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上联：声音载体载声音 乐感动人 下联：
It took me exactly another 5 months to translate it back to English properly by borrowing the idea from "The fire was ignited by glitch (sparks)". Ignite : to set something on fire : to cause something to burn : to give life or energy to (someone or something) (Source: Merriam-Webster Dictionary)
Source of CHEARS comes from Chapter 19: Representations and Strategies for Algorithmic Composition (Page 862 to 865).
2004甲申【猴年】 2016丙申【猴年】 甲申丙申猴年十二载艰辛 音乐与科技共创美好明天 有联暂无批？ --- 上联：幻听跨界创新声音中国 下联：多元语言交互虚拟世界 橫批（也作橫披）：时间空间
Some terms, such as this one, are beyond the reach of musicians, even a little bit stretching for some musicologists, but they might have become the very interesting topics to someone who dedicatedly works on the translation, especially for the field of music. Most of the main conservatories in China establish a specific department for training the professional translators with various musical background. However, a very few of those translators barely have enough knowledge of technology. Anyway, the pathway will be built through the practices at here.
The elaborate content of Critical Theory (English) is available online at Stanford Encyclopedia of Philosophy.
In the second paragraph, it explains the difference of aleatoric and stochastic formulas. Therefore, Aleatory and Stochastic Music were added to the list of See Also for further reference. It also shows that the CMT and EARS are compensating to each other in many ways, such as mentioning about the specific composers on specific method of composing etc.
Source of CHEARS comes from Chapter 18: Algorithmic Composition Systems (Page 833 and 834).
Source of CHEARS comes from Chapter 18: Algorithmic Composition Systems (Page 821).
It is unavoidable to mention about Algorithm on musical decision-making. Therefore, it has been added to the list of See Also, which is missing in EARS originally.
Source of CHEARS comes from Chapter 15: Performance Software (Page 685 and 686).
Source of CHEARS comes from Chapter 15: Performance Software (Page 686).
Yesterday Once More 昨日重现 此处，应该使用“再”！
以少胜多（直译） 四两拨千斤（演绎）
Morphology 形态学【生、语、地】
Schizophonia/声源分裂 schizophrenia/精神分裂
The Pristine Dao Metaphysics In Early Daoist Discourse 《早期道家话语中的形而上学》 --- Metaphysics vs. Discourse 形而上学 vs. ???
intelligence vs. stupidity 人工智能 vs. 人工智障
喷饭音译法：按那个到头！
*a rather-too-simplistic explanation *十分简化的解释：一言以蔽之 --- *in an attempt to illustrate nuance *意欲细微差别
己所不欲，勿施于人。与讨厌的声音相比，称其不欲之音为妙！
与脏糊糊，或者脏兮兮的声音相比，（乌遭）邋遢可谓恰如其分！
四维聆听之第三维度：听取（听而取）（听而取之）！
你能“听见”这地板的材质么？此译法参考了四维聆听的第一个维度：听见。 四维聆听包括： 一、听见（听而见）（听而见之） 二、听觉（听而觉）（听而觉之） 三、听取（听而取）（听而取之） 四、听懂（听而懂）（听而懂之）
...to organise your thoughts... ...to organise the actions and transformations that you need to make.
...make sense of what is happening in a recording. ...have a look inside a MP3 file (recording).
Shading: graded markings that indicate light or shaded areas in a drawing or painting. 明暗法：颜色浓淡强调某些部分的运用。
引自《四书》（The Four Books），湖南出版社（英汉对照，文白对照），1995第二版。 原文：“古之欲明明德于天下者，先治其国；欲治其国者，先齐其家；欲齐其家者，先修其身；欲修其身者，先正其心；欲正其心者，先诚其意；欲诚其意者，先致其知。致知在格物，物格而后知至，知至而后意诚，意诚而后心正，心正而后身修，身修而后家齐，家齐而后国治，国治而后天下平”。 中文注解：古代想要使天下人人都能发扬自己天赋的善良美德的人，必须先治理好自己的国家；想要治理好自己的国家，先要整顿自己的家庭；想要整顿好自己的家庭，先要修养好自身；想要修养好自身，先要端正自己的心志；想要端正自己的心志，先要使自己意念诚实无妄；想要使自己意念诚实无妄，先要丰富自己的各类知识；要丰富自己的各类知识，在于穷究事物的道理。穷究了在于穷究事物的道理，知识就丰富了；知识丰富了，意念就诚实无妄了；意念诚实无妄了，心志就端正了；心志端正了，自身就修养好了；自身修养好了… 英文注解：…Wishing to regulate their families, they first cultivated their persons. Wishing to cultivate their persons, they first rectified their hearts. Wishing to rectify their hearts, they first sought to be sincere in their thoughts. Wishing to be sincere in their thoughts, they first extended to the utmost their knowledge. Such extension of knowledge lay in the investigation of things. Things being investigated, knowledge became complete. Their knowledge being complete, their thoughts were sincere. Their thoughts being sincere, their hearts were then rectified. Their hearts being rectified, their persons were cultivated. Their person being cultivated, … 源自:《“EARS”在中国适用性研究》 Source: The Application of an Internationally Peer Reviewed Professional Glossary System, the ElectroAcoustic Resource Site (EARS), in China
Since a lot of Chinese musicians who have the difficulty more or less with the English pronunciation of CHEARS, this has made a perfect example of the concept: poetic translation, for them!
启耳思 (Qi3 Er3 Si1), which means "Get Your Ears (耳) Enlightened (启) to Think (思)".
*而*：前后既有承接，也有转折。 *耳*：应该恰到好处！ Qi1（qi2, qi3, qi4）耳*？
歪打正着：七二司、七二十、柒贰拾…
《术语可名，非常研究》 The title of my thesis or book: "The terminology (name) that can be named is not the enduring and unchanging research (name)." - Mungo (Tzu)
我理解你所指出的“对立”关系。此外，除了两者“相克”的关系，我还想强调其“相生”的一面。 “独立艺人或先锋艺人”不能仅仅理解为标签，而且，它还是分类法中用来描述某一类事物或群体的名称。中国作曲家案例研究（CCCS）的主要目的是为了在共享这种意识的基础之上，使作曲家的创造力得到施展，从而这种命名或标签的方式也就完成了它的使命。正如老子在道德经中所云：“名可名，非常名”（名，可以假借之名，不是恒久之名）。 Indeed, the "independent or avant-garde artists" is not only a label, but also a Name, a Tag, as well as the way of Classification etc. Actually, the goal of this list of China Composer Case Studies (CCCS) is sharing the awareness and to be more creative based on them (NOT to be constrained by them), whatever they are named as tagging, labeling or any other systems. Just as Lao Tzu in Tao Te Ching says: "The name that can be named is not the enduring and unchanging name."
千里眼（Clairvoyance） 顺风耳（Clairaudient）
之前：幻听是指一种听觉病态。 如今：闻，即门中有耳，听门外之声。 Before: "acousma = auditory hallucination", which means "illusory auditory perception of strange nonverbal sounds". Now: "Wen2" is translated as "an ear in the door, listening to the sound from the outside".
闻声：即只闻其声；虽然准确、客观，但是它也与属于佛教术语。
声纹，即声音纹理。它可否替代质地呢？
首先，声闻与佛教有关。其次，它与声纹（鉴定）同音，容易混淆。
“材质”属于建筑材料的范围，而“纹理”则柔和一些，适合艺术，尤其在视觉方面。“质感”带有主观色彩，所以“质地”是目前最合适的译法！
四维聆听 一、听见（听而见）（听而见之） 二、听觉（听而觉）（听而觉之） 三、听闻（听而闻）（听而闻之） 四、听懂（听而懂）（听而懂之）
Original on EARS: the term gesture has been used widely but inconsistently in describing music, largely in terms of analogies and metaphors of human physicality and rhetoric. Simplifed for CHEARS: the term gesture has been used widely, but it is not used all the time (inconsistently) to describe (in describing) music. It is used largely to talk about (in terms of) metaphors of human body (physicality) and human language (rhetoric).
Source of CHEARS comes from Chapter 19 (Page 878 to 880).
