本文選題：配器 + 傳統(tǒng)管弦樂(lè)��； 參考：《中國(guó)地質(zhì)大學(xué)》2013年碩士論文

【摘要】：配器是作曲的四大要素之一,如果音樂(lè)失去了豐富的配器手法,如同沒(méi)有色彩的圖畫(huà),顯得黯然失色,所以說(shuō),配器對(duì)于音樂(lè)創(chuàng)作至關(guān)重要。而配器技術(shù)的發(fā)展與時(shí)代進(jìn)步、科技發(fā)展息息相關(guān),各種樂(lè)器的制作與產(chǎn)生,依賴于各個(gè)時(shí)期的機(jī)械加工制造業(yè)、冶煉業(yè)等工業(yè)的發(fā)展水平,樂(lè)器的組合類型具有不穩(wěn)定的階段性與時(shí)代性。隨著科學(xué)技術(shù)突飛猛進(jìn)的發(fā)展,為音樂(lè)家們提供了新的創(chuàng)作工具、新的創(chuàng)作手法,電子音樂(lè)的出現(xiàn)是不容忽視的標(biāo)志性事件。它突破傳統(tǒng)的音樂(lè)模式,電子音樂(lè)作品的音色種類“色彩斑斕”、音響形態(tài)“千變?nèi)f化”、音樂(lè)風(fēng)格“五彩紛呈”。電子管弦樂(lè)作品作為應(yīng)用型電子音樂(lè)的重要部分,時(shí)至今日,應(yīng)用的范圍廣泛、發(fā)展迅速、研究深入、創(chuàng)作豐富,配器作為音樂(lè)創(chuàng)作的四大要素之一對(duì)于研究作品的創(chuàng)作有著不可估量的作用。而電子音樂(lè)面世以來(lái)傳統(tǒng)音樂(lè)卻并沒(méi)有被終結(jié),也沒(méi)有造成對(duì)傳統(tǒng)音樂(lè)的解構(gòu),相反卻給傳統(tǒng)音樂(lè)提供了豐富的聲音資源。電子管弦樂(lè)配器顯然不同于傳統(tǒng)管弦樂(lè)的配器,帶有更多的試驗(yàn)與創(chuàng)新的特性,本文從傳統(tǒng)管弦樂(lè)配器與電子管弦樂(lè)配器的角度出發(fā),對(duì)電子管弦樂(lè)配器與傳統(tǒng)管弦樂(lè)配器進(jìn)行比較研究,探索其內(nèi)在的聯(lián)系與不同。 文章分為四章。第一章主要是從理論上對(duì)本文所研究的問(wèn)題進(jìn)行了系統(tǒng)地理論梳理。第二章比較研究了電子管弦樂(lè)與傳統(tǒng)管弦樂(lè)相同配器的理論基礎(chǔ)。第三章,比較研究了電子管弦樂(lè)與傳統(tǒng)管弦樂(lè)配器音色的擴(kuò)展劃分、演奏法的擴(kuò)展、音區(qū)的擴(kuò)展、平衡的可調(diào)以及空間的觀念等方面的不同之處。第四章針對(duì)以上兩者的比較研究,進(jìn)行總結(jié)。 第一章,緒論部分。本章從選題意義出發(fā),闡述了對(duì)電子管弦樂(lè)與傳統(tǒng)管弦樂(lè)配器進(jìn)行比較研究的理論意義及現(xiàn)實(shí)意義,對(duì)國(guó)內(nèi)外相關(guān)研究成果進(jìn)行梳理與歸納、總結(jié)。目前關(guān)于電子管弦樂(lè)配器方面的理論研究相對(duì)來(lái)說(shuō)還比較少,而且很多是在關(guān)于電子音樂(lè)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,專門研究電子管弦樂(lè)配器的相關(guān)文獻(xiàn)則較少。而與電子音樂(lè)配器與傳統(tǒng)配器比較研究相關(guān)的重要文獻(xiàn)則相對(duì)也比較缺乏。 第二章,電子管弦樂(lè)與傳統(tǒng)管弦樂(lè)配器的共同之處。首先對(duì)傳統(tǒng)管弦樂(lè)配器進(jìn)行了論述,主要論述了管弦樂(lè)隊(duì)的發(fā)展與管弦樂(lè)配器法的主要內(nèi)容。然后對(duì)電子管弦樂(lè)配器進(jìn)行了論述,主要論述了電子音樂(lè)的發(fā)展歷程以及現(xiàn)狀,以及電子管弦樂(lè)涉及的配器問(wèn)題。最后,論述了電子管弦樂(lè)與傳統(tǒng)管弦樂(lè)配器相同的理論基礎(chǔ),包括了和聲材料應(yīng)用的相同、復(fù)調(diào)手法應(yīng)用的相同、結(jié)構(gòu)組織原則的相同、織體布局的相同等方面,從而認(rèn)為兩者配器的理論基礎(chǔ)是相同的。 第三章,電子管弦樂(lè)與傳統(tǒng)管弦樂(lè)配器的不同之處。這是本文的重點(diǎn),主要對(duì)電子管弦樂(lè)配器與傳統(tǒng)管弦樂(lè)配器六個(gè)方面進(jìn)行了比較研究。一、對(duì)音色的來(lái)源與分類不同進(jìn)行了論述。首先闡述了傳統(tǒng)聲音的分類,一般分為弦樂(lè)組、木管組、銅管組以及打擊樂(lè)組；然后闡述了電子音色的分類與分類依據(jù)；就電子音樂(lè)的調(diào)制手法簡(jiǎn)單就ADSR包絡(luò)和GRM TOOLS兩種手法為例進(jìn)行了簡(jiǎn)要的說(shuō)明；最后,論述了一些音色組合的方法和效果。