It doit y avoir absolument éternité en musique: 我作曲故我在 – I compose; therefore I am.

Archive for the ‘象牙塔內’ Category

當代音樂詮釋筆記

本篇節錄之前在交大的colloquium我的部分(演奏詮釋)演講重點及補充個人淺見。

在音樂作品的詮釋上,以及各種方面,理論與實際向來是探討課題的重點之一。作曲家創作的理念及背後支持的理論是一件事,實際演奏將理念表達及實踐則是另一個層面,而音樂的詮釋者則扮演著中間的角色:在深入了解理論的部分之後,做出因應且適當的詮釋抉擇。

這樣談起其實非常地空泛,當代音樂作品風格及手法都非常多元,詮釋方式跟切入角度可以說是case by case,我所能寫下分享的部分也僅止於自身的經驗與理解而已。我本身的主修是作曲,一門不用花大錢買昂貴樂器、卻得花上加倍時間精神對各方面(包含歷 史、曲目、音樂理論、樂器學、配器法、分析、技術與論述等)全面性了解的領域,也因此演奏算是將這些所學的總合實踐出來的一小部分,也算是種從極度密集的 精神折磨中(因為作曲的思和工)解放的調劑方式。

以下就針對我3/8演出的曲目來概說我的詮釋狀況,也當作是個階段里程碑的記錄。(也許過了幾年,我的想法又會有所不同)

Jonathan Harvey “Tombeau de Messiaen”

這首作品已經有樂譜級DAT錄音出版,所以最首要的當然是讀譜,以及把tape part也給單獨聽熟。我所謂的讀譜當然已經包含找到全部的音跟樂句,以及對音樂素材的了解及分析等。這首的好處是譜上已經將所有tape的cue跟音型 等指示得相當清楚,只要照著譜就絕對不會跟丟。

但也因為譜跟tape都已如此清楚,在音樂的詮釋上演奏者必須在熟習之後找出音樂中的時間感,以及在其中音樂句法的呼吸跟脈動,並且「主動」與tape平 行地帶動整體音樂的流動,而不受時間已經固定的tape牽引著走。這部分我認為相當地挑戰,因為人的時間感常會在不同狀態下略異,但是tape就永遠都不 會變,這兩者之間、變與不變的磨合,就成為挑戰詮釋者功力的一大項目。

此外,這首曲子暨名為紀念梅湘,它的音樂語法也多少與梅湘的音樂相關:所以梅湘的音樂線條是如何唱的,即使加了tape,這首曲子也就應該是那樣唱。比如 連續下行的高音色彩和弦、步調緩慢流動的鐘聲、鳥歌等等。梅湘的作品非常要求時間上的精準以及聲響的色彩變化,這點也成為詮釋此曲的基礎之一。

Joji Yuasa “Toward the Midnight Sun”

湯淺讓二這首作品最重要的理念之一,即為透過電腦音樂技術塑造、立體的聲響空間,藉以具體實踐作曲家想像構築的另一個世界。也因此鋼琴演奏者在曲中是扮演 著類似宗教儀式中「溝通者」的角色(或是靈媒),藉由演奏自己的聲部與材料完全不同的另一個聲響世界溝通。它不是首純粹的鋼琴獨奏曲,也不是純粹的電腦音 樂或鋼琴電腦二重奏。

這首作品中的tape part長度比重上相當地高,甚至比有鋼琴加入的時間還來得略長。在分析樂曲段落形式之後,演奏者也必須要聆聽每一段的tape,並且透過自身的想像力來 找出適當的音色,以及自己的image詮釋,以跟tape所塑造的聲響世界達成共鳴。比方說,當樂譜上指示著accent時,並不只是純然地改變那個音的 音量,而是音色上的改變,要稍微亮一點、透明一點;當樂譜上寫著ff時,除了力度上的強之外,聲響要多滿、多深、多宏亮、多近、或是多寬廣等。這些音樂上 的細節並不會在譜面上永遠註明,而必須要演奏者(靈媒)透過敏銳的耳朵及豐富的想像力來完成,才能夠真正達到完整的「詮釋」。

