Karlheinz stockhausen karlheinz Stockhausen, the greatest avant-garde composer, pianist, conductor and musicologist in Germany in the 20th century, died at his home in Germany on February 7th, 2007 at the age of 79. Stockhausen was a controversial composer in the 20th century, and he had a great influence on the whole field of serious music creation after the war. 1928, Stockhausen was born in a primary school teacher's family near cologne. My father is a teacher and my mother is an amateur pianist and singer. I began to learn piano at the age of six, and later I learned violin and oboe. His father joined the Nazi party, so his family was not harmed by Nazism until Hitler replaced the worship of Catholic God with personality worship. Young Stockhausen kept his religious beliefs a secret, especially after 1944, as a hospital stretcher bearer, witnessed the heavy cost of life in the war. From 65438 to 0945, that is, when/kloc-0 was 4 and 5 years old, stockhausen's world outlook and artistic outlook were deeply influenced by Nazi dictatorship and the destruction of cultural thoughts. 1949- 1950 In the winter, Stockhausen was able to analyze and understand the works of modern music masters such as hindemith and Stravinsky, but when he discovered Schoenberg, he was catching up with the anti-tonality trend of the Cologne school of music. It was not until he transferred to the composition class in frank martin that he was inspired, which enabled him to finish a paper on Bartok. This breakthrough opened the way for him to attend a summer training course in darmstadt in 195 1, where he met the young composer Karel Guyevitz. At that time, Guyeville was fascinated by the theory just introduced by Mei Xian, which interpreted music as a rational process, and constructed all the components in the work separately, such as notes (high pitch, high intensity, timbre and duration); They are no longer subject to a theme like the former form, but are combined again in some way, even through mathematical methods. This amazing logical creation method soon became an important part of the creative philosophy of composers such as Ligeti Lajos and Bryce. 195 1 Attended darmstadt New Music Summer School. Under the guidance of Mei Xian and others, he met H.Eimert, a music theorist and composer, and strongly recommended Stockhausen's early works in the electronic music studio of German Southwest Radio Station in Cologne. He jumped out of the bondage of the twelve-tone system created by Schoenberg and Weber, and adapted to the requirements of the evolution of new music aesthetics after the war, which also occupied a central position in Stockhausen's own creation. 195 1 At the end of the year, Stockhausen married Doris Andrea and finished a satisfactory work-chamber music "Cross Game", which shows that he has moved towards sequencing. At the beginning of 1952, stockhausen entered the Paris Conservatory of Music with Mei Xian and Mi Yue for further study, studied in a special music studio founded by P.Schaeffer, and returned to Cologne from 65438 to 0953 to work in the electronic music studio of the West German radio station, during which he studied information theory and phonetics at Bonn University. Since 1953, he has taught in darmstadt Summer School, Basel Conservatory of Music and philadelphia university, Pennsylvania. 1963 cologne new music training class was founded and later renamed "cologne new conservatory of music". Since 1958, he has been conducting and performing his own works all over the world, holding academic reports every year, thus winning many followers. 1970, he performed his works at the World Expo held in Osaka, Japan, for several hours every day, which lasted 183 days. 197 1 became a professor of composition at cologne conservatory of music and soon became an academician of Hamburg art research institute. 1974 won the first-class federal cross, and 1982 won this year's German Record Award. Stockhausen is one of the most important representatives of modern electronic music. Since 1950s, he has devoted himself to creating a so-called "space music" composed of pure sound waves in the electronic music studio. This is the voice of "establishing contact between the inhabitants of the earth and those on other planets through music". Its production process is roughly as follows: first, change the frequency (pitch) and timbre of the tone generated by the oscillator, "then record the sound on tape, and then analyze and edit it with echo effect and two-channel technology." Because the composing process of this kind of music is very complicated and the series combination is too mechanical, it is difficult for the audience to grasp this kind of work, so it is often given a cold shoulder. After nearly ten years of exploration, Stockhausen himself turned to other new creative techniques. He composed Crossing for clarinet, bassoon, piano and percussion in 195 1 (this work caused a riot at its premiere), and composed orchestral music in 1952, which made him the most modern representative of modern music. Starting from the counterpoint method of the small band 1952- 1953, he has got rid of the shackles of simple stippling music and started to combine music with non-musical sounds in a so-called "combination form". In 1955- 1956' s wind quintet Time, Zeitmabe