聲音斷裂與來源追溯：論電子舞曲空間錯置的美學

Abstract

電子音樂發展至九零年代，整體的音樂概況和美學思想，除了承襲七零年代將合成器使用於流行音樂的方式，八零年代銳舞文化（rave culture）所形成的巨大風潮，到此時依然持續發揮並擴張其影響力。但是這並非九零年代電子音樂領域的完整樣貌，在上述傳統的流行電子音樂之外，不論是IDM （intelligent dance music）或illbient等音樂類型的出現，都可以得知有一群音樂家已經開始對過往電子音樂的美學與聆聽方式進行反思與探索。

筆者在本研究中，分別選擇了三位電子音樂家 DJ Spooky、竇唯與林強，試圖呈現九零年代流行電子音樂場景之外的可能性。他們皆出生於 1960 至1970 年代之間，並在 1990 年代開始活躍於流行音樂樂壇，並取得自身地位或開創嶄新的音樂風格。他們的作品之中，分別對自己所處的空間地點做出了具有代表性的想像與詮釋：從 DJ Spooky 所處的美國紐約，到竇唯所處的中國，再到林強所處的台灣。他們在音樂上的創作美學，皆與過往流行電子音樂做出了顯著的區別：不論是 DJ Spooky的《Songs of a Dead Dreamer》、竇唯的《山河水》與林強的《驚蟄》，都不是以強調人與音樂之間，肢體動作上的舞蹈互動，而是強調聽眾於腦中被音樂觸發的空間想像（space imagination）張力。 本文的討論方向從西方脈絡的電子音樂最為起點，討論至同時間的亞洲（中國），再到我們自身的台灣作為參照點，試圖梳理 1990 年代不同地區的電子音樂家如何藉由聲音或音樂作品中，causal listening的方式，賦予聽眾空間想像的感受。在本研究中，筆者以涉略電子音樂的程度、創作經驗、性別與其他特殊背景等條件，挑選五位出生於九零年代的年輕聽眾進行訪談。試圖探討在數位音樂形式與商業電子音樂派對具有深切影響力的2017年，這些不同來自身分背景的年輕聽眾，對於設備、技術與創作手法方面有所限制的九零年代，如何藉由聲音的斷裂與來源追溯，實踐空間錯置（space displacement）的美學，並進行聆聽經驗的對話與再塑。

From the development of electronic music to the 1990s, the overall music profile and aesthetic thoughts, in addition to inheriting the way the synths were used in popular music in the 1970s and the rave culture in the 1980s, these trands still continued to play and expand their influences. But this is not the complete appearance of the electronic music field in the 1990s: beyond the above-mentioned traditional electronic music, whether it is the emergence of IDM (intelligent dance music) or illbient music types, one can learn that a group of musicians has already begun. They both reflected and explored the aesthetics and listening methods of past electronic music. In this study, the author selected three electronic musicians, DJ Spooky, Dou Wei and Lim Giong, respectively, to try to present the possibilities outside the popular electronic music scene in the 1990s. They were born between 1960 to 70s, and became active in pop music and achieved their own status or created a new musical style around 1990s. Among their music works, they have made representative imaginations and interpretations toward their own locations: from New York, where DJ Spooky is based, to China where Dou Wei lives, and to Taiwan where Lim Giong is located. Their creative aesthetics in music are all significantly different from those of popular electronic music in the past. DJ Spooky’s Songs of a Dead Dreamer, Dou Wei’s Mountain River and Lim Giong’s Insects Awaken are not emphasizing the dance interaction between humans, music and physical movements, but the spatial imagination tension triggered by the audience in the brain. The discussion of this article starts with the electronic music in the western context, shifts discussions to Asia at the same time (China) and then focuses on Taiwan as a final reference point, trying to sort out the way these 90s’ electronic musicians from different regions gave the audience spatial imagination through the causal listening of sound in musical works. In this study, the author selected five young listeners who were born in the 1990s for interviews based on the degree of involvement in electronic music, creative experience, gender, and other personal music backgrounds. In order to explore the influence how the digital music form and the commercial electronic music party in 2017 have had on these young listeners from different backgrounds, and their attitude toward limitation of equipment, technology, and creative methods in the 1990s. By means of the sounds dislocation and source tracing, the article present how they completed the aesthetics of space displacement, reshaped, and had dialogues with listening experience.