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Kreuzspiel Presentation

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Tom Johnson

on 7 May 2015

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Transcript of Kreuzspiel Presentation

Kreuzspiel
A Closer Look

Tom Johnson
February 25, 2012

Overview
Background
Kreuzspiel Basics
Previous Work
My Findings
Why Might We Care?
Background
Stockhausen's earlier works
Darmstadt, 1951
Karel Goeyvaerts
Messiaen
Kreuzspiel Basics
"Cross play"
Written Fall, 1951
His acknowledged Opus 1
Unique orchestration
Detailed setup
"Pointillist", early Serialism
Three main sections: I, II, III
Each with "Mode de Valeurs"-inspired series for both pitched- and percussive instruments
Section I. Pitched Instruments
Section I. Tom-toms
Messiaen Mode de Valeurs
Kreuzspiel Basics continued...
Prior Work
"Kreuzspiel has been analysed in print more often than any other work by Stockhausen, though all but one (Borio and Garda 1991) restrict themselves to just the first of its three stages."
http://en.wikipedia.org/wiki/Kreuzspiel
"Kreuzspiel" - "Crossplay"
Registral crossing (Goeyvaerts)
7-2-5-4-3-6-1 (octave number)
Leads to textural change
Crossing-permutation of series
Tumbas show it simply
Section I
1
2
3
4
5
6
7
8
9
10
11
12
2
3
4
5
6
12
1
7
8
9
10
11
More complex in Tom-toms
Quick Recap
Mode de Valeurs-like series
Pitched instruments go through a registral "crossing"
Tumbas show serial permutation
P.I. and Toms follow same basic idea, slightly more complex and less regular
Freer treatment of inner material
Crossed hexachords
Pitched instruments' series treated identically
Section II-"Inside Out"
"Relatively well-known"
"Centre outwards"
Great, what does that mean exactly?
Pitched Instruments
Section I. Tom-toms

Inner voices, out to extremes
I. 725 4 361
II. 4 361 725 4
Section II
Section II. Cymbals
Crossed "modes"?
Series permutation?
Section I
Pitched Instruments
Section II Cymbals
Less regular
Not symmetric
Besides "centre outwards", also group crossing
Looks similar to pitched instruments,
but what's going on here?

Need some more information...
Section Three-"Combination"
Superimposes Section I and II Material
Holds "modes" constant as original
-Pitched Instruments
-Percussion
Piano and winds move through Section I material in retrograde
Section II material enters, lies totally in piano, also in retrograde
Duration units swapped
Registral rotation more free in Section II material
Tom-toms move through Section I material in retrograde, analagous to pitched instruments
Section II material enters in cymbals
Duration units swapped
Section III Cymbals
Maybe retrograde of Section II?
Know that Section II series treated less strictly
Check out middle sections...
II.
III.
Why might we care?
Early Stockhausen
Ensemble (unpitched)
Moving groups of notes in section II: "Formel"
Superimposition of serial strands: "Gruppen"
Rhythms: "...how time passes..."
Fairly straightforward analysis, good for pedagogy? Help illustrate an important step between Messiaen and later Serialists
Summary of My Findings
Hexachordal crossing in Section I, analagous to registral crossing
"Modes" also in Sections II and III
Non-symmetric "inside-out" Section II
Group motion
With hindsight from Section III, Section II cymbals also show same process as P.I.
Section III reprise of Section II motion in retrograde
Much more interesting percussion than previously thought!
Thanks! Any Questions?
Sources:

Bracanin, Philip Keith. “The Abstract System as Compositional Matrix: An Examination of Some Applications by Nono, Boulez, and Stockhausen.” Studies in Music (Australia) 5 (1971): 90-114.

Maconie, Robin. The Works of Karlheinz Stockhausen. New York: Oxford University Press, 1990.

Harvey, Jonathan. The Music of Stockhausen: An Introduction. Berkeley: University of California Press, 1975.

Toop, Richard. “Messiaen/ Goeyvaerts, Fano/ Stockhausen, Boulez.” Perspectives of New Music 13, No. 1 (Autumn - Winter, 1974): 141-169.

http://en.wikipedia.org/wiki/Kreuzspiel - accessed 2/17/2012

http://upload.wikimedia.org/wikipedia/en/f/fd/Messiaen_-_Mode_de_valeurs_et_d%27intensites_series_upper_line_--_Boulez_-_Structures_Ia.png - accessed 2/17/2012

Registral crossing
12
11
10
9
8
7
6
5
4
3
2
1
-Toop, 1974
-Toop, 1974 with additions
-Harvey, 1975 with additions
Full transcript