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I spent most of the year in the studio for electronic music at a radio station in Cologne or in oth
I spent most of the year in the studio for electronic music at a radio station in Cologne or in oth
I spent most of the year in the studio for electronic music at a radio station in Cologne or in oth
I spent most of the year in the studio for electronic music at a radio station in Cologne or in oth
I spent most of the year in the studio for electronic music at a radio station in Cologne or in oth
I spent most of the year in the studio for electronic music at a radio station in Cologne or in oth
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Karlheinz Stockhausen:
And I'm always interested when other musicians are trying to discover new worlds of sound.Karlheinz Stockhausen:
Repetition is based on body rhythms, so we identify with the heartbeat, or with walking, or with brKarlheinz Stockhausen:
But since the middle of the century in particular, the music has become very irregular in rhythm.Karlheinz Stockhausen:
And the invention of transformations of certain figures has become the most important in musical coKarlheinz Stockhausen:
No, what is important is neither linearity or non-linearity, but the change, the degree of change fKarlheinz Stockhausen:
Since I started composing I have always worked with series of tempos, even superimposed the music oKarlheinz Stockhausen:
In particular what is most important to me is the transformation of a sound by slowing it down, somKarlheinz Stockhausen:
Or the other process that is important is that I compress longer sections of composed music, eitherKarlheinz Stockhausen:
Schaeffer gave me permission to work in the studio with a technician, but I've never worked with hiKarlheinz Stockhausen:
Or in other works I have also projected the sound in a cube of loudspeakers. The sound can move ver