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No, what is important is neither linearity or non-linearity, but the change, the degree of change f
No, what is important is neither linearity or non-linearity, but the change, the degree of change f
No, what is important is neither linearity or non-linearity, but the change, the degree of change f
No, what is important is neither linearity or non-linearity, but the change, the degree of change f
No, what is important is neither linearity or non-linearity, but the change, the degree of change f
No, what is important is neither linearity or non-linearity, but the change, the degree of change f
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Karlheinz 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 verKarlheinz Stockhausen:
And I'll never forget the first time I took the possibility to project sound every day for six or sKarlheinz Stockhausen:
I have composed several pieces which are performed outdoors, not only in the auditoria.Karlheinz Stockhausen:
One experiments and has to choose always the best results.Karlheinz Stockhausen:
So there is a personal sense of style for a given work - I don't like a general style, but every woKarlheinz Stockhausen:
And when they encounter works of art which show that using new media can lead to new experiences an