茨木童子的音乐

我曾说：“在音乐中能听到“无声的声音”的是特等听众，能听到“咒”的是一等听众，听到”吟诵“的为二等听众，听到“韵”的是三等听众，听到”律“的四等，听到”情感“的最通俗。”虽是以听者坐标论，但音乐本身似乎也可以这么分。 舒伯特的小歌剧无论给谁听都是“韵律”偏多，抒情却并不俗套。Winterreise里，古典主义合理的组织和心智的平衡荡然无存，缪勒诗作提供的叙事性和戏剧性更如同鸡肋，音乐简单，自由意志优美，榫卯相叠浑厚流畅，既无门派也无剧种。 当浪漫派情境被语义和时空阻隔在了气层之外，声音传来，便有一股隔山打牛的邪劲，然而提头来见，又仙魔难辨。这音乐能把人吹起来，虚拟地平行于自己，并用觉醒过的心情鸟瞰自己。过去和现在变成淡淡的存在感，那种平日里很难感受到的“存在的喜悦”，不费吹灰之力就突破了愁苦悲喜。

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一直有感，对于听交响会睡着的人，一开始就应该听现场。指挥家的左手一起，日本血统的短麻杆儿身材都光芒万丈起来，接下来您感动得稀里哗啦了，鼓乐齐鸣着，还能睡得着吗？ 当然这话是针对实在没什么兴趣又因种种原因想凑凑热闹的上进同胞而言。至于同道中人，什么话也不用说。

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Harry Partch (June 24, 1901 – September 3, 1974) was an American composer. He was one of the first twentieth-century composers to work extensively and systematically with microtonal scales, writing much of his music for instruments he built himself, tuned in 11-limit just intonation. Interested in the potential musicality of speech, Partch worked out his first extended scales to notate the inflections of the speaking voice. He built his adapted viola to demonstrate the concept. He then secured a grant, which allowed him to go to London to study the history of tuning systems. While there, he met the poet W. B. Yeats with the intention of gaining his permission to write an opera based on his translation of Sophocles’ Oedipus the King. He took another instrument he had built, an adapted guitar, to the meeting, and accompanied himself in one of his own songs on it. Yeats was enthusiastic, saying “a play done entirely in this way, with this wonderful instrument, and with this type of music, might really be sensational”, and giving Partch’s idea his blessing. Partch set about building more instruments with which to realise his opera. However, his grant money ran out, and, back in the United States, he began to live as a hobo, travelling around on trains and taking casual work where he could find it. He continued in this way for ten years, writing about his experiences in journals that were later collected together under the title Bitter Music. They frequently include snatches of overheard speech notated on musical staves according to the pitches used by the speaker. This technique (which had been earlier used by Leos Janacek and would be later used by Steve Reich) was to become a standard approach to vocal parts in Partch’s work.

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