另外當然時間與節奏上的精準度是必定要要求的,即使鋼琴與tape是完全不同的兩種聲音媒材,也不需要亦步亦趨地跟隨彼此。音樂本身是抽象的聲響組織,其 中的理路也不可隨便馬虎。其實這首曲子裡有很明確的十二音手法使用,許多音程跟音列的關係都可以分析得出來,這些表層的技術也同時說明了音樂理路中的邏輯 性,是不容許想像力流於放肆出軌的。這個「靈媒」的角色勢必不能全然忘我。

Kee Yong Chong “Time Flows II”

何德何能,馬來西亞頂尖的大碗作曲家鍾啟榮竟然為了我們的演出寫了新曲並在譜上題獻給我們,讓我有幸能在音樂會中世界首演這首新作。也因此相當特別地,跟 前兩首的case很不一樣地,這首作品的實踐完成也包含了我們三個作曲人(鍾啟榮、演奏的我以及電腦音樂工程師Jacob Sudol)合作的過程。

這首作品全是空間記譜,樂譜完成時所有的tape跟電腦音樂部分完全是0,所以最大的詮釋空間等於是完全留給我。我所做的部分首先是找出所有的樂句(段落 於我已經明顯不需再找),以及空間記譜中的時間感,然後視全曲為流動連貫的整體而做出「自圓的詮釋」,亦即鋼琴聲部本身應該就已經完整而非「缺了什麼似 地」孤單。對於任何新寫的原創作品,我向來要求忠實,精確地做出作曲家所寫、所想要的音樂。(當然有時候有些作曲家所寫的未必能承載所想要的東西,這就另 當別論,又是另一個話題了。) 在沒有「試聽帶」(我從來也不指望有也並不需要)的情況下,自己讀譜並用音樂性來串連這些陌生的聲響符號,使它們流動且在整體結構中富有意義。

有些時候,當照著樂譜上的指示所做出來的聲音使我們感到困惑不解時,變通的機動性及想像力便變得更重要了。像是sostenuto pedal的使用,它在許多二十世紀之後的曲目中佔著很重的地位,因為可以製造出如空谷回音般的效果。但它所留下的那些泛音只有on跟off,必須要用延 音踏板來補強,才能控制自然不間斷的收尾。在這首曲子中,為了不使演奏過程看起來忙碌,其實有些作曲家在譜上指示要踩Ped.2的地方,我並沒有永遠忠實 地在那個時間點上踩,有時會先全程用silent attach替代,有時則會提早等等,完全視情況而定。另外一個要「將弦尾按住止音以模仿大鑼的聲響」的地方,我其實沒有照著按在弦尾,而是別的泛音點 上,讓整個聲響頻譜共鳴廣一點,才覺得比較接近作曲家想要的大鑼效果。

鍾啟榮的作品使用了一些鋼琴內部的技術,同學也傳達了一項很重要的理念:即使是需要使用「非傳統」演奏法奏出的聲音,也應該與其他的聲音媒材一視同仁,都 使它們成為有意義的音樂語彙,而不只是「作曲家所要(!?)的那些聲音」。所以縱使是音堆、敲擊、泛音、甚至人聲等各種聲音媒材,都應該要使它們好聽且經 過處理。以不含劇場元素的純音樂來講,慌張手忙腳亂是最需要避免的情況,無論演奏出音樂所需要的動作有多少,因為所有的演奏動作都會突顯演奏者如何處理音 樂的流動跟整體性,愈忙的動作只會使音樂愈顯得支離破碎。

