Applying an Electroacoustic Approach to the Soundtrack of Narrative Film

电声音乐是一种将任何可记录的声音作为潜在的音乐素材的创作体裁，从而为探索叙事电影中有故事声音与非有故事声音之间的连续性提供了丰富的新前景。这个项目将通过制定一个框架来扩展这些想法，该框架将如何同时作为音乐和声音设计进行操作。通过使用这个框架为电影创作说明性的配乐，我将展示这种方法在叙事电影领域的价值。这一领域的当代活动使这个项目具有相关性，主流版本，如切尔诺贝利，我们，以及越来越多地采取微妙的方法来处理声音。拟议的研究将确保这一进展不是没有对这些想法的范围和应用进行至关重要的关键评估。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.