PROCESS IN THE AESTHETICAL AND THEORETICAL THOUGHT OF KARLHEINZ STOCKHAUSEN

Monika Novaković

Institute of Musicology SASA

Faculty of Music, University of Arts

Belgrade, Serbia

Author’s contact information: monynok@gmail.com

INSAM Journal of Contemporary Music, Art and Technology, Issue 1, 2018

Main Theme of the Issue: Process in Art, Technology and Theory

Publisher: INSAM Institute for Contemporary Artistic Music, Sarajevo, Bosnia and Herzegovina

Section: MAIN THEME: PROCESS IN ART, TECHNOLOGY AND THEORY

Abstract: Process is the key aspect of Karlheinz Stockhausen’s (1928–2007) musical discourse. In this paper, I aim to present the composer’s understanding of the word process and mark the place that this word has in the aesthetical and theoretical thought of said composer. The basis for this research is literature and other sources in which process is explained as the recurrent theme when discussing the composer and his music. Hence, the first part of the paper will deal with the definition of the theoretical positioning of this phenomenon. The second part of the paper will deal with the explanation of process-music, a term that includes not only Stockhausen’s music, but also the music of other composers. Lastly, in the light of the main subject of this paper, a review of the composition Prozession (1967) will be central to the third part of this paper.

Keywords: Karlheinz Stockhausen, process, process-composition, Prozession, process-music, supra-humanisation, spirituality, procession, transformation

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On the cover: Felix Rothschild, dance_ – #421
Design and layout: Milan Šuput, Bojana Radovanović