Process in the Aesthetical and Theoretical Thought of Karlheinz Stockhausen

Authors

DOI:

https://doi.org/10.51191/issn.2637-1898.2018.1.1.29

Keywords:

Karlheinz Stockhausen, Process, Process-composition, Prozession, Proces-music, Supra-humanisation, Spirituality, procession, transformation

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.

Author Biography

  • Monika Novaković, Institute of Musicology, Serbian Academy of Sciences and Arts, Belgrade, Serbia

    Monika Novaković was born in 1995 in Sremska Mitrovica (Republic of Serbia). She completed her Bachelor studies and Master studies of Musicology on Faculty of Music in Belgrade (University of Arts in Belgrade), successfully defending her master thesis The whole (music) world’s a stage – Remedialisation of theatre music of Zoran Erić. She was a member of Academic choir Collegium musicum since 2012. Novaković cooperated with the Historical Archive Srem in Sremska Mitrovica in 2014., researching the archive material for her paper Contribution of Petar Krančević to the work of Serbian Church Singing Society in Sremska Mitrovica, later published in the magazine Mokranjac (no. 18, december 2016, 72-86). She also published the paper Formula as a means of procreation: Karlheinz Stockhausen “Mantra” (Musical Identities and European perspective 2: An Interdisciplinary Approach, FAM, 2017, 175-193) in which she was investigating the Karlheinz Stockhausen’s piece Mantra. Her professional interest is focused on both film and theatre/incidental music.

Cover of the INSAM Journal No. 1. Design by Milan Šuput

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Published

15.12.2018

Issue

No. 1 (2018): Process in Art, Technology and Theory

Section

Articles

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Copyright (c) 2018 INSAM Journal of Contemporary Music, Art and Technology

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How to Cite

Process in the Aesthetical and Theoretical Thought of Karlheinz Stockhausen. (2018). INSAM Journal of Contemporary Music, Art and Technology, 1, 29-38. https://doi.org/10.51191/issn.2637-1898.2018.1.1.29
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