Stimmung, Nr. 24

It is a tonal, and yet also a serial composition (Toop 2005, 39; Stuppner 1974). It is "the first major Western composition to be based entirely on the production of vocal harmonics" (Pegg 2001, 295), the first "to use overtones as a primary element" (Rose and Emmerson 1979, 20). An additional innovation is "the unique kind of rhythmic polyphony which arises from the gradual transformation/assimilation of rhythmic models" (Toop 2005, 48).