From: 
Cipriani A. 1995. "Problems of methodology: the analysis of Kontakte" in Atti del X Colloquio di Informatica Musicale, pp. 41-44 Bologna: Associazione Italiana Musica Informatica AIMI

--------------------------------------------------------------------------------------------
Problems of methodology: the analysis of Kontakte
Thinking in terms of stories

Alessandro Cipriani
Professor at Conservatory of Frosinone - Musica e Nuove Tecnologie Dept.

Mail address:
Edison Studio -Via Voghera, 7 00182 Rome - Italy
E-mail address:
a.cipriani@edisonstudio.it 

Abstract
The non-linear sequences of the evolutionary process of Kontakte, interpreted through the concepts of ontogeny,  philogeny, context and relevance as formulated by Gregory Bateson, become a model for the analysis of the piece.

1	The difficulty of finding an appropriate model for the analysis of Kontakte. The genesis of the piece. 

An analysis of Kontakte can last years and years because of its complexity. The subject of my study is the form of this piece. From the very beginning Kontakte seemed to me a world full of contradictions, as if the story of its development wasn't linear at all. We must consider that in the mid 50's, time of the crisis of integral serialism, (preceding the realization of this piece) the strong ideas about the possibilities of 'pure' electronic music (correspondences between material and form and between acoustic micro-structure and and musical macro-structure etc.) became weaker . Therefore the apparent non-linearity of the genesis of Kontakte is consistent with a time when many postulates were being discussed.
 
One of the most striking things one notices while approaching Kontakte is its contradictory genesis. The initial project of this piece was based on IMPROVISATION;  the fundamental criterion of sketches and plans is the SERIALIZATION  of the transformation values (Veränderungsgrade); the realization score reveals the EXPERIMENTAL CHARACTER of the research in the electroacoustic field; we can also find ALEATORY ASPECTS bound to the techniques used in the studio work (impulses techniques, etc.); the modifications of the original structure that Stockhausen made to finish the work in time for the performance, and the analysis of the 'sound text' put in evidence some compositional strategies bound to the MUSIC TRADITION; Stockhausen's statements about MOMENTFORM being the basic idea on which the work was built are also well known. Therefore one of the first problems one encounters at the beginning is to find a model for the analysis that wouldn't reduce that complexity.  

2	Finding a model 
A possible answer to that problem comes out from the simple observation that those different aspects are all part of the genesis of the piece, of its 'story'. Gregory Bateson , in Mind and Nature, a necessary unity writes: 
I would assume that any A is relevant to any B if both A and B are parts or components of the same 'story'[...] Without context, words and actions have no meaning at all. This is true not only of human communication in words but also of all communication whatsoever, of all mental process, of all mind, including that which tells the sea anemone how to grow and the amoeba what he should do next.[...] the fact of thinking in terms of stories does not isolate human beings as something separate from the starfish and the sea anemones, the coconut palms and the primroses. Rather, if the world be connected, if I am at all fundamentally right in what I am saying, then thinking in terms of stories must be shared by all mind or minds, whether ours or those of redwood forests and sea anemones. Context and relevance must be characteristic not only of all so-called behavior (those stories which are projected out into "action"), but also of all those internal stories, the sequences of the building up of the sea anemone. Its embryology must be somehow made of the stuff of stories. And behind that, again, the evolutionary process through millions of generations whereby the sea anemone, like you and me, came to be- that process, too, must be of the stuff of stories. There must be relevance in every step of phylogeny that is, the race history of a species, and among the steps.
 
Going back to my analysis of Kontakte, the study of its different aspects found a unifying context through the research of that 'relevance' mentioned by Bateson. I didn't try to unify in a forced way what is non-linear in the piece. 

Like in an evolutionary process, every evolutionary step is an addition of information to an already existing system. Because this is so, the combinations, harmonies, and discords between successive pieces and layers of information will present many problems of survival and determine many directions of change. (Bateson). 

This was a model for me to proceed during the analysis and also a key to understanding the evolution of the piece.

3	An outline of the fundamentals of my work of analysis on Kontakte

3.1	Sketches and plans
The study of some sketches and of the general plan of Kontakte drawn by Stockhausen revealed that at this preliminary level Stockhausen's idea about the piece was quite far from Momentform. I found a double palindromic structure of all Veränderungsgrade (the way parameters change) and Freiheitsgrade and the tripartition of the durations (number 3 is often used at all levels). The relation among all the parameters is built with a symmetrical logic and a numerologic/serial strategy. 

