As in Paradigma, the structure of Stimmlich ("concerning the voice") is the result of an abstract score in which pitches and entry-delays of the sounds were qualified on forehand. In this score, the musical material is projected on a time-axis from a 'main level', towards three 'repetition-levels', on which the same material can appear in a transformed way. These transformations are based on synthesis-variants of the original sounds.

The pitches are derived from a twelve-tone row that controls the intervals on the 'main level'. The pitches on the other levels originate in this row, but form new intervals as their order in time is different.
The distances in time between the 'originals' and their transformed 'repetitions' are derived from a row that also contains negative values. these negative values are interpreted as negative time-vectors, in which case the transformed 'repetition' of a sound appears earlier as its 'original'. In the 8-track version of the piece, the time-vectors also implicated positions in the presentation space.

Separate words of five sentences from letters written by the Austrian poet Georg Trakl (1887-1914). In collaboration with the singer Anne Wellmer I made recordings of these settings, and where I had written chords, I recorded her singing the separate notes one by one so that I could combine them later on. In addition, I also recorded the same text spoken and whispered. According to the schemes mentioned earlier, pairs of sounds from different transformation categories (including the untransformed material) were linked to time values determining the distance between each pair's components. On a higher level, these sound pairs were systematically combined into sections. These sections again are overlapped to create the final form of the piece.

Stimmlich was commissioned by the Fonds voor de Scheppende Toonkunst.