Editing Karlheinz Stockhausen (section)

===1960s===
In 1960, Stockhausen returned to the composition of vocal music (for the first time since ''Gesang der Jünglinge'') with ''[[Carré (Stockhausen)|Carré]]'' for four orchestras and four choirs.{{sfn|Stockhausen-Verlag|2010|loc=18}} Two years later, he began an expansive [[cantata]] titled ''Momente'' (1962–64/69), for solo soprano, four choir groups and thirteen instrumentalists.{{sfn|Stockhausen-Verlag|2010|loc=18}} In 1963, Stockhausen created ''[[Plus-Minus (Stockhausen)|Plus-Minus]]'', "2 × 7 pages for realisation" containing basic note materials and a complex system of transformations to which those materials are to be subjected in order to produce an unlimited number of different compositions.{{sfn|Stockhausen-Verlag|2010|loc=20}}{{sfn|Toop|2005|loc=175–178}} Through the rest of the 1960s, he continued to explore such possibilities of "[[process music|process composition]]" in works for live performance, such as ''Prozession'' (1967), ''[[Kurzwellen]]'', and ''[[Spiral (Stockhausen)|Spiral]]'' (both 1968), culminating in the verbally described "intuitive music" compositions of ''[[Aus den sieben Tagen]]'' (1968) and ''[[Für kommende Zeiten]]'' (1968–70).{{sfn|Fritsch|1979}}{{sfn|Kohl|1981|loc=192–193, 227–251}}{{sfn|Kohl|1998b|loc=7}}{{sfn|Toop|2005|loc=191–192}} Some of his later works, such as ''[[Ylem (Stockhausen)|Ylem]]'' (1972) and the first three parts of ''[[Herbstmusik]]'' (1974), also fall under this rubric.{{sfn|Maconie|2005|loc=254, 366–368}} Several of these process compositions were featured in the all-day programmes presented at Expo 70, for which Stockhausen composed two more similar pieces, ''Pole'' for two players, and ''Expo'' for three.{{sfn|Kohl|1981|loc=192–193}}{{sfn|Maconie|2005|loc=323–324}} In other compositions, such as ''Stop'' for orchestra (1965), ''[[Adieu (Stockhausen)|Adieu]]'' for wind quintet (1966), and the ''Dr. K Sextett'', which was written in 1968–69 in honour of Alfred Kalmus of Universal Edition, he presented his performers with more restricted improvisational possibilities.{{sfn|Maconie|2005|loc=262, 267–268, 319–320}}

He pioneered live electronics in ''[[Mixtur]]'' (1964/67/2003) for orchestra and electronics,{{sfn|Kohl|1981|loc=51–163}} ''[[Mikrophonie (Stockhausen)|Mikrophonie I]]'' (1964) for [[tam-tam]], two microphones, two filters with [[potentiometer]]s (6 players),{{sfn|Maconie|1972}}{{sfn|Maconie|2005|loc=255–257}} ''[[Mikrophonie (Stockhausen)|Mikrophonie II]]'' (1965) for choir, [[Hammond organ]], and four [[Ring modulation|ring modulators]],{{sfn|Peters|1992}} and ''Solo'' for a melody instrument with feedback (1966).{{sfn|Maconie|2005|loc=262–265}} Improvisation also plays a part in all of these works, but especially in ''Solo''.{{sfn|Maconie|2005|loc=264}} He also composed two electronic works for [[Tape recorder|tape]], ''Telemusik'' (1966) and ''[[Hymnen]]'' (1966–67).{{sfn|Kohl|2002}}{{sfn|Stockhausen-Verlag|2010|loc=21}} The latter also exists in a version with partially improvising soloists, and the third of its four "regions" in a version with orchestra.{{sfn|Stockhausen-Verlag|2010|loc=21}} At this time, Stockhausen also began to incorporate pre-existent music from world traditions into his compositions.{{sfn|Kohl|1981|loc=93–95}}{{sfn|Stockhausen ''Texte''|loc=4, 468–476}} ''Telemusik'' was the first overt example of this trend.{{sfn|Kohl|2002|loc=96}}

In 1968, Stockhausen composed the vocal sextet ''[[Stimmung]]'', for the [[Collegium Vocale Köln]], an hour-long work based entirely on the [[overtone]]s of a low [[B♭ (musical note)|B-flat]].{{sfn|Toop|2005|loc=39}} In the following year, he created ''[[Fresco (Stockhausen)|Fresco]]'' for four orchestral groups, a ''Wandelmusik'' ("foyer music") composition.{{sfn|Maconie|2005|loc=321}} This was intended to be played for about five hours in the foyers and grounds of the Beethovenhalle auditorium complex in [[Bonn]], before, after, and during a group of (in part simultaneous) concerts of his music in the auditoriums of the facility.{{sfn|Maconie|2005|loc=321–323}} The overall project was given the title ''Musik für die Beethovenhalle''.{{sfn|Maconie|2005|loc=296}} This had precedents in two collective-composition seminar projects that Stockhausen gave at Darmstadt in 1967 and 1968: ''Ensemble'' and ''Musik für ein Haus'',{{sfn|Gehlhaar|1968}}{{sfn|Ritzel|1970}}{{sfn|Iddon|2004}}{{sfn|Maconie|2005|loc=321}} and would have successors in the "park music" composition for five spatially separated groups, ''[[Sternklang]]'' ("Star Sounds") of 1971, the orchestral work ''Trans'', composed in the same year and the thirteen simultaneous "musical scenes for soloists and duets" titled ''[[Alphabet für Liège]]'' (1972).{{sfn|Maconie|2005|loc=334–336, 338, 341–343}}