FÜR KOMMENDE ZEITEN

Stockhausen playing the Kandy-drum in CEYLON (from LP)
(© www.karlheinzstockhausen.org)

No. 33: FÜR KOMMENDE ZEITEN (For Times to Come) (1968-1970)
17 "intuitive music" text compositions
for electroacoustic ensemble or small ensemble

Introduction
     During a period of personal upheaval and crisis, Stockhausen wrote a set of texts, AUS DEN SIEBEN TAGEN, which are essentially verbal instructions which an ensemble (usually small) could use to embark on a kind of "textural" improvisation.  These works would tend to establish a kind of "vibratory environment" and then gradually develop into new ensemble landscapes.  Stockhausen called these improvisatory journeys "intuitive music", and sometimes inferred that instead of playing from a score, the performers would receive musical vibrations from each other and possibly from some kind of external (spiritual?) force.   FÜR KOMMENDE ZEITEN is basically a second collection of texts for use in creating intuitive music improvisations (it's recommended to read the text on AUS DEN SIEBEN TAGEN for more background information).

     AUS DEN SIEBEN TAGEN was written in a very short period under physically and mentally taxing conditions, but FÜR KOMMENDE ZEITEN was written over the span of a few years, usually while teaching, traveling or touring.  For this reason they seem a bit more playful and less "intense".  The first 5 were written as "examples" while teaching intuitive music at the Darmstadt Summer Vacation Course in August 1968, the 6th (INTERVALL) a year later in Corsica (as a gift), the next 3 in Bali on the way to the Tokyo EXPO '70 concerts, and the last 8 in Sri Lanka (Ceylon) on the way back from the Tokyo concerts.  The 17 texts are named:

• ÜBEREINSTIMMUNG ("Unanimity")
• VERLÄNGERUNG ("Elongation")
• VERKÜRZUNG ("Shortening")
• ÜBER DIE GRENZE ("Across the Boundary")
• KOMMUNIKATION ("Communication")
• INTERVALL ("Interval", piano duet for 4 hands)
• AUSSERHALB ("Outside")
• INNERHALB ("Inside")
• ANHALT ("Halt")
• SCHWINGUNG ("Vibration")
• SPEKTREN ("Spectra")
• WELLEN ("Waves")
• ZUGVOGEL ("Bird of Passage")
• VORAHNUNG ("Presentiment") for 4–7 interpreters
• JAPAN
• WACH ("Awake") (1971 and 2005)
• CEYLON

Recordings
     In contrast to the pieces in AUS DEN SIEBEN TAGEN (in which 12 out of 15 texts are officially recorded), only a little over half of these works have been recorded with Stockhausen's participation (though at least most of the missing ones have been premiered by the group "Gentle Fire", presumably with Stockhausen's involvement). 

     CEYLON, ZUGVOGEL, JAPAN, and WACH were recorded in the 1970's and are now available on Stockhausen Edition CD 11, Special Edition Text CD 22 and on a Stockhausen EMI Classics release, respectively.  These feature a version of Stockhausen's "live electronics" group which was first established to play MIKROPHONIE I (for more on the unusual instrumentation of these performances (electronium, electrochord, tam tam, etc...), see PROZESSION and SPIRAL).  The recordings of JAPAN and WACH were actually engineered by Alan Parsons and not Stockhausen himself, so I'm not sure how involved the composer actually was with these 2 versions, but since the players are basically core members of the Stockhausen Group (playing Stockhausen's texts), it seems appropriate to include them here.

     VERKÜRZUNG, WACH (2nd recording), ANHALT, VORAHNUNG, INNERHALB and WELLEN were recorded and released on Stockhausen Edition CD 17.1 in 2005, and were performed by the "Ensemble for Intuitive Music, Weimar", a trumpet, cello, piano and electronics group which originally began playing intuitive music without Stockhausen's involvement, but in these recordings were guided by the composer's presence. 

JAPAN	(11:41)	Composed 70.07.06 Recorded 71.12.08-10 Abbey Road Studios with Alan Parsons
This recording has a very "ritualistic" feeling, in that the woodblock rhythms seem to act as "signposts" against a backdrop of winding electronic ornamentation on drones or pedal tones.  The drums are very minimal, mainly playing some light trills in the beginning and ending sections.  This is the only intuitive text with a notated part. It's difficult to tell if the melody is actually played verbatim, but it seems fragments may be used as the basis for ornamentation.
Upwards-rain in drops and threads and a melody. (includes a slow 5-bar melody in 3 or 4 phrases, basically spiraling up and then falling back down to the starting note)	Harald Bojé	Electronium, woodblock
	Peter Eötvös	Electrochord, Japanese bamboo flute, woodblock
	Cristoph Caskel	Percussion
	0:01 - held electronic tones with light drum rolls and isolated woodblock in the foreground 0:51 - woodblock begins periodic rhythm, joined intermittently by 2nd woodblock, electronium plays ornamentation on a pedal tone 2:10 - woodblock isolated again, quiet background electronics 3:31 - electrochord adds some ornamentation figures 5:15 - sparse accent groups gradually fade in and out 6:34 - slow woodblock rhythm followed by electronic drones and a periodic blip 7:50 - drums slightly more present, electronic drones replaced by wind sounds 9:53 - electronium returns with high figures, drums fade in and out with thin attacks 11:27 - final woodblock "cadenza"

     

