好的，到这个地方，这个部分的结构开始变得混乱，我们开始出现越来越多的形式上的模糊，不确定哪些是“主

要部分”，哪些是“干预”。
Okay, so at this point, the structure of the piece really starts to break down,
and we start getting more and more formal ambiguity in terms of what is the section
and what is an intervention.

所以接下来我想看看这三个“干预”的音乐类型以及它们是如何运作的。
So what I'd like to do next is have a look at these three interventions and what
sort of music they're playing and how they function.

我之前提到过干预基本上是为了打破作品的流程，所以我要看看我实际上的意思是什么。
So I mentioned earlier that the intervention basically served to disrupt the flow
of the piece, so I'm going to have a look at what I actually mean by that.

在屏幕底部，你会看到“干预 1 号”的完整乐谱。它只有两个小节长，是一个非常短小的片段，但是，它是一个
完全不同的音响世界，与我们之前所听到的完全不同。
So here at the bottom of the screen, you'll see the complete score of intervention
number one. It's only two bars long, it's a very short little fragment, but again,
it's a completely different sound world to what we've had before.

所以只有在“干预 1 号”及其变体中会出现八分音——这些是非常狭窄的音程。
So only in intervention one and its variants do we have the use of eighth tones, so
these are extraordinarily small intervals,

芬尼豪所做的就是定义了这样的一个很小的空间，以做到比如从 C#到 C，他可以经过介于这两个音之间的这些微

分音。
and what he does is he defines a little tiny space, so he might be moving from, for
example, C sharp to C natural, but he has this granularity to it, so you have all
of these tiny little microtones in between those two notes,
而且在此之上，他在这个织体中加入了很多参差不齐的节奏的重复，并且让它们叠在一起，所以你可以听到一个
非常引人入胜，非常不寻常的织体。
and on top of that, he has these repeated rhythms going on in this texture that are
asynchronous and they're piled on top of each other, so you get a very, very
compelling, very unusual sort of texture.

Let's just have a listen to intervention one.

而且我们现在来听一下“干预 1 号”吧。

OK，那么在“干预 2 号”中，这又是一种非常不同的方案。
Okay, so in intervention 2, what we have is a very different sort of strategy.

作曲家将其描述为具有一种僵硬感，一种机械性。
It's described by the composer as having a kind of rigidity, a kind of mechanical
quality to it,

我们看到这这里有两个节奏层。第一个节奏层，它更或多或少是连续的，是一个非常快速的音符连续流，
and actually what's going on here is you have two rhythmic layers. You have one
rhythmic layer that's more or less continuous, a continuous flow of very rapid
notes,

而另一个层则标志着这些非常短小、很有规律的干预。
and then the other layer is marked by these very sort of staccato rigid short
little interventions.

所以这是一个由两部分组成的织体，再次与前面的干预截然不同，但在这个作品中，它们只是相互并列。
So this is a texture in two parts and again, radically different from the preceding
intervention, but in the piece itself, they're just sort of stuck up next to each
other.

没有特别的原因让第二个干预跟在第一个之后，它们之间没有因果关系，也没有有机的联系，它们是不符合逻辑
的。
There's no particular reason why two should follow one, there's no causality,
there's no organic connection between the two. These are just non sequiturs.

干预 3 号探索了另一种织体类型，这是一种几乎相邻但略有不同的和弦织体，
Intervention 3 has yet another texture type that it explores, and this is a texture
of chords that are almost together but not quite,

它们只是稍微偏离了一点，它们可以在移动中逐渐远离彼此或逐渐靠近，以便在 attack 时间上更加接近。

they're just slightly off, and they can move in such a sense that they become
gradually more distant from each other or gradually closer together in terms of the
attacks being together.

好的，现在我想更详细地谈谈这首作品中使用的节奏程序。
Okay, so now I'd like to talk a little bit more about the rhythmic procedures used
in this piece.
harmonies,
顺便说一句，屏幕左下角的图像取自 Cristobal Halffter 的另一部无关作品。
And incidentally, the image here on the bottom left of the screen is taken from an
unrelated work by Cristobal Halffter.

