}}</blockquote>
 
==Honours==
[[File:Edisons1969.jpg|thumb|Stockhausen, [[Anneliese Rothenberger]] and [[Edo de Waart]] (1969)]]
[[File:Kürten - altes Rathaus 01 ies.jpg|thumb|Karlheinz-Stockhausen-Platz and the Altes Rathaus in Kürten]]
Amongst the numerous honours and distinctions that were bestowed upon Stockhausen are:
* 1964 German gramophone critics award;{{sfn|Akademie der Künste|n.d.}}
* 1966 and 1972 SIMC award for orchestral works (Italy);{{sfn|Akademie der Künste|n.d.}}
* 1968 Grand Art Prize for Music of the State of North Rhine-Westphalia;{{sfn|Akademie der Künste|n.d.}} [[Grand Prix du Disque]] (France);{{sfn|Akademie der Künste|n.d.}} Member of the Free Academy of the Arts, Hamburg;<ref name=biography>{{cite web |url=http://www.karlheinzstockhausen.org/karlheinz_stockhausen_short_biography_english.htm |title=Karlheinz Stockhausen: Short Biography}}</ref>
* 1968, 1969, and 1971 [[Edison Award|Edison Prize]] (Netherlands);{{sfn|Akademie der Künste|n.d.}}
* 1970 Member of the [[Royal Swedish Academy of Music]];<ref name=biography />
* 1973 Member of the [[Academy of Arts, Berlin]];{{sfn|Akademie der Künste|n.d.}}
* 1974 [[Federal Cross of Merit]], 1st class (Germany);{{sfn|Akademie der Künste|n.d.}}
* 1977 Member of the [[Accademia Filarmonica Romana|Philharmonic Academy of Rome]];<ref name=biography />
* 1979 Honorary Member of the [[American Academy of Arts and Letters|American Academy and Institute of Arts and Letters]];{{sfn|American Academy of Arts and Letters|n.d.}}
* 1980 Member of the {{ill|European Academy of Science, Arts and Letters|fr|Académie européenne des sciences, des arts et des lettres}};<ref name=biography />
* 1981 Prize of the Italian music critics for ''Donnerstag aus Licht'';{{sfn|Akademie der Künste|n.d.}}
* 1982 German gramophone prize (German Phonograph Academy);{{sfn|Akademie der Künste|n.d.}}
* 1983 Diapason d'or (France) for ''Donnerstag aus Licht'';<ref name=biography />
* 1985 [[Ordre des Arts et des Lettres|Commandeur de l'Ordre des Arts et des Lettres]] (France);<ref name=biography />
* 1986 [[Ernst von Siemens Music Prize]];{{sfn|Ernst von Siemens Music Foundation|n.d.}}{{sfn|Akademie der Künste|n.d.}}
* 1987 Honorary Member of the [[Royal Academy of Music]], London;<ref name=biography />
* 1988 Honorary Citizen of the Kuerten community;<ref>[https://web.archive.org/web/20081210170305/http://www.kuerten.de/die_gemeinde/stockhausen/more/stockhausen.htm Gemeinde Kürten website (archive from 10 December 2008; accessed 18 March 2016)]</ref>
* 1989 Honorary Member of the [[American Academy of Arts and Sciences]];{{sfn|American Academy of Arts & Sciences|2018|loc=575}}
* 1990 [[Prix Ars Electronica]], Linz, Austria;{{sfn|Ars Electronica|2017}}{{sfn|Akademie der Künste|n.d.}}
* 1991 Honorary Fellow of the Royal Irish Academy of Music; Accademico Onorario of the Accademia Nazionale di Santa Caecilia, Rome; Honorary Patron of Sound Projects Weimar;
* 1992 [[International Music Council|IMC-UNESCO]] Picasso Medal;{{sfn|Akademie der Künste|n.d.}} Distinguished Service Medal of the German state North Rhine-Westphalia;{{sfn|Akademie der Künste|n.d.}} German Music Publishers Society Award for the score of ''Luzifers Tanz'' (3rd scene of ''Saturday from Light'');{{sfn|Akademie der Künste|n.d.}}
* 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 Prize of the Free 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 />
* 1999 Entry in the Golden Book of the city of Cologne;{{sfn|Akademie der Künste|n.d.}}
* 2000 German Music Publishers Society Award for the score of ''Evas Erstgeburt'' (act 1 of ''Monday from Light'');{{sfn|Akademie der Künste|n.d.}}
* 2000–2001 The film ''In Absentia'' made by the [[Brothers Quay|Quay Brothers]] (England) to concrete and electronic music by Karlheinz Stockhausen won the Golden Dove (first prize) at the International Festival for Animated Film in Leipzig. More awards: Special Jury Mention, Montreal, FCMM 2000; Special Jury Award, Tampere 2000; Special Mention, Golden Prague Awards 2001; Honorary Diploma Award, Cracow 2001; Best Animated Short Film, 50th Melbourne International Film Festival 2001; Grand Prix, Turku Finland 2001;{{sfn|Akademie der Künste|n.d.}}
* 2001 German Music Publishers Society Award for the score ''Helicopter String Quartet'' (third scene of ''Wednesday from Light'');{{sfn|Akademie der Künste|n.d.}} [[Polar Music Prize]] of the Royal Swedish Academy of the Arts;{{sfn|Akademie der Künste|n.d.}}
* 2002 Honorary Patron of the [[Sonic Arts Network]], England;<ref name=biography />
* 2003 German Music Publishers Society Award for the score of ''Michaelion'' (4th scene of ''Wednesday from Light'');<ref name=biography />
* 2004 Associated member of the Academie Royale des Sciences, des Lettres & des Beaux-arts (Belgium);<ref name=biography /> Honorary doctorate (Dr. phil. h. c.) of the Queen's University in Belfast;<ref name=biography /> German Music Publishers Society Award for the score of ''Stop and Start'' for 6 instrumental groups;{{sfn|Deutscher Musikeditionspreis|2004–2007}}
* 2005 German Music Publishers Society Award for the score of ''Hoch-Zeiten'' for choir (fifth scene of ''Sunday from Light'');{{sfn|Deutscher Musikeditionspreis|2004–2007}}
* 2006 Honorary member of the [[Philharmonic Academy of Bologna|Accademia Filarmonica di Bologna]];<ref name=biography />
* 2008 On 22 August, Stockhausen's birthday, the Rathausplatz in his home town of Kürten was renamed Karlheinz-Stockhausen-Platz in his honour;{{sfn|Bäumer|2008}}
* 2008 On 10 October, the Studio for Electronic Music of the [[Royal Conservatory of The Hague]] in the Netherlands changed its name to Karlheinz Stockhausen Studio;{{sfn|Freckmann|2014}}{{sfn|Zamboni|2020}}
* 2009 German Music Publishers Society Award for the score of ''Momente'' for solo soprano, four choral groups, and 13 instrumentalists;{{sfn|Deutscher Musikeditionspreis|2009}}
* 2010 The municipality of Kürten adopts the designation "Stockhausengemeinde" (Stockhausen municipality) in honour of the late composer.{{sfn|Landschoof|2010}}
 
==Notable students==
{{For LMST|Karlheinz|Stockhausen}}
 
==References==
===Citations===
{{reflist|20em}}
 
===Sources===
{{div col|colwidth=45em}}
{{refbegin}}
* {{wikicite|ref={{harvid|Aita|2001}}|reference=Aita, Roberto. 2001. "[http://www.horschamp.qc.ca/new_offscreen/quay_italian.html Brothers Quay: ''In Absentia'']". ''OffScreen'' (30 September). English translation by Donato Totaro [http://www.horschamp.qc.ca/new_offscreen/quay.html under the same title here].}}
* {{wikicite|ref={{harvid|Akademie der Künste|n.d.}}|reference=Akademie der Künste. n.d. "[https://www.adk.de/de/akademie/mitglieder/suche.htm?we_objectID=52666 Musik—Mitglieder: Karlheinz Stockhausen, Komponist, Musiktheoretiker, Dirigent]". Berlin: [[Akademie der Künste]] (accessed 20 August 2018).}}
