Rhythm in a box: The story of the cajon drum - Paul Jennings

譯者: Geoff Chen 審譯者: Helen Chang

Many modern musical instruments are cumbersome or have a lot of parts.

許多現代樂器很笨重，或有很多组件。

Some need a stand or a stool.

有些需用支架或凳子。

But the cajon is a drum, a stand and a seat all in one convenient box.

然而木箱鼓的鼓身、支架，和座椅 整體是個方便攜帶的箱子。

And this simplicity may be key to its journey across continents and cultures

這樣的簡單構造，可能是 它遍布各洲、橫跨各文化，

to become one of the most popular percussion instruments in the world today.

成為當今世上最流行的 打擊樂器之一 的主要關鍵。

The cajon's story begins in West Africa,

木箱鼓的故事源於西非，

whose indigenousness people had rich musical traditions

那裏的土著有著豐富的音樂傳統，

centered on drumming and dancing.

尤其擅長打鼓和跳舞。

When many of them were captured and brought to the Americas as slaves,

當許多西非人被俘虜 並運往美洲成為奴隸時，

they brought this culture with them,

他們帶著音樂文化同行，

but without their native instruments, they had to improvise.

由於未能攜帶原本的樂器， 他們必須湊合著用。

秘魯沿海的非洲奴隸沒材料、

African slaves in coastal Peru didn't have the materials

or the opportunity to craft one of their traditional drums

沒機會製造傳統的鼓，

such as a djembe or a djun djun.

如非洲鼓、頓頓鼓，

But what they did have were plenty of shipping crates.

然而他們有大批的運輸箱。

Not only were these readily accessible,

這些箱子不僅容易取得，

but their inconspicuous appearance

並且它們不起眼的外表

may have helped get around laws prohibiting slaves from playing music.

可能也有助於避開了 禁止黑奴演奏音樂的法令。

Early Peruvian cajons consisted of a simple box

早期的祕魯木箱鼓是一個簡單的盒子，

with five thick wooden sides.

五面是厚木板，

The sixth side, made of a thinner sheet of wood,

第六面是用較薄的木板

would be used as the striking surface,

做成的打擊面，

or more commonly known as the tapa.

通常稱為塔帕。

A sound hole was also cut into the back to allow the sound to escape.

箱子的背面開個音孔，以釋出聲音。

As an Afro-Peruvian culture developed,

隨著這種非洲-秘魯文化的發展，

and new forms of music and dance, such as Zamacueca,

產生了新的音樂和舞蹈，

如秘魯的桑馬醉加舞、慶典舞，和蘭多舞，

Festejo and Landó were born,

the cajon became a dedicated musical instrument in its own right.

木箱鼓也就成為了這些舞曲的專屬樂器。

Early modifications involved simply bending the planks of the box

早期的改進包括弄彎箱子的木板

to tweak the sound,

來調整聲音。

and when abolition of slavery introduced the cajon to a broader population,

在廢除蓄奴制度後，木箱鼓更廣為流傳，

more improvisation and experimentation soon followed.

人們嘗試更多的試驗和改進。

Perhaps the person most responsible for introducing the cajon

也許把木箱鼓介紹給歐洲的觀眾的

to European audiences was Spanish Flamenco guitarist Paco de Lucía.

正是西班牙的佛朗明哥吉他手 Paco de Lucía。

When touring in Peru in 1977,

1977年，在祕魯巡演會，

he and his percussionist Rubem Dantas

他和他的鼓手Rubem Dantas，

discovered the cajon and brought it back to Spain,

發現木箱鼓，把它帶回西班牙，

展現佛朗明哥音樂的潛力。

recognizing its potential for use in Flamenco music.

By stretching guitar strings along the inside of the tapa,

經由伸展打擊面的吉他弦，

the flamenco musicians were able to create a buzz-like snare sound.

佛朗明哥音樂家們能奏出了有如蜂鳴的聲音。

Combined with the regular base tone,

結合一般的低音，

this gave the cajon a sound close to a basic drum set.

使木箱鼓發出近似鼓組的聲音。

The cajon quickly caught on,

木箱鼓很快被應用於各種音樂，

not only becoming standard in Flamenco,

它不僅成為佛朗明哥的標準演奏樂器，

but being used in genres like folk, jazz, blues and rock.

還用於演奏民俗、爵士、 藍調和搖滾等，各種流派。

Today, many specialized cajons are manufactured,

如今，人們製造了很多特殊的木箱鼓，

some with adjustable strings,

有些有可調式的弦，

some with multiple playing surfaces,

有些有多個可以敲擊的鼓面，

and some with a snare mechansim.

有些配備著網羅機制。

But the basic concept remains the same,

但是木箱鼓的基本沒變，

and the story of the cajon shows

木箱鼓的故事告訴我們，

that the simplest things can have the most amazing potential

只要不局限住思維，

簡單的東西也能發揮驚人的潛質。

when you think outside and inside the box.