Electronic Music

雩风三日

Electronic Music
电子音乐

      THE EMERGENCE of electronic music as a major development in music history has occurred within the brief period of the last twenty years. A testament to the enthusiasm with which composers have em- braced electronic media during the period 1948-1967 is the recently published Ripertoire International des Musiques Electroacoustiques/ International Electronic Music Catalog. Writing in September 1967, its compiler, Hugh Davies, states that the catalog accounts for nearly 5,000 compositions and that 2,500 more are likely to exist.' This world-wide acceptance of electronics for compositional purposes not only serves as an index to the milieu and working habits of the composer in mid-twentieth century, but also is indicative of the acute confrontation that has arisen between man's sensory awareness and his technology.
      电子音乐的出现，作为音乐历史上的一个主要发展，发生在过去二十年的短时间内。最近出版的《Ripertoire International des Musiques Electroacoustiques/ International electronic Music Catalog》证明了作曲家在1948-1967年间对电子媒体的热情。它的编辑休·戴维斯在1967年9月的一篇文章中指出，该目录包含了近5000篇文章，可能还有2500篇文章存在。“世界范围内对电子技术的接受不仅是20世纪中期作曲家的工作环境和工作习惯的一个指标，也表明人类的感官意识和技术之间出现了激烈的对抗。”