先锋派实验音乐之涅槃
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摘要
这是一篇有关基于算法的频谱作曲技法研究的文学博士学位论文。它从作曲算法与算法作曲的简明阐述入手,以计算机辅助作曲技术中最具代表意义的风格流派——频谱学派的音响生态学探究为基本出发点,对频谱作曲技术进行了深入地研究和解析;对基于OpenMusic拼图算法平台进行了实证推演;对于两位最具影响力的频谱作曲学派创始人热拉尔·格里赛(Gerard Grisey,1946-98)、特里斯坦·米哈伊(Tristan Muraill,1947-)的四部代表作品从材料、结构、音乐、音响四个方面进行了深入探索、推理和验证性分析。在此基础之上,阐述了常规作曲技术与作曲算法的对应关系和实现手段,发现了音响表现形态和结构力的基本成因,指出了频谱学派在回归理性,崇尚科学的同时,又以后现代派的实用主义与“类科学”的态度对所谓音响的物理属性进行平面图解、交叉映射和文本转换,以获取新的音乐材料与结构力。
本文对现代派、先锋派、后现代派与频谱乐派的发展脉络、相互关系和美学追问等方面进行了一般性的归纳。对频谱学派在30多年的发展进程中所扮演的角色,和他在推动音乐在保持其艺术开拓性的同时所采取的折衷策略,以及算法逻辑思维对艺术创新带来的推动与制约,发表了个人独到的见解。本文还将试图寻找算法作曲与常规作曲思维之间的摩擦阻力之根源,以及如何有效地摆脱阻力,使之转化为巨大推动之潜力,由此得出推进计算机辅助作曲的拟人化进程的必要性与可行性之结论。
Reborn of the Avant-garde Music,A Study on Spectral Composition based on Patchwork is my dissertation applying for the Musicology Degree of Ph.D.The dissertation proceeded with concise definition on composing algorithm and algorithm composition, discussing the Spectral School,which is the most significant genre in the computer-aid composition domain.It deeply researched the technology of Spectra Composition starting from the point of researching the basic physical properties of sound.On one hand, exemplifications were taken on the OpenMusic Patchwork platform.It explored,ratiocinated and experimentally analyzed the aspects over material,structure,music and sound for four representative works by two outstanding composers from France,Gerard Grisey(1946-1998) and Tristan Muraill(1947-).On the other hand,based on mentioned above,it not only clarified the relationship between the general composing skills and composing algorithm,but also found out the basic factors of sound performing configuration and structural capacity.It also pointed out that the Spectral School is becoming the advocator of sense and science, holding the attitude of pragmatism and "alternative science" to have so-called physical properties of sound illustrated,mapped and text transformed.In addition,it generally concluded the developments,connections and aesthetics among the Modernism,Avant-garde, Post-modernism and Spectral School.It announced the author's original opinion about the role of Spectral School,its compromise strategy for maintaining the art trailblazing and restricts brought by algorithm logics to artistic innovation over the period of more than 30 years' development of contemporary music.The dissertation finally gave a conclusion about the necessity and feasibility of the personating process of computer-aided composition,by finding out the thinking conflicts existing between algorithm composition and traditional composition,and the ways to resolve.
本文对现代派、先锋派、后现代派与频谱乐派的发展脉络、相互关系和美学追问等方面进行了一般性的归纳。对频谱学派在30多年的发展进程中所扮演的角色,和他在推动音乐在保持其艺术开拓性的同时所采取的折衷策略,以及算法逻辑思维对艺术创新带来的推动与制约,发表了个人独到的见解。本文还将试图寻找算法作曲与常规作曲思维之间的摩擦阻力之根源,以及如何有效地摆脱阻力,使之转化为巨大推动之潜力,由此得出推进计算机辅助作曲的拟人化进程的必要性与可行性之结论。
Reborn of the Avant-garde Music,A Study on Spectral Composition based on Patchwork is my dissertation applying for the Musicology Degree of Ph.D.The dissertation proceeded with concise definition on composing algorithm and algorithm composition, discussing the Spectral School,which is the most significant genre in the computer-aid composition domain.It deeply researched the technology of Spectra Composition starting from the point of researching the basic physical properties of sound.On one hand, exemplifications were taken on the OpenMusic Patchwork platform.It explored,ratiocinated and experimentally analyzed the aspects over material,structure,music and sound for four representative works by two outstanding composers from France,Gerard Grisey(1946-1998) and Tristan Muraill(1947-).On the other hand,based on mentioned above,it not only clarified the relationship between the general composing skills and composing algorithm,but also found out the basic factors of sound performing configuration and structural capacity.It also pointed out that the Spectral School is becoming the advocator of sense and science, holding the attitude of pragmatism and "alternative science" to have so-called physical properties of sound illustrated,mapped and text transformed.In addition,it generally concluded the developments,connections and aesthetics among the Modernism,Avant-garde, Post-modernism and Spectral School.It announced the author's original opinion about the role of Spectral School,its compromise strategy for maintaining the art trailblazing and restricts brought by algorithm logics to artistic innovation over the period of more than 30 years' development of contemporary music.The dissertation finally gave a conclusion about the necessity and feasibility of the personating process of computer-aided composition,by finding out the thinking conflicts existing between algorithm composition and traditional composition,and the ways to resolve.
