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"我坐在一个房间里"
"I AM SITTING IN A ROOM" by Alvin Lucier

"我坐在一个房间里"

为人声和磁带而做 (1969)

所需设备:
一只麦克风,两个磁带录音机,放大器和一个音箱

挑一个声学特质符合你想表达的内容的房间

把麦克风连到磁带录音机#1(以下简称 #1)的输入

放大器和音箱连到磁带录音机#2(以下简称 #2)的输出

念出下面的文字或者随便什么长度的任意文字

“我坐在一个房间里,跟你所在的那个不一样。

我正在录我自己的声音,而且我还要把它回放一遍又一遍,直到这房间的共振频率增强它们自己, 这样我声音的所有特质,也许除了韵律之外,都被毁掉了。

接下来,你将会听到,这个房间因我的言语而发出的自然共振频率。

我不太把这看作一个物理现象的演示,而更多的是将我言语中的参差不齐打磨圆润的一种方法。”

用连接在 #1 上的麦克风录下你的声音。

倒带至开始处,然后把磁带放进 #2 里,用音箱在屋子里回放,同时用连接在 #1 上的麦克风录制原陈述录音的“第二代”。

把第二代录音倒带至开始处,并衔接在 #2 里原有陈述录音的结尾。

回到屋里,只播放第二代录音,并用#1 上的麦克风录制原有陈述的第三代。

重复这个过程,多“繁殖”几代出来。

所有这些“带子带孙”们会按时间先后顺序衔接在一起,所以该磁带作品的长度取决与原有陈述的长度和你“繁殖”了多少代。

做个这样的版本:每一代都在不同的房间里录制。

做个这样的版本:一个或多个叙述者在不同的房间用不同语言来录制。

做个这样的版本:每一次录制下一代录音时,把麦克风移动到房间里不同的位置。

做个能实时表演的版本。

*****

"I AM SITTING IN A ROOM"

for voice and electromagnetic tape(1969)

Necessary Equipment:
one microphone,two tape recorders, amplifier and one loudspeaker.

Choose a room the musical qualities of which you would like to evoke.

Attach the microphone to the input of tape recorder #1.

To the output of tape recorder #2 attach the amplifier and loud-speaker.

Use the following text or any other text of any length:

"I am sitting in a room different from the one you are in now.

I am recording the sound of my speaking voice and I am going to play it back into the room again and again until the resonant frequencies of the room reinforce themselves so that any semblance of my speech, with perhaps the exception of rhythm,is destroyed.

What you will hear,then,are the natural resonant frequencies of the room articulated by speech.

I regard this activity not so much as a demonstration of a physical fact, but more as a way to smooth out any irregularities my speech might have."

Record your voice on tape through the microphone attached to tape recorder #1.

Rewind the tape to its beginning, transfer it to tape recorder #2, play it back into the room though the loudspeaker and record a second generation of the original recorded statement through the microphone attached to tape recorder #1.

Rewind the second generation to its beginning and splice it onto the end of the original recorded statement on tape recorder #2.

Play the second generation only back into the room through the loudspeaker and record a third generation of the original recorded statement though the microphone attached to tape recorder #1.

Continue this process through many generations.

All the generations spliced together in chronological order make a tape composition the length of which is determined by the length of the original statement and the number of generations recorded.

Make versions in which one recorded statement is recycled through many rooms.

Make versions using one or more speakers of different languages in different rooms.

Make versions in which, for each generation, the microphone is moved to different parts of the room or rooms.

Make versions that can be performed in real time.

工作坊/workshops

Start Time: 2010年11月10日/10:00

End Time: 2010年11月10日/12:00

城市/City: 沈阳/Shenyang

地点/Venue:

309/309
三好街61号,沈阳音乐学院,第三教学楼
No.3 Academic Building, SYCoM

主办/Sponsor

沈阳音乐学院·作曲系
Composition Dept. SYCoM

主讲/Lecturer

马太恩·戴林赫/Martijn Tellinga

交互传译/Interpreter

潘英杰/Pan Yingjie
张睿博/Zhang Ruibo (Mungo)

筹办/Organizer

张睿博/Zhang Ruibo (Mungo)

