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American Expo 99- interview with YK
——Ameircan Expo 99对菅野洋子的访谈
Translated by CherryponyAX: How did you get started doing music for animation? Did you want to do it or did some director or producer ask you to do it?
YK: They just asked me. I didn't want to do animation because I don't know animation and I don't like to see TV shows. Even now, I only see my work, not other animation.AX:你怎样开始为动画作曲的？是你自己想做还是某位导演或制作人让你做的呢？ YK:是他们问我的。一开始我并不想为动画作曲，因为我对动画不了解，也不喜欢看电视节目。即使现在，我也只看我的作品，不看其他的动画。 AX: Are there any hidden skills or hobbies that we don't know of besides your music?
YK:I used to take ballet lessons so I'm pretty good at choreography. AX:除了音乐，你有没有一些我们不知道的技能或爱好呢？ YK:我以前学过芭蕾课程，所以舞跳得不错。 AX: The music on both your solo albums and your soundtracks, there's such a wonderful blend of so many styles of music. How were you exposed to so many styles of music living in Japan?
YK:In Japan, various genres of music that are reflected in my work are already played on the airwaves in the forms of commercials and whatnot so I was exposed to it. Especially in Tokyo. AX:在你的个人专辑和原声作品中有许多种不同音乐风格的完美融合。你生活在日本，怎么能接触到这么多种音乐风格呢？ YK:在日本，我作品中所反映的不同流派的音乐已经在电视广播中出现过了，像广告啊什么的，所以我对它们有所接触。尤其是在东京。 AX: Things like choir music and blues guitars, things of that nature?
YK:I remember a lot of the styles if I listen to it once. So if I'm ever exposed to it once, that's how I do it. AX:比如说像唱诗班音乐和布鲁斯吉他，这样的风格你也听到过？ YK:许多风格我只听一遍，就能把它记住。所以我只要曾接触过这种风格的音乐，就能创作它了。 AX: What challenges does composing for anime have that are different from live action or your personal compositions?
YK:There is no difference. Usually you'd think that you'd be bound to the limitation in the animation, but I don't feel that way. I feel it's the same. AX:与真人电影或者你个人作品相比，为动画作曲的挑战性在何处？ YK:那没有什么区别。通常你会认为你可能会被动画的局限性所约束，但我没有这样的感觉。我觉得它们都是一样的。 AX: Even in terms of timing?
YK:Yes. AX:即使在声画同步的条件下？ YK:对。 AX: Recently Sunrise made the announcement of the Escaflowne Movie. How's the music going to contrast to what was in the TV series?
YK:I haven't thought of it yet because I haven't gotten the plot script for the movie yet. AX:最近Sunrise宣布制作Escaflowne电影。这音乐将会与TV版的有什么不同吗？ YK:我还没有考虑过，因为我还没有拿到电影剧本。 AX: So the music hasn't been started yet?
YK:Well... [laughing] A couple of the songs will be similar to the TV series, but the music hasn't been started yet. AX:所以音乐还没有开始做？ YK:嗯…（笑）一些曲子可能会与TV版的相似吧，但音乐还没开始做呢。 AX: From what I saw and heard of your performances at Otakon, it was more jazz piano than anything else. Are there jazz performers in the US that you have learned from or would enjoy playing with as part of a combo?
YK:I don't know that many jazz composers, but I would like to play with Pat Methany. AX:从我在你Otakon表演的所见所闻，爵士钢琴比其他的都多。你从哪些美国的爵士表演者身上有所收获，或者你想与谁组成小型爵士乐团合作表演呢？ YK:我认识的爵士作曲家没有那么多，不过我想与Pat Methany合作。 AX: You say you watch the visuals for your normal compositions. What do you have for inspiration for your compositions?