combines the rhythm of strict writing with various free features that players can express with rhythm. Gruppen, composed for three orchestras, 1955- 1957, has a very strange structure. This work was completed in Cologne at the beginning of 1958. Madina, Bryce and Stockhausen conduct three orchestras at the same time. The three bands play independently and don't interfere with each other. But sometimes they overlap at different speeds, and sometimes they answer questions and answer each other. The audience will hear the music in front of the left and right for a while, and the sound will change from one band to another, just like in front of the stereo speaker. When playing, the echo shuttles back and forth in all parts of the hall, which not only gives people a sense of spatial position, but also makes people realize that they are still an interconnected whole. This sense of space and complex structure is further reflected in Carrey, which is his symphonic music for four bands and four choirs in 1959- 1960. In Jung Ge Sang, a recording music created almost at the same time with Qun, the above sound has a strong sense of space and is regarded as an important work of the above three-dimensional "space music". Among them, Stockhausen combined complicated electronic vocalization with children's singing of biblical lyrics. Therefore, it is the first time to break through the limitation that tape music can only use pure electronic synthetic audio materials. In 1958- 1959' s work Contact, he mixed all kinds of electronic sound with the music of piano and some percussion instruments. In view of this extreme audio tape music, he created Mikrophonie I, a form of instrumental music made of various materials in 1964. In 1966' s recording work "Electronic Music", electronic music is combined with traditional music recordings from different countries and continents. In 1966- 1967, some national anthems were combined with some reformed folk music and jazz music. In Sirius (1975- 1977), he combined electric sounds with performances such as soprano, bass, trumpet and clarinet. Stockhausen's attempt to change electronic music is also reflected in his instrumental and vocal works. The most typical work is Momente written by 1962- 1964, which was first broadcast on 1965. This is a musical work for soprano, four choirs and thirteen solo instruments, but it is not a fixed work with a specific beginning, musical process and ending. The conductor can be expressed according to his own ability, will and various conditions, and the playing time can be long or short. This work fully embodies stockhausen's efforts in eliminating the barriers between vocal music and instrumental music, sound and silence, music and noise, and breaking the dual writing method. Some people call this kind of works "accidental music". Later, he continued to carry out various experiments and linked them with other factors: the form of harmony, rhythm and melody was combined with lyrics and scenes, which enabled the latter to explain music from a non-musical perspective. That is, sound, language and environment tend to be unified. Since 1970s, the works in this field include 1970 Datura for two electronic pianos, 1974 Inori for orchestras and prayers, Herbstmusik for four performers, and 1975-6544. Stockhausen studied a lot of folk music and tribal music in Africa, Asia and other places, and began to create a number of works deeply influenced by these works in the second half of 1960s. Therefore, in the early 1970s, he raised the issue of creating "world music". He believes that, just like in other fields, "in the field of music, we should break the boundaries ... and tend to be integrated", and he demands to create an "artificial new folk music", in which various styles in the world are integrated. Many theorists disagree with Stockhausen's view of "world music", but this creative trend still has some influence on some European and American composers today. As a composer, stockhausen, who mainly focuses on sequence music, has explored a new way of music creation through constant exploration and experiments, and thus has become an influential figure in today's world music life. By the end of 1976, Sanwei's music theorists had written biographical monographs for him. As a pianist and conductor, Stockhausen also enjoys a high international reputation. In addition, he has written a lot of music papers, up to 1978, and he has published four major papers on electronic music and modern music from 1963 to 1977. Stockhausen is still in an important position, because many of his thoughts and music works are still regarded as contemporary art by the public. Although it is conservative to say that his ideas may be far ahead of his audience. His practice of mixing world music is as fresh to today's audience as it was when it first appeared in the 1970s. He tried to penetrate the core of sound-in order to accurately evaluate the meaning of sound existence (whether in a given structure or intentionally playing without a sense of wholeness), which undoubtedly laid the foundation for the music practice that appeared in the last decade. Now we can't sum up his contribution to music in this century, especially because this contribution is still going on, but his position in post-war music is unparalleled.