On the contrary, these forms are immediately intense and seek to maintain the level of continued "main points", which are constantly equally present, right up until they stop.
I am speaking of musical forms in which apparently nothing less is being attempted than to explode (even to overthrow) the temporal concept—or, put more accurately: the concept of duration.
[6]Besides Kontakte, works cited by Stockhausen as being particularly concerned with moment forming include the earlier Gesang der Jünglinge (1955–56), as well as the subsequent Carré (1960), Momente (1962–64/69), Mixtur (1964), Mikrophonie I (1964), Mikrophonie II (1965), Telemusik (1966), Hymnen (1966–67/69), Stimmung (1968), Samstag aus Licht (1981–83), Michaelion from Mittwoch aus Licht, Himmelfahrt (2004–05), Freude (2005), and Himmels-Tür (2005).
Several other works by Stockhausen have this "mobile" feature, without falling into his category of moment form, for example, Klavierstück XI (1956), Refrain (1959), Zyklus (1959), and Sirius (1975–77).
Certain works by other composers, both earlier and contemporaneous, such as István Anhalt, Earle Brown, Elliott Carter, Barney Childs, Roberto Gerhard, Michael Gielen, Hans Werner Henze, Charles Ives, Witold Lutosławski, Olivier Messiaen, Morgan Powell, Roger Reynolds, Joseph Schwantner, Roger Sessions, Igor Stravinsky, Anton Webern, Stefan Wolpe, Yehuda Yannay, and Frank Zappa, have also been cited as instances of moment form .