Collision·Permeation·Fusion·Innovation

The electro-acoustic music emerged from the medium-term of the last century. Critically speaking, it neither belongs to some schools, nor stands for the naissance of some new style. Actually, it just provides the composers with the new creation tools and the possibility of using new creation thought in terms of the new timbre exploring, the new representation ways and new principle of music structure.The paper deals with the two creation ways between the electro-acoustic music and the conventional instrumental music, furthermore, these two ways are absolutely not conceived as a pair of contradictions. The creation language materials, the sound organized ways, the structure building mode, the configuration achievement and the prevalence approaches of these two kinds of music are analyzed and researched, meanwhile this paper engages in researching the mutual complementarity and merited reference of these two kinds of music. It emphasized that the electro-acoustic music is an extension, an enrichment and a complementarity of the conventional creation way. The features of the paper:1, It does not deal with the case analysis and research of the electro-acoustic music pieces. It just brings forward a few commonplace remarks by way of introduction so that others may come up with valuable opinions, which interpreted to mean that the paper focuses on the nonelectro-acoustic music pieces created by the composers who experienced the electro-acoustic music creation.2, It pays attention to the conventional pieces form a different way. Analyzing and researching the pieces by using the thought of electro-acoustic music pieces, and exploring the mutual influence and penetration of these two different kinds of creation thought.Among the modern western composers, many of them engaged with the creation of the electro-acoustic music. The reason to choose Legeti to be researched is the sound of his pieces is very distinct, which manifests a diversified creation thought. In addition, his experience in the creation of the electro-acoustic music affects the cognition of sound and the innovation of creation thought to some extent. Although he did not create any electro-acoustic music at all later, the "residual" mark and underlying influence emerges more or less in many of his other conventional pieces.After Legeti paused the period of the creation of the electro-acoustic music, the《Atmosphere》(Atmosphères, 1961) is his first conventional symphony has been made (this piece was premiered on the Donaueschingen Music Days, Oct.22th, 1961 ). It impressed and shocked the modern western music with its adventurous sound and brand-new structure thought. The author hopes for the validation of the issue via the particularly comprehensive anatomy, and makes a foundation for the further research.The paper is constituted of two parts, which are macroscopical dissertation and cases confirmation.The first part is mainly the introduction of the emergence and development background of theelectro-acoustic music. Based on it, Legeti's creation experience during this period is introduced. Itdiscusses his learning and practice for the composing of the electro-acoustic music and the furtherimpact he has been influenced.The second part is a analysis and argumentation of the《Atmosphere》. It discusses the creation thought and the mutual relationship of the timbre material, the organizing techniques and the entire structure.The epilogue comes to a conclusion and abstraction of the core content of the issue, and also makes a preliminary sum-up of the trend of diversified thought in the contemporary music creation.