[3] Cahill, T. “The Electrical Music as a Vehicle of Expression.” Papers and proceedings of the music teachers’ national association at its twenty-ninth annual meeting, Columbia University, New York City, December, 1907,1908. 27-31.

[4] “Electrical Musical Instruments.” Electrical World, 47:13, 1906. 665-666. 1906 年关于特哈莫尼琴的 报道也提及该制造厂的工人使用了“电音乐”的叫法，参看 Baker, R.S. “New Music for an Old World.” McClure’s Magazine, 27, 1906. 301.

[5] Glinsky, A. Theremin: Ether music and espionage. Urbana and Chicago: University of Illinois Press, 2000. 32.

[6] 无线电音乐的另一种英文表达是“Radioelectric Music”，见 Weiss, “Radioelectric Music.” Electronics,

March 1931. 565. 这个短讯介绍法国的库普勒克斯-吉弗莱特琴相关技术。

[7] 参见 Glinsky, A.的书，第 53 页。

[8] 参见 Glinsky, A.的书，第 56 页。

[9] “New Wonders in Air Music.” Daily Herald, December 10, 1927. London. [10] Mager, J. “Eine Neue Epoche Der Musik Durch radio.” 1924. Berlin.

[11] 比如“电子应用”（electronic application）、“电子主题”（electronic subjects）、“电子进展”

（electronic advances）、“电子文学”（electronic literature）、“电子领域”（electronic field）和“电子 工业”（electronic industries）。

[12] Holland, W.E. “The Coming of the Electronic Age.” Electronics, June 1930. 141.

[13] Goldsmith , A.N. “The Music of the Electron.” Electronics, September 1930. 270-272. [14] Anonymous. “Electronic Musical Instruments.” Electronics, December 1930. 435.

[15] Raven-Hart, R. “Recent European Developments in Electronic Musical Instruments.” Electronics,

July 1931. 18.

[16] Anonymous. “International Electronic Music Congress， Munich， July 6 to 8.” Electronics, July 1931. 18.

[17] Anonymous. “Munich Congress on Electronic Music.” Electronics, September 1931. 118.

[18] Stokowski， L. “Electronic Music – The Music of the Future.” Electronics, August 1931. 53. [19] Anonymous. “Leon Theremin Demonstrates New Inventions.” Electronics, April 1932. 138.

[20] Saxl, I.J. “How Mordern Physicists are Using Vacuum Tubes to Extract Unique Music from ELectrons.”

Radio News 14, no 2, August 1932. 74,120,127.

[21] Anonymous. “Electronic Orchestra at Berlin.” Electronics, October 1932. 319.

[22] Gernsback, H. “Electronic Music.” Radio-Craft 4, no. 9, 1933. 521.

[23] Miessner, B.F. “Electronic Music and Instruments.” Proceedings of the Institute of Radio Engineers 24, no. 11, November 1936.

[24] Winch, G.T. and Midgley, A.M. “Electronic Musical Instruments and the Development of the Pipeless Organ.” Journal of the Institute of Electrical Engineers, 86, no. 522, 1940. 517-547.

[25] Hughes, L.E.C. “Electronic Music.” Nature, 145, February 1940. 170-174.

[26] Lewer, S.K. “The Future of Electronic Music.” Electronic Engineering, XVII, June 1944.32. [27] Lewer, S.K. “Electronic Musical Instruments.” Electronic Engineering, London, 1948.

[28] Schillinger, J. The Schillinger System of Musical Composition, New York:Carl Fischer, 1946. 1486; Chapter “Electronic Instruments”, Ibid., 1544-1554.

[29] Busoni, F. Sketch of a New Aesthetic of Music. Trans. Johnston, P. London: Precinct, 2012. 德文版本： Busoni, F. Entwurf Einer neuen Aesthetik der Tonkunst. 1907.

[30] Russcol H. The Liberation of Sound. Prentice-Hall, 1972. 68. [31] 参见 Smirnov A.的书，第 39-40 页。

[32] Schillinger, J. “The Electrification of Music.” ca. 1918, JPB 86–8, box 9, fol. 16, New York Public Library.

[33] Helmholtz, H. On the Sensations of Tone, trans. Ellis, A. New York: Dover, 1954. 371. [34] 参见 Smirnov A.的书，第 22-24 页。

[35] Russolo, L. L'arte dei Rumori. 1913. [36] 参看 Patteson, T.的书，第 75 页。

[37] Cage, J. “The Future of Music: Credo.” 1937 年用于在西雅图的讲座，1956 年以小册子形式发表，收集在

Silence. Wesleyan University Press, 1961.

[38] Schoenberg, A. Harmonielehre, seventh ed. Vienna: Universal-Edition, 1966. 503. [First edition, Leipzig and Vienna: Verlagseigentum der Universal-Edition, 1911.]