引文
7 Introduction to the Pitch Orgnization of French Spactral Music.by Francois Rose.on Perspectives of New Music.Vol,34.no.2,1996
8 Introduction to the Pitch Orgnization of French Spactral Music.by Francois Rose.on Perspectives of New Music.Vol.34.no.2.1996
9 Timbral Organization in Tristan Murail's Desintegrations and Rituals,by Anthony Cornicello,The Faculty of the Graduate School of Arts and Sciences,Brandeis University,Music Program
11 频率调制(FM)合成技术知识,摘自“音乐制作人网站”:hnp://www.uaudio.cn
15 Interpretation of everyday gestures-composing with rules,(O|¨)rjan Sandred.The Royal College of Music.Sweden
杨立青:《乐思·乐风——杨立青音乐文集》上海音乐学院出版社
瓦尔特·基泽勒[德]著,杨立青译:《20世纪音乐的和声技法》上海音乐学院出版社,2006
唐·杰·格劳特/克劳德·帕利斯卡:《西方音乐史》汪启璋等译,人民音乐出版社
冯寅、周昌乐:《算法作曲的研究进展》,Journal of Software,2006(17)
王次熠:《音乐美学新论》中央音乐学院出版社,2005年
赵宋光:“美学原理受人类学本体论洗礼之后”《赵宋光文集》第一卷,花城出版社,2001
赵晓生:《太极作曲系统》新版,上海音乐出版社,2006年
宋瑾:《西方音乐——从现代到后现代》上海音乐出版社,2006年
彭志敏:《新音乐作品分析教程》,湖南文艺出版社,2004年
黄枕宇、谷东:《20世纪音乐概述》,原载于《中国音乐教育》2000.1期
张小夫:《具体音乐给我们的启示》中国电子音乐学会EMac网站
章朝盛:《Gerard Grisey与频谱音乐》,来自中国音乐学网站
李春芳:《加法合成技术原理概述》音乐制作人http://www.uaudio.cn
英国文学理论家伊格尔顿(Terry Eagleton):《后现代主义的幻象》(Illusions of Postmodernism)
黄欣、董军:“基于经验的计算机作曲方法的研究与实现”《心智与计算》2007(2)
雷金纳德·史密斯·布林德尔:《新音乐:1945年以来的先锋派》人民音乐出版社。
袁荫棠:《概率论与数理统计》,中国人民大学出版社。
郑颖/钱君燕/冯玉瑚:《概率论与数理统计》,中国纺织大学出版社。
陶辛:“计算机音乐思维研究”(一)《音乐艺术》2001年第4期
刘健:“算法作曲及分层结构控制”《黄钟》2003年第2期
张英俐等:《遗传算法在作曲中的应用》
余立功等:《基于内外概率算法的音乐节奏自动生成》浙江大学学报,2005(12)
Gerard Grisey,Did You Say Spectral? Contemporary Music Review,2000,19,2000 OPA
Francois Rose,Perspectives of New Music,Vol.34,No.2.
Tristan Murail,After Thought,Contemporary Music Review,2000 Vol.19,OPA N.V1
Carlos Agon,Gerard Assayag,Olivier Delerue,Camilo Rueda.Objects,Time and Constraints in OpenMusic.Proceedings of the ICMC 98,Ann Arbor,Michigan,1998.
G.Assayag,M.Castellengo,C.Malherbe.Functional integration of complex instrumental sounds in music writing,proc.ICMC 85.1985.
Balaban et al,Understanding Music with AI,Balaban,Ebcioglu et Laske Ed.,MIT Press,Cambridge MA,1992.
