| 作品名稱 | 幻象山水 Imaginary Landscape |
|---|---|
| 作品欣賞 | |
| 風格派別 | 電子原音音樂：live 器樂加上電腦音樂 |
| 作品長度 | 09:34 |
| 聲源素材 | 鋼琴與電腦音樂 |
| 作品摘要解說 | 《幻象山水》為現場鋼琴與電腦而寫，此組合形式反應了創作者在「科技與現場傳統器樂結合」作為一種表現新模式上(mode of expression)的興趣。 電腦音樂部分之素材主要來自鋼琴，並經由一些「數位聲音信號處理」(DASP)技術之形變與合成，特別是「聲響粒子合成」(granular synthesis)，創造本曲所需之複雜「聲堆」(sound cloud)織體，而「人聲相位編碼」(phase vocoding)技術之應用，拉長或移高鋼琴音樂能儘量不改變其聲音特質，這使得這些電腦形變之聲響與鋼琴聲部可以作最佳之結合。 然而兩者在組合形式最明顯的特徵，就是電腦音樂部分在作品演進中常扮演著鋼琴部分的延伸或是背景情境與氛圍的烘托，最終並與鋼琴結合以刻畫一種幻象式的山水畫面。 The composition, scored for live instrument-the piano and taped computer music, reflects composer’s interest in the integration of both medium. For better fusion of both media, timbral and gestural similarities between the two are concerned; for timbral fusion of the both, the sound sources of computer music were mainly drawn from the piano sounds, and then transformed through the use of several synthesis technique, especially the granular synthesis; the imitation and interactions of similar musical gestures between the two are also emphasized. Furthermore, computer music part also at times serves as an extension of piano part, for instance, at ca.3:31, computer music not only echoes piano’s high F# pitch, but also extends the duration of F# to an extent of beyond the physics of piano’s sounds. As a result, an allusion of a sort of “super piano” effects was created; other similar use founds at several instances of the work. The above-mentioned factors all contribute to the optimal fusion of both media in the aspects of tone color and gesture, and to the formation of a kind of soundscape existing only in audience’s imagination. |
| 援用電腦技術 | 聲響粒子合成(granular synthesis) 音聲相位編碼(phase vocoding) |
| 創作者 | 曾毓忠 |
| 完成時間 | 2004-2005 |
| 參展或獲獎紀錄 |
|
2009/03/09
[作品解說] 幻象山水 Imaginary Landscape
