Abstract
Abstract For the World Exposition in Osaka (1970), architect Fritz Bornemann designed the German Pavilion, which focused the expo′s general theme Peace and Progress by means of avant-garde electronic and instrumental music, first and foremost by Karlheinz Stockhausen. The main auditorium was conceived as a globe to provide a completely new style of musical experience: the audience being surrounded by the music and able to follow the sound′s motion in a three-dimensional setting. Central part of Stockhausen′s daily concerts was his piece Hymnen for soloists and electronic tape in which he merged national anthems from all over the world with sounds from synthesizes and electronically modulated live-instruments. This union of opposites was intended to promote a changed consciousness of the listeners, culminating in Stockhausen′s so-called Hymunion, a utopian vision of world peace. This paper focuses on the different aspects of musical space in Stockhausen′s aesthetics and art ranging from architectural conditions of contemporary music and compositional control of spatial moving music to spiritual settings of art. The question arises whether Bornemann′s architecture and Stockhausen′s music are able to facilitate the emergence of a contact zone.
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