原载于杉本拓CD《澳大利亚现场》封套内页。由厂牌 Improvised Music From Japan 授权翻译发表。
Recording, the Live Situation, and Difficulties
录音，现场，别扭
翻译：gua
校对：黄山、罗万象
But we are consciousof more than clarity.
但我们意识到的要比清晰还多。
—— 怀特海（A.N. Whitehead）
I have been considering possibilities, inseveral ways, of what might be called photographic recording. I still rememberthat, when I got a portable DAT recorder for the first time about 10 years ago,I was really excited to record environmental sounds on many occasions. There was absolutely no plan to use those recordings as an element for a composition.I only wanted to listen to them.
什么样的录音算是照相式录音？ 我琢磨过回答这个问题的几种方式。记得十年前，在有了第一台DAT数字录音机后，我总是兴奋地记录不同场合的声音。录音时，我完全没想用它们作为作曲的素材。就是为了去听。
Maybe people who listened to the double CD Album futatsu, a collaboration withme and Radu Malfatti said or wrote to me that the rhiz recording on the CD included many environmental noises that prevented a listener from concentratingon the music. Unfortunately, certain types of environmental noise seem to be aproblem for them. Of course, I know there were few people in rhiz who reallywant to listen to our music. But most of them seemed to stand such kind ofnoise, whether they liked what we did or not, because they didn’t care so much.Nonetheless, I think that the moment while we were playing was perhaps thequietest moment in the history of rhiz.
很多人听过我和Radu Malfatti合作的双CD专辑《Futatsu》后告诉我，这张在Rhiz[1]录的唱片环境噪音太多，让人难以专注于音乐。很遗憾，某些类型的环境噪音让他们觉得有问题。当然，即使在Rhiz，也没几个人真的想听我们的音乐，不过起码他们看上去都能忍受这种环境噪音，不管是不是喜欢我们的表演，总之就是不怎么在乎吧。话虽这么说，我觉得我们的演出也许是Rhiz史上最安静的时刻了。
It was not a normal concert, but a sort offestival of chess and music. We had a chess match in front of us playing.People there could do what they wanted. They could leave, drink, talk, playchess and do whatever. In this kind of situation, as in ordinary life, we don’ttend to pay special attention to the environmental sounds which are surroundingus. But time goes by in any case, whether we pay attention to those sounds ornot. The fact that we are always with time itself is quite often forgotten,though we are conscious of the space with which we are concerned.
那次演出有点不同寻常，像一个棋艺音乐节。在我们前面，有人比赛下棋，人们想干嘛干嘛。他们随时可以离开，除下棋之外，也有人喝酒、聊天……在这种场合，就像在日常生活中那样，我们不会去特别注意周围环境的声音。但不管我们是不是把注意力放在这些声音上，时间都在流逝。尽管我们意识到自己在空间之中，意识到和空间的关系，却常常忽略与我们同在的时间。
People could stand the situation like therhiz concert. But when listening to the recording of it, many peoples could notstand it. In such a case, the recording is not considered as music which we arefamiliar with. It is considered a mere recording, like photograph.
人们能接受在Rhiz里看演出，却听不得演出的录音。这种情况下，“录音”被认为和我们所熟悉的“音乐”是两回事，它变成了单纯的记录，像照片一样。
When we listen to a CD, we never doubt thatwe are listening to the music that is defined as sounds really played andcomposed by musicians. More simply to say, we are listening to musicians. Itwould break the conviction to consider what can be recorded. For example, ifthere are no sounds played by us in the rhiz recording, who produced therecording or the music? The decision not to play any sounds is determined byus; in this sense “no sound” is done or produced by us. But if there was noconcert by us and someone recorded this situation, the recording could be anart work by the person who recorded it. What is the difference?
我们在听一张CD的时候，从不会质疑听到的音乐是由音乐家创作和演奏出来的声音。更简单地说，我们在听音乐家。不过我们也可以打破常规，思考什么是可以录下来的。比如在Rhiz的录音里，如果我们没有发出任何声音，那么谁制造了这个录音或者说音乐呢？ 不演奏任何声音的决定是我们做出的，所以录音中“无声”的那部分由我们完成。但如果有人在根本没演出的情况下记录了这个情景中的声音，这录音就成为记录者的艺术作品。它们的区别是什么呢？
It is absurd to think that people come tothe concert for no performance. But it could happen because there were always chessmatches whether we played or not. It is predictable that this “no concert”situation does not produce the same environment sounds as when we perform “nosound.” To record this is merely field recording. And it is not absurd to enjoylistening to this kind of field recording.
