史托克豪森於1952至1953年間，完成點描音樂作品《點對點》。1953年於科隆的世界音樂節以「為十樣樂器的作品第一號」名稱首演，之後，作曲家再做調整，將其命名為《點對點》(Kontra-Punkte)，由環球出版社出版樂譜，正式成為他的「作品第一號」。
「為十樣樂器的作品第一號」草稿與手抄稿中的各項設計，大多延續至《點對點》。作品中使用了音高及音域兩個參數，並在最初的規則加入變化，顯示出史托克豪森對音樂細節的全盤思考，並影響後來的作曲家。
本論文共分為五章，第一章敘述史托克豪森的生平及作品、序列音樂與點描音樂的關連與《點對點》創作背景及相關文獻探討，第二章從作曲家與郭依法特的書信往來，重建《點對點》創作歷程，並比較各版本文字說明，第三章討論「作品第一號」與《點對點》的作品架構與參數設計，第四章分析音高及音域參數在作品中的應用手法，第五章為結論，從作品中各項細節探究史托克豪森將《點對點》做為其作品第一號之思考。

From 1952 to 1953, Stokhausen accomplished the “Punktuelle Musik” work, Kontra-Punkte. After its premiere under the title “Nr. 1 für 10 Instrumente” at the 1953 Weltmusikfest in Cologne, the composer made a further adjustment, then renamed it as “Kontra-Punkte”. The score is published by the Universal Edition, formally became Stockhausen’s Nr.1.

In the manuscripts and the sketches of Nr. 1 für 10 Instrumente, most of the music concepts are kept in the later score version. There are two parameters in the work, pitch and register. Stockhausen incorporated changes into the original principles occasionally, revealing the composer’s overall idea for the composition which influenced the later composers a lot.

This thesis is divided into five chapters. The first chapter describes the life and works of Stockhausen, the connection between serialism and Punktuelle Musik, and the background of composing Kontra-Punkte. Chapter two is written based on the correspondences between Stockhausen and Goeyvaert, trying to reconstruct the composition process and compare instructions of all diffrerent versions. Chapter three discusses the structure and the principles of parameters in Nr. 1 für 10 Instrumente and Kontra-Punkte. Chapter four analyzes the composition of the pitch and register parameters in the work. Chapter five is the conclusion, by examing all the details in the work, to explore the reason why Stockhausen regards Kontra-Punkte as his Nr. 1.

一、 原始資料
Stockhausen, Karlheinz. KONTRA-PUNKTE Skizzen. Stockhausen Stiftung.

________. KONTRA-PUNKTE Manuskript. Stockhausen Stiftung.

________. Kontra-Punkte. Wien ＆ London: Universal Edition, 1953.

________. Kontra-Punkte. Austria: Universal Edition, 1974.

________. Texte zur Musik 1952-1962, Texte zur elektronischen und Instrumentalen Musik: Aufsätze 1952-1962 zur Theorie des Komponierens. Band 1. Köln: M. DuMont Schauberg , 1963.

________. Texte zur Musik 1952-1962, Texte zur eigenen Werken zur Kunst Anderer Aktuelles: Aufsätze 1952-1962 zur musikalischen Praxis. Band 2. Köln: M. DuMont Schauberg, 1964.

________. Texte zur Musik 1977-1984: Interpretation. Band 6. Köln: DuMont Buchverlag, 1989.

________. Stockhausen Edition No. 4: Kontra-Punkte/ Zeitmasze/ Stop/ Adieu. Geremany, 1973, CD.

________. Stockhausen Films No. 39: Dress rehearsal, introduction and
concert of KONTRA - PUNKTE conducted by Stockhausen. Stockhausen-Verlag, 1992, DVD.

“Stockhausen Karlheinz- English Lectures (1972), ” https://www.youtube.com/watch?v=lYmMXB0e17E (accessed October 8, 2016).

二、 研究資料
王維㚬。〈點描音樂及其在自我音樂創作之運用〉。台北市立教育大學碩士論文，2011。

梁學賢。〈欽默曼《我環顧四周，見日光之下所行皆非正義》中音列之運用〉。國立臺灣師範大學碩士論文，2006。

陳希茹。《奧林帕斯的回響－歐洲音樂史話》。台北：三民書局，2002。

楊嘉怡。〈史托克豪森《交叉遊戲》研究〉。國立臺灣師範大學碩士論文，2010。

潘皇龍。《現代音樂的焦點》。台北：全音樂譜出版社，1999。

謝隆廣。《史托克豪森的音樂－《光－水》之分析研究》。台北：致凡音樂，2002。

羅基敏。〈開啟聲音新世紀－史托克豪森〉。《表演藝術雜誌》No. 181（一月號，2008）：24-26。

Basart, Ann Phillips. Serial music : A Classified Bibliography of Writings on Twelve-tone and Electronic Music. Berkely: University of Claifornia Press, 1976.

