【新闻】关于第三季的配乐，我们可以有何期待？

It’s perhaps fair to say that the post production of any media, be it film, music or television, is dramatically less glamorous compared to the actual filming and performing of what you see onscreen. However, it is without doubt the true nuts and bolts stage of the final product, and often can make or break any production – a sterling performance by an actor can be lost if subject to a bad film or video editor for example.
Sherlock series three has been in the midst of this process for several months now, and just this week one of the most vital parts of post production has been completed – the recording of the score for the S3E3: His Last Vow.
In the case of music for film and television, the aim is of course to underscore and heighten what you are seeing onscreen, to draw your attention and emotions to a certain point. In the case of Sherlock, composers David Arnold and Michael Price pay particular attention to themes and motifs, assigning specific instruments and short pieces of music to particular characters. This highlights when a character is physically (or metaphorically, at times) onscreen.

For example, for Sherlock, listen out for the violin (as well as the main title for the series itself), while John can be picked out by a simple, pensive theme that is usually performed on piano – it’s immediately noticeable during his early scenes in S1E1: A Study in Pink. Taken separately they represent both characters, but when used together in a scene they can completely underpin the onscreen action – take a look at the counterpointing of Sherlock’s theme on violin and John’s on piano as the pair talk in the emotional final scene of The Reichenbach Fall.
If you watch Sherlock with this in mind there’s far more going on than just the visuals in the episodes, and the music is not just reinforcing an emotional state, but driving and even highlighting important points that hint at the resolution of narrative threads. It’s carefully considered work, the very best kind of scoring – scene specific while also incredibly beautiful.
It begs the question what the music of series three will sound like. The second series was a huge leap in terms of complexity and instrumentation from the first – just listen to the beautiful theme for Irene Adler that Sherlock ‘composes’ within the narrative of S2E1: A Scandal in Belgravia that later explodes into gigantic, orchestral life, or the gnarly, industrial sound that accompanies the elusive beast in much of S2E2: The Hounds of Baskerville.
So, we’re expecting some old favourite themes, but also plenty of genius new material from the brilliant pairing of Arnold and Price come the premiere of the new run of Sherlock…
For more, you can read our detailed articles on the music of Sherlock on our website.

原址
http://metro.co.uk/2013/11/15/the-music-of-sherlock-what-can-we-expect-from-the-series-three-score-4187643/

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英语渣…

或许，公平地说，任何媒体的后期制作，无论是电影、音乐或电视，与你在荧幕上看到的实际的拍摄和表演相比都会明显地没那么有魅力。然而，毫无疑问，这是给最终作品上螺母和螺栓的阶段，而且往往可以成就或毁掉任何作品。比如说， 一个演员的纯正表演如果落到一个糟糕的电影或视频剪辑师的手里，就可能会被失却。

现在《神探夏洛克》第三季在已经处于这个过程之中好几个月了，就在这个星期已经完成的后期制作中最重要的部分之一：第三季第三集《他最后的誓言》的配乐的录制。
就电影或电视的音乐来讲，我们的目标当然是强调并增强你正在荧幕上所看到的的东西，并在某种程度上抓住你的注意力与情感。在《神探夏洛克》的案子中，作曲家David Arnold和Michael Price特别注意主题和基调，将特定的乐器和音乐片段分配给特定的角色们。这是为了强调某个角色出现在了荧幕上（有时候是隐喻）。

例如，对于夏洛克，是小提琴（也是此剧的主题），而约翰也可以被一个简单哀愁通常是用钢琴所演绎的主题所辨认出来——它在S1E1《粉红色的研究》中的他的前几场戏中可以被立刻注意到。两者分开它们代表了两个角色，但是当它们一起用在一个场景中，它们完全可以增强荧幕上表演（的表现力），看一看对应的夏洛克的小提琴主题和约翰钢琴主题在《莱辛巴赫瀑布》的感人的最后一幕的相得益彰吧。
当你了解了这些以后再看《神探夏洛克》，你将会在剧中得到远远比视觉感受更多的东西，音乐不止是加强了情绪的状态，更是引导甚至是突出了那些暗示叙事线程的解析的要点。这是需要仔细斟酌的工作，最好的那种配乐——是将场景独特地展现出来，又难以置信地动人。

这引出了一个问题，就是第三季的音乐听起来会是什么样子的。就复杂性和使用的乐器来说，第二季相对于第一季已经是一个飞跃，只要听夏洛克在S2E1《巴尔戈维亚丑闻》的故事中为艾琳艾德勒“作曲”的美丽的主题音乐就知道了，这旋律在后面爆发成为磅礴的管弦乐曲，或者是在S2E2《巴斯克维尔的猎犬》的许多部分中伴随着的难以琢磨的野兽的粗糙的工业的旋律。
所以，我们期待着我们最喜欢的旧主题，但也有一些将在神夏第三季首演中呈现的Arnold和Price绝妙合作所产生的天才般的新点子。
如需更多信息，你可以在我们的网站上阅读关于神夏音乐的详细的文章。
（完）
（渣翻译，请见谅！！！！）

很期待现在的手机铃声还是sherl的配乐+主题曲