「即使貧窮，對咖啡和香菸絕不小氣。」
我收到和我非常相配的虹吸式咖啡壺，作為慶賀喬遷之喜的禮物。捨棄了過濾器所沖泡的咖啡，虹吸式咖啡的味道格外特別。
以酒精燈加熱的熱水，慢慢地咕嚕咕嚕，乘著愉快的聲音向上爬升，將靜待於上容器內的咖啡豆，一點一點地往上推；看準時機再以木棒攪拌，美妙的咖啡香氣充滿、散佈於房內。冷卻下方的燒杯，一邊看著咖啡嘶嘶落下，一邊捲著煙，看起來好，聽起好，聞起來好，當然喝起來也好；順便，煙也捲好了。與其說是一石二鳥，不如說是一石五鳥。僅僅一杯咖啡，卻是十分奢侈的享受。
夜明け前
雨と午前五時 一番列車の音 ぶら下がっている
夜の海のように静かだ 誰も居なくなったメリーゴーランド
記憶はそんなもんさ
「珈琲をもう一杯 のんでいこうよ」
もう逢えないのならそう言いたかった
破曉前
雨和凌晨五點 第一班列車的聲音 褪去內衣
如夜海般地安靜 無人的旋轉木馬
記憶原來是那樣
「再一杯咖啡 喝了吧」
如果無法再相見的話 就這麼說了
《空になった珈琲 (空了的咖啡)》 早健
喜歡咖啡的音樂家很多，我個人非常喜歡，居住於日本的歌手—吟遊貓主人‧早健也是其中一人。在他的歌曲當中，說起來必定會現咖啡。(順帶一提，貓和香菸也是。)到他家玩，首先會抽起菸，「對了，先前那個啊……」聊起音樂，接著，用喜愛的虹吸式咖啡壺煮咖啡請你喝；「喔，咖啡煮好了嚘。」把暖暖的咖啡倒進小茶杯裡。 說起小茶杯，究竟是他個人的癖好，還是單純沒有咖啡杯，我實在不得而知；但圍繞著小茶几，小茶杯盛裝的咖啡，實在是十分美味。稍作歇息後，便再度點起了香菸。貓咪奇魯奇魯會做出被煙燻似的表情，抬頭往這兒看。
「明天做這件事好嗎?」早健風趣地抱起吉他，唱起歌。
在咖啡的香味及菸草的香氣裡，遨遊於歌聲之中。
＊ 早健 www12.ocn.ne.jp/~hayaken/
早健是SitarYo居住於沖繩時相遇，目前居住於北鐮倉的創作歌手。第一次聽他的歌，是18歲的時候。「真希望有一天能和這個人一起演奏。」我持續想望，有七年之久。去年夏天，一起演出的願望在東京實現了。而去年秋天，我倆展開了「早健和SitarYo <<無國界幻想曲 巡迴演出>>」(此次的巡迴演出，配合SitarYo不定期回日本時舉時。)
今年春天，不知道什麼原因，西班牙的線上廣播預計播放我們的錄音歌曲。
喜愛旅行、咖啡和香菸的吟遊貓主人，目前正在活躍於日本各地。
Sunday, February 1, 2009
Monday, January 26, 2009
5. 印度的古典音樂和音樂療法 ② <<關於印度音樂 by Waka>>
在音樂療法的領域裡，我認為存在著一部份區塊，是關於印度音樂對於肉體及精神影響的討論。從前，在印度音樂中指稱旋律的Raga，在梵語中，具有「為心靈上色」的意涵。Raga是奠基於自然界循環的旋律理論。演出時，Raga深受時間、季節、情緒等要素的影響。在這當中，有著鬱者非聽不可的Raga、亦有使大地萬物生長的Raga。相傳，古印度的演奏者，透過音樂駕馭著自然界的要素：使雨落下，使風吹拂，甚至使火災發生。
在印度醫學裡，自然萬物是由五大元素：空、風、火、水、地所構成的；而生命的能量，據說是三種Dosha的結合。三種Dosha分別是Vata、Pitta、Kapha。五大元素則如下所示，構成Dosha:
Vata所含元素:風和空
Pitta所含元素:火和水
Kapha所含元素:水和地
Dosha在一日之中，依照Kapha、Pitta、Vata的順序，變化循環；一年之中，亦存有規律。人的一生當中，同樣是不斷地被改變著。
一般來說，印度的古典音樂，對應著既定的時間、季節及環境所帶出的波動組合。可以用來調整及淨化場域之內的能量。在歐美的研究中，同樣發表了各式的Raga，分別具備使性情安定/興奮，活化/抑制內分泌系統等作用的結論。
另外，印度的傳統醫學Aayurveda和Yoga的結合，使其本身療效提昇的概念，也受到世界各地的注目。(最初，印度古典音樂本身也有自己的一套Aayurveda,Yoga)
Raga和醫療效果：
http://www.herbcu.com/music.htm
●Raga---Disease(s) it helps cure
*Ahir Bhairav---Indigestion,Rheumatic Arthritis,Hypertension
*Asavari--- to build confidence
*Bageshri---insomnia
*Basant Bahar---Gall Stones (Cholecystitis)
*Bhairavi---Rheumatic Arthritis,Sinusitis,encourages detachment
*Bhim palas---Anxity, Hypertension
