Best Seller
Live Electronics in the Stockhausen Ensemble
Paperback
$95.00
Available on Jun 15, 2027 | 384 Pages
The first scholarly exploration of the early live electronic music technology and practice of the Stockhausen Ensemble.
In Live Electronics in the Stockhausen Ensemble, Sean Williams examines the electronic instruments, technologies, and practices of the Stockhausen Ensemble, one of the first Western art music ensembles to incorporate electronic instruments in regular live performance. The most complete and detailed study of Karlheinz Stockhausen’s live electronic music to date, the book combines interviews with the performers and technicians who were actively involved with performances by the Stockhausen Ensemble between 1964 and 1975 with a wealth of detailed analysis gleaned from archives, photographs, sketches, insurance manifests, audio, and video recordings.
Williams establishes a relationship between the time-consuming studio techniques of the previous decade and their repurposing and translation into a real-time live performance environment, alongside an examination of the design process of new instruments, and he demonstrates how various elements, including the technology, practices, and relationships between performers and other agents, can often exert greater influence over the music than the composer himself.
In Live Electronics in the Stockhausen Ensemble, Sean Williams examines the electronic instruments, technologies, and practices of the Stockhausen Ensemble, one of the first Western art music ensembles to incorporate electronic instruments in regular live performance. The most complete and detailed study of Karlheinz Stockhausen’s live electronic music to date, the book combines interviews with the performers and technicians who were actively involved with performances by the Stockhausen Ensemble between 1964 and 1975 with a wealth of detailed analysis gleaned from archives, photographs, sketches, insurance manifests, audio, and video recordings.
Williams establishes a relationship between the time-consuming studio techniques of the previous decade and their repurposing and translation into a real-time live performance environment, alongside an examination of the design process of new instruments, and he demonstrates how various elements, including the technology, practices, and relationships between performers and other agents, can often exert greater influence over the music than the composer himself.
