Word: stockhausen
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Stomu Yamashta conceived the ideas behind the album, as well as most of its musical composition. Like Winwood, Yamashta is 28 and a former child prodigy. As a teenager he performed with John Cage and Karlheinz Stockhausen. His more recent achievements include writing the soundtracks for such films as Ken Russell's The Devils, Altman's Images and Roeg's The Man Who Fell to Earth. In addition, Yamashta has toured with and composed pieces for the Chicago Chamber Orchestra, the Royal Ballet and a number of jazz-rock bands...
...later, listing contemporary composers who have been thrown back on their "innate, long denied sense of tonality," he says that Stockhausen's Stimmung "spends seventy minutes in B-flat major." In fact, Stimmung is a radically minimalist work consisting of six vocalists humming and chanting a low B-flat fundamental and its various overtones--seventy minutes of some kind of B-flat chord, but not the key of B-flat major by anybody's definition, and certainly not anything resembling tonality...
...Most conspiciously promising in this respect among young conductors is Michael Tilson Thomas, who is clearly using his remarkable prominence beneficially. Even in his pre-Boston Symphony days. Thomas performed a remarkable amount of unusual music-his four years in Los Angeles, for example, included premieres of Stravinsky, Boulez, Stockhausen, Dahl, and Foss...
...listen to it hard is to know at least something about the black man's struggle for freedom. "What does music mean?" asks Archie Shepp. "When you hear Debussy, don't you hear an era? Don't you hear an era when you listen to Stockhausen?" Is it possible to hear an era? If not, Horace Tapscott, a new-jazz pianist in Watts, has a simpler suggestion for the white world: "Think of us as people. Think of us as interpreters of a people...
...write" on tape; their music was never intended for the traditional concert hall. "The trouble with the concert hall," says California's electronic composer Morton Subotnick, "is that it requires a social and theatrical esthetic that really has nothing to do with our music." Germany's Karlheinz Stockhausen, who today works primarily in the electronic idiom, agrees: "I make everything for stereo records. The record is the document of how I want my music to sound...