YK:I usually look at the visuals or the plot of the thing, but sometimes I imagine myself dancing along to the tune that I'm creating, or for like the more military-like things, I imagine a military parade inside of my eyes and sometimes I get a little serious about my composing and I start crying as a result. AX:你说你观看作品的画面。你从你的作品中得到什么样的灵感呢？ YK:我通常会看与作品有关的画面与情节，不过有时我想象自己随创作的旋律起舞，或在创作那些有关军事的曲子时，我眼中浮现军队列队前进的场景，有时我作曲过于投入，最后就哭了起来。 （译者： military parade可以翻译成阅兵式或部队列队前进，但之所以这里翻成列队前进是因为我认为，菅野洋子的音乐中没有发现能与阅兵礼相匹配的比较规整的，反映军队威风凛凛的仪仗式行进曲，她典型的战争音乐反映的是比较强烈甚至激烈的情感，比如激战正酣([Macross Plus] Dog Fight)或辉煌胜利（[Turn A Gundam OST2] White Falcon），抑或是临战前的紧张行进（[狼雨OST2] 死の森），情感起伏相当大，旋律极富戏剧性。当然这些动画我都没看过，全凭自己的感觉去揣测音乐所描绘的画面和菅野想象的场景。但不管怎么说，阅兵式是假作的威风、安全的演示(是一种display)，阅兵式上典型的军乐是比较轮回式和服务性的（比如久石让在红猪中所做的两首进行曲），少有跌宕起伏的旋律，个人认为比较有势无气，与真实激烈的描绘还是有距离的。在这里，我认为与菅野所描述的场景比较符合的是[狼雨OST2] 中的死の森，一方面我对它比较偏爱，另一方面，看到菅野洋子所述的情景，直觉上第一浮现的画面就是死の森，菅野洋子在其中还加入了军队行进的脚步声，使其画面感极其强烈。建议大家可以根据《死の森》一曲来理解菅野的这句话。）AX: Since this is your first Anime Expo, what are your impressions or what do you think of AX and do you have any plans on coming to the next one or, in the near future, another one?
YK:I would like to come again if my schedule permits. In Japan, most of the people are too shy to say what they think is good, but in the case of the Americans here at Expo, they weren't too shy to say what they liked and they weren't afraid to have a standing ovation. It gave me a lot of courage and power. And I don't know how I got so famous. AX:这是你第一次参加动画展，你对于动画展印象如何呢？你有没有计划参加下一次动画展或在近期内参加另一个动画展呢？ YK:如果我的时间表允许的话，我还会来的。在日本，大多数人都十分羞于表达他们认为什么东西好，但在这里的展览，美国人没有害羞到不能说出他们的所爱，他们也敢于长时间地起立鼓掌。这给我了很大的勇气和力量，我真不知道我怎么变得如此出名呢。 AX: You've done a lot of compositions, have you ever sung vocally yourself in the past or on any of your songs?
YK:Uh, me? I can't tell you. [laugh] It's top secret. Just imagine. AX:你做了许多曲，你自己曾演唱过吗？或在你做的歌曲中参与演唱？ YK:啊，我？我不能告诉你。（笑）这是最高机密。自己想吧。 AX: For all of the soundtracks you have done for anime, there is such a large amount of music, like several CDs for each series. Do you get to decide which songs go on which CDs and is there a lot of music that you compose for a series that doesn't end up on the CDs?
YK:I do all of them. I pick the song titles and also, I usually get involved in the creation of the liner notes and the jacket cover. AX:你为每部动画所作的原声都有许多曲子，比如每个连续剧都有多张专辑。你是不是得决定哪些专辑收录哪些曲子？你为连续剧作的许多曲子是否不会被收录在专辑中？ YK:这些都是我做的。我选择曲目，也经常参与唱片封套及封套注释的创作。 AX: Is there a lot that is not included at all on any of the CDs?
YK:There is a lot. AX:你是否有许多曲子不会被收录在任何一张专辑中？ YK:有许多。 AX: What is your work schedule like?
YK:In a given week, since I do a lot of commercials, I have about 2 or 3 commercial songs that have to be created. I have meetings with the advertisers and I go and record the piece and then I make a demo tape out of it for the 2 or 3 commercials per week. Most of the time that I don't spend on the commercials, I spend on the one big other title, because I only select one anime piece or other piece, one per year, so I have the meetings and the recordings for that to fill my spare time. AX:你的工作进度是怎样的呢？ YK:由于我做许多广告音乐，在给定的一周内我大概得做2到3首广告音乐。我要与广告客户会面，然后我为每周的这两到三个广告录音并制作样带。不做广告音乐时，我大都致力于一个较大的任务，因为我每年只选一部动画或其他作品，其余的时间我忙于参加与之有关的会面和录音。 AX: Well, since you don't like anime, what kind of movies do you watch or like, besides David Lynch?
