Applying an Electroacoustic Approach to the Soundtrack of Narrative Film

电声音乐是一种将任何可录音的声音都视为潜在音乐材料的作曲类型，为探索叙事电影中叙事声音与非叙事声音之间的连续性提供了丰富的新前景。本项目将通过构建声音如何同时作为音乐和声音设计的框架来扩展这些想法。通过使用这个框架为电影创作说明性配乐，我将展示这种方法在叙事电影领域的价值。随着《Chernobyl》、《Us》和《Joker》等主流游戏越来越多地采用微妙的方法来处理声音，这一领域的当代活动使该项目具有相关性。拟议的研究将确保这一进展不会没有对这些思想的范围和应用进行至关重要的批判性评估。这种实践和理论的结合将为一个两者往往截然不同的领域提供宝贵的见解。

Electroacoustic music is a genre of composition that treats any recordable sound as potential musical material, thus offering a rich new prospect for exploring the continuum between diegetic and nondiegetic sound in narrative film. This project will expand upon these ideas by formulating a framework for how sound can operate simultaneously as music and sound design. Through composing illustrative soundtracks to films using this framework I will demonstrate the value of this approach to the field of narrative film. Contemporary activity in this field makes this project pertinent, with mainstream releases such as Chernobyl, Us, and Joker increasingly taking a nuanced approach to their treatment of sound. The proposed research will ensure that this progression is not without vital critical assessment of the scope and applications of these ideas. This combination of praxis and theory will deliver invaluable insight to a field in which the two are all-too-often distinct from one another.