Sounds are defined by the silence that surrounds them. 直译：声音是被围绕在它周围的静音所定义的。 活译：声音的定义（取决于）围绕在它周围的静音。 精炼：声音的定义取决于周围的静音。
How to translate Compose With Sounds? The idea comes from Eat With Chopsticks! 用声音创作 用筷子吃饭
Dice vs. Random Dice is a mechanical element. Random object in Max is a digital element. Before CHEARS Dictionary was created, Dice and Random would be ignored easily when we focused on how to get "mechanical and digital elements" translated. Since most of the vocabulary have been found counterpart in Machine Translation, it allows us to spend more time for reading between in the lines.
Sometimes, it gets longer in Simplified English than the original texts. See below: Automated composition is a form of algorithmic composition. It involves mechanical elements of decision-making. Most of the time, it involves digital elements of decision-making.
This is the first terminology in CHEARS, which translation is assisted by CHEARS Dictionary and Machine Translation, also called Computer Assisted Translation (CAT).
(The new media theory is) the study of the nature and impact of recent and emerging digital technologies. (The new media theory is also the study of) our interactions with them (recent and emerging digital technologies) in everyday life, in cultural terms, economic terms and political terms. 新媒体理论针对新兴数字科技的本质和影响展开研究，它与我们的日常生活息息相关，并且牵扯文化、经济、政治术语。
Source of CHEARS comes from Page 293 and 294.
Karplus-Strong 卡普拉斯-斯特朗/Ka3 Pu3 La1 "Si1-Si1" Te4 Lang3 --- Karplus Strong 卡普拉斯特朗/Ka3 Pu3 La1 "Si1" Te4 Lang3 --- The two "Si1-Si1" has been combined into one syllable, that makes it easier to pronounce in Chinese!
When Autobots (Optimus Prime) transform, the 30 years old sound (1984-2014) is a Sound Image, isn't it?
林地（里的）声音漫步，删除“里的”为佳。 Lin2 Di4 (Delete "Li3 De4") Sheng1 Yin1 Man4 Bu4
1) First step, find a well-known phrase, for example: 星星之火，可以燎原 2) Get the idea, for example: 星星之火可以故障 3) Get it abbreviated, for example: 星火燎原=星火故障
戏剧艺术，即戏剧化： ‘为何’ ‘什么’ ‘如何’ --- Grammar will be ignored in CHEARS Dictionary (machine translation), such as: 'why' 'what' 'how' However, those three words at above are taken as terminology for now with 'apostrophe' in CHEARS Dictionary.
Source of CHEARS comes from (Page 11 and 12).
What sounds can you recognise? Bouncing balls Squeaking shoes Spectator noise Notice how these three sounds capture the basic 'essence' of a game of basketball But this is not a 'real' sounding space The composer is manipulating and organizing the real sounds to create interesting textures and other sonic spaces Sometimes using small sounds, repeated many times to create longer streams of sound or s t r e t c h i n g them He also uses parameters such as amplitude envelopes to create dynamic variations and geatures and gestures with the sound streams Listen how the composer paces the next section gradually slowing down the cycling stream of sound until... We enter a brief chaotic and dynamically intense section that transforms into sounds of the spectators We are now placed into the crowd and given a different sonic perspective Listen very carefully to how the bouncing ball sound 'mimics' the drums The composer is utilising rhythmic elements in this section - creating cyclic gestures with multiple sound streams In this composition the recorded sounds are used mostly for their sonic qualities However, the composer still chooses to remind us, at various points throughout the composition, where the sounds really come from Listen to the interplay of granular textures and streams, their movement through the stereo field, and the use of dynamic envelopes This section introduces a tonal quality, based on the tonal element of the spectators' horns Recognisable sounds are beginning to emerge again as the composition comes to a close
This is the original version. It has NOT been revised for 11 year old children yet. However, I do NOT see much differences within current English version as a second language speaker. That could be a point for my research in the future! --- 注意，这里有一个固定的“节奏” 你可以用脚跟着它打拍子 这首乐曲的材料选自各种乐器的录音片断，将其裁截为细碎的片断之后结构而成 听，这些声音的“时值”相同，并且都是如此短小 在这些声音材料之中，彼此之间能够相互区分的关键就在于它们的“音色” 各种各样的音色加上多重分层处理，构成了即丰富又浓重的声音拼贴 作曲家削减了紧张度，制造出一个略显清淡的声响空间 声音少了，那么它们彼此之间的空间也就大了 节奏也随即变得不那么精确了 声音之间的结构变得松散，声响空间略显自由 如此一来，它与早先拥有“固定节奏”的片断形成了鲜明的对比 Notice that there is a fixed 'tempo' You can tap your foot to it The music is made up of micro-edits from a collection of instrument recordings Listen how all of the sounds have a similar short 'duration' One of the things that makes the sounds different from each other is their 'timbre' The multiple layers of various timbres create a rich and dense collage of sounds The composer has changed the intensity, creating a less-dense sonic space There are less sounds and more space between the sounds The tempo has also become less strict The sounds are less structured and a bit more freer in the sonic space Which creates a very different quality from the earlier fixed tempo section
We can split this into as many registers as are required. *Register 译为：音区。例如：中低音区等等。 Many noisy textures are spread across the pitch register... *Pitch register 译为：音高区域（音域） *The whole sound range... 译为：整个音域 --- Clear pitch 译为：明确的音高。 --- This technique is often used in pop music or cartoons to create high pitched voices. Voice = 人声, for example in the film, Chipmunks and Alvin!
Source of CHEARS comes from 7.7 (Page 337 and 338).
Source of CHEARS comes from 1.4 (Page 6 and 7).
Source of CHEARS comes from Chapter 21: MIDI (Page 972). This input also solves an argument for several years ago about the translation of interface or protocol for MIDI when EARS was the only available reference before CMT Chinese version gets published.
Source of CHEARS comes from 1.1 and 1.2 (Page 3 and 4).
heightened security (posture) 高度戒备（状态）
Sound of Music is a well-known film in China and is translated as “音乐之声”。Therefore，Music of Sounds should be translated as “声之音乐”。
"Music Made of Sounds" is easy to understand, but it is difficult to translate into Chinese. Let's take this as an example: "Tiger Made of Paper (Paper Tiger)" first! Good Translation：“老虎是纸做的（纸老虎）” Therefore, this might be a good translation：“音乐是声音做的”，or “声音乐”。
From the Greek εποχη
1. LISTENING [ÉCOUTER] 2. PERCEIVING [OUÏR] 3. HEARING [ENTENDRE] 4. COMPREHENDING [COMPRENDRE] (1) & (2) CONCRETE (3) & (4) ABSTRACT (1) & (4) OBJECTIVE (2) & (3) SUBJECTIVE (THE) FOUR LISTENING MODES, from GUIDE TO SOUND OBJECTS (Guide des Objets Sonores) Pierre Schaeffer and musical research
Implicit in the term is the danger that composers and musicians become divorced from the musical experiences of non-experts. It implies that composers and musicians will be an expert in musical experiences of EA music. However, there is a potential danger in this situation.
*校对后： 鉴于主题索引的缘故，以下所述均包括在“视觉展示”这一具有涵盖性的术语之中，即：对于电子音乐而言，所有形式的视觉展示都以分析，以及辅助表演为目的。另外，它的范围也可以延伸到计算机的操作界面之中。 *之前的译文（Yang Tianyang）： 鉴于主题索引的目的，以下所述均包括在“视觉展示”这一涵盖性术语中：对于电子音乐，所有形式的视觉展示目标，都是为了使电子音乐的分析，表演的辅助更加方便，并且使其计算机操作一目了然。 ***请大家引以为戒，尤其是“并且使其计算机操作一目了然”一句，于原文差距很大！
剪切：splicing 磁带循环：tape loops 磁带回声：tape echo 音上音：sound-on-sound 磁带回授（而不是反馈）：tape feedback 变速：speed changes 磁带反向：tape reversal 混音：mixing
Acoustic or soundscape ecology is thus the study of the effects (the effects) of the acoustic environment (or soundscape) on the physical responses (or behavioural characteristics) of those living within it. --- Simplified version: the acoustic environment on the physical responses of those (PEOPLE) living within it.