3.2	The 'sound text' of the electronic version
In this analysis I took into account:
a) Prevailing of Gesture or Texture (as formulated by Denis Smalley) or intermediate levels in each section.
b) Prevailing dynamics and possible spatial 'rotation' in each section.
c) Morphology of  sound objects
d) Tendency to variability or homogeneity of timbre within each section
e) Prevailing timbral typology based on the 6 groups mentioned by Stockhausen (Metal-Noise, Metal-Sound, Wood-Noise, Wood Sound, Skin-Noise, Skin-Sound) in those sections where this frame of reference is relevant. 

The analysis is not only based on listening but also on a comparison with the performance score.
I found some criteria and formal strategies within the piece that are used several times and with the same characteristics:

3.2.1     Directional Sections
Use of homogenous timbres, crescendos, spatial rotation and Gesture Framing model in directional sections heading toward dynamic-timbral-spectral 'apices' (see 3.2.2).

3.2.2      'Apices'
Spectral space plenitude (co-presence of low and high frequencies), ff or fff dynamics, tendency to inharmonicity and Gesture Framing model.

3.2.3      Extinction of the directionality 
Clear diminuendo dynamics (sometimes together with the use of delay), textural, graduated continuant (or with a very long decay) sounds, homogenous timbre and Texture model.

3.2.4      Static Fragmentary Sections
Timbral variability, overlapping of sounds, lack of pauses, non-extreme dynamics, Texture Setting model in the 'static fragmentary' sections.

3.2.5     Directional Fragmentary Sections
Contrasting dynamics, use of pauses, apparent inconsistency of the sound objects, non-overlapping of sounds Gesture or Gesture Framing models.

3.2.6     Pseudo-instrumental Cadenzas
Timbres that tend to imitate percussion instruments, tendency to organize sounds in phrases or clusters, use of dynamics that are close to an instrumental model, Texture Setting model.

I identified, following the above mentioned criteria, 5 macro-sections each containing its own 'Apex', except for the last one that carries a 'coda' function. In those macro-sections one can clearly recognize formal functions and behaviors that are repeated each time. A clear-cut division between macro-sections is not completely consistent with the flow of the piece, of course, (in some cases transitions are smooth etc.) so durations are indicated as reference.
Roman numbers refer to sections as indicated in the score by Stockhausen.

MACROSECTION ALPHA (duration: 7'2,8")

I			directional Fragmentary
II			transition
III			directional-apex-extinction

MACROSECTION BETA (dur.: 4'16,8")

IV			static fragmentary
V			directional-
VI/VII-A (1) 	-apex in three phases-extinction

MACROSECTION GAMMA (dur.: 10'10,3")

VII-A (2)		transition	 
VII-BCDE		static fragmentary
VII-F			pseudo-instrumental cadenza (skin)
VIII			abstraction-graduated spatial passage
IX-A			pseudo-instrumental cadenza (wood)
IX-BCDE		static fragmentary
IX-F			directional-
X			-apex-extinction - transition

MACROSECTION DELTA   (6'15,6")

XI			directional-
XII			double interrupted apex
XIII-ABC		prolongation of the apex-extinction

FINAL MACROSECTION (6'46,3")

XIII-DE		directional fragmentary
XIII-F			pseudo-instrumental cadenza - transition
XIV/XV-A		coda (suspended directionality)
XV-BCDEF/XVI	directional ending-extinction

3.3	The instruments and tape version

3.3.1    The graph
I Elaborated a graph representing, within sections that are proportional to their duration, the presence/absence of the 27 instruments of Kontakte for electronic sounds, piano and percussion in relation to the 7 general types of sounds of the tape part mentioned by J.Harvey (this idea of 7 types of sounds was then criticized in my work). The instruments were also grouped in six types, following the indications of Stockhausen and Heikinheimo).
From the analysis of this graph one can notice that the distribution of the instruments along the piece is not based on the division in six instrumental groups. This distribution is rather homogenous among the groups. I also compared the above mentioned division in macro-sections with the results of the graph.
 
3.3.2 Study of some examples of relation between instruments and tape in Kontakte
I studied some different functions that are given to the instruments in relation to the electronic sounds:
a) timbral 'expansion' and 'underlining' of the electronic sounds 
b) completion of phrases, as in a Klangfarbenmelodie
c) relative autonomy of the instruments in some moments when their function separate from that of the electronic sounds 
d) 'mixed' function: co-presence of function b) and  c)
e) 'underlining' of the formal function of the timbres of the electronic sounds 
f) pseudo-instrumental interaction (during the pseudo-instrumental cadenzas of the electronic sounds)

3.4	Formulation of a hypothesis 
My idea after having analyzed the piece for instruments and tape is that the construction of its form is based on the formal articulation of the tape part, the function of the instruments being to constitute a wide timbral constellation. The function of the tape part would be that of formal frame of reference and mean of spectral fusion in relation to the timbral constellation of the instruments.

