將一千首歌曲裝進(jìn)口袋
——開(kāi)啟音樂(lè)文化傳播與保存的新紀(jì)元

文/五花肉

將一千首歌曲裝進(jìn)口袋
——開(kāi)啟音樂(lè)文化傳播與保存的新紀(jì)元

1000 Songs in Your Pocket—Launch new era of communication and recording of musical civilization

文/五花肉

如果說(shuō)文學(xué)是語(yǔ)言的藝術(shù)，那么音樂(lè)就是聲音的藝術(shù)，用聽(tīng)覺(jué)意象來(lái)表達(dá)人們的現(xiàn)實(shí)生活情感?；蛟S音樂(lè)的鑒賞并沒(méi)有統(tǒng)一的標(biāo)準(zhǔn)，但優(yōu)美的旋律背后自有其審美體系和客觀(guān)規(guī)律，遵循這些體系和規(guī)律恰恰是保證音樂(lè)藝術(shù)質(zhì)量的不二法門(mén)。新的一年，讓我們走進(jìn)全新的“樂(lè)中有話(huà)”。

——編者

14年前，蘋(píng)果公司創(chuàng)始人喬布斯以“將一千首歌曲裝進(jìn)口袋”為愿景，推出iPod音樂(lè)播放器，使欣賞音樂(lè)變得隨時(shí)隨地、觸手可得?？梢哉f(shuō)，這句看似簡(jiǎn)單的廣告語(yǔ)背后卻濃縮著人類(lèi)歷史上借助留聲機(jī)和唱片等媒體，以聽(tīng)覺(jué)方式獲取、儲(chǔ)存并復(fù)現(xiàn)聲音信息的進(jìn)步軌跡……

14 years ago, Steve Jobs, co-founder of Apple Inc, proposed an idea of "1000 songs in your pocket" and launched iPod players, which enabled people to enjoy music anywhere anytime.The slogan reflected the progress made on the music media technology such as gramophone and records during 100 years.

把聲音寫(xiě)在紙上

Record Music on the Paper Score

19世紀(jì)下半葉，經(jīng)典物理學(xué)趨近完善，其中的聲學(xué)研究也達(dá)到一個(gè)巔峰，盡管科學(xué)家已為人類(lèi)指明了記錄聲音的基本原理，但當(dāng)時(shí)的音樂(lè)出版行業(yè)并未想到要把美妙的音樂(lè)保存并重現(xiàn)出來(lái)，而仍然以印刷樂(lè)譜作為主要產(chǎn)品。

In the later 19th century , theory of classical physics came to be perfect and great progress was made on acoustics research.Even though the scientific principle of record was developed, music could not be reproduced and was only recorded on paper score.

一臺(tái)會(huì)說(shuō)話(huà)的機(jī)器

A Talking Machine

“瑪麗有只小綿羊……不管瑪麗到哪里，小羊總在她身旁。”憑借一支唱針、一片錫箔和一個(gè)圓筒，138年前，愛(ài)迪生發(fā)明了一臺(tái)會(huì)說(shuō)話(huà)的機(jī)器——手搖圓筒留聲機(jī)。"Mary had a little lamb...and everywhere that M ary went the lamb was sure to go".By a stylus；a piece of tinfoil ;and a cylinder, Thomas Edison invented gramophone, a talking machine.

1857年，法國(guó)科學(xué)家斯科特發(fā)明聲波記振儀，以“圖像”形式使人類(lèi)首次實(shí)現(xiàn)對(duì)聲音信號(hào)的轉(zhuǎn)化，成為留聲機(jī)的鼻祖。

雖然簡(jiǎn)陋的錄音圓筒無(wú)法進(jìn)行拷貝復(fù)制，但通過(guò)錄制和播放這段時(shí)長(zhǎng)僅8秒的聲音，轉(zhuǎn)瞬即逝的音樂(lè)信息終于可以存留，人類(lèi)就此開(kāi)啟了音樂(lè)文化傳播與保存的新紀(jì)元。

1877年愛(ài)迪生和他的留聲機(jī)；這種錄音筒直徑僅5.5cm，長(zhǎng)10.5cm，表面刻有音槽，每個(gè)可錄音4分多鐘，以手搖留聲機(jī)再現(xiàn)其聲音。

愛(ài)迪生1904年發(fā)明的第一代圓筒唱片

Though the record cy linder could not be copied, Edison recorded the rhyme of 8 seconds mentioned above by the gramophone, which made it possible to record sound and launched a new era of music media civilization.