Schoenberg, A. Theory of Harmony. Translated by Roy E. Carter. Berkeley and Los Angeles: University of California Press, 1978. 421.

[39] 参见 Smirnov A.的书，第 28-29 页。

[40] 参见 Smirnov A.的书，第 35 页。

[41] Antheil, G. “Manifest der Musico-Mechanico.” De Stijl 6, no. 8, 1924. 102. [42] Cowell, H. New Musical Resources. Cambridge University Press, 1930.

[43] 参看 Patteson, T.的书，第 72 页。

[44] Varâse, E. “The Libration of Sound.” 1936. Reprinted in Schwartz E. and Childs B., Contemporary Composers on Contemporary Music, New York:Da Capo Press, 1998.

[45] Chavez, C. Toward a New Music. New York:Da Capo Press, 1975. 160-161.

[46] Schillinger, J. “Outline of the Work”, December 1931, trans. D.G. Nakeeb, AFLPI.

[47] Evans, E. “The Foundations of Twentieth-Century Music.” The Musical Times 58, no. 894, 1917. 351.

[48] Newman, E. “Piano-Player Music of the Future.” The Musical Times 58, no. 895, 1917. 391.

[49] 参看 Patteson, T.的书，第 30-51 页。

[50] Grainger, P. “Free Music.” Thwaites, December 6, 1938. 207-208.

[51] Katz, M. “Hindemith, Toch, and Grammophonmusik.” Journal of musicological research 20, no. 2, 2001.161-180.

[52] Dillmann, A. “Das Grammophon.” Die Stimme I, March 1910. II. [53] 参见 Smirnov A.的书，第 29 页。

[54] Moholy-Nagy, L. “Produktion—Reproduktion.” De Stijl 5, no. 7，1922. 98–100. English translation by Mátyás Esterházy in Krisztina Passuth, ed., Moholy-Nagy. London: Thames and Hudson, 1985. 289–90.

[55] Bagier, G. “Der sprechende Film.” in “Musik und Maschine” special issue, Musikblätter des Anbruch 8, nos. 8–9, 1926. 380–84.

[56] 参见 Smirnov A.的书，第 175-182 页。

[57] 参见 Smirnov A.的书，第 182-184 页。

[58] 参见 Smirnov A.的书，第 175 页。

[59] Stokowski， L. “New Horizons in Music.” Journal of the Acoustical Society of America, 4, 1932-33. 14-15.

[60] 参看 Patteson, T.的书，第 103 页。

[61] Wurtzler, S.J. Electric Sounds. New York: Columbia University Press, 2007.

[62] Schwartz, E. Electronic Music: A Listener’s Guide. Revised Edition. New York: Praeger Publishers, 1975. 6.

[63] 同上，第 3-13 页。

[64] 穆格的定义参看 Russcol H.的书，第 Xvi 页.

[65] Luening, O. “Origins.” The Development and Practice of Electronic Music, Eds. Appleton, J.H., Perera, R.C. Prentice-Hall, 1975. 2.

[66] Chadabe, J. Electric Sound. Prentice-Hall, 1997. X.

[67] Hugill, A. “The Origins of Electronic Music.” The Cambridge Companion to Electronic Music. Cambridge University Express, 2007. 7.

[68] Holms, T. Electronic and Experimental Music. Routledge, 2016. 372.

[69] Collins, N., Schedel M., & Wilson, S. Electronic music. New York: Cambridge University Press, 2013. 78,84.

[70] Roads, C. Composing Elelctronic Music: A New Aesthetic. Oxford University Press, 2015. 7-8.

[71] Palombini, C. “Machine Songs V: Pierre Schaeffer: From Research into Noises to Eeperimental Music.” Computer music journal 17, no. 3, Autumn 1993. 14-19. 1950 年舍费尔写过一篇题为《具体音乐介绍》的法文文 章。Schaeffer, P. “Introduction a la Musique Concrete.” Polyphonie 6, La musique mecanisâe, 1950. 30- 52.

[72] Kane, B. Sound Unseen – Acousmatic Sound in Theory and Practice, Oxford University Express, 2014.

[73] Luening, O. “Origins.” The Development and Practice of Electronic Music, Eds. Appleton, J.H., Perera, R.C. Prentice-Hall, 1975. 12.

[74] 同上，第 13 页。

[75] 比如 Martin, C. Musique ãlectronique. Paris: Technique et vulgarization, 1950. [76] Eimert, H. “What is electronic music?” die Reihe, 1, 1955. 1-10.

Eimert, H. “So begann die elektronische Musik.” Melos 39, 1972.