YK:Well, I haven't seen enough of David Lynch's stuff to have a mass following. Most of the time, I don't go out to see movies and I don't watch TV shows. I would rather go out on walks or travel around. AX:那么，既然你不喜欢动画，除了David Lynch，你还看或者欣赏什么样的电影呢？ YK:嗯，我看的David Lynch的电影不多，不算铁杆爱好者。大多数时间，我不出去看电影也不看电视节目。我宁可外出散步或旅游。 AX: Would you ever considered doing music for non-anime movies?
YK:I have already made soundtracks for two movies in Japan. But nobody knows them. [laughs] AX:你有没有想过为非动画电影配乐？ YK:在日本我已经为两部电影创作了原声。不过没人知道它们。（笑） AX: I've loved your music since I heard it in Macross Plus. But it took me by surprise cause after Macross Plus, you did Escaflowne. I was like "Oh, that sounds like Yoko Kanno." Brainpowrd. "That sounds like Yoko Kanno." Then Cowboy Bebop came along and it was... "THAT'S Yoko Kanno?!?" The change, the different side of your music, was that something that the creators expressed that they wanted you to go into or is that how you saw the story?
YK:The Director of Cowboy Bebop is very keen on the music scene but he didn't give any direction on where I should go. He learned working with me on Macross Plus that I don't follow his orders even if he gave any. AX:自从在Macross Plus中听到了你的音乐，我就喜欢上它了。不过你让我大吃一惊，因为在Macross Plus之后，你创作了Escaflowne，我的反应是“哦，那听上去像菅野洋子。”，听了Brain Powerd，“那听上去像菅野洋子。”然后听了Cowboy Bebop…“这是菅野洋子！？”这种转变，也就是你音乐的不同侧面，是创作者要求你达到的还是你就是如此理解这故事的？ YK:Cowboy Bebop的导演对音乐场景非常着迷，但他并没有指导我该怎么做。在与我共同制作Macross Plus时他了解到，即使他给了我指示，我也不会听从的。 AX: The previous question alluded to your growth musically through Macross Plus to Cowboy Bebop. We can obviously hear the changes, but how would you describe your musical growth?
YK:I'd be troubled if I didn't see any growth. But at the same time, I feel that I'm still not at the level that I can be. AX:前一个问题间接提到了，从Macross Plus到Cowboy Bebop你在音乐方面的进步。我们明显能听出转变，不过你是如何形容你的音乐成长的呢？ YK:如果没有任何进步的话我就会感到困扰。不过与此同时，我认为我仍没有达到应有的水平。 AX: What level do you hope to be at?
YK:Now, it's very low for me. In my head, more and more beautiful and cool music is in my brain, but I can't express it. AX:你希望达到什么样的水平呢？ YK:现在的水平对我来说是很低的。在我脑中，更多美好绝妙的音乐存于构想之中，但我无法将它表达出来。 AX: When you have worked with the different groups that you have worked with over the years, like with Macross Plus you worked with the Israel Philharmonic, how involved do you get with the direction of those groups?
YK:I start by asking the group that I want to play with. When they get the actual music, I will actually be in the orchestra or be playing with them or directing so that I actually gets my expressionism through to the music group. I feel that many of the male composers in Japan are too shy so that they can't just go into the orchestra to play with them or directing for them, so that they just usually just send the music and that's it. AX:在这么多年里，你与好几个不同的乐团合作，比如你与以色列爱乐乐团合作演奏Macross Plus，你如何指导这些乐团？YK:首先，我与想合作的乐团联系。当他们得到了音乐，我会和乐团在一起或与他们共同演奏和指导他们，这样我就可以将我所想表达的传递给乐团。我感到许多日本男作曲家太害羞了，他们不能与乐团一起演奏或指导乐团，于是通常就将音乐寄过去了事。 （译者：久石让，川井宪次等日本作曲家不喜欢自己亲自指导国外乐团，在Japan Vibes对菅野的访谈中也提到过这点。）AX: You use a lot of 3/4 time in your composition work. It seems that everything else is in straight 4/4. Any particular reason why? Is it a dance reason?
