臺灣博碩士論文加值系統

本研究主要在探討將即興演奏中的音樂即時做視覺化之後，音樂附加視覺效果前後的比較，還有其對於提升觀眾體驗的有效性，主要使用數位樂器當作演奏樂器，並以視覺化程式設計語言—Puredata（或稱Pd）做為視覺化工具。
方法主要在收集彈奏時所產生的音符訊息傳送給電腦處理，並將存放於音符訊息中的各種要素對應到相關聯的動態參數，基於這些參數設計各種多變化的型態，在演奏的同時產生出即時的視覺動態畫面，原先以聽覺為欣賞音樂主要的角度，提升為聽覺加上視覺的體驗層次，聽眾不再只用耳朵聆聽音樂的旋律，更變成觀眾能看見音樂在空間中的視覺變化。不同風格的音樂與不同節奏的旋律，在視覺化後所顯示的畫面對觀眾來說，視覺體驗是否符合聽覺體驗，甚至視覺上的刺激能讓觀眾更投入於音樂的表演中，這些都是要去評估的問題。
最後加入收音器材接收觀眾的聲音，以「觀眾區的環境聲音變化」來代表觀眾「看見音樂時的反應狀態」，並讓此聲音訊號去控制畫面的某些視覺參數，即時改變演出時所呈現的畫面，屆時，表演者會因為突如其來的畫面做出某些反應，這些反應又透過演奏顯示於畫面中，其目的在於打破傳統音樂演出時存在「台上表演者在演出時，台下的觀眾不要發出聲音」的舞台框架，除了拉近觀眾與表演者的距離，甚至讓表演者與觀眾憑藉著能「共同影響畫面」這點，讓彼此之間存在一種互動的關係，最後形成一種表演者－畫面－觀眾三方互相影響的新形態共創表演形式。

The study is mainly discussing about the visualization of the impromptu music, and the comparison of music before and after adding these visual effects. Besides, it also aims to examine whether visualization of impromptu music could raise effectiveness among audience or not. In the study, the electronic digital instruments are primary used as a mean for research along with the “Puredata” (or Pd) as visualization tool.
The method is to collect the data which are generated when the music is played, and then send them to computer to process. Afterwards, the various element of note in data will match the relevant visual parameter and then further designing different types of variation. Thus, while you are playing the music, the instant dynamic visual scene will also be produced. It means that the angle of how you experience music will raise to visual level from the previous acoustic level. In other words, audience can not only merely appreciate the music acoustically but also visually since they can see the visualization of music. Will the different style of music and different types of rhythm bring different feeling to audience after visualization? Is the visual experience of music correspondent to acoustic experience? Can the visual stimulus make the audience more enjoy the music performance? These questions are what the study aims to assess.
In the last section, the radio equipment will be used to receive the sound from audience, using the change of sound from audience area to represent the reflection when they see the music. Moreover, the sound from audience will also be introduced to control some of the visual parameter of the music, instantly change the scene when the performance is ongoing. Meanwhile, the performer will react to the sudden changing scene which represent the audience’s reflection on previous music performance. Subsequently, the reaction will show again through the scene. The purpose of it is to break the traditional form of performing music that the audience should be quiet once the performance began. Because of it, the audience can not only be closer to the performer, but can also have the interaction between them due to the reason that they can both influence the scene. Eventually, it will become a new performing form which is interrelated among performer, scene and audience.

中文摘要 II
ABSTRACT III
誌謝 IV
目錄 V
圖目錄 VII
第一章、緒論 1
1.1 研究背景 1
1.2 研究目的 2
第二章、文獻探討 4
2.1 音樂的特性 4
2.1.1 音樂的空間性 4
2.1.2 音樂的視覺性 5
2.2 音樂的表現方式 8
2.2.1 傳統音樂的表現方式 8
2.2.2 新媒體藝術 8
2.3 音樂即興 9
2.3.1 音樂即興的定義 10
第三章、創作研究方法 12
3.1 方法結構 12
3.1.1 輸入參數 12
3.1.2 架構圖 13
3.2 研究環境 14
3.2.1 Puredata（Pd）簡介 14
3.2.2 配置Pd 14
3.2.3 Pd程式主介面 16
3.2.4 功能/Gui物件： 17
3.2.5 編輯和執行模式： 18
3.2.6 Midi物件 19
3.2.7 GEM物件清單 19
3.3 檔案結構 20
第四章、創作內容與過程轉化 23
4.1 創作作品 23
4.1.1 幾何圖 23
4.1.2 粒子系統 25
4.2 評估修正 25
4.2.1 音符的位置及顏色表現 25
4.2.2 使粒子應用動作的數種模式 27
4.2.3 針對演奏狀態所做的細部修正 31
4.2.4 增加外部音源影響畫面的效果 32
第五章、結論與展望 34
5.1 結論 34
5.2 未來展望 36
參考文獻 37
附錄 39

