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sonority as the structure of the movement expands and the time sequences are stretched. In this way, the pieces often come close to archaic musical forms, which
Stahmer has experienced working with so-called "primitive cultures". The fact that his music nevertheless sounds rather "western" is due to a clear demarcation from any form of style copying. Stahmer sees his goal rather in an "enrichment of European music through the inclusion of Asian elements." By responding "seismographically to the development of a global culture" in his music and engaging in "a deeper understanding of non-European music" and "equal dialogue with musicians of Africa and Asia", he has succeeded in opening "new horizons for the art of composition". The closest way to describe this aesthetic position of the composer is the concept of "transculturality" introduced by
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the listener through the texts set to music, because "almost half of his works are closely related to language." Again and again, Stahmer has discovered "new possibilities" to "establish a relationship between the different artistic means of expression, music and the language of words. The spectrum ranges from text setting in the conventional sense to the musical interpretation and paraphrase of a linguistic model understood merely as "material"."
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238:, teaching musicology, especially music history, history of instrumentation, theory of forms and ethno-musicology, appointed professor in 1977. Important impulses came from his collaboration with the Studio für Neue Musik there, beginning in 1970, which he directed from 1989 to 2004. In 1976, he founded the festival Tage der Neuen Musik (Days of New Music) in Würzburg, which he directed until 2000.
2252:
682:, Stahmer searched for new means of expression and developed his own diction by engaging with the visual language of contemporary painters and sculptors. In multimedia works, he "explored colour and spatial references of music and musical graphics." Since 1972, he tied instrumentally and electronically realised
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With their ritualistic form of performance and long duration, these works depart from conventional concert practice and unfold their effect preferably in connection with dance and image projections. In both
Stahmer's politically committed pieces and compositions striving for spirituality, an attitude
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for double bass, Stahmer's compositions do not belong to the type of works in which playing takes place for the sake of playing. Rather, they are charged with extra-musical meaning and only become fully comprehensible through semantic decoding. In most cases, the themes and contents are revealed to
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among others, which, due to their special tunings and playing techniques, provide for unusual sound structures in the modern structure of movements. According to
Stahmer, this reinforces a tendency that was already apparent in earlier works, in which the musical forms unfold more and more from the
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in
Germany and abroad. "Not to be underestimated is the role of one's own participation in such performances: Often sitting and acting at the mixing desk or with his violoncello in the midst of the performers, he was able to directly feel and shape his acoustic material without having to take a
722:(1980). He developed a style that was increasingly based on retrospective, but which only conveyed the model in a broken form, and which was increasingly oriented towards ideals such as beauty of sound, and joy of playing. In a counter-movement, he wrote the musical graphic
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makes as little sense as the search for motivic/thematic criteria. Inevitably, this led to the dissolution of formal thinking, oriented on classical-romantic types, and to experimenting with open forms, which
Stahmer presented in some of the forums of
535:(1998) show that Stahmer's preoccupation with foreign ethnic groups not only has an intrinsic musical effect on his composing, but also includes political commitment to the victims of white tyranny. The tape piece (with vibraphone solo)
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by Edmund
Kieselbach. Whereas he had previously worked mostly improvisationally with sound sculptures, he now systematically developed sound structures in which "sound stones" were combined with conventional sound bodies, such as the
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Zwischen
Nostalgie und Utopie – Musik über und zu Gustav Mahler von Peter Ruzicka, Helmut Lachenmann, Wilhelm Killmayer, Vittorio Fellegara, Detlev Glanert, Michael Denhoff, Walter Zimmermann, Babette Koblenz und Thomas
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diversion via a score, and not infrequently the boundaries between the composed and the improvised became blurred." While here the instrumental sound was noisily expanded and broken up, in vocal works such as
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In many of his works, Stahmer conveys ideological ideas. Influenced by his own experiences of war and flight, he developed a pacifist basic attitude, which he gave expression to in works such as
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After a creative phase predominantly characterised by sound experiments, Stahmer sought ways to transfer these experiences to the more traditional playing and singing techniques, for example in
733:(1990), countering a lushness of sound decisively with a reduction of means and a withdrawal of expression. Finally, the sound gestures appear concise and clearly cut in the two piano pieces
966:. If in the aforementioned works from earlier times it was a rather general pacifist attitude, for which he sought out corresponding figures of speech in literature and set excerpts from
412:(1975) show Stahmer as an experimenter who, in addition to visual means of representation, also made use of contemporary poetry and created music with a high symbolic content in
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for viola and piano (1963) and other youthful works, Stahmer found new forms of expression in collaboration with visual artists, partly using electronic means. Key works such as
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Since his retirement from university service, Stahmer has worked primarily as a composer, and has traveled to the Middle East and the Far East for lectures and study tours.
