{"id":608484,"date":"2023-03-01T08:20:04","date_gmt":"2023-03-01T11:20:04","guid":{"rendered":"https:\/\/revistas.uc.cl\/?post_type=tnc_col_608438_item&p=608484"},"modified":"2023-03-01T08:20:04","modified_gmt":"2023-03-01T11:20:04","slug":"derivas-del-serialismo-en-las-obras-electronicas-de-karlheinz-stockhausen-mediacion-tecnica-y-produccion-de-hibridos-en-el-laboratorio-de-la-wdr","status":"publish","type":"tnc_col_608438_item","link":"https:\/\/revistas.uc.cl\/en\/aisthesis\/derivas-del-serialismo-en-las-obras-electronicas-de-karlheinz-stockhausen-mediacion-tecnica-y-produccion-de-hibridos-en-el-laboratorio-de-la-wdr\/","title":{"rendered":"Derivas del serialismo en las obras electr\u00f3nicas de Karlheinz Stockhausen. Mediaci\u00f3n t\u00e9cnica y producci\u00f3n de h\u00edbridos en el Laboratorio de la WDR"},"content":{"rendered":"

During the 1950s Karlheinz Stockhausen adhered to the modernist principles promoted by the Darmstadt School that led to the development of integral serialism. In his pursuit of renovation of the musical language, Stockhausen tried to apply this technique to the composition of electronic works at the WDR (Westdeutscher Rundfunk) laboratory in Cologne. This article inquires, through the concept of technical mediation proposed by Bruno Latour, how the exchange of properties between humans and non-humans inside the laboratory modified the serial project. As a result of this process, Stockhausen composed a serie of works that couldn\u2019t be completely prefigured a priori, a fact that led to the creation of new forms of listening and musical notation. From that, we will seek to characterize Stockhausen’s compositional practice from a non-modernist perspective, emphasizing the hybrid and relational character of musical events.<\/p>","protected":false},"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","format":"standard","class_list":["post-608484","tnc_col_608438_item","type-tnc_col_608438_item","status-publish","format-standard","hentry"],"acf":[],"yoast_head":"\nPortal de Revistas<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/revistas.uc.cl\/en\/aisthesis\/derivas-del-serialismo-en-las-obras-electronicas-de-karlheinz-stockhausen-mediacion-tecnica-y-produccion-de-hibridos-en-el-laboratorio-de-la-wdr\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Derivas del serialismo en las obras electr\u00f3nicas de Karlheinz Stockhausen. 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Mediaci\u00f3n t\u00e9cnica y producci\u00f3n de h\u00edbridos en el Laboratorio de la WDR - Portal de Revistas","og_description":"During the 1950s Karlheinz Stockhausen adhered to the modernist principles promoted by the Darmstadt School that led to the development of integral serialism. In his pursuit of renovation of the musical language, Stockhausen tried to apply this technique to the composition of electronic works at the WDR (Westdeutscher Rundfunk) laboratory in Cologne. 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