中文文獻
王昀（2001）。论音乐空间与建筑空间的对应性。华中建筑，Vol. 18，No. 4，
pp. 47-48。doi:10.13942/j.cnki.hzjz.2001.04.018
謝斐紋（2006）。現代繪畫與音樂思維的平行性。台灣：秀威。pp. 20。
陳永賢（2004）。互動式媒體藝術的創作思考。「ACM SIGGRAPH TAIPEI 2004國
際學術研討會」發表之論文，臺北：數位內容學院與國立臺灣藝術大學主辦。
劉新圓（2011）。音樂即興：理論與實務初探。pp. 4-6, 8-9, 16。

英文文獻
Carl Dahlhaus (1990). On the Decline of the Concept of the Musical Work, in Schoenberg
and the New Music, translated by Derrick Puffett & Alfred Clayton. Cambridge: Canbridge University Press. pp. 222-226.
David Hiley, Lorenz Welker, Klaus Miehling, Thomas Seedorf, Rudolf Frisius, Reinhard
Anfreas & Artur Simon (1996). Improvisation,in Die Musik in Geschichte und Gegenwart: Allgemeine Enzyklopädie der Musik. Kassel New York: Bärenreiter, Sachteil. 4. pp. 538-541.
Ferand, Ernst T. (1938). Die Improvisation in der Musik.
Zürich: Rhein-Verlag. pp. 14-15, 35-81.
Ferand, Ernst T. (1957). Improvisation, in Die Musik in Geschichte und Gegenwart:
Allgemeine Enzyklopädie der Musik. Kassel New York: Bärenreiter, Sachteil. 6.
pp. 1135.
Tullia Magrini (1998). Improvisation and Group Interaction in Italian Lyrical Singing, in
In The Course of Performance: Studies in the World of Musical Improvisation. Chicago: The University of Chicago Press. pp. 169.
David W. Fourney, & Deborah I. Fels (2009). Creating Access to Music through
Visualization. Paper presented at the 2009 IEEE Toronto International Conference Science and Technology for Humanity (TIC-STH), Toronto, ON, Canada. pp. 939-944. doi:10.1109/TIC-STH.2009.5444364
Lipscomb, S.D. & Kim, E.M. (2004, August). Perceived match between visual
parameters and auditory correlates: An experimental multimedia investigation. Paper presented at Proc. 8th International Conference on Music Perception and Cognition, Evanston, Illinois, USA. pp. 72-75.

網路資源
王新仁 (2013)。[教學]Puredata聲音設計1。檢自
http://www.dazegraffiti.com/2013/03/puredata-1.html (June 8, 2019)
岩井俊雄，Piano—as Image Media（1995）。檢自
https://www.kousakusha.com/ks/ks-t/fig48-1.html (June 10, 2019)
Victor Doval es Producciones Leminosas。Retrieved from
http://www.produccionesluminosas.com/#Howler-Monkey-by-Meier-&-Erdmann
(July 22, 2019)
Stephen Wilson (1993). The Aesthetics and Practice of Designing interactive Computer
Events. Retrieved from
http://userwww.sfsu.edu/swilson/papers/interactive2.html (June 10, 2019)
/chapter: Introduction2/PUREDATA. Retrieved from
http://write.flossmanuals.net/pure-data/introduction2/ (June 8, 2019)
Ye Olde Gem Manual: 11. List Of GEM Objects (July 03, 2007). Retrieved from
http://gem.iem.at/documentation/manual/manual/list-of-gem-objects (June 8, 2019)