*Brindabani Sarang---Depression
*Chandrakauns---Anorexia
*Darbari---Sedetive
*Darbari Kanada---Headache,Asthama
*Deepak---Indigestion,Anorexia,Hyperacidity,Gall Stones(Cholecystitis)
*Gujari Todi---Cough
*Gunakali---Rheumatic Arthritis ,Constipation ,Headache ,Piles or Hemorrhoids
*Hindol--- Rheumatic Arthritis,Spondilitis,Backache,Hypertension
*Jaunpuri---Intestinal Gas,Diarrhoea,Constipation
*Jaijawanti---Rheumatic Arthritis,Diarrhoea,Headache
*Kafi---Sleep disorders
*Kausi Kanada---Hypertension,Common Cold
*Kedar---Headache,Common Cold,Cough,Asthma
*Khamaj---Sleep disorders
*Madhuvanti---Piles or Hemorrhoids
*Malkauns---Intestinal Gas
*Malhar---Asthma
*Marwa---Indigestion,Hyperacidity
*Nat Bhairav---Indigestion,Rheumatic Arthritis,Colitis
*Puriya---Colitis,Anaemia,Hypertension
*Puriya Dhanashri---Anaemia
*Ramkali---Colitis,Piles or Hemorrhoids
*Shree---Anorexia,Common Cold,Cough,Asthma
*Shudh Sarang---Anorexia,Gall Stones (Cholecystitis)
*Shyam Kalyan---Cough,Asthma
*Sohani---Headache
*Yaman---Rheumatic Arthritis
TablaWaka部落：
http://tablawaka.blogspot.com/
Sunday, January 25, 2009
4. 印度的古典音樂和音樂療法 ① <<關於印度音樂 by Waka>>
某位學者操控某項變因，於完全相同的環境下，種植著相同的植物。該項控制變因是，使各個植物分別持續聽著不同的音樂。其中一盆聽的是充斥著負面俚語的重金屬搖滾，另一盆聽的是莫查特的音樂，還有一盆則是持續聆聽北印度的古典音樂。
幾週後，該植物們在成長的過程上，出現了明顯的差異性。聽莫查特的植物，長得既健康又充滿生命力；聽重金屬的植物，則瀕臨死亡、極盡枯萎；而聽北印度古典音樂的植物，在盆中茂盛、洋溢的開展著。
這是我在接觸印度音樂之前，高中時從某位老師那聽來的。雖然無法判定實驗的真偽，但後來又陸續從許多人那得知相同的訊息，應該可說是個有名的實驗吧。
發現了!! 稍微不同。
↓
http://www.dovesong.com/positive_music/plant_experiments.asp
●About Positive Music
by Don Robertson
The Plant Experiments
In 1973, a woman named Dorothy Retallack published a small book called The Sound of Music and Plants. Her book detailed experiments that she had been conducting at the Colorado Woman’s College in Denver using the school’s three Biotronic Control Chambers. Mrs. Retallack placed plants in each chamber and speakers through which she played sounds and particular styles of music. She watched the plants and recorded their progress daily. She was astounded at what she discovered.
