44 Quotes by Karlheinz Stockhausen

No, what is important is neither linearity or non-linearity, but the change, the degree of change from something that doesn't move to other events with different tempos in particular.

And I'll never forget the first time I took the possibility to project sound every day for six or seven hours with special devices which were built for me.

Or the other process that is important is that I compress longer sections of composed music, either found or made by myself, to such an extent that the rhythm becomes a timbre, and formal subdivisions become rhythm.

So there is a personal sense of style for a given work - I don't like a general style, but every work has its own style, and I want to create a style for every work.

Many works I have composed are only for multiple channel tapes, or for traditional instruments, solo instruments, or groups of musicians.

So, for example, I produced a layer of sounds with the syllables sung by a young boy and elements from an impulse generator with filtered noises.

As I say, this is a new secret science, to master the emptiness and turn it into something that is filled with sound and visual images.

And with every work I have tried to expand my experience, moving sound and space, and finding new ways of superimposing different tempos and rhythms.

Already very early I thought of a microphone as a musical instrument, like a bow or like a percussion instrument, whatever you use.