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。
To ensure that contact, some of his pieces had to be performed under the stars.
芬斯特·施托克表示，上月在北京举办的一场国际媒体峰会就突显出这一点。
This was highlighted at an international media summit organised last month in Beijing, Mr Fensterstock said.
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。
After the 1970s, Stockhausen seemed to disappear up his own cul-de-sac of experimental noise.
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。
It was that Stockhausen kept on looking for, and finding, sounds never heard before.
卡尔赫因兹·施托克·豪森，新声音的追寻者，逝世于2007年12月5日，享年79岁。
Karlheinz Stockhausen, seeker of new sounds, died on December 5th, aged 79.
婚礼当中维特·施托克身穿一袭白色婚纱，挽著她父亲的手臂，莫札特的加冕弥撒曲正演奏著。
In the wedding, Wittstock was dressed in a white gown, and held her father's arm while Mozart's Coronation Mass was playing.
无论米尔卡，林特，雀巢或施托克，这里仅举几，他们都发誓这个包装色彩和光泽的形式，也很容易回收。
Whether Milka, Lindt, nestle or Storck, to name just a few, they all swear by this colourful and shiny form of packaging, which is also easy to recycle.
维特·施托克身着长裙摆白色绸缎嫁衣，由乔治·阿玛尼设计，上面镶嵌有数千颗小水晶，裙摆拖在红色的地毯上。
The long white train of Wittstock's Giorgio Armani duchess satin gown, encrusted with thousands of tiny crystals, spilled over the red carpet.
全文得出最主要的研究结论是：施托克·豪森自始至终都没有放弃序列音乐创作，而这是与他的音乐观念紧密联系的。
The conclusion this dissertation has reached is that Stockhausen never in his creative career abandoned serialism, largely due to his ideas about music.
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。
It was not just that he thought "intensive measuring and counting" the key to music's future; Stravinsky had got there long before him.
在1955- 57年的作品Gruppen中，施托克·豪森使用了三个管弦乐团，从不同的角度以不同的节奏演奏不同的音符。
In "Gruppen" (1955-57) he used three orchestras, playing different notes at different tempi from different directions.
施托克·豪森的音乐是基于数学原理构思的；但是，随着年月的流逝，他又喜欢上了在作品中注入更多的元素，如旋律的变移、自由度与机遇。
Stockhausen's music was constructed on mathematical principles; but, as the years passed, he liked to throw in more elements of motion, freedom and chance.
梅西安的序列技法不同于以勋伯格为代表的十二音音乐，亦不同于施托克·豪森等的整体序列音乐，文章用“多维准序列”加以界定并予以区别。
The Serial technique Messiaen used were quite different from the Twelve Notes music that representative of Arnold Schoenberg, nor the same of Integral Serial by Karlheinz Stockhausen and he others.
当托马森•比彻姆爵士(SirThomas Beecham)被问及他是否曾指挥过任何施托克豪森的作品，他对此表示了否认，但他认为他可能曾经表演过一些。
Small wonder that Sir Thomas Beecham, asked if he had conducted any Stockhausen, said no, but he thought he might once have trodden in some.
比如说1964年的“麦克风一号”(Mikrophonie i)。这部作品的灵感是施托克豪森用调羹、圆底酒杯与煮蛋计时器(沙漏)敲打他的花园中的铜锣而激发的。
"Mikrophonie I" (1964), for example, was inspired by hitting the tam-tam that hung in his garden with spoons, tumblers and an egg-timer.
比如说1964年的“麦克风一号”(Mikrophonie i)。这部作品的灵感是施托克豪森用调羹、圆底酒杯与煮蛋计时器(沙漏)敲打他的花园中的铜锣而激发的。
"Mikrophonie I" (1964), for example, was inspired by hitting the tam-tam that hung in his garden with spoons, tumblers and an egg-timer.
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