我在拿到這首作品的樂譜三天後,傳了一個自己錄的練習video給鍾啟榮,所以後來的tape其實是參考我的初版演奏詮釋所做出來的。當然,由於空間記譜 的彈性,每次的演奏不可能都一樣,為了要跟tape能夠和諧並存(至少結束時間不能差太多,也不能讓人覺得是鋼琴與tape各說各話、互不相干),在拿到 tape part之後,我與電腦技術工程師做了許多調整:我仔細聆聽每一段的tape,找出其中的dynamic motion並在樂譜上標出我認為應該要跟的cue,這樣才能在彈性的時間感中有所依歸。我不確定作曲家參考我的首版詮釋程度有多少,以及是否特意為我的 dynamics安排tape中的聲響素材,但對我而言我必須要找出適當的互動方式來維持樂曲詮釋的整體性。為了達到聲響上的平衡,我的電腦技術工程師也 對tape做了許多音量上的調整,以及加入live electronics的互動效果,讓整體顯得更自然且效果加倍。

由於篇幅限制,其他關於這次曲目open form與interaction的部分就下次有機會再講囉!(我不曉得自己有那麼囉嗦,才提半場的曲子就已經拉拉雜雜一大串,而且我還只提我的部分,難怪演講時總覺得匆促,每首曲子講個大約兩三句話時間就用完了)

總之,對我而言讀譜跟分析是非常重要的環節,因為惟有透過(盡可能)多方面的了解,才能客觀地詮釋新的音樂作品。很多理論分析的細節,鋼琴老師是不會特別 教的,但並不代表那些無用。我記得我以前的鋼琴老師(已在我出國前過世)總是告訴我,分析得再多還是得面對鍵盤技術,這些技術沒有就無以表現分析出來的那 些東西。這話一點也不錯,理論跟實踐的技術都必須要具備,才能夠(盡可能)完整詮釋音樂。我在美國所跟的鋼琴教授也同樣地要求許多細節的精準,比如節奏與 節拍,以及力度,因為情緒化的不精確演繹是完全不容許的態度。我在學習當代音樂的詮釋中,同時也省思到過去對於古典音樂上因為熟悉而容易放任懶散的弊病。

轉貼 – Lecture by Chinary Ung

下面這篇文章是轉載來的,我的博士班指導教授的演講內容記錄,刊登在馬來西亞作曲家協會的網站專頁上。Chinary Ung教授是我在求學期間,創作上最大的心靈導師。這篇文章非常值得一讀。

在剛出國留學時,我是個心高氣傲、自信滿滿、作品卻平庸且匠氣十足的青年作曲家。(可怕的是當年自己並不如此認為,如今回首便覺得…唉…) 留學的前幾年在創作時我始終感到惶恐:當學術跟技術成為人人皆有的「基礎」之後,音樂創作上,人在如此的一個現代音樂象牙塔中,我要如何立足?我又何以為我?於是我曾多次向指導教授請教關於原創性與突破自我瓶頸的課題,也才逐漸在懵懂中摸索、逐步接近如今的模樣。

 

資料來源:http://www.malaysiancomposers.com/focus/focus13_chinaryung.htm

Rain of Wisdom

Prof Chinary Ung discusses the dilemma facing the young Asian composer in his lecture delivered at Burapha University during the IV Thailand International Composers Festival in July 2008

Cambodian American composer Prof Chinary Ung is one of the leading Asian composers today, forming a post Takemitsu-Isang Yun generation that is headed by his teacher Prof Chou Wen Chung to form a sort of informal council of elders towards whom many young Asian composers undoubtedly look towards for guidance.

His presence at the IV Thailand International Composers Festival in July 2008, organised by the endlessly energetic Thai composer Narong Prangcharoen, was an auspicious one. Thailand’s new generation of composers is just now starting to take shape, and Ung delivered a powerful lecture that must have connected with the thoughts occupying every young Asian composer today – identity and voice.

Apart from the 1-hour lecture, which was accompanied by score illustrations and excerpts from his music, the Festival also featured concerts where his music was the centrepiece. Included in the concerts were excerpts from his extensive Spiral series, as well as a piano cycle. Here are extracts from his seminal lecture, simultaneously translated to Thai by composer Anothai Nitibhon.

Voice In The Wilderness

After explaining his early years and some background to his education, Prof Ung went on to give some advice to the many young composers who were present at the festival. His replies were no doubt prompted by the many questions he must have received during his three-day stay at the University.