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389:(IGNM) from 1983 to 1987 and from 2000 to 2002. He focused on improving the relations between Germany and Israel, as well as the rapprochement of Poland and Germany.
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558:(2004) opens a series of pieces in which Stahmer draws on the playing style and tone of non-European instruments to represent his musical ideas. In the cycle
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Stahmer's compositions, including numerous vocal and instrumental solos, were often created in artistic collaboration with musicians such as singer
1415:), Fuad Rifka and Horst Mendroch (recitation), Pi-Sien Chen (piano), Murat Çoskun (frame drum), Gilbert Yammine (qanun); WERGO CD ARTS 81092 (2010)
670:'s musical aesthetics and the musical avant-garde of the sixties and seventies, but then sought and found their own way." Initially influenced by
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gave rise to pieces novel in tonal language and important in content. He set literature by a number of poets from
African cultural including
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707:(1978) a turn towards the phonetic possibilities of the sounds produced with the mouth and vocal cords is also apparent (see illustration).
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370:. Compositions and improvisations were documented in an LP edition. Stahmer has published books, articles and essays on topics related to
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1880:, choreographed by Zaga Živković and performed for the first time on 18 January 1980 by the "Studio za suvremeni ples" in Zagreb with
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as soloist on the guitar. Vol. 2, issue 1, 1980, p. 5, and issue 3, p. 7; and Päffgen/Stahmer (1984), pp. 10–14.
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Stahmer extended his commitment to contemporary music beyond the university of Würzburg to all of
Germany. In collaboration with the
1401:, chamber music, six pieces for Far-Eastern and European musical instruments, Wu Wei, Xu Fengxia, Makiko Goto, Andreas Gutzwiller,
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2188:
1961:
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276:, produced and developed by 22 artists from four European countries, which was shown as a travelling exhibition in Würzburg,
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1429:, Wu Wei, Wen-Sinn Yang, Vivi Vassileva, Stefan Hussong, Pi-Hsien Chen, Maruan Sakas, Kreuzberg Records CD kr 10112 (2016)
375:
269:
666:"Klaus Hinrich Stahmer belongs to the generation of composers who were influenced in their youth by twelve-tone music,
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227:, encouraged and stimulated him to combine musical practice with intellectual penetration and unrestricted openness to
122:
1985:
in
Kulturen in Bewegung, Beiträge zur Theorie und Praxis der Transkulturalität, transcript 2010, pp. 39–66.
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Das Fremde und das Eigene – Gedanken eines Weggefährten zur außereuropäisch inspirierten Musik von Peter Michael Hamel
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and in Frankfurt, and were sonically realised in concerts. He also organised and realises an exhibition of around 40
175:). He also broke new artistic ground with his compositions for non-European instruments, which can be classified as
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935:
374:, and has worked as a journalist for radio stations and magazines. Since 2013, Stahmer has been a member of the
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by Euripides to music, later the statement sharpened into an indictment of the building of the Berlin Wall (in
1782:"Das Studio für Neue Musik Würzburg / Eine Untersuchung zu seiner Geschichte von 1958 bis 1988 (dissertation)"
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from 1947 to 1960, he received instrumental lessons in cello and piano and participated as a choral singer in
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Stahmer made spiritual statement initially in pieces connected to Christian church music, for example in
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211:, where he took exams in music theory and cello teaching, and the first state exam in music pedagogy for
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1494:
Bearbeitung als Interpretation – Zur Schubertrezeption Gustav Mahlers, Hans Zenders und Friedhelm Döhls
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and given space to a renewed way of thinking about form and sound in his work. Later, he returned to a
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1997:""Über den eigenen Horizont hinaus" / Neuer Band "Komponisten in Bayern" über Klaus Hinrich Stahmer"
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for string quartet, computer-controlled stone sounds and ring modulation, based on "Sound Stone" by
521:(1999). Since 1994, the influence of non-European musical forms has increased, such as in the three
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253:
955:. Stahmer also relied on anonymous text sources, such as grave inscriptions of a Jewish cemetery.
