No CrossRef data available.
Article contents
Mary Bauermeister, Ich hänge im Triolengitter: mein Leben mit Karlheinz Stockhausen (Munich: C. Bertelsmann, 2011), ISBN 978-3-570-58024-0
Published online by Cambridge University Press: 27 March 2013
Abstract
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
- Type
- Reviews
- Information
- Twentieth-Century Music , Volume 9 , Special Issue 1-2: Music – Politics – Semiotics: Aspects of the Legacy of David Osmond-Smith (1946–2007) , March 2012 , pp. 221 - 227
- Copyright
- Copyright © Cambridge University Press 2013
References
1 Spieler, Reinhard and Skrobanek, Kerstin (eds), Mary Bauermeister: Welten in der Schachtel/Worlds in a Box, trans. Rosenthal, Judith. Exhibition Catalogue, Wilhelm-Hack-Museum, Ludwigshafen am Rhein (Bielefeld: Kerber, 2010)Google Scholar.
2 Wörner, Karl H., Stockhausen: Life and Work, trans. Hopkins, Bill (Berkeley and Los Angeles: University of California Press, 1973), 242–3Google Scholar.
3 Kurtz, Michael, Stockhausen: a Biography, trans. Toop, Richard (London: Faber and Faber, 1992), 110 ffGoogle Scholar.
4 Lueg, Gabriele, ‘Gespräch mit Mary Bauermeister’, in Die 60er Jahre: Kölns Weg zur Kunstmetropole, vom Happening zum Kunstmarkt, ed. Herzogenrath, Wulf and Lueg, Gabriele (Cologne: Kölnisher Kunstverein, 1986), 142–5Google Scholar.
5 Kurtz, Stockhausen, 111.
6 Regarding Stockhausen's early years, there is plenty of information available for English speakers in the two aforementioned biographies, as well as in von Blumröder, Christoph, ‘Orientation to Hermann Hesse’, trans. Kohl, Jerome, Perspectives of New Music 36/1 (1998), 65–96CrossRefGoogle Scholar, and Toop, Richard, ‘Messiaen/Goeyvaerts, Fano/Stockhausen, Boulez’, Perspectives of New Music 13/1 (1974), 141–69CrossRefGoogle Scholar.
7 Potter, Keith, Four Musical Minimalists (Cambridge: Cambridge University Press, 2000), 89Google Scholar; Cardew, Cornelius, ‘One Sound: La Monte Young’, Musical Times 107 (1966), 959–60 (p. 959)CrossRefGoogle Scholar.
8 Leopoldo Siano, ‘Mary Bauermeister and Karlheinz Stockhausen: between Music and Visual Art in the Sixties’, lecture delivered at the 2011 Stockhausen Courses in Kürten, Germany, forthcoming from the Stockhausen Verlag.
9 Spieler and Skrobanek (eds), Mary Bauermeister: Welten in der Schachtel, 70.
10 Stockhausen's meticulous schedule for the performances can be found in Stockhausen, Karlheinz, Texte zur Musik, vol. 3: 1963–1970, ed. Schnebel, Dieter (Cologne: DuMont Schauberg, 1971), 177–81Google Scholar.
11 Stockhausen, , Texte zur Musik, vol. 5: Komposition: 1977–1984, ed. von Blumröder, Christoph (Cologne: DuMont, 1989), 643Google Scholar.
12 Bandur, Markus, ‘“… alles aus einem Kern entfaltet, thematisch und strukturell”: Karlheinz Stockhausen und die Rezeption des Urantia Buch in LICHT’, in Internationales Stockhausen-Symposion 2000: LICHT, ed. Misch, Imke and von Blumröder, Christoph (Münster: Lit Verlag, 2004), 136–46Google Scholar.
13 Christian Ruch, ‘“… but what I've read, I think, it's true”: Karlheinz Stockhausen and the Urantia Book’, lecture delivered at the 2011 Stockhausen Courses in Kürten, Germany, forthcoming from the Stockhausen Verlag.
14 Siano, ‘Mary Bauermeister and Karlheinz Stockhausen’.
15 Urantia Book, Paper 53.5.4. The very next paragraph describes the Lucifer sign; curiously Stockhausen's Lucifer sign follows it exactly.
16 Wörner, Stockhausen, 243.
17 Licht-Kreis, University of Cologne <http://licht-kreis.blogspot.com> (accessed 30 April 2012).