The Temporal Interpretation Of Sound Patterns In Electronic/computer Music

The theory of sound shapes of temporality in Electroacoustic Music,is a derivative concept based on the "Typo-morphology" proposed by Pierre Scheaffer(the Concrete Music pioneer),the "Spectromorphology" further proposed by Dennis Smalley,and the sound theory of Edgard Varese.It includes not only the sound form based on the spectrum of Electroacoustic Music,but also the dynamic behavior of sound in the time dimension.Therefore,we can use this concept to analyze the dynamic changes of sound in time dimension in Electroacoustic Music,and the Morphological of sound in micro-spectrum.The theory of sound form greatly enriches the aesthetic perception perspective and analysis approach of electronic and computer music.Throughout the history of Electroacoustic Music,space and time are the two most important elements in the exploration of Electroacoustic Music.At present,the theoretical research and works analysis on the spatial layout and setting of soundshapes have been discussed,but there are few theoretical exploration and work analysis from the dimension of time.Therefore,starting from the"time" dimension,based on Sheffield's theory of sound morphology,combined with the representative examples of various works in Electroacoustic Music,the author tries to analyze,summarize and sort out the sound morphology of Electroacoustic Music.The writing is divided into four parts:the "time" concept in the Electroacoustic;the understanding on the temporization of soundshapes in the Electroacoustic music;the theoretical development and creation practices of soundshapes in the time dimension of several representative composers in the early stage;the temporality of granular synthesis.In the process of writing,the Writer has been trying to add a positive interpretation to the theory discussed,combining with the analysis of various representative works.