Karlheinz Stockhausen’s Musical Legacy

Musicology Department of the Georg-August University, Göttingen

When Karlheinz Stockhausen died in December 2007 he left a comprehensive body of composition that contributed to post-1950 musical history with many innovations and outstanding works. While death may conclude a composer’s life’s work allowing the creativity of an artist to be seen from an immanent perspective, it also throws up questions for scholarship concerning the way it will be approached in the future. In this force field of immediacy which can scarcely yet reveal the historical distance to the concluded entirety of work, perspectives and directions opening up not only for musicological research are to be focused upon here as part of an international scholarly workshop funded by the EvS Music Foundation as part of the 14thInternationale Stockhausen-Kurse für Musik Kürten (International Stockhausen Music Courses in Kürten). The aim here is not only to take into account the composition-specific features within Stockhausen’s legacy but also push center stage the context of historical classification, evaluation and poignancy. Thought is also to be given here to those impulses and influences which particularly stand out as bridges between Stockhausen’s creative work and contemporary art in general, also in terms of compositional practice in particular. In addition, scope is also to be given to considerations on the prospective potential associated with Stockhausen’s music and how this might impact compositional development in the 21st century. The initiator and organizer of the scholarly workshop is musicologist Morag Josephine Grant of the Georg-August University in Göttingen. Guests include musicologists Mark Delaere, Rudolf Frisius and Hans Tutschku.


August 9th‑11th 2011 



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