從《2009流浪之歌音樂節特別企劃節目（MMF Special）》

Abstract

由鍾適芳於2001年創辦的「流浪之歌音樂節」，是臺灣最知名的世界民族音樂展演活動。在過去八屆的音樂節，鍾適芳廣邀來自世界各地具有深厚音樂文化背景的傑出音樂家來臺，與本地的樂人及藝術工作者進行合作。在有限的時間之內，樂人們竭盡所能，以音樂做為彼此溝通的媒介，和異文化的合作對象進行對話、交流。合作的成果藉由「音樂節特別企劃」的舞台呈現，是整個音樂節系列活動中最具獨特性與代表性的演出。鍾適芳認為「音樂可以勇於混種，傳統音樂可以大膽創新，樂手可以跨界合作」，但合作的前提是對自身音樂文化的高度理解，並勇於主動認識新的文化。在這樣的基礎之下，合作的過程和結果才具有意義。

「流浪之歌音樂節」每一屆的節目，包含音樂性質的演出，以及講座、工作坊等對話性質的活動，內容皆聚焦於一個明確的社會或文化議題。鍾適芳希望參與「流浪之歌音樂節」的觀眾，不單是在音樂節的場域裡享受音樂，在演出結束後，也能針對這些議題繼續深入思考。

筆者於2009年負責「流浪之歌音樂節——音樂節特別企劃」節目的攝影記錄及現場導播工作。從演出的影音紀錄，以及樂人、策展人的訪談之中，可以看出「流浪之歌音樂節」的活動意義。對演出樂人而言，經由音樂合作的過程，啟發了他們新的創作靈感，並且在回頭檢視、反私自己的音樂文化背景時，也得到不同的見解；對觀眾而言，參與音樂節的演出及對談活動，也在無形中增廣了自己的世界觀。

本論文包含文本及多媒體影音製作成品。筆者認為，比起文字化的記譜，高品質的錄音檔案提供真實而客觀的聽覺參考；透過攝影機同步捕捉動態影像，也能更詳實地記錄樂器演奏的方法。一份完善的影音紀錄，將會是從事音樂分析時重要的輔助。Migration Music Festival, the best-known festival based on ethnic music in Taiwan, was founded by Chung Shefong in 2001. In the past nine years, Chung had invited numerous musicians from different cultural backgrounds to participate and collaborate with local artists. During the limited time, the musicians will try their best to ‘talk’ to each other by using their instruments. Finally, the collaborative work will be presented on the ‘MMF Special’ stage, which is always the highlight of the festival. Moreover, Chung creates an cultural or social issue as the theme of the festival every year. All the programs including lectures, workshops and live performances, were all made a strong connection with the festival theme. Chung hopes the audiences not only to enjoy the music, but to think about the issue carefully after the festival.

In Chung’s opinion, there is a place for bold innovation drawing from traditional music and for collaboration across borders. However, Chung insists that the invited musicians should deeply comprehend and identify their own music culture, also be eager to share and work with musicians from other cultures. Only in this way, the collaborative work can be meaningful, rather than a shallow jam.

By reviewing the live performances and interviews of the musicians and curator, the author found the meanings of this event. For musicians themselves, through the introspection after collaboration, the ideas of music turned different. In addition, they found more inspirations and possibilities on composing. For the audiences, the festival provides a direct and efficient way to create a world vision.

The thesis includes text and a multimedia film. In 2009, the author worked for Migration Music Festival as a camera director for ‘MMF Special’ program. From the process of making this film, the author affirms the importance of multimedia recording skills using on Ethnomusicology studies. Compare to notation, multimedia recording is more objective and close to real sound, which can be a specific reference for musical analysis.