“Composition is a western tool, so you have to be trained in these tools. But then you have to be liberated from the training. That is the spiritual direction that I propose you should take.”

“And also some words for the teachers, with great respect, please allow the young composers to free themselves and give them the opportunity to become the future generation of composers with great freedom. Art is not about position; it’s about expression and liberation.”

Prof Ung divided his career into 3 phases. Phase 1 represented his youth and his studies, and Phase 2, which he now discusses, is the time when he began to search for his own compositional voice.

“After I was trained I was interested to look for my own voice. It took me 20 years to figure that out. But when I found my voice, it was a running target; it doesn’t stay still!”

“This coincides with one of the principles of Buddhist teaching, that everything is impermanent. I find music is an illusion, but I need music because it’s a vehicle to transport my expression during my stay on this Earth.”

“So [as a composer] you have to consider your body, mind and spirit concurrently. Specifically, what are voices? What does it mean when people talk about “voice” in music composition? Is it just a word, is it something abstract?”

“The answer does not lie on the outside, but on what you can find within yourself in music composition. I cite 2 experiences in my own search: sometimes I find it through struggle and suffering, sometimes it just comes at will.”

Tears For Fears

Prof Chung continued his explanation with an illustration from his own music. “At one point I struggled to set a poem in English by Cummings, and I got stuck on a particular line and didn’t know what to do. “

“My technique and what my teacher taught me couldn’t help me. Then [one day] I saw a child in the corner, crying alone. And an adult went to comfort the child, and touched the child on her back and asked, “Why are you crying?”. And this is what the child responded. “S.o..m…e..one t..o..o..k my c..a..n..dy.” [Here Prof Chung imitates the stuttering speech of a crying child]”

“The text by Cummings was, “The wind has blown the rain away.” And so what I did was … [Prof Chung demonstrates by singing the eventual line he composed, a kind of broken stuttering line ending on a high note]. And I choreographed rests between the notes,” he explained.

The Professor continued his lecture by illustrating other ideas that he used in his search for his “voice” this time using a recent piece of his called Rain of Tears.

“Another idea I developed during Phase 2 was the idea of “In focus and out of focus,” like in an old camera. It can happen alternately back and forth, or happen in time/space simultaneously.”

“For example, if concurrently, you could have a kind of Thai texture in the foreground, and you have a backdrop of Western colour. But if you do that too much you become a Nationalist composer!”

“However, if you reverse the Western texture in front and Thai texture in the background, to me that is a more subtle statement. And you still show love for your own culture.

And there are many ways of doing this. Like, if you take a picture of a flower and it is in focus, and in the background you can see the mountain but it’s blurred. You can do the same thing in music. “

“As an example, a few years ago I was commissioned for a piece of music. For some time I had not started to compose the piece, and [during that time] I took my family for a vacation to the Mexican Peninsula. “

“One evening I had a dream of a huge wave. Our room balcony overlooked the ocean, where the Atlantic and Pacific meet. When I saw this big wave in the dream, looming towards me, in my dream I cried very hard. So hard that I woke up, still crying. ”

“I told my family during breakfast about the dream, and nine days later Thailand, Indonesia and Ceylon were hit by the tsunami. And we all around the world felt great sadness.”

Two years later I still did not write any music. And then one day Katrina hit New Orleans. By then I had only five months to finish the piece. With the dream of the tsunami and Katrina, I decided to construct the piece “Rain of Tears”.

The Professor plays an excerpt from his orchestral commission Rain of Tears and displays the score on the projector, pointing to specific sections to illustrate his ideas.

“The last part of the passage I imagined when, at the end of that day after the tsunami, thousands of spirits took off into the sky. At one point I imagined that their faces would turn and look down and see their bodies.”

“I start the piece by starting from very low register, because the earthquake happened under the ocean – and you will hear also a wave At one point,” he explains. Going back to the passage described above, Prof Ung shows the score where the high winds and low strings are the only the material used.”

