Stockhausen’s instructions for ‘discovering intuitive music’ were, in that way, heterogeneous. Generally, they could be any of the following:
- describing musical events and processes in a more or less concrete way (‘extremely long quiet sounds’, ‘abrupt ending’, etc.,);
- determining relationships between performers during the performance of musical events and processes (‘sing / play as parallel with the others as possible’);
- suggesting musical events or processes through interpretative techniques (‘play single sounds with such dedication until you feel the warmth radiating from you’);
- fundamentally useless instructions, imposing on performers the obligation to ‘operationalize’ them (‘try to sing synchronically with others, without visual signs, / play more and more attacca’);
- utterly senseless (‘play a vibration in the rhythm of your atoms’).