潘德列茨基的《广岛遇难者的挽歌》在声学乐器作品创作中呈现出电子音乐理念的深层渗透，反映出20世纪音乐语言跨媒介融合的创作趋势。文章从作曲家早年小提琴学习经历及他在20世纪50年代末至60年代初的电子音乐创作经历出发，对该作品的音高材料处理与音响形成特点做了探究，通过分析潘德列茨基在创作中对电子音乐用声音创作的理念、连续渐变的音响构造、剪切拼贴与粒子合成技术的模拟，以及由此生成的独特音响，揭示了他在使用声学乐器创作时，电子音乐所起的潜移默化的作用以及对传统创作观念和技术的改变。

Penderecki's Threnody to the Victims of Hiroshima exhibits a deep infiltration of electronic music concepts within acoustic instrumental composition,reflecting the 20th-century trend of cross-media fusion in musical language.This article begins with the composer's early violin studies and his experiences in electronic music composition during the late 1950s and early 1960s,and analyzes the treatment of pitch material and sound formation characteristics in the Threnody.By illustrating Penderecki's application of electronic music principles—such as sound-based composition ideas,continuous transforming sound structures,cut-and-paste techniques,and granular synthesis simulation—and the unique sonic textures thus generated,the article reveals the subtle influence of electronic music on his acoustic instrument compositions and its transformative effect on traditional compositional concepts and techniques.