ABSTRACT
Almost immediately after the broadcast premiere of the first version of Zeitmaße, in January 1956, Stockhausen began extensive revisions. ‘Points’, ‘groups’, and ‘collectives’ are species of elemental note construction, and can all be related, internally and with respect to each other, by ‘variable’, as well as conventionally ‘determinate’ connections. In this particular case, the variable connection between the layers is a means of achieving ‘statistical’ densities of texture. The very last stage in the compositional process can be seen from the fact that it was added to the manuscript score after it had been completely written out. The insert-within-the-insert ought to be a simple matter of referring to the source material, but this is complicated by the fact that some notes are added to the quotations. There are three bars involved, and therefore three harmonic fields.