Her first experiment was to simply play a constant tone. In the first of the three chambers, she played a steady tone continuously for eight hours. In the second, she played the tone for three hours intermittently, and in the third chamber, she played no tone at all. The plants in the first chamber, with the constant tone, died within fourteen days. The plants in the second chamber grew abundantly and were extremely healthy, even more so than the plants in the third chamber. This was a very interesting outcome, very similar to the results that were obtained from experiments performed by the Muzak Corporation in the early 1940s to determine the effect of "background music" on factory workers. When music was played continuously, the workers were more fatigued and less productive, when played for several hours only, several times a day, the workers were more productive, and more alert and attentive than when no music was played.
For her next experiment, Mrs. Retallack used two chambers (and fresh plants). She placed radios in each chamber. In one chamber, the radio was tuned to a local rock station, and in the other the radio played a station that featured soothing "middle-of-the-road" music. Only three hours of music was played in each chamber. On the fifth day, she began noticing drastic changes. In the chamber with the soothing music, the plants were growing healthily and their stems were starting to bend towards the radio! In the rock chamber, half the plants had small leaves and had grown gangly, while the others were stunted. After two weeks, the plants in the soothing-music chamber were uniform in size, lush and green, and were leaning between 15 and 20 degrees toward the radio. The plants in the rock chamber had grown extremely tall and were drooping, the blooms had faded and the stems were bending away from the radio. On the sixteenth day, all but a few plants in the rock chamber were in the last stages of dying. In the other chamber, the plants were alive, beautiful, and growing abundantly.
Mrs. Retallack’s next experiment was to create a tape of rock music by Jimi Hendrix, Vanilla Fudge, and Led Zeppelin. Again, the plants turned away from the music. Thinking maybe it was the percussion in the rock music that was causing the plants to lean away from the speakers, she performed an experiment playing a song that was performed on steel drums. The plants in this experiment leaned just slightly away from the speaker; however not as extremely as did the plants in the rock chambers. When she performed the experiment again, this time with the same song played by strings, the plants bent towards the speaker.
Next Mrs. Retallack tried another experiment again using the three chambers. In one chamber she played North Indian classical music performed by sitar and tabla, in another she played Bach organ music, and in the third, no music was played. The plants "liked" the North Indian classical music the best. In both the Bach and sitar chambers, the plants leaned toward the speakers, but he plants in the Indian music chamber leaned toward the speakers the most.
She went on to experiment with other types of music. The plants showed no reaction at all to country and western music, similarly to those in silent chambers. However, the plants "liked" the jazz that she played them. She tried an experiment using rock in one chamber, and "modern" (dischordant) classical music of negative composers Arnold Schönberg and Anton Webern in another. The plants in the rock chamber leaned 30 to 70 degrees away from the speakers and the plants in the modern classical chamber leaned 10 to 15 degrees away.
I spoke with Mrs. Retallack about her experiments a few years after her book was published, and at that time I began performing my own experiments with plants using a wood-frame and clear-plastic-covered structure that I had built in my back yard. For one month, I played three-hours-a-day of music from Arnold Schönberg’s negative opera Moses and Aaron, and for another month I played three-hours-a-day of the positive music of Palestrina. The effects were clear. The plants subjected to Schönberg died. The plants that listened to Palestrina flourished.
