But since the middle of the century in particular, the music has become very irregular in rhythm.
And I'll never forget the first time I took the possibility to project sound every day for six or seven hours with special devices which were built for me.
Or in other works I have also projected the sound in a cube of loudspeakers. The sound can move vertically and diagonally at all speeds around the public.
Or the other process that is important is that I compress longer sections of composed music, either found or made by myself, to such an extent that the rhythm becomes a timbre, and formal subdivisions become rhythm.
When a certain piece of music penetrates a person, a resonance is set in motion and an inner voice says: "I like this resonance. It elevates me. It develops hitherto unknown possibilities in me. I don't recognize myself. This is very interesting.
And harmony means that the relationship between all the elements used in a composition is balanced, is good.
In particular what is most important to me is the transformation of a sound by slowing it down, sometimes extremely, so that the inner of sound becomes a conceivable rhythm.
Repetition is based on body rhythms, so we identify with the heartbeat, or with walking, or with breathing.
I spent most of the year in the studio for electronic music at a radio station in Cologne or in other studios where I produced new works with all kinds of electronic apparatus.
Since I started composing I have always worked with series of tempos, even superimposed the music of different groups of musicians, of singers, instrumentalists who play and sing in different tempos simultaneously and then meet every now and then in the same tempo.
Last Update: 26 October 2021
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