> On Dec 11, 2010, at 9:43 PM, Mike Beggs wrote:
>
>> Stockhausen Serves Imperialism
>
> I've been thinking about that lately, since I've been listening to some Stockhausen. What's the argument?
[On Mary Bauermeister's Contre-festival zum Kölner IGNM-Fest, ~June, 1960] "The next night at eleven o'clock [Heinz-Kalus] Metzger delivered a lecture–"The Cologne Manifesto"–to an audience that included [Sylvano] Bussotti, [Hans G.] Helms, Witold Lutoslawski, Fritz Muggler, and others. Metzger's language showed his meticulous study of Adorno's negative dialectics. But his polemical text closed with a revolutionary call for musical action, an ideological plea to accept Cage's challenge, as interpreted by Metzger, to kick down the doors of the concert halls from the inside. For Metzger, the rigidity of European culture left little alternative but rebellion, and artists needed to recognize that their current creative stance would bring about their own demise–a criticism that was taken as an embrace of Cagean aesthetics and a rejection of serialist ones."
Amy Beal, _New Music,New Allies: American Experimental Music in Germany from the Zero Hour to Reunification_
Then a few years later, the Vietnam War, Mai '68 and Godard's "La Chinoise" provokes you to read Mao's Yan'an Talks on Literature and Art.
Best wishes, Charles