1.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。
2.Now what Stravinsky did in the Rite of Spring was not to take away the underpinning, but to remove any sense of predictable repetition.
在《春之祭》中斯特拉文斯基并没有将支撑物抽走，而仅仅是移动了一下那些老生常谈的重复因素。
3.Like an audience member at Stravinsky's Rite of Spring forced suddenly to join the cast, I plunged in, starkers.
就像突然被迫加入斯特拉文斯基（Stravinsky）《春之祭》（RiteofSpring）演出的观众一样，我也进了水，光着身子。
4.Imaginative nonconformity was in the air: Picasso, Joyce, Freud, Stravinsky, Schoenberg and others were breaking conventional bonds.
想像出的不整合性弥漫在空中：毕加索，弗洛伊德，斯特拉文斯基，勋伯格，等等都在打破常规。
5.But it is the eerie passion of Gesualdo's music, not the drama of his life, which led Igor Stravinsky and Arnold Schoenberg to him.
不过，Gesualdo身上吸引斯特拉文斯基和阿诺德•勋伯格的并不是他如同戏剧似的一生，而是其在音乐中表露出的神秘的激情。
6.Stravinsky, to whom Lipatti showed his Toccata , could only tell him to "continue in the same direction. "
斯特拉文斯基，李帕蒂给他看了他的托卡塔，只能告诉他“照此方向继续。”
7.Stravinsky's neo-classicism culminated with his opera Rake's Progress, with the book done by the well known modernist poet, W.
他的新古典主义音乐在浪子的历程一部歌剧中达到顶点，该剧剧本由现代主义诗人W。
8.The man has accumulated a repertoire of facial tics and blinks that demand nothing less than a complete musical score by Stravinsky.
此人积累了一套关于面部痉挛和眨眼的保留节目，至少需要斯特拉文斯基的全套配乐来伴奏。
9.thus modernism arrived in music , its calling card delivered by the 30 - year - old russian composer igor stravinsky.
因此现代主义融入到乐坛，30岁的苏联作曲家史特拉汶斯基正准备开始迈向他的舞台。
10.Indeed, he thinks the composer, along with Stravinsky, is the biggest enduring influence on 21st-century composers.
他把巴托克与斯特拉文斯基一道视为对21世纪的作曲家影响最深刻、最持久的人物。