Until 1970, Karlheinz Stockhausen uses often techniques where the performance is crucial for the comprehension of his music. Works as Mikrophonie I, Mixtur, Solo, are characterized not only by composer’s indications, but also largely by performer’s decisions and not least by sound processing technologies as live electronics. Starting from 1970 Stockhausen debugs a new method of composition that determines the characters of the work. The performance is in the foreground in the works until 1970, onwards the structure and the method of composition is becoming increasingly importance. This poster shows the evolution in the method of Stockhausen’s music composition, starting from performance analysis and arriving to a most important role of the score’s analysis. The repertoire under consideration covers works from 1960 until 1980.
The analysis of the score is based mainly on the indications of the composer. Performance analysis is conducted by listening different versions, analysing the audio signal with the CQT method and comparing the results. By the results of both our approaches, we can deduce an evolution in the method of Stockhausen’s composition. Performance analysis shows a coherence between the characters deducted from the score, and the results of the audio signal analysis.