Karlheinz Stockhausen's cycle of chamber and electronic music, KLANG – die 24 Stunden des Tages (SOUND – The 24 Hours of the Day) was one of several music cycles, both realised and planned, in which the composer sought to capture the passage and meaning of time. Stockhausen's death in 2007 left KLANG with only 21 of its proposed 24 pieces composed. This article draws on Martin Heidegger's concept of time as ‘the horizon for the understanding of being’ as a lens through which to examine the musical content and imagery of KLANG and as a means of understanding the notion of being that Stockhausen conveyed in these compositions written at the end of his life. It will suggest a significant difference in Stockhausen's thinking about the nature of life and being, moving from the cyclic concepts conveyed in the earlier time-focused works such as SIRIUS and LICHT to a more linear notion of being in KLANG. Finally, the article will use this analysis to suggest that, despite Stockhausen's stated intentions to compose two more time-focused cycles after KLANG, he had begun to confront his own mortality, while continuing to believe in the possibility, if not the knowability, of hope beyond death.

中文翻译：

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超越地平线：卡尔海因茨斯德哥尔摩巴生对时间的描绘

卡尔海因茨·斯托克豪森的室内乐和电子乐循环，KLANG – die 24 Stunden des Tages（声音——一天中的 24 小时）是几个音乐周期之一，无论是实现还是计划，作曲家都在其中试图捕捉时间的流逝和意义。斯托克豪森于 2007 年去世巴生其提议的 24 件作品中只有 21 件组成。本文将马丁·海德格尔的时间概念作为“理解存在的地平线”作为一个镜头来审视音乐的内容和意象巴生并且作为理解斯托克豪森在他生命尽头所写的这些作品中所传达的存在概念的一种手段。这将表明斯托克豪森对生命和存在的本质的思考存在显着差异，从早期以时间为中心的作品中传达的循环概念转变为天狼星和光到一个更线性的概念巴生. 最后，本文将利用这一分析表明，尽管斯托克豪森表示打算在巴生，他开始面对自己的必死性，同时继续相信即使不是可知性，也有可能超越死亡的希望。