A Theory for the Analysis of Spatial Music

Derived from Stockhausens Lichter-Wasser ()

Proposal for s+ :oo6 (Los Angeles)
by Paul Miller
Prince St., No.
Rochester, xs +q6o
paul@theoryofpaul.net
( 8) q+-o
Graduate Student and Instructor of Music Theory,
Eastman School of Music (University of Rochester)
A Theory for the Analysis of Spatial Music
Derived from Stockhausens Lichter-Wasser ()
Proposal for s+ :oo6 (Los Angeles)
Equipment required:
Overhead Projector
A Theory for the Analysis of Spatial Music
Derived from Stockhausens Lichter-Wasser ()
Proposal for s+ :oo6 (Los Angeles)
Abstract. This paper proposes a new technique for the analysis of spatialized music by
using a recent work by Stockhausen, Lichter-Wasser, as a test bed. A tool called the motion
profle segment (MPSeg) is advanced to aid in the detection of spatial motives throughout the
work. Then, by generalizing the mathematical group properties of transformations in two
dimensions, we can relate spatial motives. These techniques can further our understanding of
the composers compositional strategies in the spatial domain, and may also be useful for other
spatialized works, especially those of Xenakis.
- 1 -
A Theory for the Analysis of Spatial Music
Derived from Stockhausens Lichter-Wasser ()
Proposal for s+ :oo6 (Los Angeles)
Published analyses of Stockhausens music often focus on issues of formal design and
pitch. Analysts such as David Lewin, Jerome Kohl, Hermann Conen, Richard Toop, Imke
Misch, and the composer himself have all offered detailed analyses of Stockhausens methods
of compositional design and coherence. While these contributions offer compelling views of
Stockhausens compositional craft, only rarely do they expound upon the spatial aspects of the
music and even then, not in a way that sheds much light on their internal structure. Yet,
since his early electronic works of the +os, Stockhausen has consistently devoted a signifcant
amount of attention in his compositional process to spatialization.
On the other hand, Maria Harleys extensive work suggests many fruitful ways of
analyzing spatialized music; but despite her valuable observations, she does not offer any
techniques for analysis. This investigation will demonstrate that transformation theory and
statistical methods can be used to analyze the spatial movements in a recent work by
Stockhausen, Lichter-Wasser (+). These methods can be generalized so that they can apply
to other spatialized music.
Envisioned as the frst part in the Sunday opera from the gigantic Licht cycle, Lichter-
Wasser employs a core ensemble of : musicians. The musicians are divided into two
orchestras based on register, and are arranged in a geometric pattern throughout the audience
(Example 1). Over the course of the o-minute work, two melodic lines (one assigned to each
orchestra) weave their way through the performance hall. Each musician plays a note or a
group of notes before handing their melody off to the next player. There are nearly q,ooo
such movements in Lichter-Wasser.
We can analyze the spatial motion in Lichter-Wasser by detecting spatial motives, or
sequences of movements that recur (Examples 2a and 2b). These motives are related by
various transformations within the physical space that the piece occupies. For example, some
cardinality 3 motives that recur within orchestra 1 and orchestra 2 are related by rotation,
retrograde, transposition and fip operations (Examples 2c-2e). While the two counterpointed
melodies that wind through the piece exhibit individualized spatial motion (due to the different
spatial confguration of each orchestra), the methodology I employ fnds motivic releationships
across orchestras as well (Example 2f). In my presentation I will show how the operations of
transposition, rotation, fip, and multiplication operate in a two-dimensional space, and how
motives related by these operations create spatial coherence in Lichter-Wasser.
- 2 -
How can we decide which spatial motives are important, even when there are many
good candidates to choose from? By analyzing the speed of motion in Lichter-Wasser, we
can discern motivic activity by detecting a recurring contour in the rate of change of motion
that I call an MPSeg (motion profle segment). The speed of motion in meters per second
can be calculated throughout most of the works twelve main sections, since the positions
of the players in the hall are known, and Stockhausens painstaking method of notating
rhythmic durations allows us to determine the timing of each note with the utmost precision.
In Examples 3a and 3b, the rate of motion is charted for sections 1 and 11. (In the score,
Stockhausen refers to these sections as waves.) If we calculate the distance that the two
melodies traverse in the frst section, we fnd that each moves about one kilometer in roughly
. minutes, for an average speed of .8 m/sec and .o m/sec, respectively. While the motion
profle (MP) of the frst section is highly irregular, the slow rate of motion allows us more easily
to perceive motives that do not recur frequently.
The eleventh section (lasting only about q seconds,) moves far more distance in much
less time; its average rate of motion is approximately m/sec and q m/sec for each orchestra
respectively (Example 3c). Although a higher rate of motion should make it more diffcult
to discern motivic activity, an MPSeg in the graph of the eleventh section recurs throughout
(indicated by horizontal brackets in Example 3b). While the eleventh section exhibits a far
higher density of spatial motives than the earlier section (Examples 4a, 4b), our hearing can
be guided by motives that create recurring MPSegs. Thus, even though the rate of motion
in the eleventh section is roughly eight times faster than the frst section and there is greater
motivic saturation, there is still spatial coherence. Using this method to explore the other
sections of Lichter-Wasser will allow us to see how various sections of the work employ different
compositional strategies in the spatial domain.
These techniques of analyzing Lichter-Wasser suggest broader application to works that
are spatialized in different ways, especially Xenakiss Terretektorh and Nomos Gamma. The
paper proposed herein will use these methods to investigate the spatial design of Lichter-Wasser
more completely. Then I will set the stage for looking at other kinds of spatialized music
in a more analytically fruitful way by generalizing the mathematical group properties of the
four basic operations of transposition, rotation, fip and multiplication in a two-dimensional
space.
- 3 -
References
Brant, Henry (+8). Space as an Essential Aspect of Musical Composition. In Contemporary
Composers on Contemporary Music, ed. Elliott Schwartz, Barney Childs. New York: Da
Capo Press.
Coenen, Alcedo (+q). Stockhausens Paradigm: A Survey of His Theories. Perspectives of
New Music ::. :oo-::.
Conen, Hermann (++). Formel-Komposition: Zu Karlheinz Stockhausens Musik der siebziger
Jahre. Mainz: Schott.
Harley, Maria Anna (+q). Space and Spatialization in Contemporary Music History and
Analysis, Ideas and Implementations. Ph. D. Dissertation, McGill University.
---------- (+q). Musique, Espace et Spatialisation: Entretien de Iannis Xenakis avec Maria
Harley. Circuit. Revue Nord-Americaine de Musique du XXe Siecle :. -:o.
Kohl, Jerome (+o). Into the Middleground: Formal Syntax in Stockhausens Licht.
Perspectives of New Music :8:. :6:-:+.
Lewin, David (+). Making and Using a Pcset Network for Stockhausens Klavierstck
III . In Musical Form and Transformation: Four Analytic Essays. New Haven: Yale
University Press.
---------- (+8). Generalized Musical Intervals and Transformations. New Haven: Yale
University Press.
Misch, Imke (+8). On the Serial Shaping of Stockhausens Gruppen fr drei Orchester.
Perspectives of New Music 6+. +q-+88.
Stockhausen, Karlheinz (:oo+). Composition Course on Lichter-Wasser. Krten: Stockhausen
Verlag.
---------- (+6+). Music in Space. Trans. Ruth Koenig, in Die Reihe vol. . Pennsylvania:
Presser.
Toop, Richard (:oo). Six Lectures from the Stockhausen Courses Krten . Krten:
Stockhausen Verlag.
- 4 -
0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27
0
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
V5 F2 P1 V3 Fa1
B Sax
Va5 Eh F1
T1 Va1
K Va3 Fa2 Va2 P2
H1
T V1
V2 T2
Va4 Eu
Ob V4 H2 K