因为您可以使用 Patchwork 生成音高、和弦、和声，

Because you can use PatchWork to generate pitches, chords,

你可以使用 Patchwork 生成音高、和弦、和声、节奏等，但这只是一个小小的截图，展示了 Patchwork 或

Open Music 的工作环境。
Because you can use the PatchWork to generate pitches, chords, harmonies, rhythms,
whatever, but that's just a little screenshot to show you what the working
environment of PatchWork or Open Music looks like.

在你所看到的乐谱示例中，你肯定会注意到从节奏的角度来看，音乐非常复杂。

So in the examples that you've seen so far of the score, you'll have certainly
noticed that the music is extraordinarily complex from the point of view of rhythm.

所以你会看到所有这些所谓的“连音”或嵌套的“连音”。换句话就是复杂的、复合的、不合理的节奏，它们相
互嵌套。

So you have all of these what are called tuplets or nested tuplets, in other words
complex, compound, irrational rhythms that are sort of nested into each other.

你可能有三甚至四层这样的“连音”嵌套在一起，就像俄罗斯套娃一样。

You might have as many as three or even four layers of these tuplets fitting inside
of each other, sort of like Russian dolls.

我认为其中最有趣的一个方面是，这并不是一种只靠机械或数学方式冷静地计算出来的音乐。
I think one of the most interesting aspects of it is the fact that it's not music
that's just sort of coldly calculated in a kind of mechanical or mathematical
manner, not at all.

在芬尼豪的音乐中，真正有趣的是，你能够看到两种完全不同的工作方式的碰撞。
What's really interesting in for Ferneyhough is the fact that you have this
collision, this head-on collision of two radically opposed ways of working.

一方面，是的。他必须以形式化的思维来产生这些节奏，是一种高度形式化的、过程化的、基于约束的工作方式。
on the one hand, yes, he does have to formalize his thinking in order to generate
some of these rhythms, there is a highly formalized, procedural, constraint-based
aspect to his work.

但另一方面，你有一种火热的灵感，将这个原材料以一种非常感性的方式雕刻和塑造。因此，在他的音乐实现中
也存在一定程度的自发性。
But on the other hand, you have the sort of hot spark of inspiration that is sort
of taking this raw material and sculpting it and shaping it in a very intuitive
manner. So if there's also a certain kind of spontaneity in the actual realization
of his music.

因此，要使用 PatchWork，你必须能够形式化你的乐思，必须能够以计算机可以理解的方式表达它们。
So in order to work with PatchWork, you have to be able to formalize your musical
ideas, you have to be able to express them in a way that a computer can understand.

因此，如果你正在处理节奏或音高或其他任何东西，你需要能够用数字来表达你的想法。
So in other words, if you're working with rhythms or pitches or whatever it may be,
you need to be able to express your ideas in terms of numbers.

因此，在这个特定的例子中，它们被表示为一个列表。
So in the case of this particular piece, they're expressed as a list.

我们首先看到的是该列表有一个开放的括号和一个闭合的括号，这告诉我们它是一小节的音乐。
The first thing we see here is the list has an opening bracket and a closing
bracket, and what that tells us is that it's one bar of music, one measure of
music.

在开放的括号后面，我们有数字 4，所以这个初始数字告诉我们这个小节有多少拍。
After we have the opening bracket, we have the number four, so this initial number
tells us what is the number of beats in this bar.

现在它并没有告诉我们它是 4/4 节拍、3/4 节拍、7/8 节拍还是 4/16 节拍，换句话说，它并没有告诉我们拍子

单位的大小，它只告诉我们在这个小节中有多少拍。
Now it doesn't tell us if it's a bar of 4/4 or 3/4 or 7/8 or 4/16, it doesn't tell
us, in other words, the size of the beat unit, it just tells us how many beats
there are in that bar.

这个例子的开头和前一个一样，我们有一个左括号，然后再次是数字 4，这告诉我们这个小节有四拍，然后再有一
个左括号，然后我们有三个数字 1。
This next example starts the same as the previous one, so we have an opening
bracket, then the number four again, that tells us that there are four beats in the
bar, then another opening bracket, and then we have three times the number one.

