ABSTRACT
Attempts to achieve a continuous change of timbre can be found all over the landscape of electronic composing. In as much as timbre is a complex parameter that fuses together all the different properties of sound into its “character”, the Klangfarbenkontinuum figures not only as an exotic effect in the universe of electronic sounds but links a musical utopia with an acoustic premise and electrotechnical reality. This can be shown in the works of Karlheinz Stockhausen and Gottfried Michael Koenig of the 1950s that were created in the course of an intensive interchange. Serial compositional methods-developed dialectically in the search for continual transitions with the help of distinct musical elements - are enriched by the scientific model of the unity of the acoustic world as it was formulated by Werner Meyer-Eppler. Electrotechnical transformations articulate the continuum of musical derivation.