* {{wikicite|ref={{harvid|Aldgate, Chapman, and Marwick|2000}}|reference=Aldgate, Anthony, James Chapman, and Arthur Marwick. 2000. ''Windows on the Sixties: Exploring Key Texts of Media and Culture''. London and New York: I. B. Taurus. {{ISBN|978-1-86064-383-5}}.}}
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* {{wikicite|ref={{harvid|Maconie|1989}}|reference=Maconie, Robin. 1989. "Afterword: Beauty and Necessity". In Karlheinz Stockhausen, ''Stockhausen on Music: Lectures and Interviews'', edited by Robin Maconie. London and New York: Marion Boyars.}}
* {{wikicite|ref={{harvid|Maconie|1990}}|reference=Maconie, Robin. 1990. ''The Works of Karlheinz Stockhausen'', second edition. Oxford: Clarendon Press. {{ISBN|978-0-19-315477-3}}.}}
* {{wikicite|ref={{harvid|Maconie|2005}}|reference=Maconie, Robin. 2005. ''Other Planets: The Music of Karlheinz Stockhausen''. Lanham, Maryland, Toronto, Oxford: The Scarecrow Press, Inc. {{ISBN|978-0-8108-5356-0}}.}}
* {{wikicite|ref={{harvid|Morawska-Büngeler|1988}}|reference=Morawska-Büngeler, Marietta. 1988. ''Schwingende Elektronen: Eine Dokumentation über das [[Studio for Electronic Music (WDR)|Studio für elektronische Musik (Köln) des Westdeutschen Rundfunks in Köln]], 1951–1986''. Köln-Rodenkirchen: P. J. Tonger Musikverlag.}}
* {{wikicite|ref={{harvid|Morgan|1975}}|reference=Morgan, Robert. 1975. "Stockhausen's Writings on Music". ''[[The Musical Quarterly]]'' 61, no. 1 (January): 1–16. Reprinted in ''The Musical Quarterly'' 75, no. 4 (Winter 1991): 194–206.}}
* {{wikicite|ref={{harvid|Moritz|2005}}|reference=Moritz, Albrecht. 2005. "[http://home.earthlink.net/~almoritz/lichterwasser.htm Stockhausen: LICHTER-WASSER (LIGHTS-WATERS), 1998–99]". (Record review)}}
* {{wikicite|ref={{harvid|Neidhöfer|2005}}|reference=Neidhöfer, Christoph. 2005. "Joseph N. Straus. Stravinsky's Late Music". ''Music Theory Spectrum'' 27:336–53.}}
* {{wikicite|ref={{harvid|Nordin|2004}}|reference=Nordin, Ingvar Loco. 2004. "[http://www.sonoloco.com/rev/mode/modeframes.html George Crumb, ''Makrokosmos'' Books 1 and 2: 24 Fantasy Pieces after the Zodiac for Amplified Piano: Margaret Leng Tan (amplified piano)—Alex Nowitz (whistling). Mode 142]". (Accessed 7 April 2008) Also found at [http://www.moderecords.com/catalog/142crumb.html Mode Records website].}}
* {{wikicite|ref={{harvid|O'Mahony|2001}}|reference=O'Mahony, John. 2001. "[https://www.theguardian.com/education/2001/sep/29/arts.highereducation3 The Sound of Discord]". ''[[The Guardian]]'' (29 September) (Accessed 8 May 2011).}}
* {{wikicite|ref={{harvid|Pace|1996}}|reference=Pace, Ian. 1996. "'Secret Theatres': The Harrison Birtwistle Retrospective, 12 April – 4 May 1996". ''[[Tempo (journal)|Tempo]]'', new series, no. 197. (July): 25–27.}}
* {{wikicite|ref={{harvid|Perle|1960}}|reference=[[George Perle|Perle, George]]. 1960. "Book Review: ''Die Reihe III: Musical Craftsmanship''". ''[[Journal of Music Theory]]'' 4, no. 1 (April): 102–104.}}
* {{wikicite|ref={{harvid|Peters|1992}}|reference=Peters, Günter. 1992. "Meditations Modulated: H. Heissenbüttel's 'Einfache Grammatische Meditationen' in K. Stockhausen's ''Mikrophonie II''". In ''German Literature and Music—An Aesthetic Fusion: 1890–1989'', edited by C. Reschke and H. Pollock, Houston Germanic Studies 8, 247–261. Munich: Wilhelm Fink Verlag. Revised German edition 1993: "Die ringmodulierte Meditation: Helmut Heissenbüttels 'Einfache grammatische Meditationen' in Karlheinz Stockhausens ''Mikrophonie II''." In ''Musik-Konzepte 81: Autoren-Musik. Sprache im Grenzbereich der Künste'', 16–40. Munich: Edition Text+Kritik. Reprinted in Peters 2003, 27–62 (German) and 163–198 (English).}}
* {{wikicite|ref={{harvid|Peters|2003}}|reference=Peters, Günter. 2003. ''Heiliger Ernst im Spiel—Texte zur Musik von Karlheinz Stockhausen'' / ''Holy Seriousness in the Play—Essays on the Music of Karlheinz Stockhausen'' (bilingual edition, German and English). Kürten: Stockhausen-Stiftung für Musik. {{ISBN|978-3-00-009182-7}}.}}
* {{wikicite|ref={{harvid|Power|1990}}|reference=Power, David. 1990. "Book Reviews: ''Towards a Cosmic Music'', Karlheinz Stockhausen; Tim Nevill". ''Tempo'', new series, no. 175. (December): 30–31.}}
* {{wikicite|ref={{harvid|Prendergast|2000}}|reference=Prendergast, Mark. 2000. ''The Ambient Century: From Mahler to Trance: The Evolution of Sound in the Electronic Age''. London and New York: Bloomsbury Publishing. {{ISBN|978-1-58234-134-7}} (London); {{ISBN|978-0-7475-4213-1}} (New York).}}
* {{wikicite|ref={{harvid|Pynchon|1999}}|reference=[[Thomas Pynchon|Pynchon, Thomas]]. 1999. ''The Crying of Lot 49'' New York: HarperPerennial.}}
* {{wikicite|ref={{harvid|Radano|1993}}|reference=Radano, Ronald M. 1993. ''New Musical Figurations: Anthony Braxton's Cultural Critique'' Chicago: University of Chicago Press.}}
* {{wikicite|ref={{harvid|Rathert|2013}}|reference=Rathert, Wolfgang. 2013. "Stockhausen, Karlheinz". ''[[Neue Deutsche Biographie]]'', edited by the Historical Committee at the [[Bavarian Academy of Sciences and Humanities]], vol. 25 (Stadion–Tecklenborg). Berlin: Duncker und Humblot. {{ISBN|978-3-428-11206-7}} (cloth); {{ISBN|978-3-428-11294-4}} (leather).}}
* {{wikicite|ref={{harvid|Reier|2007}}|reference=Reier, Sebastian. 2007. "[http://www.zeit.de/online/2007/50/stockhausen-nachruf/komplettansicht Im Rhythmus der Sterne]". ''[[Die Zeit]]'' (9 December).}}
* {{wikicite|ref={{harvid|Ritzel|1970}}|reference=Ritzel, Fred. 1970. ''Musik für ein Haus: Kompositionsstudio Karlheinz Stockhausen, Internationale Ferienkurse für Neue Musik, Darmstadt 1968''. Darmstädter Beiträge zur Neuen Musik 12, edited by Ernst Thomas. Mainz: B. Schott's Söhne.}}
* {{wikicite|ref={{harvid|Ross|2004}}|reference=[[Alex Ross (music critic)|Ross, Alex]]. 2004. "[https://web.archive.org/web/20080419153951/http://www.therestisnoise.com/2004/10/alex_ross_bjrk.html Björk's Saga]". ''[[The New Yorker]]'' 80, no. 23 (23 August): 49–53, 55–59 (archive from 19 April 2008; accessed 18 March 2016).}}
* {{wikicite|ref={{harvid|Sabbe|1981}}|reference=Sabbe, Herman. 1981. "Die Einheit der Stockhausen-Zeit ...: Neue Erkenntnismöglichkeiten der seriellen Entwicklung anhand des frühen Wirkens von Stockhausen und Goeyvaerts. Dargestellt aufgrund der Briefe Stockhausens an Goevaerts". In ''Musik-Konzepte 19: Karlheinz Stockhausen: ... wie die Zeit verging ...'', edited by Heinz-Klaus Metzger and Rainer Riehn, 5–96. Munich: Edition Text + Kritik.}}
* {{wikicite|ref={{harvid|Santschi|1982}}|reference=Santschi, Madeleine. 1982. ''Voyage avec Michel Butor''. Lausanne: Éditions L'Age d'Homme.}}
* {{wikicite|ref={{harvid|Schönberger|2001}}|reference=Schönberger, Elmer. 2001. "Andriessen: (4) Louis Andriessen". ''The New Grove Dictionary of Music and Musicians'', edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers.}}
