There are a number of electroacoustic (EA) composers who draw on spiritual or religious material for their work. However, for some the word ‘spiritual’ is problematic, being too vague or broad, and the word ‘religious’ too narrow. To refine the word ‘spiritual’ therefore, in a way that might be acceptable also to those who are religious, I employ the contemporary concept of spiritual intelligence (SI) as a proposed framework for linking a discourse of spirituality with electroacoustic music. In addition to postulating SI as a way of framing the word ‘spirituality’, I identify three different ways in which EA composers draw on spiritual or religious material: some use existing sacred texts or methods; some approach sound itself to explore the nature of reality; finally, there are those who are drawn to ancient ways of understanding where spirit and material worlds are not separated; for example, in the West, the Pythagorean tradition.

中文翻译：

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以灵性智能为框架，将电声音乐与灵性联系起来

有许多电声 (EA) 作曲家利用精神或宗教材料来创作作品。然而，对于一些人来说，“精神”这个词是有问题的，太模糊或太宽泛，“宗教”这个词太窄。因此，为了提炼“精神”这个词，以一种宗教人士也可以接受的方式，我采用当代的精神智力（SI）概念作为将精神话语与电声音乐联系起来的建议框架。除了将 SI 假设为构建“精神”一词的一种方式，我还确定了 EA 作曲家利用精神或宗教材料的三种不同方式：一些使用现有的神圣文本或方法；一些方法听起来本身就是探索现实的本质；最后，有些人被古老的理解方式所吸引，精神世界和物质世界并没有分开；例如，在西方，毕达哥拉斯的传统。