音乐.我.中国

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Since the age of five, I have been a musician. At that time, my parents, like so many in the West, forced me to learn the piano, and I didn't appreciate it at all. I found that the music used in piano teaching was uninspiring and bland. Aged eight, I began to learn the guitar, and got my first electric guitar when I was eleven. At thirteen, I made a big mistake by finally quitting taking piano lessons, although I continued to learn on my own.

During secondary school and whilst studying Chinese at university, my interest in and love of music grew and grew. I can safely say that listening to and playing music is a passion for me, not just a hobby. Despite this I never really considered a career in the music industry.

In Britain, the music business is very difficult to get into. You often have to take a series of unpaid internships over many months in order to gain the experience needed to get a paid job. This is because the music industry is very popular. Salaries are nearly always lower than for equivalent jobs in other sectors (unless you are one of the star musicians), yet still many people are prepared to take this pay-cut in order to get in.

Thus, when I came to China, I did not intend to pursue a career that involved music. However, after arriving in Beijing, I was offered a job in a Chinese record company and of course I had to say yes. As the company is quite small, I find myself doing many different jobs, although my main title is Production Director. I am responsible for arranging recording sessions, including booking studios, organising musicians and also sitting in the studio to supervise the recordings. I am always impressed at how professional the singers and musicians are, and how they don't get annoyed when I tell them to play something again or to change their recording.

Working in a music company is wonderful if you are very interested in music. The general office atmosphere can be more relaxed, and this ①makes up for the long hours that are needed in the recording studios. As a producer there is always the opportunity to be creative and give input into the music, but there is also work to do involving the organisational and financial side of things.

China's music industry is very different from that of the US, Europe and Japan. In these major markets, music really is big business. For example, Britain exports over 400 million pounds' worth of music every year. In these markets, when a record company want to record an artist, they will often lend him or her the money to make the album, and then take the money back from the artist's earnings when the music is finished. The larger part of these earnings comes from CD sales, with other money being earned from performances and sometimes sponsorship.

The main difficulty in China is rampant piracy. There are no big earnings from a recording itself. The more popular a song or album is, the more it will be pirated. Even talented artists can find it difficult to find funds with which to record their music. In China, most earnings have to come from performances and, if an artist is popular enough, sponsorship. Much of the work we have to do involves trying to get sponsorship deals for our artists. Particularly popular in China are deals with soft drinks companies, but artists often find themselves sponsored by many different types of company.

This different structure leads to the curious situation where Chinese artists are often quite happy to have their music pirated over the internet (something that most Western artists particularly detest). This raises their profile, allowing them to earn more through performances and sponsorship deals.

The piracy problem also means that a lot of foreign music is never released in China. I find this annoying, as the music I like is never available here, but I also believe this ②has a negative effect on the Chinese music industry ③as a whole. Modern music production relies heavily on computer based software, but much of this software is never released in China as its distributors fear piracy so much. Equally, musicians and producers are influenced by other musicians and producers, and as so much music is not available in China, what these people can hear and learn from is limited.

Western music gains greatly from the diversity of western societies. In the US, producers regularly use musical styles borrowed from Latin America, the Caribbean, and of course the hugely influential African-American population. In Britain, music is partially influenced by the large Indian population as well as the other ethnic groups that make up the population. China is yet to receive a large amount of immigration, but this is sure to change as the economy continues to develop.

Having said this, Chinese music does benefit from the many ethnic minorities in the country. For example, some of my favourite musicians to watch in China are guitar players from Xinjiang, I believe that they are amongst the most skilled players in the world. I often hire them to accompany our company's singers in the recoding studios, and believe that there is great potential for Chinese popular music to develop its own flavour, fusing traditional Chinese instruments and China's ethnic minority music with foreign musical styles and techniques.

自5岁起，我就一直是个音乐人。那时，我的父母，与西方的众多父母一样，逼着我去学习钢琴，而我根本就不领情。我发现，钢琴教学中所用的乐曲没有启发性，平淡无奇。8岁时，我开始学习吉他，并在11岁时得到了我的第一把电吉他。13岁时，我犯了一个大错――最终放弃了钢琴课的学习，不过，我仍旧在进行着自学。

在上中学以及在大学学习中文期间，我对于音乐的兴趣和喜爱愈发浓厚。我敢说，对我而言，听音乐和演奏音乐就是一种激情所在，而不仅仅是一个爱好。尽管如此，我真的从来没有想过在音乐行业谋职。

