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Field Music and Non​-​Music for Tian Ye

by LEAP

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about

以《田野》为名,我邀请了不同创作背景的朋友们参与了这个在线的音乐/非音乐合集,但作品不限于田野录音,可以延展至与之相关的任何一处。

田野究竟是何含义?让我思考这个问题的契机,居然是给一位中文还不错的法国人解释这个词。在解释的过程中我把这个词拆开。田:农村,乡下,耕种,被开垦过的土地,离开人类很难在大自然中生存下来的农作物;野:荒野,野蛮,野兽,巨大的横亘,难以被征服的恐惧。野与田比邻而居。或许田野真正的含义是,那些在人类与劳动的旁边,即将与我们发生联系,但又和我们保有距离的土地,植被,存在方式……当然声音也是其中之一。

在我的大多数工作与实践中,“田野录音”并非我的专注所在。不过我想我依然可以谈一谈自己的体会,就像外行也可以谈论电吉他。对我而言,田野录音其实更多像是电吉他那样的工具,而不仅限于一个风格标签。不妨就来讲讲我的两次经历吧。一次是2016年的7月,在义乌的隔壁酒吧演出后的第二晚,在当地朋友的带领下,一大群年轻人沿着国道走了很久,行至一片山边的水库。天黑黑的,热,远处的虫子疯了一样地在叫。都是南方的虫子,它们的声音对我来说很陌生,让我想到了合成器——那些原始的振荡器,简洁的滤波与包络。无限重复又混杂着随机变化,还有巨大的声场,我想,这真是模块合成器玩家的一个梦。

另一次是今年春节,在北京郊外的一个农村。煤改电取暖的房间里,安静下来可以听到暖气管道里的一个声音:在水流声之间,一个介于嘶哑的喉鸣与金属摩擦之间的声音,永不休止地往复呈现。没有人知道这个声音来自哪里,甚至可能根本没有人留意过它。我把手机放在暖气的不同位置上来录音,试图捕捉到它,可惜总不是那么成功。用手机录下的声音可以算做是田野录音吗?答案无需质疑,很多田野录音乐手的处理对象都是人造物,包括各种机械。那么它可以算是那种非常狭义的田野录音吗——那种用非常专业的麦克风,在公园森林海边录制的“大自然的声音”?我想,在这个经历过煤改电工程的农村小屋,这个神秘的声音与土地的关联比我们想象的要更近。

这便是我对于“田野”中的音乐与声音的一些想法:相比起“城市”“体系”“标准化”等这样的词汇,它们更多源自于“土地”“自然”“野生”。但它们依然是人造物,是田野,而非野。正是二者之间的距离让我发现了它们奇异的美——是的,我用到了“美”这样的词,而不是什么“呈现事物的原貌”。

然而,这仅仅是我个人的理解,或许我的朋友们会有不同的意见。参与这个合集的人,有人做摇滚乐,有人做即兴音乐、噪音、电子音乐这些似乎更“实验”一些的东西。有的人已经从音乐行业退休了,也有人不做音乐,他们的工作和艺术更近,但也疏离。我和他们约稿的时候是一月中,经过了疫情的爆发,或许有人对这个命题又有了不一样的想法。从“田野”里到底会跑出什么?我想到了那头在快车道上飞奔的野猪,它很美,但看到它的时候却并不感到意外。

文字、策划:朱文博

朱文博参与很多的音乐计划:他写作曲,也做即兴与乐队;组织活动,也做发行;致力于“不像音乐的音乐”;是磁带厂牌“燥眠夜”的老板。现居北京。

Taking “tian ye—the field” as a theme, I invited friends from different musical and artistic backgrounds to participate in an online compilation. Their production methods are not limited to field recordings, but can be expanded to any related “field.”

What exactly does the Chinese word tian ye mean? I only started to examine this question when I had to explain the word to a French person who spoke decent Chinese. The first character tian denotes the countryside, rural areas, farming, cultivated land, and crops that struggle to survive without humans to take care of them. The second character ye means wilderness, barbarism, wild beasts, magnificent mountains, and the fears that are difficult to overcome. What is tian ye when the field and the wild are conjoined? Perhaps the characters’ real meaning lies in the land, the vegetation, and the forms of existence, including sounds, that appear to be in the immediate vicinity of human labor, about to connect with us, while still maintaining their distance.

As a musician, producer, and events organizer, I’m not an expert on field recordings or “field music.” To me, field recordings are more of a tool, like an electric guitar, rather than a genre or a style. But I’d like to share two of my experiences. One occurred on a night in July 2016, after a performance at the Gebi Bar in Yiwu. Led by local friends, a large group of young people to a long walk along the highway to a reservoir by the mountains. It was dark and muggy, and the insects were screaming in a distance. They were all southern bugs, and their sounds were very unfamiliar to me, which reminded me of synthesizers—those analogue oscillators with simple filters and envelopes. The sound field was immense, with infinite repetition mixed with random alterations. I thought, this really was a dream for modular synthesizer players.

The other was during this year’s Spring Festival in a village on the outskirts of Beijing. In a room where the heating was converted from coal to electricity, one could hear the sound from the pipes in quiet hours. It was somewhere between the sound of flowing water, repeating endlessly, a hoarse throaty call and the sound of metal rubbing against metal. No one knew where this sound came from. Perhaps no one noticed it. I put my phone on different parts of the heater in an attempt to record the sound, but without much success. So, can it be considered a field recording in the narrow sense—like the "natural sounds" recorded on a mechanical device in the forest or by the ocean? In this rural hut with its converted power source, the connection between this mysterious sound and the earth was much closer than I could have imagined.

These are some of the thoughts I had about music and sound in tian ye—the field. And while those thoughts left behind notions like “city,” “system,” and “standardization,” to drift towards the land, nature, and wild life, the sounds that I remember remain artificial: they come from cultivated fields, not the real wilderness. It is in the distance between these two seemingly opposing notions that I see the unique beauty of these music and sounds.

However, this is only my personal understanding of tian ye. After the coronavirus outbreak, it is likely that some of us have considered the subject in a different light. What could possibly come out of the field? I thought of the wild boar running on the highway in Wuhan when the city was locked-down at the beginning of the outbreak, a video of which went viral in that peculiar time. There was something beautiful about the boar, perhaps because we were not at all surprised to see it.

The playlist is organized and presented by Zhu Wenbo

Zhu Wenbo is involved in various music projects, including text-based compositions, improvisations, bands, events, and publications, with a focus on “music that is unlike music.” Zhu runs the cassette label Zoomin’ Night.

credits

released June 1, 2020

合集曲目:

保罗·盖巴·里瓦 -《没有噪音污染的地方存在吗?》
泰萨·泽泰尔 -《在蓝山追赶火积云》
李松 -《节拍器1》
田上碧 -《清晨之火》
响 -《Flit》
阿科 -《风车-汽车》
何悠 & 杨可儿 -《从一楼到六楼》
鲁白 -《食为天》
沈帜 -《达达萝卜》
何宣霓 -《癌细胞游行》
鬼大爷 & 巨 -《0613_Yemare_e3》

The playlist:

Paolo Gàiba Riva - Does a noise-pollution-free place exist?

Tessa Zettel - Chasing Pyrocumulonimbus Clouds, Blue Mountains
Li Song - Metronome 1
Aoi Tagami - The Fire of New morning
Xiang - Flit
Ake - Windmill-Car
He You & Yang Ke’er - From the First to the Sixth Floor
Lu Bai - Food Reigns Supreme
Shen Zhi - Dada Turnip
He Xuanni - Cancer Cell Parade
Guibog & ju - 0613_Yemare_e3

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