本文選題：電子音樂 + 音樂作品��； 參考：《新聞與寫作》2017年11期

【摘要】：正隨著現(xiàn)代電聲學(xué)技術(shù)的迅猛發(fā)展,基于電能轉(zhuǎn)化成聲能的電子音樂在20世紀(jì)下半期得到了長足的發(fā)展,并逐步形成了一個(gè)獨(dú)特的且有別于傳統(tǒng)音樂的音樂族群。以音符體系為基礎(chǔ)的傳統(tǒng)音樂和以聲音體系為基礎(chǔ)的電子音樂有本質(zhì)的區(qū)別,傳統(tǒng)音樂主要視音符形態(tài)為分析對(duì)象,而電子音樂卻以音響形態(tài)為分析對(duì)象。因此,對(duì)以音響形態(tài)為分析對(duì)象的電子音樂進(jìn)行分析也就成為當(dāng)今電子音樂理論家和作曲家不得不面對(duì)的難題。青年學(xué)者周佼佼在
[Abstract]:With the rapid development of modern electroacoustics technology, electronic music based on the conversion of electric energy into sound energy has developed rapidly in the second half of the 20th century, and gradually formed a unique and different music group from traditional music. There are essential differences between the traditional music based on the note system and the electronic music based on the sound system. The traditional music mainly regards the note form as the analysis object, but the electronic music takes the sound form as the analysis object. Therefore, the analysis of electronic music with sound form as the object of analysis has become a difficult problem that today's electronic music theorists and composers have to face. Young scholar Zhou Guangjie
【作者單位】： 南京師范大學(xué)泰州學(xué)院音樂學(xué)院;
【分類號(hào)】：J614.8
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本文編號(hào)：1774951