WACH ("Awake")	(19:57)	Composed 70.07.07 Recorded 71.12.08-10 Abbey Road Studios with Alan Parsons
Isolated points with falling glissandi, perhaps quiet trills/accents...  Due to the instrumentation, similar to JAPAN, but much looser with more dialogue-like interaction.
Star constellations with common points and falling stars with secret wishes and nocturnal forest with dialogues Abrupt end.	Harald Bojé	Electronium
	Peter Eötvös	Electrochord
	Cristoph Caskel	Percussion
	0:01 - isolated notes with metal textures 0:34 - 3rd electronic voice enters (oscillating tone begins) starts a crescendo to a busier texture 2:31 - syncopated accents with background drone 3:58 - electronic figures become more "vocal" and/or farther away, cymbal bowing begins 7:43 - percussion fades out, electronic points and long tones, eventually becoming a 3-layer dialogue 9:42 - percussion "knocks" enter, electronics become deeper (wider frequencies) 10:54 - gong-like textures enter, knocks fade out 12:07 - low and high modulating tones begin, glissandi (no perc.) 13:37 - intermittent electronic fragments dialogue over "bouncing" bass drones 14:56 - bouncing bass replaced by bubbling high tones, triangle leads to rhythms on thin metallic accents  17:01 - high modulating drone enters, then isolated triangle  18:35 - low scraping texture enters, high drone fades out

CEYLON	(22:05)	Composed 70.07.07 Recorded 75.04.04
Based on an unpublished form structure used for this particular recording (but included in the CD booklet!), the text seems to imply the sub-division of the group into 2 sections, or duos with commentary ("minorities") from the remaining players).  This text also includes a notated rhythm for use with the Kandy drum, a 2-headed hand drum (this rhythm is also picked up and used by the other instruments).  This performance is obviously driven by the Kandy drum rhythm, but the ring-modulated piano also gives it a kind of Balinese gamelan flavor.
Everything divided into two and a few minorities For festive times a rhythm: (2 pages of rhythmic notation included)	Harald Bojé	Electronium
	Peter Eötvös	Persian Camel Bells,  Triangles, Synthesizer
	Aloys Kontarsky	Ring-modulated Piano
	Joachim Krist	Amplified Tam-tam
	Karlheinz Stockhausen	Kandy Drum
	Tim Souster	Sound Projection
	0:07: Kandy drum & camel bells duo play Ceylon rhythm, with background commentary from ensemble 3:46: "Blocks & Rests" - mostly piano, electronium, & tam tam, with drum and bells commentary 4:47: "Duo", piano & electronium play Ceylon rhythm, with some percussion ornamentation 6:39: Quiet free section (Blocks & Rests, no bells) 9:43: Transition to "Trio" - bells, tam-tam & electronium 11:14: "Duo", piano & drum (trio continues underneath) 13:38: Soft fragments, delicate textures 18:08: Ensemble (forte) 19:31: Ensemble (piano) 21:00: Ensemble (pianissimo)

Markus Stockhausen
(© www.karlheinzstockhausen.org)

ZUGVOGEL ("Bird of Passage")	(24:45)	Composed 70.07.06 Recorded 1975
The first part of the text is pretty straight-forward, but the final phrase is obviously open to interpretation...  The recording here features Stockhausen's son Markus in his first prominent role in one of his father's works.  The recording has a definite free-jazz feel to it, but Stockhausen's "magic names" and other more ethnic instrumental textures add a somewhat more mystical feeling.  In general, the music seems always wanting to "take off", but then hesitates, only to re-gather strength for another try.
Play/Sing as parallel as possible with the others Make exceptions and long pauses Bring the whole to a stand-still Fly away	Markus Stockhausen	Trumpet, effects, Flugelhorn
	John Miller	Trumpet
	Harald Bojé	Electronium
	Aloys Kontarsky	Piano
	Karlheinz Stockhausen	Rin Bowls, Indian Bells,   slide and bird whistles, voice
	0:00 - competing tremolo textures, various crashing waves and intermittent low sound masses 5:06 - electronium begins to fade out (energy subsides), trumpets play long tones, piano high tremolo figures, high metals eventually enter 7:27 - some relaxation in piano, electronium resurfaces with low drone/oscillating textures 9:09 - low electronium pulses, Stockhausen begins calling out names ("Hinari", "Garuda"...), slow piano accents 10:33 - bass pulses and high electronic fragments, piano becomes more soloistic, trumpet and metals eventually join in, trumpets tremolo over bass pulses 12:58 - sparse trumpet figures (pre-echo?) over quiet grunting electronic and percussive textures, piano drops out 14:58 - piano returns beginning with a few pedal bass accents, trumpets fade out (becomes percussive tonguing), replaced by high electronics 17:16 - muted brass accents returns, then overtaken by jagged piano figures, slide whistle  19:05 - long brass tones, modulating over frenetic high piano, electronium drones sometimes morse code accents, brass eventually become soloistic 22:12 - bursts of piano tremoli with high electronium points and trumpet long tones  23:27 - sparse with growling electronium textures and howling brass, ends with high metal percussion

  

Ensemble for Intuitive Music Weimar, 2005 
(Michael von Hintzenstern, Matthias von Hintzenstern, Hans Tutschku, Daniel Hoffmann, Stockhausen)

VERKÜRZUNG ("Shortening")	(9:16)	Composed 68.08 Recorded 05.05.28
Drones...until?
Play or Sing Extremely long sounds until each one seems like an instant	Ensemble for Intuitive Music Weimar:
	Daniel Hoffmann	Trumpet
	Matthias von Hintzenstern	Cello
	Michael von Hintzenstern	Piano, Harmonium
	Hans Tutschku	Synthesizer
	Sustained tones or sound patterns (tremoli) (sometimes modulating), coming and going (sometimes abrupt endings, sometimes with rising tails), different kinds of homophonic layers result

   

