Can we any longer usefully speak of spectral music, beyond a very particular moment in Paris in the 1970s? Though the label still has a currency, the validity of the term has long been disputed even by its key practitioners. Gérard Grisey preferred to speak of liminal music, music on a threshold, and of spectralism as an attitude rather than a set of techniques. Yet a shared curiosity about the inner life of sounds, stimulated by an engagement with technology, certainly enabled a radical rethinking and renewal of how music could speak. Spectral thinking enabled composers to re-engage with time, with listening, with memory. Through this spectral node flowed all other kinds of music, which flowered in all sorts of new and varied directions. A heightened awareness of the properties of sound prompted new modes of musical thought and expression. Spectralism also represented a renewal of what might be understood more broadly as modernist thinking in the music of the later twentieth century. Spectral thinking – rather than merely the science of the spectrum of sound – acknowledges the importance for so-called spectral music of a wider set of concerns that engage with time, space, listening, nature, and society.

中文翻译：

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简介：光谱思维

除了 1970 年代巴黎的一个非常特殊的时刻，我们还能再有用地谈论光谱音乐吗？尽管该标签仍然具有流通性，但该术语的有效性长期以来一直存在争议，即使是其主要从业者也是如此。Gérard Grisey 更喜欢谈论阈限音乐，门槛音乐，以及光谱主义作为一种态度而不是一套技术。然而，由于与技术的接触，人们对声音的内在生活产生了共同的好奇心，这无疑促成了对音乐如何说话的彻底重新思考和更新。光谱思维使作曲家能够重新投入时间、倾听和记忆。通过这个光谱节点流动着所有其他类型的音乐，它们以各种新的和不同的方向开花。对声音特性的高度认识促进了新的音乐思想和表达方式。光谱主义也代表了对 20 世纪后期音乐中可能被更广泛地理解为现代主义思想的一种更新。频谱思维——而不仅仅是关于声音频谱的科学——承认所谓的频谱音乐的重要性，它涉及到与时间、空间、聆听、自然和社会相关的更广泛的关注点。