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191:. In 1945, the family fled to the West to escape the Russian military. During his school years in
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1972:
Theresa Henkel/Franzpeter Messmer (ed.), in Composers in Bavaria, vol. 60, Munich 2016, p. 7
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308:
208:
76:
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1996:
1442:; in Hamburger Jahrbuch f. Musikwissenschaft vol. 4, Hamburg (Wagner) 1980, pp. 7–32
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365:
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1051:. Magical-mythical nature experiences of primitive peoples were expressed in the piano cycle
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8:
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Der Klassik näher als dem Klassizismus – Die Streichquartettkompositionen von Strawinsky
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In the early 1970s, Stahmer had turned away from the melodic and harmonic models of the
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where he was promoted to Dr. phil. in 1968. Of his academic teachers, the musicologist
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2001:
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as well as specialists for non-European instruments such as the sheng player Wu Wei,
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780:. In addition, there is the special sound world of non-European instruments such as
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in Frankfurt, he curated and organised an exhibition entitled Musical Graphics. The
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1505:, ed.: Stahmer, Mainz (Schott) 1997, pp. 25–62 and pp. 93–106
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978:
761:
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909:. The richness of imagery and the linguistic sound of Mediterranean poets such as
1028:, created in collaboration with Bernd Konrad, is an appeal against the spread of
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Recipients of the Cross of the Order of Merit of the Federal Republic of Germany
539:(1999), written over several years, expresses compassion for the victims of the
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1251:
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432:; 1976). Since the mid-1970s, he also composed stage works such as the ballet
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1525:
Zwischen Hörspiel und musique concrète – Klaus Hashagens radiophonische Musik
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2171:
Kann man Komponieren eigentlich lernen? Interview mit Klaus Hinrich Stahmer.
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153:
1811:"Im Schloss arbeiten Musiker aus dem Libanon und aus Deutschland zusammen"
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May they come, may they disembark, may they stay and rest awhile in peace
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1981 1st prize in the competition "Junge Komponisten gesucht" of Koblenz
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inspired pieces full of sound and playfulness. In particular, texts by
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and Dikobe wa Mogale. He was in close collaboration with the Lebanese
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1557:, ed.: Torsten Möller, Saarbrücken (Pfau) 2008 pp. 101–110
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1956:
Constantin Floros: Passion Musik; Mainz (Schott) 2017, p. 77.
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for flute and playback CD, sound panels by Edmund Kieselbach (1997)
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523:
196:
2116:
Edition Text & Kritik, München (Loseblattsammlung seit 1992),
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for guitar and tape recordings, live electronics ad libitum (1978)
1043:'s song of praise, but later turned to Far Eastern ideas, such as
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1984 1st prize in the competition of the Onyûkai Association Toky
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620:
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156:. He gave added to the development of music in the 1980s through
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Mit Papa Haydn am Kilimandscharo – Afrikanische Streichquartette
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772:" (modes) or Far Eastern tunings, and sometimes involves pure (
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200:
1395:, Philipp Vandré (piano), Kreuzberg Records CD kr 10021 (1998)
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From 1969 to 2004, Stahmer was a university lecturer at the
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in England, at the Institute of Music in Trossingen and the
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Franz Schubert und Gustav Mahler in der Musik der Gegenwart
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1116:(Gesänge eines Holzsammlers, Songs of wood gatherer, 2009)
893:. He also set poems and prose by American authors such as
531:(1996), which was premiered in Australia. Pieces such as
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In addition, Stahmer explored the sonic possibilities of
562:(2009), written in collaboration with the Lebanese poet
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2017 1st Prize Carl von Ossietzky Competition Oldenburg
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for three speakers, clarinet and string quartet, text:
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for speaking voice, guitar, percussion and tape, text:
2047:"Diese kühlen Klänge helfen Ihnen durch die Hitzwelle"
1567:, vol. 61, Munich (Allitera) 2017 pp. 62–87
1472:, vol. 12, Mainz (Schott) 1983, pp. 104–115
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for speaking voice and instrumental ensemble (1986/89)
998:). Here, too, Stahmer draws on texts by poets such as
199:
and choral concerts. After completing school with the
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2132:
Internationales Chronologisches Lexikon Klaviermusik.