WACH ("Awake")	(10:00)	Composed 68.07.07 Recorded 05.05.28
Isolated points with falling glissandi, perhaps trills/accents...
Star constellations with common points and falling stars with secret wishes and nocturnal forest with dialogues Abrupt end	Ensemble for Intuitive Music Weimar:
	Daniel Hoffmann	Trumpet
	Matthias von Hintzenstern	Cello
	Michael von Hintzenstern	Piano, Harmonium
	Hans Tutschku	Synthesizer
	0:03 - separated collections of accents (like drops), sometimes in unison groups and sometimes closely staggered, washed in reverb 1:41 - the accents gradually become more evenly spread out, longer and more complex figures begin surfacing 4:00 - intermittent drone elements appear as well as low gong-like sounds, short figures still in the foreground 7:17 - some more frenetic figures enter, but texture is still very thick and resonant 8:22 - "clacker" noises join in, the foreground figures become more like dialogues

ANHALT ("Halt")	(10:00)	Composed 70.02.04 Recorded 05.05.28
Layered sound textures, play chordally if possible.
Seek harmony with a co-player Hold still, so that the others can find harmony with you Seek harmony with another co-player Hold still, so that… Seek harmony with each of your co-players Seek harmony with a co-player AND at the same time hold still	Ensemble for Intuitive Music Weimar:
	Daniel Hoffmann	Trumpet
	Matthias von Hintzenstern	Cello
	Michael von Hintzenstern	Piano, Harmonium
	Hans Tutschku	Synthesizer
	0:00 - disparate layers of sound textures: rattling sounds, soft piano fragments, drone 1:01 - muted trumpet enters, rattling ends 1:31 - cello replaces trumpet, soon also replaced by low synth 2:50 - trumpet returns 3:29 - cello  4:48 - trumpet briefly returns, piano rises, followed by cello, knocking sounds 6:06 - rhythmic percussive dialogue between trumpet and piano 6:38 - high cello bowing, joined by synth noises 7:35 - piano returns, synth slowly falls, then joined by cello and trumpet 8:33 - cello and synth duo drones, harmonics 9:18 - muted trumpet returns for a final swell

 

VORAHNUNG ("Presentiment")	(9:29)	Composed 70.07.06 Recorded 05.05.28
Staggered layers of sounds, interrupting each other, blending into each other, with clear divisions (attacks) of sound textures
Place each note on the head of another	Ensemble for Intuitive Music Weimar:
	Daniel Hoffmann	Trumpet
	Matthias von Hintzenstern	Cello
	Michael von Hintzenstern	Piano, Harmonium
	Hans Tutschku	Synthesizer
	0:02 - periodic solo and tutti attacks (different layer structures), sustained, sometimes players fade into an attack complex and crescendo until the next attack. Sounds can be drones, tremoli, sound samples etc... 4:30 - some deviations/variations on the preceeding pattern 6:17 - return to clearer structures

   

INNERHALB ("Inside")	(8:43)	Composed 70.02.04 Recorded 05.05.28
Gradually staggered drone layers, eventually rising.  The use of overtone singing adds some nice variety to the layered texture, sometimes on unison pitches.
Play a long note Penetrate into the note of a co-player (and then) another co-player When someone penetrates into your note make everything clear to him. (…) ...until all are moving within each other ...begin to burn and together coil into the heights	Ensemble for Intuitive Music Weimar:
	Daniel Hoffmann	Trumpet
	Matthias von Hintzenstern	Cello
	Michael von Hintzenstern	Piano, Harmonium
	Hans Tutschku	Synthesizer
	0:02 - vocal overtone drones, soon joined/replaced by harmonium, trumpet, synth, cello... 1:34 - rattling texture briefly surfaces, harmonium harmony rises and pulsates 2:55 - cello leads a fade and swell using tremolo, leading to another thick ensemble texture, sometimes with synth "rushing noises" 4:30 - trumpet briefly leads, followed by return of overtone singing, all basically on the same note 6:03 - thicker harmonies return, followed by intense cello tremolo, rising muted trumpet 7:10 - harmony spirals upwards 7:57 - entry of percussive textures (cello, synth, etc..), ending with trumpet tremolo

   

WELLEN ("Waves")	(10:27)	Composed 70.07.05 Recorded 05.05.28
Overlapping swells of sound, eventually blending into a static texture.
Overtake the others Hold the lead Allow yourself to be overtaken Less often	Ensemble for Intuitive Music Weimar:
	Daniel Hoffmann	Trumpet
	Matthias von Hintzenstern	Cello
	Michael von Hintzenstern	Piano, Harmonium
	Hans Tutschku	Synthesizer
	0:02 - ringing bells are soon joined by a subtle cello melody, making an initial "wave" 1:36 - muted trumpet and irregular pulsing synth begin a second wave, which overtakes the first 2:28 - scraped piano strings signal a new wave, soon accompanied by knocking  3:10 - rising muted trumpet, soon replaced by a piano trill 3:42 - a synthetic whirring sound is soon joined by harmonic cello accents 4:13 - synth drone, soon joined by low piano fragments, rattle, and cello tremolo, builds to a climax, which is replaced by... 5:08 - trumpet tremolo soon replaced by piano, resonant wind noises, knocking, etc... 6:00 - slow low melody on synth, soon joined by cello pizz., accelerating 6:37 - fast rhythmic pulse enters, rattles, etc... 7:29 - slow pulses build in multiple layers and speeds into a frenzy led by piano 8:27 - trumpet drone surfaces, soon accompanied by isolated synth accents, cello, etc... 9:12 - energy begins to build again, led by background synth noise(?)

