The impact of technology on the creative processes of composing electroacoustic music.

电声音乐的发展是过去六十年来音乐的主要创新之一，然而它的工作方法在它自己的直接领域之外很少被理解，也许这是它缺乏广泛欣赏的结果。由于相关的保留曲目在实现时受到每位作曲家可用技术的功能特征的重大影响并最终受到限制，这一事实使问题进一步复杂化。从磁带录音机的发展到复杂的高速计算机，一系列令人印象深刻的技术进步使这些发展成为可能。然而，随着时间的流逝，许多早期的技术已经消失在默默无闻中，与使用它们的作曲家的记忆一起褪色。随着时间的推移，获取这些关键信息将变得越来越困难：许多早期的先驱已经不在人世。直到最近，研究界才开始意识到这些趋势的影响，以及以能够在我们对这一遗产的认识和理解方面产生切实成果的方式重新审视过去的重要性日益增加。虽然最终的结果是创造性的，但技术问题对于大部分音乐的制作来说是不言自明的，要想更全面地理解最终的曲目，就需要探索创造性和技术之间的相互作用，并学习技术和音乐在未来如何最好地协同工作。硬件和软件的范围和多样性往往会使即使是在该领域有经验的人也难以获得对特定工作如何完成的详细了解。在曲目中关键作品的创作中，对技术和创造力过程之间的相互作用的理解在以下几个方面是重要的：这对于批判性地理解这些作品是很重要的，对于理解该领域的历史发展方式是很重要的，对于分享优秀实践的作曲是很重要的，对于加强大学教学和研究是很重要的，在大学教学和研究中，技术和音乐通常是分开研究的。该项目的主要目标有两个：首先，通过对一系列精选作品的批判性研究，我们的目标是记录和检查技术和创造力在不同背景下结合在一起的方式。其次，该项目建议通过设计和构建基于软件的工具，以创新的方式扩展这些调查，通过建模过程，将允许这些创造性工作方法的关键特征进行交互式探索。在与电声界的主要从业者协商后，作品的选择将受到以下标准的影响；I)它们在电声音乐曲目中的意义，ii)它们在分析特定美学方法和作曲实践方面的相关性，以及iii)就其分析和建模而言，拟议方法的潜在技术过程的可及性。虽然这项研究的成果最初是针对在这一领域工作的学术和艺术界，但一个重要的副产品将是材料的发展，这些材料可以被改编，以将这些问题呈现给此类音乐的潜在受众，并使所有利益相关者能够自己探索与声音合作的新方式的可能性。预计产出将包括由一家主要国际出版商出版的文本和适用于Mac和Windows计算环境的软件应用程序。

The development of electroacoustic music has been one of the major innovations of music in the last sixty years and yet its working methods are little understood beyond its own immediate field and, perhaps as a result it lacks widespread appreciation. Matters are further complicated by the fact that the associated repertory has been materially influenced and ultimately constrained by the functional characteristics of the technologies available to each composer at the time of realisation. These developments have been made possible by an impressive range of technical advances from the development of the tape recorder to that of sophisticated high-speed computers. However with the passage of time many of the earlier technologies have disappeared into obscurity, along with the fading recollections of the composers who used them. Access to this crucial information will become increasingly difficult over time: it is already the case that many of the early pioneers are no longer alive.Rather late in the day the research community is becoming aware of the implications of these trends and the increasing importance of revisiting the past in ways which can produce tangible outcomes in terms of our knowledge and understanding of this legacy. Although it is the creative outcome that matters in the end, technical issues are axiomatic to the production of much of this music, and developing a fuller understanding of the resulting repertory involves exploring the interaction between the creative and the technical, and learning how technology and music might best work together in the future. The range and diversity of the hardware and software will often make it difficult even for those experienced in the field to acquire a detailed understanding of how a particular work has been made.The understanding of the interaction between technology and the processes of creativity in the creation of key compositions within the repertoire is important in a number of ways: it is important for a critical understanding of these works, it is important historically for an understanding of the ways in which the field has evolved, it is important for composition in the sharing of good practice, and it is important for the enhancement of university teaching and research in which the technical and the musical are often studied in isolation.The principal goals of this project are twofold: Firstly, through the critical study of a range of selected works, we aim to document and examine the ways in which technology and creativity have come together in different contexts. Secondly this project proposes to extend these investigations in an innovative way through the design and construction of software-based tools that, through the processes of modelling, will allow key features of these methods of creative working to be interactively explored. The choice of works, following consultation with leading practitioners in the electroacoustic community, will be influenced by the following criteria; i) their significance in the repertory of electroacoustic music, ii) their relevance in terms of profiling specific aesthetic approaches and compositional practices, and iii) the accessibility of the underlying technical processes for the proposed methodology in terms of their analysis and modelling. Although the outcomes of this research are initially aimed at the academic and artistic community working in this area, an important by-product will be the development of materials that can be adapted to present these issues to the potential audiences for such music and to empower all stakeholders to explore for themselves the possibilities of new ways of working with sound. It is intended that the outputs will include both text to be published by a leading international publisher, and software applications for both Mac and Windows computing environments.