This is the perfect translation for EARS and EARS2 in Chinese: EARS: 电子声学资源库 or EARS资源库 EARS2: 电子声学*教育*资源库 or EARS2*教育*资源库 Vocabulary: 1) Dian4 Zi3 Sheng1 Xue4 (电子声学) for Electroacoustic 2) Zi1 Yuan2 Ku4 (资源库) for Resource site 3) Jiao4 Yu4 (教育) for Pedagogy
The goal of the project/这个项目的目的 --- was to lower the threshold for young composers/是为了给青年作曲家降低门槛 who (composers) want to explore sound-based music and music composition/想要探索声基音乐和音乐创作的人 --- and to provide schools and individuals/为学校和个人 with an educational tool/教育工具 that (educational tool) encourages creativity, cross-cultural dialogue and the sharing of ideas and results. /鼓励创造力，跨文化对话，分享想法和结果 这个项目为了给青年作曲家降低门槛而设计，服务于志在探索声基音乐和创作音乐的人。此外，为学校和个人提供了一个教育工具，其着重鼓励创造力、跨文化对话、分享想法和成果。
Composer Case Studies (project in China) 1. How would you describe the type of music that you make? 2. If you had to use the genre categories to describe your music, which would it be? 3. What types of sounds do you like to use when you compose? 4. What makes these sounds your favourite? 5. Are there any sound manipulations that you frequently use? 6. What makes these manipulations your favourite? 7. How do you go about starting or coming up with an idea for a composition? Do you personally use a similar approach each time? Or is it always different? 8. Which composers /musicians are an inspiration to you? 9. What is it about this music that engages you so much? 10. Could you pick a short section from one of your own pieces and describe how you created it? 11. What were you trying to convey to the listener in this excerpt? 12. If you were giving some general advice to someone who was beginning to compose a piece what would it be? What is the most important thing to remember when composing?
时值 vs. 持续时间 Terminology vs. General
From http://cws.dmu.ac.uk/ ***Welcome to Compose with Sounds This is the homepage for a software program for young composers (and composers of all ages) who would like to learn how to compose with sounds, and not focus on the traditional manner of music making with notes. This type of composition is common in film, TV and games - everywhere that digital sound is heard. It is also a common form with areas of experimental music. To use the site, create a log-in by way of Mozilla Persona (click the button to start the process). You can create an identity as a Teacher, an independent User (14 years old and above only) and a Student. Teachers create classes and thus place their Students in their class group. Users and Teachers have access only to their own (and their Students') work. If a Teacher or User would like to have sounds and/or works placed onto the public site, use the contact button below and let the project team know about this and we will download your work and, all things going well, place it under the sounds and music header for others to use and enjoy. Compose with Sounds is available free of charge. It runs on Mac OSx (from 10.6), Windows XP and Windows 7. In addition to the tools needed to make music, the software offers functions for making tutorial structures, which many teachers will find useful. Beyond that, the pages contain relevant help texts and a variety of video examples thus providing a great learning tool. Composers and educators who want to get deeper into the field of music technology can follow links to the pedagogical ElectroAcoustic Resource Site known as EARS 2, which, as a dynamic eLearning site, offers texts along with a wide variety of hypermedia examples related to all relevant topics. All compositional activies on EARS 2 use Compose with Sounds. ElectroAcoustic Resource Site (EARS 2) at De Montfort University. For downloading the mixing software "Composing with Sounds" for free, please click the software menu button above. ***About the project Compose with Sounds is an EU Culture prgramme-funded software development project (2011-13) initiated by the Music, Technology and Innovation Research Centre at De Montfort University (UK). It involved partners in France, Germany and Norway as well as associate partners in Greece and Portugal. The goal of the project was to lower the threshold for young composers who want to explore sound-based music and music composition, and to provide schools and individuals with an educational tool that encourages creativity, cross-cultural dialogue and the sharing of ideas and results. The software was constructed, workshops were held at a number of schools in all participating countries and concerts presented in all six countries. The experiences were documented and brought back into the furthe rdevelopment of the software and teaching methodologies. In order to secure a link with professional communities, composers worked alongside pupils resulting in the creation of a substantial number of works that were presented in concerts across Europe forming one of the key project outcomes. These works can be found here. The links between the project partners were strengthened through the exchange of the ideas and methods that were developed and extended in the project. The software and accompanying instructional texts and videos are linked to the pedagogical ElectroAcoustic Resource Site (EARS 2) at De Montfort University, which offers support and maintenance to all users who would like to further explore this exciting field. The Composing with Sounds project and work that has taken place afterwards has led to a number of compositions, a double CD and publications, some stored within this site, some available on paper an online. Follow the links in the sub-menu to see these titles.
Quoted from my supervisor, Prof. Leigh Landy: "the Asia way (translation via a master) and the Western way (student is responsible for original content)". I have an idea and I will try to work with some young students (Zhang Zhichao is one of them) who are interested to this project to translate EARS2 together! Another Supervisor Comments (also from Leigh): "EARS should ideally be translated fully before EARS2 commences (although this will use more simple language) to demonstrate that the full vocabulary is ready for Chinese usage". Though EARS has not been fully translated, the most terminologies get counterparts in Simplified Chinese for EARS2 already. Before work on EARS2 translation, you would better check the Glossary for EARS terminology translation from "Search" function to make sure the Simplified Chinese first. For example: Soundscape Music Musique Concrète Chance Electroacoustic Music Plunderphonics Sound Art Those terms at the above already have a good translation in Chinese about several years ago before EARS2 gets combined and integrated!
The very first texts on EARS2 gets translated completely during my teaching on Christmas day. This is the first time I put EAR2 into practice pedagogically to teach a high school (Shenyang Conservatory of Music, attached high school) student who is going to take the Entrance Exam of Shenyang Conservatory of Music in the end of February, 2014. I realized that EARS2 is perfect material for students prior to higher education before college. However, I also realized it is NOT getting any easier than translating EARS. Though, it is simpler in English on EARS2, but the translation in Chinese is not getting downgraded at all on CHEARS.
Timbre has been mentioned for three times and it makes a good example for the combination and integration of EARS2 on CHEARS ver 2.0. Once on EARS2 index: *Timbre / Sound Quality -> Intermediate -> Properties of Sounds -> Learn Twice on EARS index: *Timbre -> Listening Experience -> Musicology of Electroacoustic Music [MEM] *Timbre -> Psychoacoustics -> Disciplines of Study [DoS] The term "Timbre" is added on "See Also" list of "Timbre / Sound Quality" and vice-versa. This kind of method will be applied as many as possible to combine and integrate EARS2 terminologies with EARS on CHEARS. --- P.S. relative noisiness = 相对噪度
A compressor scales (verb.) the dynamic range of a sound signal so that both the quietest and the loudest sounds can be recorded (in other words, treated with NEITHER 'losing the quiet sounds' NOR 'causing distortion'). --- or otherwise treated without EITHER 'losing the quiet sounds' OR 'causing distortion.
There are two pieces from Prof. Leigh Landy in Octophony: 1)BBC or Not 2)China/Music/Old/New As far as I know, they are very first two octophonic pieces performed in China, especially, China/Music/Old/New will have its world premiere in Beijing in Oct 2013.
FEEDBACK is translated as 回授（Hui2 Shou4）in Audio. FEEDBACK is translated as 反馈（Fan2 Kui2）in AI. Behaviour Modification is 行为矫正.