Unrecorded Works

     The remaining texts of FÜR KOMMENDE ZEITEN have been recorded by various people, but are not "official", in that Stockhausen was not involved in the sessions or groups.  Below are my "personal" interpretations of what they might mean and a few excerpts of the score texts.  Included are also links to where "unsupervised versions" (not necessarily matching my own interpretation) can be found:

• ÜBEREINSTIMMUNG ("Unanimity"): quiet, long sounds and short loud sounds, increasingly in unison attacks.  Recorded by composer Richard Barrett's group here and also by the "Intuitive Music Quartet" (Giorgio Dini (bass), Mell Morcone (piano), Walter Prati (Synthesizer, Electronics), Mario Mariotti (Trumpet, Flugelhorn) here.
• VERLÄNGERUNG ("Elongation"): extremely short events, an "Intuitive Music Quartet" version can be heard on YouTube.
• ÜBER DIE GRENZE ("Across the Boundary"): play as a "Humorous Master-Interpreter", exploring instrumental technique.  As far as I know no CD recording is available of this one.
• KOMMUNIKATION ("Communication"): long, quiet sounds vs. loud short sounds vs. agitated sounds, using a kind of unspoken communication.  Recorded by the "Intuitive Music Quartet" here.
• INTERVALL ("Interval", piano duet for 4 hands): start with isolated single notes, adding intervals when unison attacks between the 2 players occur.  When 10-note chords are reached, begin moving towards each other (pitch-wise) on simultaneous attacks.  When a common harmony is reached, proceed to subtract notes on simultaneous attacks.  When a single notes are reached, the continue unison attacks, but begin cross-fading the other player's note (hummed) over your own note, etc...  This work was recorded by Steffen Schleiermacher and Josef Christof on this CD.  Another recording by Michael Century and Ryan Ross Smith can be seen here.
• AUSSERHALB ("Outside"): long sounds "break through" other long sounds..."Break through the note of the whole...and keep out of it."  Recorded by the "Intuitive Music Quartet" here.
• SCHWINGUNG ("Vibration"): vibrate in unison, then independently, repeat this cycle, accelerating until "fused", repeat from beginning.  Recorded by the "Intuitive Music Quartet" here.
• SPEKTREN ("Spectra"): "Divide the sound of another...  Unite the divided sound of another...  Gradually introduce indivisible sounds".  Written in 1970, this concept and terminology seems to pre-echo the "spectral music" movement (STIMMUNG also somewhat prefigures that style/technique). A version can be found on a CD by "Prima Vista - Ensemble Pro Musica Da Camera".

Sound Impressions
     These works are deceptively hard to play and even to adequately describe.  One of the fascinating things about Stockhausen's text pieces is that they sometimes start with some very precise indications, but then end on a very vague or ambiguous instruction.  I assume that once an initial "moment" texture/structure is achieved, the players may use the more poetic part of the text to go a bit farther afield and let "intuition" take over.  As previously mentioned, these texts are somewhat more playful and almost mischievous in comparison to the texts of AUS DEN SIEBEN TAGEN (which are more "monastic" in mood, I think).

     The available recordings of these works also have very different sound worlds, with each sounding very reflective of the time and place they were recorded.  The 2005 Weimar group's recordings seem more precisely-controlled and self-conscious ("studio-bound") than the more free-wheeling 1970's explorations ("in the wild").  JAPAN, WACH and CEYLON are also dominated by novel electronic textures, but the folk/ritualistic atmosphere balances things out in an organic way.  It would be very interesting to hear more recordings of these works by different acoustic and electronic ensembles (such as, for example, a string quartet or a Japanese gagaku orchestra...).

Links

Sound samples and CD ordering:

• CEYLON
• ZUGVOLGEL (Text CD 22)
• JAPAN, WACH
• VERKÜRZUNG, WACH (2nd rec.), ANHALT, VORAHNUNG, INNERHALB and WELLEN

Score
Wiki Entry
Instructions on the Interpretation of Intuitive Music (transcripts of rehearsal extracts w Stockhausen, hosted by Living Scores Learn)
Ensemble for Intuitive Music, Weimar (site)
Ensemble for Intuitive Music, Weimar (performing WACH live)
Richard Barrett and ensemble: WACH
Stockhausen: Conversations With the Composer (Interviews by Jonathan Cott, 1974)

TELEMUSIK

Konpon Daito Pagoda, Koyasan Temple

No. 20: TELEMUSIK
(Electronic Music)
1966 (17'30")

Development
     In 1966, Stockhausen was invited to Tokyo, Japan for several weeks, where he took advantage of the audio equipment at the Japanese radio broadcasting studio NHK.  It was here that he first started to really explore the use of "found sound", i.e. - material generated from outside sources on tape or later, radio (nowadays, this practice is of course widely known as "sampling", or for environmental sounds, "field recordings").  In the resulting 5-channel work TELEMUSIK, Stockhausen manipulated recordings of traditional world folk music with ring-modulation (and other effects) and combined them with synthetic electronic tones.  In fact, the synthetic elements were intermodulated with the world music through the use of new ring-modulation circuit combinations.  Stockhausen would soon further expand his usage of "historically pre-formed objects" to create HYMNEN, a roughly 2 hour work based on the national anthems of the world.

"(In Japan) there were more modulators, which made it possible to transform
and modulate existing music and then combine it with electronically produced sounds.
And I thought it might be possible to produce a piece in which the entire music plays in a very high pitch-range...
now and then I would reflect a few parts downwards
(sections, so to speak, of this music that seems to be so far away because the ear cannot analyze it),
so that it entered the normal audible range and suddenly became understandable.
This way, I would then be able to mix electronic and existing music in the very distant
(or seemingly distant) range, and depending how I modulate parts of it downwards,
I would be able to mix the two categories and modulate them with each other.
Later, I derived the title of the work, TELEMUSIK, from this process:
“Tele” means also to bring the “distant” close up."
- Stockhausen from 1966 Lecture CD 16 (edited Jayne Obst transl.)

     Stockhausen only had a few weeks available to him in order to complete the work, so he and his assistants recorded "live" to the 6-track master tape, adding section by section.  Oftentimes 1 or more tracks were copied to another track ("bounced") through a signal processor.  On average, Stockhausen and his team completed 1 section (out of a total 32) per day.

