影與音的對談－推開配樂的創作及製作之門
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2019
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「這是一本不討論音樂理論的配樂相關論文」縱觀現今台灣存在的配樂相關研究，大多著墨於音樂內容本身，如主題動機、和聲、對位分析……等，少有談論溝通、導演、團隊、故事、角色、技術、錄音、混音等相關議題，但在創作及製作的過程中，我漸漸發現，要做好一個作品（電影、遊戲、廣告等），絕對不是配樂自己好就能好的，學習溝通、學習合作；多認識彼此、多瞭解產業，創作之路才能走得更長遠，訪問了李欣芸、楊敏奇、安哲毅、孫紹庭後，更讓我確信，一位成功的配樂創作者，需要了解更多音樂內容以外的事情，激起我從事此份研究的動機。
內容主要分成八項來探討：「配樂的本質」、「故事」、「角色」、「對白」、「MIDI Mockup與取樣技術」、「與演奏家、樂團合作」、「與配樂錄音師、配樂混音師合作」、「與音效後期、總混音師合作」，內容穿插李欣芸、楊敏奇、安哲毅、孫紹庭等訪談內容、自己的配樂經歷與國內外配樂大師的相關文獻。
This study is not a serious music theory but a film score related paper. Throughout the research on the film score in Taiwan today, most of them focus on the music content itself, such as motive, harmony, counterpoint, etc. There are few topics related to communication, director, team, story, role, technology, recording, mixing, etc. However, in the process of creation and production, I gradually found that to do a good work (movies, games, advertisements, etc.) is definitely not just how good the music is. Learning communication, cooperation, knowing each other and understanding the industry, the road to creation can go further. After visiting CinCin Lee (one of the top film composers in Taiwan), Jeyi An (director, producer), Micky Yang (senior Tonmeister) and Sun (recording and mixing engineer in Taiwan and New York), I was even more convinced that a successful film composer needs to know more than about the music content. These factors have motivated me to engage in this research. The content is mainly divided into eight items to explore: the essence of film music, story, character, dialog, MIDI Mockup and sampling technique, working with musicians (session players) and orchestras, working with scoring recordists and scoring mixers, cooperating with the sound effects and dubbing mixers. In addition, the content interspersed with interviews such as CinCin Lee, Jeyi An, Micky Yang, and Sun. More importantly, the author's own experience and reference to the relevant literature of domestic and foreign masters.
This study is not a serious music theory but a film score related paper. Throughout the research on the film score in Taiwan today, most of them focus on the music content itself, such as motive, harmony, counterpoint, etc. There are few topics related to communication, director, team, story, role, technology, recording, mixing, etc. However, in the process of creation and production, I gradually found that to do a good work (movies, games, advertisements, etc.) is definitely not just how good the music is. Learning communication, cooperation, knowing each other and understanding the industry, the road to creation can go further. After visiting CinCin Lee (one of the top film composers in Taiwan), Jeyi An (director, producer), Micky Yang (senior Tonmeister) and Sun (recording and mixing engineer in Taiwan and New York), I was even more convinced that a successful film composer needs to know more than about the music content. These factors have motivated me to engage in this research. The content is mainly divided into eight items to explore: the essence of film music, story, character, dialog, MIDI Mockup and sampling technique, working with musicians (session players) and orchestras, working with scoring recordists and scoring mixers, cooperating with the sound effects and dubbing mixers. In addition, the content interspersed with interviews such as CinCin Lee, Jeyi An, Micky Yang, and Sun. More importantly, the author's own experience and reference to the relevant literature of domestic and foreign masters.
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配樂, 導演, 錄音, 混音, 虛擬樂器擬真, 取樣技術, 漢斯季默, film score, film music, director, recording, mixing, MIDI Mockup, sampling technique, Hans Zimmer