Organised Sound 24/2 considers the perceptual issues that surround the experience of listening to electroacoustic music. In framing this topic, the guest editor aimed to contextualise issues pertinent to electroacoustic pratice and identify the perceptual constraints but also opportunities. This endeavour sought to promote an interdisciplinary dialogue that explores potential synergies for all parties involved, and also the review process reflected this aim. The response to the initial call was as thematically diverse as the practices of the electroacoustic genre, addressing manifold ways in which perception, and cognition, become relevant. Listening, both as a term and ability, gained importance when increasingly experimental approaches to 20th-century music required new habits or ways of engagement from their listeners. To name only a few from an eclectic range of examples, such approaches concerned proclamations such as ‘new music: new listening’ (Cage, 1961, 10), a conscious move away from the ocularcentric toward acoustic ecology (Schafer, 1993), elitist stances on listening acuity expected of the target audience (e.g., Babbitt, 1998) or more explicit mentions as in deep listening (Oliveros, 2005), technological listening (Smalley, 1997), and referential, contextual or reflective listening (Norman, 1996). Nowhere has listening in relation to new musical practices been more systematically studied and discussed, however, as in Pierre Schaeffer’s theories on musique concrète, formalised in his highly influential treatise (Schaeffer, 1966, 2017, French original and English translation, respectively). Ever since, Schaeffer’s quatre écoutes, four modes of listening, as well as the more widely known derivative mode écoute reduite (reduced listening), have influenced theories across the entire electroacoustic genre, as is also the case in this journal issue. The quatre écoutes concern the French terms écouter (to listen), ouïr (to perceive aurally), entendre (to hear), and comprendre (to understand), with the English translations taken from the Schaeffer (2017) translation by John Dack and Christine North. Whereas Schaefferian theory is rooted in phenomenology, even if unknowingly at first, the quatre écoutes and their definitions make explicit reference to auditory perception and how it could be involved in each mode. As this Organised Sound issue promotes a dialogue between electroacoustic practice and psychological sciences, some terminological conventions and distinctions should be addressed. This is also due to major language differences between French and English, as also Christine North acknowledges, writing on behalf of the translators of Schaeffer (2017). Most psychological research is published in English, where both the terms hearing and listening are commonly employed to describe activity related to audition. Hearing is more commonly understood as a passive, pre-attentive, and largely automated form of perception, as illustrated by fundamental research in auditory physiology and perception opting for it, e.g., Introduction to the Psychology of Hearing (Moore, 2013), Spatial Hearing (Blauert, 1997). Listening, on the other hand, acts as an active and conscious mode of perception, which likely also engages cognitive facilities like attention and memory. Among Schaeffer’s quatre écoutes, mainly auditory activity relates to écouter, ouïr and entendre. As their individual roles should be well-established among electroacoustic practitioners and researchers, we will refrain from providing detailed definitions but would still like to highlight how the two English terms established above relate to the French terms. Hearing most closely matches Schaeffer’s ouïr, which he un-

中文翻译：

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社论：围绕电声聆听体验的感知问题

Organized Sound 24/2 考虑了围绕聆听电声音乐体验的感知问题。在构建这个主题时，客座编辑旨在将与电声实践相关的问题背景化，并确定感知约束和机会。这项努力旨在促进跨学科对话，探索所有相关方的潜在协同作用，审查过程也反映了这一目标。对最初呼吁的回应与电声流派的实践在主题上一样多样化，解决了感知和认知变得相关的多种方式。当 20 世纪音乐的实验性方法越来越需要听众的新习惯或参与方式时，听力，作为一个术语和能力，变得越来越重要。仅举几个不拘一格的例子，这些方法涉及诸如“新音乐：新聆听”（Cage，1961, 10）、有意识地从以眼为中心转向声生态学（Schafer，1993）、精英主义对目标受众预期听力敏锐度的立场（例如，Babbitt，1998）或更明确地提及深度聆听（Oliveros，2005）、技术聆听（Smalley，1997）以及参考、情境或反思性聆听（Norman，1996） . 然而，关于新音乐实践的聆听没有任何地方得到更系统的研究和讨论，就像皮埃尔·谢弗关于具体音乐的理论，在他极具影响力的论文中正式化（谢弗，1966 年，2017 年，分别为法文原版和英文译本）。从那以后，谢弗的quatre écoutes，四种聆听模式，以及更广为人知的派生模式 écoute reduite（减少聆听），影响了整个电声流派的理论，本期杂志也是如此。quatre écoutes 涉及法语术语 écouter（听）、ouïr（听觉）、entender（听到）和 comprendre（理解），英文翻译取自 Schaeffer (2017) 翻译，John Dack 和 Christine北。尽管 Schaefferian 理论植根于现象学，即使一开始是不知情的，quatre écoutes 及其定义明确提到听觉感知以及它如何参与每种模式。由于这个有组织的声音问题促进了电声实践和心理科学之间的对话，因此应该解决一些术语约定和区别。这也是由于法语和英语之间的主要语言差异，Christine North 也承认，代表 Schaeffer (2017) 的翻译者写作。大多数心理学研究以英语发表，其中听力和听力这两个术语通常用于描述与试听有关的活动。听力通常被理解为一种被动的、预先注意的、很大程度上自动化的感知形式，如听觉生理学和感知选择它的基础研究所示，例如，听力心理学导论（摩尔，2013 年），空间听力（布劳尔特，1997 年）。另一方面，聆听是一种主动和有意识的感知模式，它也可能涉及注意力和记忆等认知设施。在谢弗的 quatre écoutes 中，听觉活动主要与 écouter、ouïr 和 entendre 相关。由于他们在电声从业者和研究人员中的个人角色应该得到很好的确立，我们将不提供详细的定义，但仍想强调上面建立的两个英语术语与法语术语的关系。听力最符合 Schaeffer 的 ouïr，他未-