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''Plus-Minus'', 2 × 7 pages for realisation, is a composition for one or several performers by Karlheinz Stockhausen, first written in 1963 and redrafted in 1974. It is Nr. 14 in the composer's catalogue of works, and has a variable performing length that depends on the version worked out from the given materials. The score is dedicated to Mary Bauermeister. ==History== ''Plus-Minus'' is a "polyvalent process composition" , designed as a project for the composition students attending the first Cologne Courses for New Music, held at the Rheinische Musikhochschule in October to December 1963. In it, various compositional premises of Stockhausen’s are presented in such a way as to enable the most radically different concrete results . ''Plus-Minus'' was composed in September 1963 while Stockhausen was in Siculiana, preparing for what proved to be an aborted performance of ''Momente'' at the Palermo Festival (; : In 1963 I spent a couple of weeks in Sicily by the seashore, and as I couldn't take a lot of paper with me I tried to hide in the shadow of a rock and think clearly about a new piece, and ''Plus-Minus'' is what emerged. (I'd discussed all the possible transformations of the seven 'musical types' that occur in the score with Mary (), and we drew them in the sand together. The piece represents an extreme instance of the new, open type of composition Stockhausen was developing at the time, and evolved from a number of conversations with Mary Bauermeister in Siculiana and Palermo (; ). Stockhausen's intention was to enable a music that reproduces itself, within a strict framework. Twenty-five different versions were made by the students in 1963, for a wide variety of forces: one for four harps, one for three harps and two pianos, one for recorders and children's choir, one for large orchestra, one for percussion and piano, one for two percussionists, and another for choir and chamber orchestra (; ). The first public performance was given in Rome in June 1964 by Cornelius Cardew and Frederic Rzewski, each of whom realised one page of the score . When Stockhausen heard a tape of this performance, he was astonished that sounds he had usually avoided were being employed, exactly according to the score’s specifications, to achieve a highly poetic quality . 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Plus-Minus (Stockhausen)」の詳細全文を読む スポンサード リンク
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