Blumröder, Christoph von. Die Grundlegung der Musik Karlheinz Stockhausens. Stuttgart: Franz Steiner Verlag, 1993.

Brindle, Reginald Smith. The New Music: The Avant-garde since 1945. New York: Oxford University Press, 1990.

Coenen, Alcedo. “Stockhausen's Paradigm: A Survey of His Theories.” Perspectives of New Music, Vol. 32, No. 2 (Summer, 1994): 200-225.

Cope, David. New Directions in Music. Madison, Wisconsin : Brown & Benchmark, 1993.

Cott, Jonathan. Stockhausen: Conversations with the Composer. London: Pan Books, 1974.

Eggebrecht, Hans-Heinrich. “Punktuelle Musik.” Zur Terminologie der Musik des 20. Jahrhunderts. Bericht über das 2. Colloquium der Walcker-Stiftung 9.–10. März 1972 in Freiburg/Breisgau; Veröffentlichungen der Walcker-Stiftung für orgelwissenschaftliche Forschung, Band 5, 1974: 162–187.

Felder, David and Karlheinz Stockhausen. “An Interview with Karlheinz Stockhausen.” Perspectives of New Music, Vol. 16, No. 1 (Autumn - Winter, 1977): 85-101.

Griffiths, Paul. Modern Music: A Concise History from Debussy to Boulez. New York : Thames and Hudson, 1986.

________. Modern Music and After: Directions since 1945. New York: Oxford University Press, 1995.

Kohl, Jerome. ""One Superordinate Principle": The Origins of Stockhausen’s Serialism." Paper presented 13 November 2004 at the National Conference of the Society for Music Theory. Unpublished.

Maconie, Robin. The Works of Karlheinz Stockhausen. New York: Oxford University Press, 1990.

______.Other Planets: The Complete Works of Karlheinz Stockhausen, 1950-2007. Updated edition. Lanham: Rowman & Littlefield, 2016.

Moelants, Dirk. “Statistical Analysis of Written and Performed Music: A Study of Compositional Principles and Problems of Coordination and Expression in ‘Punctual’ Serial Music.” Journal of New Music Research, Vol. 29, No. 1 (2000): 37–60.

Morgan, Robert P. “Stockhausen's Writings on Music.” The Musical Quarterly, Vol. 61, No. 1 (Jan., 1975): 1-16.

Morton, Lawrence, Henry Cowell, Robert Erich Wolf, Karl H. Wörner and Peter Gradenwitz. “Current Chronicle.” The Musical Quarterly, Vol. 39, No. 4 (Oct., 1953): 595-616.

Mosch, Ulrich. “Wahrnehmungsweisen serieller Musik.” Musiktheorie, xii (1997): 61–70.

Sabbe, Herman. “Goeyvaerts and the Beginnings of 'Punctual' Serialism and Electronic Music.” Revue belge de Musicologie / Belgisch Tijdschrift voor Muziekwetenschap, Vol. 48. The Artistic Legacy of Karel Goeyvaerts. A Collection of Essays (1994): 55-94.

Salzman, Eric. Twentieth-Century Music: An Introduction. New Jersey: Prentice-Hall, 1988.

Schnebel, Dieter. “Stockhausens Kontra-Punkte, oder Morphologie der musikalischen Zeit.” Denkbare Musik: Schriften 1952–1972, ed. H.R. Zeller (1972): 213-230.

________. “Karlheinz Stockhausen.” Die Reihe, Heft 4: junge Komponisten (1958): 119-133 .

Stockhausen, Karlheinz and Robin Maconie. Stockhausen on Music: Lectures and Interviews. London: M. Boyars, 1988.

Stockhausen, Karlheinz and Jerome Kohl. “Electroacoustic Performance Practice.” Perspectives of New Music, Vol. 34, No. 1 (Winter, 1996): 74-105.
Tannenbaum, Mya. Conversations with Stockhausen. Translated by David Butchart. New York: Oxford University Press, 1987.

Toop, Richard. “Messiaen/ Goeyvaerts, Fano/ Stockhausen, Boulez.” Perspectives of New Music, Vol. 13, No. 1 (1974): 141-169.

Wörner, Karl H.. Stockhausen: Life and Work. Translated by Bill Hopkins. Berkeley: University of California Press, 1973.

三、 網路資料
“ Karlheinz Stockhausen Official Site.” http://karlheinzstockhausen.org/ (accessed May 6, 2016).