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Movie Title Year Distributor Notes Rev Formats New Face AV Debut 2013 Kira Kira This Gal Mama Seems Like A Slut 2015 Loveable Gal Mixed cycles Different types of musical cycles can overlap. One example is isorhythm, the medieval practice of using melodic and rhythmic cycles in one or two voices. There is a certain sequence of pitch material (known as the color) and a separate sequence of rhythmic values (known as the talea), which is of different length. If the lengths of the two cycles are relatively prime, a complex melody will emerge. Most compositions using this technique end when the two cycles coincide. A similar process is used in serial music, although the number of different overlapping cycles can be quite large, and encode a wide variety of musical parameters, such as dynamics, articulation, timbre, register, and so forth.
Opera cycles Richard Wagner's Ring Cycle consists of four individual operas. Giacomo Puccini's Il tabarro, Suor Angelica, and Gianni Schicchi form a set of three one-act operas, intended to be performed together and collectively titled Il trittico. Germaine Tailleferre's Du style galant au style méchant is made up of four chamber operas which parody a different operatic form or style[8] Robert Ashley's Perfect Lives, Atalanta, and Now Eleanor's Idea form a trilogy. R. Murray Schafer's Patria is composed of twelve separate works, which he classifies as "music theater". Karlheinz Stockhausen's Licht consists of seven individual operas named after the days of the week. Klang (pronounced [kla?])—Die 24 Stunden des Tages (Sound—The 24 Hours of the Day) is a cycle of compositions by Karlheinz Stockhausen, on which he worked from 2004 until his death in 2007. It was intended to consist of 24 chamber-music compositions, each representing one hour of the day, with a different colour systematically assigned to every hour. The cycle was unfinished when the composer died, so that the last three "hours" are lacking. The 21 completed pieces include solos, duos, trios, a septet, and Stockhausen's last entirely electronic composition, Cosmic Pulses. The fourth composition is a theatre piece for a solo percussionist, and there are also two auxiliary compositions which are not part of the main cycle. The completed works bear the work (opus) numbers 81–101.

Contents 1 History and character 2 Extramusical aspects 3 First Hour: Himmelfahrt 4 Second Hour: Freude 5 Third Hour: Natürliche Dauern 6 Fourth Hour: Himmels-Tür 6.1 Türin 7 Fifth Hour: Harmonien 7.1 Katikati 8 Sixth Hour: Schönheit 9 Seventh Hour: Balance 10 Eighth Hour: Glück 11 Ninth Hour: Hoffnung 12 Tenth Hour: Glanz 13 Eleventh Hour: Treue 14 Twelfth Hour: Erwachen 15 Thirteenth Hour: Cosmic Pulses 16 Fourteenth Hour: Havona 17 Fifteenth Hour: Orvonton 18 Sixteenth Hour: Uversa 19 Seventeenth Hour: Nebadon 20 Eighteenth Hour: Jerusem 21 Nineteenth Hour: Urantia 22 Twentieth Hour: Edentia 23 Twenty-first Hour: Paradies 24 Discography 25 Sources 26 Further reading 27 External links History and character After having spent 27 years composing the opera-cycle Licht (1977–2004), Stockhausen felt he was shifting his focus from the visible world of the eyes—Licht is the German word meaning "light", as of the stars, the sun—to the invisible world of the ears. When planning his new cycle of pieces based on the hours of the day, he initially considered several possibilities for the title: Day, Nacht und Tag (Night and Day), Liebe (Love), Chi (the life energy), or Spiegel (Mirror). The name he finally settled on, Klang, means "sound", acoustic vibrations, but for Stockhausen, above all "the INNER EAR, for the divine Klang, the mystic sound of the beyond with the voice of the conscience, in German: die Stimme des Gewissens" (Stockhausen 2006a, 10). Although the solo percussion work Himmels-Tür has a decidedly theatrical character, the cycle otherwise consists of essentially concert works (Günther 2008). Three are for unaccompanied solo performer, one is a duo, seven are trios, one a septet, one is a purely electronic composition, and the remaining eight compositions are for soloist accompanied by electronic music. With Klang Stockhausen moved away from the formula technique he had used from Mantra (1970) until the completion of the opera-cycle Licht in 2004. The pieces are based on a 24-note series (each note of a two-octave chromatic scale) that has essentially the same all-interval sequence as the series for Gruppen, and from which other formal and parametric properties are derived on a work-by-work basis (Toop [2008a] ). Starting from the Fifth Hour, this row is used in inversion, until returning to its original form from the Thirteenth Hour onward (Pasveer and Wesley 2008, 3–4). Stockhausen also