ABSTRACT
Innovative treatment of musical time has been a prominent feature in Karlheinz Stockhausen's music from his earliest works. Perhaps his best-known temporal principle is the treatment of pitch, rhythm, and form as parts of a single continuum (Stockhausen 1957), which when applied in compositions, beginning with Gruppen and Zeitmasse, produced structures of startling length, by comparison to most previous "total serial " works.
