Hide and Seek
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摘要
2006年,英国著名音乐人伊摩根·希普(Imogen Heap)的一首名为《Hide and Seek》的作品引来了全世界注视的目光。这支被誉为“将人声合成器的使用发展到了极致”的歌曲亦被广为传颂。于是,人声合成器又一次走到了音乐制作舞台的最前沿。《Hide and Seek》这首歌曲本身独特的艺术效果表现力,仿佛将人置身于一片寂静之中,面对着镜中的自己,回首着过去的点滴。合成人声那种没有感情倾向的表达,以及和弦特殊的和声效果,都给人以一种全新的视听感受。
其实早在伊摩根·希普之前,贝多芬(Ludwig van Beethoven)、勃比·迈克弗林(Bobby Mcferrin)、比约克(Bjoke)等艺术家们就都为了突破传统的音乐制作模式,而对人声技术的发展进行了不断的探索与努力。但人声合成技术基本上都只能作为一些装饰性和点缀性的音色出现在音乐作品里。而伊摩根·希普的这首《Hide and Seek》,史无前例地将这项技术运用到了整首作品当中,给人以很强的听觉冲击力。其实,人声合成技术最早是起源于通讯业,一个偶然的机会才使它进入到了音乐的领域并发展至今。在当今的音乐制作行业,人声合成技术拥有着不可替代的作用,而这项重要的技术通常都是以共振峰合成技术为之基础的,无论是人声合成还是语音合成,都离不开共振峰合成技术的支持。通过对这项技术的了解以及对软、硬件人声合成器的开发运用,我们不仅可以制作出不同凡响地音乐作品,甚至还可以激发出更多的音乐灵感。在科学技术飞速发展的今天,将那些新鲜的事物和技术融入到音乐和艺术的创作当中,这必将极大的丰富我们现有的艺术表现形式,而人声合成技术做为一种新兴的音乐制作手段必然会对未来的音乐发展道路产生及其深远的影响。
In 2006, the renowned British musician Imogen Heap’s works called "Hide and Seek" attracted the attention of the whole world. The "voice synthesizer used to the limit of its kind," also spread widely. Therefore, the voice synthesizer music again reached the forefront of the stage. The unique artistic effect of the song "Hide and Seek" seems to expose every one of us to a great quietness, facing the mirror, one looks back a little bit more in the past. Without inclination to express our feelings, synthetic voice as well as polyphonic special effects and together with sound, makes people enjoy a brand-new audio-visual experience.
In fact, long before Imogen Heap, Ludwig van Beethoven, Bobby Mcferrin, Bjork and other artists, all with the continuous efforts in the exploration of breaking traditional music style to the voice technology of the development. However, voice synthesis technology basically appeared only as a decoration and embellishment of some music, yet, Heap’s "Hide and Seek" unprecedentedly used the technology in his entire works, with a strong impact on audiences’ears. In fact, voice synthesis technology was first originated in the communications industry that entered the music field only accidentally and still in use so far. In today's music industry, voice synthesis technology has an irreplaceable role, and this important technology is usually based on formant synthesis technology, whether it is voice synthesis or speech synthesis, can not be separated from formant synthesis technology support. Through the understanding of the technology as well as software and hardware voice synthesizer application development, we could produce not only extraordinary music but also inspire more inspirations for the music as well. In today’s rapid development of science and technology, putting those fresh and the new technology into the creative music of arts, will greatly enrich our existing art forms, voice synthesis technology as emerging means of writing music and will inevitably have far-reaching implications for the future development of music.
其实早在伊摩根·希普之前,贝多芬(Ludwig van Beethoven)、勃比·迈克弗林(Bobby Mcferrin)、比约克(Bjoke)等艺术家们就都为了突破传统的音乐制作模式,而对人声技术的发展进行了不断的探索与努力。但人声合成技术基本上都只能作为一些装饰性和点缀性的音色出现在音乐作品里。而伊摩根·希普的这首《Hide and Seek》,史无前例地将这项技术运用到了整首作品当中,给人以很强的听觉冲击力。其实,人声合成技术最早是起源于通讯业,一个偶然的机会才使它进入到了音乐的领域并发展至今。在当今的音乐制作行业,人声合成技术拥有着不可替代的作用,而这项重要的技术通常都是以共振峰合成技术为之基础的,无论是人声合成还是语音合成,都离不开共振峰合成技术的支持。通过对这项技术的了解以及对软、硬件人声合成器的开发运用,我们不仅可以制作出不同凡响地音乐作品,甚至还可以激发出更多的音乐灵感。在科学技术飞速发展的今天,将那些新鲜的事物和技术融入到音乐和艺术的创作当中,这必将极大的丰富我们现有的艺术表现形式,而人声合成技术做为一种新兴的音乐制作手段必然会对未来的音乐发展道路产生及其深远的影响。
In 2006, the renowned British musician Imogen Heap’s works called "Hide and Seek" attracted the attention of the whole world. The "voice synthesizer used to the limit of its kind," also spread widely. Therefore, the voice synthesizer music again reached the forefront of the stage. The unique artistic effect of the song "Hide and Seek" seems to expose every one of us to a great quietness, facing the mirror, one looks back a little bit more in the past. Without inclination to express our feelings, synthetic voice as well as polyphonic special effects and together with sound, makes people enjoy a brand-new audio-visual experience.