Pierre Barbaud.La musique discipline scientifique.Dunod,Paris,1968.
Castagna Giuseppe.Foundations of Object-oriented programming.Workshop at ETAPS'98,Lisboa,1998.
M.Chemillier,Structure et methode algebriques en informatique musicale.These de doctorat.LITP 90-4,Universite Paris Ⅵ,1990.
Marc Chemillier.Analysis and Computer Reconstruction of a Musical Fragment of Gy(o|¨)rgy Ligeti's Melodien.ISMM Bucarest(Romania),1994.
Francis Courtot.Entre le decompose et l'incomposable.Les cahiers de l'Ircam 1(3).Paris juin 1993.
Lejaren Hiller.Music composed with computers.In Music by computers,Heinz von Foerster col.J.Wiley & sons Ed.New York,1969.
G.M.Koenig.Emploi des programmes d'ordinateur dans la creation musicale.Dans Revue Musicale No.268-269,Paris,1971.
Laurson M.PATCHWORK:A Visual Programming Language and some Musical Applications.PhD Thesis,Sibelius Academy,Helsinki,1996.
M.Mesnage,A.Riotte,Un modele informatique d'une piece de Stravinsky,in Analyse Musicale,10.Paris,1988,pp.51-67.
M.Mesnage,A.Riotte,Les variations pour piano opus 27:approche cellulaire barraqueenne et analyse assistee par ordinateur,in Analyse Musicale,14.Paris,1989,pp 51-66.
Pachet,Francois.The MusES system:an environment for experimenting with knowledge representation techniques in tonal harmony.First Brazilian Symposium on Computer Music,SBC&M '94,August 3-4,Caxambu,Minas Gerais,Brazil,pp.195-201,1994.
Stephen Pope.Introduction to MODE:The Musical Object Development Environment.S.T.Pope ed.MIT press.Boston,1991.
V.Pratt,The Duality of Time and Information.Proceedings of CONCUR'92.Springer-Verlag,New York,1992.
Xavier Rodet et Pierre Cointe.FORMES Composition et ordonnancement de processus.Rapports de recherche No 36,Ircam,Paris,1985.
Camilo Rueda,Mikael Laurson,Georges Bloch,Gerard Assayag.Integrating Constraint Programming in Visual Musical Composition Languages,Workshop W4,Constraint techniques for artistic applications,ECAI '98,Brighton,August 1998.
Camilo Rueda,Frank Valencia.Improving forward checking with delayed evaluation.In proceedings of CLEI'97,Santiago,Chile,1997.
H.Taube.Common music:A music composition language in Common Lisp and CLOS.Computer Music Journal,15(2),Summer 1991.MIT Press.
I.Xenakis.Musiques formelles.Stock Musique,Paris,1981.
8 Introduction to the Pitch Orgnization of French Spactral Music.by Francois Rose.on Perspectives of New Music.Vol.34.no.2.1996
9 Timbral Organization in Tristan Murail's Desintegrations and Rituals,by Anthony Cornicello,The Faculty of the Graduate School of Arts and Sciences,Brandeis University,Music Program
11 频率调制(FM)合成技术知识,摘自“音乐制作人网站”:hnp://www.uaudio.cn
15 Interpretation of everyday gestures-composing with rules,(O|¨)rjan Sandred.The Royal College of Music.Sweden
杨立青:《乐思·乐风——杨立青音乐文集》上海音乐学院出版社
瓦尔特·基泽勒[德]著,杨立青译:《20世纪音乐的和声技法》上海音乐学院出版社,2006
唐·杰·格劳特/克劳德·帕利斯卡:《西方音乐史》汪启璋等译,人民音乐出版社
冯寅、周昌乐:《算法作曲的研究进展》,Journal of Software,2006(17)
王次熠:《音乐美学新论》中央音乐学院出版社,2005年
赵宋光:“美学原理受人类学本体论洗礼之后”《赵宋光文集》第一卷,花城出版社,2001
赵晓生:《太极作曲系统》新版,上海音乐出版社,2006年
宋瑾:《西方音乐——从现代到后现代》上海音乐出版社,2006年
彭志敏:《新音乐作品分析教程》,湖南文艺出版社,2004年
黄枕宇、谷东:《20世纪音乐概述》,原载于《中国音乐教育》2000.1期
张小夫:《具体音乐给我们的启示》中国电子音乐学会EMac网站
章朝盛:《Gerard Grisey与频谱音乐》,来自中国音乐学网站
李春芳:《加法合成技术原理概述》音乐制作人http://www.uaudio.cn
英国文学理论家伊格尔顿(Terry Eagleton):《后现代主义的幻象》(Illusions of Postmodernism)
黄欣、董军:“基于经验的计算机作曲方法的研究与实现”《心智与计算》2007(2)
雷金纳德·史密斯·布林德尔:《新音乐:1945年以来的先锋派》人民音乐出版社。
袁荫棠:《概率论与数理统计》,中国人民大学出版社。
郑颖/钱君燕/冯玉瑚:《概率论与数理统计》,中国纺织大学出版社。
陶辛:“计算机音乐思维研究”(一)《音乐艺术》2001年第4期
刘健:“算法作曲及分层结构控制”《黄钟》2003年第2期
张英俐等:《遗传算法在作曲中的应用》
余立功等:《基于内外概率算法的音乐节奏自动生成》浙江大学学报,2005(12)
Gerard Grisey,Did You Say Spectral? Contemporary Music Review,2000,19,2000 OPA
Francois Rose,Perspectives of New Music,Vol.34,No.2.