* {{wikicite|ref={{harvid|Schwartz, Childs, and Fox|1998}}|reference=[[Elliott Schwartz|Schwartz, Elliott]], and [[Barney Childs]], with [[Jim Fox (composer)|Jim Fox]]. 1998. ''Contemporary Composers on Contemporary Music''. Expanded edition. New York: Da Capo Press. {{ISBN|978-0-306-80819-7}}.}}
* {{wikicite|ref={{harvid|Skowron|1981}}|reference=Skowron, Zbigniew. 1981. "Muzyka elektroniczna Karlheinza Stockhausena. Okres prób i doswiadczen" [Karlheinz Stockhausen's electronic music. A period of trials and experiences]. ''Muzyka: Kwartalnik Instytutu Sztuki Polskiej Akademii Nauk'' 26, nos. 3–4:17–40.}}
* {{wikicite|ref={{harvid|C. Stockhausen|1978}}|reference=Stockhausen, Christel. 1978. "Stockhausens ''Tierkreis'': Einführung und Hinweise zur praktischen Aufführung." ''Melos'' 45/''[[Neue Zeitschrift für Musik]]'' 139 (July/August): 283–287. Reprinted together with an English translation as "Stockhausen's ZODIAC, Introduction and Instructions for Performance Practice", in a booklet now included with the score of ''Tierkreis''.}}
* {{wikicite|ref={{harvid|Stockhausen ''Texte''}}|reference=Stockhausen, Karlheinz. 1963–2014 ''Texte zur Musik''. {{OCLC|6571675}} 17 vols. Vols. 1–3 edited by [[Dieter Schnebel]]; vols. 4–10 edited by [[Christoph von Blumröder]]. Vols. 1–3, Cologne: Verlag M. DuMont Schauberg (1963, 1964, 1971); vols. 4–6 DuMont Buchverlag (1978, 1989, 1989). Vols. 7–10 Kürten: Stockhausen-Verlag (1998). Vols. 11–17 Kürten: Stockhausen-Verlag (2014). English edition, as ''Texts on Music'', edited by [[Jerome Kohl]], with translations by Jerome Kohl, [[Richard Toop]], Tim Nevill, [[Suzanne Stephens]], et al. Kürten: Stockhausen-Verlag, in preparation.}}
* {{wikicite|ref={{harvid|Stockhausen|1962}}|reference=Stockhausen, Karlheinz. 1962. "The Concept of Unity in Electronic Music". Translated by Elaine Barkin. ''[[Perspectives of New Music]]'' 1, no. 1 (Autumn): 39–48.}}
* {{wikicite|ref={{harvid|Stockhausen|1989a}}|reference=Stockhausen, Karlheinz. 1989a. ''Stockhausen on Music: Lectures and Interviews'', edited by Robin Maconie. London and New York: Marion Boyars. {{ISBN|978-0-7145-2887-8}} (cloth) {{ISBN|978-0-7145-2918-9}} (pbk).}}
* {{wikicite|ref={{harvid|Stockhausen|1989b}}|reference=Stockhausen, Karlheinz. 1989b. ''Towards a Cosmic Music''. Texts selected and translated by Tim Nevill. Shaftsbury: Element Books. {{ISBN|978-1-85230-084-5}}.}}
* {{wikicite|ref={{harvid|Stockhausen|1996a}}|reference=Stockhausen, Karlheinz. 1996a. "Electroacoustic Performance Practice". ''[[Perspectives of New Music]]'' 34, no. 1 (Fall): 74–105.}}
* {{wikicite|ref={{harvid|Stockhausen|1996b}}|reference=Stockhausen, Karlheinz. 1996b. "Kino-Bilder". In ''Bilder vom Kino: Literarische Kabinettstücke'', edited by Wolfram Schütte, 138–140. Frankfurt am Main: Suhrkamp Verlag.}}
* {{wikicite|ref={{harvid|Stockhausen|1996c}}|reference=Stockhausen, Karlheinz. 1996c. "Helikopter-Streichquartett". ''Grand Street'' 14, no. 4 (Spring, "Grand Street 56: Dreams"):213–225. {{ISBN|978-1-885490-07-0}}. Online [https://web.archive.org/web/20141117125904/http://www.stockhausen.org/helicopter_intro.html Variant of this text] (some omissions, some supplements, different illustrations).}}
* {{wikicite|ref={{harvid|Stockhausen|1999}}|reference=Stockhausen, Karlheinz. 1999. ''Stockhausen-Kurse Kürten 1999: Kompositions-Kurs: Skizzen von'' Welt-Parlament'' (1995) für Chor a cappella (mit singenden Dirigenten/Klangregisseur (1. Szene vom Mittwoch aus Licht)''. Kürten: Stockhausen-Verlag.}}
* {{wikicite|ref={{harvid|Stockhausen|2001a}}|reference=Stockhausen, Karlheinz. 2001a. "[http://www.stockhausen.org/message_from_karlheinz.html Message from Professor Karlheinz Stockhausen]" (Accessed 27 December 2007).}}
* {{wikicite|ref={{harvid|Stockhausen|2001b}}|reference=Stockhausen, Karlheinz. 2001b. ''Stockhausen Courses Kürten 2001: Composition Course on'' Lights-Waters (Sunday Greeting)'' for Soprano, Tenor, and orchestra with synthesizer (1999)''. Kürten: Stockhausen-Verlag.}}
* {{wikicite|ref={{harvid|Stockhausen|2002}}|reference=Stockhausen, Karlheinz. 2002. "[http://www.stockhausen.org/hamburg.pdf "Huuuh!" Das Pressegespräch am 16. September 2001 im Senatszimmer des Hotel Atlantic in Hamburg]". ''MusikTexte'' no. 91:69–77.}}
* {{wikicite|ref={{harvid|Stockhausen|2003}}|reference=Stockhausen, Karlheinz. 2003. ''Stockhausen Courses Kürten 2003: Composition Course on'' Hoch-Zeiten (of Sunday from Light)'' for Choir (2001/02)''. Kürten: Stockhausen-Verlag.}}
* {{wikicite|ref={{harvid|Stockhausen|2004}}|reference=Stockhausen, Karlheinz. 2004. "Electronic and Instrumental Music", translated by [[Jerome Kohl]], with [[Suzanne Stephens]] and John McGuire. In ''Audio Culture: Readings in Modern Music'', edited by Christoph Cox and Daniel Warner, 370–380. New York: Continuum. {{ISBN|978-0-8264-1614-8}}; {{ISBN|978-0-8264-1615-5}}.}}
* {{wikicite|ref={{harvid|Stockhausen|2007a}}|reference=Stockhausen, Karlheinz. 2007a. "[http://www.stockhausen.org/cosmic_pulses_prog.pdf ''Cosmic Pulses'': Electronic Music]." (Accessed 30 March 2008) In programme book for the world première. Rome (8 May). Slightly expanded version in ''2007 Stockhausen-Kurse Kürten: Programm zu den Interpretations- und Kompositionskursen und Konzerten der Musik von / Programme for the Interpretation and Composition Courses and Concerts of the Music of Karlheinz Stockhausen, 7. Juli bis 15. Juli 2007 in Kürten / from {{sic|July| 7|hide=y}}<!-- hide from bots -->th<!--NB: This date format is the way it is printed on the title page of the book, never mind what Wikipedia date formats are. Please do not change.--> to 15th<!--NB: This date format is how it is printed on the title page of the book, never mind what Wikipedia date formats are. Please do not change.--> 2007 in Kuerten'', notes for the German première on 13 July 2007, pp.&nbsp;22 (German text) and 40 (English text), with illustrations divided between those pages and the programme cover. Kürten: Stockhausen-Verlag.}}
* {{wikicite|ref={{harvid|Stockhausen|2009}}|reference=Stockhausen, Karlheinz. 2009. ''Kompositorische Grundlagen Neuer Musik: Sechs Seminare für die Darmstädter Ferienkurse 1970'', edited by Imke Misch. Kürten: Stockhausen-Stiftung für Musik. {{ISBN|978-3-00-027313-1}}.}}
* {{wikicite|ref={{harvid|Stockhausen, Conen, and Hennlich|1989}}|reference=Stockhausen, Karlheinz, Hermann Conen, and Jochen Hennlich. 1989. "Before and After ''Samstag aus Licht'': Conversation of 24 May 1984, in Milan." Translated by Karin von Abrams. ''Contemporary Music Review'' 5, no. 1:267–297.}}
* {{wikicite|ref={{harvid|M. Stockhausen|1998}}|reference=[[Markus Stockhausen|Stockhausen, Markus]]. 1998. "Markus Stockhausen plays Karlheinz Stockhausen", notes on pp.&nbsp;13–17 of booklet to CD recording, ''Markus Stockhausen plays Karlheinz Stockhausen: Aries, In Freundschaft, Halt, Pietà''. EMI Classics 7243 5 56645 2 5.}}