*歧义（various interpretations）： Original text: although noise is a subjective term in a given society, there will be more agreement than disagreement as to which sounds constitute unwanted interruptions. 歧义译文：虽然在特定的社会人群中，“噪音”是一个带有主观色彩的术语，但是就它会对声音造成不必要的干扰而言（produce ambiguity），人们的共识远远大于分歧。 The original text could be interpreted as (simple version): there will be more agreement than disagreement to what kind of sounds are (will be considered) unwanted interruptions? *推敲/Refine Original text: soundscape research has been fundamental in terms of the promotion of anti-noise pollution legislation. 首选译文：声音景观研究作为重要的一环，在反噪音污染的立法方面起到了积极的作用。 之前译文1：声音景观研究作为反噪音污染立法中的重要一环，对其有着促进作用。 之前译文2：对于反噪音污染立法的促进，声音景观研究已起到了重要的作用。
赵中野直译：偶然是和形式主义截然相反的一个词，它是由做决策时的一系列偶然操作组成。 意译：偶然是和形式主义截然相反的一个词，它采用一种或然性操作的方法，经过一系列决策之后而成。
This is one of the most famous terms for getting translated into Chinese! acoustic acoustics（声学） electroacoustic vs. acoustic （电声 vs. 物理原声） electroacoustic music（电声音乐） ***Electroacoustic Resource（“电子声|学”) 这种译法，在我的博士研究中首次得以确认，它借鉴了作曲与作曲理论中，四大件的名称：和声“学”、复调“学”！ 在不久的将来，我相信“电子声|学”会公认为作曲与作曲理论的“第五大件”！
陆敏捷/Lu Minjie译文：探索性艺术实践的一个概述性术语。在艺术实践历史语境中，以及当前文化、社会、和政治学科所包含的数字通信技术(数字影像、音频、网络、手持式、便携式)，以该技术为媒介的艺术实践。 1）漏译：is mediated 2）译文整体不通顺。
断句翻译： A binaural recording is one 双耳录音是…… where the microphones are placed in the position of the ears 将麦克风放置在耳朵的位置 or in a simulation of this. 或模拟这种…… 原始译文：双耳录音是一种录音技术手段，它讲究的是：将麦克风放置在人耳两侧或模拟这种麦克风的摆放方式。双耳录音的作品一般需要通过耳机试听。 校对译文：双耳录音是一种录音技术手段，即把话筒放置在人耳两侧或模拟这种话筒的摆放方式。采用双耳录音技术录制的作品一般需要通过耳机试听。
声基音乐/Sheng1 Ji1 Yin1 Yue4 声音作为基础载体的音乐,简称为声基音乐！
The term was originally used by R.M. Schafer 这一术语… in his book Ear Cleaning (Toronto, BMI Canada, 1967) 他的著作《洗耳》 to contrast with 对比 the traditional practice of ear training 传统练耳 in music education 音乐教育 which concentrates on 专注于 the identification and reproduction of intervals, chords, melodies and so on. 识别并再现音程、和弦、旋律等等。 R.M.Schafer在他的同名著作中最先提到《洗耳》（加拿大多伦多BMI出版社，1967年）。在音乐教育中，传统练耳方式专注于识别并再现音程、和弦、旋律等等，而洗耳这一术语正好与其相反。在上述著作中，他设定了一套洗耳练习的方法。
Any process 任何过程 that encourages a person 促进一个人 to listen 听 more discriminately, 进一步区分开来 对于一个人来说，尤其是针对环境的声音，任何一种能促进他运用听觉把事物进一步区分开来的过程都可以称为洗耳。
音译：“啊，哭死猫，割日阿夫” 原来日语的翻译逻辑很幽默啊！
First time translated by Lu Minjie as below: 延迟属于设备（或者数字化同类参数）使用的概念，对特定输入信号采用一个或多个精确的延迟时间。这个概念也可以用于多种效果，包括例如制造出新的空间进深感。 Second time translated by Luan Hui as below: 延迟的概念是指，将模拟设备（或相同规格的数字设备）中的输入信号按精确的间隔时间重复一次或多次。延迟可以应用在不同的效果之中，例如，它可以创造出一种空间的纵深感。 The second time translation is more human readable and it has been used as the definition of Delay in Chinese!
Sound Art should be translated into 声音艺术/Sheng1 Yin1 Yi4 Shu4 literally, but it means Sound (Installation) Art in its definition! 声音艺术/Sheng1 Yin1 Yi4 Shu4 should be designated to Sonic Art in English!
Is "Proximity" a synonymous term to Close-mic Recording? From Eugene, Or: Summer Academic by Jeffrey Stolet
创造性/滥用；创造/性滥用？ We have to do much better than this, otherwise it sounds like "Sexual Abuse in a creative way"!
Minimalism：极简主义还是简约主义？
铁科诺 is bad already and 智能铁科诺 is worse translation. The worst is that it does not mean anything, but getting intelligence involved for nothing :(
1）术语译为：“德国无线电广播”如何？ 2）Musique Concrète：具体音乐！
Attack, Decay, Sustain, Release: 起衰延消。
APPROPRIATE: adjective suitable; proper. verb take for one's own use without permission. Here, we should take its meaning as a verb.
铁科诺/Tie3 Ke1 Nuo4 is an very unsuccessful translation, just like 浩室/Hao4 Shi4!
转调？
源绑定
听觉训练
复混进行时（Remxing）区别于复混（Remix）。
推子手势/Tui1 Zi Shou3 Shi4 is too much like orally translation! 衰减器姿态 is better for written translation!
Brass-age :( We do need a real Chinese term for it!
Jérôme Peignot We have to make sure the pronunciation first in its original language, and then give it a proper Chinese name. It's a common problem when we are trying to translate an name for people.
What does "Aural/Mimetic Discourse" mean exactly? I think we have to do more research on it, please check the description of "Aural Discourse and Mimetic Discourse" under See Also!
It's clear now. In the context, I think "Itself" is related to "a given electric signal".
"The multiplication of a given electric signal by itself allowing for very short delays (e.g., in ms) sequentially. This effect is associated with the notion of chorusing." Don't understand about "itself" in the original text from EARS!
“任何以数字处理手段创作、产生的音乐。” Generate一词是否可以译为生成，而不是“创作、产生”？
In general, Interactivity is talking about two people or things influencing each other.
"Soundscape" 有时译为“声景”，也有时译为“音景”。两种译法都有道理，可是却容易让读者无所适从。 “声音景观”综合了以上两种译法，而且形成了“四字格”！
Musical Instrument “音乐工具”难到不是“乐器”吗？ Doesn't "instrument" (Gong1 Ju4) mean "musical instrument" (Yue4 Qi4) in the music field?
中文怎讲/How do you translate them into Chinese？ Jump Up TechStep Hardstep Drill 'n' Bass
鼓与贝斯的译法有些死板，没有体现出原文术语中的文化韵味！如果译为“鼓函贝斯”的话，第一：发音口语化；第二：“函”比“和”意义深刻。 The Translation of "Gu3 Yu3 Bei4 Si5" is a little bit hidebound, and hardly express the culture in the orginal text. How about "Gu3 Han5 Bei4 Si5"? On one hand, the pronounciation is more like oral Chinese; on the other hand, "Han5" is more meaningful than "He2".
直接译为“嘻哈“会更加明了，“嘻哈风格”太啰嗦！ "Xi1 Ha1" is a better translation, "Xi1 Ha1 Feng1 Ge2" is too much!
The fourth edition of this book in Chinese is published in March 2014.
MySQL (beta) at CHEARSdotinfo.co.uk 1 CROSSING THE THRESHOLD A Delineation of the Two Key Areas This is text will focus on two key ares, although not exclusively. To speak of sound-based music without acknowledging its much older partner, the music of notes, would to ridiculous. Similarly, to discuss music that uses technology without allowing acoustic creativity to take place is equally absurd. Nonetheless, the two key areas are the reason for the book's existence. Let's briefly attempt to draw a virtual fence around these foci. Sound-Based Music Making Music with Technology
MySQL (beta) at CHEARSdotinfo.co.uk pp.19 to 23 (B) Commencing the Classification Debate: Is Sound Art Music? We will investigate this question of placement through four hypothetical examples. (1) The first concerns an interactive sound installation. (2) The second example involves a piece of electroacoustic art music that is clearly more sound- than note-based. (3) The third example involves electroacoustic processes and an overtly sound-based introduction. (4) A fourth example possesses a much shorter duration, but it also reaches a mass public: the sound design for a television advertisement. (C) The Terminology Debate: Defining the Main Terms The term "the art of sound organization" has been chosen in the title to describe this area, thus ignoring the state of current technology. "Sound organization" is related to its cousin, "organized sound,"... Organized sound This is the term adopted by the composer Edgard Varese to describe his music. His use of this term reflects in particular his insistence on the musical potential of an expanding "palette" of possible sounds for use in the concert hall, in particular, new kinds of percussion, electronically generated sounds, and recorded sounds.
