Sunday Synth Jam: Mr Müller, former assistant of Karl Heinz Stockhausen), performs on sine wave generator, FM radio and 3 tape machines. One tape machine is used to gate the sound input and the other two are used to make echo and reverb and overdub.
Back in 1995, classical composer and electronic music pioneer Karlheinz Stockhausen (22 August 1928 – 5 December 2007) took the time to give a listen to some then-current tracks by Aphex Twin, Plasticman, Scanner and Daniel Pemberton.
While his comments are a few years old, they’re worth reading for his perspective.
Stockhausen had these music tips for the artists:
I wish those musicians would not allow themselves any repetitions, and would go faster in developing their ideas or their findings, because I don’t appreciate at all this permanent repetitive language.
It is like someone who is stuttering all the time, and can’t get words out of his mouth. I think musicians should have very concise figures and not rely on this fashionable psychology. I don’t like psychology whatsoever: using music like a drug is stupid.
One shouldn’t do that: music is the product of the highest human intelligence, and of the best senses, the listening senses and of imagination and intuition.
And as soon as it becomes just a means for ambiance, as we say, environment, or for being used for certain purposes, then music becomes a whore, and one should not allow that really; one should not serve any existing demands or in particular not commercial values. That would be terrible: that is selling out the music.
In addition to Stockhausen’s general reactions to the state of art in edgier electronica, he had comments on the specific artists and their work.
Icelandic original Björk has penned an interesting essay for the Guardian that looks at why she loves Karlheinz Stockhausen.
Here’s an excerpt:
For my generation, Stockhausen’s published lectures had unbelievable impact. He was the most hopeful of figures: the 21st century was going to be great. The classical teachers in my school, meanwhile, kept moaning about the good old days of music and changing the masses of music pupils into slave performers, putting to sleep any creative thought or the will to make new things.
I remember sitting in his studio in Cologne, surrounded by 12 speakers, him creating a current traveling up and down, swirling around us like the force of nature that electricity is, my insides pulsating to his noise – primordial, modern and futuristic. He celebrated the sound of sound, in both his electronic music and his acoustic music. For example, my favourite piece of his, Stimmung, is vocal only, using the voice as a sound and exploring the nuances of it in a microscopic way, rid of the luggage of the opera tradition or any other vocal disciplines, styles or techniques.