| 1. | By making new sounds , he was preparing the way for a higher kind of life
施托克豪森创造这些新生的声音，他与此同时也在为自己的天上人间铺平道路。 |
| 2. | To ensure that contact , some of his pieces had to be performed under the stars
为了这种使命的实现，施托克豪森的有些作品必须要在星辰的照耀下演奏。 |
| 3. | It was that stockhausen kept on looking for , and finding , sounds never heard before
究其原因，施托克豪森孜孜不倦地在寻找并发现一些以前从未听到过的声音。 |
| 4. | After the 1970s , stockhausen seemed to disappear up his own cul - de - sac of experimental noise
二十世纪七十年代后，施托克豪森似乎消失在实验噪音研究的死胡同尽头。 |
| 5. | Most folk at his premi res in the 1950s and 1960s might have wished he had never discovered that
出席他二十世纪五十与六十年代首映的多数人也许都希望，施托克豪森没有发现这些秘密。 |
| 6. | It was not just that he had decided tonality was dead ; schoenberg ' s 12 - note serialism had already made dissonance routine
这并不是因为他决定了音调的消逝，而是施托克豪森的十二音阶体系已经让人感到不协和音的寻常。 |
| 7. | He was studying then in paris with messiaen and milhaud , but preferred to hole up in studios playing with tapes and sine waves
那时，施托克豪森在法国巴黎与梅西安和大流士?米约一起学习，但他更喜爱自己独自待在录音棚研究录音带与正弦波。 |
| 8. | It was not just that he thought “ intensive measuring and counting ” the key to music ' s future ; stravinsky had got there long before him
这也不是因为施托克豪森认为“精深的测定与计算”是决定音乐未来的关键，斯特拉文斯基在他之前就已经参透这些。 |
| 9. | Just how special was not readily apparent to those who saw him , in his old beethoven frock - coat or his shapeless orange cardigan
当人们看到施托克豪森穿着一身陈旧的贝多芬礼服大衣或形状怪异的橙色开襟羊毛衫时，他们是无法轻易地发觉他有多么特别古怪。 |
| 10. | He often dreamt that he had been born and trained on sirius , and was on earth “ to bring celestial music to humans , and human music to the celestial beings ”
施托克豪森经常会梦到自己是在天狼星上出生并成长的，而他来到地球是为了“把天上的音乐带到人间，并把人类的音乐带回天上的众神们。 ” |
