音色
閱讀設定
唔同樂器有唔同音色係因為唔同樂器產生嘅泛音(harmonics,物理叫諧波)唔同;所以對音色嘅科學性研究會用到傅利葉分析(Fourier analysis)[2],將基本聲同唔同諧波加埋亦係合成器出聲嘅兩種方法之一。
作曲考量
[編輯]作曲家作曲嗰陣有時會運用音色呢種特性嚟達到想要嘅藝術效果-唔同樂器音色唔同,唔同音色達到唔同嘅藝術效果,所以有唔少樂曲都係作嚟俾特定嘅樂器演奏嘅,一般俾人覺得要用返嗰隻樂器嚟奏先至可以奏得出作曲家想要達到嘅效果。例如係
- 由巴哈(J. S. Bach)作嘅巴洛克音樂名曲《小提琴第二變奏曲》(Partita for Violin No. 2)就係一首出咗名專門作嚟俾小提琴獨奏用嘅樂曲,廣泛噉俾人認為係最優美嘅小提琴樂曲之一[3];
小提琴獨奏
- 又或者可以睇吓由約翰施特勞斯二世(Johann Strauss II)作嘅《撥奏普卡》(Pizzicato Polka)-首曲寫嚟係預咗俾用弦樂器嘅演奏者用撥奏(簡單講就係用手指輕輕力噉彈條弦)嘅方式嚟奏嘅[4];
- 交響曲(symphony)-作嚟俾一大隊交響樂團演奏用嘅樂曲-達得到嘅效果,又會明顯有異於作嚟獨奏或者俾細樂隊演奏嘅樂曲[5]。
睇埋
[編輯]文獻
[編輯]- American Standards Association (1960). American Standard Acoustical Terminology. New York: American Standards Association.
參攷
[編輯]- ↑ McAdams, Stephen, and Albert Bregman (1979). "Hearing Musical Streams". Computer Music Journal 3, no. 4 (December): 26–43, 60.
- ↑ Balzano, G. J. (1986). What are musical pitch and timbre?. Music Perception, 3(3), 297-314.
- ↑ Bach, J. S., & Kremer, G. (2005). Sonatas and partitas for violin solo. ECM Records.
- ↑ Woodstra, Chris; Brennan, Gerald; Schrott, Allen (2005). All Music Guide to Classical Music: The Definitive Guide to Classical Music. Hal Leonard Corporation. pp. 1316-1317.
- ↑ Brunner, Lance W. (1986). "The orchestra and recorded sound". In Peyser, Joan (ed.). The Orchestra: Origins and transformations. New York, NY: Scribner's Sons.