SIDU1ARY

The aid of this thesis is not to provide a series of full-scale

analyses of AStockausen's compositions. The approach adopted herein arose

out of the present writer's dasire to understand ihre about the ways in which
!a
major contemporary composer creates his rnuaic. Therefore, the convention

assumed has bean one of tracing the evolution of the several processes

at work within the composer's music.

Tho organization of matorial employed is bi-partite. Tha first

chapter contains the various noumena adopted by Stockhausen between 1952

and 1970 in a chronological sense; starting with set-theory and closing

its descendant
with - the mantra. Compositior. 9 ro mentioned and

considered in this chapter only in so far as they may be used as paradigms

for the particular nowenon under examination. The second chapter

discusses each indivivual work from Kreuzsviel to Mantra. This enquiry

is most definitely not mere ontological' it is
speculation: rather
intended to be a rational (or
examination of those compositions parts
thereof), which may further illustrate the various procedures adopted
by Stockhausen in writing his music. This might consist of tracing the

permutation of the set-aggregates throughout Kreuzspiel, giving an

account of t1ýe innovatory techniques adopted in Momente or, in the

case of certain process and electronic scores, referring the reader to

.
the scores in which the composer has discussed the works to such a

degree as to render further deliberation superfluous!

Whenever there has been an treatment
accurate of any of
Stockhausen's compositions (whether by the composer or other
authors),
the present writer has not reproduced these - he has suggested that the

reader might consult the appropriate reference to find the information:

in certain canes, especially Klavierstock I and Kontakte, the present