Stockhausen and early recordings as sources for performance

Abstract

This paper examines early sound recordings as sources for reconstructing nineteenth-century vocal performance through Julius Stockhausen and recordings by his pupils. Such recordings are invaluable but cannot be treated as transparent documents because their evidentiary value depends on historical, technological, and pedagogical context. Particular attention is given to the transmission of digitized recordings and sonic alterations introduced through successive transfers. Connecting Stockhausen’s early pedagogical interest in recording with contemporary performance research, the study assesses the possibilities and limits of “listening as method” for interpreting historical vocal aesthetics.