     Before Stockhausen left the Tokyo NHK studio in 1966, he mixed down the 5-channel tape (from an 8-channel tape machine) to 2-track (with the stereo distribution described down below in the Form Structure section), since at that time there were no tape players available to play this kind of tape anywhere else.  Many years later (1987, 1995), Stockhausen contacted one of the original engineers who assisted him in the 1966 recording in order to get a copy of the original tape.  The engineer was able to refurbush a 5-track machine to operability (just before it was to be junked) and made a copy to a modern storage tape, but unfortunately the frequencies were distorted.  Stockhausen writes in the CD booklet, "When I heard this tape (referring to a 1987 dub)...literally nothing of my work (which I have in my possession as stereo copies since 1966) was recognizable.  Only a completely distorted maze of vibrations had been sent to me."  The stereo version was however, remastered from the 1966 2-track dub to a new transfer by Stockhausen himself and is available on the TELEMUSIK Lecture CD, TEXT-CD 16 (see link at bottom).

Electronic Music
     The synthetic tones which Stockhausen created are mostly very high or very low-pitched.  This alone makes the sonic "band-width" of TELEMUSIK pretty unique (he had just previously explored a full range of pitched synthetic timbres in his previous electronic work, KONTAKTE).  This middle range "bandwidth canal" allowed room for the ring-modulated world music samples to bubble to the surface (in fact, most of the samples used are so warped by the ring-modulation, that they often sound synthetic themselves, and almost unrecognizable as "folk music").  The equipment Stockhausen used to create the electronic layers included the following sound generators:

• sine wave generators
• beat frequency oscillators (creates various pulses/sine waves/bands of sound)
• function generator (used to create irregular non-sine curve waves, including irregular square waves)
• delta generator (low frequency pulse generator used as 2nd input to control amplitude modulator)

Ritual & Dance World Music Samples
     For the folk music elements, Stockhausen used samples from records of the following traditional world musics (not in order of appearance):

Country	Genre	Instrumentation/Environment	Title
Japan	Gagaku court music	ryuteki (flute), hichiriki (reeds), sho (harmonium), drums, etc..	"Etenraku"
	Kabuki dance	Matsuri Bayashi ensemble: plucked string, flute, perc	"Yasai Aikata"
	Shinto dance	Aoi Matsuri Festival	"Daidai Kagura"
	Noh theater music	percussion (ōtsuzumi) w. M/F vocal, flute	"Hashi Benkei"
	Buddhist temple chants	Koyasan Temple	"Senbotsusha Irei Heiwa Kigan Daihoyoh ceremony"
			"Shingon-Shu ceremony"
	Temple chant	from gyōdō procession, circular walking chant w. wooden shoes, Yakushiji Temple	"Jion-e"
	Conch music	Omizutori Festival, Nara	field recordings
Bali	Gamelan orchestra	rhythmic metallic and wood percussion	"Baris Bapan"
Vietman	Music of the Montagnards	female voice	"Song of the Festival of Love"
		bamboo flutes	"Concert of Bamboo Whistles"
		gamelan-like	"Air de Gongs"
China	Peking opera	Chinese flute and orchestra: flute, strings, fast percussion	"Keihosau"
Spain	Flamenco	guitar, castanets, rattles, male singing	"Sevillanas"
Hungary	Hungarian folk song	children's song for violin, fast rhythmic drum tom	"Pista Bácsi, János Bácsi"
Africa	South Saharan song	kalimba-like percussion w. group singing	"Ibani-Sansa"
Amazon South America	Shipibo Indians song	drums, ringing, blowpipes, girls exclamations	"Dance for Adolescent Girls"
	Javahé Indians song	girls, panflutes, rattles, perc.	"Lullaby"
	Suyá Indians song	low men's choir w rattles

     From the selection above, it seems that Stockhausen chose mostly ritual or folk dance music in order to bring the distant past into union with his very modern synthetic tones.  The Stockhausen official website has a Text-CD (lecture recording) of Stockhausen talking about TELEMUSIK available for purchase, and the page also includes brief audio samples of each of the world music selections he used.

     Stockhausen also used field recordings of Japanese temple percussion sounds as "signals" at the beginning of each of the 32 sections.  The resonance (decay time) of each percussive strike is proportionately related to the length of the ensuing section.  The sequencing of the 32 sections is based on durations in a Fibonacci series, which is a device which Stockhausen has used in other works as well.  Listed below from highest to lowest pitch, Stockhausen used the following bells/wood clappers:

• taku (柝, wood clapper): 3rd A above middle C (least resonant, shortest sections)
• rin (metal singing bowl): 3rd Ab above middle C & Bb above middle C
• bokushō (墨床, large wood clapper): 2nd E above middle C
• keisu (磬子, large bronze bowl): G# above middle C w rising gliss & D below C (longest decay, for longest section)
• mokugyo (木魚, "wooden fish"): Eb below middle C
• 5 kane (large temple bells): bass clef and below

Taku (High Wood)	sp   ace	Rin (High Metal)
Bokushō (Med Wood)	sp-------ace	Keisu (Med Metal)
Mokugyo (wooden fish) (Low Wood)	space	Kane (Low Metal)

 "Intermodulation"

"TELEMUSIK is not a collage.
Rather - through the process of intermodulation between old 'found' objects
and new sound events which I made using modern electronic means - a higher unity is reached:
a universality of past, present and future, of distant places and spaces:
TELE-MUSIK."

