電子音樂
参考文獻

↑  "The stuff of electronic music is electrically produced or modified sounds. ... two basic definitions will help put some of the historical discussion in its place: purely electronic music versus electroacoustic music" (Holmes 2002，第6頁).
↑  "Electroacoustic music uses electronics to modify sounds from the natural world. The entire spectrum of worldly sounds provides the source material for this music. This is the domain of microphones, tape recorders and digital samplers…can be associated with live or recorded music. During live performances, natural sounds are modified in real time using electronics. The source of the sound can be anything from ambient noise to live musicians playing conventional instruments" (Holmes 2002，第8頁).
↑  "Electronically produced music is part of the mainstream of popular culture. Musical concepts that were once considered radical—the use of environmental sounds, ambient music, turntable music, digital sampling, computer music, the electronic modification of acoustic sounds, and music made from fragments of speech-have now been subsumed by many kinds of popular music. Record store genres including new age, rap, hip-hop, electronica, techno, jazz, and popular song all rely heavily on production values and techniques that originated with classic electronic music" (Holmes 2002，第1頁). "By the 1990s, electronic music had penetrated every corner of musical life. It extended from ethereal sound-waves played by esoteric experimenters to the thumping syncopation that accompanies every pop record" (Lebrecht 1996，第106頁).
↑  Rosen 2008.
↑  Russcol 1972，第67頁.
↑  Anonymous 2001.
Note: Historically, world's first electronic musical instruments using active component may be the Audion Piano developed in 1915 by Lee De Forest who also invented Audion tube, the first active component for amplification and oscillation.  However at that era, also passive components were researched for oscillation（ex. intermittent glow discharge of neon tubes  （页面存档备份，存于））, and possibly more earlier electronic musical instruments might be found.
↑  , 120years.net,   [2014-05-17], （原始内容存档于2012-03-02）
↑  Lee De Forest, , Wilcox & Follett: 306–307, 1950
↑  Orton & Davies n.d. harvnb模板錯誤: 無指向目標: CITEREFOrtonDaviesn.d. (幫助)
↑  Busoni 1962，第95頁.
↑  Busoni 1962，第76–77頁.
↑  Russcol 1972，第35–36頁.
↑  Quoted in Russcol 1972，第40頁.
↑  Russcol 1972，第68頁.
↑  Composers using the instrument ultimately include Boulez, Honegger, Jolivet, Koechlin, Messiaen, Milhaud, Tremblay, and Varèse. In 1937, Messiaen wrote Fête des belles eaux for 6 ondes Martenot, and wrote solo parts for it in Trois petites Liturgies de la Présence Divine（1943–44）and the Turangalîla Symphonie（1946–48/90）.
↑  Russcol 1972，第70頁.
↑  Crab 2005.
↑  Anonymous & n.d.(1) harvnb模板錯誤: 無指向目標: CITEREFAnonymousn.d.(1) (幫助).
↑  Tyson n.d.
↑  Anonymous 2006.
↑  Engel 2006，第4 and 7頁.
↑  Krause 2002 abstract （页面存档备份，存于）.
↑  Engel & Hammar 2006，第6頁 harvnb模板錯誤: 無指向目標: CITEREFEngelHammar2006 (幫助).
↑  Snell 2006,  （页面存档备份，存于）.
↑  Angus 1984.
↑  Hammar 1999,  （页面存档备份，存于）.
1 2  Young, Rob, , The Wire, 2007, 277 (March 2007): 24  [2011-12-30], （原始内容存档于2021-05-24） .
↑  Holmes 2008，第156–57頁.
↑  "Musique Concrete was created in Paris in 1948 from edited collages of everyday noise" (Lebrecht 1996，第107頁).
↑  NB: To the pioneers, an electronic work did not exist until it was "realized" in a real-time performance (Holmes 2008，第122頁).
↑  Snyder n.d.  （页面存档备份，存于）.
