This selection of music compiled for the readers of the current issue of Computer Music Journal is conceived as an imaginary concert. With a duration of just under 80 minutes, the sonic proceedings, including breaks, reach a length typical for a DVD, a CD, or a concert with electroacoustic music—not too short, not too long. The individual works, with lengths falling between 4 and 15 minutes, are also in the range of typical durations for electroacoustic music. “. . .Time will tell. . .”? Is this the “typical” example of music to which we have become accustomed? Does it meet our expectations? Surely not! Neither the familiar nor the expected are what are important, what matters is the new and unknown—that which is not easily explained or demystified. We are looking neither for witty and poetic explanations nor for scholarly elucidation and academic sagacity. We know full well that behind every work a tremendous amount of technical and scientific skill is involved, and that is something worth recognizing. Nevertheless, this Anthology is not based on a technical or scientific theme, but only on an auditory fiction: an acousmatic concert from—reflecting the international orientation of CMJ—an international collection of composers. The term acousmatic, about which there has been some controversy, was introduced by the Groupe de recherche musicales (GRM), specifically by François Bayle, in 1974. The idea was that concertgoers should focus solely on the acoustic aspects of the performance and not be distracted by optical influences or anything else. This can be a challenge—and a difficult one at that—for 21st-century

中文翻译：

---

声音选集：节目笔记

为当前一期《计算机音乐杂志》的读者编写的精选音乐被认为是一场想象中的音乐会。在不到 80 分钟的持续时间内，声音过程（包括休息时间）达到了 DVD、CD 或带有电声音乐的音乐会的典型长度——不会太短，也不会太长。时长在 4 到 15 分钟之间的个人作品也在电声音乐的典型时长范围内。“。. .时间会证明一切。. .”？这是我们已经习以为常的“典型”音乐例子吗？它符合我们的期望吗？肯定不是！熟悉的和预期的都不重要，重要的是新的和未知的——不容易解释或揭开神秘面纱的。我们不寻求诙谐和诗意的解释，也不寻求学术的阐释和学术的睿智。我们深知每一项工作背后都涉及大量的技术和科学技能，这是值得认可的。尽管如此，这本选集并非基于技术或科学主题，而仅基于听觉小说：来自国际作曲家收藏的 CMJ 的声学音乐会——反映了 CMJ 的国际定位。声学这个术语一直存在争议，它是由音乐研究小组 (GRM)，特别是弗朗索瓦·贝勒 (François Bayle) 在 1974 年引入的。当时的想法是，音乐会观众应该只关注表演的声学方面，而不是被光学影响或其他任何事情分心。