现代音乐声学对当代音乐制作的影响
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摘要
音乐声学,对于发展音乐有很大的理论和实际意义,真正弄清楚乐器和歌唱发声的本质和过程,对于音乐的作曲者及编配者有着重要的帮助.在音乐的创作过程中音乐家可以根据乐器或人声的频率结合人耳的听觉特征做出更好的作品。
音乐的主观感受有:音高、响度和音色(或音质)三个方面,与之对应的客观量是音高对应于频率,响度对应于声强,而音色则是除了频谱外,还与动态等有关。如果了解了这些声学技术后,将对音乐创作者有了一个另外的很有实际效果的想象空间。快速的推动音乐创作的发展.。如今音乐的流传推广方式是多样的,除现场演出外,绝大多数是后期录音制作,在录制过程中最重要的理论依据是音乐声学,如果音乐创作者在创作中考虑到音乐声学原理,会对后期工作有着相当大的帮助,会更好的符合听众的听觉心理。
Music voice learn, have very big theories and actual meaning to development music, real clear up musical instrument and sing essence and process of phonation, can combine the sense of hearing characteristic of person's ear to do a better work according to the frequency of the musical instrument or person's voice for compose of music and the plait go together with having an important help. in music of the creations process musician.
Music of subjective feel to have:Pitch, ring degree and tone color(or sound quality)3, with it to in response to of the objective quantity be a pitch to should ring a degree to also have something to do with dynamic state wait towards shoulding be strong at the voice, but tone color then in addition to frequency chart, at the frequency.If understood these will have one to music creator after learning a technique is another imagination space which have much of actual effect.The development that fast push music create..Now music of spread an expansion method is diverse, the spot perform, besides which, great majority is behind expect to record sound creation, in the process of record in the most important theories basis is music voice learn, if music creator is in the creations in consideration of music voice learns principle, would to after expect to work to have a very great help, would better sense of hearing mental state according to audience.
音乐的主观感受有:音高、响度和音色(或音质)三个方面,与之对应的客观量是音高对应于频率,响度对应于声强,而音色则是除了频谱外,还与动态等有关。如果了解了这些声学技术后,将对音乐创作者有了一个另外的很有实际效果的想象空间。快速的推动音乐创作的发展.。如今音乐的流传推广方式是多样的,除现场演出外,绝大多数是后期录音制作,在录制过程中最重要的理论依据是音乐声学,如果音乐创作者在创作中考虑到音乐声学原理,会对后期工作有着相当大的帮助,会更好的符合听众的听觉心理。
Music voice learn, have very big theories and actual meaning to development music, real clear up musical instrument and sing essence and process of phonation, can combine the sense of hearing characteristic of person's ear to do a better work according to the frequency of the musical instrument or person's voice for compose of music and the plait go together with having an important help. in music of the creations process musician.
Music of subjective feel to have:Pitch, ring degree and tone color(or sound quality)3, with it to in response to of the objective quantity be a pitch to should ring a degree to also have something to do with dynamic state wait towards shoulding be strong at the voice, but tone color then in addition to frequency chart, at the frequency.If understood these will have one to music creator after learning a technique is another imagination space which have much of actual effect.The development that fast push music create..Now music of spread an expansion method is diverse, the spot perform, besides which, great majority is behind expect to record sound creation, in the process of record in the most important theories basis is music voice learn, if music creator is in the creations in consideration of music voice learns principle, would to after expect to work to have a very great help, would better sense of hearing mental state according to audience.
引文
[1]文岩.《电脑音乐制作与乐队编配》.吉林音像出版社.2005 年 9 月
[2]卢小旭.《门子缩混系列—在笼子里跳舞》.《MIDIFans》. 2006 年.3 期. 46～49 页
[3]丁乔.《如何对以 MIDI 为主的编曲进行缩混》.《吉他》.2006 年.27 期.43～44 页
[4]陈梅红.《均衡器在录制人声时的使用》.《吉他》.2007 年. 10 期.74～76 页
[5]马伟.《参数均衡器的使用》.《音响与录音》. 2007 年. 9 期. 7 页
[6]张飞碧.《数字混响效果器的原理及应用》.《音响技术》. 2004 年.3 期. 17 页
[7]谭金龙.《浅谈高校音乐教育专业中电脑音乐制作课程的开设》. 《齐齐哈尔大学学报》. 2006年. 7 期. 161～162 页
[8]张飞碧.《数字混响效果器的原理及应用》.《音响技术》. 2004 年.3 期. 17 页
[9]克雷默?穆勒[德].王季卿等译.室内声学设计原理及其应用.1995[328～329] 上海:同济大学出版社.
[10]白瑞纳克[美].王季卿等译.音乐厅与歌剧院.2002 [13] 上海:同济大学出版社.
[11]弗朗科斯[英].顾闻之等译.声学原理.2004 [3] 北京:清华大学出版社.
[12]肯尼迪?李[美].周记平等译.声学概念.2001[104～105]
[13]克莉丝汀[美].付云等译.普及声学常识.1999 [2] 上海:科学技术出版社.
[2]卢小旭.《门子缩混系列—在笼子里跳舞》.《MIDIFans》. 2006 年.3 期. 46～49 页
[3]丁乔.《如何对以 MIDI 为主的编曲进行缩混》.《吉他》.2006 年.27 期.43～44 页
[4]陈梅红.《均衡器在录制人声时的使用》.《吉他》.2007 年. 10 期.74～76 页
[5]马伟.《参数均衡器的使用》.《音响与录音》. 2007 年. 9 期. 7 页
[6]张飞碧.《数字混响效果器的原理及应用》.《音响技术》. 2004 年.3 期. 17 页
[7]谭金龙.《浅谈高校音乐教育专业中电脑音乐制作课程的开设》. 《齐齐哈尔大学学报》. 2006年. 7 期. 161～162 页
[8]张飞碧.《数字混响效果器的原理及应用》.《音响技术》. 2004 年.3 期. 17 页
[9]克雷默?穆勒[德].王季卿等译.室内声学设计原理及其应用.1995[328～329] 上海:同济大学出版社.
[10]白瑞纳克[美].王季卿等译.音乐厅与歌剧院.2002 [13] 上海:同济大学出版社.
[11]弗朗科斯[英].顾闻之等译.声学原理.2004 [3] 北京:清华大学出版社.
[12]肯尼迪?李[美].周记平等译.声学概念.2001[104～105]
[13]克莉丝汀[美].付云等译.普及声学常识.1999 [2] 上海:科学技术出版社.