Stockhausen, Karlheinz. (1928 - 2007). Die Reihe. Electronic Music. - Fine Binding. Bryn Mawr, Pennsylvania: Theodore Presser Company in association with Universal Edition. 1959. 8vo. [i], ii-vi, [vii], 1-61 pp, including foldout excerpt of Stockhausen's Studie II and a spectrogram of Eimert's Glockenspiel. Fine binding of black and red leather with inset marbled paper abstractions, marbled endpages, the full journal issue bound in including front wrapper. A stunning and elaborate fine binding on an excellent first edition copy of this English version of the innovative music journal, edited by Herbert Eimert and Karlheinz Stockhausen. A few nicks to binding, spine slightly rubbed, overall very fine.
The journal, whose title means "The Row" or "The Series", owes its genesis to the founding of the electronic music studio of the Nordwestdeutscher Rundfunk (NWDR) in Cologne (later WDR) under the influence of Werner Meyer-Eppler, and the realisation that technology was becoming an important element in the work of younger composers (Grant 2001, 55). The contributions from composers working in the studio were frequently based on their projects there, and in the early stages of competing with the radio-play department for resources, Eimert found having such a journal useful. It helped to raise the studio's educational and academic profile above the entertainment aims of other departments of the radio station, as well as providing opportunities to young authors for publication (Custodis 2004, 86).
The journal, whose title means "The Row" or "The Series", owes its genesis to the founding of the electronic music studio of the Nordwestdeutscher Rundfunk (NWDR) in Cologne (later WDR) under the influence of Werner Meyer-Eppler, and the realisation that technology was becoming an important element in the work of younger composers (Grant 2001, 55). The contributions from composers working in the studio were frequently based on their projects there, and in the early stages of competing with the radio-play department for resources, Eimert found having such a journal useful. It helped to raise the studio's educational and academic profile above the entertainment aims of other departments of the radio station, as well as providing opportunities to young authors for publication (Custodis 2004, 86).
Stockhausen, Karlheinz. (1928 - 2007). Die Reihe. Electronic Music. - Fine Binding. Bryn Mawr, Pennsylvania: Theodore Presser Company in association with Universal Edition. 1959. 8vo. [i], ii-vi, [vii], 1-61 pp, including foldout excerpt of Stockhausen's Studie II and a spectrogram of Eimert's Glockenspiel. Fine binding of black and red leather with inset marbled paper abstractions, marbled endpages, the full journal issue bound in including front wrapper. A stunning and elaborate fine binding on an excellent first edition copy of this English version of the innovative music journal, edited by Herbert Eimert and Karlheinz Stockhausen. A few nicks to binding, spine slightly rubbed, overall very fine.
The journal, whose title means "The Row" or "The Series", owes its genesis to the founding of the electronic music studio of the Nordwestdeutscher Rundfunk (NWDR) in Cologne (later WDR) under the influence of Werner Meyer-Eppler, and the realisation that technology was becoming an important element in the work of younger composers (Grant 2001, 55). The contributions from composers working in the studio were frequently based on their projects there, and in the early stages of competing with the radio-play department for resources, Eimert found having such a journal useful. It helped to raise the studio's educational and academic profile above the entertainment aims of other departments of the radio station, as well as providing opportunities to young authors for publication (Custodis 2004, 86).
The journal, whose title means "The Row" or "The Series", owes its genesis to the founding of the electronic music studio of the Nordwestdeutscher Rundfunk (NWDR) in Cologne (later WDR) under the influence of Werner Meyer-Eppler, and the realisation that technology was becoming an important element in the work of younger composers (Grant 2001, 55). The contributions from composers working in the studio were frequently based on their projects there, and in the early stages of competing with the radio-play department for resources, Eimert found having such a journal useful. It helped to raise the studio's educational and academic profile above the entertainment aims of other departments of the radio station, as well as providing opportunities to young authors for publication (Custodis 2004, 86).