* {{wikicite|ref={{harvid|Stockhausen-Stiftung|2007}}|reference=Stockhausen-Stiftung. 2007. ''[http://www.stockhausen.org/2007_performances_update.pdf Stockhausen Aufführungen/Performances 2007]''. Kürten: Stockhausen-Stiftung.}}
* {{wikicite|ref={{harvid|Stockhausen-Verlag|2010}}|reference=Stockhausen-Verlag. 2010. ''Stockhausen {{sic|August| 22|hide=y}}<!-- hide from bots -->nd<!--NB: This date format is the way it is printed on the title page of the book, never mind what Wikipedia date formats are. Please do not change.--> 1928 – 5 December 5<!-- hide from bots -->th<!--NB: This date format is the way it is printed on the title page of the book, never mind what Wikipedia date formats are. Please do not change.--> 2007'', English edition of brochure with official worklist and list of CDs. Kürten: Stockhausen-Verlag. [http://www.karlheinzstockhausen.org/complete_list_of_works_english.htm Online version.]}}
* {{wikicite|ref={{harvid|Stravinsky|1984}}|reference=[[Igor Stravinsky|Stravinsky, Igor]]. 1984. ''Selected Correspondence'', vol. 2. Edited and with commentaries by [[Robert Craft]]. New York: Alfred A. Knopf.}}
* {{wikicite|ref={{harvid|Stravinsky and Craft|1980}}|reference=Stravinsky, Igor, and Robert Craft. 1980. ''Conversations with Stravinsky''. Berkeley and Los Angeles: University of California Press. {{ISBN|978-0-520-04040-3}} (Reprint of the 1959 Doubleday edition).}}
* {{wikicite|ref={{harvid|Tannenbaum|1987}}|reference=Tannenbaum, Mya. 1987. ''Conversations with Stockhausen'', translated from the Italian by David Butchart. Oxford: Clarendon Press; New York: Oxford University Press. {{ISBN|978-0-19-315467-4}}.}}
* {{wikicite|ref={{harvid|Toop|1998}}|reference=[[Toop, Richard]]. 1998. "Mondrian, Fibonacci ... und Stockhausen: Mass und Zahl in ''Adieu''". ''[[Neue Zeitschrift für Musik]]'' 159, no. 4 (July–August): 31–35.}}
* {{wikicite|ref={{harvid|Toop|2001}}|reference=Toop, Richard. 2001. "Karlheinz Stockhausen". ''[[The New Grove Dictionary of Music and Musicians]]'', second edition, edited by [[Stanley Sadie]] and [[John Tyrrell (musicologist)|John Tyrrell]]. London: Macmillan Publishers.}}
* {{wikicite|ref={{harvid|Toop|2005}}|reference=Toop, Richard. 2005. ''Six Lectures from the Stockhausen Courses Kürten 2002''. Stockhausen-Verlag. {{ISBN|978-3-00-016185-8}}.}}
* {{wikicite|ref={{harvid|Tsahar|2006}}|reference=[[Assif Tsahar|Tsahar, Assif]]. 2006. "Gentle Giant". ''[[Haaretz]]'' [Tel Aviv] (17 March).}}
* {{wikicite|ref={{harvid|Ulrich|2001}}|reference=Ulrich, Thomas. 2001. "Sternklang: Karlheinz Stockhausens astronische Musik". ''Positionen: Beiträge zur neuen Musik'' 46 (February): 25–28.}}
* {{wikicite|ref={{harvid|Williams|2006}}|reference=Williams, Alastair. 2006. "Swaying with Schumann: Subjectivity and Tradition in Wolfgang Rihm's ''Fremde Szenen'' I–III and Related Scores". ''[[Music & Letters]]'' 87, no. 3:379–397.}}
* {{wikicite|ref={{harvid|Witts|1995a}}|reference=[[Dick Witts|Witts, Dick]]. 1995. "[https://web.archive.org/web/20130529064851/https://www.thewire.co.uk/in-writing/interviews/karlheinz-stockhausen_advice-to-clever-children Karlheinz Stockhausen: Advice to Clever Children ...]". ''[[The Wire (magazine)|The Wire]]'', issue 141 (November) (archive from 29 May 2013, accessed 2 May 2017).}}
* {{cite news|last=Witts|first=Dick|url=https://www.independent.co.uk/arts-entertainment/techno-s-well-weird-grandad-1578997.html|title=Techno's 'well weird' grandad|date=23 October 1995|work=[[The Independent]]|ref={{harvid|Witts|1995b}}}}{{registration required}}
* {{wikicite|ref={{harvid|Wörner|1973}}|reference={{ill|Karl Heinrich Wörner|de|lt=Wörner, Karl Heinrich}}. 1973. ''Stockhausen: Life and Work''. Translated by [[Bill Hopkins (composer)|Bill Hopkins]]. Berkeley: University of California Press. {{ISBN|0520021436|9780520021433}}}}
* {{cite web|last=Zamboni|first=Sara|url=https://www.sarazambonimusic.com/news|title=Three presentations in the 'Stockhausen Analogue Studio'|date=January 2020}}
* {{cite web | url = https://lokhalle-mainz.de/fileadmin/user_upload/Ouvertuere_Rheingau_Musik_Festival_2017.pdf | title = Ouvertüre | publisher = [[Rheingau Musik Festival]] | date = 2017 | language = de | access-date = 24 February 2021 | ref = {{sfnref|Rheingau Musik Festival|2017}} | archive-date = 8 March 2022 | archive-url = https://web.archive.org/web/20220308012641/https://lokhalle-mainz.de/fileadmin/user_upload/Ouvertuere_Rheingau_Musik_Festival_2017.pdf | url-status = dead }}
{{refend}}
{{div col end}}
 
===Further reading===
{{div col|colwidth=45em}}
{{refbegin}}
* Adamenko, Victoria. 2007. ''Neo-mythologism in Music: From Scriabin and Schoenberg to Schnittke and Crumb''. Interplay Series 5. Hillsdale, New York: Pendragon Press. {{ISBN|978-1-57647-125-8}}.
* Anon. 2008. "Karlheinz Stockhausen—a Romantic Discovering the Universe" [radio transcript]. In ''Talking to Kinky and Karlheinz—170 musicians get vocal on The Music Show'', edited by Anni Heino, 283–291. Sydney: ABC Books. {{ISBN|978-0-7333-2008-8}}.
* Assis, Gustavo Oliveira Alfaix. 2011. ''Em busca do som: A música de Karlheinz Stockhausen nos anos 1950''. São Paulo: Editora UNESP. {{ISBN|978-85-393-0207-9}}.
* [[Richard Barrett (composer)|Barrett, Richard]]. 2012. "[http://richardbarrettmusic.com/Stockhausen2012.html Stockhausen Today and Tomorrow]". Revised version of a paper presented at the Festival of Light, University of Birmingham/Birmingham Conservatoire/mac Birmingham (20 August). Richardbarrettmusic.com (Accessed 11 September 2012).
* Bauer, Christian. 2008. ''Sacrificium intellectus: Das Opfer des Verstandes in der Kunst von Karlheinz Stockhausen, [[Botho Strauß]] und [[Anselm Kiefer]]''. Munich: Wilhelm Fink Verlag. {{ISBN|978-3-7705-4596-4}}.
* [[Mary Bauermeister|Bauermeister, Mary]]. 2011. ''Ich hänge im Triolengitter: Mein Leben mit Karlheinz Stockhausen''. Munich: Edition [[Elke Heidenreich]] bei C. Bertelsmann. {{ISBN|978-3-570-58024-0}}.
* Beaucage, Réjean. 2005. "[http://www.scena.org/lsm/sm11-3/Stockhausen_fr.htm Contact avec] / [http://www.scena.org/lsm/sm11-3/Stockhausen_en.htm Contact with Stockhausen]", English translation by [[Jane Brierley]]. [http://www.scena.org/pdf-files/SM11-3.pdf ''La Scena Musicale'' 11, no. 3] (November): 18–25.
* Beer, Roland de. 2008. "Magistraal klinkend in memoriam". ''[[De Volkskrant]]'' (21 June).
*Betsill, Daniel Joseph. 2007. [http://betsillworkshop.com/door.htm The Construction of Stockhausen's Heaven's Door].
* [[Christoph von Blumröder|Blumröder, Christoph von]]. 1993. ''Die Grundlegung der Musik Karlheinz Stockhausens''. Supplement to the ''[[Archiv für Musikwissenschaft]]'' 32, ed. [[Hans Heinrich Eggebrecht]]. Stuttgart: Franz Steiner Verlag.
