Transformation
变形/Bian4 Xing2
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材料的变形和发展是简单但却非常强大的工具，被用于许多不同类型的音乐中。
材料的发展
声音操控实验可以导致发现很多令人兴奋和有趣的声音。但是一个成功的作品不仅仅是奇异声音的聚集物。
我们需要可以识别并选择最好的声音，然后可以对它们进一步的变形和发展：让它们前进，并给它们方向。
试听练习
让我们来看一下操作范例；
出神之旅（神游）的变形
这是一个提取于出神之旅（神游）的片段，在这个提取段中，干树叶吹过路面的录音是被变形并发展过的。
这个变形被三个部分完成：
第一部分
A
原始声音的引入。
第二部分
B
原始的声音被它自己的原始拷贝和其变形过的拷贝叠加在一起。它被降调，加入了一个低音的压碎声到混音里。
第三部分
C
在原始声音素材的拷贝被更进一步的变调段落中结束了。但是这一次声音被升调了，形成了更高的破裂式的质地。
这个程序是如何工作的？
声音的变形和它们的组织，给了摘录以方向感。C段和A段是完全不同的，但是渐变的B段允许B段和C段通过一个清晰的发展模式保持连接。
事实
这个提取段的确含有除了颗粒感的“干树叶”以外的声音，这些声音用于“触发”变形，用以作为声音能被变形的那个变化点。
作曲技巧
如果原始概念和发展概念是类似的，那整个发展过程的工作多数就是有效的。这样听者可以听到处理过程，并将能识别出什么被改变了。
渐进式的发展将能让听者听到正在发生的变化。但是：
如果变化太小，听者将不会听到任何发展。
大的改变也许会让听者感觉完全迷失了，不能理解他们在音乐的什么地方，也不知道发生了什么。
结构和材料
皮埃尔 舍费尔提出你需要将你使用的声音材料和声音结合的方法之间建立联系。
因此，这在考核你所使用的关键声音时是非常有用的，从而制定出它们的属性，并利用这些信息来规划出作品的发展结构。
想一想姿态的形状以及在质地中发生的任何进展。
聆听挑战
范例一：黄油煲
原始声音-粘土黄油碟
说明
粘土黄油碟有一个清新音高的“铃声”，和一个大的ger-dunk声结束。
变形可能性
由于他们有清晰的音高，一个明显的变形方法是将声音变调。
变形后的声音
变形阶段
1.原始声音最早被呈现，盖子合上那一刻的“ger-dunk”声用来“触发”第二个变形的声音。
2.变形的声音被转变到了更高的音高。
3.进一步的变形声音也被变调了，并应用了一个延迟效果，让声音重复并淡出。
范例二：胡椒磨
原始声音-胡椒磨
说明
胡椒磨产生了一个颗粒感的“压碎”声，并且用节奏的方式重复。
变形可能性
颗粒感的压碎声拥有强大的潜力to from更广阔的颗粒云。
变形后的声音
变形阶段
1.原始声音最早被呈现，研磨的间隙用来作为第二个声音的进入点。
2.变形的声音被转变到了更低的音高，并加入了延迟效果，让它从一个清晰的节奏型移动到更云雾弥漫的声音。
3.进一步的变形声音是更高的变调，并加入了一个不对称延迟效果，以此创作了一个更云雾弥漫的节奏型，让其慢慢淡出而去。
活动
创建你自己的变形实验。从下载CwS工程文件开始，它包含了以下讨论的材料范例：
用声音作曲工程文件：变形和发展
也许你可以从根本上改变一个声音，接着试图“填补空白”，从而在原始和最终声音中创造一个清晰的链接和变形轨迹。
The transformation and development of materials is a simple but highly powerful tool, used in many different types of music.
Development of Materials
Experimenting with sound manipulation can result in the discovery of many exciting and interesting sounds. But a successful piece is more than just a collection of fantastic sounds.
We need to be able to identify and choose the very best sounds, and then be able to transform and develop them: to take them forwards, and give them a direction.
Listening Exercise
Let’s take a look at an example in action:
Transformation in Abstracted Journeys
This is an extract from the piece Abstracted Journeys. In this extract a recording of 'Dry Leaves' blowing across a road is transformed and develops.
This transformation is achieved in three parts:
Part One
A
The original sound is introduced.
Part Two
B
The original sound is layered with a copy of itself and the copy is transformed. It is transposed down, adding a lower pitched crunch sound into the mix.
Part Three
C
The section closes with further transposed copies of the original sound. But this time the sounds are transposed up, making higher crackly textures.
How Does This Process Work?
The transformation of the sounds, and their arrangement, gives the excerpts a sense of direction. Section C is quite different from section A, but the gradual transformation in section B allows sections B and C to remain connected through a clear pattern of development.
Fact
This extract does contain sounds other than the granular ‘Dry Leaves’, these are used to “trigger” the transformations, to act as a point of change from which the sounds can be transformed.
Composition Tip
The whole process of development works most effectively if there are similarities which remain between the original and developing ideas. In this way the listener can hear the progression and will be able to recognise what’s changed.
Development in gradual steps will allow the listener to hear the changes that are taking place. However:
If the changes are too small the listener will not hear any development.
Large changes may leave the listeners feeling completely lost, unable to make sense of where they are in the music and what is going on.
Relations between Materials
Pierre Schaeffer argued that there should be a relationship between the sound materials that you use, and the way in which the sounds are put together.
Therefore, it can be really useful to examine the key sounds that you are using, to work out their properties and then to use this information to plan out the developmental structures within the piece.
Think about the shapes of the sounds and if there are any progressions or natural transformations that occur within them.
Listening Challenge
EXAMPLE ONE: ClayPot_Butter
EXAMPLE TWO: Pepper Mill
Activity
Experiment with creating your own transformations. Begin by downloading this CwS session file which contains the example materials discussed above:
Compose With Sounds Project File: Transformation and Development
Trans_Dev.comp
Perhaps you could radically alter a sound and then attempt to ‘fill in the blanks’, so as to create a clear connection and direction of transformation between the original and final sounds.
You might like to use:
Filters
Automation
Transposition
Time-Stretching
Reverse
Loop
Splice
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