赵江音乐
ZhaoJiang Music
【我们曾经目睹天使般的她降临】
We 've seen her come like an angel.
《那年》 

那年,为迎接西方某著名高等音乐学府校长的来访,我某音乐学院里急忙将全院钢琴弹奏水平最好的学生都安排进了琴房,摆好架势等着洋校长及其随行的到来。
 
那年,洋校长在参观完各琴房后,向我院领导问了一个问题:“你们的学生都在学习我们的音乐,难道中国音乐没有自己的理论体系吗?”我们的院领导闻听后笑了笑,默默低下了头。 
那年,没人太把这一切当回事。
 
那年,在东京某唱片公司,我平生第一次看到、听到了名叫【原住民音乐】的唱片,那是二战时期,由日本人录制的亚洲某地区原住民的音乐录音珍品。当时,作为留学生的我极为震撼。 

那年,我想到了两个词,【文化遗产】和【遗产掠夺】,同时也想起了当年洋校长的问话。我仿佛突然懂得了两件事:其一,因为愚昧而导致视而不见的,那些老祖宗留下的文化遗产,如果我们不去珍惜,列强定要去掠夺。其二,民族音乐理论的体系化诞生,是一项庞大、持久且集成化很高的系统工程,而田野采集工作(采风)是这一工程最为基础的环节,同时也是对这学术工程最有力的支持。 
那年,回国后的我,拉上好友刘晨杰先生,一同开启了我们自认为“文化兴亡匹夫有责”的事业【原生态音乐采集】。 

那年,我们很穷,却很充实地奔波忙碌着。刘先生录影照相,我举杆录音采访。就这样,不知度过了多少个同样的“那年”。 

那年,我们终于弹尽粮绝、穷困潦倒,却彼此望着对方,开心地笑出了眼泪,像两个想和时间赛跑的傻瓜。 

那年,病床上刘先生拉着我的手,说他病好后,还要和我一起去远行,并一再叮嘱着我们未完的事业。顿时,我泪如雨下。 

最终,刘先生还是没能跑过时间,终年54岁。 

而他手机的屏图,仍然是: 

那年,我们首次远行前的合影。 

 
《That Year》 

 That year, In order to welcome the visit of the president of a famous Western higher music institution, I hurriedly arranged the best piano playing students in the school to enter the piano room and set the table for the president of the ocean and his accompanying arrival. 

That year, After visiting the piano rooms, President Yang asked the leaders of our school a question: "Your students are studying our music. Doesn't Chinese music have its own theoretical system? Our hospital leader smiled after listening and silently lowered his head. 

That year, No one takes all this too seriously. 

That year, At a Tokyo record company, for the first time in my life, I saw and heard a record called "Aboriginal music", a recording of Aboriginal music recorded by the Japanese in a region of Asia during World War II. At that time, as a foreign student, I was extremely shocked. 

That year, I thought of two words, "cultural heritage" and "heritage plunder", as well as the questions asked by the president of the foreign country. I seem to suddenly understand two things: one, because of ignorance and blind to the cultural heritage of those ancestors, if we do not cherish, the great powers will plunder. Second, the systematic birth of national music theory is a huge, long-lasting and highly integrated system engineering, and the field collection work(picking wind) is the most basic link of this project, but also the most powerful support for this academic project. 

That year, After returning home, I took up my friend Mr. Liuchenjie and started the business that we believed to be "the responsibility of the rise and fall of culture"[original ecological music collection]. 

That year, We are very poor, but we are very busy and busy. Mr Liu videotaped the photo, I held the pole recording interview. In this way, I do not know how many of the same "year". 

That year, We finally ran out of food and poverty, but each other looked at each other, happily smiled tears, like two fools who wanted to race against time. 

That year, On the hospital bed, Mr. Liu took my hand and said that after he was well, he would go on a trip with me and repeatedly told us about our unfinished business. Suddenly, I cried like rain. 

In the end, Mr. Liu still failed to run through the time, at the age of 54. 

And the screen image of his phone is still: 

That year, we took our first photo before the trip.