Abstract Syntax and Abstracted Syntax
抽象语法和抽象后的语法/Chou1 Xiang4 Yu3 Fa3
“The contemporary music polemic of the post-war era - in Europe the divide between ‘elektronische musik’ and ‘musique concrète’, in America the divide between the legacy of serialism from Europe and the freer approach of many young composers - as the opposition of an ‘abstract’ syntax to one ‘abstracted’ from the materials.” The pairing was proposed by Simon Emmerson, in 'The Relation of Language to Materials' in Emmerson, S., ed. (1986 p.23). The Language of Electroacoustic Music.
作曲的材料按照形式化原则加以组织，抽象语法涉及到这种方式。声音的本质与材料自身的特点，对于抽象语法而言无关紧要。抽象语法感知材料本身内在的相关性，从这点来看，它还涉及到结构原理。“抽象语法”和“抽象后的语法”，这对概念由Simon Emmerson提出，在其1986年所著的书《电子声学音乐的语言》(Basingstoke: Macmillan Press）的“材料中具有的语言关系”内容中，他提到了二者之间的连续统一性。
Abstract Syntax refers to the manner in which compositional material may be organised according to formal principles, extrinsic to the sonic nature and characteristics of the material itself. Abstracted Syntax refers to the extraction of structuring principles according to what is perceptually perceived as of pertinence within the material itself. The pairing was proposed by Simon Emmerson, in 'The Relation of Language to Materials' in Emmerson, S., ed. (1986). The Language of Electroacoustic Music. (Basingstoke: Macmillan Press), in which he proposes a continuum between the two. The pair is also related to Aural/Mimetic Discourse.
术语顾问/Consultant to terminology