Classifier Instance:

Anchor text: Schoenberg
Target Entity: Arnold_Schoenberg
Preceding Context: In August 1951, just after his first Darmstadt visit, Stockhausen began working with a form of athematic serial composition that rejected the twelve-tone technique of
Succeeding Context: (Felder 1977, 92). He characterized many of these earliest compositions (together with the music of other, like-minded composers of the period) as punktuelle ("punctual" or "pointist" music, commonly mistranslated as "pointillist") Musik, though one critic concluded after analysing several of these early works that Stockhausen "never really composed punctually" (Sabbe 1981). Compositions from this phase include Kreuzspiel (1951), the Klavierstücke I–IV (1952—the fourth of this first set of four Klavierstücke, titled Klavierstück IV, is specifically cited by Stockhausen as an example of "punctual music" in Texte 2, 19), and the first (unpublished) versions of Punkte and Kontra-Punkte (1952) (Texte 2, 20). However, several works from these same years show Stockhausen formulating his "first really ground-breaking contribution to the theory and, above all, practice of composition" (Toop 2005, 3), that of "group composition" (Toop 2005, 3), found in Stockhausen's works as early as 1952 and continuing to the present time (Toop 2005, 3). This principle was first publicly described by Stockhausen in a radio talk from December 1955, titled "Gruppenkomposition: Klavierstück I" (Texte 1, 63–74).
Paragraph Title: 1950s
Source Page: Karlheinz Stockhausen

Ground Truth Types:

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Predicted Types:

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yagoGeoEntity0.05348379056352945 1
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wordnet_land_109334396-3.3975496271863967 0
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