二、對(duì)演奏難度的要求不同進(jìn)行了論述。將傳統(tǒng)的樂(lè)器演奏法與計(jì)算機(jī)音序環(huán)境下虛擬的樂(lè)器演奏法進(jìn)行對(duì)比,從而得出計(jì)算機(jī)音序環(huán)境下對(duì)傳統(tǒng)樂(lè)器演奏法的擴(kuò)展的結(jié)論。三、對(duì)兩者音區(qū)閾限的范圍不同進(jìn)行了論述。傳統(tǒng)樂(lè)器演奏受到音區(qū)范圍的制約,但是電子管弦樂(lè)并不存在音區(qū)的限制,對(duì)傳統(tǒng)樂(lè)器的音區(qū)進(jìn)行了擴(kuò)寬。四、對(duì)平衡調(diào)控內(nèi)涵不同進(jìn)行了論述。主要論述了傳統(tǒng)平衡的觀念以及音量的平衡,即傳統(tǒng)樂(lè)隊(duì)運(yùn)用樂(lè)隊(duì)編制、各個(gè)聲部人數(shù)的多少來(lái)控制音量的平衡,而電子管弦樂(lè)的平衡可以依靠電子技術(shù)輕松調(diào)節(jié)。五、空間觀念的應(yīng)用不同。首先論述了傳統(tǒng)管弦樂(lè)的空間。傳統(tǒng)管弦樂(lè)的空間是靜態(tài)的,受樂(lè)器在舞臺(tái)上的擺放位置影響,以及所在的演奏空間環(huán)境影響,會(huì)產(chǎn)生不同的空間效果。然后,論述電子音樂(lè)的靜態(tài)以及動(dòng)態(tài)空間。受電子技術(shù)手段的影響,電子管弦樂(lè)的聲場(chǎng)環(huán)境可以根據(jù)我們的需要運(yùn)用效果器進(jìn)行各種虛擬設(shè)計(jì),樂(lè)器的舞臺(tái)位置也可以通過(guò)聲像設(shè)置。運(yùn)用聲場(chǎng)的轉(zhuǎn)換以及聲響的變化可以使音樂(lè)發(fā)生運(yùn)動(dòng),產(chǎn)生動(dòng)態(tài)的變化。六、對(duì)創(chuàng)作者的要求各不相同。首先對(duì)傳統(tǒng)音樂(lè)創(chuàng)作者的要求進(jìn)行了闡述,即傳統(tǒng)創(chuàng)作者們要掌握扎實(shí)的作曲理論基礎(chǔ)知識(shí),對(duì)音樂(lè)整體結(jié)構(gòu)有著縝密的邏輯性思維,有著敏銳的音樂(lè)感覺(jué)等等而對(duì)電子音樂(lè)創(chuàng)作者而言,還需要掌握熟練的計(jì)算機(jī)軟件硬件設(shè)備的操作能力等等。 第四章,兩者的優(yōu)勢(shì)與局限性。在比較研究了電子管弦樂(lè)配器與傳統(tǒng)管弦樂(lè)配的相同和不同之處后,對(duì)兩者各自的特性及不足做了歸納總結(jié),從而總結(jié)出傳統(tǒng)配器近乎完美的理論體系對(duì)電子管弦樂(lè)配器有著潛移默化的影響,對(duì)電子管弦樂(lè)的創(chuàng)作不可估量。而電子技術(shù)在很多方面擴(kuò)展傳統(tǒng)的配器理念,比如消除了演奏技術(shù)障礙、聲部增減自由、增加各種效果等等,但也存在著人性化的不足等問(wèn)題。然后對(duì)兩者相互的關(guān)系進(jìn)行了總結(jié),配器藝術(shù)是需要不斷實(shí)踐的,配器的理論與配器實(shí)踐的關(guān)系是相互因果的,配器理論指導(dǎo)我們進(jìn)行配器實(shí)踐活動(dòng),而經(jīng)過(guò)大量的配器實(shí)踐,能使我們不斷地從中有所發(fā)現(xiàn)有所思索,從而去總結(jié)經(jīng)驗(yàn)對(duì)配器理論知識(shí)進(jìn)行補(bǔ)充,推動(dòng)其不斷地更新不斷地前進(jìn)。 結(jié)語(yǔ),關(guān)于傳統(tǒng)音樂(lè)的內(nèi)容形式以及表現(xiàn)手法的傳承與發(fā)展是音樂(lè)藝術(shù)的生命力之所在。在電子音樂(lè)飛速發(fā)展并于傳統(tǒng)音樂(lè)相碰撞的今天,要科學(xué)地對(duì)電子音樂(lè)與傳統(tǒng)音樂(lè)技法的相互關(guān)系進(jìn)行處理,要重視音樂(lè)的本質(zhì)特征,將傳統(tǒng)的音樂(lè)創(chuàng)作技法與電子音樂(lè)技術(shù)相結(jié)合,根據(jù)創(chuàng)作的需要對(duì)音樂(lè)精雕細(xì)刻,才能創(chuàng)作出富有時(shí)代特性具有豐富藝術(shù)感染力、高藝術(shù)水平的音樂(lè)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.

【學(xué)位授予單位】：中國(guó)地質(zhì)大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J614.4

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