Tu
3
0

m
e
t
e
r
s
27 meters
(1, 4) (26, 4) (7.25, 4) (13.5, 4)
(19.75, 4)
(1, 29)
(7.25, 29) (13.5, 29) (19.75, 29)
(26, 29)
(1, 10.25)
(1, 16.5)
(1, 22.75)
(26, 22.75)
(26, 16.5)
(26, 10.25)
(13.5, 10.25)
(13.5, 16.5)
(13.5, 22.75)
(7.25, 16.5) (19.75, 16.5)
(
r
a
d
i
u
s

=

1
2
.
5

m
)
(9.08, 20.92)
(17.92, 20.92)
(17.92, 12.08)
(9.08, 12.08)
(4.66, 25.34)
(22.34, 25.34)
(22.34, 7.66)
(4.66, 7.66)
conductor mixingconsole synth.
V5
F2
P1
V3
Fa4
B
Sax
Va5
Eh
F1
T1
Va1
K
Va3
Fa2
Va2
P2
Th
V1
H1
V2
T2
Va4
Eu
Ob
V4
H2
K

Tu
1.00 29.00
7.25 29.00
13.50 29.00
19.75 29.00
26.00 29.00
4.66 25.34
22.34 25.34
1.00 22.75
13.50 22.75
26.00 22.75
9.08 20.92
17.92 20.92
1.00 16.50
7.25 16.50
13.50 16.50
16.50
16.50
19.75
26.00
9.08 12.08
17.92 12.08
1.00 10.25
13.50 10.25
26.00 10.25
4.66 7.66
22.34 7.66
1.00 4.00
4.00
4.00
4.00
4.00
7.25
13.50
19.75
26.00
Key
Coordinates of each
instrument
violin 5
flute 2
trombone 1
violin 3
bassoon 4
bass clarinet
saxophone
viola 5
english horn
flute 1
trumpet 1
viola 1
clarinet
viola 3
bassoon 2
viola 2
trombone 2
tenor horn
violin 1
horn 1
violin 2
trumpet 2
viola 4
euphonium
oboe
violin 4
horn 2
e-flat clarinet
tuba
Example 1. Spatial Layout of Lichter-Wasser *
instrument abbreviation x-
coord.
y-
coord.
= instrument in
orchestra 2
= instrument in
orchestra 1
(
r
a
d
iu
s
=
6
.2
5
m
)
= location of a
loudspeaker
* The hall in which the premiere took place measured 27 30 meters.
V5 P1 V3 Fa1
B Sax
Va5 Eh F1
T1 Va1
K Va3 Fa2 Va2 P2
H1
T V1
V2 T2
Va4 Eu
Ob V4 H2 K