- Stockhausen, 1969

At the NHK Tokyo studio, Stockhausen used the following signal processors:

• 2 ring-modulators (creates sum and difference frequencies of 2 inputs, see MIXTUR)
• amplitude modulator (one signal is modulated by a second input, creates fades/pulses)
• high and low-pass filters, octave filters (to select and accentiuate/filter out frequency bands before and after ring-modulation)
• transposing variable speed tape recorder (used mostly to create "echoes" on the Structure signal hits)

     These signal processors were used to modulate the synthetic tones, the world music fragments, and the synthetic tones with the world music.  For TELEMUSIK, Stockhausen designed a few unique circuits, one of which he called the "Gagaku Circuit", since it was first used to modulate the Japanese gagaku orchestra music in Structure 3.  This circuit basically used 2 ring-modulators, one to modulate the original signal, and another to modulate the ring-modulated signal (sometimes with glissandi in the 2nd ring-mod sine-wave) to create a "double ring-modulation" mix of the original sample.

In this example, 12 kHz was used in both the 1st and 2nd ring-modulation, with a glissando in the 2nd ring modulation.
.The music was also frequency-filtered in different stages at 6 kHz and 5.5 kHz.

     For example, in one scenario (above), the 1st ring modulation A used a very high 12 kHz sine-wave base frequency, resulting in a very high-pitched buzzing texture (for example, a piano note of A, or 0.440 kHz, would become a high 12.440 kHz and 11.560 kHz).

     The 2nd ring-mod B base frequency (in this case with a slight gliss. variation on the same 12 kHz base frequency) has the effect of "demodulating" the signal (bringing it back down to near A).  This demodulated signal is also frequency filtered to accentuate low frequencies (dark sound).

     These 2 elements (high buzzing from the 1st signal and low distorted sounds from the 2nd) are intermittently mixed together with faders.  By varying the 2 ring-mod base frequencies and the 3 frequency filters, different effects could be achieved.  This process of modulation and demodulation is what Stockhausen means when he says he was able to "reflect a few parts downwards". 

     This is only one example of intermodulation between a single 12 kHz tone and a second sound source using the Gagaku Circuit.  In 1967, Stockhausen described (in an introduction following the world premiere of HYMNEN) some of the many other ways in which he was able to intermodulate electronic tones and folk music in TELEMUSIK:

1. Rhythmic Modulation: The rhythm of one (folk) music is modulated onto another fragment.  In other words, if a slow chant is the 1st input and a drum beat is used as the 2nd input, each strike of the drum will create a ring modulation "disturbance" onto the the chant input, in the rhythm of the drum beat.
2. Harmonic Modulation: Synthetic chords are modulated to follow a folk melody (or the reverse, where a drone-like Koyasan temple priest chant is pitch-transposed by the melodic changes of a synthetic tone melody). 
3. Dynamic Modulation: The dynamic envelope of a song (such as an Indian lullaby, softly sung but with intermittent loud accents and pauses) is modulated onto another (for example, an Hungarian folk song, with a constant rhythm accompaniment).  In a typical scenario, dynamic accents and rests from the 1st input source control the output volume of the 2nd input (for example, the Indian lullaby's accents and phrasing impose unpredictable volume spikes and gaps of silence on the otherwise-constant Hungarian folk song).

     In all honesty, it's very hard to point to a section in TELEMUSIK and identify specifically which of the above types of intermodulation was applied, and the realization score itself does not seem to highlight the intermodulation type either (though it's in German, so I may well have missed it).  In any case, with the Gagaku Circuit and the use of various color (bandwidth) filters, many shades of modulated world music sounds were obtained.  Several other types of circuit schematics were also used and are included in the score (and the CD booklet).  See MIXTUR for more on ring modulation.

Score
     Because of limited equipment, often times multiple sine waves were recorded on different tracks and then bounced to a single track, which was then processed with ring-modulation (or the Gagaku Circuit) and bounced to yet another track.  Some explanations follow, though the CD booklet gives more information about the details and circuits (score excerpts copyright Universal Edition).

Structure 1 In Structure 1, the sequence is described in these steps: Beat frequency generators were used to record 5 pairs of tones on tracks II-VI. Tracks II-VI were bounced to track 1 to create a 10-layer sine wave band. 4 pairs of tones (1 even, the other with slow vibrato) were recorded to tracks III-VI. Tracks III-VI were bounced to track II. 3 pairs of tones were recorded to tracks IV-VI in 3 fragments (and changing frequencies for each fragment). Tracks VI-VI were bounced to track III. 2 pairs of tones were recorded to tracks V &VI in 5 "tight" bursts (and changing frequencies for each burst). Tracks V &VI were bounced to track IV. Tracks I-IV were bounced to track V. Track V was processed with RM (ring-modulation) and a fragment was bounced to track IV. BOKUSHO field recording dubbed onto track III (erasing the previous tone fragments from Step 6). Track VI erased. (After this process, track V still has tracks I-IV combined, which is not shown in the score graphic)

Structure 3 3 different tones (let's call them A, B and C) are recorded through a RM circuit onto track I.  A, B and C go straight through, but B & C also surface as 3 RM'ed fragments with different attacks/decays.  C also has a fast descending scale near the end. Repeat the same process with 3 different frequencies and attack envelopes for tracks II-IV. Record Japanese gagaku music through the Gagaku Circuit onto track VI.  The first RM signal is even (but pushed into a high frequency range), the second RM signal is in 2 de-modulated "audible range" fragments (the first even, the second with a slow glissandi, causing beat patterns).  Track VI and a MOKUGYO field recording (with accelerando) are simultaneously dubbed onto track V. Track VI erased.

