he dil 4 eT iS ak eer a Sn a ee a Ee eae by Wu Yuebei pate ae ones aut y 2 A STUDY ON COMPOSITION BASED ON PATCHWORY Romeo ng eet cgFe FEW IST SF SUA AS is fF RAR ZR RE by Wu Yuebei S LisRrpENELFES ZENS (CIP) BHR HEIRS OPE ZAIRE PI ALINE BR ER FAA. — LE: HT ee Beth MEAL 2011. 4 ISBN 978 —-7 - 80692 -621 -5 T.O%- 1. OR ML. Ofedis - FE W. Dyoi4.5 Hf Bd RAG AS FAI hE CIP Bite A= (2011 ) 35 053208 B A: AMMAR RZR EF IE TE ASE SB 8: RB Ew: SMiIRit: FMvAL THAR AT EE RAE Be Hh HL : Leet YS PAB 20 : VOOR G Pa NA BARA : 718 x1000 1/16 : 120 FF 212 : 11,300 8 : 2011 464 38 1 AR 2011 4E 4 ASB 1 UEDA : ISBN 978 -7 - 80692 - 621 -5/J.595 + 32.00 76 ak RBSHHBE Sus eR SH Be AL SATS PE RE IA http; //musicology. on WIEi HE MAKM ERR ERE. CE SR SRE 8 GRE, DLDALGE AE ik wy aE AE AS EAR HE ABR RR tO a a RE 48 TRA HF SE A AE ATs MEF OpenMusic $F ATT RL HE WB LAK FL BR Hy a a a He aR ad A A THA + HE IE (Gerard Grisey.1946—1998) HF # 338 + Ap fF (Tristan Murail. 1947—) 64 99 a8 ie RINE EH EMER PROT ETT RASH HRS RE RET EMS LGR TW AE Ae RS fe ah AR BO RFR RAT EWALD A DAMA NRA RDA TORI AT EE MAE RU LAR AY EE GORA OA by by Ain SI PE AT SP AR eR AE i AG HS RT BOR Hh. ASO SLR IR EAR J LRA 5 HE IRR HR ER ROR SBASHGRAT REWER OA, MMBERESTHSRASK HERARHGE PMH ME OHA ERRSRERBH AAT BE st Pp RA wT AP SE le 5 DL BI te A AE a RO PE SHMMRT DAMA, KHIR ARK Eh ALE ih A Hy ZAR WL PR Bo TA SAE IL HE RAE ZH Ae Ht SLA BY Ea aL A EAE hE LAT HR AB Xi HR UE A EER EBAbstract Reborn of the Avant-garde Music, A Study on Spectral Composition based on Patchwork is the thesis proceeded with concise definition on composing al- gorithm and algorithm composition, discussing the Spectral School. which is the most significant genre in the computer-aid composition domain since 1970's It deeply researched the technology of Spectra Composition starting from the point of the basic physical properties of sound, On one hand. exem- plifications were taken on the OpenMusie Patchwork platform, It explored, ratiocinated and experimentally analyzed the aspects over material, structure, music and sound for four representative works by two outstanding composers from France, Gerard Grisey (1946-1998) and Tristan Murail (1947— ), On the other hand, based on mentioned above, it not only clarified the relation- ship between the general composing skills and composing algorithm, but also found out the basi factors of sound performing configuration and structural capacity. It also pointed out that the Spectral School is becoming the advocator of sense and science, holding the attitude of pragmatism and “alternative sei~ ence” to have so-called physical properties of sound illustrated, mapped and text transformed. In addition, the dissertation generally concluded the developments. con- nections and aesthetics among the Modernism. Avant-garde, Post-modernism and Spectral School, It announced the author’ s original opinions about the role of Spectral School, its compromise strategy for maintaining the art trailb- lazing and restricts brought by algorithm logics to artistic innovation over the . The dissertation finally gave a conclusion about the necessity and feasibility of the period of