Classifier Instance:

Anchor text: Die Reihe
Target Entity: Die_Reihe
Preceding Context: In the 1950s and early 1960s, Stockhausen published a series of articles that established his importance in the area of music theory. Although these include analyses of music by Mozart, Debussy, Bartók, Stravinsky, Goeyvaerts, Boulez, Nono, Johannes Fritsch, Michael von Biel, and, especially, Webern (Texte 1:24–31, 39–44, 75–85, 86–98; Texte 2:136–39, 149–66, 170–206; Texte 3:236–38; Texte 4:662–63), the items on compositional theory directly related to his own work are regarded as the most important generally. "Indeed, the Texte come closer than anything else currently available to providing a general compositional theory for the postwar period" (Morgan 1975, 16). His most celebrated article is "... wie die Zeit vergeht ..." (". . . How Time Passes . . ."), first published in the third volume of
Succeeding Context: (1957). In it, he expounds a number of temporal conceptions underlying his instrumental compositions Zeitmaße, Gruppen, and Klavierstück XI. In particular, this article develops (1) a scale of twelve tempos analogous to the chromatic pitch scale, (2) a technique of building progressively smaller, integral subdivisions over a basic (fundamental) duration, analogous to the overtone series, (3) musical application of the concept of the partial field (time fields and field sizes) in both successive and simultaneous proportions, (4) methods of projecting large-scale form from a series of proportions, (5) the concept of "statistical" composition, (6) the concept of "action duration" and the associated "variable form", and (7) the notion of the "directionless temporal field" and with it, "polyvalent form" (Stockhausen Texte 1:99–139).
Paragraph Title: Theories
Source Page: Karlheinz Stockhausen

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