在千年石窟里，聽一場音樂會

陸遙

伴隨著不斷變幻的光線和水聲，來自美國伯克利音樂學(xué)院的教授本杰明·馬修·霍吉優(yōu)雅地演繹著他為龍游石窟專門創(chuàng)作的《光口夜雨》。他說：“在石窟里唱歌的時候，我感到非常自然和純粹。”

聲光、舞蹈、器樂和電子樂，在有著2000多年歷史的古老洞窟里交匯，在空曠聲場中融合，匯聚成一曲曲奇妙豐富的混響……

2019龍游石窟國際音樂盛典，讓音樂與石窟碰撞，讓潮流音樂元素在歷史回想中激蕩。來自美國、德國、英國、挪威、奧地利等國以及英國皇家伯明翰音樂學(xué)院、上海音樂學(xué)院、浙江音樂學(xué)院的國內(nèi)外音樂大師團(tuán)隊(duì)，在龍游石窟為全世界音樂愛好者奉獻(xiàn)了為期4天的音樂盛宴。

千年石窟里的音樂盛典

音樂盛典中，來自世界各地電子音樂領(lǐng)域的10多位頂尖音樂家，在龍游石窟呈現(xiàn)15場精彩演出，獻(xiàn)上了“洞洞有音、處處是樂”。

2號洞窟為主要的演出場地，以“圣境聽音”為主題，依托石窟結(jié)構(gòu)與聲音學(xué)完美結(jié)合，打造夢幻圣境般的盛宴。主題為《五彩繽紛》的開幕演出空靈而又美妙，既有琴簫和鳴的《無諍頌》、青瓷甌樂的《聽·瓷》等展示中國傳統(tǒng)民樂和非物質(zhì)文化遺產(chǎn)的優(yōu)美樂曲，也有《洞境云歌》這樣融合了越劇人聲、視覺影像與電子音樂的現(xiàn)代化作品。

“峽江清空峽雨急，寒聲夜半蕭瀟發(fā)……”伴隨著不斷變換的光線和水聲，來自美國伯克利音樂學(xué)院的教授本杰明·馬修·霍吉優(yōu)雅地演繹著他為龍游石窟專門創(chuàng)作的《光口夜雨》。他說：“我特別喜歡中華優(yōu)秀傳統(tǒng)文化，這次來龍游參加音樂會，就是想通過古典和現(xiàn)代科技的結(jié)合凸顯傳統(tǒng)的美。在龍游石窟里唱歌的時候，我感到非常自然和純粹。”

奧地利布魯克納私立大學(xué)教授安德烈亞斯·魏茨在自己的作品《龍游石窟的水靈》中加入了中國的古箏，他說：“中國的傳統(tǒng)器樂的音色非常特別，這一次的作品結(jié)合了古箏和電子音樂，希望能給觀眾朋友帶來耳目一新、神秘和傳奇的感覺。”

在4號洞窟里，浙江音樂學(xué)院音樂工程系副主任黃曉東教授及其團(tuán)隊(duì)帶來了一場高科技“聲、光、電”三位一體的沉浸式藝術(shù)盛宴“聲筑圖騰”，讓觀眾享受在特殊聲場環(huán)境下的沉浸式演出體驗(yàn)，探究古老洞穴神秘與久遠(yuǎn)的歷史。

黃曉東說：“所有人都贊嘆龍游石窟內(nèi)完美的聲場，作曲家和創(chuàng)作者要在現(xiàn)場實(shí)時控制聲音和音量，這也是電子類音樂會的主要特征。我們通過實(shí)現(xiàn)預(yù)置的裝置、聲音軌道，根據(jù)自己的耳朵得到最想要的結(jié)果，這是音樂會好玩的地方。”

神秘的龍游石窟

1992年，當(dāng)?shù)厝藗髡f中的“無底塘”，在4個農(nóng)民的隆隆水泵聲中“水落石出”，展示在人們面前的一個個石窟，便是今天人們看到的龍游石窟。不僅建造的年代不明，這些石窟的成因和用途更是眾說紛壇，成為難以破解的千古之謎，也被當(dāng)?shù)厝朔Q為“奇跡”。