YK:When I started composing when I was 3 years old, the first song I did was in 3/4 time and I haven't changed since. AX:你在作品中经常使用3/4拍。好像其他作品就都是清一色的4/4拍了，有什么特别的理由吗？是因为舞蹈的缘故吗？ YK:在我三岁开始作曲的时候，我做的第一首曲子就是3/4拍的，从那以后一直如此。 AX: Have you ever considered doing a tour in Japan or do you consider yourself more a composer than a performer?
YK:I feel that I'm more of a composer than a performer and I don't really like performing in front of a large audience. But I do like performing in background of another person. AX:你想过在日本巡回演出吗？你认为自己是作曲家而不是演奏家吗？ YK:我认为我是作曲家而不是演奏家。其实我并不喜欢在许多观众面前表演。不过我喜欢为其他人伴奏。 AX: Macross Plus was very well received, the music, the visuals, the story and everything like that. You've also had success in your other projects as they have definitely been above average, if not the best of those areas, especially with Cowboy Bebop now. How have you done such a great job in following great anime to put your music to? YK:I have a theory that if the anime is not too good, if you add a not too good soundtrack to it, then it would be mediocre at best. But if you put top notch music to mediocre anime that it might be better. So I try to make top notch music to any anime that I do. I have had cases where many a director was feeling more optimistic about the series because the music was so good. AX:Macross Plus广受好评，无论是音乐，画面还是故事等等。你在一些其他作品中也获得了成功，它们即使在那个领域不是数一数二的也均属上乘之作，尤其是现在的这部Cowboy Bebop。你是怎样为这些优秀的动画配上如此美妙的音乐呢？ YK:我有个理论，如果动画并不太好，再配上一个一般的原声，那它最多是平庸的。但如果你为平庸的动画配上一流的音乐，它会变得好些。所以我尽量为我的动画配上一流的音乐。我遇到过好几次这种情况，因为音乐配的如此之好，许多导演对连续剧更为乐观了。 AX: What do you think of your music being so popular in countries far from Japan?
YK:In Japan, the anime industry is not really looked upon, in fact it's rather looked down upon, so it feels good to know that what I've been doing in the anime industry is good by getting all the positive feedback from other countries. AX:你是如何看待你的音乐在远离日本的国度受到如此欢迎的？ YK:在日本，动画产业不太受重视，实际上它是很被瞧不起的。所以，在其他国家获得肯定的反馈让我了解到自己在动画产业干的挺好，感觉不错。 （译者：和一些日本朋友说的一样，动画产业的确是被瞧不起的，大多数日本人当它是商业机器吧。但日本那些经院音乐家也不怎么样啊，一些科班出生的音乐家不过就是技术娴熟些，不见得就能将音乐化为自己的语言了。）AX: You said several times that you've done a lot of commercial work. Could you tell us a little history on how you became a professional musician up to the point where you started doing anime soundtracks?
YK:I was a literary major in college. I quit after one week. I did some extracurricular activities in part of a pop group in college. Then I started doing the background accompaniment for a couple singers in Japan. Then the director of the group said, "You want to write some music?" And that was for a game and was my first composition. Then someone from the commercial industry, who listened to the game said, "Hey! You want to do a commercial?" Then someone in the anime industry heard the commercial said "Hey! You want to write an anime soundtrack?" Connection, connection. AX:你说过多次你做过许多广告音乐。你能不能从你如何为动画创作原声的角度谈谈你是怎么成为一个职业音乐家的？ YK:我在大学主修的是文学，一周后就退了学。在大学里我参加了一些课外活动，加入了一个流行组合。接着我开始为一些日本的歌手伴奏。然后，团长问我：“你想写音乐吗？”那是为一个游戏作曲，也就是我的第一部作品。然后广告产业有人听了我的游戏音乐后问我：“嗨！你想做广告音乐吗？”然后动画产业的人听了我的广告音乐问我：“嗨！你想做动画原声吗？”机会接踵而至。 （译者：几乎每个菅野的访谈都会问到同样问题，菅野洋子的回答总是出奇的一致，大概问得多了她都背熟了吧。这里说的大学就是早稻田大学。关于早稻田大学中文系，我的一个日本朋友的父母都是早大中文系毕业的（算起来比洋子大几岁吧），他说菅野洋子退学是很聪明的，他父母说早大中文系是一个乱七八糟的地方，待下去会傻掉的，别提搞什么创作了。关于流行组合，菅野洋子早年在Tetsu 100%中担任键盘手。）AX: You've talked about commercials now a few times. How does your work on commercials influence your film scores?