In these experiments, albeit basic and not fully scientific, we have the genesis of a theory of positive and negative music. What is it that causes the plants to thrive or die, to grow bending toward a source of sound or away from it?
TablaWaka部落：
http://tablawaka.blogspot.com/
Saturday, January 17, 2009
Monday, January 5, 2009
3. 共鳴的法則 <<關於印度音樂 by Waka>>
在「波動的原理」之中，有所謂「共鳴的法則」。這是說，同樣波長的物體，彼此會合而為一。舉例來說，以塔不拉定調敲打Do音，即便沒有觸摸西塔琴，但其Do弦在瞬間會震動且開始發出聲響。
西塔琴本身就張著許多共鳴絃。非常適合調音的西塔琴，本身音色在添上共鳴音的厚實，創造出難以言喻的獨特波動。
演奏者將本身所感受到的，融入樂音之中，和合作伙伴在跳脫樂器之後，常可感覺到共時性(Synchronize)此種狀態。此外，演奏環境也大大左右著音樂表現；因此，會冀望當演奏達到某一種特定的狀態時，能和聽眾成為一體，共享一個巨大的「音樂場域」。此正意味著一起獲得共鳴的聽眾，事實上是和演奏者一同在創作音樂；而相對於演奏者，這也是在實現一項即為重要的任務。由於我們每個人心中，皆有不同的個性；彼此共鳴，就好像是彼此內心裡皆存在著一條共鳴的琴弦一樣。
擅於溝通者，想必在演奏上也會是個能手。
想要相互理解，然而，綜觀世界情勢，卻可見不諧和的聲音此起彼落，阻礙前進。難道，真的沒有讓彼此共鳴的方法存在嗎?不過，憤怒與恐懼所引起的波動，算是種共鳴吧……
不是常說「互稱同類為友。」
TablaWaka部落：
http://tablawaka.blogspot.com/
2. 大海的寬廣 <<關於印度音樂 by Waka>>
北印度的古典音樂，從數千年前的古代到現今，受到各式各樣時代的影響，而持續存在。
Veda的時代，佛教的時代，王國的時代，以及中世紀蒙兀兒(Mughal)皇帝時代的時候，深受伊斯蘭文化影響，而不斷發展；今天，也有許許多多的天才們，在這個狀態下，年年持續改變。而音樂本質上要素，至今仍維持其根基繼續流傳。
列舉印度音樂中最重要的要素之一 —Drone。
Drone指的是音樂之中，以單音演奏出單調的長音。
彈奏Drone樂音之樂器，首推即是弦樂器的坦布拉琴(Tambura)，其他像是鍵盤樂器中的印度手風琴(Harmonium)，以及印度竹笛/班舒李笛(Bansuri)，和嗩吶(Shehnai)等木管樂器也能演奏Drone。
以Drone的音為基調，去調西塔琴及塔不拉鼓等樂器的音，多少會出現音不準的現象，因此即便身處演奏之中，演奏者也會停下來，開始調音。我剛開始接觸印度音樂的時候，曾經覺得「那樣些微的走音也沒什麼關係吧……」然而，長年學習印度音樂後，對於些微的走音，我也甚感厭惡。那是種好像消除了所謂放不下，無法進入演奏的狀態。
Drone的寬廣就好比大海的寬廣，是由音所波動的大海。在這片海洋，演奏者潛入其中，即興地創造出各式各樣的故事。那是印度烏帕尼沙德(Upanisad)哲學中，所謂宇宙意識的梵天(Brahman)和自我意識的我(Atman)合而為一，具體實現「梵我一如」。
印度音樂也可以說是音的瑜珈(Nada Yoga)。
Yoga這個詞彙原至起梵語(Sanskrit)中的「結合」。演奏印度音樂的要領，與如何融入這片大海有關。為此，演奏者常常要反覆意識著大海的波長。
TablaWaka部落：
http://tablawaka.blogspot.com/
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