【摘要】：進(jìn)入21世紀(jì)以來(lái),隨著計(jì)算機(jī)技術(shù)的快速發(fā)展,它對(duì)數(shù)據(jù)處理能力日益增強(qiáng),使計(jì)算機(jī)在音樂(lè)創(chuàng)作、編輯、錄制、后期處理等方面的核心地位更加凸顯。在社會(huì)音樂(lè)實(shí)踐活動(dòng)中,如在電影、電視、音樂(lè)晚會(huì)、音樂(lè)專輯、動(dòng)畫、廣告、游戲中,計(jì)算機(jī)音樂(lè)得到了廣泛應(yīng)用。計(jì)算機(jī)音樂(lè)的發(fā)展帶來(lái)的不僅是軟件和硬件設(shè)備的不斷進(jìn)步和完善,也引發(fā)了關(guān)于音樂(lè)創(chuàng)新觀念和創(chuàng)作理論的深層次思考,并使得一些關(guān)于計(jì)算機(jī)音樂(lè)的理論研究陸續(xù)問(wèn)世。然而遺憾的是,目前的很多的理論研究大多集中在計(jì)算機(jī)音樂(lè)軟件的操作與使用的方法層面,對(duì)計(jì)算機(jī)音樂(lè)的理論分析則明顯薄弱�；诖�,本文從物理和繪畫中的關(guān)于空間透視的科學(xué)原理中獲得啟發(fā),并借助關(guān)于空間的相關(guān)理論,探索研究計(jì)算機(jī)音樂(lè)的空間構(gòu)成原理和機(jī)制,以求找到一把理解、分析計(jì)算機(jī)音樂(lè)的鑰匙。繪畫中關(guān)于透視空間是視覺(jué)感知,而音樂(lè)空間是聽覺(jué)感知,兩者看似毫無(wú)關(guān)聯(lián),卻是內(nèi)涵相似。繪畫中運(yùn)用光的明暗對(duì)比、色彩的變化、虛與實(shí)以及簡(jiǎn)略與精細(xì)的結(jié)合,來(lái)表現(xiàn)物體或自然景物的透視關(guān)系;而計(jì)算機(jī)音樂(lè)也是需要運(yùn)用這幾方面的對(duì)比與結(jié)合,來(lái)構(gòu)建這種音樂(lè)的空間。本文在計(jì)算機(jī)音樂(lè)制作的空間構(gòu)成要素方面,主要可從樂(lè)器音色、聲部層次以及后期處理這三個(gè)方面進(jìn)行分析。在樂(lè)器音色的選擇方面,是選擇使用傳統(tǒng)的音色或者電子合成音色,還是兩者結(jié)合使用,是要根據(jù)音樂(lè)作品的需要來(lái)判斷的。而音樂(lè)作品的聲部層次的構(gòu)成則包括兩個(gè)方面,即由上層、中層、下層構(gòu)成的縱向音區(qū)空間,以及由近景、中景、遠(yuǎn)景構(gòu)成的縱深空間。至于音樂(lè)的空間則不是一成不變的,故此隨著音樂(lè)的進(jìn)行,音樂(lè)的空間也要跟著變化。在音樂(lè)后期處理上,主要有延時(shí)、混響和和均衡等手段。在計(jì)算機(jī)音樂(lè)制作完成了所有音軌錄入之后,在整體調(diào)節(jié)的過(guò)程中通過(guò)更改延時(shí)、混響、均衡的參數(shù),影響和改變音樂(lè)空間。概述地說(shuō),音樂(lè)的空間體現(xiàn)在音樂(lè)高低音區(qū)合理安排,以及音樂(lè)色彩的變化、聲部多層次結(jié)構(gòu)的主次安排設(shè)計(jì)而形成縱深度來(lái)表現(xiàn)。總之,本文另辟蹊徑,從音樂(lè)空間的角度出發(fā),努力探究音樂(lè)空間構(gòu)成的原理與機(jī)制,并希望可以通過(guò)本論文,為計(jì)算機(jī)音樂(lè)的分析與理解,提供一個(gè)新的視角。
[Abstract]:Since the beginning of the 21st century, with the rapid development of computer technology, its ability to deal with data has been enhanced day by day, which makes the core position of computer in music creation, editing, recording and post-processing more prominent. Computer music is widely used in social music activities, such as film, television, music evening, music album, animation, advertising, games. The development of computer music brings not only the continuous progress and perfection of software and hardware, but also the deep thinking about the creative theory of music, and makes some theoretical research on computer music come out one after another. However, unfortunately, most of the current theoretical studies focus on the operation and use of computer music software, but the theoretical analysis of computer music is obviously weak. Based on this, this paper draws inspiration from the scientific principles of space perspective in physics and painting, and with the help of relevant theories about space, explores and studies the principle and mechanism of space composition of computer music, in order to find an understanding. Analyze the keys to computer music. In painting, perspective space is visual perception, while music space is auditory perception. In painting, the contrast of light and shade, the change of color, the combination of hypocrisy and reality, and the combination of simplicity and fineness are used to express the perspective relationship of objects or natural scenery, and computer music also needs to use the comparison and combination of these aspects. To build the space for this kind of music. In this paper, the spatial elements of computer music production can be analyzed from three aspects: timbre, voice level and post processing. In the choice of musical instrument timbre, whether to use traditional timbre or electronic synthetic timbre, or a combination of both, should be judged according to the needs of musical works. The composition of the music composition includes two aspects, that is, the vertical sound area space composed of the upper, middle and lower layers, and the deep space composed of close-shot, mid-view and visionary. The space of music is not fixed, so as the music goes on, the space of music changes. In the music post-processing, there are delay, reverberation and equalization and other means. After all the tracks are recorded in the computer music production, the music space is influenced and changed by changing the parameters of delay, reverberation and balance during the whole adjustment process. Generally speaking, the space of music is reflected in the reasonable arrangement of music high and low sound area, the change of music color, and the design of the primary and secondary arrangement of multi-level structure of the sound part, which forms the depth of expression. In a word, this paper tries to explore the principle and mechanism of music space from the point of view of music space, and hopes to provide a new perspective for the analysis and understanding of computer music through this paper.
【學(xué)位授予單位】：沈陽(yáng)師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J614.8

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