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我们听到的音乐,如果是在演奏现场直接聆听(广场、音乐厅、教室或者是家里的客厅),其中一定首先有作曲家的智慧,同时一定会有演奏家的技艺(包括演奏家与作曲家合一的情况),然后,如果是合奏的话,往往还包含着指挥家的贡献;如果是经过电声的处理(流行音乐会、电子乐器独奏和合奏、电影院、电视机、收音机、家庭音响、“随身听”),还要融汇录音工程师和许多电声技术人员的劳动。对于传统的作曲家,主要任务就是根据他自己内心听觉的创造写出乐谱(有时还可能参与或者影响演奏和指挥的某些进程),乐谱就是他作为一个作曲家角色的“终端产品”。而作为现代的电子音乐作曲家,任务就不是那么单纯了。电子音乐作曲家提供给社会、给听众的,不再是绘有音符的纸制品,而是最终完成的、可以用听觉来感受的音乐本身(这才是本来意义上的音乐,乐谱只是创造音乐中的一个环节或者说一个半成品而已)。
The music we hear, listening directly to the playing field (plazas, concert halls, classrooms or the living room in the house), must first have the composer’s wisdom, and there must be virtuoso performers (including performers and composers If they are ensembles, they often include the contributions of conductors; if it is done through electroacoustic processes (pop concerts, solo and ensembles of electronic musical instruments, cinemas, televisions, radios, home audio systems , “Walkman”), but also integrate the recording engineer and many electro-acoustic technicians work. For the traditional composer, the main task is to write out the score based on his own inner auditory creation (and sometimes it may involve or influence certain processes of performance and direction), which is his “end product” as a composer’s character. As a modern electronic music composer, the task is not so simple. Electronic music composers provide to the society, to the audience, is no longer paper products painted with notes, but the final completion of the music itself can feel the auditory sense (this is the original sense of the music, music is to create music In a link or a semi-finished product only).