摘要
随着观念与技术的变革,中国当代舞剧音乐创作突破传统作曲技法层面的思维模式,作曲家在创作时融入更多声音设计意识,探索从声音入手建立音响结构样式。文章以舞剧《永不消逝的电波》为例,首先引入默里·?谢弗(R.Murray Schafer)的“声音景观”(soundscape)概念,分析舞剧音乐结构和声音元素所构成的声景中存在的两层空间,以及基于声音在空间维度的涉身经验所区分的声景的三个层次;其次论述音效音乐化意识,探讨音效如何在不失其原有听觉特性的情况下,借用作曲技法融入音响的整体构成,配合声景观念形成音乐统一体;最后分析电子音色超越合并概念融入整体音乐的方法,以及电子音乐简洁高效的造型手法。
With the concept reformation and technological transformation,the musical composition of the Chinese contemporary dance-drama breaks through the traditional thinking that only takes into account composition techniques.Instead,it starts to explore how to establish an acoustic structure through sounds.This paper,taking The Eternal Radio Waves as an example,firstly introduces the concept of“soundscape”put forward by R.Murray Schafer,discussing the two-tier space between musical structure and acoustic elements and the three different levels of soundscape based on the embodied experience of sounds on the spatial dimension.Secondly,it analyses the importance of taking the sound effects as a kind of music and discusses how to integrate them into the musical composition by some techniques without obscuring their distinctive features,thus presenting a harmonious unity.Finally,this paper probes into the method of integrating electronic music into the overall music style and how to make the integration more succinct and effective.
出处
《当代舞蹈艺术研究》
2023年第1期113-118,共6页
Contemporary Dance Research
基金
江苏高校哲学社会科学一般项目“舞蹈表演与数字媒体的交互行为研究”(项目编号2021SJA0416)研究成果之一
作者简介
宋宁,女,南京艺术学院传媒学院在读博士研究生,南京艺术学院舞蹈学院讲师。主要研究方向:舞蹈音乐理论、数字媒体艺术