Tristan Murail,After Thought,Contemporary Music Review,2000 Vol.19,OPA N.V1
Carlos Agon,Gerard Assayag,Olivier Delerue,Camilo Rueda.Objects,Time and Constraints in OpenMusic.Proceedings of the ICMC 98,Ann Arbor,Michigan,1998.
G.Assayag,M.Castellengo,C.Malherbe.Functional integration of complex instrumental sounds in music writing,proc.ICMC 85.1985.
Balaban et al,Understanding Music with AI,Balaban,Ebcioglu et Laske Ed.,MIT Press,Cambridge MA,1992.
Pierre Barbaud.La musique discipline scientifique.Dunod,Paris,1968.
Castagna Giuseppe.Foundations of Object-oriented programming.Workshop at ETAPS'98,Lisboa,1998.
M.Chemillier,Structure et methode algebriques en informatique musicale.These de doctorat.LITP 90-4,Universite Paris Ⅵ,1990.
Marc Chemillier.Analysis and Computer Reconstruction of a Musical Fragment of Gy(o|¨)rgy Ligeti's Melodien.ISMM Bucarest(Romania),1994.
Francis Courtot.Entre le decompose et l'incomposable.Les cahiers de l'Ircam 1(3).Paris juin 1993.
Lejaren Hiller.Music composed with computers.In Music by computers,Heinz von Foerster col.J.Wiley & sons Ed.New York,1969.
G.M.Koenig.Emploi des programmes d'ordinateur dans la creation musicale.Dans Revue Musicale No.268-269,Paris,1971.
Laurson M.PATCHWORK:A Visual Programming Language and some Musical Applications.PhD Thesis,Sibelius Academy,Helsinki,1996.
M.Mesnage,A.Riotte,Un modele informatique d'une piece de Stravinsky,in Analyse Musicale,10.Paris,1988,pp.51-67.
M.Mesnage,A.Riotte,Les variations pour piano opus 27:approche cellulaire barraqueenne et analyse assistee par ordinateur,in Analyse Musicale,14.Paris,1989,pp 51-66.
Pachet,Francois.The MusES system:an environment for experimenting with knowledge representation techniques in tonal harmony.First Brazilian Symposium on Computer Music,SBC&M '94,August 3-4,Caxambu,Minas Gerais,Brazil,pp.195-201,1994.
Stephen Pope.Introduction to MODE:The Musical Object Development Environment.S.T.Pope ed.MIT press.Boston,1991.
V.Pratt,The Duality of Time and Information.Proceedings of CONCUR'92.Springer-Verlag,New York,1992.
Xavier Rodet et Pierre Cointe.FORMES Composition et ordonnancement de processus.Rapports de recherche No 36,Ircam,Paris,1985.
Camilo Rueda,Mikael Laurson,Georges Bloch,Gerard Assayag.Integrating Constraint Programming in Visual Musical Composition Languages,Workshop W4,Constraint techniques for artistic applications,ECAI '98,Brighton,August 1998.
Camilo Rueda,Frank Valencia.Improving forward checking with delayed evaluation.In proceedings of CLEI'97,Santiago,Chile,1997.
H.Taube.Common music:A music composition language in Common Lisp and CLOS.Computer Music Journal,15(2),Summer 1991.MIT Press.
I.Xenakis.Musiques formelles.Stock Musique,Paris,1981.