Karlheinz Stockhausen’s ‘Kontakte für elektronische Klänge, Klavier und Schlagzeug’ (1960) remains one of the most celebrated works of ‘mixed’ music. My paper will analyse the role of the piano in this groundbreaking composition. In reference to the piano, Stockhausen wrote: ‘Six instrumental sound categories are used: metal-sound/metal-noise; skin-sound/skin-noise; wood-sound/wood-noise; the piano unites these categories, divides them or provides signals for interaction.’ (Stockhausen, 1964: 104). The piano’s multi-instrumental resources are, as Stockhausen claimed, exploited to mediate between the six disparate ‘timbres’ of the percussion instruments.

Several issues of analytical significance are apparent. A central one is how an analyst of mixed’ music can define ‘timbre’. The linguistic problems of the term ‘timbre’ are well-known. Part of my methodological strategy will be to use the Schaefferian definition of the term ‘timbre’ as reference to the source (real or imaginary) of a sound. This concept will be used in conjunction with additional terms drawn from Schaefferian ‘instrumental analysis’ such as ‘genre’ and ‘register’.

My methodology will be the aural analysis of recordings of the ‘mixed’ version of ‘Kontakte’. I shall select sections which illustrate most effectively the creation of ‘genres’ and their interaction/division by the piano. Moreover, by identifying and collating these genres I shall describe and, most importantly, I shall interpret how they function within the context of ‘moment form’.

John Dack

Born: Kings Cross, London 1950. Employed as photographer’s assistant (1966-70), grave- digger (1970-73), guitar teacher (1973-77). Studied music as a mature student at Middlesex Polytechnic (BA Hons, 1980).

Subsequent studies: PhD with Denis Smalley, 1989; Post-graduate Diploma in Music Information Technology (distinction), City University, 1992; MSc (distinction), City University, 1994; MMus in Theory and Analysis, Goldsmiths College, 1998; MA in Aesthetics and Art Theory (merit), Middlesex University, 2004.

Since 1998, employed as Research Fellow at the Lansdown Centre for Electronic Arts, Middlesex University. In 2006 promoted to Senior Research Fellow. In 2011 appointed Senior Lecturer. Former visiting lecturer in the Music Department of Goldsmiths College, University of London; Music Department at City University, London; the Guildhall School of Music and Drama.