more than 30 years’ development of the contemporary mu: personating process of computer-aided composition, by finding out the think-FALLS RLER ing conflicts existing between algorithm composition and traditional composi: tion, and the ways linked to both, Keywords; Spectral-mu Computer Composition, Avant-garde, Patch- work, AlgoriQE 1, PGE 2, TESS TE 3. FESR SH (HARSHA HH LL PEARL serene 11.1 RE 11.2 RPE 11.3 FAS HEME ABT Ld Ni 1.2 See Hh 1.2.1 fa EH 1.2.2 Me SLAS SRE HE Hh 7 12.3 AsERS Feb 1.2.40 Nei 1.3 JES - 1.3.1 HAVER - 13 1.3.2 aie . 1.3.3 SiMARIR .ABCKLMS RLSR 1.3.4 SAHA 14 13.5 JPRS BIEN REE: 16 1.3.6 AMR 18 SB GK ZARA - 19 eit 2 fe Sei 2 2 HHP +21 1.3. 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P53 (Highpass) , 47 si (Bandpass) AP BEL (Bandreject ) DU #f 208 ti 88 CML) 15), a AE Ste i EEA AUR SHENG IL Dh) RE ik «A BL ak eT 1 UB FE Ai fH) SHY Aaa SL «Hl AU EA DRL 5 FS A i a BY ‘53 5 Vd SYA a ER > Ae TIL Be Ak DAY BP DE 7 i a 5 AF BL WEE AEA AA ATL 5 CEA hl — az DL BE BO fee FE OT BE A ke Db Oe 37ABELBS EZR i 1S eR AD ‘iia ayaa Cutoff frequeney Cutoff frequency | | Frequency, a Frequency Transition band tad Bhai Center frequency Center frequency | Frequen Frequency Bandwidth AR ih 8 (2) BGP EIR ADIL AE BLE. Pe mT QF Ee BB ch SFE itt PTZ PF FR Ce ae FF AD HP ADD IT TEE HP ae «PDH BB HE OP AE ih AA ALE AE PRA SRAE TET PA fe FL PE RT tT 9 9 AIP SUE NRA «RAD PYG A EA PE AD STR (Comb filter) i — BR bt Vil] Ba AY & a HF 3 ER BE aA TER Bi FALL] ALAR « ASC ALAR BB PE AE HH FB 8 Oe Ah SE ie A EHS RIE HPF BL Ce LBL Ee 7 BH HALT TE RR "He RCS UL AH 16), Ga) 16 SEK wee Fa ik SSR DRY PF AEM ABR 2 DS 1 CA AMD A bP BE 38ENYA TE SRT Ee «EC RE Hy PRE AIT DK Cpure square wave) (LL RTT B16 KR RA LL) deh Boo eee AY AD) RE AZT BNA SZ ABUT ILA FUME RE AY D7 FST PE TEE AE A ABO A A TE A ET a 9 I CR. 2PM ES UTLEY SEE NAY ETI AT AF xd x6, x8, x10) FL] SBR SIE EE FF IAS PE) NL EIT EB Da RASS IL N17 FEI Al )( Modulation. 1976— 1977)” fo 17 Fie PERG ETT TCR AN HA Phasing filter) FE PTE I TT A HT EE AEE SCV In ) £19 542 9% CREDA 1/4 2 MIRE 4) Rose. “Introduction to the Pitch Orgnization of French Spactral Music”. Perspectives of New Music. Vol, 34+ no, 2+ 1996, 39MR L/6 Bo ABE E 5 WAG 1/4 A HEE 3 Ha CV a3) AG 1/6 PFs DEE 28 BLUE. 8A PRT HR eb RIT CRIES 8A Hash 8 UIE Se BRR HA DEON? Jk AAU HB A) AE OE AL BCT LE AE ANAL PF (6 Fe 9 M4 fi. ——40 1944 A] (Spectral Polyphony). He Sb iA HH T BP aT tif” Interpolation) £8 TAFE BR 4 PAY A A a FE BA ICE 1 AG RH”. GCA AE eo — A HERS ADORE ESSE ET PY AOE AH RRR EYE A SA a PRUE 4a OH BY BUS. GIS BBR viet be og, Vins sa! ‘Vas va Hy Group A Group 8 Group Group D 2.2.3 SE ie aie SAE ~Y AREPSR IS F PE HRS B B TBEE (Harmonics) , i #5 HE RZ EAE URIS AY 7 FE AL OP AB EP AE HEF CInharmonic). JRE BRACE FA PEEPS) AL RA SS Ao LRAT ABET I PAR OA i SE VS De ABE SF ae HEED fs FPG BRIS EE PD eR He FR 4 ALLE LS Ph SARE ART iE. HAR WA BML GE MARE ST. AB PIAS SPE AB BOE TE ISEB JA ERE RT FAI. Aas Stat LEAT ESPEN FE JelwSp ete eS Fe URES HEY REARS BAUER HG UAB Pe SUPE HEE BEAR oe PN A AY : 18 ARNE EY DA 4 Fw i NA Td AR A introduction to the Pitch Orgnization of French 1 3 Spactral Music”, Perspectives 40