YK:Because commercials have to get the attention of all ages, from little kids to elderly people, I learn a lot from making the commercials so that I can grab the hearts of everyone in such a short time. AX:你好几次提到了广告。你的广告配乐如何影响了你的电影作曲？ YK:因为广告得引起不同年龄层次的注意，从小孩子到老年人，在创作广告音乐时我学到了很多，所以我能在如此短的时间里抓住所有人的心。 （译者：菅野洋子在Japan Vibes访谈中讲过同样的话。）AX: With some of your music, like in Macross Plus, there were a lot of multilingual songs. There was one song in English, one song in French, a few in Japanese. How involved do you get with the people that are writing the lyrics? For example, did you intend one of those songs to be in French?
YK:I ask the lyricists. I also ask them to put this kind of stuff in the lyrics. I nitpick a lot. Because anime is fiction, I feel that something that you just don't hear normally be presented in the lyrics, so I have a lot of weird phrases that don't make sense in my lyrics. AX:你的一些音乐，比如在Macross Plus中，有许多歌曲使用了多种语言。有一首英文歌，一首法语歌和几首日文歌。你如何与词作者沟通？比如，你要求其中的一首歌是法文的吗？ YK:我会问词作者。我也会要求他们在歌词中放入这些元素。我很挑剔。因为动画是种虚构，我觉得要在歌词中使用一些你通常听不到的语言，所以我使用了大量奇异的语汇，它们在我的歌词中没有实际含义。 AX: Which do you prefer doing? Songs that have lyrics or songs that are more instrumental?
YK:Both together. A mixture. AX:你更喜欢做哪种呢？歌曲还是器乐？ YK:两者兼具。一种混合吧。 AX: You said that you like to travel a lot. Do you actually travel a lot around like to different countries or just around Japan?
YK:I go out a lot. My passport is filled with stamps, so the INS people kinda flag me every time I go back. I've been to Ireland, England, France, Denmark, Greece, Italy, Israel, America, and Mexico. That's it. Not Africa. I want to though. AX:你说你很喜欢旅游。你真的去过许多国家或只是在日本旅游？ YK:我经常出国。我的护照上满是章印，所以每次回国，移民规划局的人差不多都能认出我了。我去过冰岛，英国，法国，丹麦，希腊，意大利，以色列，美国和墨西哥。就这些国家，没去过非洲。不过我也想去。 （译者：这个…洋子漏说了捷克、华沙（她经常与华沙爱乐乐团合作）和保加利亚，她也去过的。--见Ex对她的访谈。）AX: Are these private trips?
YK:Yes, all private trips. AX:这些是私人旅行吗？ YK:是的，都是私人旅行。 （译者：洋子真能玩啊，她这么忙，除了去录音，哪有空私人旅行啊？…难不成她和外国乐团合作就是为了能出去旅游？…她在Japan Vibes的访谈里好像是这么说的==b）AX: Do you have hobbies other than traveling?
YK:Playing with animals. I've been getting interested in photography as of late. I have taken a lot of pictures already as a professional photographer. AX:除了旅游你还有什么爱好？ YK:和动物玩。我是最近才对摄影感兴趣的。像职业摄影师一样，我已经拍摄许多照片了。 （译者：翻到这里差点没蹶倒==b你说怎么翻这都像是幼儿园小朋友说的话呀…对摄影感兴趣？:D那不是他老公沟口肇的兴趣吗？怪不得是最近才感兴趣的~洋子在Newtype上发表的散文旁经常附一张她的摄影作品呢。那个，还是不要翻成“作为职业摄影师”的好，否则给人家误认为她是兼职搞音乐的了==…）AX: You mentioned before that there's a lot of music that you write for a specific series that does not end up on the soundtracks. With any of the music that you have left over, do you ever use it again or rework it for another series? Or if not, is there any idea of possibly seeing that on it's own on a separate CD?
