Analysis On The Influence Of Electro-acoustic Music On Timbre And Texture Of Orchestral Composition

Electro-acoustic music, as a new surge of composing, begun after the World War Ⅱ1. As a new musical form with electronic media as its composing platform, on the one hand, it has gestated and developed "Electro-acoustic music" as a fixed musical form. On the other hand, it expands the imagination of composers on the timbre. This composing approach that differs from any existing forms provides a new thinking method, a new manifestation form and a new structural principle to the music composing.In this paper, the researching and analyzing object is one of the composer Chengbi An’s orchestral work——Gyol. In the progress of analyzing, the author treats this work objectively and rationally in the perspective of music composing. The author also attempts to comprehensively analyze this work’s timbre and texture phenomenon by two vocabularies. One is the electronic music, and the other is traditional instrumental music composing. The influence of the composing thinking of electronic music on the acoustic material and its organization of traditional instrumental music composing is also considered.The reason why the author chooses Chengbi An’s Gyol as the object is that Chengbi An is a composer with rich experience of composing and Electro-acoustic music composing. The unique acoustics in his electronic music is now only showing in the novelty of the timbre, but also a logic timbre layout containing complex composing techniques and consistency. Therefore,you can know that he has solid composing skills by listening to his electronic music. Gyol as a traditional band work, presents "the sound fluxion" that is similar with electronic musical effects and has processing features of personalized timbre textures,which has aroused the interest of the author.The main body of this paper contains three parts. The first part introduces the composing background of the composer and the work itself. The second part conducts analyzes the case in the perspective of electronic music composing. The author organizes the composing characteristics, timbre processing and its features of Gyol to explain the work’s acoustic material organizing methods, incorporating with composing techniques of electronic music. The third part is the work’s structural layout. The part states its structural features in ways of timbre texture, speed layout.In the epilogue, the author summarizes the contents in the main body and points out the meaning of this article is that through the analysis of the case of Chengbi An’s Gyol,it explores the handling methods of musical quality texture with "electro-acoustic sound characteristics "presented by conventional orchestral works,which is influenced by creative thoughts of music in the contemporary musical creation.