Structure
结构/Jie2 Gou4
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如何组织材料是一个比较难的问题。我们将对各种有可能的策略进行考核，并鼓励你自己探索。
无限制
由于声音创作让你从传统音乐的限制中解放出来，并允许你在任何自认为最合适的方式中工作，这对你如何或者何时建造声音来说，常常是是一种挑战。
有时，对区别独立的声音姿态（发生在比较小的尺度中）和较大的结构（发生比较大得尺度中）是比较困难的。因为这两者都是结构的一种类型。姿态是从声音节点中制作而来的，而结构是由声音姿态组合而来。
事实上，小型的姿态经常会启发大的结构选择，而大尺度的结构选择可以影响作曲家对更小的姿态类型的决断。
寻找一个结构
通常作曲家在开始创作时，对其作品什么时候开始以及什么时候结束会有一个清晰的概念。
然而，平时结构将会在其作品的慢慢探索中显现出来。
几乎所有的作品最终都会毫无疑问的有一个总体方向（他们有一个让听者从X到Y的安排）。并且这些总体的安排/方向通常都相当简单。
事实
作曲家特雷弗·威沙特认为，当你移动到更大的尺度，那么结构的复杂性就会降低。
这是什么意思？
在一个作品中，贯穿整个作品的结构，常常远比任何小尺度的音形或独立的声音节点的结构或者编配更简单。
为什么？
这是因为听众喜欢迷失和困惑在更大尺度的复杂结构中。
传统音乐结构
尽管用声音制作音乐和用音符制作音乐是不同的，但传统音乐中常用的结构对我们计划和专注用声音作曲是非常有用的。
传统音乐常常被音符分离为一些单块。
尤其是在流行音乐的实例中，歌曲中有明确规定的主歌/副歌结构。
这样分离开音乐可以让我们容易的讨论相关作品的结构。但是，在现实情况中，很难说明A段在哪里停，B段在哪里起。
传统音乐中的常用结构
以下一些常见的结构思路案例，可以让你了解自己整个作品的结构。
问答
这是一种会话方式，是即兴音乐和声音（演奏者）对话的共同特征。初始乐句发声，第二乐句应答。然后，这个过程将会延续。
想象在音乐中，对话或争论的声音是什么样的。
再现
ABA清晰的定义了三个段落，但是最终段和第一段是一样的。这给我们了一个开始和结束的清晰定义，并给听众提供了回到开始的感觉。
回旋
一个明确的主题（A）在新的插部间再现。例如： A B A C A D A E… 等等。
持续变奏
作品稳定持续的发展，并渐渐的演变和前行。A B C D E F… 等等。
变奏与发展
和回旋比较像，但主题是发展和演变的，致使其有了持续发展的感觉。A1 B A2 C A3 D A4 E A5… 等等。
虚拟排列
有时直观地思考曲式和较大的结构是非常有用的。
在这些图片中，纵轴显示了在作品中的原始概念被展开了多远，而横轴显示了演变时间。
设想一下，你自己的作品是如何发展的，或者用简单的曲线图画出你自己的设计。
作曲技巧
我们可以在较大结构的作品中，从单独的声音信息中获得灵感。然后，我们可以扩展这些概念，甚至将其更进一步的贯穿整个作品的结构和发展。
活动
在试听间选择一个作品，尝试听出它的结构。
你也许需要把这个作品多听几遍。
比较一下，你和其他人对这个作品结构的做出的诠释。
The question of how to structure materials can be difficult. We will examine a number of possible strategies and encourage you to develop your own.
No Limits
Because composing with sounds frees you from the limits of traditional music and allows you to work in whatever way suits you best, it can often be a challenge to work out how or when to start building sounds together.
It is sometime difficult to distinguish between individual gestures (that happen on a smaller scale) and larger structures (which happen on a larger scale). This is because both of them are types of structures. Gestures are made from sound events, while structures are made from collections of gestures.
In fact, the shape of small gestures can often inspire larger structural decisions, while large scale structural decisions can influence the types of smaller gestures that a composer decides to use.
Finding a Structure
Sometimes composers start out with a clear idea of where they want their piece to begin and where they want it to end up.
While, other times the structure will emerge as they gradually develop their piece.
Almost all pieces end up having a certain overall direction (they have a structure which takes the listener from X to Y). And these overall structures / directions are often fairly simple.
Fact
Composer Trevor Wishart argues that as you move to larger scales then the complexity of structure decreases.
What does this mean?
The structures which take place across whole pieces are often far simpler than the structure or make up of any smaller scale gesture or individual sound event within a piece.
Why?
This is because audiences are likely to get lost and confused within complex structures at a larger scale.
Traditional Musical Structures
Even though making music with sounds is different from making music with notes, the common structures used in traditional music can be highly useful in helping us to plan and focus our compositions made with sounds.
Traditional music is often divided into simple chunks described by letters, for example:
This is particularly the case with popular music where there are clearly defined verse / chorus structures within songs.
Dividing music up in this way allows us to easily talk about the structures of the piece. BUT, in reality, it might not be so easy to say where A ends and B begins.
Common Structures in Traditional Music
Below are some examples of common structural ideas which you might use to inform the structure of your whole piece.
Call and Response
This is a conversational approach and a common feature of improvised music and where there is a dialogue between sounds (or performers). An initial musical statement sounds, and a second musical statement responds. This process will then continue.
Imagine how a conversation or an argument in music would sound.
Ternary
Three clearly defined sections A B A. But the final section is the same as the first. This gives a clearly defined beginning and end, and provides the listener with a sense of returning to where they began.
Rondo
A clearly defined main theme (A) which recurs between new 'episode' sections. For example: A B A C A D A E… etc.
Continuous Variation
The development steadily continues and the piece gradually evolves and progresses. A B C D E F… etc.
Variation and Development
Similar to the Rondo, but the main theme is developed and evolves so that there is a sense of continuing development. A1 B A2 C A3 D A4 E A5… etc.
Visualising Form
Sometimes it can be useful to think visually about form and larger structures.
In these graphs, the vertical axis shows how far the original idea has been developed in the piece, while the horizontal axis shows the progression of time.
Think about how you'd like your own piece to develop and perhaps draw out your very own plan using a similar graph.
Composition Tip
We can take ideas from individual sounds to inform, larger structures within a piece. And we can then expand these ideas even further to inform the structure and development throughout a whole piece.
Activity
Choose a work from the listening room and try to work out its structure.
You may need to listen to the piece a few times.
Compare your interpretation of the chosen works structure with interpretations that other people have made.
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