"And I'm always interested when other musicians are trying to discover new worlds of sound"
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Stockhausen’s line has the casual warmth of a compliment, but it also smuggles in a manifesto. “Always interested” sounds open-minded, even generous; the subtext is that curiosity isn’t optional, it’s the job. Coming from a composer who treated the studio like a laboratory and the concert hall like a launchpad, “discover new worlds of sound” isn’t poetic garnish. It’s a standard he helped set: music as exploration rather than refinement, invention rather than interpretation.
The phrasing matters. “Other musicians” implies a community of explorers, not a lone genius on a mountain. Yet Stockhausen’s interest is a kind of gatekeeping, too: he’s most engaged when artists push past inherited timbres and forms. In the postwar European avant-garde, “new worlds” carried real ideological weight. After the wreckage of nationalism and tradition-as-authority, novelty became a moral posture: build a future that doesn’t rely on the old myths. Electronic music, serialism, spatialization, musique concrete: these weren’t just techniques, they were bids to rewire perception.
There’s also a sly humility in “trying to discover.” He doesn’t claim the map is complete, even by him. Discovery suggests risk, wrong turns, failures that still produce data. Stockhausen frames experimentation as attention and listening at the edge of what counts as music. The line reads like an invitation, but also a challenge: if you’re not reaching for the unknown, what exactly are you doing with sound?
The phrasing matters. “Other musicians” implies a community of explorers, not a lone genius on a mountain. Yet Stockhausen’s interest is a kind of gatekeeping, too: he’s most engaged when artists push past inherited timbres and forms. In the postwar European avant-garde, “new worlds” carried real ideological weight. After the wreckage of nationalism and tradition-as-authority, novelty became a moral posture: build a future that doesn’t rely on the old myths. Electronic music, serialism, spatialization, musique concrete: these weren’t just techniques, they were bids to rewire perception.
There’s also a sly humility in “trying to discover.” He doesn’t claim the map is complete, even by him. Discovery suggests risk, wrong turns, failures that still produce data. Stockhausen frames experimentation as attention and listening at the edge of what counts as music. The line reads like an invitation, but also a challenge: if you’re not reaching for the unknown, what exactly are you doing with sound?
Quote Details
| Topic | Music |
|---|---|
| Source | Help us find the source |
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