Transformaing And Elapsing Sound

Mark Andre(1964-)was born in Paris,France and now lives in Germany.He is a composer who has attracted great attention in the world of music.Large orchestra and real-time electronic music series works ”...Auf...“ I,II and III are composed by Andre from 2005 to 2007.This series of works fully reflects the main characteristics of the composer in composition.Therefore,this thesis takes this series of works as the research object.The full text consists of six chapters.After the introduction is the main part of the paper: the first chapter introduces Mark Andre's experience and his general situation in creation,and makes a more detailed introduction to the creative background of the series of works ”...Auf...“ I,II and III.In the second chapter,the article mainly summarizes the exploration of the temporal and spatial problems of music in the field of modern music compositions and music theories,which are highly related to the topic: The theoretical aspects mainly include Henri Bergson,Roman Ingarden,Alfred Schütz and Susan K.Langer etc.;The practical aspects of composition mainly include Olivier Messiaen,Karlheinz Stockhausen,Gérard grisey,Helmut Lachenmann,Elliott Carter,Jonathan d.Kramer etc.,so as to provide a reference theoretical basis and practical experience for the analysis of Andre's works.From the third chapter,there are detailed analysis of the works: Firstly,from the perspective of materials,it analyzes in detail the special notation and performance tips adopted by the composer in his works,expounds the composition principle of works materials and sound classification,and finally discusses the problems of notation and sound practice.The fourth chapter discusses the organization and layout of materials: from the perspective of music temporality and space,this chapter examines the texture gradation composition of different music materials in different music stages,as well as the the specific ways in which composers use and layout materials,and how composers deal with the relationship between real space and music space from the perspective of the actual spatial layout of the orchestra.The fifth chapter is about the analysis of the work structure: Firstly,the chapter divides the structure of the works from the results of the material layout shown in the general score,that is,the text structure.Then,from the perspective of the actual sound analysis of the work,with the help of the sound spectrum diagram of the work generated by Adobe Audition software,the author introduces the structure division method based on the auditory experience,that is,the sound structure.By comparing the structures divided by different observation methods in the two,this chapter discusses the relationship between opposition and unity.The conclusion part refines and summarizes the analysis of the works discussed above,and points out that the composer Andre's creation with distinctive characteristics in timbre mining and sound level structure,the specific method of "freely" showing the transformation process from trigger to extinction,and the design layout of work structure logic,all reflect the composer's new thinking on music spatial structure and time process,including his grasp of the dialectical relationship between finite and infinite.Finally,the article puts forward some experiences combined with the author's own study and composition.