【大紀元2月13日訊】棋友哈斯克爾‧斯摩爾(Haskell Small)沈默少言、棋力強勁(三段)，每週五晚上在馬州貝塞斯達市(Bethesda, MD)主持大華府圍棋社(The Greater Washington Go Club)，為美國圍棋的推廣奉獻不少心力。該棋社每週聚會弈棋一次，每月並邀請到周源(Yuan Zhou)八段主持圍棋講座一回，周源八段的棋力在大華府地區首屈一指，他教圍棋、講棋技、寫棋書，為美國圍棋技術水平的提昇貢獻良多。

間接聽到哈斯克爾是位職業音樂家，並曾以圍棋為題譜作樂曲。琴、棋自古就在中華文化的四藝之列，將琴與棋合而為一，令我好奇，於是請他針對該圍棋樂曲寫篇文章以為介紹，該文刊載於第三屆大華府地區「中國新年圍棋賽」的大會手冊內。哈斯克爾有音樂家的高雅氣質，也有棋手的氣定神閒，該文頗具創意巧思，值得一讀，金老師在此譯出，以饗讀者。

第四屆大華府地區「中國新年圍棋賽」，將於2010年2月27日〈星期六〉在維州的喬治梅森大學〈George Mason University〉舉行，有興趣參賽者，請聯絡金老師〈伊媚兒：chin8673@yahoo.com 電話：703-291-4201〉。

《2010年2月10日於北維州 》

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圍棋和音樂的思考

哈斯克爾‧斯摩爾

圍棋博大精深、令人著迷，每人著迷的原因卻不盡相同：有些人因技術上的挑戰(嚴密的戰術發揮)而迷戀、還有人被它的藝術美感所吸引，圍棋有它的禪學冥想面、也有它的趣味性。圍棋的多采多姿、多元特性使每個人都以各自特有的方式而沈醉棋中，但我想著迷者們都同意，圍棋不僅是一個遊戲、一場比賽，它有一種無形的質感、神秘感，使人為其魔力所誘惑。

由於這些原因，我相信圍棋不僅是運動或消遣，而是與音樂藝術同等地位的另一種藝術形式。圍棋和音樂都蘊藉神秘、微妙、不可避免的美、與不可隱匿的真。此外，圍棋就像音樂，是能夠表達人類情感的，棋子叮叮，流露出喜悅、失望、甚至幽默。正是本著這一精神，我發現我生活上的重大興趣交互重疊、相映成趣。

作為一位對圍棋患有重癮的職業音樂家（鋼琴家、作曲家、教師），有一段時間，我想找到一種能結合這兩項興趣的方法。1987年，我成功地以某一棋譜譜寫了一曲音樂。我選了大田雄三(Ota Yuzo)和本因坊秀策(Honinbo Shusaku)在1853年Sanjubango比賽〔譯註一〕的第六局，並以兩架鋼琴合奏，分別代表黑子與白子，我選此局，是因為它代表著領土(實地)與模樣(勢力)的對抗競爭、勢均力敵，一個持續的競相捕捉、吃子追殺，以及不少令人驚心動魄的劫爭。

為了製作這首棋曲，我不得不坐在四張不同的椅子。先由棋盤上開始，打譜打至佈局階段，深思其含義；然後移到單人沙發，試圖想像佈局階段的音樂表現。此時的我，看上去像在打盹兒，我認為這是最困難的一步——由已知的材料，絞盡腦汁地去設計創造恰當的樂曲。然後我到鋼琴旁確認並勾劃構想，並即興寫下可能的進展。再回到棋盤，試圖感受辨別棋局的方向，及音樂將如何繼續進行以傳達棋賽的演進。隨後回到單人沙發或鋼琴等等，以此過程，我終於完成了一個草稿，然後再回到下一張椅子，在寫字檯上寫手稿（當然，目前是用電腦）。在這最後階段，我常常想撤回到其他椅子再作最後的修改。不可思議的是，經過數個月的費心盡力，我的孩子出生了。

這部棋曲自然的分成三節：佈局（寧靜、寬敞、很多思考的時間）、中盤（由第一次短兵相接開始，節奏更快、更激烈）、最後是相對平靜的官子。比賽中幾次爆發的劫爭，使我有機會組個週期性的劫爭主題，顯現出棋手(鋼琴)之間劫材的交換。合唱的想法是棋曲的另一個特點（最終表現出一種賦格形式〔譯註二〕），以喻指比賽亦步亦趨競擊追捕中的餘味（Aji〔譯註三〕）、及其意味深長的纖巧微妙。作品的高潮（我相信這也是比賽的高潮）是185、186手的消劫。至此，比賽的攻殺已定，此時，相互爭勝的倆棋手可能也都算出了最終結果——和棋(即空地相同)。