“Here you will hear piccolo and flute above, and bass and bass clarinet down in the low register. And I empty the register in between, only the high note above and the low notes below. This represents a major principle in Buddhism called Sunyata, that is Emptiness or Voidness. And once in a while I fill in with some texture, I call it compassionate texture.”

Prof Ung plays the excerpt, and points to the score during a violin solo. “This is the wave. My wave is not three dimensional, it is just an outline. The violin goes up very high and At the end comes down to low G. It’s not like Mahler. Mahler would use the whole chord, mine is just an outline.”

“This idea of two dimensional [illustration] is not a Western idea, you can also find it in Korean art. Like in 15th Century Korea, once when the emperor commissioned a painter, instead of doing a colourful dragon he just did an outline.”

Musical Enlightenment

Prof Ung moves on to another orchestral work Aura. “What is the main message here? It’s about how I have gone through my career as a composer and what kind of direction I am taking. My direction is not for you to follow, it’s for you to reject. When during Phase 2 I was looking for my voices, now in Phase 3 I am not interested anymore. I am more interested to be with my friends and my people, to reach out.”

In Phase 3 of his career, as Prof Ung explains, his preoccupation has departed from the search for his own voice, alluding to the fact that either it does not exist because, in accordance with Buddhist principles, human life itself is illusory, or that he had found greater meaning in the act of composing. Here he questions the very motives for being a composer, as he had hinted before. The creation of art, is it for material gain, or is it to express something of and for humanity?

“Here is something to think about. You cannot experience spirituality if you do not have a body in the physical world. Likewise it’s hard to express a musical message without sound. So Aura has something to do with the light that encircled the Buddha’s head during his enlightenment. The light is in six colours,” he explains by way of introduction, then goes on to describe how he employs this Asian principle in approaching his composing technique.”

“In Thailand when you [communicate with] a spirit, you need something to connect to that world. So for the six colours I am asking the musicians to bow the crotale, each pitch representing each of the colours. Yes, so what I am doing is a fabricated art, but I am doing my best to imagine what I can do to represent the Buddha’s Aura. And my [musical] view of Enlightenment is that there is no melody and no rhythm,” he explains, concluding with a musical excerpt from Aura for this particular passage, which shimmers with a haze of variously pitched bowed crotales.”

He then moves on to the final part of his lecture, giving examples to help the composer visualise his philosophy of composition. He plays an excerpt from a piece and describes the two violas which form a significant part of its motif.

“I visited a monument not too far from Angkor Wat. It has a huge pool in the centre, and four pools outside. Each of the outer pools represent the four elements. The middle represents the fifth element, that is the spiritual.”

“What makes the circle perfect are two nagas whose tails intertwine. So I use two violas to represent the two dragons that intertwine as one. This my clearest writing and it sounds very Cambodian,” he explains, illustrating with the relevant section from his recording.”

 

A snapshot of Chinary Ung’s Spiral IX, which he conducted
during the Festival

 

The Unanswered Question?

Prof Ung concludes his fascinating lecture by taking questions from the floor. One young composition student heading for further studies in the US asks, “As a young composer in Asia now … even though I am born in Thailand I am a city person, so for me Thai traditional music has really no influence on me At all when I was growing up. So I would like to ask, do Asian composers really need to include Asian music in their compositions to be understood as an Asian composer?”

Prof Ung replies, “As I said before, don’t follow me. But if you intend to stay in Thailand, without smelling the soil, without having some contact with the spirit, and you eat hamburger all the time you are in trouble!”

“Thai cuisine is some of the best in the world, and the culture is so rich. The problem is that we do not gone deep enough to understand the essence of the culture. We only see the ornaments. For example, we see only the beauty of the design of Angkor Wat, but not the essence of it.”

“For example here we have hundreds of stone monuments. Our ancestors built them purposely avoiding a perfect square. A research team from MIT in 1950s found out that the Cambodians [who built the Angkor Wat] added 6 feet on purpose [to one side of the square]. And inside the perimeter the monuments are not symmetrical. They avoided perfection, and avoided symmetry. That is just a small understanding of the foundation of our culture, because beauty is on the surface, and not permanent.”