YK:You seem to want such a compilation. [laughs all around!] I will if I run out of materials to produce, but not for the time being. AX:你曾提到过你为某个连续剧所写的音乐有许多不会被收录在原声中。在你未收录的音乐中，你有没有重新使用或将它们改编后用于其他连续剧？如果没有的话，它们有没有可能被收录到其他单独的CD上呢？ YK:你好像希望我这样编辑啊。（大笑！）如果没有创作素材的话我会的，不过暂时不需要。 （译者：洋子的未收录太多了，那可是我们的大怨念啊T.T不过有她最后这句话，我觉得是没希望了==b）AX: Do you have or own your own recording studio?
YK:No. [laughs] AX:你有没有自己的录音室？ YK:没有。（笑） AX: Is there any type of movie that you would like to do music for?
YK:I don't like dark feelings. It would be something lighthearted, some comedy. Maybe something involving animals. I want to do a movie that features all animals, but haven't gotten any offers. AX:你想为什么类型的电影配乐？ YK:我不喜欢忧郁的情绪。得是比较明朗的电影，一部喜剧。也许是与动物有关的。我想做一部由所有动物参演的电影，不过没人给我这样的任务。 （译者：这样说起来，她最适合做Discovery的配乐了^^我想如果菅野洋子作[动物狂欢节]的话，一定会非常棒的吧！）AX: You had said that the director for Cowboy Bebop didn't ask you to do a specific type of music because he knew you didn't listen to his directions. What inspired you to take it to the 60s jazz feel that permeates Cowboy Bebop?
YK:That's from the 60s? [laughs all around] It naturally came to me... "This would be a good type of song." I didn't think about whether jazz would be good. It just came to me. AX:你说Cowboy Bebop的导演没有要求你配某种特定风格的音乐，因为他知道你不会听从他的指示。是什么激发你的灵感，让你使Cowboy Bebop弥漫着一种六十年代的爵士气息呢？ YK:那是六十年代的？（大笑）我自然地想到了它。“这会是一种不错的音乐风格。”我并没有思考爵士会不会适合。灵感自然而然的就来了。 AX: Since Bebop has a lot of English, we all read everything that comes in the English. With that there's a lot of information about Seatbelts. Is Seatbelts a fictional group or do you actually plan to do more work with those musicians?
YK:[laughs] Yeah, I want to. They're called the Seatbelts, but I have been working with that same group of people since Macross Plus and Escaflowne as well. AX:因为Cowboy Bebop中有许多英语，我们获知的一切都是英文的，其中有许多关于Seatbelts的信息。Seatbelts是一个虚构的组合吗？你还想与这些音乐家合作更多的作品吗？ YK:（笑）是的，我想要。他们被称作Seatbelts，不过我自从Macross Plus和Escaflowne开始就与同样一组人合作了。 AX: Now the background stories about Seatbelts in the Cowboy Bebop material, did anybody pass that by you at all or talk about what they were gonna put in there?
YK:I asked them to write most of them that way. AX:关于在Cowboy Bebop资料中Seatbelts的幕后情况，有没有人（在写的时候）干脆跳过了你或说起过他们将这样写？ YK:大部分介绍是我让他们这样写的。 AX: From your earlier reactions, you seem to not only enjoy but love travel. How does your travel, and more particularly the sounds that you might hear while traveling, influence your soundtracks?
YK:A lot of them have been influenced by it, but I travel to empty out my mind instead of filling it with knowledge. AX:从你刚才的反应，你似乎不仅是喜欢旅行而是非常喜爱旅行。你的旅行，更具体的说来，你在旅游中所听到的声响对你的原声有什么影响吗？ YK:许多原声作品都受到了影响，不过我旅行是为了清空我的思想，而不是在脑中填满知识。 AX: You said that a lot had been influenced. Can you give us an example?
YK:For example, in Brain Powerd, she was influenced by the bagpipes in Scotland. AX:你说你很多原声作品受到了影响，能不能给我们举个例子？ YK:比如说，Brain Powerd受到了苏格兰风笛的影响。 （译者：[Brain Powerd OST1]中的Ark即使用了苏格兰风笛，配上军鼓真让人联想到[勇敢的心]中的场面啊！顺便说一句，Michi弹的Ark可真棒啊^o^）AX: With the different music styles that you've had, we have heard the music from Macross Plus, Escaflowne, and Brain Powerd, and from the reactions of most people, the music in Cowboy Bebop is quite a departure from earlier music you had done in anime. Would you consider doing more of the jazz type music on a solo album or if another anime project comes along that calls for the same type of music?
