Christoph von Blumröder.
Zur bedeutung der elektronik in karlheinz stockhausens œuvre / the significance of electronics in karlheinz stockhausen's work.
Archiv für Musikwissenschaft, 75(3):166–178, 2018.
Composing within the electronic medium, i. e. modifying sound with the help of electroacoustic apparatuses, has been an essential determinating factor in the musical work of Karlheinz Stockhausen, as a spectrum of electronic pieces from Studie I (1953) to Kontakte (1958-60), Mixtur (1964), Hymnen (1966-67), Oktophonie (1990/91), and Cosmic Pulses (2007) documents. The article considers this seemingly well-known fact from a revised musicological perspective. Considerations from a broader compositional-creative context that include both instrumental and vocal components lead to insights into the origins and history of some of Stockhausen's electronic projects that have found less attention until now.