到目前为止，这与前一个例子相同，只是在第三个 1 后，又有另一个括号打开，在这个括号里面有三个 1。
Okay, so far it's the same as the previous example, except that after we get to the
third one, we have another bracket that opens up, and inside that bracket, there
are three more ones.
现在我要看看芬尼豪如何使用这种技术来生成一些更复杂的例子。这是芬尼豪和一个弦乐三重奏共同开发的一种
程序示例。
So now I'm going to have a look at how Ferneyhough generates some of the more
complex examples using this technique. Here's an example of a procedure that is
developed by ferneyhough and a string trio.

为了阐明这个程序，我看了这本特定的书，里面有一篇由 Mount 的作曲家和研究人员撰写的精彩文章。

So in order to elucidate this procedure, I have looked at this particular book, so
there's a wonderful article in here by the composer and researcher behind Mount.

Mica Malt 是一位巴西的音乐家，他在 IRCAM 工作，并与芬尼豪一起开发了在 Patchwork 中使用的子程序或补

丁，以编写这首曲子的各个方面。
So Mica Malt is a Brazilian musician who works at IRCAM, and he worked with
Ferneyhough on developing the sub-programs or the patches that are used in
PatchWork in order to write aspects of this piece.

芬尼豪有趣的事，与许多 20 世纪的音乐不同，如果你基本上知道作曲家是如何工作的，你可以大致推断出用于编
写它的连续步骤是什么，
The interesting thing about ferneyhough’s music is that, unlike a lot of 20th-
century music where if you basically know how the composer is working, you can sort
of figure out what the successive steps were that were used in order to write it,

但在芬尼豪的情况下，这基本上是不可能的，因为有许多不同的线条堆叠在彼此之上，并以通常非常复杂和混沌
的方式相互作用，以至于变成如此极为复杂的乐谱。
in the case of ferneyhough, this is basically impossible just because there are so
many different strands piled up on top of each other, interacting with each other
in often very complex and chaotic ways, so that you have this extremely complex
surface.

如果你只通过总谱，对他反向分析，去弄清楚他通过什么步骤来生成这样复杂的乐谱，这将是不可能的。
But if you were to only have access to the score and try to reverse engineer it and
figure out what the steps were that were taken in order to result in this surface,
well, it would just be impossible.

因此，你需要知道作曲家的具体程序或者参考草图。所以我非常感激这本书的存在，因为它为理解这种音乐是如
何组合在一起的方面提供了很大的帮助。
So you really need to either know specifically what the composer's procedures were
or have access to the sketches. So I'm very grateful that this book exists because
it's just a great help in understanding how this music is put together.

好的，让我们看一下这个例子。你将在屏幕底部看到六个例子，A、B、C、D、E 和 F，这些例子是用 Patchwork

生成的不同节奏。

OK, so let's have a look at this example. So, you'll see at the bottom of the
screen, we have six examples, A, B, C, D, E, and F, of different rhythms that are
produced with PatchWork.

让我们看一下这里的例子 A。其中的一些方面可能会让我们联想到之前例子中看到的。我们有一个开括号，后面跟
着数字 4，所以这告诉我们这是一个四拍子的小节。
Let's look at our example A here. Aspects of it will be familiar from what we
already looked at with our previous examples. We have an opening bracket followed
by the number four, so again, that tells us this is a four-beat bar.
这并没有告诉我们这个小节中的律动或个别音符的数量，只告诉我们这个小节的节拍。所以这个小节的节拍里会
有一个四。
That doesn't tell us the number of pulses or individual notes in the bar, just
tells us what is in the time signature, so that tells us that there's going to be a
four in the time signature.

然后又有一个开括号，里面是数字 1。到目前为止，这与之前的例子完全相同。然后，在此之后，我们有数字 2，
然后又有一个子括号打开，里面是数字 3。
Then another bracket opens up, and you have the number one. So far, that's
identical to the previous examples. Then, after that, we have the number two, and
then another sub-bracket opens up, and we have the number three.

再有一个子括号，再次是数字 4 和 5。然后这些子括号关闭，最后是数字 6。因此，所有这些子括号中，我们将会

有嵌套的多连音。这就是基本含义。
Another sub-bracket, again the number four and five. Then those sub-brackets close
up, and we have six at the end. So, what this means is that with all these sub-
brackets within brackets and so on, we're going to have tuplets within tuplets.
That's what that basically relates to.

