暗影编年原声专辑作者寄语

Robotech: The Shadow Chronicles Soundtrack

导演Tommy Yune和作曲家Scott Glasgow对专辑的寄语
译: kiki

导演寄语

这个影片是由1985年太空堡垒原作未竟的结局引申出的梦想。

我们是堡垒爱好者，我们拒绝相信史实传奇在斯科特·博纳德悲喜杂陈地离开地球，飞向群星的那一刻戛然而止。

乌皮欧·米努奇和阿隆·欧伯已经为经典的太空堡垒系列谱写了难以忘却的音乐，同时也设立了很高的标竿。而如今，如菅野洋子这样的知名的音乐家为动画片谱曲，将音乐的质量不断提高，我们确信，听众们对此已经建立了很高的期望值。

我们非常荣幸能够同斯科特·格拉斯哥一同工作。他是个音乐界的新生力量，对现场音乐，异国乐器，歌唱演员以及最新的数字音乐技术都有丰富的经验。我们的预算并不充裕，为了能够匹配太空堡垒故事的史诗感，达到一部大片的音乐效果，可谓是使出了浑身解数。斯科特的音乐能抵上半部影片。你将听到的，是许多个月来，很多有天才的人们努力工作的结晶。

请听吧!

- Tommy Yune


作曲家寄语


太空堡垒: 暗影编年的音乐具有很高的挑战性，这是个88分钟的剧情连续丰满的，庞大的太空歌剧式的音乐，但是它也给了我一个绝好的机会，来探索我从未梦见过的想象力。科幻题材为一个作曲家提供了丰厚的创作土壤，这也是为何我钟情于这类题材的缘由，不论是自己创作音乐，或者是欣赏其他的作曲家的科幻作品。

起初，导演汤米·尤恩(尹泰善)和我想创作一部全新的，现代感强的好莱坞式的太空堡垒新作，但我们也想将乌皮欧·米努奇创作的80年代的电视剧原声音乐融合到作品中去。我对剧本的第一反应是，应该创作"主导主题"式的音乐(就是用独立的音乐主题来代表人物，地点，事件的作曲方式)，我认为这种方式能够很好地支持深厚的故事和人物。整个音乐中，有很多音乐主题，例如爱丽尔主题，也是爱情主题，项链主题，英雄主题（新老都有），格兰特主题，大天使号主题，贾妮斯主题，以及很多其他的主题，都一起融入了整个音乐织体。有些人物拥有不止一个主题。主要人物海顿人的主题有一个进行曲式，有一个神秘的主题，有一个谜幻的和弦，还有一个号曲，以及一个低音人声主题。不过，影片的音乐，并非是音乐主题的堆砌。

对于一些特定的人物，还创作了音乐的肌理。例如因维人，为他们设计的是以打击乐为主的民族乐器和7/8拍子的节奏。为瑞吉斯，翘曲隧道，舰队，战斗机飞行员，还有其他一些地方，都是在剧情发展的过程中有特定的肌理，通过"主导主题"和"音乐肌理"的应用，音乐在讲叙太空堡垒宏伟故事的过程中，起到了更加贴切的效果。

我还要提一下，创作音乐的过程中，使用的多样化的乐器。除了常规的交响乐中的管乐器，弦乐器，打击乐器之外，我还使用了来自不同国家，不同年代的其他非常规的乐器。在配乐当中，你会发现中世纪的乐器蛇形管，六孔笛，西亚唢呐，澳洲吹管，蒙古呼麦(喉音)，竹笛，贝笛，酒瓶子，电大提琴，多种合声器，来自从夏威夷到美国原住民到日本到中国以及全世界的打击乐器。当然最重要的，是梅利莎·R·凯普兰的魔力歌喉。

对于能有机会为太空堡垒这个巨大的科幻故事增添新的传奇，我感到非常荣幸。

希望你能喜欢这音乐。

- Scott Glasgow



附原文:

A note from the director

This project began as a dream borne of the unresolved finale of the original 1985 ROBOTECH television series.

As fans ourselves, we refused to believe that the epic saga could just abruptly end with Scott Bernard's bittersweet departure to the stars.

Ulpio Minucci and Arlon Ober had set the bar very high with their unforgettable score for the classic ROBOTECH series. With notable anime composers such as Yoko Kanno continuing to break new ground, we were certain that audiences would harbor even more sophisticated expectations today.

We were very fortunate to have the privilege of working with Scott Glasgow. He is a true renaissance man of music with a wide range of experience with live musicians, exotic instruments, trained vocalists, and the latest digital technologies in music. We started with a relatively modest budget and pulled every last trick in the book to end up with a big feature film sound to match the epic scale of the ROBOTECH story. Scott's music truly became half of the picture. What you are hearing is the culmination of many months of hard work by many talented individuals.

Enjoy!

TOMMY YUNE



A note from the composer

The music to ROBOTECH: THE SHADOW CHRONICLES presented many challenges (88 minutes of wall-to-wall, large, dramatic space-opera style music), but it also presented an incredible musical opportunity to explore my imagination in ways I never dreamed of. Science Fiction, by its very nature, is such a fertile ground for a composer to work with. This is why it is my favorite genre, both to create music in and to listen to the music of other composer who have written sci-fi scores.

Early on, the director (Tommy Yune) and I set out to create a fresh NEW score in a modern "Hollywood style" to this new Robotech film, but we also wanted to incorporate the original themes written by Ulpio Minucci from the original '80s television series. My first reaction to the script was to create a "leitmotiv" type score (with distinct musical themes representing people, places or objects) which I felt supported itself very well to the deep story line and characters. There are many music themes in this score. The "Ariel" (love) theme, the "locket" theme, the "heroes" theme (both old and new), the "Grant" theme, the "Ark Angel" theme. "JANICE" theme, and many others all woven into the tapestry of the music. Some characters ended up with more than one theme. The main antagonist (the Haydonites) ended up with a march, a "mystery" motive, an "enigma" chord, a fanfare and a low choir motive. However, this score is not strictly made up of just musical themes.

There are also "textures" for certain characters. The Invid, for example, is made up of ethnic instruments with a focus on percussion and used mixed meters like 7/8 (odd. rhythmic pulses) for beats. The Regess, the warp tunnel, the armata, the fighter-pilots, and many other areas get a similar treatment of "texture" in place of thematic development. Using both the thematic "lietmotivs" and musical "textures" the score has a greater cohesion in telling the large sweeping story of Robotech.

I should also make a note of the vast diversity of instruments used in this score. Besides the standard orchestra of strings, winds, brass and percussion. I utilized other unorthodox instruments from different countries and different time periods. In this score, you will find a serpent (medieval), coronetto (medieval), zurna (ancient oboe), didgeridoo (aboriginal). Tuvan throat singing (monk drones), bamboo flutes, conch shells, wine glasses, an electric cello, various synths. a plethora of percussion from Hawaii to Native American to Japanese to Chinese, and all over the world. On top of this, I had the magical singing of Melissa R. Kaplan.

I feel very honored to have had the opportunity to work on this tremendous sci-fi story and add to the legend that is Robotech.

I hope you enjoy the music.

SCOTT GLASGOW