 In the 1950s and early 1960s , Stockhausen published a series of articles that established his importance in the area of music theory . Although these include analyses of music by Mozart , Debussy , Bartók , Stravinsky , Goeyvaerts , Boulez , Nono , Johannes Fritsch , Michael von Biel , and , especially , Webern ( Stockhausen Texte , 1 : 24 – 31 , 39 – 44 , 75 – 85 , 86 – 98 ; Stockhausen Texte , 2 : 136 – 39 , 149 – 66 , 170 – 206 ; Stockhausen Texte , 3 : 236 – 38 ; Stockhausen Texte , 4 : 662 – 63 ) , the items on compositional theory directly related to his own work are regarded as the most important generally . " Indeed , the Texte come closer than anything else currently available to providing a general compositional theory for the postwar period " ( Morgan 1975 , 16 ) . His most celebrated article is " ... wie die Zeit vergeht ... " ( " . . . How Time Passes . . . " ) , first published in the third volume of Die Reihe ( 1957 ) . In it , he expounds a number of temporal conceptions underlying his instrumental compositions Zeitmaße , Gruppen , and Klavierstück XI . In particular , this article develops ( 1 ) a scale of twelve tempos analogous to the chromatic pitch scale , ( 2 ) a technique of building progressively smaller , integral subdivisions over a basic ( fundamental ) duration , analogous to the overtone series , ( 3 ) musical application of the concept of the partial field ( time fields and field sizes ) in both successive and simultaneous proportions , ( 4 ) methods of projecting large @-@ scale form from a series of proportions , ( 5 ) the concept of " statistical " composition , ( 6 ) the concept of " action duration " and the associated " variable form " , and ( 7 ) the notion of the " directionless temporal field " and with it , " polyvalent form " ( Stockhausen Texte , 1 : 99 – 139 ) . 