关于这个列表的第一件事是，它是一串连续的数字。1、2、3、4、5、6。如果我们数一下这个小节中的所有主脉
冲，也就是小节中基本律动的数量，我们得到的是：1+2+3=6。
The first thing you can observe about this list is that it's a list of consecutive
numbers. So, 1, 2, 3, 4, 5, 6.If we count up all of the main pulses in this bar,
just the basic number of pulses in the bar, here's what we end up with. We have to
add 1+2+3. That's six.

现在，我们有一个开括号，里面是 4 和 5。我们现在暂时忽略它。最后，有一个 6。所以，是 6+6=12。Now, we

then have a bracket that opens up, and we have 4 and 5 inside of it. We're going to
ignore that for now. At the end, we have six. So, that's 6+6.

这意味着我们要把 4/4 的小节均分为 12 个音符。显然，这并不是一种非理性的方式。

That means we have 12 equal pulses in this bar. There's a problem.
Obviously, 12 doesn't fit in a particularly obvious irrational way inside a bar of
4/4.

这意味着我们必须有一个最初的多连音括号，使我们能够将 12 压缩到 4/4 小节的时间中。最简单的方法是想象在

八个八分音符的空间里有 12 个八分音符。
That means that we have to have an initial tuplet bracket that allows us to squeeze
12 into the time of the 4/4 bar. The easiest way to do that is to imagine that we
have 12 eighth notes in the space of eight eighth notes.

通常，在 4/4 小节中，你会有八个八分音符。在这里，我们有 12 个八分音符的时间。这使我们能够适应这组律动

中的所有律动。
Normally, in a bar of 4/4, you would have eight eighth notes. Here we have twelve
in the time of eight. That allows us to fit in all of the pulses that are in this
unit that are in this set of pulses.

我们第一个律动是数字 1。这意味着我们将会有一个八分音符。下一个是数字 2，这意味着我们将会有一个四分音

符。
The first pulse that we have is the number one. So that means we're going to have
an eighth note. The next one is the number two, so that means we're going to have a
quarter note.
换句话说，等同于两个八分音符的东西。到目前为止，一切都还好。
In other words, something that's equivalent to two eighth notes. So far, so good.

当我们到达下一个律动时，我们看到它是 3。通常，这将等同于一个附点四分音符，除了在数字 3 之后，我们有一

个括号打开，里面是数字 4 和 5。
When we get to the next pulse, we see that it's a three. That would be normally
equal to a dotted quarter note, except that after the three, we have a bracket
opening up, and we have the numbers four and five inside of it.

这意味着，在付点四分音符的空间里，我们需要一个 4+5 的均分单位。也就是说，在第三个拍子里会有两个节拍，

它们之间的比例是 4：5。
That means, in the space of a dotted quarter note, we need to have 4+5 equal units.
That means there's going to be two beats within that third beat, and they're going
to have the proportion of four to five to each other.

换句话说，4+5=9。这意味着我们需要在六个十六分音符的时间内使用九个十六分音符。具体分配如下：
So, in other words, 4+5=9. That means we're going to have nine sixteenth notes in
the time of six sixteenth notes. That is going to be divided up as follows.

这里有 4 个四分音符，紧随其后是 5 个十六分音符 — — （乐谱上写成）一个四分音符和一个与十六分音符连起

来的四分音符。
We're going to have a four sixteenth-note pulse followed by a five sixteenth-note
pulse, a quarter, and then a quarter tied to a sixteenth.

然后把括号合上，在结尾处，有 6 个八分音符，也就是一个附点八分音符。
Then those sub-brackets close up, and at the end, we have six, something equivalent
to six eighth notes, which would be a dotted half note.

你可以在屏幕上看到当你将它转化成普通的记谱方式时它实际上是什么样子的。这非常抽象，非常疯狂，但这就
是它的方法论。
So you can see here at the screen what that actually looks like when you translate
it into normal musical notation, so that's what you end up with. Okay, so pretty
abstract, pretty crazy, but that's how this works.

