电子 音乐 is made from 电子 信号 which are converted into 声音 by 扬声器

Where did it begin?
In the 1950s 作曲者 in the 无线电 工作室 at Cologne Germany began to experiment in 创作 音乐 with 电子 设备

Many other 工作室 soon built up collections of 电子 设备 originally 发明 to test the 无线电 设备 and 作曲者 began to 使用 these as new 乐器 with which they could 创作 new 作品

Solitaire by Arne Nordheim
聆听 to this 作品 of 电子 音乐 composed by the Norwegian Arne Nordheim in 1968 Individual 电子 音调 are 循环 layered and 合并 to 创作 a rich and dramatic 声音 world with a great 感觉 of 深度 See below for a more detailed 调查 of this clip

What does this 音乐 involve?
By working with 电子 震荡器 作曲者 were able to 控制 every 细节 of the 声音 that they 创作 This allowed them to be very precise and 创作 exactly the 种类 of 声音 that they planned

They were able to 操控 the 主要 参数 of 声音 音高 响度 时值 with the 控制 on their 电子 设备 and to 改变 音色 and character of the 声音 that they 创作 by changing the 基础 soundwave 种类 and the 形状 of the 声音 over 时间

Absolute Control
Starting with the 基础 building blocks of 声音 gives the 作曲家 absolute 控制 from the beginning However this does 意味着 that the 作曲家 must specify every 细节 about the 声音 in order to get the 声音 that they want

But working with 纯 电子 音调 as building blocks 作曲者 of 电子 音乐 have a much cleaner working 过程 than the messy and 实验 world of 音乐 具体 They begin with 纯 simple 声音 and build them into more 复(杂) 结构

Fact
Because they were able to easily 创作 a lot of 声音 many 作曲者 used simple rules to help them 窄 down the 声音 that they wanted to 使用 in their 作品

These rules might involve

a only using a select few 声音
b never using the same 声音 next to one another or
c leaving it completely up to 偶然性 and letting the roll of dice decide which 声音 to 使用 next

作曲 Tools
电子 音乐 声音 are mostly 生成 and designed in the way the 作曲家 wants them

Sometimes manipulations are needed and those commonly used in 电子 音乐 are

Loop
Transposition
Filter
Reverb
Echo

How was that 作品 made?
The 例如 which we 聆听 to 早期 “Solitaire” [by Arne Nordheim] is made from three 主要 layers of 电子 声音

Click below to play the clip while viewing the 频谱图 可视化 of the 声音

学习 more about each of the three 片段 below

Extra
Karlheinz Stockhausen was an 重要 作曲家 of 电子 音乐 who worked in the Cologne 工作室

Before travelling to Cologne he worked with 皮埃尔 舍费尔 in Paris Because of this he 合并 both the 观念 and 方法 of 音乐 具体 with those of 德国电子 音乐 创作 作品 such as Gesang Der Jünglinge in which he 合并 录制 声音 of a boy’s voice manipulated using 转换 切片 and montage with 电子 音调

Extra
Further 作品 by Arne Nordheim are available from Rune Grammofon RCD 2002 c&p 1998

Click here to link to the other 音乐 available

Keywords
抽象 声音 起衰延消 起(始) 衰(减) 延(续) 消(去)/释放 模拟 电子 音乐 德国电子 音乐 振荡器 音高 移位/偏移 正弦 Wave


百科
音乐 in which the 声音 材料 is 不 预先录制 but instead uniquely 生成 电子手段 through 震荡器 and 噪音 发生器

There are some 尤其 in the United States who 使用 this 术语 today as a synonym for 电子声学 音乐

The German 相当于 德国电子 音乐 has more precise 历史 connotations referring to 电子手段 生成 post-serial 作曲 that commenced in the early 1950s in the 广播 工作室 in Cologne In French 电子 音乐 is also currently used as a synonym for 风格 of 流行 电子 音乐 such as 铁科诺 [EARS]