How the Darmstadt Internationale Ferienkurse Für Neue Musik Cultivated Solo Multiple Percussion Repertoire Through Graphic Notation and Indeterminacy
Graphic Notation and Indeterminacy
MetadataShow full item record
PublisherThe University of Arizona.
RightsCopyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author.
AbstractThe Darmstadt Internationale Ferienkurse für Neue Musik (IFNM) contributed to the rise of solo multiple percussion music and compositional techniques found in early repertoire, including graphic notation and indeterminacy. John Cage wrote the first solo multiple percussion work (27' 10.554" for a Percussionist) in 1956, two years before he became involved at the Darmstadt IFNM. Cage then delivered a lecture at the courses in 1958 about indeterminacy, and the next year (1959) Stockhausen composed the second work for solo multiple percussion—Nr. 9 Zyklus—for the IFNM. In the same year, Stockhausen also delivered a lecture about graphic notation. Seven years later in 1966, Helmut Lachenmann—who was active at the IFNM since 1957—composed Intérieur I für einen Schlagzeugsolisten which utilizes graphic notation and indeterminacy. The three pieces by Cage, Stockhausen and Lachenmann will be examined in regards to how they employ graphic notation and indeterminacy and similarities and differences in how these techniques are used will be cited.
Degree ProgramGraduate College