The relationships between body movement and music in Karlheinz Stockhausen's der Kleine Harlekin

This thesis takes the work of K. Stockhausen's Der Kleine Harlekin as an important example of scenic music from twentieth century repertoire to investigate the types of relationships between body movement and music in the piece by both defining and analyzing the correspondences between the two. By trying to understand, evaluate and analyse these relationships which have been categorized as choreographic and theatrical, and their importance in the composition; I asked the question if it is possible to approach Der Kleine Harlekin as a transmedial composition piece because Stockhausen's use of body movement as a compositional media is an integral part of the piece. His use of choreography and music stands on its own and becomes complete together. They create musical meaning together. This piece and the way it is notated is a good example for the composers who want to combine body movement and music in their compositions. Therefore, my aim is to make this document an instructional and efficient source by analysing the relationships between the two. This thesis is structured around four main chapters that together form a context for understanding Stockhausen's scenic music practice and Der Kleine Harlekin. First chapter includes an introductory text and aims of the thesis. Second chapter deals with the definition of scenic music and Stockhausen's philosophy of scenic music. In the third chapter, I present the origins of the figure of Harlequin and give a summary of Stockhausen's understanding of use of body movement and theatrical features in his own compositions. This chapter also includes an overall structural analysis of Der Kleine Harlekin. The final chapter consists of the definition and analysis of the correspondences between music and body movement in Der Kleine Harlekin and a concluding part. Types of the correspondences and relationships that I focused on are; theatrical and choreographic.