1228:
Die Landschaft in meiner Stimme / Musikalische Grafik
1068:
Works by Stahmer include: Orchestral and stage works
2177:
Vol. 6, issue 6, 1984, pp. 8–14 and 50 f.
1947:
vol. 5, Mainz (Schott) 13th edition 2012, p. 95
1859:(in German). Verlag Neue Musik. 2013. pp. 16–17
1519:
Jahrbuch der Bayerischen Akademie der Schönen Künste
1440:
Anmerkungen zur Streichquartettkomposition nach 1945
313:, showing works by artists Bernard Baschet (Paris),
1903:Henkel, Theresa; Messmer, Franzpeter, eds. (2016).
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for flute, two percussionists and piano (1998/2005)
355:, and with musicians such as Herbert Försch-Tenge,
203:, he embarked on a wide range of music studies, at
1060:of openness to the world and to exchange emerges.
994:) and against South Africa's apartheid policy (in
486:(1992) also reveal a sense for larger dimensions.
1616:Order of Merit of the Federal Republic of Germany
1450:Form und Idee in Gustav Mahlers Instrumentalmusik
385:, and was president of the German section of the
2276:
2138:The New Grove Dictionary of Music and Musicians.
1352:(Herr der Winde) for dizi and playback CD (2007)
1694:"Klaus Hinrich Stahmer / Born: June 25th, 1941"
1555:"Wenn A ist, ist A" – Der Komponist Dieter Mack
1521:, vol. 12, Munich 1998, pp. 526–523
1306:) for sheng and accordion or piano (1994/2007)
484:Three Bagatelles - in memoriam Igor Stravinsky
2202:Literature by and about Klaus Hinrich Stahmer
1907:. Komponisten in Bayern (in German). Munich.
1902:
1133:for speaking voice and string quartet, text:
1002:or Sandile Dikeni. He evokes memories of the
152:(born 25 June 1941) is a German composer and
1511:, in nova giulianiad, 11/88, pp. 126 ff
444:), a joint production with jazz saxophonist
381:In cultural politics, Stahmer was active in
268:and other pioneers of were presented in the
1149:for flute, guitar and violoncello (1983/90)
843:and contemporary poetry by authors such as
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2183:13th edition, vol. 5, Manz (Schott) 2012,
1927:: CS1 maint: location missing publisher (
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1846:
1844:
1842:
1779:
1460:Musik in der Residenz. Würzburger Hofmusik
1358:for sheng, clarinet and violoncello (2010)
387:Internationale Gesellschaft für Neue Musik
139:Internationale Gesellschaft für Neue Musik
29:
2134:Noetzel, Wilhelmshaven 1999, p. 205.
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1336:(funeral song) for cello and qanun (2009)
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1476:Mythos Klang – Progress oder Regression?
1446:Mahlers Frühwerk – Eine Stiluntersuchung
1376:for oriental frame drum and piano (2014)
808:
653:
2102:(Supplementary volume). Mainz 1989, 9,
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1651:2019 Wilhelm Hausenstein Honour of the
1551:Wind kommt auf – Anmerkungen zu "Angin"
2277:
2169:Peter Päffgen, Klaus Hinrich Stahmer:
2158:). 2nd edition, vol. 15, Kassel 2006,
1994:
1988:
1854:"Katalog 2013 / Klaus Hinrich Stahmer"
1725:
1269:Erinnerungen aus den Wassern der Tiefe
804:
573:, Stahmer uses the Arabic instruments
455:. Larger chamber music cycles such as
2152:Die Musik in Geschichte und Gegenwart
1983:Was ist eigentlich Transkulturalität?