如果人们专门去参加一场没有演出的音乐会，感觉好像挺荒谬的，但这也不是不可能——比如在Rhiz，不管我们演不演，总之有人在那里下棋。可以想象，“无演出”的现场和演奏“无声”的现场比起来，环境声音肯定不一样。那么录下前者，就是单纯的田野录音了。去欣赏这种田野录音也不是怪事。
What is represented in recording is not thesubstitution of what is believed to be real sounds. What is represented, bymusicians, in the live situation is not the substitution of what is thought theentity of music. All that media can be is a reproduction through which we cancapture something.
录音所再现（represent）的，并只不是“真的声音”的替代品。音乐家现场呈现（represent）的，也不是“音乐实体”的替代品。这里，媒介（media）所能是的，就是一种再生产（reproduction），通过它，我们能捕捉到某些东西。
The question is “What is real?”
问题是，“什么才是真的？”
In recordings, we tend to have an effort tocapture real sounds of instruments. But, even in the live situation, what wehear is not only the sounds from instruments. There are always a lot ofinevitable elements or noise which is intimate with the musical sounds. Thereis never any independent element, indeed. No logic can be applicable here.
在录音里，我们总在努力录下乐器的真实声音。但即使在演出现场，我们听到的也不只是乐器发出的声音。总有各种无法避免的因素和噪音与音乐相伴，从来就没有什么声音元素可以独立存在。这里没有逻辑。
In the composition of musique concrete orelectroacoustic music, the composers use the elements of recordings withintention. A composer of musique concrete has an aim for the piece. He placeseach element adequately toward what he wishes.
在具象音乐或电子原声音乐的创作中，作曲家有意使用录音元素。具象音乐作曲家对作品是有目标的。他会充分编排各种元素来实现愿望。
Let’s go back to the rhiz recording.Whereas the sounds like cars passing by, that we can hear in the appel track,are okay, why is the crowd noise that we can hear in the rhiz track a problemto the CD listener? Some kinds of sounds are acceptable. Some are not. Again,why are the sounds of cars passing okay? Why are the sounds of people talking aproblem? It is assumed that there is a certain type of environmental soundwhich doesn’t matter to the recording of music or which even sometimes addssome fragrance to the music.
说回到在Rhiz的录音。大家对在“Appel”（专辑中曲目）里汽车驶过的声音没意见，但为什么有人听了CD，对“Rhiz”（另一曲目）里人群的嘈杂就觉得别扭、不能接受呢？有些声音可以被接受，有些不能。再问一遍，为什么汽车的声音就可以？人们聊天的声音就不行？我们通常假设，有些特定类型的环境音对音乐的录制不构成干扰，反倒会带来别样的风味。
There can exist the opposite type as well.The next step is to have difficulties in listening to a CD (and music in a livesituation). Though we are conscious of more than clarity when listening tomusic, we tend to focus on so-called musical things believed to be a substanceof music. The other parts only can appear as mere noise in normal listening. Weneed the existence of musicians who play certain sounds, even if the sounds arerecognized as mere noise, because there is a prejudice that the music isrealized by only musicians and all other sounds are accidental elements. Yet, Ithink it is true that we must have the existence of musicians in listening to music!
还有另一种相反的别扭，即听CD或现场演出的音乐时，我们也可能觉得不舒服。虽说我们听音乐的时候能意识到的，不仅是清晰的东西，但我们仍倾向于专注在被看做音乐本质的“音乐元素”上。其他部分在一般的聆听中常常只是噪音而已。我们需要音乐家的在场：他们演奏着某种声音，即便只是“噪音”，人们也会先入为主地把音乐家制造的声音当做音乐，而其他的不过是意外的元素。我想这也没错，听音乐时，我们必须有音乐家在场啊！
None of us can survive without a culturalbackground which influences our life and tends to confine our daily action forthe society. But we have to doubt that what we feel is always real. Throughdifficulties we are able to be conscious of more. In a particular situation, I think, we can get out of the limitation which we subconsciously deal with.
人不能以一种没有文化背景的状态存在，这些背景影响我们的生命，也约束我们在社会生活中的日常行动。但我们仍然可以保持警觉，去怀疑自己感受到的就是“真实”。别扭也是机会，它让我们更加敏锐。我相信在特定的情景中，我们可以摆脱潜意识中的限制。
I don’t want to make conclusion about whatI have been thinking in this short essay. I have scattered several ideasconceived in many possibilities. There is no limitation in the world, which isso flexible that we can’t limit ourselves. So, an extraordinary idea which onecan conceive is possibly very important even if the idea is so profound or soabsurd that we can’t understand it at all.
在这篇短文里，我抛出了一些由很多的可能性引发的想法，但我不想对这些思考妄下结论。世界并无止境，它如此可变，我们也没法去限制自己。怀揣奇特的想法本身或许就很重要，即使它们过于深奥、荒谬，让我们摸不着头脑。
杉本拓
2004年 七月
[1] Radu Malfatti 和杉本拓在维也纳演出的场地。