*Blumröder, Christoph von. 2017. ''Die elektroakustische Musik: Eine kompositorische Revolution und ihre Folgen''. Signale aus Köln: Beiträge zur Musik der Zeit 22. Vienna; Verlag Der Apfel. {{isbn|978-3-85450-422-1}}.
*Bos, Christian. 2007. "[http://www.ksta.de/-synthesizer-sind-etwas-sinnliches--13154700 Synthesizer sind etwas Sinnliches]", ''[[Kölner Stadt-Anzeiger]]'' (28 November; accessed 5 April 2017).
* Bridoux-Michel, Séverine. 2006. "Architecture et musique: croisements de pensées après 1950 (la collaboration de l'architecte et du musicien, de la conception à l'oeuvre)". PhD diss., l'Université Charles de Gaulle–Lille.
* Brümmer, Ludger. 2008. "Stockhausen on Electronics, 2004". ''[[Computer Music Journal]]'' 32, no. 4:10–16.
* [[Cornelius Cardew|Cardew, Cornelius]]. 1974. ''Stockhausen Serves Imperialism''. London: Latimer New Directions. Reprinted in ''Cornelius Cardew (1936–1981) – A Reader'', edited by E Prévost. Harlow: Copula, 2006.
* Chaplygina, Marina. 1993. Карлхайнц Штокхаузен: когда-нибудь речь станет пением ["Karlheinz Stockhausen: Some Day Speech Will Become Singing" (interview)]. ''Музыкальная жизнь'' [Musical Life], nos. 15–16:24–26.
* Côté, Michel F. 2009. "Considérations en provenance de Sirius". ''Circuit: Musiques Contemporaines'' 19, no. 2:57–62.
*Covell, Grant Chu. 2000. "[http://www.lafolia.com/archive/covell/covell200011stockhausen.html Stockhausen Is Invisible] {{Webarchive|url=https://web.archive.org/web/20120219062652/http://www.lafolia.com/archive/covell/covell200011stockhausen.html |date=19 February 2012 }}". ''La Folia'' 3/1 (November).
*Covell, Grant Chu. 2007. "[http://www.lafolia.com/archive/covell/covell200704grubbygruppen.html Ferneyhough & Stockhausen: Grubby and Gruppen] {{Webarchive|url=https://web.archive.org/web/20120219062657/http://www.lafolia.com/archive/covell/covell200704grubbygruppen.html |date=19 February 2012 }}". ''La Folia'' (April).
* Custodis, Michael. 2004. ''Die soziale Isolation der neuen Musik: Zum Kölner Musikleben nach 1945''. Supplement to the ''Archiv für Musikwissenschaft'' 54, edited by [[Albrecht Riethmüller]], with Reinhold Brinkmann, [[Ludwig Finscher]], [[Hans-Joachim Hinrichsen]], [[Wolfgang Osthoff]], and [[Wolfram Steinbeck]]. Stuttgart: Franz Steiner Verlag. {{ISBN|978-3-515-08375-1}}.
* [[Paul Dirmeikis|Dirmeikis, Paul]]. 1999. ''Le Souffle du temps: Quodlibet pour Karlheinz Stockhausen''. [La Seyne-sur-Mer]: Éditions Telo Martius. {{ISBN|978-2-905023-37-7}}
*Dousson, Lambert. 2020. ''« La plus grande œuvre d'art pour le cosmos tout entier ». Stockhausen et le 11 septembre (Essai sur la musique et la violence)'', Paris, éditions MF, coll. « Répercussions », 2020, 240 p.
*Essl, Karlheinz. 1989. "[http://www.essl.at/bibliogr/stockhausen.html Aspekte des Seriellen bei Karlheinz Stockhausen]". First appeared in Lothar Knessl (Ed.) ''WIEN MODERN '89'': 90–97. Vienna.
* Feß, Eike. 2004. "Die Wirkung der Informationstheorie auf das Werk Karlheinz Stockhausens". In ''Kompositorische Stationen des 20. Jahrhunderts. Debussy, Webern, Messiaen, Boulez, Cage, Ligeti, Stockhausen, Höller, Bayle''. Signale aus Köln. Beiträge zur Musik der Zeit 7, edited by [[Christoph von Blumröder]], 116–128. Münster: Lit-Verlag, 2004. {{ISBN|978-3-8258-7212-0}}.
*Föllmer, Golo. [n.d.] "[http://www.medienkunstnetz.de/works/stockhausen-im-kugelauditorium Karlheinz Stockhausen: "Spherical Concert Hall"]" (Osaka World Expo, 1970). Medien Kunst Net / Media Art Net.
*Fox, Edward. 1993. "[https://www.newspapers.com/clip/51729440/stockhausen-licht/ Licht Fantastic]". ''[[The Age]]'', Melbourne (9 October): 173. via [[Newspapers.com]]
* Frisius, Rudolf. 1996. ''Karlheinz Stockhausen I: Einführung in das Gesamtwerk; Gespräche mit Karlheinz Stockhausen''. Mainz: Schott Musik International. {{ISBN|978-3-7957-0248-9}}.
* Frisius, Rudolf. 2008. ''Karlheinz Stockhausen II: Die Werke 1950–1977; Gespräch mit Karlheinz Stockhausen, "Es geht aufwärts"''. Mainz, London, Berlin, Madrid, New York, Paris, Prague, Tokyo, Toronto: Schott Musik International. {{ISBN|978-3-7957-0249-6}}.
* Frisius, Rudolf. 2013. ''Karlheinz Stockhausen III: Die Werkzyklen 1977–2007''. Mainz, London, Berlin, Madrid, New York, Paris, Prague, Tokyo, Toronto: Schott Music. {{ISBN|978-3-7957-0772-9}}.
* [[Johannes Fritsch|Fritsch, Johannes]], with [[Richard Toop]]. 2008. "Versuch, eine Grenze zu überschreiten ... Johannes Fritsch im Gespräch über die Aufführungspraxis von Werken Karlheinz Stockhausens". ''MusikTexte: Zeitschrift für neue Musik'', no. 116 (February): 31–40.
*[[Simon Hattenstone|Hattenstone, Simon]]. 2001. "[https://www.newspapers.com/clip/51728972/stockhausen-review/ Listen without Prejudice]". ''[[The Guardian]]'', London (6 October): 62. via [[Newspapers.com]]
* Gather, John Philipp. 2003. "The Origins of Synthetic Timbre Serialism and the Parisian Confluence, 1949–52". PhD diss. Buffalo: State University of New York, Buffalo.
* [[Bob Gilmore|Gilmore, Bob]]. 2009. "Claude Vivier and Karlheinz Stockhausen: Moments from a Double Portrait". ''Circuit: musiques contemporaines'' 19, no. 2:35–49.
* Grant, M[orag] J[osephine], and Imke Misch (eds.). 2016. ''The Musical Legacy of Karlheinz Stockhausen: Looking Back and Forward''. Hofheim: Wolke Verlag. {{ISBN|978-3-95593-068-4}}.
* Grohmann, Katerina. 2010. ''Karlheinz Stockhausen: Oper MITTWOCH aus LICHT''. Kölner Beiträge zur Musikwissenschaft 12, edited by [[Christoph von Blumröder]], [[Wolfram Steinbeck]]. Kassel: Bosse Verlag. {{ISBN|978-3-7649-2712-7}}.
* Gutkin, David. 2012. "[https://www.academia.edu/1934849/Drastic_or_Plastic_Threads_from_Karlheinz_Stockhausens_Musik_und_Graphik_1959 Drastic or Plastic? Threads from Karlheinz Stockhausen's 'Musik und Graphik', 1959]". ''[[Perspectives of New Music]]'' 50, nos. 1 & 2 (Winter–Summer): 255–305. {{subscription required}}
* Habib, André. 15 January 2002. "[https://web.archive.org/web/20110518061930/http://archive.sensesofcinema.com/contents/01/19/quay.html Through a Glass Darkly: Interview with the Quay Brothers]". ''Senses of Cinema'' (February) (archive from 18 May 2011; accessed 18 March 2016). French translation previously published in the Montreal-based online journal ''Hors Champ''.
* Hänggi, Christian. 2011. [http://fillip.ca/content/stockhausen-at-ground-zero Stockhausen at Ground Zero.] ''[[Fillip]]''. {{ISBN|978-0-9868326-5-9}}.
* Hartwell, Robin. 2012. "Threats and Promises: Lucifer, Hell, and Stockhausen's ''Sunday from Light''". ''[[Perspectives of New Music]]'' 50, nos. 1 & 2 (Winter–Summer): 393–424.
* Heikinheimo, Seppo. 1972. ''The Electronic Music of Karlheinz Stockhausen: Studies on the Esthetical and Formal Problems of Its First Phase'', translated by Brad Absetz. Acta Musicologica Fennica 6 ({{ISSN|0587-2448}}). Helsinki: Suomen Musiikkitieteellinen Seura / Musikvetenskapliga Sällskapet i Finland. (Doctoral thesis, Helsinki University.)
