A Study On The Sound Materials In Three Chinese "Auditory - Hidden Music" Works

"Acousmatic Music", as one style among the diverse electronic music, possesses history covering forty years since1974when it came into being. While there are just about20years during the period when it was first introduced and bore fruit in China. In this relevant short time, Acousmatic Music which has rooted deeply and grown strongly in China, profoundly impacts generations of electronic composers here, who obtain valuable creative resource from the traditional culture and then apply them in Acousmatic music, exhibiting the vivid Chinese characteristics as well as the sparks collided from the scientific advances and Chinese traditional culture.The use of sound materials is decisive in creating Acousmatic Music as acoustics audio always coming first when it comes to creation. As a burgeoning type of music, Acousmatic Music chose a different way, unlike traditional and early electronic music, this budding music paid more attention to utilizing sound materials and protruded itself by dealing with the sound materials directly, which actually repaid composers a fresh and abundant sound resource. This article consists of three sections:First and foremost, some relevant concepts are introduced, such as the "Acousmatic Music" and the sound materials. Next, insights are set out about three representative compositions of three outstanding Chinese electronic composers who were born in different ages, related to their unique sound materials applied and the characteristics of various forms and symbols of sound materials. The end sums up and concludes the "vocabulary"features and performances of sound materials contained in the three Chinese "Acousmatic Music" works. The features of this article:(1)Different perspectives in electronic music study. This article mainly focuses on the sound materials in Acousmatic Music, which are prominent due to their innovative ideas and composing features as to the "morphotype" and "sound symbols".(2)By the instance analysis of three Chinese Acousmatic Music works, the auther led readers to explore the crucial role of sound material, the basic element in Acousmatic Music, through its choice and use.(3)According to the instance analysis of three Chinese Acousmatic Music works, readers would have a more in-depth cognition on how composers merge the Chinese traditional culture together with the creation of Acousmatic Music and the Chinese "sound symbols", born from the formation and transformation of the sound materials. Expect an effective demonstration on the sound materials’ use and performance in Acousmatic Music based on the instance analysis and multi-dimension research in material.