In fact, long before Imogen Heap, Ludwig van Beethoven, Bobby Mcferrin, Bjork and other artists, all with the continuous efforts in the exploration of breaking traditional music style to the voice technology of the development. However, voice synthesis technology basically appeared only as a decoration and embellishment of some music, yet, Heap’s "Hide and Seek" unprecedentedly used the technology in his entire works, with a strong impact on audiences’ears. In fact, voice synthesis technology was first originated in the communications industry that entered the music field only accidentally and still in use so far. In today's music industry, voice synthesis technology has an irreplaceable role, and this important technology is usually based on formant synthesis technology, whether it is voice synthesis or speech synthesis, can not be separated from formant synthesis technology support. Through the understanding of the technology as well as software and hardware voice synthesizer application development, we could produce not only extraordinary music but also inspire more inspirations for the music as well. In today’s rapid development of science and technology, putting those fresh and the new technology into the creative music of arts, will greatly enrich our existing art forms, voice synthesis technology as emerging means of writing music and will inevitably have far-reaching implications for the future development of music.
引文
[1]王锐.计算机音乐梦工厂[M].北京:清华大学出版社,2002.
[2]程伊兵.MIDI 技术理论与实践[M].北京:人民教育出版社,2001.10.
[3]林大悃.影视录音环境声学——北京电影学院录音专业教材[M].中国广播电视 出版社,2006.
[4]刘晓飞,毛羽.录音专业英语[M].中国广播电视体育大学出版社,2006.1.
[5]俞锫,李俊梅.拾音技术[M].上海交通大学出版社,2003.1.
[6]戴念祖.中国声学史[M].河北教育出版社,1994.
[7]胡泽.音乐声学[M].世界图书出版公司,2003.1.
[8]胡泽,雷伟.计算机数字音频工作站[M].中国广播电视出版社,2005.
[9]高维忠.音响工程设计与音响调音技术[M].2007.2.
[10]孙建京.现代音响工程[M].人们邮电出版社,2003.3.
[11]颜东成,卢小旭.MIDI 技巧与数字音频[M].清华大学出版社,2002.1.
[12]吴粤北.合成器的理论与实践[M].上海:上海音乐学院出版社,2006.4.
[13]汪明洁,梅学明.声乐教程[M].北京:人民音乐出版社,1995.3.
[14]陈海东.多媒体技术对教育改革和教育现代化的影响[J].中国计算机用户协会.1996,(3).
[15]吴硕贤.厅堂声学一百年[J].国际观察.2000,(4).
[16]陶辛.计算机音乐思维研究[J].高等教育研究.2001,(2).
[17]张小夫.电子音乐的概念界定[J].中央音乐学报.2002,(3).
[18]王世安.谈计算机音乐合成器、音源内的预置音色[J].苏州大学学报(工学版),2004-8,26(4).
[19]任达敏.计算机与 MIDI 音乐知识卡片[J].中国音乐教育.2002,(1).
[20]吴硕贤.音乐厅声质综合评价[J].声学学报.1994,(5).
[21]庄翟.计算机音乐通用信息数据分析[J].音乐与表演.2002,(1).
[22]陶爱明.音乐厅声学质量的监理控制[J].建筑技术开发.2001,(1).
[23]黄朔.Pro Tools HD 数字音频工作站综述[J].音响技术.2007,(5).
[24]吴远雄.电子音乐的历史回顾与发展前瞻[J].艺术探索.1998,(S1).
[25]刘涧泉.第三种作曲方式——论计算机音乐创作的新思维[J].中国音乐.2006,(3).
[26] 卞留念.泛论中国电声音乐与流行音乐[J].演艺设备与科技.2004,(3).
[27] 潘晓利,陈学煌,刘永志.基于 MIDI 模块的音乐发生器设计[J].电子测量技术.2007,(2).
[28]中国图像图形网:分形音乐计算机生成技术研究 http://www.image and Graphice of China.com.cn/pub/9808-92254.html
[29]中国论文网:非线性编辑系统的关键:专业非线性编辑板卡http://www.paperz.cn/01gmrb/newdetail02.php?id=7208/htm
[30]MIDI 音乐网:计算机音乐制作中的虚拟声场效果研究 http://www.midifan.com.cn/20070428/info/355985/23/134137484/72f26.htm
[31]Ayyadurai,V.A.Shiva. Arts and the Internet:A Guide to the Revolution[M].New York:All worth press,1996,(3)
[32]Ernst Haeckel. Art forms in nature[M].Dover Publications.2004.
