Jonathan Harvey could possibly be regarded as an British Stockhausen: he was perhaps most widely known for integrating electronically generated sound with live music in the service of the mystical outlook numerous (especially non-Western) philosophical influences. Nevertheless, Harvey’s large result also includes many available choral parts and acoustic avant-garde functions for orchestra or chamber ensemble. While students at Cambridge, Harvey analyzed structure privately with Erwin Stein and Hans Keller (following a guidance of Benjamin Britten), from whom he discovered the fundamentals of serial technique. In 1966, Harvey experienced a “Stockhausen transformation,” as well as the German composer’s alternately complicated and basic textures had an instantaneous impact on him, most evidently in the instrumental items written from your past due ’60s through the 1970s, such as for example Quantumplation (1973) for chamber ensemble. Harvey spent a lot of the 1980s at IRCAM, the new-music study middle in Paris beneath the path of Pierre Boulez. In the 1st compositional consequence of this era, Mortuos plango, vivos voco (1980), Harvey mixed the audio of his son’s performing with that of the bell at Winchester Cathedral, with an impact similar compared to that of Stockhausen’s Gesang der Jünglinge. Another essential IRCAM structure was Ritual Melodies (1990) for tape, where Harvey continually changed synthesized instrumental and vocal noises and their connected melodies. Harvey trained in various British and American colleges, and in 1995 started teaching structure at Stanford University or college in California. He passed away in Dec 2012 in Lewes, Britain, at age 73.