Uploaded August 2016 | Updated September 2026, 1 day ago
PLEASE SUPPORT THE ARTIST. You can order this music on stockhausencds.com/. Thank you!
COSMIC PULSES is the 13th "hour" of Stockhausen's originally-planned 24-part cycle KLANG ("SOUND") which is based on the 24 hours of the day. This electronic work is composed of 24 layers of synthesizer-generated melodic material, with each layer having a different speed and pitch register. The layers enter one by one, starting from the lowest/slowest layer, and go up in sequence to the highest/fastest layer. After a period of several minutes where all 24 layers are active, the layers begin to individually drop out, again starting from the lowest layers and moving upwards (gradually leaving just the higher/faster layers). This "draw down" is about twice as fast as in the "build-up". (stockhausenspace.blogspot.de/2015/03/cosmic-pulses.html)
video created with Sonic Visualizer and vokoscreen on an openSUSE 13.2 Linux system.
PLEASE SUPPORT THE ARTIST. You can order this music on stockhausencds.com/. Thank you!
COSMIC PULSES is the 13th "hour" of Stockhausen's originally-planned 24-part cycle KLANG ("SOUND") which is based on the 24 hours of the day. This electronic work is composed of 24 layers of synthesizer-generated melodic material, with each layer having a different speed and pitch register. The layers enter one by one, starting from the lowest/slowest layer, and go up in sequence to the highest/fastest layer. After a period of several minutes where all 24 layers are active, the layers begin to individually drop out, again starting from the lowest layers and moving upwards (gradually leaving just the higher/faster layers). This "draw down" is about twice as fast as in the "build-up". (stockhausenspace.blogspot.de/2015/03/cosmic-pulses.html)
video created with Sonic Visualizer and vokoscreen on an openSUSE 13.2 Linux system.
![Denis Smalley - Valley Flow [1992]](https://i.ytimg.com/vi/9MLMxXPQ-C4/mqdefault.jpg "Denis Smalley - Valley Flow [1992]
The formal shaping and sounding content of Valley Flow were influenced by the dramatic vistas of the Bow Valley in the Canadian Rockies. The work is founded on a basic flowing gesture. This motion is stretched to create airy, floating and flying contours or broad panoramic sweeps, and contracted to create stronger physical motions, for example the flinging out of textural materials. Spatial perspectives are important in an environmentally inspired work. The listener, gazing through the stereo window, can adopt changing vantage points; at one moment looking out to the distant horizon, at another looking down from a height, at another dwarfed by the bulk of land masses, and at yet another swamped by the magnified details of organic activity. Landscape qualities are pervasive: water, fire and wood; the gritty, granular fracturing of stoney noise-textures; and the wintery, glacial thinness of sustained lines. The force and volatility of nature are reflected in abrupt changes and turbulent textures.
Valley Flow was composed at The Banff Centre for the Arts (Canada) in 1991 and was completed in the composer’s studio in Norwich (UK) in 1992. It incorporates sounds created at IRCAM in Paris (France) during a previous research period (1989) and further materials subsequently developed at Simon Fraser University in Vancouver (Canada) in 1991. Valley Flow was premiered on February 27th, 1992 in a concert broadcast live from BBC Pebble Mill Studios. This piece was commissioned by the Birmingham Electroacoustic Sound Theatre (BEAST) with funds provided by West Midlands Arts.")