《计算机音乐教程》分为七个部分，每一部分包括了若干章节。 第一部分基础概念，介绍数字音频和计算机技术。 第二部分集中在数字声音合成。第3章到第8章介绍了主要的合成方法，包括对实验性和商用性都有效的方法。 第三部分混音和信号处理，包括四章内容，让这些有时令人难以捉摸的主题不再显得神秘，包括混音、滤波、延迟效应、混响和空间操控。 第四部分的主题是声音分析，占有支配地位，它是很多音乐应用如声音转化、交互式演奏与音乐录制的关键，包括音高、节奏和频谱的计算机分析。 第五部分主要介绍计算机音乐系统有关音乐家界面的重点主题。其中，第14章的主题是演奏者可操控的物理设备，第15章研究了解释演奏者姿态的软 件。第16章是对音乐编辑系统的一个概观。音乐语言是第17章的主题。第五部分的最后两章(第18、19章)介绍了算法作曲。 第六部分解密计算机音乐系统，第20章考察数字信号处理器的内部构建，第21章讨论流行的MIDI接口协议，最后，第22章介绍了计算机、输人设备及数字信号处理硬件之间的互连。 第七部分介绍心理声学也就是探讨听觉，即人类感知。有关心理声学基本概念的知识在以下几个方面有助于计算机音乐的研究，包括声音设计、混音以及解释信号分析程序的输出。 本书的最后部分是一个技术性附件，为读者介绍傅里叶分析的历史、数学原理及整体设计,特别是快速傅里叶变换，这也是计算机音乐系统普遍使用的工具。
本书不仅是为音乐专业的学生，也是为以计算机音乐为研究方向的工程师和科学家编撰的。本书的很多部分打开了技术的“黑匣子”，揭示了软件和硬件的内部运行机制。为什么这些技术信息与音乐家有关呢？我们的目标是让音乐家更好地掌握和使用音乐技术，而不是要把他们变成工程师。技术上无知的音乐家有时候对这个快速进化的工具的潜在可能性抱有过于狭隘的观念，他们可能还在受过去年代某些过时观念的制约。因为缺乏基础知识，他们在盲目实践中浪费时间，不知道如何将想法变成实用的成果。因此,本书的目的之一就是给予那些想要最终建立和经营私人或公共机构计算机音乐工作室的众多音乐家以相关的知识，使他们在这一领域能有独立的判断力。 每一种音乐设备和软件包都采用一套不同的规程：专用术语、标记系统、指令语法和界面分布等。这些不同的规程均建立在本书所解释的诸多基础概念之上。面对大量不相兼容而又不断变化的技术环境，对于一本教科书来 说，传授基础概念比起详细讲解一个指定语言的特性、软件的运用或者合成器来似乎更为适当。因此,本书并不打算教读者如何操作某一设备或者软件，因为那是每个系统所提供的文档的目标。 在一本涵盖如此丰富的不同主题的书中,为读者进一步的学习研究提供指针是绝对必要的。本书后面的部分包括了大量的引用和多达一千三百余条的参考文献列表。作为对读者提供的深层服务，我们投人了大量时间以保证人名和主题词索引的广泛详尽。
Summary The first act in classification is that of grouping objects or concepts. Grouping brings together like concepts, according to their properties or attributes. Ordering is the next process, to determine the sequence of groups. Problems occur when objects have more than one attribute and we have to decide which is most important for grouping. The order of importance of attributes is called citation order. Properties which are scattered by the citation order are called distributed relatives.
Citation order Whether it has been logically arrived at or not, some sort of citation order exists in any collection of compound subjects...When we apply a citation order we're bringing the two classificatory principles of grouping and ordering together, in order to create a logical and predictable sequence. An inescapable outcome of bringing together objects on the basis of one attribute is that other attributes are scattered...When have to produce a linear order...this scattering is inevitable, and we must decide which aspects of things are more important for grouping, and which are secondary and can be distributed. The citation order can be varied for different groups of users, although only one citation order should be used in a particular collection: if citation orders are muddled searchers won't be able to predict locations, and retrieval will be much more difficult to achieve.
Compound subjects We begin to see the 'no-right answer' syndrome in action. What is happening here is a demonstration of the fact that concepts usually have more than one characteristic or attribute. Subjects...with more than one aspect or component, are called compound subjects.
Page 7 There is obviously more than one potential answer here, and it's impossible to say that there is a correct order, or that one arrangement is better than another in any absolute sense. The difficulty arises because we're trying to put all to these subjects (and potentially the whole of knowledge) into a straight line: the single sequence, or linear order, can't take account of the variety of relationships that exist between subjects. This problem isn't limited to arranging books on shelves: it also occurs in other situations where goods need to be displayed. The fact of this complexity of relationships, and how they are sorted out in practice, will determine how effective a classification is for a particular subject, or in a particular context...and this variability is multiplied a thousandfold across the whole of knowledge. This gives us the first fundamental law of classification - this are lots of possible right ways to do things. This is usually not a single 'correct' order of subjects, but only an appropriate or helpful order, which changes according to the situation, and the needs and interests of the users. Some general theoretical principles of ordering are used in classification schemes: chronological order is an obvious one, and proximity is used as the basis of ordering geographical places. Developmental orders and orders based on complexity can be used in classifying the natural world, and the idea of dependency is also often employed: for example, life forms are dependent on their chemical constituents and therefore biochemistry must precede botany and zoology. Nevertheless, much ordering in classification is done on a pragmatic and arbitrary basis.
3. First principles of classification Two ideas are fundamental to any system of classification: grouping and ordering. Grouping is the primary act of classification and one that is inherent in human thinking...We can all classify in this sense quite instinctively. --- Grouping: ...the essence of classification: the act of putting like with like and separating unlike. The principle used to create a group is sometimes called the: Principle of Division or Characteristic of Division This is the technical term for the property or attribute that all members of a group have in common. --- Ordering: The process of grouping together related terms or concepts is central to a classification scheme, and it forms the first stage in constructing a classification. The second stage is to decide on the relationships between groups, since this determines the order in which the groups will be arranged (...determines the order that the groups will be arranged).
2. The need for classification Page 5 (bottom) ...the classification is the means by which we arrange books on shelves. The classification scheme may also be used to organize the results of searches... Classification is a fundamental tool in the process of organizing a collection and in the complementary process of searching for and retrieving information.
1. Introduction Page 1 Classification is everywhere. We classify... It is natural to the human mind to classify, and essential if we want to make sense of the world...the process of the classification allows us to recongnize...and make sense of those things. Everybody can and does classify...it's necessary to have systems for managing stored information in a way that allow us to find it again - systems that use our human classificatory skills to organize, to match, to predict and to interpret. ...The emphasis throughout is on the activity of classification rather than the theory... Page 3 ...there is no reason why the techniques learned can not be applied to non-book materials...On the same basis there is usually no reason why classification schemes can't be used to organize resources in any format...text...objects and data, and representations or surrogates of all of these.
1877 • Thomas Edison invents the phonograph.
直译：理解声音组织的艺术
"Of courese, replacing the note with the sound...did not imply that...ignore the rich diversity of music history. All notes are sounds, after all". Page vii in Preface
P.147 China Electronic music arrived even later in China and virtually did not exist before experiments with synthesizers at the Beijing Conservatory of Music in 1984. The Conservatory sponsored the first concert of electronic music by Chinese composers in the same year. Composers who were represented included Tan Dun, Zhu Shi-rui, and Zhou Long, and most of the music was produced using synthesizers and prerecorded sounds. This early work led to the establishment of several university programs and studios devoted to electronic music, the most important of which has been the Center of Electroacoustic Music of China at the Central Conservatory of Music in Beijing, founded in 1993. Several of the key educators and composers associated with Chinese electronic music, including Yuanlin Chen (b. 1957) and Zhang Xiaofu (b. 1954), have studied abroad in the United States and Europe. Zhang is one of the best-known figures in Chinese electronic music. He did advanced studies in Paris during the early 1990s, learning the latest electronic music technology at the GRM studios founded by Schaeffer. As a result of his academic links, Zhang has succeeded in developing an active exchange program for composers living in China and Europe and has sponsored several international conferences for electronic music in Beijing. His works embrace elements of Asian and Western culture. Mentioned about Tan Dun, Zhu Shi- rui, and Zhou Long; Yuanlin Chen and Zhang Xiaofu.
