This article describes the ways in which the spectra of electroacoustic music compositions can be structured coherently. It begins by describing the straightjacket that composers and listeners are constrained by when using the concept of ‘source bonding’ and how this needs to be discarded for effective listening. It then describes the concept of spectral merging and how ideas of musical timbre are formed, and finally discusses the many ways that spectra can be structured with both harmonic and inharmonic components. Examples are given from the author’s own music and other well-known works in the literature of electroacoustic music.

中文翻译：

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电声音乐中的频谱结构

本文描述了电声音乐作品的频谱可以连贯地构建的方式。它首先描述了作曲家和听众在使用“源绑定”概念时所受到的束缚，以及如何为了有效的聆听而需要放弃它。然后描述了频谱合并的概念以及音乐音色的概念是如何形成的，最后讨论了用谐波和非谐波分量构建频谱的多种方法。例子来自作者自己的音乐和电声音乐文献中的其他著名作品。