Structure 5 The beat frequency oscillator was used to create 11 different pulse tones (in irregular rhythm) on track II. Repeat with a different set of tones and rhythms on tracks III-VI. Bounce tracks II-VI onto track I, resulting in 55 irregular pulses between 8000 and 11970 Hz (the score graphic in track I is an example of just 1 layer of 11 tones). Repeat steps 1-3 using using longer pulse tones on tracks III-VI and then bounce the 4 layers onto track II, simultaneously with a BOKUSHO recording. Combine tracks I and II (from steps 1-4) with 3 sine tones into a ring modulator, then process through an amplitude modulator (controlled by a low frequency wave from a delta generator).  The output is passed onto track III in 10 fragments of different attack shapes. Balinese gamelan music is processed with the Gagaku Circuit onto track IV (as in Structure 3, this creates one HF band and a few fragments of twice-modulated sound). African dance music with voice and kalimbas (?) is processed with the Gagaku Circuit onto track V (1 HF band, 1 layer of audible material beginning about a third in). Track VI erased.

Form Structure
     The chart below shows the bell/clapper "signals" and the Structures where world music samples were used.  The "SYNTHETIC TONES" column summarizes my impressions of the most audible electronic elements, including some of the modulations of the folk samples, but in general every world music fragment was processed through the "Gagaku Circuit".  The channels are referred to in this column as I through V, but they are not actually the 1st through 5th sequential columns in the table, since these table columns are arranged from far left to far right (for stereo listening - they're not in order, since Stockhausen switched channel II with IV).  When the channel continues down into the next Structure without a border, that means that the sound structure continues in some way.  RM means ring-modulation, HF or LF means high-frequency/low frequency, X means that that channel was unused.  If a box is blank with no "X", then some electronic element was present (and probably described in the "SYNTHETIC TONES" column).  The CD track numbers are from Stockhausen Complete Edition CD 9 (tracks 1-66 are MIKROPHONIE I and MIKROPHONIE II, also included on CD 9).
     For convenience's sake, the bell/clapper signals can be summarized like this:

TAKU:	High Wood	spaceeeeeee	RIN:	High Metal
BOKUSHO:	Medium Wood		KEISU:	Medium Metal
MOKUGYO:	Low Wood		KANE:	Low Metal

(The "ŌTSUZUMI" in the last section is an hourglass drum)

CD Trk	Structure	SYNTHETIC TONES	I (far left)	IV (mid left)	III (center)	II (middle right)	V (far right)	Dur.
67	1	High Frequencies with intermittent low patches and a brief metallic RM cloud (IV)			>[BOKUSHO]<			0:28
68	2	HF gliss and "choppy noise gliss", 2 perc. Echoes (III)		>[TAKU]<				0:13
69	3	CH. I-IV: HF w isolated notes, swells					>[MOKUGYO]< (accelerating echoes) JAPAN: Gagaku	0:34
70	4	CH I, II: Bandwidth fallling/rising while expanding/shrinking			>[TAKU]<			0:14
71	5	HF waves (I), intermittent low delta generator pulse bursts (III)		BALI: Gamelan		>[BOKUSHO]<	AFRICA (South Sahara): Song w "kalimba"	0:22
72	6	CH I-IV: slow falling gliss with some gaps Falling gliss eventually becomes slow pulses with more gaps (function generator)					>[TAKU]<  w "punch" echoes	0:13
	7.1						>[TAKU]< Alternating fragments of JAPAN (Gagaku),  BALI, and AFRICA, then adding SPAIN: Flamenco	0:14
73	7.2	CH. II, V: HF slowing to high pulses w 1 low punch-in	>[KANE]<	>[KANE]<	JAPAN: Buddhist chant (1)			0:27
74	8	High and low drones, with various swells and bursts in between (function generator)			>[RIN]<			0:54
75	9	LF RM drone, intermittent w vibrato, HF whistle, "tape scrubbing-like"		HUNGARY: drum & violin children's song	SPAIN: Sevillanas Guitar song	>[MOKUGYO]<	X	0:35
76	10	CH I, II, IV: swells of wideband noise with asynchronous gaps	>[BOKUSHO]<	>[BOKUSHO]< (echo of I)		>[TAKU]<		0:21
77	11.1	Octave filtered noise (III), low pulses changing speed (II), Kabuki RM in gaps (I)	JAPAN: Kabuki	>[KEISU]<				0:55
	11.2		JAPAN: Shinto dance	>[KEISU]< (3 transposed rising)				0:34
78	12	multiple frequency fast pulses, warbling and scrubbing ("scratching")	>[TAKU]<			HUNGARY: drum & violin children's song		0:13
79	13			X			>[BOKUSHO]< AMAZON: Brazilian Indians, Shipibo Tribe "Dance for Adolescent Girls"	0:23
80	14	Background HF	JAPAN: Kabuki		HUNGARY: drum and violin children's song	>[TAKU]< (9x transposed)		0:14
81	15	CH I-IV: 11 indiv. ascending RM "inserts" from 1, 4-9, 11, 13, 14 (Bali, Kabuki, Indian, Taku sound)					>[MOKUGYO]< (echoes, varying tempo)	0:37
82	16	CH II, III: HF drone w fragments of falling/rising scales	>[RIN]<	X			X	0:57
83	17	Descending RM "inserts" of 1, 4, 8, 9 (II-V), scale fragments (I)	>[BOKUSHO]< JAPAN: Conch Music (lower)					0:22
84	18	CH II-IV: brief RM/function generator fragments faded in				JAPAN: Conch Music	>[TAKU]< (12x with falling/rising dynamic)	0:13
85	19	staccato middle freq fragments w reverb					>[TAKU]< (feedback echoes, ritard/accel.)	0:14
86	20	Slow, rising TAKU pulses (V),  RM'ed world music fragments (I - II - III - IV)	BALI: Gamelan	>[BOKUSHO]< AMAZON: Shipibo Indians	AFRICA Song w Kalimba sound	JAPAN: Gagaku		0:23
87	21	TAKU pulses (V) begin rising and getting faster		CHINA: Peking Opera w flute	>[MOKUGYO]<  (2x)	CHINA: Peking Opera w flute		0:36
88	22	Quiet HF drone fades in and out	JAPAN: Buddhist Chants (1 & 2)	X	AMAZON (Brazil): Javahé Indians "Lullaby" Suyá Indians (at 0:48) (men's chant w rattles)	JAPAN: Conch Music	>[KEISU]<	1:31
89	23		>[TAKU]<	JAPAN: Conch Music Low	JAPAN: Conch Music High			0:14
90	24	LF buzzing and distortion (Octave filters) Low creaking/scrubbing fragments    Vietnam in brief spikes, Octave filter (II) Javahé Song reappears as an "insert" in I (from 24.II)		AMAZON (Brazil): Javahé Song	>[RIN]< VIETNAM: "Song of the Festival of Love" (girls) & "Concert of Bamboo Whistles" (flutes) (at 0:33)	JAPAN: Shinto dance	>[RIN]<	0:56
91	25			>[BOKUSHO]<		VIETNAM (cont'd from III, less RM)	X	0:21
92	26			>[TAKU]< VIETNAM: "Air de Gongs" (gamelan-like)				0:14
93	27	1 brief quote from 24, low buzz	VIETNAM: "Air of Gongs" (cont'd from IV) and "Concert of Flutes (cross-faded)		>[MOKUGYO]< (echoes rit.)	X		0:34
94	28	Vietnam (I) rhythmically modulated, falling octave filter gliss (IV),  slow gliss with gaps (V)			>[TAKU]<			0:14
95	29				>[RIN]< & >[KEISU]< transposed hits w RM echoes	>[BOKUSHO]<  &  >[MOKUGYO]< transposed hits w RM echoes		0:22
96	30				JAPAN: Temple chant	>[TAKU]< with 4 "punch" echoes		0:14
97	31	Various overlapping HF fragments and RM gagaku (I)		>[KANE]< 4 Large temple bells w RM (unison, then increasingly apart) Conch music (at 1:29)		JAPAN: Gagaku	JAPAN: Temple chant w wooden shoes (cont'd from III), RM'ed by KANE hits	2:23
98	32	Rising glisses (I) Rising and falling RM Noh fragments (II, IV, V)		>[TAKU]<   JAPAN: Noh Music	BALI: (Gamelan modulated by Noh Music!)	>[TAKU]< >[ŌTSUZUMI]< JAPAN: Noh Music	>[TAKU]< >[ŌTSUZUMI]< JAPAN: Noh Music	0:13
99	"FINAL SOUND"		>[TAKU]<	>[TAIKO]<	>[TAKU]<	>[TAIKO]<	>[TAIKO]<	1:34

