那些留白的聲響們 (II)
雖然音樂的類型並非聆聽時的首要考量，但有了相同的語言後，便不至於盲目地探尋而失去了方向。這些留白的聲響們，大多座落於『Ambient』、『Neoclassicism』與『Post-rock』這些類別的座標裡，但有時也會悄悄地橫跨至別的向度，畢竟留白的真義不在於以何種音樂的形式出現，而是棲息在音樂家們如何創造音樂以及我們如何體會音樂的過程中。
Helios 的 《Blessing This Morning Year》是如此的具有畫面感，可以是初露結凝的清晨，也可以是濃厚芬芳的晚霞。從 post-rock 的範圍裡，我逐漸圈選出一首又一首的歌曲，然後繼續拓展這條道路。Hammock 的《I Can Almost See You》承接了這把火炬，一遍又一遍的餘韻繞樑。
然後接到 Neoclassicism，Ólafur Arnalds 就這樣悄然出世走到了鎂光燈下，《þÚ Ert Sólin》的絕美鋼琴與弦樂能夠牽動內心深處多少次？
再加上 Nils Frahm 又如何？你真有辦法拒絕 Nils Frahm 與 Ólafur Arnalds 一起共奏的 《20:17》？天地間除了這些聲音與你，還需要些什麼嗎？
接著墜入 Ambient，最廣義的詞彙，包羅萬象的羅引了所有寧靜與安詳。而Brian Eno 便是那個給予它最重要名字的人。
“Whereas the extant canned music companies proceed from the basis of regularizing environments by blanketing their acoustic and atmospheric idiosyncrasies, Ambient Music is intended to enhance these. Whereas conventional background music is produced by stripping away all sense of doubt and uncertainty (and thus all genuine interest) from the music, Ambient Music retains these qualities. And whereas their intention is to “brighten” the environment by adding stimulus to it (thus supposedly alleviating the tedium of routine tasks and leveling out the natural ups and downs of the body rhythms) Ambient Music is intended to induce calm and a space to think. Ambient Music must be able to accommodate many levels of listening attention without enforcing one in particular; it must be as ignorable as it is interesting.”
出自 1978 年的專輯 《Ambient 1: Music for Airports》的 liner notes，也就是唱片封底的敘述文字們。
以上歌曲可於 Spotify playlist 《那些留白的聲響們》中聆聽