Tu
F2 V5 P1 V3 Fa1
B Sax
Va5 Eh F1
T1 Va1
K Va3 Fa2 Va2 P2
H1
T V1
V2 T2
Va4 Eu
Ob V4 H2 K

Tu
F2
Example 2. Motivic Design of the 1st Section (Wave) in Lichter-Wasser
Example 2a. Motives that occur in Orchestra 1 Example 2b. Motives that occur in Orchestra 2
c
d
c
d
Example 2c.
Relationship of motives a and b
Example 2d.
Relationship of motives c and d
Example 2e.
Relationship of motives e and f
Example 2f.
Relationship of motives a and c
c
[transpose(6.25,-6.25)][rot(180)]a = b [retrograde]c = d or [flip(vertical)]c = d
or
[flip(horizontal)][rot(180)]c = d
[transpose(0, -12.5)]
[retrograde][flip(horizontal)]e = f
[mult(2)][rot(315)]
[transpose(4.4, 8.1)]a = c
(The order of operations is always from right
to left.)
a
b
e
f
a
b
e
f
a
Example 3a. Rate of Motion or Motion Profile in the 1st Section (Wave) of Lichter-Wasser
0 50 100 150 200
0
5
10
15
20
25
30
35
25 75 125 175 213
r
a
t
e

o
f

m
o
t
i
o
n

(
m
e
t
e
r
s

p
e
r

s
e
c
o
n
d
)
elapsed time (seconds)
Orchestra 1
Orchestra 2
Total Distance Traversed
Number of Movements
Average Speed
Orchestra 1 Orchestra 2
801 m
105
3.8 m/sec
1061 m
100
5.0 m/sec
Example 3b. Rate of Motion or Motion Profile in the 11th Section (Wave) of Lichter-Wasser *
0 10 20 30 40 50
0
50
100
150
200
r
a
t
e

o
f

m
o
t
i
o
n

(
m
e
t
e
r
s

p
e
r

s
e
c
o
n
d
)
elapsed time (seconds)
5 15 25 35 45
Orchestra 1 Orchestra 2
1794 m
210
37 m/sec
1687 m
165
34 m/sec
Key
Example 3c. Comparison
of the Rate of Motion
in Sections 1 and 11
of Lichter-Wasser
Section 1 (213 seconds) Section 11 (49 seconds)
*brackets indicate a recurring motion profile segment
Approx. Rate of Movement .5 moves/sec .5 moves/sec 4 moves/sec 3 moves/sec
Example 4a. Frequency of Cardinality 3 Motives in the 1st Section (Wave) of Lichter-Wasser
Example 4b. Frequency of Cardinality 3 Motives in the 11th Section (Wave) of Lichter-Wasser
Orchestra 1 Orchestra 2
eh t1 va3
v2 v1 va2
f1 v2 k
v3 eh t1
va5 k va3
t1 va3 th
k va3 b
k ob v4
va3 th v2
va2 va1 eh
th v2 v1
v1 va2 va1
t2 f1 v3
ob v4 k

v4 k

t2
k

t2 f1
3
3
2
2
2
2
2
2
2
2
2
2
2
2
2
2
p1 sax fa1
fa1 p2 tu
b p1 sax
b va5 h1
sax p1 b
sax fa1 p2
p2 th eu
eu fa2 b
tu eu fa2
p1 b va5
fa1 sax p1
va5 h1 va4
va3 th va4
fa2 b va5
h1 va4 h2
va4 h2 fa2
eu tu p2
h2 fa2 eu
tu p2 eu
3
3
3
3
3
3
3
3
3
2
2
2
2
2
2
2
2
2
2
Orchestra 1
v1 va2 va1
v3 f2 v5
f1 v3 f2
va3 v2 k

va2 va1 eh
v2 k

t2
t2 f1 v3
v4 v1 va2
k

t2 f1
v5 k ob
f2 v5 k
k ob v4
ob v4 v1
eh t1 va3
t1 va3 v2
va1 eh t1
eh va3 v2
va1 eh va3
14
13
13
13
13
13
13
13
13
12
12
12
12
11
11
11
2
2
eu h2 p1
h2 p1 b
tu eu h2
fa1 p2 tu
sax fa1 p2
va5 h1 va4
fa2 sax fa1
p2 tu eu
th fa2 sax
h1 va4 th
va4 th fa2
p1 b va5
b va5 h1
p1 b v5
b v5 va5
v5 va5 h1
fa1 th tu
va5 h1 fa1
th tu eu
h1 fa1 th
13
13
13
11
11
11
11
11
11
11
11
10
10
3
3
2
2
2
2
2
Orchestra 2
frequency motive frequency motive
frequency motive frequency motive