Realtime Representation and Gestural Control of Musical Polytempi
Realtime Representation and Gestural Control of Musical Polytempi
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音乐多速度的实时表示和手势控制
DOI：
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发表时间：
2008
期刊：
影响因子：
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通讯作者：
A. Blackwell
中科院分区：
文献类型：
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作者：
Chris Nash;A. Blackwell
摘要在过去的世纪里，作曲家们对音乐时间进行了越来越多的雄心勃勃的实验，但由于音乐符号和人类表演者的限制，在表达更具时间复杂性的音乐过程方面受到了阻碍。在本文中，我们描述了一个基于计算机的符号和手势控制系统，独立操纵的一块内的音乐部分的节奏，在性能的时间。我们描述了如何处理这个问题，借鉴多个学科的咨询反馈和建议，寻求类似的问题在其他领域。在整个过程中，我们的方法是指导，并最终由一个既定的专业作曲家，谁能够与系统的工作原型进行交互评估。克里思，多拍子，演奏，构图，实时，手势1.引言虽然涉及节奏，旋律和和声的错综复杂的音乐过程在大多数音乐流派中都可以找到，但与克里思有关的使用和惯例却不那么冒险[16]。直到上个世纪左右，才有作曲家，如史蒂夫赖希和康伦南卡罗，尝试用不同节奏的同时音乐部分[9]。至于音乐节拍的实验，多节拍的概念与相对更常见的多节奏和多节拍的概念有很大的不同，后者都依赖于作品中小节或节拍的简单整数划分。相比之下，多节奏音乐的多个同时节奏导致了作品中每个部分的小节线和节拍本身不一致的情况。每一部分中事件之间的时间关系不能再用简单的整数分数来思考或表达（例如3在2的时间内，或3/2对6/4），而是变得不合理。对于现代音乐曲目中缺乏快节奏的使用，可以提出许多解释。对于普通听众：由多个不协调的音乐段落引起的一连串不协调的音符可以被认为具有有限的美学吸引力。对于表演者：这种对无政府状态、混乱和随机性的看法可能看起来很讽刺，因为音乐家试图遵循作曲家明确的、高度有序的和不灵活的计时方向，无法依赖于其他音乐家或指挥的隐含或明确的计时提示[19];无法依赖于普遍的、稳定的小节或节拍脉冲。最后，如果演奏者努力去驾驭作品的某个部分，那么作曲家发展和想象完整的、组合的演奏就成了一项几乎不可能完成的脑力工作。在传统音乐中，观众总是要适应一个作品中的整体克里思变化。当引入不同克里思的同步部分时，观众对表演的感知增加了一个额外的维度-各部分在时间方面的明确相互作用。
ABSTRACT Over the last century, composers have made increasingly ambitious experiments with musical time, but have been impeded in expressing more temporally-compl ex musical processes by the limitations of both music notations and human performers. In this paper, we describe a computer-based notation and gestural control system for independently manipulating the tempi of musical parts within a piece, at performance time. We describe how the problem was approached, drawing upon feedback and suggestions from consultations across multiple disciplines, seeking analogous problems in other fields. Throughout, our approach is guided and, ultimately, assessed by an established professional composer, who was able to interact with a working prototype of the system. Keywords Tempo, polytempi, performance, composition, realtime, gesture 1. INTRODUCTION Although intricate and complex musical processes involving rhythm, melody and harmony are to be found in most musical genres, the use of and conventions relating to tempo are less adventurous [16]. It has only been the last century or so that has seen composers, such as Steve Reich and Conlon Nancarrow, experiment with simultaneous musical parts bearing differing tempi [9]. As regards experiments in musical time, the notion of polytempi is crucially different from the relatively more common concepts of polyrhythm and polymetre, which both rely on simple integer divisions of the bars or beats in the piece. In contrast, the multiple simultaneous tempi of polytempo music leads to situations where the bar lines and beats of each part in the piece are themselves incongruent. The timing relationships between the events in each part can no longer be thought of, or expressed in, simple integer fractions (e.g. 3 in the time of 2, or 3/2 vs. 6/4), but instead become irrational. A number of explanations can be volunteered for the paucity of incrpolytempo use in the modern musical repertoire. For the average listener: the barrage of incongruous notes resulting from multiple, misaligned passages of music could be argued to hold limited aesthetic appeal. For the performer: such perceptions of anarchy, chaos and randomness may seem ironic, as the musician attempts to follow the composer’s explicit, highly-ordered and inflexible timing directions, unable to rely on implicit or explicit timing cues from other musicians or a conductor [19]; unable to rely on a universal, steady pulse of bar or beat. And, finally: if the performer struggles to manage an individual part of the piece, then the composer’s task of developing and imagining the complete, combined performance becomes an almost impossibly hard mental operation.In conventional music, an audience is invariably attuned to global tempo variations within a piece. When introducing a simultaneous part with a differing tempo, an extra dimension is added to the audience’s perception of the performance – the explicit interplay of parts in respect of time.