4	The projection of the non-linearity of the genesis onto the form of the piece
The analysis, based on the above mentioned criteria, and the consideration of the genesis of the piece and of the historical point of view,  can confirm that S. in this piece synthesizes many different, sometimes contrasting ideas and compositional strategies. He seems to accept influences from tradition, alea, serialism and numerology, as well as from the concept of Momentform, from improvisation  and experimental practice. This is only an example that metaphorically or directly pertains to the problems of survival and the directions of change Bateson writes about, referring to living species and their philogeny and ontogeny (the latter is the process of development of an individual, that is, embryology plus all the changes that are determined by environment and habits). Kontakte has often been described as a Momentform piece. This idea  certainly reduces its complexity and, as often the simplest answer isn't the only one. I think that an analysis of this piece is incomplete if it doesn't include also the aspects bound to its 'ontogenesis', though this can't be described in a precise manner from a chronological, 'epigenetic'  point of view. 
The non-linearity of the genesis of Kontakte, 'projects' itself onto the form of the piece.
The 'polyhedric' quality of the piece arisen also from the analysis, lets me think that the 'contacts' in the piece don't pertain only to the relation 'between electronic and instrumental sound-groups' or 'between self-sufficient, strongly characterized moments' or also 'between various forms of spatial movement' (as Stockhausen said). I could trace, in facts, also 'contacts' between various compositional experiences, that find their own relatively incomplete, problematic synthesis in the piece. That synthesis appears to me as an extremely stimulating one in our time because of our present plurality of  'languages' and aesthetic perspectives. In this study I accepted the comparison between different  analytical categories and guiding lines, but I didn't forgo a model, that, in its relation to the concept of 'ontogenesis', turned out to be intrinsically unitary and non-linear at the same time

BIBLIOGRAPHY

Harvey,J. "The music of S." London 1975 pp.87-90

Heikineimo,S. "The electronic music of K.S." Acta Musicologica Fennica 6 Helsinki 1972 pp.115-221

Kirchmeyer,H. "Zur entstehungs- und Problemgeschichte der 'Kontakte' von Karlheinz Stockhausen" introduzione al disco Wergo 60009 Prima 	edizione
Maconie,R.    "The works of K.S." Oxford University Press London 1976 pp.134-146

Stockhausen,K. "L'unità del tempo musicale" in AA.VV. "La musica elettronica" a cura di H.Pousseur Feltrinelli MI 1976 pp.150-160
Stockhausen,K. "Musica elettronica e musica strumentale" in AA.VV. "La musica elettronica" a cura di H.Pousseur Feltrinelli MI 1976 pp.45-51

Toop,R. "S.'s Electronic works:Sketches and Worksheets from 1952-1967" in "Interface" X, 1981 pp.183-189

________________________

Camilleri,L.  "Concetti e metodi analitici nello studio di musiche elettroacustiche" (unpublished, 1993)

Dahlhaus,C. "Form" in "Schoenberg and the new music" Cambridge University Press 1987 pp.248-264

Emmerson,S."The Relation of Language to Materials" in "The Language of Electroacoustic Music", Emmerson S. (ed.) Macmillan London 1987 pp.17-39

Evangelisti,F. "Verso una composizione elettronica" in "Ordini. Studi sulla nuova musica" n°1, Roma 1959 

Giomi,F. e Ligabue,M. "Un approccio Estesico-Cognitivo alla Descrizione dell'Objet Sonore" in "Atti del II Convegno Europeo di Analisi Musicale, a cura di R.Dalmonte e M.Baroni, Università di Trento, Trento 1992 pp.471-481

Sanders,E.H.  "The Early Motets of Philippe de Vitry" in JAMS 1975 pp.24-45

Smalley,D.   "Spectro-morphology and Structuring Processes" in "The Language of Electroacoustic Music", Emmerson S. (ed.) Macmillan London 1987 pp.61-93
Smalley, D. "Spectromorphology:Explaining Sound-shapes (awaiting publication)

Tarasti,E. "A Narrative Grammar of Chopin's G Minor Ballade" in "Minds and Machines" 2,1992 Kluwer Academic Publishers  Amsterdam pp.401-426 

_________________________

Stockhausen,K. Kontakte für elektronische Klänge, Klavier und Schlagzeug 
              	Aufführungspartitur Universal Edition  London 5.Auflage 1974

Stockhausen,K. Kontakte Elektronische Musik Realisationspartitur – Aufführungspartitur Universal Edition UE13678  London 1968

_________________________

DISCOGRAFIA
Stockhausen,K. Kontakte Electronic Music - Deutsche Grammophon 138811 SLPM

Stockhausen,K. Kontakte for electronic sounds pf. and percussion - A.Kontarsky (piano), Ch.Caskel (percussion),CD Stockhausen Verlag N°6 1993

Stockhausen,K. Kontakte Electronic music CD Stockhausen Verlag N°3 1992