* Henkel, Georg. 2012. ''Kosmisches Lachen: Synthi-Fou und der närrische Humor in Karlheinz Stockhausens Opernzyklus Licht''. Hamburg: Tredition GmbH. {{ISBN|978-3-8491-1646-0}}.
* [[Jonathan Harvey (composer)|Harvey, Jonathan]]. 1975a. ''The Music of Stockhausen: An Introduction''. Berkeley and Los Angeles: University of California Press. {{ISBN|978-0-520-02311-6}}.
* [[Peter Heyworth|Heyworth, Peter]]. 1971. "[https://www.newspapers.com/clip/51729652/stockhausen-composer-prophet/ Composer-Prophet]". ''[[The Observer]]'', London (25 April): 9. via [[Newspapers.com]]
* Heyworth, Peter. 1985. "[https://www.newspapers.com/clip/51728397/stockhausen-profile/ Alchemist of the avant-garde]" and "[https://www.newspapers.com/clip/51728600/stockhausen-donnerstag/ Thursday's child goes far]". ''[[The Observer]]'', London (22 September): 9, 23. via [[Newspapers.com]]
* Holbein, Ulrich. 2008. "Karlheinz Stockhausen: Elektroniker, Neutöner, Klang-Avantgardist, Lichtgestalt, Mythenverdünner". In his ''Narratorium: 255 Lebensbilder'', 916–920. Zürich: Ammann Verlag. {{ISBN|978-3-250-10523-7}}.
* Hollings, Ken. May 1999. " [https://web.archive.org/web/20081120093416/http://www.thewire.co.uk/articles/140/ Lost in the Stars]: Karlheinz Stockhausen in Conversation with Ken Hollings, Kürten, Germany, 12 March 1999". ''[[The Wire (magazine)|The Wire]]'', no. 184.
* Hopp, Winrich. 1998. ''Kurzwellen von Karlheinz Stockhausen: Konzeption und musikalische Poiesis''. Kölner Schriften zur neuen Musik 6. With CD recording. Mainz and New York: Schott. {{ISBN|978-3-7957-1895-4}}.
* Howland, Patricia L. 2010. "Formal Processes in Post-Tonal Music: A Study of Selected Works by Babbitt, Stockhausen, and Carter". PhD diss. New York: City University of New York.
*[[Harold C. Schonberg|Schonberg, Harlold C.]] 1971. "[https://www.newspapers.com/clip/51730087/stockhausen-schonberg/ Stockhausen Does the Twist]". ''[[The Baltimore Sun]]'' (7 March): 96. via [[Newspapers.com]]
* Ingram, James, and Paul Roberts. 2008. "Über das Unsichtbarsein: Ein E-mail Interview mit James Ingram zu seiner Tätigkeit als Stockhausens Notenkopist", translated by Gisela Gronemeyer. ''MusikTexte'', no. 117 (May): 43–52. Expanded English text, as "[http://james-ingram-act-two.de/stockhausen/OnBeingInvisible/onBeingInvisible.html On Being Invisible]" (April 2009). James Ingram: Act Two website. Accessed 27 July 2010.
* Jones, Stephen. 2004. "[[Philippa Cullen]]: Dancing the Music". ''[[Leonardo Music Journal]]'' 14 (Composers Inside Electronics: Music After David Tudor): 64–73.
* {{ill|Hans-Klaus Jungheinrich|de|lt=Jungheinrich, Hans-Klaus}}. 2005. "Eötvös und Stockhausen". In ''Identitäten: Der Komponist und Dirigent Peter Eötvös: Symposion, 19. September 2004, Alte Oper Frankfurt am Main'', edited by Hans-Klaus Jungheinrich, 48–56. Edition [[Neue Zeitschrift für Musik]]. Mainz: Schott Musik International. {{ISBN|978-3-7957-0534-3}}.
* [[John Kelsall|Kelsall, John]]. 1975. "[http://theses.gla.ac.uk/1306/ Compositional Techniques in the Music of Stockhausen (1951–1970)]". PhD diss. Glasgow: University of Glasgow.
* [[Helmut Kirchmeyer|Kirchmeyer, Helmut]]. 2009. "Stockhausens Elektronische Messe nebst einem Vorspann unveröffentlichter Briefe aus seiner Pariser Zeit an Herbert Eimert". ''[[Archiv für Musikwissenschaft]]'' 66, no. 3:234–359.
* [[Jerome Kohl|Kohl, Jerome]]. 2008. Programme notes in the programme booklet for the Klang Festival, (1–9 November), Southbank Centre, London: 12–13, 16–17, 20–21, 24–25.
* Kohl, Jerome. 2009a. "''Klang''/''Som'': Die 24 Stunden des Tages/As 24 horas do dia". ''Temporada Gulbenkian de Música 2009–2010'' (October): 13–14.
* Kohl, Jerome. 2009b. "''Hoffnung''/''Esperança'', para violino, viola e violoncelo (2007): 9ª hora de ''Klang'', as 24 horas do dia". ''Temporada Gulbenkian de Música 2009–2010'' (October): 18.
* Kohl, Jerome. 2009c. "''Schönheit''/''Beleza'', para clarinete baixo, flauta e trompete (2006): 6ª hora de ''Klang'', as 24 horas do dia". ''Temporada Gulbenkian de Música 2009–2010'' (October): 22.
* Kohl, Jerome. 2010. "A Child of the Radio Age". In ''Cut & Splice: Transmission'', edited by Daniela Cascella and Lucia Farinati, 135–139. London: Sound and Music. {{ISBN|978-1-907378-03-4}}.
* Kohl, Jerome. 2012a. "A Gedenkschrift for Karlheinz Stockhausen: Guest Editor's Introduction". ''[[Perspectives of New Music]]'' 50, nos. 1 & 2 (Winter–Summer): 306–312.
* Kohl, Jerome. 2012b. "Harmonies and the Path from Beauty to Awakening: Hours 5 to 12 of Stockhausen's ''Klang''". ''[[Perspectives of New Music]]'' 50, nos. 1 & 2 (Winter–Summer): 476–523.
* Krause, Peter. 2008. "Elektro-Esoterik: Uraufführung von Stockhausen-Klang". ''[[Die Welt]]'' (8 August).
* [[Robin Maconie|Maconie, Robin]]. 2016. ''Other Planets: The Complete Works of Karlheinz Stockhausen 1950–2007'', updated edition. Lanham, Maryland, and London: Rowman & Littlefield. {{ISBN|978-1-4422-7267-5}}.
* Mießgang, Thomas, and Robert Baumanns. 1997. "[http://www.zeit.de/1997/17/Schlagsahne_Irrengesang_Kirmesgeister Schlagsahne, Irrengesang, Kirmesgeister: Karlheinz Stockhausen testet Krautrock]". ''[[Die Zeit]]'', 1997, no. 17 (18 April).
* Miller, Paul. 2009. "Stockhausen and the Serial Shaping of Space". PhD diss. Rochester: Eastman School of Music.
* Miller, Paul. 2012. "An Adventure into Outer Space: Stockhausen's ''Lichter—Wasser'' and the Analysis of Spatialized Music". ''[[Perspectives of New Music]]'' 50, nos. 1 & 2 (Winter–Summer): 342–392.
* Misch, Imke, and Markus Bandur (eds.). 2001. ''Karlheinz Stockhausen bei den Internationalen Ferienkursen für Neue Musik in Darmstadt 1951–1996: Dokumente und Briefe''. Kürten: Stockhausen-Verlag. {{ISBN|978-3-00-007290-1}}.
* Mischke, Joachim. 8 August 2008. "SHMF: Neue Musik, visionär, von heute und wie von gestern". ''[[Hamburger Abendblatt]]''.
* Morreau, Annette. 6 March 2001. "Where Herzog Met Portishead: Only Connect, Barbican, London". ''[[The Independent]]''.
* Mowitz, Michael. 2010. ''Die Form der Klänge. Stockhausens ›Konzeption einer einheitlichen musikalischen Zeit‹ am Beispiel der Komposition "Kontakte"''. Osnabrück: [http://www.epos.uni-osnabrueck.de/ epOs-Music]. {{ISBN|978-3-940255-08-2}}.
* Normandeau, Robert. 2009. "Influence de Stockhausen chez les compositeurs électroacoustiques québécois: Sondage courriel et entrevues". ''Circuit: Musiques Contemporaines'' 19, no. 2:51–55.
