in the traditional ) It is to train the ear

sense. perfectly possible

to detect finer intervals of pitch such as quarter and sixth tones, as

used by composers such as Ives and Häba; similarly it is possible to

detect a larger range of dynamic intensities or timbres, the production

of trhich may only be possible with the utilization of a synthesizor.

In 1951 Stockhausen .,-rote Kreuzspiel (nr. 1/7)2 which makes

use of three utterly different sets, one each for pitch, duration and

dynamic. Each of these sets has twelve members, but they are created

under different conditions. The pitch yet is derived from the chromatic

scale in the traditional sense. The duration set in merely an additive

sequence of sixteenth notes, or triplet sixteenth notes. The dynamic

set, which also uses traditional notation is subjective in the extreme

using only acven symbols, and is obviously subjective, whether from th3

point of view 9f tho composer, performer or listener. (Example 1.1.3).

Example 1.1

Sets used in Kreuzspiel

Pitch

2
for a full treatment of Kreuzspiel see p. 38

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