杰诺德·格雷西作品中的频谱音乐作曲技法

On the Compositional Technique of Spectral Music in Gérard Grisey's Works

频谱音乐代表作曲家杰诺德·格雷西(Gérard Grisey,1946-1998)提出频谱音乐是对于极度扩张的时间的探索及对音之间的移动的细微控制。他将音乐视为纯粹的音响运动,其音色及运动的变化为音乐主要的推动力。文章以杰诺德.格雷西作品《音响空间》(Les espaces acoustiques)的第三部《泛音》(Partiels)与作品《时间的漩涡》(Vortex Temporum)为例分析了他的乐器合成与环状调节技术、形态音型等有别于其他频谱音乐作曲家的风格与技术,并通过《时间机器》(Tempus ex Machina)、《时间的漩涡》等作品,介绍他对"音"与"时间"的知觉领域的探索。

Gérard Grisey（1946-1998）,a representative composer of spectral music proposed that the spectral music has been for the exploration of extreme expansion of time and tiny control of the tone moving.He took the music as a pure sound movement,its timbre with mobile changes being a main driving force in the music.This paper analysis of Gérard Grisey composition Partiels,the third part of Les espaces acoustiques,and Vortex Temporum,with his technique of instruments synthesis and ring adjustment,pattern figures that different from the style and technique by the other spectral music composers.It also discussed that he has explored the perceptual field of ＂tone＂ and ＂time＂ through his composition Tempus ex Machina and Vortex Temporum as well as the others.