Musically Scored Light-Spaces of the Postwar German Avant-Garde: Karlheinz Stockhausen and the ZERO Group of Artists

对于卡尔海因茨·斯托克豪森和以杜塞尔多夫为基地的被称为Zero的艺术家团体来说，“音乐得分的光空间”(musikalisierter Licht-Raum)是具体艺术表现参数的隐喻。作曲家斯托克豪森将他的音乐视觉指向空间性和亮度参数。与此同时，Heinz Mack、Otto Piene和Günther Uecker设计了以光的空间演变为中心的视觉作品，作为反映特定音乐结构的背景，这是一种艺术转置形式。斯托克豪森一直在为光空间创作音乐，直到他的歌剧周期《利希特》(2003)；这种做法渗透到麦克、皮内和尤克的作品中，甚至在零派(1958-1966)解散后也是如此。学术界普遍忽视了音乐和视觉艺术之间的互文对话及其在第二次世界大战后德国文化史上的重要作用。拟议的音乐学项目将纠正这一遗漏，并首次将斯托克豪森和零的作品并排放在一起，调查他们的音乐特征和音乐哲学。一个目标是呈现它们艺术结构中的相互联系。我们将调查Zero艺术的连续性、光谱和节奏的使用是如何通过斯托克豪森音乐中的作曲代码来传达的，反过来，斯托克豪森的作品如何对Zero的“作曲”进行结构性引用。除了分析音乐结构上的相似之处，该项目还将研究斯托克豪森和零的空间特征的概念。它将探索审美空间的沉浸性和互动性(循环连接的听觉和视觉结构)方面，并最终将其虔诚的艺术内容定位于其所在时代的历史和文化背景中。第一个议程是对斯托克豪森和零基金会进行广泛的档案和原始来源调查，准备对斯托克豪森和零的音乐得分的光空间进行结构和美学比较分析。为了梳理出音乐和视觉艺术之间的对应关系，该项目将使用互文性作为中介调查的方法。该项目将与Zero基金会进行学术合作，该基金会将从2017年9月开始启动自己的艺术史研究计划，内容涉及麦克、皮恩和尤克的结构概念。基金会的艺术历史事业反过来将有利于我们提出的与文化历史相关的项目，因为我们确定了音乐在战后德国前卫中的作用，这一战后德国前卫的深刻标志是空间性的剧变和光明的转向。

For Karlheinz Stockhausen and the Düsseldorf-based group of artists known as Zero, the "musically scored light-space" (musikalisierter Licht-Raum) was a metaphor for concrete artistic parameters of representation. The composer Stockhausen oriented his musical vision toward the parameters of spatiality and luminosity. Meanwhile, Heinz Mack, Otto Piene, and Günther Uecker designed visual compositions that centered on the spatial evolution of light and served as settings mirroring particular musical structures, a form of artistic transposition. Stockhausen continued creating music for light-spaces all the way up to his opera cycle "LICHT" (2003); this practice permeated the works of Mack, Piene, and Uecker even after the ZERO group (1958-1966) broke up.The scholarship has broadly overlooked this intertextual dialog between music and visual art and its significant role in German cultural history after the Second World War. The proposed musicological project will correct this omission and for the first time place the works of Stockhausen and ZERO side by side to investigate both their musical traits and their musical philosophy. One objective is to present the mutual links in their artistic structures. We will investigate how ZERO art's seriality, spectrality, and use of rhythm were informed by compositional codes in Stockhausen's music and, inversely, how Stockhausen's works make structural references to ZERO's "compositions". Besides analyzing musical structural parallels, the project will research the notions of space characteristic to Stockhausen and ZERO. It will explore the aesthetic spaces' aspects of immersiveness and intermodality (circularly linked auditory and visual structures) and will ultimately locate their devotional artistic content in the historical and cultural contexts of their time. First on the agenda is an extensive archival and primary-source investigation with the Stockhausen and ZERO foundations in preparation for a structural and aesthetic comparative analysis of Stockhausen's and ZERO's musically scored light-spaces. To tease out the correspondences between music and visual art, the project will employ intertextuality as a method of intermedial inquiry. The project will be conducted in academic collaboration with the ZERO Foundation, which will be embarking on its own art-historical research initiative about Mack, Piene, and Uecker's concept of structure beginning in September 2017. The foundation's art-historical undertaking will in turn benefit our proposed cultural-historically relevant project, as we identify the role of music in the postwar German avant-garde, which was profoundly marked by upheavals in spatiality and the luminous turn.