This article specifically addresses electroacoustic music compositions that borrow from existing musical and sound resources. Investigating works that borrow and thrive upon existing sound sources presents an array of issues regarding terminology, authorship and creativity. Embedding borrowed elements into new electroacoustic music goes beyond the simplicity of ‘cut and paste’ as composers approach this practice with new and novel techniques. Musical borrowings have been widely studied in fields of popular and classical music, from cover songs to quotations and from pastiches to theme and variations; however, borrowings that take place within the field of electroacoustic music can be less clear or defined, and demand a closer look. Because the components and building blocks of electroacoustic music are often recorded sound, the categories of borrowing become vast; thus incidences of borrowing, in some shape or form, can appear inevitable or unavoidable when composing. The author takes on this issue and proposes a new framework for categorising borrowings as a helpful aid for others looking to sample in new compositional work, as well as for further musicological study. The article will consider the compositional process of integration and reworking of borrowed material, using a repertoire study to showcase the variety of techniques in play when sound materials change hands, composer to composer. Terminology already in use by others to describe sound borrowing in electroacoustic music will be investigated in an effort to show the multitude of considerations and components in action when borrowing takes place. Motivations for borrowing, borrowing types, borrowing durations, copying as imitation, and composers’ reflections upon borrowing will all be considered within the article, along with discussions on programmatic development and embedding techniques. At the heart of this article, the author aims to show how widespread and pervasive borrowing is within the electroacoustic repertoire by drawing attention to varieties of sound transplants, all considered as acts of borrowing.

中文翻译：

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借款术语

本文专门讨论从现有音乐和声音资源中借用的电声音乐作品。调查借用现有声源并在此基础上蓬勃发展的作品提出了一系列关于术语、作者身份和创造力的问题。将借来的元素嵌入到新的电声音乐中超越了“剪切和粘贴”的简单性，因为作曲家采用新的和新颖的技术来处理这种做法。音乐借用在流行音乐和古典音乐领域得到了广泛的研究，从翻唱歌曲到引语，从拼贴到主题和变奏；然而，在电声音乐领域发生的借用可能不太清晰或定义，需要仔细研究。因为电声音乐的组成部分和组成部分经常是录制的声音，借贷的种类越来越多；因此，在作曲时，以某种形式或形式出现的借用可能显得不可避免或不可避免。作者提出了这个问题，并提出了一个新的框架，用于对借词进行分类，以帮助其他希望在新作曲作品中采样的人，以及进一步的音乐学研究。本文将考虑对借来的材料进行整合和再加工的作曲过程，使用曲目研究来展示当声音材料易手、作曲家到作曲家时演奏中的各种技巧。将研究其他人已经使用的术语来描述电声音乐中的声音借用，以努力显示借用发生时的大量考虑因素和组件。借款动机、借款类型、文章中将考虑借用时长、模仿复制和作曲家对借用的反思，以及对程序开发和嵌入技术的讨论。在本文的核心，作者旨在通过引起人们对各种声音移植的注意来展示电声曲目中的广泛和普遍的借用，所有这些都被视为借用行为。