在英国，进入乐界是非常困难的。你常常要在数月之内从事一系列没有薪水的实习工作，从而得到获得一份带薪工作所需的经验。这是因为音乐行业非常热门。虽然薪酬几乎总是比其它领域中的同类工作要低（除非你属于明星音乐人之列），但仍有许多人为了能入行而准备接受降薪。

因此，当我来到中国时，我没有打算寻求一份与音乐相关的职业。然而，到了北京以后，有一份中国唱片公司的工作摆在了我的面前，当然我要同意了。由于这家公司很小，所以，虽然我的主要头衔是“监制”，但我却发现自己在从事着许多不同的工作。我负责安排录音档期，包括预定录音棚、组织音乐人，以及坐在录音棚里监听录音。而歌手和音乐人的专业程度以及他们在我告之要重来或改录时并不动怒的作风，始终都给我留下了深刻的印象。

如果你对音乐非常感兴趣，那么在音乐公司工作就太棒了。办公室氛围一般都更为轻松，而这就弥补了在录音棚里所要耗费的漫长时间。作为一名制作人，总是有机会发挥创造性并在音乐中进行体现的，但组织和资金方面的工作也是要做的。

与欧美和日本相比，中国的音乐行业大不相同。在这些重要的市场，音乐真的是大产业。例如，英国每年输出的音乐产值超过4亿英磅。在这些市场里，当一家唱片公司想要为一位艺人灌唱片时，他们通常会借给他/她出唱片的资金，随后在音乐完成后从这位艺人的收入中把资金收回来。而这些收入中的大头来自CD销售，其它收入则是从演出以及偶尔的赞助中赚取的。

在中国，主要的难题就是盗版猖獗。灌唱片本身不会赚大钱。歌曲或专辑越火，盗版就越猖獗。即使是天才艺人也会发现难于寻求资金来录制他们的音乐。在中国，大部分收入来自演出，如果艺人真的够红，那么还来自赞助。在我们必做的工作中，大部分都与努力为我们的艺人拉赞助合约有关。与软饮公司签合约在中国极为普遍，不过艺人们发现他们也常常会受到许多不同类型的公司的赞助。

这一不同的模式导致出现了奇特的现象――中国的艺人们常常非常乐于让其音乐在互联网上被进行翻盗（而大多数西方艺人是特别憎恶这个的）。这增加了他们的知名度，使他们可以通过演出和赞助合约赚得更多。

盗版问题同样意味着许多外国音乐在中国是绝对发行不了的。我发现这让人感到不快，因为我喜欢的音乐在这里是绝对没有的，不过我也相信，这在整体上对中国的音乐行业是有负面影响的。现代的音乐制作极大地依赖于电脑应用软件，但这类软件大部分从不在中国发行，因为发行商非常忌惮盗版。同样，音乐人和制作人会受到其他音乐人和制作人的影响，而太多的音乐在中国都找不到，所以这些人所能听到并加以学习的东西就是有限的了。

西方社会的多元化使西方音乐收益颇丰。在美国，制作人时常使用那些借鉴而来的音乐风格，有来自拉美和加勒比地区的，当然也有来自拥有巨大影响力的美籍非裔群体的。在英国，音乐部分地受到了巨大的印度人群体以及人口中其他族裔的影响。而中国还没有大量的移民，不过这肯定会随着经济的持续发展而发生改变的。

话虽如此，中国音乐确实从本国的众多少数民族中受了益。譬如，在我最喜爱的中国音乐人中，有一些就是来自新疆的吉他手，我认为他们在世界上技艺最精湛的表演者中占有一席之地。我常常聘用他们为我们公司的歌手在录音棚里伴奏，而且相信，中国流行乐的潜力巨大，能将中国的传统乐器和中国少数民族音乐与外国的音乐风格和技巧结合起来，开拓出自己的风格。

bland /bl2nd/adj.平淡无奇的；刺激性少的

internship /`int/nHip/ n.实习期

equivalent /i`kwiv9l9nt/adj.相等的；相当的

session /`seH9n/ n.(从事某一活动的)一段时间

supervise /`s(p9vaiz/ v.监督；管理

sponsorship /`sp4ns9Hip/ n.赞助；资助

piracy /`pai9r9si/ n.侵犯版权；盗版

soft drink 软饮料(不含酒精的饮料)

curious /`kju9ri9s/ adj.古怪的；好奇的

detest /di`test/ vt.厌恶；憎恨

profile /`pr9ufail/ n.形象；外形；轮廓

ethnic group同种同文化之民族

instrument /`instrum9nt/ n.乐器

① makes up for 弥补；补偿

② have a negative effect on 对……有负面影响

③ as a whole 总体上