[77] Tazelaar, K. On the Threshold of Beauty, Philips and the Origins of Electronic Music in the Netherlands 1825-1965. V2 Publishing, 2014. 174-175.

[78] Stockhausen, K. “Artists’ Statements II.” The Cambridge Companion to Electronic Music. Cambridge University Express, 2007. 198.

[79] 参看 Patteson, T.的书，第 161 页。

[80] Stockhausen, K. “The Origins of Electronic Music.” The Music Times 112, no. 1541, 1971. 649-650.

[81] 比如 Patteson, T.的书，第 159-163 页。

[82] 1952 年乌萨切夫斯基和吕宁把他们对磁带录音进行处理的作曲称作“磁带音乐”。两人创建的“哥伦比亚实验音 乐工作室”后改名为“哥伦比亚磁带音乐工作室”。利奥波德·斯托科夫斯基解释说磁带音乐就是直接通过声音创作的 音乐，而不是先写在纸上然后再产生声音。Luening, O. The Odyssey of an American Composer. New York:Charles Scribner’s Sons, 1980. 511-517.

[83] Adkins, M. The Roberto Gerhard Companion. Ashgate Publishing Limited, 2013. 319. Guy,P.J.“Musique Concrâte and Radiophonics.” Practical Tape recording. London:Norman Price, 1964. 39. Judd, F.C. “Radiophonics at the B.B.C.” Amateur Tape Recording, Vidio & Hi-Fi, volume 10, May 1964. 8.

[84] 参看 Patteson, T.的书，第 162 页。

[85] 参看德国音乐学家 Christoph von Blumröder 的文章“Musique concrâte - Electronic Music – Acousmatic.”

Retrieved from http://on1.zkm.de/zkm/stories/storyReader$6403。

[86] Palombini, C. “Pierre Schaeffer, 1953: Towards an Experimental Music.” Music & Letters, Vol. 74, no. 4, Nov 1993. 542-557.

[87] Hodgkinson, T. “An Interview with Pierre Schaeffer - Pioneer of Musique Concrâte.” ReR Quarterly magazine, volume 2, number 1, 1987.

[88] Peignot, J. “De la musique concrâte à l'acousmatique.” Esprit 28, Paris:Esprit，1960. 111-123. [89] Groth,S.K. Politics and Aesthetics in Electronic Music. Musik Verket, 2014. 41-42.

[90] 同上，第 57-59 页。

[91] 同上，第 57 页。

[92] Caine, H.L. “Electronic Music.” Proceedings of the Institute of Radio Engineers XLIV/4, 1956. 457.

[93] Cross, L.M. A Bibliography of Electronic Music. University of Toronto Press, 1967. [94] Brown, C. “How to Make Electronic Music.” Popular Science, April 1960. 184-186,238.

[95] Lejaren, H. “Electronic Music at the University of Illinois.” Journal of Music Theory 7, 1963. 99. [96] Luening, O. “Some Random Remarks about Electronic Music.” Journal of Music Theory 8, 1964. 89-98.

[97] Mumma, G. “An Electronic Music Studio for the Independent Composer.” Journal of the Audio Engineering Society 12, 1964. 240.

[98] Seawright, J. “What is Electronic Music?” Radio Electronics, XXXVI, June 1965. 36-38.

[99] Berio, L. “Sur la musique electronique.” Schw MZ 97, Jun 1957. 265. Berio, L. “Note sulla musica elettronica.” Ricordiana [nuova serie] 3, Oct 1957. 427-437. Anonymous. “News and comments. Italy.

Electronic Music.” Score, no.11, March 1955. 67. Anonymous. “Das neue Buch: elektronische Musik in Italien.” Melos 24, May 1957. 139-140. Prieberg, F.K. “Italiens electronische Musik.” Melos 6, Jun 1958. 194-198.

[100] Tazelaar, K. On the Threshold of Beauty, Philips and the Origins of Electronic Music in the Netherlands 1825-1965. V2 Publishing, 2014. 180-181.

[101] Badings, H. “Electronic Music: Its Development in the Netherlands.” Delta, I, Winter 1958. 85. [102] 参看 Patteson, T.的书，第 163 页。

[103] Eimert, H. and Stockhausen, K. “Electrophonic (or Electronic) Music.” Grove’s Dictionary of Music and Musicians, Supplementary Volume to the Fifth Edition. Ed. Blom, E. New York:St Martin’s Press Inc. 1961. 120-121.

[104] “IPEM - Institute for Psychoacoustics and Electronic Music: 50 years of electronic and electroacoustic music at the Ghent University.” Metaphon 004, 2013.

