 He pioneered live electronics in Mixtur ( 1964 / 67 / 2003 ) for orchestra and electronics ( Kohl 1981 , 51 – 163 ) , Mikrophonie I ( 1964 ) for tam @-@ tam , two microphones , two filters with potentiometers ( 6 players ) ( Maconie 1972 ; Maconie 2005 , 255 – 57 ) , Mikrophonie II ( 1965 ) for choir , Hammond organ , and four ring modulators ( Peters 1992 ) , and Solo for a melody instrument with feedback ( 1966 ) ( Maconie 2005 , 262 – 65 ) . Improvisation also plays a part in all of these works , but especially in Solo ( Maconie 2005 , 264 ) . He also composed two electronic works for tape , Telemusik ( 1966 ) and Hymnen ( 1966 – 67 ) ( Kohl 2002 ; Stockhausen @-@ Verlag 2010 , 21 ) . The latter also exists in a version with partially improvising soloists , and the third of its four " regions " in a version with orchestra ( Stockhausen @-@ Verlag 2010 , 21 ) . At this time , Stockhausen also began to incorporate pre @-@ existent music from world traditions into his compositions ( Kohl 1981 , 93 – 95 ; Stockhausen Texte , 4 , 468 – 76 ) . Telemusik was the first overt example of this trend ( Kohl 2002 , 96 ) . 
