在音乐的创作前提上,这一时期的音乐创作更为注重接受环节,现象学的方法对这一时期的音乐产生重要影响,创作往往建基于对某种新音响的聆听经验以及聆听观念之上。
In terms of compositional premise, such music attached more importance to reception and the composition was usually based on the experience and idea of listening to some sort of new sound.
在音乐的创作前提上,这一时期的音乐创作更为注重接受环节,现象学的方法对这一时期的音乐产生重要影响,创作往往建基于对某种新音响的聆听经验以及聆听观念之上。
In terms of compositional premise, such music attached more importance to reception and the composition was usually based on the experience and idea of listening to some sort of new sound.
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