1887:
1708:
1665:
1614:1996 Cross of Merit on Ribbon of the
1382:for sheng, accordion and cello (2015)
1571:
1161:for guitar and string quartet (1992)
527:(1994) and the one-hour piano cycle
2017:
1298:Music for non-European instruments
823:With a few exceptions, such as the
741:, which is reminiscent of Japanese
13:
2093:
1780:Schiessler, Martin (4 June 2012).
1622:Händel-Förderpreis der Stadt Halle
1547:, 2006, H. 5, pp. 18–23
1515:Fünfzig Jahre neue Musik in Israel
1370:for qanun, violin and cello (2011)
1075:, ballet, with Bernd Konrad (1983)
14:
2336:
2195:
2156:Musik in Geschichte und Gegenwart
1995:Knauer, Stefanie (October 2016).
1631:(shared Handel composition prize)
686:into temporal processes in which
376:Freie Akademie der Künste Hamburg
270:Museum im Kulturspeicher Würzburg
2290:20th-century classical composers
2262:
2250:
1809:Meissner, Gerhard (2011-03-23).
1143:for two percussionists (1975/81)
596:and Wolfgang Weigel, violinists
16:German composer and musicologist
2064:
2039:
1975:
1966:
1950:
1935:
1726:Düring, Ursula (24 June 2016).
1452:, ed.: Stahmer, Wilhelmshaven (
1433:
835:His chosen texts come from the
705:Die Landschaft in meiner Stimme
660:Die Landschaft in meiner Stimme
343:created with composers such as
2100:Brockhaus Riemann Musiklexikon
2027:(in German). Verlag Neue Musik
1871:
1827:
1802:
1746:
408:(1972) and the percussion duo
1:
1658:
1653:Bavarian Academy of Fine Arts
1386:
463:(1985/86; productions at the
236:Hochschule für Musik Würzburg
123:Hochschule für Musik Würzburg
1941:"Klaus Hinrich Stahmer", in
1754:"Ein Ständchen für Würzburg"
1312:for sheng and guzheng (2004)
1264:Music with Sound Sculptures
1197:for accordion solo (2008/09)
731:Der Stoff dem die Stille ist
517:(1992) and the accordion in
215:. He studied further at the
160:works, including music with
7:
1634:2006 Honorary prize in the
1585:Johann-Wenzel-Stamitz-Preis
1456:) 1980, pp. 9–28
1203:for double bass solo (2014)
1159:Musik für die weißen Nächte
863:, and by lyricists such as
10:
2341:
2114:Komponisten der Gegenwart.
1544:Neue Zeitschrift für Musik
1509:Neue Klangwelt der Gitarre
1421:, chamber music including
1409:Gesänge eines Holzsammlers
1087:for large orchestra (1997)
1008:... che questo è stato ...
