Date on Master's Thesis/Doctoral Dissertation


Document Type

Master's Thesis

Degree Name



Music Theory

Degree Program


Committee Chair

Jemian, Rebecca

Committee Co-Chair (if applicable)

Brody, Chris

Committee Member

Brody, Chris

Committee Member

Carithers, Kirsten

Author's Keywords

Stockhausen; moment; segmentation; Licht opera


This analysis covers the form in Stockhausen’s Evas Erstgeburt, the first act from his Monday opera, Montag aus Licht. It discusses the presence of Stockhausen’s musical formula within this act and observes that his formula is integrated at several structural levels. This formula is a passage of music that determines the pitches, rhythms, and structure of all the music of Stockhausen’s Licht cycle. This formula is a three-voice schema, and these three voices are named Michael, Eve, and Lucifer. While the formula creates landmarks in the music, which indicate towards form, a formula analysis is limited in describing the direction or role of the music in a section of music. Patricia Howland’s Integrated Parametric Structures give a way to understand Stockhausen’s music outside the formula perspective. These structures account for secondary parameters such as dynamics, articulation, register, and texture as crucial aspects to determine the amount of change between sections. These sets of labels stem from studies into segmentation, which deals with the grouping of certain notes into sets for an analysis.

Included in

Music Theory Commons