到現(xiàn)在，龍游石窟仍像一個巨大的問號，豎立在史學(xué)家、考古學(xué)家、建筑學(xué)家和游客的眼前，其神秘的構(gòu)造和集人文、藝術(shù)、文化、工程技術(shù)于一體的神奇景觀，令無數(shù)人為之心馳神往。

龍游石窟在方圓0.38平方公里的土丘上有規(guī)律地分布了大小不一的24個洞窟，面積從幾百平方米到幾千平方米不等，高度在20米到40米之間，開放參觀的洞窟有5個。每個洞窟從矩形洞口開始垂直向下延伸，頂部呈漏斗型，洞窟內(nèi)科學(xué)地分布著3～4根巨大的“魚尾形”石柱，與洞頂渾然一體。

走進(jìn)石窟的內(nèi)部，會被眼前的景觀所震撼，進(jìn)入地底，仿佛是走進(jìn)了一座龐大的宮殿，但是這個“宮殿”卻顯得有些空曠。

關(guān)于石窟的作用，說法有很多，但都沒有得到證實(shí)，最初被認(rèn)為是采石場，后面又有墓穴群、藏兵站、古糧倉等說法，卻都沒有證據(jù)或史料的支持，因此也給龍游石窟蒙上了一層神秘的色彩。更讓人不解以及嘆為觀止的是，洞壁、洞頂和石柱上都均勻地留下了古人似乎帶有裝飾意圖的鑿痕。

石窟里聽音樂的獨(dú)特

石窟內(nèi)特殊的空間結(jié)構(gòu)，經(jīng)過實(shí)驗(yàn)數(shù)據(jù)證明，非常有利于聲音的傳播，將石窟與聲音學(xué)的結(jié)合，通過音樂帶給人們最完美的呈現(xiàn)。

為舉辦這場音樂盛典，上海音樂學(xué)院音樂工程系教授于陽和團(tuán)隊(duì)已經(jīng)醞釀了3年的時間。上海音樂學(xué)院李嘉副教授和國外的專家們此前多次進(jìn)行實(shí)地考察，對石窟進(jìn)行聲學(xué)測試，都對洞內(nèi)的奇妙聲音環(huán)境和各種奇觀驚嘆不已。“你在洞窟中的每一個地方聽，都能有不同的感受。”李嘉說。

李嘉講起了測量的故事——

2016年10月，龍游石窟迎來了一位特殊的客人——約翰·喬寧，他是斯坦福計算機(jī)音樂與聲學(xué)研究中心的教授、電子音樂的創(chuàng)始人，他一直醉心于各種聲學(xué)空間的研究，索非亞大教堂、秘魯?shù)牡叵伦呃鹊纫蜃陨淼慕Y(jié)構(gòu)特點(diǎn)而擁有獨(dú)特的聲場效果的空間都是他的研究對象。

一次偶然的機(jī)會，喬寧在互聯(lián)網(wǎng)上發(fā)現(xiàn)龍游石窟這個世界上最大的人工挖掘的地下空間。他對此產(chǎn)生了極大的興趣。隨后，喬寧與李嘉以及雙方專家團(tuán)隊(duì)一同入窟探秘，進(jìn)行聲學(xué)測試和考察。

2017年10月，他們再一次用精密的儀器做了專業(yè)的測量。回憶這次去洞窟探秘的經(jīng)歷，李嘉至今記憶猶新。

“當(dāng)時我們一行背了很多精密的電子儀器入內(nèi)測量，但是由于洞內(nèi)高達(dá)100%的濕度，帶去的4個極其昂貴的4聲道話筒沒幾天就壞了3個，可謂損失慘重。”李嘉說，即便是在這樣極富挑戰(zhàn)性的情況下，測試團(tuán)隊(duì)還是努力克服了困難，在石窟現(xiàn)場利用各種最先進(jìn)的科學(xué)設(shè)備，采集了盡可能多的聲音數(shù)據(jù)，也為此次音樂盛宴打下堅實(shí)的技術(shù)基礎(chǔ)。

