Music as non-focal point 學用音樂當配角

我在為居住地的一個佛教團體整理重編一些儀式用的曲，在找爐香讚的時候找到這個關於台灣早期音樂家張福興的網站。

I was organizing and rearranging some ceremonial music for a local Buddhist group and a search led me to this site about one of the earliest Taiwanese musican in modern time.

記得大學時修音樂學時，有位同學就到廟宇裡採譜。當時對宗教音樂沒什麼興趣，總覺得音樂不是主角的時候，有損音樂的地位。後來，開始學「配樂」，跟導演或製作人有幾次觀點極不同的溝通之後，才漸漸學著放下總想當主角的傲心。

主角可以放心表現，但配角要演得好，需要對藝術細節與平衡，有更精細的掌握。

宗教音樂，尤其是以沈靜安定為傳統的宗教，這種音樂對心靈的感染力，是很不可思議的。精彩複雜的音樂，不見得適合用在典禮儀式中。但恰到好處的音樂，卻能幫助人和心靈接觸。

現在對於這些聽似簡單的音樂(民歌，新世紀，宗教音樂)，再不敢小覷了。

The site reminds me of my college musicology class. One of ourclassmates went to temples to trascribe the cermonial chanting. I wasnot at all interested in religious music because I had the prejudiceagainst music not being "the leading role" in any "application" (Ialways want to pay full attention to music itself). However, later whenI started to score for films and media, I had to learn to let go ofsuch proud attitude from several arguments with directors and producers.

A leading actor/actress can shine to the fullest degree, but a supporting role needs to know the subtle balance, artistically.

Religious music, especially those with meditational tradition, touches our heart in an amazing way. Clever and complex music doesn't always fit well in a ceremony. Only the music that's just right will do.

Overthe years I've learn that music that sounds so simple, such as folksongs or new age music, may actually be very deep and very hard to write.