If there is a proofreader to Chinese version for this online tutorial, that will make this resource more accepted and reliable in China.
MySQL (beta) at CHEARSdotinfo.co.uk Overview to Part I The sample nothing more than a numberis the atom of sound. Theory says that we can construct any sound emitted by a loudspeaker by means of a series of samples that trace the pattern of a sound waveform over time. But theory becomes reality only when strict technical conditions concerning sampling rate and sample width are met. The first chapter, by John Strawn and Curtis Roads, covers such basic topics as the history of digital recording, the sampling theorem, aliasing, phase correction, quantization, dither, audio converters, oversampling, and digital audio formats. Background: * History of Digital Audio Recording Sound recording has a rich history, beginning with Thomas Edison and Emile Berliner's experiments in the 1870s, and marked by V. Poulsen's Telegraphone magnetic wire recorder of 1898 (Read and Welch 1976). Although the invention of the triode vacuum tube in 1906 launched the era of electronics, electronically produced records did not become practical until 1924 (Keller 1981). Optical sound recording on film was first demonstrated in 1922 (Ristow 1993). Sound recording on tape coated with powdered magnetized material was developed in the 1930s in Germany (figure 1.3), but did not reach the rest of the world until after World War 2. * Experimental Digital Recording The core concept in digital audio recording is sampling, that is, converting continuous analog signals (such as those coming from a microphone) into discrete time-sampled signals. The theoretical underpinning of sampling is the sampling theorem, which specifies the relation between the sampling rate and the audio bandwidth (see the section on the sampling theorem later in this chapter). This theorem is also called the Nyquist theorem after the work of Harold Nyquist of Bell Telephone Laboratories (Nyquist 1928). The British researcher A. Reeves developed the first patented pulse-code-modulation (PCM) system for transmission of messages in "amplitude-dichotomized, time-quantized" (digital) form (Reeves 1938; Licklider 1950; Black 1953). In the late 1950s, Max Mathews and his group at Bell Telephone Laboratories generated the first synthetic sounds from a digital computer. The samples were written by the computer to expensive and bulky reel-to-reel computer tape storage drives. By 1977 the first commercial recording system came to market, the Sony PCM-1 processor, designed to encode 13-bit digital audio signals onto Sony Beta format videocassette recorders. Within a year this was displaced by 16-bit PCM encoders such as the Sony PCM-1600 (Nakajima et al. 1978). The professional Sony PCM-1610 and 1630 became the standards for compact disc (CD) mastering. These standards continued throughout the 1980s. * Digital Sound for the Public Digital sound first reached the general public in 1982 by means of the compact disc (CD) format, a 12-cm optical disc read by a laser (figure 1.5). * Digital Sound for Musicians Although CD players had inexpensive 16-bit DACs, good-quality converters attached to computers were not common before 1988. Only in the late 1980s did low-cost, good-quality converters become available for personal computers. In a short period, sound synthesis, recording, and processing by computer became widespread. Dozens of different audio workstations reached the musical marketplace. * Digital Multitrack Recording In contrast to stereo recorders that record both left and right channels at the same time, multitrack recorders have several discrete channels or tracks that can be recorded at different times. Each track can record a separate instrument, for example, allowing flexibility when the tracks are later mixed. The first computer disk-based random-access sound editor and mixer was developed by the Soundstream company in Salt Lake City, Utah (see figure 16.38). Their system allowed mixing of up to eight tracks or sound files stored on computer disk at a time (Ingebretsen and Stockham 1984). For a number of years, digital multitrack recording was a very expensive enterprise (figure 1.7). The situation entered a new phase in the early 1990s with the introduction of low-cost multitrack tape recorders by Alesis and Tascam, and inexpensive multitrack disk recorders by a variety of concerns.
摘要：介绍了计算机音乐编程软件Max/MSP的诞生，发展及主要功能，并对Max学习方法提出了中肯的建议。 关键词：计算机音乐软件 Max/MSP 排秩 对象件 学习方法
为何MIDI的部分没有翻译呢？虽然原著中MIDI部分的篇幅不是很大，但是缺少了这个部分，还是会影响译著的完整性！ Why MIDI section didn't get translated into Chinese? Though it's not much in length, it has some negtive effect on the integrity of this translated book.
茶館翰林/茶馆翰林 Teahouse Scholar
Performing Arts Centre for Excellence PACE音译：佩斯，“卓越表演艺术中心”首字母缩写 注：与中国某著名表演艺术家无关。
Since the Kyma website might be getting blocked in China.
Java Applet http://chears.info/freemind/annualreview2015.html Flash http://chears.info/freemind/annualreview2015swf.html
The List of Chinese Composer Case Studies Wuhan Conservatory of Music *Liu Jian (passed away) Feng Jian Li Pengyun Central Conservatory of Music Zhang Xiaofu Jin Ping Feng Jinshuo (PhD student) Shanghai Conservatory of Music Cheng Qiangbin Ye Guohui Yao Dajun China Academy of Art in Hangzhou Xinghai Conservatory of Music (Guangzhou) Li Marke (Mark) Wang Ge Stanford University Wang Chi (Iris) University of Oregon Non-academic musicians in Beijing Yun Jun Wang Ke (Haku) Luan Hui To be continued...
Compose With Sound (CWS) software will make a good example to let students go away from cracked commercial applications.
Taking care of some numbers: 1) 688 in Terminology (EARS and EARS2, as well as CMT) 40 completed from 2006 to 2008, almost by myself. 80 completed from 2009 to 2013. Numbers of the translator group gets expanded to 23. At least 1 terminology, at most 30 terminology! *40 completed from 2013 to 2014. I have been proofreading for my students who are in my class for Computer Music Theory (MUST TAKE). 2) 40 in Bibliography. Not searching, but waiting for the qualified articles and books, or translated articles and books. So, "unpublished" has been brought up! 3) 81 in Lectures *Original workshop materials (available at homepage) for CHEARS.info: Synthesis and performance in SuperCollider by James Harkins in April, 2014! Prof. Leigh Landy's Lecture in Shenyang, 2013 Prof. Marc Battier's Lecture in Shanghai, 2014 4) 47 Works in 29 Concerts 5) Community 5.1) 132 in Comments since 2008 5.2) 58 in Readers since 2009 5.3) 78 in Messages since 2010 5.4) Only 7 in Critics since 2013 Two Critics are already on the Newspaper based on Shenyang Conservatory of Music in 2012 and 2013 respectively!
Previously, back to 2011 in New York: From EARS to CHEARS. Three questions from Marc were brought up again: 1) Has there been a critical mass of researchers working with CHEARS throughout China? 2) Is here a sufficient number of composers and teachers working with CHEARS throughout China? 3) Is CHEARS still a research project or has it found a substantial following in China?
以全面介绍二十世纪音乐发展脉络为主要目的，一方面提高了我院电子音乐专业在实际创作方面的能力；另一方面，填补了我国电子音乐学术研究的空白。 首先，讲座介绍了数字文化的意义，以及音乐的种类以及音乐的社会角色，尤其是深入探讨了进入20世纪以来，民族性与全球性的对比、全球性与地域性的对比。然后，纵观几百年来两种不同的美学观点，通过感性到形式的对比、语言到理解的进一步细化，深刻地揭示了当代音乐艺术的内涵，同时也揭示了其内在的矛盾与不争的困境。 总体上说，整个系列讲座分成两条线索：其一是音乐发展线索，包括激进主义、未来主义、达达主义、形式主义、后现代主义、早期电子音乐、“主流”电子音乐与“非主流”电子音乐、实验流行音乐等等，与此同时又把音乐材料之中的“新纬度”引入了我院作曲系师生的视线；其二是科技发展线索，包括信息与通讯，以及数字文化，前者例如文字、印刷、留声机、电报、电台、电视、卫星，后者例如计算机、模拟合成器、互联网等等。 最后，李•兰迪教授运用声音载体音乐与音符载体音乐的概念，还有科技与表演之间的相互关系进一步明确了电子音乐在20世纪音乐中的重要地位，以及21世纪初期电子音乐的发展态势。
Though the main content is talking about Jazz history and theory, the most of the important element is the matter of improvisation in general. It is obviously controversial to have Jazz in an electroacoustic resource survey from western perspective of view. However, the theory of scale and chord progression, as well as voicing skills are nothing new to those well-educated classical musicians in Shenyang Conservatory of Music, only the improvisation concept fills the gap perfectly between acoustic to electroacoustic music, especially in Chinese conservatories nowadays. Actually, it has brought the ideas of improvisation into any forms of creative works just for Chinese musicians.