felt that he was returning to the moment form approach he had used in the late 1950s and 1960s, in works such as Kontakte, Momente, Telemusik, and Hymnen. It seems that I am listening again more for moments, atmospheres, rather than formulas with their limbs, transpositions, transformations. Certainly both methods conjoint[ly] lead to good music. A special concentration and freedom must be trained for listening to the soul['s] vibrations. (Stockhausen 2006a, 10) A new device of proliferating "rhythm families" was developed for the first "hour" (Himmelfahrt) and is employed in many of the subsequent pieces. In addition, the exploration of multiple simultaneous tempi, pioneered in Zeitmaße (1955–56) and Gruppen (1955–57), is pursued in Himmelfahrt and the trios of hours 6–12; in the 13th hour, Cosmic Pulses, this is taken to the verge of sonic saturation (Toop [2008a] ). Initially, Stockhausen had no overall plan for the cycle but in the summer of 2006, as he was finishing Cosmic Pulses, he altered his method of work and grouped the component pieces into three subcycles. In doing so, he displaced Cosmic Pulses from its originally intended position as the Sixth to the Thirteenth Hour (Kohl 2009a, 13; Kohl2012b, 478, 489). One theory has been advanced that the Fibonacci series (1, 2, 3, 5, 8, 13, 21, etc.) may be the reason these two subcycles start on the fifth and thirteenth hours, and the second ends on the twenty-first (Pasveer and Wesley 2008, 3–4). Another hypothesis is that Stockhausen meant to close the circle with a third, seven-member, "overnight" subcycle covering hours 22, 23, 24, and the already-completed 1–4, which would drive home the fact that midnight is not a natural "beginning" of the daily cycle, but only an arbitrary, human convention. Combined with the "morning" (hours 5–12) and "afternoon-evening" (hours 13–21) subcycles, this would divide the 24 hours of Klang into a distributive serial proportion pattern of 7:8:9 (Kohl 2009a, 14; Kohl 2012b, 520). On 30 November 2007, Stockhausen wrote to Udo Zimmermann, director of the Ars Viva Festival in Munich, politely declining an invitation to attend a performance on 25 January 2008, because "I have reserved the days—and nights—when your rehearsals and performance take place to work on a new composition." Doubtless the new work was to have been one of the remaining hours from Klang but, five days later, Stockhausen suddenly died, leaving the cycle incomplete (Frisius 2008, 165; Kohl 2009a, 14). After his death, a search in his sketchbooks failed to discover any plans for the remaining three hours (Pasveer and Bos 2010). The last six component works to be premiered were given in Cologne as part of the collective premiere of the cycle, at the MusikTriennale Köln [de] festival on 8–9 May 2010, by members of musikFabrik and others, in 176 individual concerts (Gimpel 2010). Klang in its entirety was premiered in the US by Analog Arts when the Metropolitan Museum of Art in New York City opened their Met Breuer building (Woolfe 2016). The cycle was performed in the flagship museum, the Met Breuer, and The Cloisters museum on 25 and 26 March 2016 (Anon. 2016a; Anon. 2016b). Extramusical aspects Ostwald's "colour double-cone" (made in 1918) displaying the 24-hue colour circle with 28 shades per hue "The 24 Hours of the Day suggest a circle and two half circles of 2 × 12 hours like night and day, and also 4 × 6 hours like night—morning—afternoon—evening, or 8 × 3 hours like the Horen (Hours) of the Christian cycle of daily prayers (Stockhausen 2006a, 10). As had been the case with the Licht cycle, Stockhausen associated each component work with a colour. In this case, he sought out colour theories using circular models with 24 hues. He settled on Wilhelm Ostwald's colour cycle, published in three books in 1917 (Ostwald 1917a, 1917b, 1917c), and modified it to suit his needs: "The Ostwald circle originally starts number 1 with the brightest colour yellow at midday of an ordinary clock, but in the colour circle for KLANG I change the order and start with the darkest colour at one o'clock in the night. Accordingly I turn the circle by one step in order to coincide with a clock" (Stockhausen 2006a, 10). The resulting colour circle is printed on the cover of both the score and the CD of the Third Hour, Natural Durations, and in Stockhausen 2006a, 10. The 24 colours are specified in the German HKS system for printing the covers of the scores, and it is suggested in the prefaces to many of the scores that clothing of the corresponding colour might or should be worn when performing that piece. In at least one case, the performer is cautioned to avoid "any associations with known cultures" (Stockhausen 2009c, II).

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