 In December 1952 , he composed a Konkrete Etüde , realized in Pierre Schaeffer 's Paris musique concrète studio . In March 1953 , he moved to the NWDR studio in Cologne and turned to electronic music with two Electronic Studies ( 1953 and 1954 ) , and then introducing spatial placements of sound sources with his mixed concrète and electronic work Gesang der Jünglinge ( 1955 – 56 ) . Experiences gained from the Studies made plain that it was an unacceptable oversimplification to regard timbres as stable entities ( Stockhausen Texte , 1 : 56 ) . Reinforced by his studies with Meyer @-@ Eppler , beginning in 1955 , Stockhausen formulated new " statistical " criteria for composition , focussing attention on the aleatoric , directional tendencies of sound movement , " the change from one state to another , with or without returning motion , as opposed to a fixed state " ( Decroupet and Ungeheuer 1998 , 98 – 99 ) . Stockhausen later wrote , describing this period in his compositional work , " The first revolution occurred from 1952 / 53 as musique concrète , electronic tape music , and space music , entailing composition with transformers , generators , modulators , magnetophones , etc ; the integration of all concrete and abstract ( synthetic ) sound possibilities ( also all noises ) , and the controlled projection of sound in space " ( Stockhausen 1989b , 127 , reprinted in Schwartz , Childs , and Fox 1998 , 374 ) . His position as " the leading German composer of his generation " ( Toop 2001 ) was established with Gesang der Jünglinge and three concurrently composed pieces in different media : Zeitmaße for five woodwinds , Gruppen for three orchestras , and Klavierstück XI ( Kohl 1998a , 61 ) . The principles underlying the latter three compositions are presented in Stockhausen 's best @-@ known theoretical article , " . . . wie die Zeit vergeht . . . " ( " . . . How Time Passes . . . " ) , first published in 1957 in vol . 3 of Die Reihe ( Stockhausen Texte , 1 : 99 – 139 ) . 
