風的氣息-少妮瑤鼻笛創作專輯

風的氣息少妮瑤˙久分勒分的鼻笛異想世界什麼是主流，何者是非主流？正統是什麼？少數由誰定義？敲動人心，產生共鳴，就是正道。風的氣息，是鼻笛永恆的節奏，悲喜、愛戀、思念…莫名的，可以觸摸到人心最溫柔的部分，光是這樣就已足夠，這就是鼻笛必須存在的理由。「眼睛看不到的，不一定不存在」，鼻笛就是這麼充滿魔力的台灣原生樂器，鼻笛女神少妮瑤˙久分勒分，將鼻笛幻化成一陣又一陣風，跳脫傳統演奏技法，與西方鋼琴、提琴或豎琴等各種樂器展開前所未有的對話。看似莊嚴的鼻笛，可以搖滾、可以藍調，也很巴薩諾瓦…，展現鼻笛不為人知的多重性格。鼻笛，是一種以鼻吹奏的樂器，對部落族人而言，由鼻奏樂，代表注入生命的氣息，可直達靈魂深處，因此，鼻笛伴隨族人走過出生、結婚、死亡、祭典等生命重大時刻，甚或是抒發個人情感的樂器，深藏著許多不可能，看似平緩無波，實則波濤洶湧，理所當然地滑順之聲，卻如山峰尖塔的張力。鑽研鼻笛30年的少妮瑤，花費1年多時間，全新創作錄製10首單曲，少妮瑤說，顫音是排灣感情核心所在，更是生命的底蘊，因此，視曲調的不同需求，手製不同的鼻笛，藉以打開音樂的尺度，讓這張專輯能有最極致的表現。回溯近30年的傳承歷程，這張專輯透過十段詩文的發想以隱喻的故事串聯，因著詩浮現腦海中的場景，舞出每一個音符的旋律，從一顆墜入山林的音符，點燃火苗、洗滌自己、看見所愛、展翅高飛、承擔重責、外界質疑、踽踽獨行、風的呼喚、舞出自己…等不同階段，破繭而出，找到自己的位置。這次創作的最大挑戰和突破，與不同的音樂團隊合作，跳脫傳統的演奏技巧、音樂流派、樂器制約，結合各種風格的樂器，鼻笛在中式的笙、中阮，西洋的大提琴、鋼琴、吉他、非洲鼓、法國風鈴裡自由擺盪，同中求異，異裡求同，音樂就是這般不可思議，一種無法被框架的奇妙美好。其中有一段奇妙歷程，就是帶著鼻笛返回山野林地收音，深夜在頭目的百年石板屋裡吹奏，將找回的聲音獻給祖靈，風吹屋簷的聲，萬籟俱寂的靜，突然嘎嘎作響，瞬間又由動轉靜，像是從石縫滲入的靈給了應允，允諾了少妮瑤的前行方向，讓她不由自己的虔誠低頭，答應祖靈。「擁抱山太久了，我已成為一座山，站在群山之間，成為一種穩定。」兼具傳承者的理性，與創作者的感性的少妮瑤，找到當代的位置，加入屬於這個世代的聲音，將東與西融合，新與舊交迭，為鼻笛注入前進的力量。南華大學民族音樂學系助理教授馬銘輝對這張專輯下了這樣的評論，「在全球化影響之下，傳統音樂和現代元素的交融碰撞可以產生許多不同面向，少妮瑤在台灣排灣族傳統音樂中注入了多元的色彩，堅持著從田野傳統出發和當代創作精神，走出了一條屬於自己音樂傳承的路。」 就讓我們裝上隱形的翅膀，依偎高山，聽風唱歌，在侷限中找回自在…Breath of Wind: A Fantasy World of Sauniaw’s Nose FluteWhat is mainstream, and what is alternative? What is orthodoxy, and who defines minority? Being resonated with music by heart leads to a right path. A breath of wind is an eternal rhythm made by a nose flute. Simply touching the most gentle of a hearts by sweet, sorrow, loving, or yearning, is enough. This is the raison d'etre of a nose flute.“Invisibility doesn’t mean inexistent.” A nose flute is such a charming, Taiwan-originated instrument. Sauniaw Tjuveljevelj, the goddess of nose flute, transforms a nose flute into a gust of wind. She plays outside the box and integrates music with different instruments, such as piano, violin, harp ,etc.Therefore, a dignified nose flute can be rock-n-roll, blues, and bossa nova. Sauniaw displays its multiplicity originally hidden to audiences.A nose flute is a musical instrument played by nose. For those in the tribe, playing music by nose means breathing new life deep into soul. Therefore, a nose flue is always with indigenous people going through birth, marriage, death, and ceremony. It is also an instrument expressing one’s emotions. Its sound is seemingly gentle but wavy. Despite smoothness, its music sounds tense as if we stood on the top of a tower.Delving into nose flute for thirty years, Sauniaw spends more than one year finishing her brand-new 10 singles. She says that vibrato is the core emotion of Payuan as well as the deposit of live. Due to different needs in a tune, she made corresponding nose flutes to open up the scale of music and hope for the best of this album.This album is inspired and connected with ten poems in which stories can be traced back to nearly thirty years ago. These poems create scenes in her mind and dance harmoniously with melodies. The musical note initially falls into the mountains, followed by ignition, cleansing itself, witness its beloved, soaring up, taking upon itself, questioned, walking alone, calling from wind, stepping up, and finally positioning itself.The most challenge and breakthrough of this album is cooperation with other music groups. Instead of traditional skills, trends, and rules, Sauniaw combines musical instruments from different styles, including reed pipe and alto lute, cello, piano, guitar, djembe, and French wind chimes. Similarities and differences are blended together. Music is so incredible because of its unlimited beauty.A magical journey happened when Sauniaw brought a nose flute back to forests for acoustics. At midnight, she played music in a hundred-year-old stone house of the chieftain, trying to worship the ancestral spirits with sounds she found. Suddenly, the complete silence is broken by the sound of wind outside as if the spirits between stones promised Sauniaw the road ahead. She nodded with fidelity, showing her obedience to the spirits.“A too long embrace of the mountains makes me as stable as them, sometimes as if I were a mountain as well,” she says. Both a rational successor and a sentimental creator, Sauniaw finds her own position, adds voices of this generation, combines the East and the West, and moves the nose a step further.Mr. Minghui Ma, an assistant professor of the Department of Ethnomusicology, Nanhua University, comments this album: “Under the influence of globalization, a crash between traditional music and modern elements is multifaceted. Sauniaw pours diversity into traditional Paiwan music. She insists on the tradition of land and the spirit of modern creation, walking her own path on music.”Let us be equipped with invisible wings, lean close to mountains, listening to songs of wind, and free yourself from limitations.