Composer Anothai Nitibhon takes a break from her role as Thai interpreter and asks, “Could music be perfect?” and Prof Ung replies, “No, the universe is not perfect. In my case, there are 2 categories of imperfections. One, that it is not perfect because of the conditions of nature, and two, on the top of it I go further to make it imperfect. Like in Cambodian court music, they hear the downbeat but they don’t play the downbeat, and so the mind needs to be perfect but the execution needs to be imperfect,” he concludes in his enigmatic somewhat lighthearted manner, drawing deep admiration and applause from the appreciative Thai audience.

6 Sep 08

 

斷層之間

在一面教學相長、沉思、寫作,以及學習法文的日子裡,
轉眼間又一年過去了,我的學業總共中斷了兩個寒暑。

在第二年中,我與老潘meeting得比較少,幾乎都專注在埋首寫作,並為下一段學業做準備。下半年並且去新竹交大旁聽,一方面那裡請了視野寬廣、思考靈 活的客座教授,科技組也舉辦不少研討活動及開設相關課程;一方面也趁機學習一些過去所不熟悉、未曾接觸過的曲目及分析方法等。整個學期下來收穫最大的部 分,包括向來陌生的Stockhausen(因為都是德文,對我而言是有字天書)、一些重要的電子音樂repertoire與其分類辨識、學會如何分析 Sonogram、聽覺與音樂的自然方向、以及如何開發與組織直觀與理性的關聯,並且也激發不少別出心裁的想法,關於創作的種種可能性。

2006年主修的作品寫了兩首,分別為二重奏與七重奏,成果尚算可以,至少對於過去的自己有著極大的創新與突破。此外,兩首關於海的音樂,今年 (2007)三、四月間正式定稿完成,算是既嚴謹設計、又兼顧音樂感性面的唯美作品:本身訴求並不在於聲響上之前衛,而是以既有、限定的音色媒材,作音樂 性的組織。目前著筆的新作品又與以上幾首截然不同。

對我而言幾乎沒有一首創作所抱持的態度與書寫筆法不是嚴謹的,儘管我認為pre-composition在某種程度上是作曲家個人的事,音樂是最後凝煉與 轉化的結果。談起音樂創作時,我視創作背後的理性層面與基礎為絕對必須的要素;另外,我卻也不愛拘泥於理論與哲學思想的層面,作曲家應該要能在理論與實際 間來去自如,而非死守著其中一方。有時我也會談及音樂的「心」,這牽涉到作曲家自身的經驗、涵養與靈性,並不屬於理論探討範疇,但卻與之並存在音樂作品 中,無法全然分離──倘若不是純粹為理論習作而習作的話。

然而無論談及哪一面相,理性抑是感性面,都難免容易被斷章取義解讀。
事實上我並不認為自己的創作盡然屬於「學院派」,或許這也是身在象牙塔中的盲點之一吧?

心境

傍晚去學校遇到老潘,和政文、小胖胖一起,因為老潘的曲子在排練。
很喜歡禮運大同,同時具有中國味及現代感的管弦樂曲,以及男人氣概。

我問起前天的演出成果,老潘說我的演奏力度變化跟張力都比以前放得開,曲子跟兩年前考試時樣貌不同了,還說「作品經過時間沉澱後會很不一樣」。當然,也得 要作品禁得起時間的考驗才行。我自認為那天的演出在音樂的呼吸上做得不夠自然,在精準度上大約祇實踐七七八成左右,那是我入老潘門下第一課所寫作的作品, 放棄從小到大所使用的作曲思維技術,而重新學習一套嶄新的。

不否認倘若沒有李子聲及老潘的一脈師承,現在的我也許祇是個平凡的音樂老師兼編曲技術人員而已。

晚上跟政文在琴房小聊了一下,在身邊周遭朋友當中唯一了解我的同儕:現實生活中一般人總是無法體會「創作本身是種放鬆」的心境,認為那是種用功。其實當時 間與精神全部由自己支配,包括思考時,是件非常愉快令人投入的事;作雖然也得投入但畢竟成果對象不屬於自己,減少創作時間已經覺得夠浪費生命了,在那種情 況下是不可能有心情收工放假出去玩的,那樣祇會更心虛、焦慮而已。

歐洲許多新音樂舞台上的作曲家都相當年輕,反觀自己的怠惰與遲滯……
不禁徬徨:作曲真的沒有年齡的限制嗎?

