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Source: "Audio Culture, Readings In Modern Music" C.Cox and D.Warner (2004 p.339-407). Chronology (excerpt)
Educational Goals: * Possible – Pre-College introduction (diploma or certificate) in Electroacoustic Music, Sound Design and/or Studio Engineering. * BA or BMus degree in Electroacoustic Music; BSc degree in Studio Engineering. * Desirable – BA degree in Sound Design. * MA or MMus degree in Electroacoustic Music and, if possible, Sound Design; MSc in Studio Engineering. * PhD Two clear goals: • To have the undergraduates and postgraduates interact as much as possible (postgraduates = role model). • To have the Centre and the Composition Department interact wherever relevant seeking synergy. Research Goals: * Projects in Electroacoustic Music Studies and related Technological Development. * Projects in Sound Design (eventually with other media) and related Technological Development. * Projects in Audio Recording and related Technological Development. Research involves scholarship, artistic creativity and technological development and can become a source of income generation in due course. Subjects beyond creative outputs might include electroacoustic music analysis, soundscape studies, spatialisation, interactivity (e.g., sensor tracking), hacking, multimedia (sound design) developments as well as field recording, binaural/ambisonic recording and multi-channel recording. Commercial Collaborations: with regional businesses – development opportunities ideally creating income generation in the coming years. Staffing: • Centre Director – responsible for the Centre’s vision and success (ideally reporting directly to the President) – initially part-time. • Academic Staff (including at one PhD full-time member/BA coordinator) – the number of staff to be determined by the number of courses and students at all levels following existent TJCM norms. • At least one technician to oversee creative studios, workshop studios, recording studios, laboratories, computer rooms and concert venues. • Administrative Staff and Assistants to Academic Staff. Spaces beyond Classrooms: • A number of computer workstations/labs (headphones) to be determined by the student population. • 1 – 3 multi-channel creativity production studios (including at least one allowing for video production). • Workshop studios including one particularly suited for interactivity projects. • A room for instrument building (live electronics) • A room for the creation and display of sound installations. • 2 – 3 recording studios. • A purpose-built and acoustically relevant small to midsize performance space with 3-d sound diffusion possibilities (can be shared with other departments if needed). Student intake: Proposal: up to 10 students/year in electroacoustic music, 5-10 in sound design and 5 students/year for recording at undergraduate level. No maximum number for masters and PhD students. Pre-college numbers and appropriate fee level to be negotiated. Season: • Annual concert series at the Conservatory and in outside venues and beyond. • Annual festival of electroacoustic/experimental/’underground’ latest developments making it highly distinctive in today’s Chinese new music landscape. • + Shorter festival/competition of combined (mixed and vocal/instrumental + live electronic) works. The above two can be combined if that is useful. • At least one conference, forum or symposium per year of national or international importance. • If there is a pre-college course, outreach at schools in the region (concerts, workshops and short-courses). Partnerships: • Exchange agreements with Chinese and foreign educational institutions regarding education, research and cultural exchange. • + Similar agreements with relevant cultural and commercial organisations. Ideally this Centre would have its own status and not fall under the Composition Department. It should have its own separate entrance exams for electroacoustic music, sound design and audio recording technology. If it is to fall under the Composition Department, it should not increase staff workload (e.g., Department Head).
Noise/噪 Music/樂
Europe: ‘elektronische musik’ ‘musique concrète’ America: the legacy of serialism from Europe the freer approach of many young composers Abstract Syntax: ‘elektronische musik’ the legacy of serialism from Europe Abstracted Syntax: ‘musique concrète’ the freer approach of many young composers 玄之又玄 有無相生 難易相成 長短相較 高下相傾 音聲相和 前後相隨 Being and non-being interdepend in growth Difficult and easy interdepend in completion Long and short interdepend in contrast High and low interdepend in position Tones and voice interdepend in harmony Front and behind interdepend in company Abstract: 虚之 Abstracted：又虚
非叙境的声音是无声源的（参见术语译法：闻）。
The term non-diegetic is tagged to the term acousmatic, which is based on folksonomy. Please see the source: "offscreen (non-diegetic) sound in films is sound that is acousmatic".
同时，我认为，Intelligent是双关，其既有“人工智能”的含义，同时又有“心灵”的含义。暗示这种音乐是：电子的（数字的），让心灵（而不是身体）跟着跳舞的音乐。
