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Timelessness and temporality (Kruse, 2011) are widely studied topics in the classical music of the second half of the 20th century and the 21st century, mainly concerning the perspective of musical composition and auditory perception of music. But what is the perspective of temporal layeredness in the performer’s experience? This quote offers a starting point (Noble, 2018): “music whose temporal organisation optimises human information processing and embodiment expresses human time, and music whose temporal organisation subverts or exceeds human information processing and embodiment points outside of human time, to timelessness .” Specialized in the repertoire of Karlheinz Stockhausen, I want to investigate the role of temporality in music from the perspective of a performer. I will delve into the richness of different layers of temporal awareness in an artistic experience through experiential, embodied, and sensorial knowledge, using different temporal compositions by Stockhausen as case studies: HARMONIEN (2006) for flute solo,, Xi (1986) for flute solo and STOP (1969) for ensemble.

type	research exposition
keywords	temporality, Stockhausen, new music
date	16/12/2022
last modified	19/03/2024
status	in progress
share status	public
affiliation	Antwerp University, Royal Conservatoire Antwerp
copyright	private
license	CC BY-NC-ND
language	British English
url	https://www.researchcatalogue.net/view/1868467/1868466

id	name	copyright	license
2657068	media2	copyright holder	Public domain
2657200	media3	copyright holder	Public domain

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Perspectives on time in the music by Stockhausen: the experience of a performer (last edited: 2024)

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