繆思的泉源

應該是大自然吧,我想。

上星期好不容易撥出十幾分鐘回師門,到課堂上去跟大家聊聊天、看看作品,以及聽老潘的教誨與分享經驗。真覺得老潘是個打著燈籠也找不著的強者教授,不啻作品寫得多,連遊山玩水的經歷也比我們這些不才徒弟們豐富得多。也因此我從不為己身對大自然的貪戀感到罪惡。

最近在寫作的兩組樂曲都與最愛的海有關,融入最熟悉的孤獨情境。
祇是時間點,好趕!工作時間遠對需要沉澱轉化的凝思供不應求。

倘若可以,真希望每天祇坐在山邊,看海。

午後

去學校跟老潘meeting,談了一些關於升學去向的事。

跟老潘提到李老師說起某名校有位不錯的法國老師,老潘就問我「是不是Grisey?」我說不是,是Murail。那兩人的CD我都有,只是對他們的音樂不熟。

下午很悠閒地在竹圍starbucks享受午茶時光:捲餅與熱摩卡,今天特別要求夥伴幫我加上奶泡與布蕾糖粉,已經很久沒有這樣的空檔,可以自在地獨坐在 咖啡店裡看書了。我不愛閱讀,但我喜歡在憂傷時讀些詩集或國學底子深厚的散文,閒適時讀些英文學術期刊,尤其喜愛銅版紙反射著陽光的雪白。目前在讀的兩本 是去圖書館借來印的Contemporary Music Review,祇是我都將它們當課外書一類的看,非得要配陽光與咖啡不可,最好還加點海浪的聲音當作背景。

不過也或許就是這種慵懶的態度,使我經常受到「認真派」的同輩或後輩們批評,認為我漫不經心、玩世不恭地看待神聖的學術,更甭提負有時代文化使命的教育了。

向晚,在街道上與政文偶然地巧遇,聊起之前跟老潘的對話,我們都笑了:如果去讓Grisey教作曲的話,也許作品寫完還要丟卦爻才行吧!

然後我竟想起了某些寫小說的構思,已經蘊釀三、四年了的故事。

 

今天的meeting

雖然已經拿到畢業證書,仍然繼續跟老潘meeting。

其實是去交定稿後的碩士論文,順便送個畢業感恩小禮物:在誠品書店買的紙震與德國鐵路馬克杯,不算昂貴的精品,但是我喜愛的創意質感路線。然後開始跟老師 聊天,老師給我看他正在寫的新作品。我看見老師如何精妙地運用pre-composition的設計,以及如何設計規劃整部樂曲的形式架構、內容等參 數….相形之下自己的真是拙劣啊!老師的配器法是我研究所兩年所來不及學到的部分,因此僅能從譜面來讀,並不是複雜的管弦樂法,但音色之間的銜接與分 配等概念令人耳目一新。要了解老師在做什麼事不難,自己要做到那麼好可並不容易。我說,老師的新作又是首正大光明的曲子。

老師也問起我的近況,我告訴他最近在規劃寫的作品,以及各方面可能的考量,和我所想嘗試突破的事項。對於升學的一些事跟語言等問題,倒還是猶豫中,也許如 果想要繼續唸下去還是一定得做research吧,我正在掙扎。我跟老師坦承做研究像是挖個無底洞,老師說,很多東西還是必須要去學。老師的話隱約給了我 一些信心,我想我是很需要他支持的。

