电子管弦乐与传统管弦乐配器之比较研究

发布时间：2018-04-26 21:15

本文选题：配器 + 传统管弦乐　；参考：《中国地质大学》2013年硕士论文

【摘要】：配器是作曲的四大要素之一,如果音乐失去了丰富的配器手法,如同没有色彩的图画,显得黯然失色,所以说,配器对于音乐创作至关重要。而配器技术的发展与时代进步、科技发展息息相关,各种乐器的制作与产生,依赖于各个时期的机械加工制造业、冶炼业等工业的发展水平,乐器的组合类型具有不稳定的阶段性与时代性。随着科学技术突飞猛进的发展,为音乐家们提供了新的创作工具、新的创作手法,电子音乐的出现是不容忽视的标志性事件。它突破传统的音乐模式,电子音乐作品的音色种类“色彩斑斓”、音响形态“千变万化”、音乐风格“五彩纷呈”。电子管弦乐作品作为应用型电子音乐的重要部分,时至今日,应用的范围广泛、发展迅速、研究深入、创作丰富,配器作为音乐创作的四大要素之一对于研究作品的创作有着不可估量的作用。而电子音乐面世以来传统音乐却并没有被终结,也没有造成对传统音乐的解构,相反却给传统音乐提供了丰富的声音资源。电子管弦乐配器显然不同于传统管弦乐的配器,带有更多的试验与创新的特性,本文从传统管弦乐配器与电子管弦乐配器的角度出发,对电子管弦乐配器与传统管弦乐配器进行比较研究,探索其内在的联系与不同。文章分为四章。第一章主要是从理论上对本文所研究的问题进行了系统地理论梳理。第二章比较研究了电子管弦乐与传统管弦乐相同配器的理论基础。第三章,比较研究了电子管弦乐与传统管弦乐配器音色的扩展划分、演奏法的扩展、音区的扩展、平衡的可调以及空间的观念等方面的不同之处。第四章针对以上两者的比较研究,进行总结。第一章,绪论部分。本章从选题意义出发,阐述了对电子管弦乐与传统管弦乐配器进行比较研究的理论意义及现实意义,对国内外相关研究成果进行梳理与归纳、总结。目前关于电子管弦乐配器方面的理论研究相对来说还比较少,而且很多是在关于电子音乐作品分析或其他方面研究分析中的某一部分所涉及的片面的配器研究分析,专门研究电子管弦乐配器的相关文献则较少。而与电子音乐配器与传统配器比较研究相关的重要文献则相对也比较缺乏。第二章,电子管弦乐与传统管弦乐配器的共同之处。首先对传统管弦乐配器进行了论述,主要论述了管弦乐队的发展与管弦乐配器法的主要内容。然后对电子管弦乐配器进行了论述,主要论述了电子音乐的发展历程以及现状,以及电子管弦乐涉及的配器问题。最后,论述了电子管弦乐与传统管弦乐配器相同的理论基础,包括了和声材料应用的相同、复调手法应用的相同、结构组织原则的相同、织体布局的相同等方面,从而认为两者配器的理论基础是相同的。第三章,电子管弦乐与传统管弦乐配器的不同之处。这是本文的重点,主要对电子管弦乐配器与传统管弦乐配器六个方面进行了比较研究。一、对音色的来源与分类不同进行了论述。首先阐述了传统声音的分类,一般分为弦乐组、木管组、铜管组以及打击乐组；然后阐述了电子音色的分类与分类依据；就电子音乐的调制手法简单就ADSR包络和GRM TOOLS两种手法为例进行了简要的说明；最后,论述了一些音色组合的方法和效果。二、对演奏难度的要求不同进行了论述。将传统的乐器演奏法与计算机音序环境下虚拟的乐器演奏法进行对比,从而得出计算机音序环境下对传统乐器演奏法的扩展的结论。三、对两者音区阈限的范围不同进行了论述。传统乐器演奏受到音区范围的制约,但是电子管弦乐并不存在音区的限制,对传统乐器的音区进行了扩宽。四、对平衡调控内涵不同进行了论述。主要论述了传统平衡的观念以及音量的平衡,即传统乐队运用乐队编制、各个声部人数的多少来控制音量的平衡,而电子管弦乐的平衡可以依靠电子技术轻松调节。五、空间观念的应用不同。首先论述了传统管弦乐的空间。传统管弦乐的空间是静态的,受乐器在舞台上的摆放位置影响,以及所在的演奏空间环境影响,会产生不同的空间效果。然后,论述电子音乐的静态以及动态空间。受电子技术手段的影响,电子管弦乐的声场环境可以根据我们的需要运用效果器进行各种虚拟设计,乐器的舞台位置也可以通过声像设置。运用声场的转换以及声响的变化可以使音乐发生运动,产生动态的变化。六、对创作者的要求各不相同。首先对传统音乐创作者的要求进行了阐述,即传统创作者们要掌握扎实的作曲理论基础知识,对音乐整体结构有着缜密的逻辑性思维,有着敏锐的音乐感觉等等而对电子音乐创作者而言,还需要掌握熟练的计算机软件硬件设备的操作能力等等。第四章,两者的优势与局限性。在比较研究了电子管弦乐配器与传统管弦乐配的相同和不同之处后,对两者各自的特性及不足做了归纳总结,从而总结出传统配器近乎完美的理论体系对电子管弦乐配器有着潜移默化的影响,对电子管弦乐的创作不可估量。而电子技术在很多方面扩展传统的配器理念,比如消除了演奏技术障碍、声部增减自由、增加各种效果等等,但也存在着人性化的不足等问题。然后对两者相互的关系进行了总结,配器艺术是需要不断实践的,配器的理论与配器实践的关系是相互因果的,配器理论指导我们进行配器实践活动,而经过大量的配器实践,能使我们不断地从中有所发现有所思索,从而去总结经验对配器理论知识进行补充,推动其不断地更新不断地前进。结语,关于传统音乐的内容形式以及表现手法的传承与发展是音乐艺术的生命力之所在。在电子音乐飞速发展并于传统音乐相碰撞的今天,要科学地对电子音乐与传统音乐技法的相互关系进行处理,要重视音乐的本质特征,将传统的音乐创作技法与电子音乐技术相结合,根据创作的需要对音乐精雕细刻,才能创作出富有时代特性具有丰富艺术感染力、高艺术水平的音乐作品。
[Abstract]:Orchestration is one of the four main elements of composing. If music loses its rich orchestration, as a picture without color, it seems to be overshadowed. Therefore, orchestration is crucial to the creation of music. The development of orchestration technology is closely related to the progress of the times, the development of science and technology, and the production and production of various instruments, depending on the machines of the various periods. The combination types of instruments have unstable stages and times. With the rapid development of science and technology, new creative tools are provided for musicians. The emergence of electronic music is a landmark event that can not be ignored. It breaks through traditional music models. As an important part of the applied electronic music, the electronic orchestral music works as an important part of the applied electronic music. Nowadays, the application is widely used, the development is rapid, the research is deep, the creation is rich and the orchestration is the four main element of the music creation. There is an immeasurable effect on the creation of a research work. But the traditional music has not been terminated since the advent of electronic music, and has not created a deconstruction of traditional music. On the contrary, it provides rich sound resources to traditional music. The orchestration of the electronic orchestral orchestration is obviously different from the orchestration of traditional orchestral music, with more experiments and more experiments. From the perspective of traditional orchestral orchestration and electronic orchestration, this paper makes a comparative study of the electronic orchestral orchestration and the traditional orchestral orchestration, and explores the internal relations and differences between the traditional orchestration and the electronic orchestration.