关键词/Keywords

声学空间/Acoustic Space
实时变换/Real-time Transformation
共鸣/Resonance

信息/Message

信息/Message ID用户名/Username内容/Content时间/Input Date
60Zhou Zhengqi

“……我们是要倾听房间,而不是听声音……并非所有的音乐都是由声音材料发展而来的,我们周围的任何环境因素都能作为音乐中的材料。这也使得我想要改善我房间的声学品质……”

“……we are listening to the room, not to hear the sound……it told me that not all music made by sound materials, any environment around us can be the material with my work. It also makes me want to improve the quality of my room……”

2012-9-2 17:27:36
58Zhou Zhengqi

“我并没有坐在这个屋子里,坐在这里的是我的化身。”

这是一个虚拟版本:我坐在这个屋子里,虚拟人物和虚拟空间。

“……使用普通的数字音频工作站,在音轨中加一个IR(脉冲响应)混响,再将其加入到第二个音轨……依次在各个音轨中重复……但听起来只有IR混响在起作用,其他混响类型的存在只能让混响效果更大……当重复次数不断增加,IR混响的声音会越来越大,而非IR混响的声音会越来越小……”


"I'm NOT sitting in a room, my avatar does"

Here is a virtual version of "I'm sitting in a room" - by a virtual man, in a virtual room.

"……with ordinary DAW. Add an IR (impulse response) reverb module on a track, routing it to a second track……Repeat the process through many tracks……It seems ONLY IR reverb works. Any other reverb module only make the reverb larger……as number of generations increased, IR version gets louder but non-IR version gets quieter……"

2012-9-2 17:13:04
27Show

I believe that Martijn had done a lot of preparation before the class and I got some keywords like phenomenology, acoustic space, formant. he dares some pictures to explain these theory, that made me understand them clearly and I love pictures. these keywords not only let me know something about the theory, but also I begin to consider the relationship between these theory and my composition, think about how to use these factors when making music and the mixing.

The contents of that morning was wonderful by our interactive. The composer use the nature characteristic of a specific room, kept saying a word "I`m sitting a room…" That real-time experiment made meunderstand the word Martijn said: "…we are listening to the room, not to hear the sound…" It told me that not all music made by sound materials, any environment around us can be the material with my work. It also makes me want to improve the quality of my room..terribly, I had recorded many songs in that environment. I think I must consider the recording environment and make it best as far as possible before recording activities in the future.

Martijn reconstructed the history to do the experiment with Max/msp, he made a patch to increase the resonant frequency to the extreme, until we can hear the sound only with rhythm. I think it`s pretty meaningful for my five-days study of Max/msp before. By the way. I found that Max/msp is so powerful, it can do whatever “effect” people want, it`s interesting..

2010-11-17 19:18:37
25panda

"I'm NOT sitting in a room, my avatar does"

Here is a virtual version of "I'm sitting in a room" - by a virtual man, in a virtual room.

First, I got a record of text I want, generated by a speech synthesizer (I admit I'm very lazy… and that's why I made this version…), the easiest way to get it is from the link below. Just type some text in the blank and click download button, it's a *.wav file.

http://www2.research.att.com/~ttsweb/tts/demo.php

Then using a stupid little tricks you all know with ordinary DAW. Add an IR (impulse response) reverb module on a track, routing it to a second track with same reverb added. Repeat the process through many tracks.

Each track you have added will have a similar result comparing to each generation of original piece.



For those "Make Versions":

- Changing the IR sample of each track, you get a "through many rooms" version.

- For different languages? A piece of cake~ I mean, for speech synthesizer, not for me…

- Connecting a microphone to the first track, you can get a realtime version. Actually you can directly listen to any "generation" by solo the specific track.

- For moving microphone to different parts of room in each generation is coming soon. Testing on it...


Importance:

What I found that is really interesting, strange but reasonable phenomenon is: It seems ONLY IR reverb works. Any other reverb module only make the reverb larger.

And there is a another difference between using IR and other reverb: as number of generations increased, IR version gets louder but non-IR version gets quieter. I have not figure out the reason yet.

Caution: If you want to try it yourself, TURN THE VOLUME DOWN BEFORE YOU START!


Update:
You can also hear some strange thin resonance from non-IR version if you raise the volume high enough.

In terms of virtual, maybe those non-IR version is the true virtual version! The resonance from a non-existing space!

2010-11-13 23:37:15

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