[33]Forman S.Acton.Real Computing made real[J].The journal of Higher Education.2005,(8).
[34]Masood Masoodian.ComputerHuman Interaction[M].Springer Publications,2003.
[35]Uffe Kock Will.Computer Music Modeling and Retrieval[M].Springer Publications,2005.2.
[36]Takeo Kanade.Audio and video_Based Biometric Person Authentication[J].Education Development.2006,(8).
[37] Dr. Richard Zvonar:《Vocoding 101: The History and Basic Principals of Vocoder Technology》,audioMIDI.com,April 30,2003.
[2]程伊兵.MIDI 技术理论与实践[M].北京:人民教育出版社,2001.10.
[3]林大悃.影视录音环境声学——北京电影学院录音专业教材[M].中国广播电视 出版社,2006.
[4]刘晓飞,毛羽.录音专业英语[M].中国广播电视体育大学出版社,2006.1.
[5]俞锫,李俊梅.拾音技术[M].上海交通大学出版社,2003.1.
[6]戴念祖.中国声学史[M].河北教育出版社,1994.
[7]胡泽.音乐声学[M].世界图书出版公司,2003.1.
[8]胡泽,雷伟.计算机数字音频工作站[M].中国广播电视出版社,2005.
[9]高维忠.音响工程设计与音响调音技术[M].2007.2.
[10]孙建京.现代音响工程[M].人们邮电出版社,2003.3.
[11]颜东成,卢小旭.MIDI 技巧与数字音频[M].清华大学出版社,2002.1.
[12]吴粤北.合成器的理论与实践[M].上海:上海音乐学院出版社,2006.4.
[13]汪明洁,梅学明.声乐教程[M].北京:人民音乐出版社,1995.3.
[14]陈海东.多媒体技术对教育改革和教育现代化的影响[J].中国计算机用户协会.1996,(3).
[15]吴硕贤.厅堂声学一百年[J].国际观察.2000,(4).
[16]陶辛.计算机音乐思维研究[J].高等教育研究.2001,(2).
[17]张小夫.电子音乐的概念界定[J].中央音乐学报.2002,(3).
[18]王世安.谈计算机音乐合成器、音源内的预置音色[J].苏州大学学报(工学版),2004-8,26(4).
[19]任达敏.计算机与 MIDI 音乐知识卡片[J].中国音乐教育.2002,(1).
[20]吴硕贤.音乐厅声质综合评价[J].声学学报.1994,(5).
[21]庄翟.计算机音乐通用信息数据分析[J].音乐与表演.2002,(1).
[22]陶爱明.音乐厅声学质量的监理控制[J].建筑技术开发.2001,(1).
[23]黄朔.Pro Tools HD 数字音频工作站综述[J].音响技术.2007,(5).
[24]吴远雄.电子音乐的历史回顾与发展前瞻[J].艺术探索.1998,(S1).
[25]刘涧泉.第三种作曲方式——论计算机音乐创作的新思维[J].中国音乐.2006,(3).
[26] 卞留念.泛论中国电声音乐与流行音乐[J].演艺设备与科技.2004,(3).
[27] 潘晓利,陈学煌,刘永志.基于 MIDI 模块的音乐发生器设计[J].电子测量技术.2007,(2).
[28]中国图像图形网:分形音乐计算机生成技术研究 http://www.image and Graphice of China.com.cn/pub/9808-92254.html
[29]中国论文网:非线性编辑系统的关键:专业非线性编辑板卡http://www.paperz.cn/01gmrb/newdetail02.php?id=7208/htm
[30]MIDI 音乐网:计算机音乐制作中的虚拟声场效果研究 http://www.midifan.com.cn/20070428/info/355985/23/134137484/72f26.htm
[31]Ayyadurai,V.A.Shiva. Arts and the Internet:A Guide to the Revolution[M].New York:All worth press,1996,(3)
[32]Ernst Haeckel. Art forms in nature[M].Dover Publications.2004.
[33]Forman S.Acton.Real Computing made real[J].The journal of Higher Education.2005,(8).
[34]Masood Masoodian.ComputerHuman Interaction[M].Springer Publications,2003.
[35]Uffe Kock Will.Computer Music Modeling and Retrieval[M].Springer Publications,2005.2.
[36]Takeo Kanade.Audio and video_Based Biometric Person Authentication[J].Education Development.2006,(8).
[37] Dr. Richard Zvonar:《Vocoding 101: The History and Basic Principals of Vocoder Technology》,audioMIDI.com,April 30,2003.