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Karlheinz Stockhausen

"In particular what is most important to me is the transformation of a sound by slowing it down, sometimes extremely, so that the inner of sound becomes a conceivable rhythm."

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"In particular what is most important to me is the transformation of a sound by slowing it down, sometimes extremely, so that the inner of sound becomes a conceivable rhythm."

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Assegid Habtewold

"Instead of following one another the sounds overlap; a sound which is acoustically perceived as coming after another one can be articulated simultaneously with the latter or even in part before it."

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Assegid Habtewold

"Locations are all tough, all miserable. I never left the sound stage for 18 years at Warners. We never went outside the studio, not even for big scenes."

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Assegid Habtewold

"In particular what is most important to me is the transformation of a sound by slowing it down, sometimes extremely, so that the inner of sound becomes a conceivable rhythm."

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Assegid Habtewold

"This continuity of sound and form was something that I became really interested in from working with Ligeti. He was always going on about how form has to be continuous."

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Assegid Habtewold

"I also used these realistic sounds in a psychological way. With The Good, the Bad and the Ugly, I used animal sounds - as you say, the coyote sound - so the sound of the animal became the main theme of the movie."

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Assegid Habtewold

"I don't think you can contrive any sound."

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Assegid Habtewold

"I don't try to sound like anyone but me anymore. If something is out of my element, I try to avoid it."

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Assegid Habtewold

"I like things that sound like maybe they shouldn't belong."

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Assegid Habtewold

"It's the group sound that's important, even when you're playing a solo."

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Assegid Habtewold

"Let's get one thing straight: there's no such thing as the Bristol sound."

Explore more quotes by Karlheinz Stockhausen

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Karlheinz Stockhausen
"But I'm an adventurer. I like invention, I like discovery."
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Karlheinz Stockhausen
"Since I started composing I have always worked with series of tempos, even superimposed the music of different groups of musicians, of singers, instrumentalists who play and sing in different tempos simultaneously and then meet every now and then in the same tempo."
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Karlheinz Stockhausen
"And I'll never forget the first time I took the possibility to project sound every day for six or seven hours with special devices which were built for me."
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Karlheinz Stockhausen
"I spent most of the year in the studio for electronic music at a radio station in Cologne or in other studios where I produced new works with all kinds of electronic apparatus."
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Karlheinz Stockhausen
"Schaeffer gave me permission to work in the studio with a technician, but I've never worked with him."
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Karlheinz Stockhausen
"No, what is important is neither linearity or non-linearity, but the change, the degree of change from something that doesn't move to other events with different tempos in particular."
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Karlheinz Stockhausen
"And when they encounter works of art which show that using new media can lead to new experiences and to new consciousness, and expand our senses, our perception, our intelligence, our sensibility, then they will become interested in this music."
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Karlheinz Stockhausen
"So there is a personal sense of style for a given work - I don't like a general style, but every work has its own style, and I want to create a style for every work."
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Karlheinz Stockhausen
"In particular what is most important to me is the transformation of a sound by slowing it down, sometimes extremely, so that the inner of sound becomes a conceivable rhythm."
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Karlheinz Stockhausen
"It is true that the eyes dominate the ears in our time."
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