Editing Karlheinz Stockhausen (section)

===1970s===
[[File:Shiraz 37.jpg|thumb|Stockhausen (front centre) at the mixing desk for a performance by [[Aloys and Alfons Kontarsky|Alfons and Aloys Kontarsky]] of ''Mantra'', [[Shiraz Arts Festival]], Iran, 1972]]
Beginning with ''[[Mantra (Stockhausen)|Mantra]]'' for two pianos and electronics (1970), Stockhausen turned to [[formula composition]], a technique which involves the projection and multiplication of a single, double, or triple [[melody|melodic]]-line formula.{{sfn|Kohl|1983–84a}}{{sfn|Kohl|1990}}{{sfn|Kohl|2004}} Sometimes, as in ''Mantra'' and the large orchestral composition with mime soloists, ''Inori'', the simple formula is stated at the outset as an introduction. He continued to use this technique (e.g., in the two related solo-clarinet pieces, ''Harlekin'' [Harlequin] and ''Der kleine Harlekin'' [The Little Harlequin] of 1975, and the orchestral ''[[Jubiläum]]'' [Jubilee] of 1977) through the completion of the opera-cycle ''Licht'' in 2003.{{sfn|Blumröder|1982}}{{sfn|Conen|1991}}{{sfn|Kohl|1983–84a}}{{sfn|Kohl|1990}}{{sfn|Kohl|1993}}{{sfn|Kohl|2004}}{{sfn|Stockhausen-Verlag|2010|loc=10}} Some works from the 1970s did not employ formula technique—e.g., the vocal duet "[[Alphabet für Liège#Indianerlieder|Am Himmel wandre ich]]" (In the Sky I am Walking, one of the 13 components of the multimedia ''Alphabet für Liège'', 1972, which Stockhausen developed in conversation with the British biophysicist and lecturer on mystical aspects of sound vibration [[Jill Purce]]), "Laub und Regen" (Leaves and Rain, from the theatre piece ''Herbstmusik'' (1974), the unaccompanied-clarinet composition ''[[Amour (Stockhausen)|Amour]]'', and the choral opera ''[[Atmen gibt das Leben]]'' (Breathing Gives Life, 1974/77)—but nevertheless share its simpler, melodically oriented style.{{sfn|Conen|1991|loc=57}}{{sfn|Kurtz|1992|loc=192–193}} Two such pieces, ''Tierkreis'' ("Zodiac", 1974–75) and ''[[In Freundschaft]]'' (In Friendship, 1977, a solo piece with versions for virtually every orchestral instrument), have become Stockhausen's most widely performed and recorded compositions.{{sfn|Anon.|2007a}}{{sfn|Deruchie|2007}}{{sfn|Nordin|2004}}

This dramatic simplification of style provided a model for a new generation of German composers, loosely associated under the label ''neue Einfachheit'' or [[New Simplicity]].{{sfn|Andraschke|1981}} The best-known of these composers is [[Wolfgang Rihm]], who studied with Stockhausen in 1972–73. His orchestral composition ''Sub-Kontur'' (1974–75) quotes the formula of Stockhausen's ''Inori'' (1973–74), and he has also acknowledged the influence of ''Momente'' on this work.{{sfn|Frobenius|1981|loc=53 + note 59–60}}

Other large works by Stockhausen from this decade include the orchestral ''[[Trans (Stockhausen)|Trans]]'' (1971) and two music-theatre compositions utilizing the ''Tierkreis'' melodies: ''[[Musik im Bauch]]'' ("Music in the Belly") for six percussionists (1975), and the science-fiction "opera" ''[[Sirius (Stockhausen)|Sirius]]'' (1975–77) for eight-channel electronic music with soprano, bass, trumpet, and bass clarinet, which has four different versions for the four seasons, each lasting over an hour and a half.{{sfn|Stockhausen-Verlag|2010|loc=24–25}}
[[File:Stockhausen March 2004 excerpt.jpg|thumb|upright|Stockhausen in 2004 during the mix-down of the recording of ''Angel Processions'' from ''[[Sonntag aus Licht]]'', in Sound Studio N, Cologne]]