* Parsons, Ian Lawrence. 2019. "The Phenomenology of ''Light'': an Interpretation of Stockhausen's Opera Cycle Drawing on Heidegger's Fourfold and Lacanian Psychoanalysis". PhD diss. Melbourne: Monash University.
* Rea, John. 2009. "[http://id.erudit.org/iderudit/037453ar On Stockhausen's ''Kontakte'' (1959–60) for Tape, Piano and Percussion: A Lecture/Analysis by John Rea Given at the University of Toronto, March 1968]". ''Circuit: Musiques Contemporaines'' 19, no. 2:77–86.
* Rigoni, Michel. 1998. ''Stockhausen: ... un vaisseau lancé vers le ciel'', second edition, revised, corrected, and enlarged. Lillebonne: Millénaire III Editions. {{ISBN|978-2-911906-02-2}}.
* Rigoni, Michel. 2001. ''Le rêve de Lucifer de Karlheinz Stockhausen''. La trace des silences. [Paris]: M. de Maule. {{ISBN|978-2-87623-103-0}}.
* [[Curtis Roads|Roads, Curtis]]. 2001. ''Microsound''. Cambridge: MIT Press. {{ISBN|978-0-262-18215-7}}.
* Romney, Jonathan. 3 March 2001. "[https://www.theguardian.com/culture/2001/mar/03/artsfeatures The Barbican's Musical Jellyfish: Sound on Film Live]". ''[[The Guardian]]''.
* Rudi, Jøran (editor), [[Asbjørn Blokkum Flø]], and Asbjørn Schaathun. 2008. ''Karlheinz Stockhausen – A Pioneer in Utopia''. Oslo: Notam. {{ISBN|978-82-996867-2-3}}.
* Sandner, Wolfgang, and [[Péter Eötvös]]. 2005. "Klangbildeaufnahmen wie von einem Fotografen". In ''Identitäten: Der Komponist und Dirigent Péter Eötvös: Symposion, 19. September 2004, Alte Oper Frankfurt am Main'', edited by Hans-Klaus Jungheinrich, 59–67. Edition [[Neue Zeitschrift für Musik]]. Mainz: Schott Musik International. {{ISBN|978-3-7957-0534-3}}.
* Shimizu, Minoru. 1999. "Stockhausen und Japan, Licht und Schatten". In ''Internationales Stockhausen-Symposion 1998: Musikwissenschaftliches Institut der Universität zu Köln, 11. bis 14. November 1998. Tagungsbericht'', edited by Imke Misch and [[Christoph von Blumröder]], 87–94. Signale aus Köln: Beiträge zur Musik der Zeit 4. Saarbrücken: PFAU-Verlag. {{ISBN|978-3-89727-050-3}}.
* Sigel, Paul. 2000. "Der deutsche Beitrag auf der Expo70 in Osaka." ''Arch plus'' no. 149–150 (April): 116–133. Reprinted online [http://www.cloud-cuckoo.net/openarchive/wolke/deu/Themen/001/Sigel/sigel.htm ''Thema'' 5, no. 1 (July 2000)].
* Smalley, John. 2000."[http://sites.music.columbia.edu/masterpieces/notes/stockhausen/GesangHistoryandAnalysis.pdf ''Gesang der Jünglinge'': History and Analysis]". Programme note for concert series, Masterpieces of 20th-Century Electronic Music: A Multimedia Perspective. The Columbia University Computer Music Center, presented by Lincoln Center (July) .
* Stenzl, Jürg. 1991. "York Höller's 'The Master and Margarita': A German Opera." Translated by Sue Rose. ''[[Tempo (journal)|Tempo]]'' New Series, no. 179 (December): 8–15.
* [[Suzanne Stephens|Stephens, Suzanne]], and [[Kathinka Pasveer]] (eds.). 2008. ''Gedenkschrift für Stockhausen''. Kürten: Stockhausen-Stiftung für Musik. {{ISBN|978-3-00-023528-3}}.
* Stockhausen, Karlheinz. 1998. "Bildung ist große Arbeit: Karlheinz Stockhausen im Gespräch mit Studierenden des Musikwissenschaftlichen Instituts der Universität zu Köln am 5. Februar 1997." In ''Stockhausen 70: Das Programmbuch Köln 1998''. Signale aus Köln: Musik der Zeit 1, edited by Imke Misch and [[Christoph von Blumröder]], 1–36. Saarbrücken: Pfau-Verlag.
* Stockhausen, Karlheinz. 2007b. "Harmonien/Harmonies for Bass Clarinet (2006)". In ''2007 Stockhausen-Kurse Kürten: Programm zu den Interpretations- und Kompositionskursen und Konzerten der Musik von / Programme for the Interpretation and Composition Courses and Concerts of the Music of Karlheinz Stockhausen, 7. Juli bis 15. Juli 2007 in Kürten / from {{sic|July| 7|hide=y}}<!-- hide from bots -->th<!--NB: This date format is how it is printed on the title page of the book, never mind what Wikipedia date formats are. Please do not change.--> to 15th<!--NB: This date format is how it is printed on the title page of the book, never mind what Wikipedia date formats are. Please do not change.--> 2007 in Kuerten'', notes for the German première on 11 July 2007, pp.&nbsp;33–34. Kürten: Stockhausen-Verlag.
* Stockhausen, Karlheinz. 2007c. "Harmonien/Harmonies for Flute (2006): 5th Hour of Klang / Sound, The 24 Hours of the Day". In ''2007 Stockhausen-Kurse Kürten: Programm zu den Interpretations- und Kompositionskursen und Konzerten der Musik von / Programme for the Interpretation and Composition Courses and Concerts of the Music of Karlheinz Stockhausen, 7. Juli bis 15. Juli 2007 in Kürten / from {{sic|July| 7th|hide=y}}<!--NB: This date format is how it is printed on the title page of the book, never mind what Wikipedia date formats are. Please do not change.--> to 15th<!--NB: This date format is how it is printed on the title page of the book, never mind what Wikipedia date formats are. Please do not change.--> 2007 in Kuerten'', notes for the German première on 13 July 2007, p.&nbsp;36. Kürten: Stockhausen-Verlag.
* Stockhausen, Karlheinz. 2012. ''Jahreskreis—Circle of the Year: Immerwährender Kalendar mit Stockhausen-Zitaten und -Abbildungen'' / ''Perpetual Calendar with Stockhausen Quotes and Illustrations'', edited by [[Kathinka Pasveer]], translations by [[Suzanne Stephens]], Jayne Obst, Tim Nevill, [[Jerome Kohl]], Thomas von Steinaecker, and Imke Misch. Kürten: Stockhausen-Verlag. {{ISBN|978-3-00-037545-3}}.
* Stockhausen, Karlheinz, and Maryvonne Kendergi. 2009. "[http://id.erudit.org/iderudit/037452ar La mesure du temps: un entretien inédit avec Stockhausen (1958)]". ''Circuit: Musiques Contemporaines'' 19, no. 2:63–76.
* Stockhausen-Stiftung. 2008. ''[http://www.stockhausen.org/2008_performances_update.pdf Stockhausen Aufführungen/Performances 2008]''. Kürten: Stockhausen-Stiftung.
* Straus, Joseph N. 1997. "Babbitt and Stravinsky under the Serial 'Regime'" ''[[Perspectives of New Music]]'' 35, no. 2 (Summer): 17–32.
* Straus, Joseph N. 2001. ''Stravinsky's Late Music''. Cambridge Studies in Music Theory and Analysis 16. New York: Cambridge University Press 33–35. {{ISBN|978-0-521-80220-8}}.
* [[Stravinsky, Igor]], and [[Robert Craft]]. 1960. ''Memories and Commentaries''. Berkeley and Los Angeles: University of California Press.
* Telford, James. 2011. "Reconciling Opposing Forces: The Young James Macmillan—A Performance History". ''[[Tempo (journal)|Tempo]]'' 65, no. 257 (July): 40–51.
* [[Anthony Tommasini|Tommasini, Anthony]]. 30 September 2001. "[https://query.nytimes.com/gst/fullpage.html?res=9B05E2D8123AF933A0575AC0A9679C8B63 The Devil Made Him Do It]". ''[[The New York Times]]''.
* [[John Tilbury|Tilbury, John]]. 2008. ''Cornelius Cardew (1936–1981) – A Life Unfinished''. Harlow: Copula.
* [[Toop, Richard]]. 2008. "Kulturelle Dissidenten: Die Stockhausen-Klasse der Jahre 1973 und 1974". ''MusikTexte: Zeitschrift für neue Musik'', no. 116 (February): 46–49.
* Toop, Richard. 2012. "''Himmels-Tür'': Crossing to the Other Side". ''[[Perspectives of New Music]]'' 50, nos. 1 & 2 (Winter–Summer): 425–475.