Sound Impressions
     TELEMUSIK is without doubt one of my favorite Stockhausen works.  The melding of synthetic tones with "ancient music" is an amazingly successful one, even without the ring-modulation as "lubricant".  It's no surprise that many in the avant-garde crowd are also fans of "early music" - both are somewhat beyond our general listening experiences that they might as well come from other planets.  The ritual music of Asia is especially appropriate since it's form mostly stays away from western classical "tonic-dominant" cadences and homophonic textures.  In general, they're somewhat more modal in tonality and use heterophony as the main form structure.  This actually has a very similar flavor to the manipulation of sine-wave bandwidth tones.  Having said that, the ritual music is very modulated, so that on initial listens I didn't even know most of the time what was synthetic and what was "found sound".  After spending some time exploring world music, these fragments are much more recognizable, and at that point Stockhausen's quote about finding an "apple on the moon" becomes much more appropriate.  Another thing that strikes me as fascinating is that the "high band" layer of the RM'ed world music still has every element of the original but in a parallel "higher sphere".  Like YLEM, this brings to mind the modern cosmological theory of "stacked" parallel universes.

     It's interesting to compare this with Stockhausen's previous ring-modulation work, MIXTUR.  There, Stockhausen processed melodic and rhythmic fragments and textures, so that the RM effect is audible when an instrument is playing.  In TELEMUSIK, the samples are all rhythmic (steady and periodic) and have a generally even density.  In this way, instead of creating a melodic figure with a trombone solo, faders and "solo" buttons are used to "play" isolated bits of the prerecorded music (for example, in Structure 1 channel III and IV).

     The score is absolutely fascinating to study.  Stockhausen  does everything he can to provide instructions on how to create TELEMUSIK on one's own.  The step-by-step instructions and photographs of the equipment used give a rare look at exactly how electronic music was created in the mid-1960s (at least by Stockhausen).  The copy at my local library was only in German, but the thick Stockhausen Edition CD booklet gives enough information that it's basically decipherable to an English speaker.  The Text CD with Stockhausen's lecture on TELEMUSIK and extended samples of the world music he used also includes a newly remastered transfer of TELEMUSIK from the original stereo mixdown.

Links
TELEMUSIK Sound samples, tracks listings and CD ordering 
Stockhausen's 1966 Lecture on TELEMUSIK - CD 16 (with Sound Samples and new transfer!)
Stockhausen's 1966 Lecture on TELEMUSIK - (English translation)
Purchase the Score 
Stockhausen discusses TELEMUSIK in the British Lecture 1972 (Youtube clip)
TELEMUSIK Wiki
"Serial Composition, Serial Form, and Process in Karlheinz Stockhausen's Telemusik." In Electroacoustic Music: Analytical Perspectives (Jerome Kohl), ed. Thomas Licata
Telemusik – a system of planetary order (Asbjørn Blokkum Flø)
Analysis of TELEMUSIK (Presentation Notes, Arshia Cont)
Creating the Gagaku Circuit on MAX/MSP
Creating the Gagaku Circuit on MAX/MSP demo 2