Editing Karlheinz Stockhausen (section)

===Space music and Expo '70===
[[File:Osaka Expo'70 Korean Pavilion.jpg|thumb|The German Pavilion at Expo '70 (the spherical auditorium is out of view to the right)]]
Since the mid-1950s, Stockhausen had been developing concepts of [[spatial music|spatialization]] in his works, not only in electronic music, such as the 5-channel ''[[Gesang der Jünglinge]]'' (1955–56) and ''[[Telemusik]]'' (1966), and 4-channel ''[[Kontakte]]'' (1958–60) and ''[[Hymnen]]'' (1966–67). Instrumental/vocal works like ''Gruppen'' for three orchestras (1955–57) and ''Carré'' for four orchestras and four choirs (1959–60) also exhibit this trait.{{sfn|Stockhausen ''Texte''|loc=2:71–72, 49–50, 102–103}}{{sfn|Stockhausen|1989a|loc=105–108}}{{sfn|Cott|1973|loc=200–201}} In lectures such as "Music in Space" from 1958,{{sfn|Stockhausen ''Texte''|loc=1:152–175}} he called for new kinds of concert halls to be built, "suited to the requirements of spatial music". His idea was {{Blockquote|a spherical space which is fitted all around with loudspeakers. In the middle of this spherical space a sound-permeable, transparent platform would be suspended for the listeners. They could hear music composed for such standardized spaces coming from above, from below and from all points of the compass.{{sfn|Stockhausen ''Texte''|loc=1:153}}}} In 1968, the [[West Germany|West German]] government invited Stockhausen to collaborate on the German Pavilion at the [[Expo '70|1970 World Fair]] in [[Osaka]] and to create a joint multimedia project for it with artist [[Otto Piene]]. Other collaborators on the project included the pavilion's architect, [[Fritz Bornemann]], Fritz Winckel, director of the Electronic Music Studio at [[Technische Universität Berlin]], and engineer Max Mengeringhausen. The pavilion theme was "gardens of music", in keeping with which Bornemann intended "planting" the exhibition halls beneath a broad lawn, with a connected auditorium "sprouting" above ground. Initially, Bornemann conceived this auditorium in the form of an [[amphitheatre]], with a central orchestra podium and surrounding audience space. In the summer of 1968, Stockhausen met with Bornemann and persuaded him to change this conception to a spherical space with the audience in the centre, surrounded by loudspeaker groups in seven rings at different "latitudes" around the interior walls of the sphere.{{sfn|Kurtz|1992|loc=166}}{{sfn|Föllmer|1996}}

Although Stockhausen and Piene's planned multimedia project, titled ''Hinab-Hinauf'', was developed in detail,{{sfn|Stockhausen ''Texte''|loc=3:155–174}} the World Fair committee rejected their concept as too extravagant and instead asked Stockhausen to present daily five-hour programs of his music.{{sfn|Kurtz|1992|loc=178}} Stockhausen's works were performed for 5½ hours every day over a period of 183 days to a total audience of about a million listeners.{{sfn|Wörner|1973|loc=256}} According to Stockhausen's biographer, Michael Kurtz, "Many visitors felt the spherical auditorium to be an oasis of calm amidst the general hubbub, and after a while it became one of the main attractions of Expo 1970".{{sfn|Kurtz|1992|loc=179}}