↑  Eimert 1972，第349頁.
↑  Eimert 1958，第2頁; Ungeheuer 1992，第117頁.
↑  (Lebrecht 1996，第75頁). "... at Northwest German Radio in Cologne (1953), where the term 'electronic music' was coined to distinguish their pure experiments from musique concrete..."（Lebrecht 1996, 107）.
↑  Stockhausen 1978，第73–76, 78–79頁.
↑  "In 1967, just following the world premiere of Hymnen, Stockhausen said about the electronic music experience: '... Many listeners have projected that strange new music which they experienced—especially in the realm of electronic music—into extraterrestrial space. Even though they are not familiar with it through human experience, they identify it with the fantastic dream world. Several have commented that my electronic music sounds "like on a different star," or "like in outer space."  Many have said that when hearing this music, they have sensations as if flying at an infinitely high speed, and then again, as if immobile in an immense space.  Thus, extreme words are employed to describe such experience, which are not "objectively" communicable in the sense of an object description, but rather which exist in the subjective fantasy and which are projected into the extraterrestrial space'" (Holmes 2002，第145頁).
1 2  Holmes 2008，第106頁.
↑  Holmes 2008，第106 & 115頁.
↑  Fujii 2004，第64–66頁.
1 2  Fujii 2004，第66頁.
↑  Holmes 2008，第106–7頁.
1 2 3  Holmes 2008，第107頁.
↑  Fujii 2004，第66–67頁.
1 2 3  Fujii 2004，第64頁.
1 2  Fujii 2004，第65頁.
↑  Holmes 2008，第108頁.
↑  Holmes 2008，第108 & 114–5頁.
↑  Loubet 1997，第11頁 harvnb模板錯誤: 無指向目標: CITEREFLoubet1997 (幫助)
↑  Reid 2004.
↑  Johnson 2002，第2頁.
↑  Johnson 2002，第4頁.
↑  "Carolyn Brown [Earle Brown's wife] was to dance in Cunningham's company, while Brown himself was to participate in Cage's 'Project for Music for Magnetic Tape.'... funded by Paul Williams（dedicatee of the 1953 Williams Mix）, who—like Robert Rauschenberg—was a former student of Black Mountain College, which Cage and Cunnigham had first visited in the summer of 1948" (Johnson 2002，第20頁).
1 2 3  Russcol 1972，第92頁.
1 2 3 4 5 6  Luening 1968，第48頁.
↑  Luening 1968，第49頁.
1 2  Kurtz 1992，第75–76頁.
↑  Anonymous 1972.
↑  Holmes 2008，第145–46頁.
↑  Rhea 1980，第64頁 harvnb模板錯誤: 無指向目標: CITEREFRhea1980 (幫助).
↑  Holmes 2008，第153頁.
↑  Holmes 2008，第153–54 & 157頁
↑  Xenakis 1992[页码请求]
↑  "From at least Louis and Bebbe Barron's soundtrack for 'The Forbidden Planet" onwards, electronic music - in particular synthetic timbre - has impersonated alien worlds in film" (Norman 2004，第32頁).
↑  Doornbusch 2005 [页码请求].
↑  Schwartz 1975，第347頁.
↑  Harris n.d.
↑  Kurtz 1992，第1頁.
↑  Glinsky 2000，第286頁.
↑  .   [2020-09-21]. （原始内容存档于2012-03-10）.
↑  Gluck 2005[页码请求].
↑  Tal & Markel 2002，第55–62頁 harvnb模板錯誤: 無指向目標: CITEREFTalMarkel2002 (幫助).
↑  Schwartz 1975，第124頁.
↑  Bayly 1982–83，第150頁.
