关于关迺忠打击乐协奏曲《太阳》指挥诠释中的音响平衡问题——基于Sonic Visualiser软件的声学测量方法.pdf

摘要 任何形式的乐队合奏无不追求在音响构建上的平衡。指挥在调节乐团的音响平衡 中不仅需要主观的对乐队演奏进行调整，也可通过声学软件的测量，客观的反映出乐 团演奏的音响状态，从而有效的进行乐团的音响平衡。指挥在协奏曲排练和演出中， 可运用声学软件把排练和演出的音频进行扫频，通过扫频图像的数据分析，对独奏乐 器（一件乐器）与乐团之间，独奏乐器之间（多件乐器）与协奏乐团自身的音响平衡， 从而进行详实的调整。中国民族管弦乐自新中国成立以来的七十年发展历程中，在作 曲技法、演奏水平、乐器制造工艺有了巨大的进步，但与西方管弦乐团相比因自身的 乐器的局限性，独具个性化的声音，加大了指挥音响平衡调节的难度，所以使笔者对 关迺忠先生在 1999 年为两组打击乐与中国民族管弦乐团而所作的协奏曲《龙年新世纪》 第一乐章太阳产生浓厚兴趣，以此来探讨指挥协奏曲中双打击乐与乐团音响上的平 衡方法。笔者将从指挥角度入手，重点探讨双打击乐协奏曲这一体裁在演奏中所产生 的音响平衡问题。通过总谱的解读及借助声学软件对音频实例进行对比，对出现音响 不平衡的频段进行分析与研究，从而依靠所学到的指挥专业知识一定程度的解决问题。 关键词：双打击乐， 协奏曲， 音响平衡， 扫频图像 I Abstract While fine-tuning the acoustical balance of the orchestra, the conductor not only needs to adjust the orchestras playing subjectively; he/she can also use an acoustic analysis software to objectively reflect the sonic state of the orchestra, thus allowing for more effective acoustical balancing. During the rehearsal and performance of a concerto, the conductor can make use of acoustic software to analyse the audio, and through the data compiled, fine-tune the acoustical balance of a single solo instrument, or even multiple solo instruments, against the orchestra. In the 70 years since the founding of the Peoples Republic of China, Chinese traditional orchestral music has made great progress with regards to compositional techniques, proficiency level and instrumental manufacturing technology. However, due to the limitations of its instruments and their respective individualistic tone colours, it is hence more challenging to adjust the acoustical balance of a Chinese traditional orchestra as compared with their Western symphonic counterparts. It was this challenge that piqued the author ’s interest in the concerto “The Sun”, which is the first movement of “The Millennium of the Dragon, written by Kuan Nai- Chung in 1999 for one Chinese and one West