The Analysis and Interpretation of Multiple Percussion Work Zyklus by Karlheinz Stockhausen

• Main Authors: CHEN, YUEH-TZU, 陳悦慈
• Other Authors: YANG, PI-TZU
• Format: Others
• Language: zh-TW
• Published: 2015
• Online Access: http://ndltd.ncl.edu.tw/handle/17944452594947526422

碩士 === 輔仁大學 === 音樂學系 === 104 === In the latter half of the nineteenth century, Romantic music became the mainstream music. Romantic music was developed toward a more extreme direction, leading to the collapse of tonal system. Emotional expression gradually strengthened into Expressionism. In addition, many composers attempted to oppose the conception, subjectivity, and exaggerated expression techniques of Romantic music and Post-romantic music. Thus, Impressionism, Neo-classicism and other kinds of music activity had been emerged as a newly developed music movements. These newly creativity were closely linked to the historical background and aesthetic thinking. In order to pursue breakthroughs, composers not only sought inspirations from arts, philosophy, and religions, but also encountered into the thoughts of mathematics and science. These emerged musical complexions have put a lot of new elements into the music era. “Aleatoric music” is one of these creativity works and will be explored in this paper. Zyklus 1959 which was a multiple percussion works written by Karlheinz Stockhausen, will be studied in this paper including its significance, history, background, and aesthetic values. Moreover, techniques of composition expression and methods of musical notation of the twentieth century are also included. There are five chapters. Firstly, states the motive, aim, scope, and method about this study with some concise introductions. Secondly, outlines Stockhausen’s life, music career, and creative ideas which included his composition of Zyklus and application of Aleatoric music, the musical form of uncertainty, Fibonacci Sequence. The nine different kind of structures and musical notations are well organized and described in this chapter, too. Thirdly, deeply concerns about the music creativity of this master piece. In order to make it easy and concise to read, this composition is divided into 17 sections, which is explained and focus on the nine different kinds of structure thoroughly and further analysis will be illustrated. Based on the analysis in chapter three, the fourth chapter focused on how to make a successful stage performances about this master piece, it takes a step further and outlines the time series and skills of performance throughout these 17 musical passages. For instance, the choice of the sticks, selection of music sheet, identification and interpretation of graphic music sheets/diagrams are explored. Furthermore, based on complexity of this features, my learning approaches and supplementary toward this work are described concisely. Fifthly, the conclusion of this paper which is approached based on the perspectives of the global world, Asia, the audience, and the idea of my own. Since most composers are not familiar with graphic sheet music and this work is the pioneered composition of integrated percussion in the twentieth century. Furthermore, it is newly emerged music based on Neo-classicism which is relatively difficult to understand for classical music artists. Through the paper, the author tries to explain the whole master piece in simple terms which may make it easy to understand and arouse the interest of percussion learners toward Zyklus. Hereby, I try to explain my study with stage performances as an illustration for those percussionists, who are interested in Zyklus but do not know how to make it, understanding this work systematically and knowing how to integrate these concepts and techniques into their own performances. Finally, the author hopes to make some contribution in the contemporary music of the twenty-first century.