Stockhausen's Paradigm: A Survey of His Theories
A.M.L. Coenen · Perspectives of New Music · 1994
USUALLY, WHEN Stockhausen's theories are discussed, they are considered as part of his composing. They have never been the subject of systematic research, independently from their historical context. They have been the subject of historical research (Sabbe 1981), or part of discussions of Stockhausen's work (such as Harvey 1975). When the first two collections of his Texte were published, the theoretical contributions were considered to be a major contribution to a new composition theory without being analyzed as such (Schnebel 1964, Brinkmann 1972, Karkoschka 1965). The third collection, published in 1971, caused problems to some writers who expected a consistent theory (Schnebel 1971,