The Use Of Element Of Timbre Acoustics In The Compostion Of Orchestral Music

The development and perfection of each filed can’t survive without exploration and innovation. In the musical creation since 20th century, sound thinking has become one of the most important ways of innovation.Yang Liqing has made brilliant exposition on it in the article of "The Historical Development of the Orchestration Style of Orchestra", in which he has given a large amount of examples.Since 20th century, traditional establishment of symphony orchestra can’t meet the need of composers’ creation, they have constantly tried to use extremely abundant and more diversified establishment instead of the "standardized" mode, and break the "finitude" of combination of the traditional orchestra, in order to get more changeable and more unique feature; in the meantime, they are not content of the conventional timbre of the traditional orchestra as well as the various kinds of colorful playing methods which have been widely used in the Romantic period and Impressionism age. In his article, Yang Liqing has indicate that "the theoretical ’Liberation’ of noise and its membership of ’legal citizen’ of musical kingdom has promoted contemporary composers to make bold attempt on playing method of traditional instrument, which their ancestors dare not imagine, and exploit many ways of producing new timbre". "No matter how different the opinions are among various genres, they attach importance on the role that timbre plays in structure. The insisting on pursuing the tiny differences of timbre, as well as the multi-level and diversified correlation of band’s acoustics are universal."Based on this mutual pursuit of new timbre, timbre acoustics has gradually become an important and representative factor in modern music. It provides more means and more possibilities for the modern composing, which enriches the effect of acoustics and causes particular auditory feeling.This thesis will take timbre acoustics in the composition of orchestral music as the object of study, and take Desert at Dusk, which is composed by Yang Liqing for Zhonghu and orchestra, as example. This study will not only analyze the general characteristic of this work through many musical elements, such as musical structure, pitch structure, meter rhythm and texture composition, etc., and also take timbre acoustics and its use as emphasis to elaborate the special playing skill of this work, from the aspects of Zhonghu, wind instrument, percussion and strings respectively. Then it will further illustrate that timbre acoustics is playing a more and more important role and is used more and more widely in modern composition.