PRESET – Principles of Electronic Sound Production: Systematization and Elaboration of a Terminology

在所有艺术形式和日常生活中，无处不在的电子声音与能够以适当的科学方式理解这一现象的术语工具的缺乏之间存在着显著的不平衡。因此，拟议项目的目的是对这一领域进行明确和有弹性的系统化，大大超出以前方法的范围。这将有助于发展一种精炼的术语，从而为讨论电子产生的声音提供新的工具。为此，将从音乐学和（音乐）实践的角度来研究电子声音制作技术和概念的演变，并开展基础工作。这种方法的关键要素是对几个电子音乐工作室的深入调查：定义了一种新型音乐实践的很大一部分创新和冲动起源于这里，然而，他们的大量信息资源尚未被探索（第1包）。除了详细讨论作为“电子音乐乐器”的工作室的结构和性质外，这种方法的重点将是检查每个工作室的实际工作过程以及工作室之间的相互依赖关系。这涉及到知识和技术的转移，以及作曲家、技术人员、科学家等之间可能的相互联系。获得的信息将在使用新定义的分类的数据库中进行整理，这将阐明从原始数据中不立即明显的开发路线（包2）。然后，对收集到的数据进行概括性分析，作为完善与电子产生的声音有关的基本术语的基础（第3部分）。这个新词汇应该在音乐学话语中被证明是非常有用的，特别是因为它将代表独立于音乐类型边界的进步。除了在已开发的数据库框架内提供原始数据外，这个项目的结果将在期刊和会议文件（英文）上发表，并以专著（德文）的形式发表。

There is a striking disproportion between the omnipresence of electronic sound, both in all art forms and everyday life, and the shortage of terminological tools capable of apprehending this phenomenon in a suitably scientifical way. The aim of the proposed project is therefore to carry out a clear and resilient systematization of this field that substantially exceeds the scope of previous approaches. This will allow the development of a refined terminology which in turn will provide new tools for a discourse on electronically produced sounds. To this end, fundamental work will be carried out in examining the evolution of technologies and concepts of electronic sound production from a musicological as well as from a (musically) practical perspective. The key element of this approach is an in-depth survey of several electronic music studios: a large proportion of the innovations and impulses that defined a new type of musical practice originated here, however a vast number of their informational resources have not yet been explored (Package 1). Besides the detailed discussion of the structure and nature of the studio as the "instrument of electronic Music", the focus of this approach will be an examination of the actual working processes of each studio as well as the interdependencies between studios. This relates to the transfer of knowledge and technology as well as possible interconnections between composers, technicians, scientists etc. The information gained will be collated in a database using a newly defined classification, which should elucidate lines of development that aren’t immediately obvious from the raw data (Package 2). A synoptic analysis of the collected data will then serve as a foundation for refining the basic terminology concerned with electronically produced sound (Package 3). This new vocabulary should prove very useful in musicological discourse, especially as it will represent progress that is independent of musical genre boundaries. Besides the presentation of the raw data within the framework of the developed database, the results of this project will be published in journals and conference papers (in English) and in the form of a monograph (in German).