The article is divided into four chapters. The first chapter is the theoretical basis of the theoretical analysis of the problems studied in this article. The second chapter compares the theoretical basis of the same orchestration of the electronic Orchestra and the traditional orchestral music. The third chapter compares the expansion of the tone color of the electronic Orchestra and the traditional orchestral music, and the expansion of the performance method. There are differences between the expansion of the voice area, the adjustable balance and the concept of space. The fourth chapter summarizes the above two studies.
Chapter 1, introduction part. From the significance of the topic, this chapter expounds the theoretical and practical significance of the comparative study of the electronic orchestral music and the traditional orchestral orchestration, and summarizes the relevant research results both at home and abroad. The theoretical research on the square surface of the orchestral orchestration is relatively few, and is very important. Most of them are one of the one-sided research and analysis involved in the analysis of electronic music works or other aspects of research and analysis. There are few relevant literature on the orchestration of electronic orchestration, and the important articles related to the comparative study of electronic music orchestration and traditional orchestration are relatively lack.
The second chapter, the common place of the electronic orchestral orchestration and the traditional orchestral orchestration. First, the traditional orchestral orchestration is discussed, the main contents of the orchestra development and the orchestral orchestration are mainly discussed. Then the electronic orchestral orchestration is discussed, and the development and current situation of the electric music music and the electronics are mainly discussed. In the end, the same theoretical basis for the orchestral orchestration and the traditional orchestration is discussed, including the same application of the harmonic materials, the same application of the polyphony, the same structure principle and the same layout of the fabric, thus recognizing that the theoretical basis of the orchestration is the same.
The third chapter is the difference between the electronic orchestral music and the traditional orchestral orchestration. This is the focus of this article. It mainly compares the six aspects of the electronic orchestration and the traditional orchestration. First, the origin and classification of the tone color are discussed. First, the classification of the traditional sound is described, which is generally divided into string group, woodpipe group, The copper tube group and the percussion group; then the classification and classification basis of the electronic tone are expounded; the two methods of ADSR envelope and GRM TOOLS are briefly illustrated for the modulation techniques of electronic music. Finally, the methods and effects of some sound combinations are discussed. Two, the different requirements for the difficulty of playing are discussed. The musical instrument performance method is compared with the virtual instrument playing method under the computer sequence environment, thus the extension of the traditional musical instrument performance method under the computer sequence environment is obtained. Three, the range of the range of the threshold is discussed. The traditional musical instrument performance is restricted by the range of the sound area, but the electronic Orchestra does not exist. The limitation of the