Editing Karlheinz Stockhausen (section)

===Musical influence===
Stockhausen has been described as "one of the great visionaries of 20th-century music".{{sfn|Hewett|2007}} His two early ''Electronic Studies'' (especially the second) had a powerful influence on the subsequent development of electronic music in the 1950s and 1960s, particularly in the work of the Italian [[Franco Evangelisti (composer)|Franco Evangelisti]] and the Poles [[Andrzej Dobrowolski]] and [[Włodzimierz Kotoński]].{{sfn|Skowron|1981|loc=39}} The influence of his ''Kontra-Punkte'', ''Zeitmaße'' and ''Gruppen'' may be seen in the work of many composers, including [[Igor Stravinsky]]'s ''[[Threni (Stravinsky)|Threni]]'' (1957–58) and ''[[Movements for Piano and Orchestra|Movements]]'' for piano and orchestra (1958–59) and other works up to the ''Variations: Aldous Huxley in Memoriam'' (1963–64), whose rhythms "are likely to have been inspired, at least in part, by certain passages from Stockhausen's ''Gruppen''".{{sfn|Neidhöfer|2005|loc=340}} Though music of Stockhausen's generation may seem an unlikely influence, Stravinsky said in a 1957 conversation: <blockquote>I have all around me the spectacle of composers who, after their generation has had its decade of influence and fashion, seal themselves off from further development and from the next generation (as I say this, exceptions come to mind, Krenek, for instance). Of course, it requires greater effort to learn from one's juniors, and their manners are not invariably good. But when you are seventy-five and your generation has overlapped with four younger ones, it behooves you not to decide in advance "how far composers can go", but to try to discover whatever new thing it is makes the new generation new.{{sfn|Stravinsky and Craft|1980|loc=133}}</blockquote>

Amongst British composers, [[Harrison Birtwistle|Sir Harrison Birtwistle]] readily acknowledges the influence of Stockhausen's ''Zeitmaße'' (especially on his two wind quintets, ''Refrains and Choruses'' and ''Five Distances'') and ''Gruppen'' on his work more generally.{{sfn|Cross|2000|loc=48}}{{sfn|Cross|2001}}{{sfn|Hall|1984|loc=3, 7–8}}{{sfn|Hall|1998|loc=99, 108}}{{sfn|Pace|1996|loc=27}} [[Brian Ferneyhough]] says that, although the "technical and speculative innovations" of ''Klavierstücke I–IV'', ''Kreuzspiel'' and ''Kontra-Punkte'' escaped him on first encounter, they nevertheless produced a "sharp emotion, the result of a beneficial shock engendered by their boldness" and provided "an important source of motivation (rather than of imitation) for my own investigations".{{sfn|Ferneyhough|1988}} While still in school, he became fascinated upon hearing the British première of ''Gruppen'', and <blockquote>listened many times to the recording of this performance, while trying to penetrate its secrets—how it always seemed to be about to explode, but managed nevertheless to escape unscathed in its core—but scarcely managed to grasp it. Retrospectively, it is clear that from this confusion was born my interest for the formal questions which remain until today.{{sfn|Ferneyhough|1988}}</blockquote> Although it eventually evolved in a direction of its own, Ferneyhough's 1967 wind sextet, ''Prometheus'', began as a wind quintet with cor anglais, stemming directly from an encounter with Stockhausen's ''Zeitmaße''.{{sfn|Kohl|2017|loc=137}} With respect to Stockhausen's later work, he said, <blockquote>I have never subscribed (whatever the inevitable personal distance) to the thesis according to which the many transformations of vocabulary characterizing Stockhausen's development are the obvious sign of his inability to carry out the early vision of strict order that he had in his youth. On the contrary, it seems to me that the constant reconsideration of his premises has led to the maintenance of a remarkably tough thread of historical consciousness which will become clearer with time. ... I doubt that there has been a single composer of the intervening generation who, even if for a short time, did not see the world of music differently thanks to the work of Stockhausen.{{sfn|Ferneyhough|1988}}</blockquote> In a short essay describing Stockhausen's influence on his own work, [[Richard Barrett (composer)|Richard Barrett]] concludes that "Stockhausen remains the composer whose next work I look forward most to hearing, apart from myself of course" and names as works that have had particular impact on his musical thinking ''Mantra'', ''Gruppen'', ''Carré'', ''Klavierstück X'', ''Inori'', and ''Jubiläum''.{{sfn|Barrett|1998}}