***RMB2,000 per person for programmers: Zhao Zhongye Yang Tianyang Zhou Zhengqi Li Junlin **RMB1,000 per person for listeners: Xu Xiaojiao Yu Xuan Yang Wendi Chen Jiahao *Special Guests: Feng Jinshuo (Central Conservatory of Music, Beijing) Song Yu (Central Conservatory of Music, Beijing) Han Jialin 沈音作曲系学生免费旁听 Students from Composition Dept. of Shenyang Conservatory of Music is free as an observer.
The listening experience event around midnight was very successful. Everybody put all the knowledge of critical listening skill into practice. There is only one thing that made the night unperfect: too much mosquitoes! One more thing, this workshop is not a cold-blooded concentration camp in 10 days. There are a lot of laugh and a lot of fun. The most unforgettable moment is that we get a birthday cake (angry bird in blue) flattened to Liang Ying's face on 26th of Aug. Ciao~
In the last ten days, we have made a quite remarakable progess on the critical listening skills. Tonight, actually around midnight, we are going to an open field where is located in the park at the central Shenyang city. There is a big pond, of course a lot of frogs and insects as well in the summertime. Hopefully, that will help us to improve our listening experience where the frogs and insects are the sound source. It will be a perfect location to have our experience reached to a much higher level than before. It is all menly man's party around midnight. Ladies, do not get it misunderstood, please!
Preview is the most important thing, let's see what will happen to the rest of our workshop!
Final Schedule *Day 1: Lesson 1 Estimating the Frequency of Sound Lesson 2 Estimation of Sound Level Changes *Day 2 Lesson 3 Estimating Frequency Band Limitations Lesson 4 Frequency Response Irregularities *Day 3 Unit 1 Loudness, Pitch, and Timbre Unit 2 How One Sound Masks Another *Day 4 Lesson 5 Judgment of Sound Quality Unit 3 How the Ear Analyzes Sound *Day5 Lesson 6 Detecting Distortion Mixing Session *Day 6 Unit 4 Non-Linearities in the Auditory System Unit 7 How We Locate Sounds *Day 7 Lesson 8 Signal Versus Noise Lesson 9 Voice Colorations *Day 8 Lesson 7 Reverberation Effects Unit 5 The Perception of Delayed Sounds *Day 9 (Max/MSP Review) Unit 6 Why Some Sounds Are More Pleasant Than Others *Day 10 Special midnight party (workshop) for outdoor listening experience at open field, no alcohol please at all!!!
I have been teaching acoustics and psychoacoustics by using the book: Critical Listening Skills for Audio Professionals for 4 years at Shenyang Conservatory of Music. Usually, it will be a whole year to cover all the contents in the book, only one chapter per academic week. However, I am trying to do it in 10 days this time. It is a challenge!
This is another "funny" title that is re-translated from Chinese translation, which was translated from the original English text previously. My concept of sound - Perception of That Sound As a Basis Vector of Music. Why? It's a long story, but it's an interesting phenomenon exists in Musicacoustica Festival brochure.
费用：1500元 设计排序与一对一辅导 旁听：500元 （讲座） *沈音作曲系学生免费旁听 Tuition: 1,500RMB patch designing and private lesson Observer: 500RMB (lecture only) *Students from Composition Dept. of Shenyang Conservatory of Music is free as observer.
Jitter vs. Offset？ 抖动与偏移？
Questions from Marc: Has there been a critical mass of researchers working with Chears throughout China? Is here a sufficient number of composers and teachers working with Chears throughout China? Is Chears still a research project or has it found a substantial following in China?
From Ken Q: As CMT was published this year, EARS terms should be translated completely ASAP, maybe by 2012 summer time? A: 1)Term translation is not only a task, but also a good way to cultivate translators through Comment System in CHEARS. 2)A sustainable resources for the translator-cultivating opportunity, so it does not have to finish like a book, for example CMT.
A trend that more Database with funding from Chinese academic institution (CCoM for example) emerged, but what makes CHEARS different?
Non-academic human resources: "Panda" http://chears.info/frontend/hr/allhr.aspx?hrid=71
New Features in 2011 1) Concerts http://chears.info/News/bilingual/News_index%20en.aspx 2) Janpanese and Korean http://chears.info/frontend/glossary/Japanese%20and%20Korean.aspx
"Max/MSP Summer Workshop(Beginners): The Different Attitudes among Students Towards the Interactive Music in China". “MAX/MSP 暑期工作坊（初学者）：国内学生对于交互式音乐的不同态度”。 Max/MSP has been widely used by composers, performers, software designers, researchers and artists for creating innovative recordings, performances and installations. During its 20-year history in China, it has been a most popular computer music application for interactive pieces and welcomed by a lot of Chinese academic and non-academic musicians. However, this trend is only available in the cities like Beijing, Shanghai, Chengdu or Wuhan. For Shenyang, a city located in North-East of China, it is a brand-new application for computer music comparing to those already well-known commercial software, such as ProTools, Logic and Cubase. The workshop, Max/MSP Summer Workshop (beginners), was held in September 2010. Only four students participated from beginning to end: one Max/MSP enthusiasm who is very brave to say "NO" to Chinese official college education; two college students who are studying in Shenyang Conservatory of Music (one male and one female); one freelance musician who is making commercial music. Each of them had a different attitude to this workshop that is related to their performance closely during these 5 days from 8th to 12th of September. In this paper, I will draw from the experience of these four people in this workshop to some new ideas for the next workshop. This experience would be helpful for the development of interactive music in the second-tier cities, except Beijing and Shanghai etc.
讲座10:00-13:00（第一天免费开放） 工作坊14:00-17:00 Lecture 10:00-13:00 (first day open for free) Workshop 14:00-17:00 有兴趣的话，发电邮到CHEARS（请见主页上的电邮地址）。 If you are interested in this course, send Email to CHEARS (find email address on the home page, please)! 费用：1000元（以参加人数而定）。 Price: 1000RMB (depends on how many people in the class).
