原声乐器和现场电子表演的交互音乐系统设计

Chien-Wen Cheng
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引用次数: 0

摘要

本文将重点讨论如何在原声乐器和现场电子乐器的创作和演奏中,构建一个适合作曲家和表演者需要的互动音乐系统。首先,将讨论互动音乐的定义,并简要概述从磁带音乐到互动音乐创作的发展。接下来,探讨互动音乐系统在作曲和演奏方面的结构、设计策略和需求特征。本文将参考作者为马林巴和电脑创作的两首互动音乐作品《雨中的菊花》和为小提琴和电脑创作的《受伤的堂吉诃德》中的例子。在这些作品中,现场乐器的声音根据其频率和幅度,从音符密度、乐句长度、音高稳定性等方面进行分析和解读。图形编程语言Max/MSP用于构建系统,但所提出的原则仍然适用于使用其他编程语言构建的系统。
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Interactive Music System Design for Acoustic Instrument and Live Electronic Performance
This paper will focus on the strategies of building an interactive music system that suits the needs of the composer and performer in regard of composing and performing music for acoustic instrument and live electronics. First, the definition of interactive music will be discussed and a brief overview on the development from tape music to interactive music composition will be outlined. Next, the structure, design strategies, and demanded features of interactive music system pertain to composition and performance will be explored. Examples from the author's two interactive music compositions Chrysanthemum in the Rain for marimba and computer, and The Wounded Don Quixote for violin and computer will be referenced. In theses pieces, the sound of live instrument is analyzed and interpreted in terms of note density, phrase length, pitch stability, and etc., based on its frequency and amplitude. The graphical programming language Max/MSP is used to build the system, but the proposed principles may still apply to the systems built with other programming languages.
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