931:Jean-Felix Belinga Belinga
760:which operates beyond all
729:(1982) and the tape piece
714:solo compositions such as
543:. The duo for the Chinese
459:(1980), the one-act opera
205:Dartington College of Arts
72:Dartington College of Arts
1535:2003 pp. 75–90
1399:silence is the only music
1364:for daegeum and CD (2010)
1310:Silence is the only Music
1167:for string quartet (1998)
1153:Nocturne for Enzensberger
1081:, one-act opera (1985/86)
560:Songs of a Wood Collector
556:Silence is the only Music
115:
95:
64:
40:
28:
21:
1462:, Würzburg (Stürtz) 1983
1209:for clarinet solo (2014)
1063:
969:The Colossus of Maroussi
849:Hans Magnus Enzensberger
649:
282:Heidelberger Kunstverein
2295:German ballet composers
2206:German National Library
2025:"Klaus Hinrich Stahmer"
1728:"Mythische Botschaften"
1609:Würzburg Cultural Prize
1596:Künstlergilde Esslingen
990:in Germany in 1933 (in
395:
209:Musikhochschule Hamburg
182:
77:Musikhochschule Hamburg
2072:"Musikalische Brücken"
1789:University of Würzburg
1240:for solo voice, text:
1185:for violin solo (2002)
1173:for solo violin (1998)
1155:for guitar solo (1984)
899:Edward Estlin Cummings
820:
737:(1994/98) and the duo
663:
2305:World music musicians
2235:Klaus Hinrich Stahmer
2221:Klaus Hinrich Stahmer
1905:Klaus Hinrich Stahmer
1565:Komponisten in Bayern
1529:Komponisten in Bayern
1413:Songs of a Woodcutter
1405:CD ARTS 8116 2 (2009)
1195:Flüchtige Augenblicke
1183:Our Music is so sweet
1122:for two pianos (2000)
1120:People out of Nowhere
814:Section of the score
812:
764:connections with the
762:functional harmonical
657:
434:Espace de la solitude
293:Leopold Hoesch Museum
217:University of Hamburg
150:Klaus Hinrich Stahmer
127:Studio für Neue Musik
82:University of Hamburg
35:Klaus Hinrich Stahmer
23:Klaus Hinrich Stahmer
2325:People from Szczecin
2300:German musicologists
2181:Riemann Musiklexikon
2175:Gitarre & Laute.
1944:Riemann Musiklexikon
884:Jürgen-Peter Stössel
627:), Gilbert Yammine (
187:Stahmer was born in
130:Tage der Neuen Musik
1254:among others (1981)
805:Themes and contents
768:sound concepts of "
724:Birthday Canon for
482:in Munich) and the
361:Hans-Karsten Raecke
243:Hindemith-Institute
1645:Competition Taipei
1346:) for qanun (2009)
1177:There is no Return
1006:in pieces such as
996:There is no Return
988:Nazi book burnings
919:Giuseppe Ungaretti
911:Vicente Aleixandre
857:Hans Erich Nossack
827:for violin or the
821:
664:
600:, Herwig Zack and
537:Che questo è stato
533:There is no return
519:To lose is to have
383:Deutscher Musikrat
345:Anestis Logothetis
229:contemporary music
134:Deutscher Musikrat
2237:(in German) WERGO
2189:978-3-7957-0006-5
2002:Neue Musikzeitung
1981:Wolfgang Welsch:
1962:978-3-95983-540-4
1914:978-3-86-906909-8
1882:Siegfried Behrend
1572:Awards and prizes
1470:Hindemith Annales
1191:cello solo (2005)
1014:The ballet music
895:Wystan Hugh Auden
818:for strings, 1974
668:Theodor W. Adorno
619:and Makiko Goto (
590:Siegfried Behrend
339:, Martin Riches,
337:Stephan von Huene
315:Edmund Kieselbach
225:Constantin Floros
147:
146:
108:Festival director
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1131:Quasi un requiem
1102:Musik der Stille
1037:Davids Lobgesang
1016:The Rhinoceroses
979:The Trojan Women
960:Quasi un requiem
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1480:Klangskulpturen
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1258:Momentaufnahmen
1114:Ghinna’û Hattab
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2078:. 2016-07-01
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2053:. 2018-08-07
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2019:
2007:. Retrieved
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1213:Vocal music
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1135:Henry Miller
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991:
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977:
974:Henry Miller
967:
964:Singt, Vögel
963:
959:
957:
907:Dylan Thomas
903:Henry Miller
876:Jürgen Fuchs
845:Erich Arendt
834:
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751:
746:
734:
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637:Murat Coşkun
631:), drummers
586:Carla Henius
583:
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515:Crystal Grid
514:
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465:Theater Kiel
461:Singt, Vögel
460:
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446:Bernd Konrad
437:
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426:Tre paesaggi
425:
424:; 1974) and
422:Henry Miller
417:
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154:musicologist
149:
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102:Musicologist
51:25 June 1941
2315:1941 births
2076:mainpost.de
2051:mainpost.de
2005:(in German)
1815:mainpost.de
1762:(in German)
1759:Der Spiegel
1734:(in German)
1639: [
1625: [
1599: [
1588: [
1531:, vol. 42,
1393:Sacred Site
1304:Frozen Time
1302:Ning Shi' (
1282: [
1096:Sacred Site
1053:Sacred Site
949: [
934: [
887: [
868: [
861:Nelly Sachs
853:Erich Fried
774:pythagorean
718:(1979) and
640: [
605: [
567: [
545:mouth organ
529:Sacred Site
494: [
472: [
449: [
364: [
357:Peter Giger
341:Peter Vogel
329: [
318: [
307: [
296: [
285: [
278:Kulturforum
262:Earle Brown
246: [
177:world music
169: [
96:Occupations
2279:Categories
2082:2021-03-19
2057:2021-03-19
1836:SM 1049/50
1820:2021-03-19
1766:2021-03-19
1659:References
1427:Aschenglut
1387:Recordings
1374:Aschenglut
1362:Baram Sori
1320:Grass Song
1316:Pulip Sori
1165:Em-bith-kâ
1108:Four Poems
1057:Songlines.