The idea comes from Musiques et recherches. It has the same kind of summer course under the same title! This course will be taught in English and Chinese, but we will try to use English as much as possible. That will be very important to those beginners whose first language are not English, especially for Chinese students! Here is the original text from Musiques et recherches, Chinese introduction is translated by Ren Xiu （任秀）. > 什么是Max/MSP？ MAX/MSP是一个实时、交互的图形编程环境，应用于音乐、音频、媒体和互动装置领域。它不仅仅是一个软件，用户还可以通过它创建个性化工具，以此来完成信号处理、合成和管理数据的功能。它灵活多变且功能强大，有直观的图形界面和广泛的开发文档，以及在线帮助和教程例子，受到广大作曲家的喜爱和应用。 > What is Max/MSP? Max/MSP is a real-time, interactive, graphic programing environment for music, audio, media, and interactive installations. Much more than a piece of software, Max provides users with the resources to build their own tools for signal processing, synthesis and data management. It is extremely versatile and powerful, and yet remains accessible - useable by artists and musicians - because of the intuitive graphic interface as well as the extensively-developed documentation, online help, tutorials and examples. > 谁能够从中受益？ MAX/MSP对想超越商业音乐软件（编辑器、音序器、合成器和插件）的用户有特别帮助。它可以在录音棚中完成合成、采样和数据处理，也可以为实时交互式计算机音乐会作品编写程序。除了音乐上的应用，在多媒体设计、互动装置、戏剧和舞蹈方面，MAX更是一件理想工具。一直以来，MAX通过来自世界各地广大用户不断的分享知识和创新，得到持续发展。 > Who can benefit from it? Max/MSP is especially useful for those who want to go beyond what is offered by dominant commercial music software (editors, sequencers, synthesizers, plug-ins). It can be used to construct synthesis, sampling and processing instruments for studio use, as well as programs that run during concerts of real-time interactive computer music. In addition to its musical applications, Max is an ideal tool for multimedia projects, interactive installations, dance and theater. Max is sustained by a broad community of users from all over the world who are are continually sharing their knowledge and creating new extensions. > 课程内容是什么？ 本课程会向初学者提供对MAX/MSP全方位的了解、实际应用和数字信号处理的基本概念。我们将包含以下课题： MAX/MSP语言的结构、句法和逻辑； 声音的录制、变形和回放；现场音频输入的处理；合成音色；调制；采样；延迟类效果（回声，相位，镶边，karplus strong）；滤波器，移调，频率转换，失真；储存召回参数；管理复合效果；姿态捕捉与算法控制等。先决条件：基本的电脑技能是必不可少的，最好是有使用音频软／硬件作曲的经验。当然，动力、耐心、决心和幽默感是最重重要的。 > What is the course's contents? This course offers beginners a solid basis for a global understanding of Max/MSP and its practical use, as well as many fundamental concepts of digital signal processing. We will cover such topics as: the language Max/MSP - structure, syntax and logic; recording, transformation and playback of soundfiles; processing live audio input; sound synthesis; modulation; sampling; delay line effects (echo, phasing, flanging, Karplus Strong); filtering, transposition, frequency shifting, distortion; storing and recalling parameters; managing multiple effects; gestural and algorithmic controls, etc. Prerequisites: basic computer skills are essential. It is best to have some experience making music with audio software and/or hardware. However, the most important prerequisites are: motivation, patience, determination, and a sense of humor...
正是端午节前夕，一场精彩纷呈的电子音乐专场音乐会为此次活动画上了一个圆满的句号。其中，还有两部作品分别来自两位英国与美国的国际知名作曲家助阵。一部《BBC之存亡》出自李•兰迪（Leigh Landy），荷兰籍作曲家，学者，英国德蒙福特大学音乐科技创研中心主任（Music, Technology and Innovation Research Centre, De Montfort University）；另一部《虫之锣》出自杰弗里•斯托莱特（Jeffrey Stolet），现任美国俄勒岗大学交互音乐技术中心主任（Philip H. Knight Professor of Intermedia Music Technology at the University of Oregon）。 这场音乐会题为《观》，来自《易经》第二十卦，六首曲目与观卦的六爻一一对应，寓意祭祀礼拜洗手自洁的时候，应当虔诚肃穆。此举决非哗众取宠，而是几位作曲家之间的师承关系实在是机缘巧合。音乐会的第一首作品《童观》（世界首演）是一部“串烧”作品，它与观卦第一爻同名出自五位本科应届毕业生，他们都是作曲系青年教师张睿博与杨磊的学生；第三首作品《十面埋伏•幻听图》（世界首演）出自张睿博，他硕士阶段师从张小夫教授。目前，他在英国德蒙特福特大学，师从李•兰迪教授潜心完成博士阶段的研究项目：中国电子声学资源调查（China ElectroAcoustic Resource Survey，简称CHEARS）。不久前，《童观》的作者之一，任秀被中央音乐学院中国现代电子音乐中心录取，即将跟随张小夫教授开始硕士研究生阶段的学习。此情此景，师生同台，正所谓学生在下向上“观”，心存虔诚与肃穆；先生在上向下“观”，心存关怀与爱护！ 哎，又是一个不眠之夜。奋笔疾书，心潮澎湃！
2012年9月24日，周一晚7点半，张小夫师生在我院音乐厅以全方位、多声道、多媒体的形式向广大观众展示了一场，就沈阳乃至东北地区而言，规模空前、形式多样、内容丰富的听觉视觉盛宴。张小夫是中国当代作曲家群体中为数不多的跨界作曲家之一，他作为中国电子音乐事业的开拓者和领军人物，先后发起并创建了中央音乐学院中国现代电子音乐中心（1994），中国音乐家协会电子音乐学会（2002）和北京国际电子音乐节（1994）。在这场音乐会中，他一共演出了四首作品。其中两首是整场音乐会的标题性作品：一个是与沈阳音乐学院棍棒游戏打击乐团合作《脸谱－系列之一》（为五组打击乐和电子音乐而作）；另一首是《脸谱－系列之二》（为电子音乐与视觉影像而作）。作曲家用现代科技技术手段对“生”、“旦”、“净”、“丑”四种不同声音的“唱”、“念”、“说”、“韵白”及京剧打击乐的声音进行变形处理，以获取与现场打击乐的配合与互动，最后通过实时现场合成构建统一的音乐语境，勾勒出一种新的声音脸谱。还有两首是他的经典保留曲目：一个是《吟》（为大曲笛、视觉影像与现代电子音乐而作的幻想音诗）与我院竹笛专业教师张科威合作；另一首是《诺日朗》（为多重组合打击乐、视觉影像和电子音乐而作）与总政歌剧院打击乐演员王尊伟合作。前者，电子音乐部分的声音素材全部取自于中国传统吹奏乐器埙、笛、萧，使古老的传统乐器获得了更为多样化、个性化的表现力和更为广阔的表现空间，试图表达一种东方民族特有的心灵述说；后者，通过提炼“转经”和“轮回”这两个最具藏民族特征性的生活表象和精神理念，依托电子音乐制作技术中的循环手段与整体音乐架构的螺旋发展，将藏文化中蕴涵的“圆”－ 生活表象的小“圆”（转经、捻佛珠、转玛尼堆、跳锅庄等）与宇宙万物转生轮回的大“圆”提升出来。 谢秉元副教授，毕业于沈阳音乐学院作曲系，1998年考入中央音乐学院师从张小夫教授学习电子音乐作曲。2002年筹建沈阳音乐学院电子音乐专业，现任沈阳音乐学院教务处处长。他的代表作品《喁》（为人声与计算机而作）创作完成于2002年，这次演出他与我院舞蹈学院青年教师韩溆合作为这部作品加入了现代舞的新元素，再加上现场舞美灯光的紧密配合，彰显出十足的现代气息。《孕育&轮回》（为古琴、实时视频与电子音乐而作）是由我院作曲系教师张睿博作曲（编程），历时5年于2010年创作完成，在这次音乐会中由我院古琴专业朱默涵教授正式首演。乐曲中，古曲旋律伴随着高叠和弦；强烈的节奏化作心跳循环反复；气息以具体音乐的形势出现。伴随着互动的视频片断，这部作品不仅展示了一种融合之美，而且具有另外一种碰撞之美：呼吸、明暗、电声与原声、古诗词（阳关三叠）与现代文化。 以上两部作品的作者都曾经师从张小夫教授，在中央音乐学院学习。最后，《恒》（恒卦三十二）是谢秉元与张睿博共同指导作曲系学生（赵中野、杨天暘）完成的一部作品，其中融入了现场呼麦（阿穆，维族）与工业噪音的成分（通过Kyma系统编程处理）。此作品以环境保护为视角，不仅体现了整场音乐会的三代师承关系，而且体现了新一代作曲家的世界观与价值观。 次日早晨，张小夫教授在25号的专题讲座《当代电子音乐发展趋势与展望》中围绕着单一媒体、多媒体、新媒体；以及声、音、乐三个层次，非常透彻地阐述了中国传统文化与母语语境两者之间的互动关系。此外，跨界一词已经成为了他最近一段时间的核心话题，那么跨界之后的去向在哪，我们共同拭目以待？
This is the very first Critics on CHEARS, which means phase one (CHEARS.info ver 1.0) has been completed!
普通话首演（沈阳）：弟兄们，咱跟他拼了，冲啊！ Premiere in English (Leicester): Brothers! May the force be with you...come on!
VJ part was created by Zhou Zhengqi in Sep (Shenyang) and was polished again in Oct 2013 (Beijing). The VJ part was kept unchanged during the concert in Nov 2013 (Leicester, UK).