* Truelove, Stephen. 1984. "Karlheinz Stockhausen's ''Klavierstück XI'': An Analysis of Its Composition via a Matrix System of Serial Polyphony and the Translation of Rhythm into Pitch." DMA diss. Norman: University of Oklahoma.
* Truelove, Stephen. 1998. "The Translation of Rhythm into Pitch in Stockhausen's ''Klavierstück XI''." ''[[Perspectives of New Music]]'' 36, no. 1 (Winter): 189–220.
* Ulrich, Thomas. 2006. ''Neue Musik aus religiösem Geist: theologisches Denken im Werk von Karlheinz Stockhausen und John Cage''. Saarbrücken: Pfau. {{ISBN|978-3-89727-328-3}}.
* Ulrich, Thomas. 2012a. "Lucifer and Morality in Stockhausen's Opera Cycle ''Licht''", translated by [[Jerome Kohl]]. ''[[Perspectives of New Music]]'' 50, nos. 1 & 2 (Winter–Summer): 313–341.
* Ulrich, Thomas. 2012b. ''Stockhausen: A Theological Interpretation'', translated by Jayne Obst. Kürten: Stockhausen-Stiftung für Musik. {{ISBN|978-3-9815317-0-1}}.
* Ulrich, Thomas. 2017. ''Stockhausens Zyklus LICHT: Ein Opernführer''. Cologne, Weimar, and Vienna: Böhlau Verlag. {{ISBN|978-3-412-50577-6}}.
* Vermeil, Jean. 1996. ''Conversations with Boulez: Thoughts on Conducting'', translated by Camille Nash, with a selection of programs conducted by Boulez and a discography by Paul Griffiths. Portland, Oregon: Amadeus Press.
* Viel, Massimiliano. 1990. "Formeltechnik, ponte tra intuito e memoria. Incontro con K.Stockhausen". ''Sonus'' 2, no 1: 51–68.
* Voermans, Erik. 2008. "Besluit van een machtig oeuvre". ''[[Het Parool]]'' (20 June).
* [[Gregg Wager|Wager, Gregg]]. 1998. ''Symbolism as a Compositional Method in the Works of Karlheinz Stockhausen''. College Park, Maryland: Gtrgg Wager. English translation of "Symbolik als kompositorische Methode in den Werken von Karlheinz Stockhausen". PhD diss. Berlin: Free University Berlin, 1996.
* Wolfson, Richard. 5 March 2001. "[https://www.telegraph.co.uk/culture/4722023/Hit-and-mismatch.html Hit and mismatch]" ''[[The Daily Telegraph|The Telegraph]]'', London.
* Welsh, Tom. 2019. "Ballad for a Child: The Discovery of an Unknown Song by Karlheinz Stockhausen Provides a Humanising Footnote to His Barnstorming 1958 Lecture Tour of the US". ''[[The Wire (magazine)|The Wire]]'', no. 425 (July): 20–21.
* Woodward, Roger (2014). "Karlheinz Stockhausen". ''Beyond Black and White''. HarperCollins. pp.&nbsp;419-437. [[ISBN (identifier)|ISBN]]&nbsp;[[Special:BookSources/9780733323034|<bdi>9780733323034</bdi>]]
{{refend}}
{{div col end}}
 
===Obituaries===
* Anon. 2007. "[https://web.archive.org/web/20110814062050/http://www.timesonline.co.uk/tol/comment/obituaries/article3018939.ece Karlheinz Stockhausen: Influential and Controversial German Composer Who Pursued His Uncompromising Avant-Garde Vision through Six Decades]". ''[[The Times]]'' (10 December) (archive from 14 August 2011, accessed 20 May 2020).
* Nonnenmann, Rainer. 2007. "[https://www.ksta.de/in-kuerten-zu-hause---und-im-universum-13221226 In Kürten zu Hause—und im Universum]". ''[[Kölner Stadt-Anzeiger]]'' (7 December) (in German).
*Swed, Mark 2007. "[https://www.newspapers.com/clip/51731265/karlheinz-stockhausen-obituary/ Karlheinz Stockhausen, Avant-Garde Composer; at 79]". ''[[The Boston Globe]]'' (8 December): 67. via [[Newspapers.com]]
 
== Documentary films ==
*''[[Helicopter String Quartet|Karlheinz Stockhausen: Helicopter String Quartet]]'', documentary, The Netherlands, 1995, 78 min., producer: {{ill|Ton van der Lee|nl}}, director: [[Frank Scheffer]], production: Allegri Film, streaming and DVD: [[Medici.tv]]. ''[https://www.youtube.com/watch?v=OjqujIPZ_jk trailer]''
* ''{{ill|Stockhausen – Musik für eine bessere Welt|de}}'', documentary, Germany, 2009, 56 min., producer and director: [[Norbert Busè]] and co-director {{ill|Thomas von Steinaecker|de}}, production: {{ill|Studio.TV.Film|de}}, broadcast: [[Arte]], [[ZDF]].
 
==External links==
{{commons category|Karlheinz Stockhausen}}
{{wikiquote||Karlheinz Stockhausen}}
* {{official website|http://www.karlheinzstockhausen.org/}}
* {{discogs artist|Karlheinz Stockhausen|Stockhausen}}
* {{IMDb name|0830838|Stockhausen}}
* {{AllMusic | id= karlheinz-stockhausen-mn0000854925| label=Stockhausen}}
* [http://www.stockhausencds.com/ Stockhausen] – full CD editions
* [http://www.stockhausensociety.org/ The Stockhausen Society (International)] {{Webarchive|url=https://web.archive.org/web/20210210222838/http://www.stockhausensociety.org/ |date=10 February 2021 }} – main site
* [http://www.karlheinzstockhausen.org/complete_list_of_works_english.htm Stockhausen] catalogues of works (Stockhausen Stiftung)
* [http://ubu.com/sound/stockhausen.html Stockhausen sound files], [http://ubu.com/film/stockhausen.html Stockhausen films], [http://ubu.com/film/stockhausen_lectures.html Stockhausen British lectures] at [[UbuWeb]]
* [http://www.musiquecontemporaine.fr/search?disp=all&query=stockhausen&exp_inl=on&exp_aud=on&so=dd Stockhausen] {{Webarchive|url=https://web.archive.org/web/20210122201251/http://www.musiquecontemporaine.fr/search?disp=all&query=stockhausen&exp_inl=on&exp_aud=on&so=dd |date=22 January 2021 }} excerpts from sound archives works, musiquecontemporaine.fr
 
{{Karlheinz Stockhausen |state=expanded}}
{{Navboxes
|title=Awards for Karlheinz Stockhausen
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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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{{Darmstadt School}}
{{Twelve-tone composers}}
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{{DEFAULTSORT:Stockhausen, Karlheinz}}
[[Category:Karlheinz Stockhausen| ]]
[[Category:1928 births]]
[[Category:2007 deaths]]
[[Category:People from Kerpen]]
[[Category:20th-century classical composers]]
[[Category:21st-century classical composers]]
[[Category:Musicians from the Rhine Province]]
[[Category:University of Bonn alumni]]
[[Category:German opera composers]]
[[Category:German male opera composers]]
[[Category:Experimental composers]]
[[Category:Members of the Royal Swedish Academy of Music]]
[[Category:Honorary members of the Royal Academy of Music]]
[[Category:Microtonal composers]]
[[Category:Deutsche Grammophon artists]]
[[Category:Twelve-tone and serial composers]]
[[Category:Electroacoustic music composers]]
[[Category:Ernst von Siemens Music Prize winners]]
[[Category:Officers Crosses of the Order of Merit of the Federal Republic of Germany]]
[[Category:Commandeurs of the Ordre des Arts et des Lettres]]
[[Category:Nonesuch Records artists]]
[[Category:Chrysalis Records artists]]
[[Category:German electronic musicians]]
[[Category:Composers for piano]]
[[Category:Composers for pipe organ]]
[[Category:Composers for violin]]
[[Category:Composers for cello]]
[[Category:Composers for trombone]]
[[Category:Hochschule für Musik und Tanz Köln alumni]]
[[Category:Academic staff of the Hochschule für Musik und Tanz Köln]]
[[Category:Pupils of Darius Milhaud]]
[[Category:20th-century German composers]]
[[Category:21st-century German composers]]
[[Category:German Army soldiers of World War II]]
[[Category:20th-century German male musicians]]
[[Category:Child soldiers in World War II]]
[[Category:German magazine founders]]
[[Category:Electronic composers]]
[[Category:Webern scholars]]
[[Category:Schoenberg scholars]]
[[Category:Stravinsky scholars]]
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