YK:I haven't thought about making such a thing and actually, I didn't think that the Cowboy Bebop soundtrack would sell. I thought it was kinda old music so that none of the younger generation would listen to such a thing. I was very surprised that it sold so well. AX:你做了如此风格各异的音乐，我们听了Macross Plus，Escaflowne和Brain Powerd，从大多数人的反应来看，Cowboy Bebop的音乐与你在早期的动画配乐迥然不同。你会在个人专辑中或在以后其他需要这种类型音乐的动画中创作更多的爵士乐吗？ YK:我还没想过这件事，而且事实上我觉得Cowboy Bebop的原声可能卖不掉。我认为那是比较过时的音乐，没有年轻人会喜欢。但我非常惊讶它竟然如此畅销。 AX: Back to the way you compose, do you like sit down away from everyone or do you like to have objects around that you can look at and hold?
YK:I'm usually alone when I'm composing, like I can be lying around, rolling around on the floor in my room or I can be walking outside, but I'm usually alone. AX:回到你是如何作曲的，你是不是喜欢独自坐着或是周围放着你随手可看可取的物品？ YK:我在作曲时通常是独自一人的，我可以随意躺着，在我房间的地板上到处打滚，我也可以出去走走。不过通常我是独自一人的。 AX: So you don't force, "I've got to go in and do this!" and lock yourself in the room?
YK:No, you just need to relax. But when I write a music score, I like to go to a cafe, that's very good for me. I feel that I need a crowd around me because if no one is watching me, I feel that I'm going to procrastinate. AX:你不强迫自己，“我必须进去完成这音乐！”然后把你自己锁在房间里？ YK:不，你必须放松。不过当我写乐谱的时候，我喜欢去咖啡馆，那地方对我来说很不错。我觉得必须得有一群人在我身边，否则没有人看着我，我可能就偷懒了。 （译者：从前面这两个问题看来，这个采访者一定是有创作经验的，否则不会问出这么具体的问题。）AX: You do commercials, music albums, anime... Do you treat all your projects the same or do you have a particular type of project that you like to work on?
YK:All the mediums like dramas, films, anime and commercials are all the same, except game music is a little different. For games, because you can't exactly do it all by yourself and because games usually have a lot of people dying. I feel that makes you feel more stupid, but that may just be me. AX:你创作广告音乐，音乐专辑，动画配乐…你对你的创作任务一视同仁吗？或者你特别喜欢哪类创作？ YK:所有的艺术形式，如戏剧，电影，动画和广告都是一样的，除了游戏音乐有所不同。因为在游戏配乐中，你是无法独自完成创作的，而且游戏中通常都有许多人死掉。我觉得那让你感到更无聊了，不过那也可能仅仅是对我而言。 （译者：关于独自完成创作，菅野洋子一些早期的光荣游戏音乐是与他人合作完成的，指挥家Anthony Inglis也不喜欢这种类型的作曲（见Anthony Inglis访谈）。关于游戏音乐创作，菅野洋子在Japan Vibes访谈中说过类似的话。）原帖在此： http://ykfan.cn/bbs/viewthread.php?tid=166其他访谈（已翻中文）： Japan Vibes访谈 http://ykfan.cn/bbs/viewthread.php?tid=120&fpage=1Ex访谈 http://ykfan.cn/bbs/viewthread.php?tid=136&fpage=1Anthony Inglis访谈-YK相关 http://ykfan.cn/bbs/viewthread.php?tid=113&fpage=1PS：这个访谈太长了，翻的时候直后悔挑了个这么长的。口语化的问答反而比文绉绉的评论更让人头疼，总觉得它的语法有许多牵强的地方= =b翻完了真是如释重负啊~同时惊叹于美国粉丝的刨根问底，菅野小姐访谈后一定很晕吧！那天我从下午翻到凌晨1点，连晚饭都忘了吃，本着认真不负责的态度偶克服了瞌睡虫和懒惰鬼，总算没半途而废啦(就差没悬梁刺股了)，请大家多多指教啦，谢谢^^ --Cherrypony
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