Southeast Asian Musics: An Overview 東南亞音樂概論

1. Southeast Asian Musics: An Overview 東南亞音樂概論 原著：Terry E. Miller and Sean Williams 導讀：陳美華（Chern Meei-Hwa） 南華大學宗教學研究所副教授

5. The overall sound of island Southeast Asian music is often described as sonorous, probably referring to the fact that some of the most visible and audible music from the islands is performed on resonant bronze instruments, especially gongs.

6. Indeed, a big portion of this music is played on stratified bronze ensembles, knoen collectively in Indonesia as gamelan and in the southern Philippines as kulintan.

7. Variations on the basic gamelan and kulintang formats are common throughout the island nations and Borneo, and hundreds of different names are applied to what is basically a gong-chime ensemble. (Miller and Williams 2008: 18)

8. 島嶼東南亞音樂的整體音響一般被形容為洪亮的。這裡所指的或許是這麼一個事實：這些島嶼音樂最明顯和最容易聽到的是以洪亮的銅樂器，尤其是銅鑼來演奏的。的確，這類音樂的大部分都是在分層銅樂器合奏組演奏的，在印尼這合奏組稱為佳美蘭，在菲律賓南部則成為古令堂。島嶼東南亞音樂的整體音響一般被形容為洪亮的。這裡所指的或許是這麼一個事實：這些島嶼音樂最明顯和最容易聽到的是以洪亮的銅樂器，尤其是銅鑼來演奏的。的確，這類音樂的大部分都是在分層銅樂器合奏組演奏的，在印尼這合奏組稱為佳美蘭，在菲律賓南部則成為古令堂。

9. 佳美蘭和古令堂基本格式的各種變奏普遍存在於島國和婆羅洲各地，而這基本上是鑼和排鐘合奏的有數百種不同的名堂。（Miller and Williams 2008：18）

10. In addition to gong-chime ensembles, thousands of other genres — European-style orchestras, indigenous vocal groups, solo instrumental performances — are spread across the islands of Southeast Asia, reflecting diverse musical priorities, contexts, and influences.

11. While focusing on the sound and structure of the gong-chime ensemble, the reader should recognize that certain features of gong-chime music are readily applicable to other regional musics. (Miller and Williams 2008: 18)

12. 除了鑼-排鐘合奏組，成千上萬的音樂類型——歐洲式的管弦樂隊、原住民聲樂隊、獨奏樂器演出——分佈東南亞各島嶼，反映了多元的音樂重點、脈絡和影響。在專注于鑼-排鐘合奏的音響和結構的同時，讀者應該識別鑼-排鐘的一些特徵容易被應用到其他區域音樂。（Miller and Williams 2008：18）

13. Informed Southeast Asian musicians and listeners recognize good music on the basis of the ensemble’s rhythmic coherence, dynamic balance among players, improvisational virtuosity when it happens, and general appropriateness according to local modal rules,

14. musicians’ on-stage demeanor(said to be audible in their music), and seamless transitions from one section to the next. Good musicians know that if they play together long enough and listen closely to one another, all the above features will fall into place.

15. Within the context of good music, all the joys and competitive urges that have a place in Southeast Asian society are given free rein, and informed audiences are free to appreciate musical events from the standpoints of both passion and reason. (Miller and Williams 2008: 20)

16. 有知識的東南亞音樂家和聽眾能夠根據以下的特徵認出好的音樂：合奏組的節拍一致、演奏者之間的能動均衡、即興演出的技巧、普遍上符合在地調式規矩、音樂手的台風（據說在他們的音樂是能聽得到的）以及順暢無阻從一個部分轉折到另一部分。有知識的東南亞音樂家和聽眾能夠根據以下的特徵認出好的音樂：合奏組的節拍一致、演奏者之間的能動均衡、即興演出的技巧、普遍上符合在地調式規矩、音樂手的台風（據說在他們的音樂是能聽得到的）以及順暢無阻從一個部分轉折到另一部分。

17. 優秀的音樂家知道，要是他在一起演奏一段時間並彼此密切的聆聽，上述特徵就會出現。從好音樂的脈絡裡來看，所有在東南亞有一個地位的歡樂和競爭的衝動都給予自由發揮，瞭解音樂的聽眾可以自由的從情感和理性的觀點來欣賞音樂盛會。（Miller and Williams 2008：20）