↑  "A central figure in post-war electronic art music, Pauline Oliveros [b. 1932] is one of the original members of the San Francisco Tape Music Center（along with Morton Subotnick, Ramon Sender, Terry Riley, and Anthony Martin）, which was the resource on the U.S. west coast for electronic music during the 1960s. The Center later moved to Mills College, where she was its first director, and is now called the Center for Contemporary Music." from CD  liner notes, "Accordion & Voice," Pauline Oliveros, Record Label: Important, Catalog number IMPREC140: 793447514024.
1 2  Frankenstein 1964.
↑  Loy 1985，第41–48頁.
↑  Begault 1994，第208頁, online reprint （页面存档备份，存于）.
↑  Hertelendy 2008.
↑  Doornbusch 2005 [页码请求].
↑  Mattis 2001.
↑  Stockhausen 1971，第51, 57, 66頁.
↑  "This element of embracing errors is at the centre of Circuit Bending, it is about creating sounds that are not supposed to happen and not supposed to be heard (Gard 2004). In terms of musicality, as with electronic art music, it is primarily concerned with timbre and takes little regard of pitch and rhythm in a classical sense. ... . In a similar vein to Cage’s aleatoric music, the art of Bending is dependent on chance, when a person prepares to bend they have no idea of the final outcome" (Yabsley 2007).
↑  
"In 1969, a portable version of the studio Moog, called the Minimoog Model D, became the most widely used synthesizer in both popular music and electronic art music" Montanaro 2004 [页码请求].
↑  Zussman 1982，第1, 5頁
↑  Sofer & Lynner 1977，第23頁 harvnb模板錯誤: 無指向目標: CITEREFSoferLynner1977 (幫助) "Yes, I used [ Moog modular equipment ] until I went with Herbie (Hancock) in 1970. Then I used a [ ARP ] 2600 because I couldn't use the Moog on stage. It was too big and cranky; every time we transported it, we would have to pull a module out, and I knew I couldn't do that on the road, so I started using ARP's."
↑  Morawska-Büngeler 1988，第52, 55, 107–108頁
↑  Vine 2011.
1 2  Aitken 2011.
↑  Schutterhoef 2007  （页面存档备份，存于）.
↑  Bussy 2004，第15–17頁.
↑  Unterberger 2002，第1330–1頁.
1 2  Jenkins 2007，第133–34頁
1 2  Osamu Kitajima – Benzaiten在Discogs的頁面
↑  Holmes 2008，第403頁.
1 2  Maginnis n.d.
1 2  Anonymous & n.d.(2) harvnb模板錯誤: 無指向目標: CITEREFAnonymousn.d.(2) (幫助).
↑  Russ 2004，第66頁 harvnb模板錯誤: 無指向目標: CITEREFRuss2004 (幫助).
[查证请求]
↑  Anonymous 1979.
↑  Yellow Magic Orchestra – Yellow Magic Orchestra在Discogs的頁面
↑  , Sound International, 1981, (33–40): 147  [2011-06-21], （原始内容存档于2016-11-09）
↑  Anderson 2008.
↑  Blashill 2004，第[页码请求]頁 harvnb模板錯誤: 無指向目標: CITEREFBlashill2004 (幫助)
↑  Holmes 2008，第227頁.
↑  Ozab 2000  （页面存档备份，存于）.
1 2  Holmes 2008，第257頁.
↑  Chowning 1973.
↑  Holmes 2008，第257–8頁.
↑  Roads 1996，第226頁.
↑  Holmes 2008，第258–9頁.
↑  Vercoe 2000，第xxviii–xxix頁.
↑  Emmerson 2007，第111–13頁.
↑  Emmerson 2007，第80–81頁.
↑  Emmerson 2007，第115頁; Collins 2003.
↑  , Winter Music Conference,   [2011-06-06], （原始内容存档于2009-02-18） —Best Audio Editing Software of the Year - 1st Abelton Live, 4th Reason. Best Audio DJ Software of the Year - Abelton Live.
↑  Chadabe 2004，第5–6頁.
↑  . Anti-theory.com.   [2014-04-24]. （原始内容存档于2014-04-21）.