老師依然是很有趣的,他說起他大學時有女朋友,後來被兵變的事。不過像我這種七年級生,因為世代不同,身邊經常存在各種類型的男孩子也並不意外。而且老師秀了他的NOKIA新款照相手機,我幫他輸入師門幾位學生的號碼,還笑說,要讓秘書把桌面換成師母的照片。:p

老師說我都喜歡白白淨淨斯文型的男生,比如我剛入學時他就聽說過的法拉咪。

並且閒談間我跟老師也聊到馭之,老師兩年前在師大開管弦樂法課時教到的學生之一,老師對他的印象就是一副病弱的模樣。老師問了我三個問題:我跟他很熟嗎? 他畢業了沒?以及他的健康狀況。看來作曲圈真的是很小,我跟老師說「我都向他大力推荐您的音樂,還把他抓去聽好幾場您的作品演出呢。」

午飯過後,臨別之前老師說要跟我比誰寫的曲子比較多。
天啊….我可差遠囉!

老潘

摘錄今天去meeting與老師之間的一些有趣對話。

PART 1 作曲理論篇

老潘: 像這次作曲理論期末的曲子,有些人就一直都像那個樣,比如ooxx@#$%^&..
我: 那我呢?
老潘: 你寫得很少。(斬釘截鐵)
我: @____@|| (os: 只有一個星期啊啊啊啊啊啊…..)

PART 2 論文修改篇

老潘: 你之前論文字太小,我眼睛不好,不然我看得更仔細。@#$%^&….
我: 有改了啦,這是新版的,還有目錄也重排了。(遞)
老潘: ……這個沒對齊…….這個排版比較高….那個譜例太小…….
我: @#$%^&….老師你不是說你眼睛不好嗎? -___-||

PART 3 假期計劃篇

老潘: 那你放假都在做什麼?
我: 我九月想要去這個耶..老師你覺得Warsaw Autumn怎麼樣?
老潘: 好啊!(爽快)這個很有名,以前我有跟李子聲去過這裡….(開始講故事)
我: 哇!(爽到了..老師支持就衝吧..)

PART 4 閒聊篇

老潘: 火車總比那些客運車安全多了吧。
我: 可是我之前在火車上被搭訕耶….
老潘: 呵呵!那你就跟他聊聊啊!
我: @____@|| (os: 老師不只有音樂很現代而已…..)

老師的教學系統

向來很佩服老師的教學系統,既有效率又完善,總覺得沒從以前受這樣的訓練是種遺憾。老師的系統包括整套作曲的技術練習、音樂基礎訓練等各種方法,呈現一種令人瞠目結舌的有趣。

今天很偶然地,老師才爆料出來:原來這些系統性教學的誕生,是由於老師曾經收到過一些資質較為駑鈍的學生,才想盡各種方法將他們帶起來,免得離開師門後垮 掉。老師的教學基本上是嚴格的,許多人聞之色變,我自己也戰戰兢兢,然而不可否認老師的教法是良藥苦口,必須持續努力才會收益良多。原本做學問便不可能有 投機取巧的事。

所謂的教學相長便為如此。

老師很八卦

今天是研究生三人與老師之間的閒聊meeting,在老師「出國」前。

我們站在老師家的客廳裡,我驚訝地發現政文比我高出一截,一臉不敢置信地說:「你怎麼那麼高!」於是老師便問我的身高,原來我真的是作曲組研究生中最矮 的,雖然比例不錯但不到160cm。老師覺得基本上我這個世代的女孩子應該至少要有160cm的身高,因此我算發育不良品種。

我苦笑:「嗯…矮也沒關係啦,這樣將來挑男朋友的選擇比較多。」﹝意即不需要像某些高一點的女同學一樣,還得指定要175cm以上﹞

老師聽後大笑,說:「呵呵﹝中氣十足地﹞,到底是將來挑還是現在就有?」

我與政文、怡安面面相覷,笑著沒人敢講話。結論就是老師其實很八卦,而且是出奇不意地。

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