接下来会发生什么，我不会详细介绍每个例子，但接下来发生的事情非常有趣。他做的是，在这个从 1 到 6 的连
续数字列表的基础上，将它进行移位。使列表二不是以 1 开始，而是以 2 开始，所以你会得到 2,3,4,5,6,1。
What happens next? I'm not going to go over every single example in detail, but
what happens next is very interesting. What he does is he takes this list of
numbers, this list of consecutive numbers from one to six, and he rotates it so
that list number two, instead of starting on one, it starts on two. So you go two,
three, four, or five, six, one.

第三个列表从数字三开始，所以是 3，4，5，6，1，2 等等，就这样，你只是移位了列表的值。每次将它们向左

移动一个位置，然后这个转换的结果就被转换成节奏符号。
Okay, and then the third list starts on the number three. So three, four, five,
six, one, two, and so on and so forth. So you're just rotating the values of the
lists. You're shifting them over by one space each time, and then the result of
this rotation is then transformed into rhythmic notation.

所以，你得到了一系列基于这个初始列表的变化，这些变化具有不断变化的内部结构。那就是说，不同密度的律
动，不同音高的时值的分布将以完全不可预测的方式不断变化。
So what you get is a series of variations on this initial list that have constantly
changing internal structure. Okay, so what that means is the disposition of
different densities of different pulse duration and length is going to be
constantly shifted around in a completely unpredictable manner.

然后他会采取多个类似于这样的程序进行排列的线索，不同类型的变化等等，并将它们在谱子上进行复调排列。
So then what he will do is he'll take multiple strands that are like this of
different procedures being carried out on lists, various types of variations, and
so on, and dispose them polyphonically in the score.

例如，他可能会创建一个初始矩阵，看起来像是十个经过上述处理的不同的层。然后他会筛选成三个层。
So he might create an initial matrix, just to give a random example, look like ten
different layers of processes like this,

他会说：“好的，我会把它应用到这个小节和那个小节，我还喜欢这个，所以我会使用它。”
and then he'll boil it down into three parts by saying, "Okay, I'll take this bar
here and this bar there, and I like this one, so I'm gonna use that one," and so
on.

非常直观地塑造材料，找到最适合他试图创建的织体类型的部分，这将是谱子的基本节奏结构。
And he'll just very intuitively shape the material and find the parts of it that he
likes the best or that suit him the best in terms of the types of textures that
he's trying to create, and that will be the result that will be the basic rhythmic
structure of the score.

所以，我希望这些信息是有趣的、启发性的，并且告诉你一些关于芬尼豪作品的工作方式的信息。
So I hope that was interesting and illuminating and tells you a little bit about
how Brian Ferneyhough works.

理解他的一些作曲技巧可能非常复杂，但我认为这不是重点，重点是你得到的是这个非凡的对象，你不可能通过
其他任何方式到达，只能通过他选择的方式来实现。
So it's it can be extraordinarily complex understanding some of his compositional
techniques, but I don't really think that's the point. The point is that what you
end up with is this extraordinary object that you could just not have possibly
arrived at otherwise to through any other means than the way that he has chosen to
work.

所以这是一种非常非常独特的音乐。如果你想进入这种音乐的世界并享受它，你必须有一定的悬置不信任感，
So it's really a very, very unique type of music. Again, you, there has to be a
certain level of suspension of disbelief if you're going to enter into the world of
this music and enjoy it,

但我向你保证，一旦你能够做到这一点，一旦你能够抛开你对“正常”音乐中会发生什么的偏见和期望，布莱恩·
芬尼豪的音乐就会呈现出一个充满魅力的发现宇宙。
but I guarantee you, once you are able to do that, once you're able to sort of
throw aside your prejudices and your expectations in terms of what you think would
happen in that "normal" piece of music, there's an entire universe of fascinating
discoveries to be had in Brian Ferneyhough's music.

如果你有耐心，听几遍，我相信你会被音乐的超凡表面感性、实体感、驱动力、强度和作曲家的无比创意所吸引。
If you have some patience with it, if you give it a few listens, I think you'll be
struck by the extraordinary surface sensuality of the music, its physicality, its
drive, its intensity, and the incredible inventiveness of the composer.

所以坚持下去，这绝对是值得的，我希望这个视频至少为理解它是如何构建提供了一些关键。
So stick with it, it's absolutely worth it, and I hope this video provided some
keys at least for understanding how it's put together.