French composer and conductor Pierre Boulez once declared, "Stockhausen is the greatest living composer, and the only one whom I recognize as my peer".{{sfn|Anon.|1967}}{{sfn|Anon.|1971}} Boulez also acknowledged the influence of performing Stockhausen's ''Zeitmaße'' on his subsequent development as a conductor.{{sfn|Boulez|1976|loc=79–80}} Another French composer, [[Jean-Claude Éloy]], regards Stockhausen as the most important composer of the second half of the 20th century, and cites virtually "all his catalog of works" as "a powerful discoveration {{sic}}, and a true revelation".{{sfn|Éloy|2008}}

Dutch composer [[Louis Andriessen]] acknowledged the influence of Stockhausen's ''Momente'' in his pivotal work ''Contra tempus'' of 1968.{{sfn|Schönberger|2001}} German composer [[Wolfgang Rihm]], who studied with Stockhausen, was influenced by ''Momente'', ''Hymnen'', and ''Inori''.{{sfn|Williams|2006|loc=382}}

At the Cologne ISCM Festival in 1960, the Danish composer [[Per Nørgård]] heard Stockhausen's ''Kontakte'' as well as pieces by Kagel, Boulez, and Berio. He was profoundly affected by what he heard and his music suddenly changed into "a far more discontinuous and disjunct style, involving elements of strict organization in all parameters, some degree of aleatoricism and controlled improvisation, together with an interest in collage from other musics".{{sfn|Anderson|2001}}

Jazz musicians such as [[Miles Davis]],{{sfn|Bergstein|1992}} [[Charles Mingus]],<ref>{{cite news |last1=O'Toole |first1=Fintan |title=How Stockhausen made pop weird |url=https://www.irishtimes.com/news/how-stockhausen-made-pop-weird-1.992067 |newspaper=The Irish Times}}</ref> [[Herbie Hancock]],{{sfn|Hancock|2014|loc=104–105}} [[Yusef Lateef]],{{sfn|Feather|1964}}{{sfn|Tsahar|2006}} and [[Anthony Braxton]]{{sfn|Radano|1993|loc=110}} cite Stockhausen as an influence.

Stockhausen was influential within pop and rock music as well. [[Frank Zappa]] acknowledges Stockhausen in the liner notes of ''[[Freak Out!]]'', his 1966 debut with [[The Mothers of Invention]]. On the back of [[The Who]]'s second LP released in the US, "[[Happy Jack (song)|Happy Jack]]", their primary composer and guitarist [[Pete Townshend]], is said to have "an interest in Stockhausen". [[Richard Wright (musician)|Rick Wright]] and [[Roger Waters]] of [[Pink Floyd]] also acknowledge Stockhausen as an influence.{{sfn|Macon|1997|loc=141}}{{sfn|Bayles|1996|loc=222}} San Francisco psychedelic groups [[Jefferson Airplane]] and the [[Grateful Dead]] are said to have done the same;{{sfn|Prendergast|2000|loc=54}} Stockhausen said that the Grateful Dead were "well orientated toward new music".{{sfn|Stockhausen ''Texte''|loc=4:505}}{{Verify source|date=July 2018}}<!--Perhaps I made a mistake here, but I'm sure Stockhausen said it was members of Jefferson Airplane. Of course he could have been wrong, but the quotation is from him, not members of either band.--> Founding members of Cologne-based experimental band [[Can (band)|Can]], [[Irmin Schmidt]] and [[Holger Czukay]], both studied with Stockhausen at the Cologne Courses for New Music.{{sfn|Stockhausen ''Texte''|loc=3:196, 198, 200}} German electronic pioneers [[Kraftwerk]] also say they studied with Stockhausen,{{sfn|Flur|2003|loc=228}} and Icelandic vocalist [[Björk]] has acknowledged Stockhausen's influence.{{sfn|Heuger|1998|loc=15}}{{sfn|Björk|1996}}{{sfn|Ross|2004|loc=53 & 55}}