[105] 参考 Groth,S.K 的书。

[106] Hartmann-Kempf, R. “Elektroakustische Untersuchungen Über den Einfluß der Amplitude auf Tonhöhe und Decrement von Stimmgabeln und zungenförmigen Stahlfedern.” Reihe:Dissertation, Frankfurt:Knauer Verlag, 1903.

[107] US Patent 1829099. 其它用“电声学”这个词的有：

Mager,J. “Elektro-akustische Musikinstrumente.” Zeitschrift für Instrumentenbau 51, no. 15, 1931. 418-

420.

Anonymous.“Elektro-akustische Parsifalglocken.” Zeitschrift für Instrumentenbau 51, No. 23, 1931. 598. Anonymous.“Electroakustisches Musikinstrumente und ihre Bauart.” Rundfunk Jahrbuch, 1932.

Anonymous.“Elektroakustische Hausorgel.” Zeitschrift für Instrumentenbau 53, No. 2, 1932. 25.

Anonymous. “‘Partiturophon,’ ein neues elektro-akustische Musikinstrument.” Zeischrift für Instrumentenbau 54, No. 15, 1934. 236.

Zoll, P. “Jörg Magers ‘Partiturophon’: Eine umwälzende, elektroakustische Erfindung.” Zeitschrift für Musik 102, No. 12, 1935. 1333–34.

[108] Donhauser, P. Elektrische Klangmaschinen: Die Pionierzeit in Deutschland und Österreich. Vienna: Böhlau, 2007. 40.

Anonymous.“Elektro-akustische Musik.” Zeitschrift für Instrumentenbau 51, no. 23, 1931. 598.

[109] 比如：Kallenberg, S. “Elektrische Musik.” Zeitschrift für Musik 94, no. 10, 1927.

Eisler, M. “Elektrische Musik und Instrumente.” Zeitschrift für Instrumentenbau, 52, no. 10, 1932. 192. 迈斯纳收集的三本电子乐和电子乐器德文书有两本采用《电音乐》标题。参看[23]。

[110] Wittje, R. “The Electrical Imagination„” Music, Sound, and the Laboratory from 1750-1980.  Osiris 28, 2013. 61. 比如：Le Corbeiller, P. “Electro-acoustique.” Paris, 1934. Gemelli,A. and Pastori,

G. “L’analisi elettroacustica del linguaggio.” Milan, 1934.

[111] Meyer-Eppler, W. ed., Gravesano: Musik, Raumgestaltung, Elektroakustik, Mainz: Arsviva Verlag, 1955.

[112] Schaeffer, P. “L'intrusion de l'ãlectroacoustique an Musique.” Gravesaner Blatter, 2-3, Jan 1956. 38.

[113] Service de la recherche de la Radiodiffusion-Tãlãvision Française. Rãpertoire international des musiques expãrimentales, 1962.

[114] Davies, H. “Rãpertoire International Des Musiques Electroacoustiques /International Electronic Music Catalog.” Electronic Music Review nos 2/3, 1967. iv.

[115] Warburton, D. “An interview with Michel Chion.” Paris, June 6, 2008. Retrieved from http://usoproject.blogspot.com/2009/01/interview-with-michel-chion.html

[116] Bayle, F. Musique Acousmatique, Propositions... Positions. Paris:INA-GRM Buche/Chastel, 1993.

[117] Emmerson, S. and Smalley, D. New Grove Dictionary of Music and Musicians 2nd Ed. Macmillan.co. UK. 2001.

[118] Landy, L. “Electroacoustic Music Studies and Accepted Terminology: You can’t have one without the other.” EMS:Electroacoustic Music Studies Network – Beijing 2006.

[119] Manning, P. Electronic and computer music. Oxford University Press, 2013. 485-486.

[120] Hiller, L. “Abstracts: Some Structural Principles of Computer Music.” Journal of the american musicological society 9(3), 1956. 247–248.

[121] Mathews, M.V. “The Digital Computer as a Musical Instrument.” Science, New Series, Vol. 142, No. 3592, Nov. 1, 1963. 553-557.

[122] 参看 Roads, C.的书，第 X 页.  [123] 参看 Roads, C.的书，第 110-134 页.

[124] Luening, Otto. “The Origins.” The Development and Practice of Electronic Muisc. Prentice Hall Inc, 1975. 12. 吕宁引用梅西安的话。

[125] Shephard, R.N. “Shephard's tones.” The voice of the Computer. New York:Decca Record DL810180, 1970.

[126] Smalley, D. “Spectro-morphology and Structuring Process.” The Language of Electroacoustic Music. Ed. Emmerson S. The Macmillan Press, 1986. 62-93.

[127] Miranda ER, Composing Music with Computers. Elsevier, 2002. 2-4.

[128] 比如 Huff，D. “Proposal for Analytical Techniques of Electroacoustic Music.” Dissertation, 2013.