sound area is to broaden the sound area of traditional musical instruments. Four, the different connotation of balance regulation is discussed. The concept of the traditional balance and the balance of the volume are mainly discussed, that is, the traditional band uses band compilation and the number of each sound part to control the volume balance, and the balance of the electronic Orchestra can depend on the electronic technology. Five, the application of space concept is different. First, the space of Traditional Orchestra is discussed. The space of the traditional orchestra is static. The influence of the position of the musical instrument on the stage and the influence of the playing space environment will produce different spatial effects. Then, the static and dynamic space of electronic music is discussed. The influence of technical means, the sound field environment of the electronic Orchestra can be used in various virtual designs according to our needs. The stage position of the instrument can also be set through the sound image. The conversion of sound field and the change of sound can make the music move and produce dynamic changes. Six, the requirements for the creator are different. First, the requirements of the traditional music creators are expounded. That is, the traditional creators have to grasp the solid basic knowledge of the composing theory, have a careful logical thinking on the overall structure of the music, have a keen sense of music and so on. For the electronic music creators, they also need to master the operation of the skillful computer software and hardware equipment. Ability and so on.
The fourth chapter, the advantages and limitations of both. After comparing the similarities and differences between the orchestration of the orchestration of the electronic orchestration and the traditional orchestration, the characteristics and shortcomings of both of the two are summarized, and the conclusion is made that the theory system of the traditional orchestration which is almost perfect has a subtle influence on the electronic orchestration of the orchestration of the electronic orchestration, and to the electronic string. The creation of music is immeasurable. And electronic technology expands the traditional idea of orchestration in many aspects, such as eliminating the technical obstacles of playing, increasing and reducing the freedom of the sound part, increasing various effects and so on, but there are also problems of the lack of humanization. Then the relationship of the two is summed up, and the orchestration art is the need to practice and orchestrate the principle of orchestration. The relationship between the theory of orchestration and the orchestration is mutually causality. The theory of orchestration guides us to carry out the practice of orchestration, and through a large number of orchestration practice, we can constantly find some thoughts from some of the discoveries, and then summarize experience to complement the theoretical knowledge of orchestration, and promote its continuous progress and continuous progress.
The conclusion is that the content form of traditional music and the inheritance and development of the expression techniques are the vitality of the music art. In today's rapid development of electronic music and the collision of traditional music, the relationship between electronic music and traditional music techniques should be scientifically discussed, the essential characteristics of music should be paid attention to, and the traditional sound should be emphasized. The music creation technique and the electronic music technology combine, according to the need of the creation to the music exquisite carving, can create the rich time characteristic with rich artistic appeal, the high artistic level of music works.

【学位授予单位】：中国地质大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J614.4

【参考文献】