Into the Middleground: Formula Syntax in Stockhausen's Licht

Abstract

THE RICH AMBIGUITY of tonality's multileveled fabric has always stood as a challenge to composers who wished to find another musical language. While it has recently become almost fashionable to downplay the homogeneity of the composers of the so-called Darmstadt School of the early 1950s (Boehmer 1987; Boulez and Menger 1990), among certain of their number-particularly Boulez and Stockhausen-there was nevertheless considerable agreement on both philosophical and technical issues. The principal stance leading to technical difficulties was the call for athematic composing, which Boulez had made into an anti-Schonbergian rallying cry in his notorious 1952 article Schoenberg Is Dead (reprinted in Boulez 1968, 268-76).

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