1987年夏天在麻州阿默斯特(Amherst, MA)第三屆美國圍棋大會上，舉行了這部棋曲“棋弈”(A Game of Go)的首映，一位同事和我彈鋼琴部份，而圍棋三段、本人也是一位鋼琴家的馬文‧沃爾夫陶(Marvin Wolfthal)執行投影部分，他依樂譜適時地按下電腦上的輸入鍵以重現棋譜行棋的順序。首映之後，它也演出多次(有時有投影部分、有時沒有)，包括在卡內基音樂廳和肯尼迪中心的表演，還於次年3月6日在國家公立廣播電台(NPR, National Public Radio)的節目“凡事考慮”(All Things Considered)中播出過。也已發行兩張CD錄音，其中之一是由鋼琴雙人隊Quattro Mani錄製的，標題為“棋弈”(“A Game of Go”，Klavier 11106)。再過數週，我將把它放在“你吐吧”(YouTube)上www.youtube.com/haskellsmall

〔譯註一〕：Sanjubango棋賽是兩位棋手間下30場(30番棋)棋的競賽，歷史上僅出現一次，就是1853年大田雄三和本因坊秀策所下。

〔譯註二〕：Fugue是法語，賦格，是一種多聲部的樂曲，其主要結構是先在一個聲部上出現一個主題片斷，然後在其他的聲部上模仿這個片斷，這時主題聲部的演奏與新的聲部相對應的樂句，形成聲部間相互問答追逐的效果。

〔譯註三〕：Aji是日語，餘味、味道。

REFLECTIONS ON GO AND MUSIC

Haskell Small

We are all attracted to go by our own combination of reasons. Some of us find the technical challenge- the rigorous exactitude of tactical play- to be the paramount attraction. Others are drawn to the game by its aesthetic beauty. There is also a Zen-like meditative aspect to the game. And of course, go is great fun. An individual blend of these and other attributes make go a compelling activity for each of us in our own way, but I think we can all agree that go is more than a game, that there is an intangible quality- a mystique- that ensnares us in its magic.

For all these reasons, I believe that go is not just a sport or pastime, but an art of equal status to the art of music. Both go and music are enwrapped with mystery, subtlety, and the beauty of an inevitable, ineluctable truth. Furthermore, like music, I contend that go is capable of the expression of human emotions- go moves can be found that exude joy, despair, even humor. It is in this spirit that I have found the major interests of my life crossing paths.

As a professional musician (pianist, composer, and teacher) who also suffers from an addiction to go, I had for some time wanted to find a way to combine these interests. This came to fruition in 1987 when I conceived of the idea to compose a piece of music based on a game of go. I decided to employ 2 pianos, one representing black, the other white, to set each move or sequence of moves of a classic game, the sixth game of the sanjubango between Ota Yuzo and Honinbo Shusaku played in 1853. I chose this game for its balance of expanding moyos versus territory, an ongoing protracted race to capture, as well as several exciting ko battles.

To write this piece I had to sit in four different chairs. I started at the go board, playing through the opening moves of the game, cerebrating on their meaning, then moved to an armchair where I attempted to imagine a musical rendering of these moves. Although if observed I would seem to be napping, I consider this the hardest step- mentally grappling with the given materials to create from whole cloth a gratifying musical design. Then I would go to the piano to confirm and sketch out the ideas, and improvise possible continuations. Then back to the go board to try to discern a feeling or direction for how the music would continue to best serve the flow of the game. Then back to the armchair or piano, etc. With this process I eventually completed a rough draft, then to the next chair- at a writing table to produce the manuscript (or these days on computer of course). During this last stage, often I would retreat to one of the other chairs again for final revisions. Miraculously, after a number of months of hard labor, my baby was born.

The piece naturally partitioned itself into three sections analogous with the opening of the game (placid, spacious, much thinking time), middle game (signaled by the first contact play- faster paced, intense), and finally the relatively calm unwinding of the endgame. The several ko fights that erupted during the game afforded me the opportunity to help unite the work with a recurring ko theme, which punctuated the exchanges of ko threats between the players/pianos. Another feature of the music is a choral idea (that eventually culminates in a fugue), used to suggest the rich subtleties of the aji remaining in the evolving race to capture. The climax of the piece (and I believe of the game) is the resolution of the ko at moves 185 and 186. The race to capture is now resolved, and both players probably knew at this point that their mutual struggle for victory produced the ultimate result- jigo.

“A Game of Go” was premiered at the third U.S. Go Congress in Amherst, MA, in the summer of 1987. A colleague and I played the piano parts while Marvin Wolfthal, 3-dan and also a pianist, performed the video part by pressing return on a computer in time to each move as indicated in my score. It has since enjoyed a number of performances, both with and without the video component, including performances at Carnegie Hall and the Kennedy Center, and was also featured on NPR’s “All Things Considered” on Mar. 6, 1988. Two recordings have been released, one by the 2-piano team Quattro Mani, who titled their CD “A Game of Go” (Klavier 11106). In the next few weeks I will be releasing the video on YouTube //www.youtube.com/haskellsmall.

(//www.dajiyuan.com)