“筒”“盤(pán)”之爭(zhēng)

Com petition between "Cylinder" and "Disc"

十年之后，柏林納發(fā)明了以鍍金銅模作為母盤(pán)，用蟲(chóng)膠為原料進(jìn)行澆注拷貝的唱片復(fù)制法，滿(mǎn)足了低成本復(fù)制錄音母版的需求。碟片式錄音機(jī)取代圓筒留聲機(jī)，消除了音樂(lè)規(guī)?；咝鞑サ募夹g(shù)障礙，為以唱片復(fù)制為特征的世界音樂(lè)產(chǎn)業(yè)奠定了最重要的技術(shù)基礎(chǔ)。

10 years after the gramophone invention, Em ile Berliner invented the record copy technology.People manufactured mother discs w ith gold plated copper and copied on Shellac records.

1910至1929年間，柏林納與他的留聲機(jī)

為了減小唱片磨損、提升音質(zhì)，當(dāng)時(shí)的人們開(kāi)始了以播放試驗(yàn)和“錄音距離測(cè)試”為標(biāo)志的大規(guī)模和有一定技術(shù)規(guī)范的音樂(lè)錄音活動(dòng)，而同期由丹麥科學(xué)家普爾森利用剩磁原理發(fā)明的鋼絲錄音機(jī)，則成為20世紀(jì)30年代磁帶錄音機(jī)的技術(shù)源頭。

In order to improve the acoustic fidelity, people started to execute playback test and recording distance test ；and developed standards for music recording.A t the same time, Danish scientist Valdemar Poulsen invented the w ire videoco rder on the basis o f remanence principle, which was origin of tape record in the 1930s.

將腦袋伸進(jìn)喇叭口

Put Head into Amp lifier

百代公司出品的中文圓筒唱片，約1900年

鋼絲錄音機(jī)

Stroh小提琴

盡管柴可夫斯基認(rèn)為錄音技術(shù)“是19世紀(jì)所有發(fā)明中最驚人、最美麗，也是最有趣的一例。”但直到1925年電聲技術(shù)出現(xiàn)以前，人們只能借助大喇叭，通過(guò)機(jī)械裝置將聲音波形刻制在松軟的蠟質(zhì)碟片上。

Even though great artist Peter Lynch Tchaikovsky regarded the record technology as " the m ost interesting；beautiful and sensational invention in the 19th century", people only recorded music on the wax discs w ith amplifier before the appearance of electracoustics technology in 1925.

這種原始的純“機(jī)械”錄制方式，迫使當(dāng)時(shí)參與錄音的音樂(lè)家們不得不擁擠在喇叭口周?chē)笓]家們被迫壓縮樂(lè)隊(duì)編制，器樂(lè)家們則忍痛拆解鋼琴、改造提琴，有些人還必須在演奏過(guò)程中來(lái)回奔跑，甚至有歌者將腦袋伸進(jìn)了喇叭口，然而辛勤付出換來(lái)的卻只是聽(tīng)起來(lái)干癟空洞的音樂(lè)。This backward technology made performers squeeze around the amp lifier.Conductors had to cut the orchestra；violinists and pianists had to remould their instruments；some artists had to run back and forth in the performance and some singer even put their heads into the amplifiers.A ll that they did only produced poor fidelity music.

所幸的是當(dāng)時(shí)的歐美各大唱片廠(chǎng)家就已逐漸認(rèn)識(shí)到產(chǎn)品品牌建設(shè)的重要性，并開(kāi)始著手與“唱片藝術(shù)家”建立互利共生的合作關(guān)系。Luckily, famous record com panies in Europe and America recognized the importance of brand building and launch to build a mutual-benefit cooperation relationship w ith music artists.

樂(lè)隊(duì)錄音

結(jié)語(yǔ)

Conclusion

從圓筒留聲機(jī)到碟片式錄音機(jī)，人們用半個(gè)世紀(jì)的時(shí)間，通過(guò)發(fā)明唱片復(fù)制法、開(kāi)展標(biāo)準(zhǔn)化的音樂(lè)錄音活動(dòng)以及品牌建設(shè)，在略顯尷尬的聲學(xué)錄音時(shí)代，為唱片工業(yè)的精確化、規(guī)范化和標(biāo)準(zhǔn)化打下基礎(chǔ)，本質(zhì)性地改變了以口傳和樂(lè)譜為標(biāo)準(zhǔn)的音樂(lè)作品傳承方式，深刻影響了近現(xiàn)代世界的音樂(lè)生態(tài)，就此開(kāi)啟了音樂(lè)文化傳播與保存的新紀(jì)元。（未完待續(xù)）

In the stage of acoustic recording, from gramophone to disc, people spent half a century on developing music media；standardizing music record and building musical brand, which laid the foundation for standardization and lean production in recording industry.Advance in music media technology remarkably changed mode of music transm ission in words and paper；greatly influenced modern musical ecosystem in the world and launched new era of communication and recording of musical civilization.(To be continued)

（支持單位：上海市質(zhì)量與標(biāo)準(zhǔn)化研究院）