1021:Rhinocéros
946:Fuad Rifka
794:Shakuhachi
778:intonation
743:Nô Theatre
739:Nô Theatre
700:Neue Musik
617:Xu Fengxia
579:frame drum
564:Fuad Rifka
502:lithophone
438:The Rhinos
372:Neue Musik
349:Klaus Ager
304:Spielboden
280:in Bonn, (
158:multimedia
47:1941-06-25
2208:catalogue
1923:cite book
1488:Alte Oper
1340:Zikkrayat
1141:I can fly
1110:(2000/07)
1104:(1994/98)
1004:Holocaust
726:John Cage
692:chromatic
672:Hindemith
662:(Excerpt)
658:Stahmer:
541:Holocaust
524:Songlines
410:I can fly
258:John Cage
213:Gymnasium
162:sound art
65:Education
2031:19 April
2009:19 April
1863:19 April
1794:19 April
1738:19 March
1732:Mainpost
1700:19 April
1344:Memories
1324:gayageum
1012:Mazewot.
825:Fantasie
758:tonality
749:(2007).
688:diatonic
478:and the
197:oratorio
193:Lüneburg
105:Composer
2269:Germany
2243:Portals
2225:Discogs
2204:in the
1594:of the
1533:Tutzing
1368:Taqasim
1350:Feng Yu
1334:Marthia
1236:, four
1189:Redland
1171:Mazewot
1055:and in
1030:fascism
684:timbres
621:guzheng
554:cither
552:Guzheng
480:Gasteig
440:(after
428:(text:
420:(text:
402:Threnos
221:in Kiel
189:Stettin
87:in Kiel
58:Stettin
2187:
2162:
2144:
2120:
2106:
1960:
1911:
1468:, in:
1330:(2006)
1328:janggu
1322:) for
1288:(1992)
1244:(1980)
1238:Lieder
1230:(1978)
1224:(1976)
1137:(1974)
1098:(1996)
1018:after
859:, and
695:scales
676:Bartók
504:, and
467:, the
400:After
201:Abitur
1857:(PDF)
1834:WERGO
1785:(PDF)
1643:]
1629:]
1620:2001
1607:1994
1603:]
1592:]
1583:1986
1563:, in
1553:, in
1541:, in
1527:, in
1517:, in
1501:, in
1448:, in
1419:Licht
1403:WERGO
1286:]
1207:Weiss
1064:Works
1041:David
953:]
938:]
891:]
872:]
837:Bible
786:Sheng
782:Qanun
766:modal
650:Style
644:]
629:qanun
609:]
575:qanun
571:]
548:Sheng
498:]
476:]
453:]
368:]
333:]
322:]
311:]
300:]
289:]
250:]
173:]
2185:ISBN
2160:ISBN
2142:ISBN
2118:ISBN
2104:ISBN
2033:2021
2011:2021
1958:ISBN
1929:link
1909:ISBN
1865:2021
1796:2021
1740:2021
1702:2021
1499:Jahn
1496:and
1425:and
1423:Ming
1380:MING
1201:Solo
1049:MING
1047:and
1010:and
962:and
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