Re: Stimmung/I'll take the tortoise

Daniel
i could'nt agree more the Stimmung is definitely "dated" but I would not
denigrate the Universal potential of magic names especially -Ahuramazda-which
ranks up there with Buddah or Jesus or Meher Baba-I think Stockhausens
intentions were to attach a spirituality if you will or a understandable
socio-religous context to chanting instead of simply chanting vowel sounds(
which also have their own psycho-spiritual significance if you must) to that
piece. I am delighted to learn Stimmung is a result of a visit to LY&MZ as i
always felt there was a connection. These names chanted in proper intonation
can light the Kings Chamber if you get my Drift. I learned to overtone in the
Mongolian Hoomi style by isolating certain "magic names",and the Tibetan chant
by listening to the Monks on tape so when I did finally visit Dream House I was
able to key into LaMontes constellation rather rapidly. I must agree finally
that when the sacred becomes secular it loses its potency as Stockhausen may
have over the years. LY &MZs chanting has a certain degree of Hinusthani
element-were Sa Re Ga Ma Pa Dha Ni SA are thank god substituted for words like
Avocados.Nevertheless I was just mentioning that it might be nice to hear the
piece on CD as my copy has snaps and crakles. But Yes I'll take The Tortoise
any day.
Pat

Daniel Wolf wrote:

> From: Daniel Wolf <DJWOLF_MATERIAL@compuserve.com>
>
> Message text written by INTERNET:tuning@onelist.com
> >From: Patrick Pagano <ppagano@bellsouth.net>
>
> I think Studie One and two are Stockhausens multiple Sine pieces if I am
> not
> mistaken.
> I have always been fond of Stimmung--which translates as "Tuning"
> Which should definitely be re-released on CD. Several of the singers on
> Stimmung moved into toning and overtoning as a result of that piece.
> Pat<
>
> The electronic studies are indeed sine wave pieces, but the technology
> available was just not good enough to get the timbres in phase.
> Fortunately, these pieces are precisely notated so that they may be
> realized new. If I remember correctly, Peter E�tv�s has done an arrangement
> of Studie II (for string orchestra?).
>
> I have never found it a coincidence that Stockhausen made _Stimmung_ after
> paying a visit to La Monte Young and Marian Zazeela's loft. I think that
> the Stockhausen has dated very badly. The bad erotic poetry (composers
> really shouldn't write lyrics!) and proto-new age 'magic names' just come
> across as silly, while the rhythmic and timbral tranformation techniques
> now seem both pedantic and lack potential for surprise. Young's aesthetic,
> on the other hand, avoids giving the superstructure the kind of
> explicitness that has dated _Stimmung_ so badly, and uses a rule-base to
> control the improvised realization of the work that is really more honest
> than the hidden compositional controls exerted by Stockhausen.
>
> I included _Sternklang_ on my list instead of the closely-related
> _Stimmung_ because it is materially more interesting (the diamond tonality
> and the techniques used by the instruments to control the formants) but
> more importantly because it takes the common ideas to extremes not present
> in the earlier piece.
>
> You are right that _Stimmung_ is related to the whole new-agish 'overtone
> singing' enterprise here in Germany (which has really slowed down since
> actual Tuvan and Mongolian singers started appearing live in Germany
> shopping districts, playing for spare change), much as David Hyke's choir
> was related to Young's ensemble work. It is an interesting social-cultural
> and economic phenomenon and many of the performers are very accomplished
> at what they do but I find it hard to imagine that there is really
> sufficient content in these musics to drive a music-theoretical discussion
> of any depth or weight.
>
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