之前，龍游石窟也曾先后舉辦過多場音樂會，無一例外都沒有使用擴(kuò)音設(shè)備，而是利用石窟的特殊構(gòu)造將樂器最本真的聲效發(fā)揮到極致。這次的音樂會則搭建了一套完整的音響系統(tǒng)用以演出國內(nèi)外作曲家的作品，其中大部分作品都是參考石窟的獨(dú)特構(gòu)造和測量數(shù)據(jù)而專門創(chuàng)作的。

浙江音樂學(xué)院音樂工程系副主任黃曉東教授說：“我相信這次音樂盛典一定會成為我們浙江文化和旅游融合發(fā)展的一張名片，它讓石窟活起來、新起來。”

From 24 to 27 October 2019， 15 concerts were held in the caves of Longyou， a city in southern Zhejiang. At the 15 concerts， musicians from US， Germany， UK， Norway， Australia， and China featured electronic music performances inside the underground caves.

In June 1992， four curious villagers in a remote village in Longyou decided to pump water out of some ponds that seemed bottomless. Four pumps worked nonstop 17 days and nights. Eventually they found 24 underground caves， closely located to each other in an area of 0.38 square kilometers. These caves are about 20 to 40 meters in height. Inside caves are huge pillars. The number of pillars varies from 2 to 5 from cave to cave. At present， only five of them are open to tourists.

The underground caves have remained a mystery. They were evidently manmade. But who made them for what purpose and when have remained unknown. History about Longyou goes back as far as to the Han Dynasty （202BC-220AD）. Nothing earlier about Longyou is known. Architects and engineers wow at the design and construction and sizes. Historians scratch their heads， guessing that they might have been graves， or secret military battalions or granaries， or quarries. While historians are busy trying to come up with conjectures and conclusions， musicians are overjoyed and excited.

Numerous concerts had been held there， all without the assistance of any acoustic systems before the 15 concerts in October 2019. Electronic music， on the other hand， needs a full range of equipment. In order to make it possible to hold electronic concerts in these underground caves， scholars and musicians carried out thorough field studies. Professor Yu Yang and his team from the Music Engineering Department of Shanghai Conservatory of Music did preparatory work in a space of three years.

Li Jia， an associate professor with Shanghai Conservatory of Music， and some international scholars and musicians visited these caves many times. They carried out tests and experiments and gained a big load of acoustic data.

One of the international scholars is John Chowning， an emeritus professor with the Center for Computer Research in Music and Acoustics of Stanford University. After running into the Longyou caves online by accident， Professor Chowning took great interest. In October 2016， he and Li Jia and other scholars came to Longyou to test the caves. In October 2017 they carried a large number of sophisticated equipment into the caves and did a thorough study. Three of the four quadraphonic microphones went out of order due to the 100% humidity inside the caves.

The data they collected during these visits were necessary. For the concerts in October 2019， a special acoustic system was designed and put together and installed to make the best out of the contours and other features of the caves. Most of the compositions were created by Chinese and international composers exclusively for the cave concerts.

Benjamin Matthew Houge， a professor of Berklee College of Music based in Boston， USA， played ， a musical work he created for Longyou. He gave his performance at Cave Number 2， the major venue for the 15 concerts.

Professor Andreas Weixler with the Anton Bruckner Private University gave a performance titled ， in which ancient Chinese zither played a part. “The traditional Chinese musical instrument features a special sound. The work integrates the ancient zither and the electronic music in the hope that the audience could feel the new， the mysterious and the legendary in the piece，” says the professor.

The specific structures of the underground cavernous spaces and acoustic data are all reflected in these music works. “You have different musical experiences at different seats，” emphasizes Li Jia.

“All the attendees of these concerts spoke highly of the perfect musical experience inside the caves. We got the best through the sound system. This is exactly what made the concerts fun. The concerts brought vibration to the caves and made them totally new，” notes Professor Huang Xiaodong， deputy director of the Music Engineering Department of Zhejiang Conservatory of Music. Huang and his team gave a high-tech concert at Cave Number 4.