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伴随着不断变幻的光线和水声，来自美国伯克利音乐学院的教授本杰明·马修·霍吉优雅地演绎着他为龙游石窟专门创作的《光口夜雨》。他说：“在石窟里唱歌的时候，我感到非常自然和纯粹。”
声光、舞蹈、器乐和电子乐，在有着2000多年历史的古老洞窟里交汇，在空旷声场中融合，汇聚成一曲曲奇妙丰富的混响……
2019龙游石窟国际音乐盛典，让音乐与石窟碰撞，让潮流音乐元素在历史回想中激荡。来自美国、德国、英国、挪威、奥地利等国以及英国皇家伯明翰音乐学院、上海音乐学院、浙江音乐学院的国内外音乐大师团队，在龙游石窟为全世界音乐爱好者奉献了为期4天的音乐盛宴。
千年石窟里的音乐盛典
音乐盛典中，来自世界各地电子音乐领域的10多位顶尖音乐家，在龙游石窟呈现15场精彩演出，献上了“洞洞有音、处处是乐”。
2号洞窟为主要的演出场地，以“圣境听音”为主题，依托石窟结构与声音学完美结合，打造梦幻圣境般的盛宴。主题为《五彩缤纷》的开幕演出空灵而又美妙，既有琴箫和鸣的《无诤颂》、青瓷瓯乐的《听·瓷》等展示中国传统民乐和非物质文化遗产的优美乐曲，也有《洞境云歌》这样融合了越剧人声、视觉影像与电子音乐的现代化作品。
“峡江清空峡雨急，寒声夜半萧潇发……”伴随着不断变换的光线和水声，来自美国伯克利音乐学院的教授本杰明·马修·霍吉优雅地演绎着他为龙游石窟专门创作的《光口夜雨》。他说：“我特别喜欢中华优秀传统文化，这次来龙游参加音乐会，就是想通过古典和现代科技的结合凸显传统的美。在龙游石窟里唱歌的时候，我感到非常自然和纯粹。”
奥地利布鲁克纳私立大学教授安德烈亚斯·魏茨在自己的作品《龙游石窟的水灵》中加入了中国的古筝，他说：“中国的传统器乐的音色非常特别，这一次的作品结合了古筝和电子音乐，希望能给观众朋友带来耳目一新、神秘和传奇的感觉。”
在4号洞窟里，浙江音乐学院音乐工程系副主任黄晓东教授及其团队带来了一场高科技“声、光、电”三位一体的沉浸式艺术盛宴“声筑图腾”，让观众享受在特殊声场环境下的沉浸式演出体验，探究古老洞穴神秘与久远的历史。
黄晓东说：“所有人都赞叹龙游石窟内完美的声场，作曲家和创作者要在现场实时控制声音和音量，这也是电子类音乐会的主要特征。我们通过实现预置的装置、声音轨道，根据自己的耳朵得到最想要的结果，这是音乐会好玩的地方。”
神秘的龙游石窟
1992年，当地人传说中的“无底塘”，在4个农民的隆隆水泵声中“水落石出”，展示在人们面前的一个个石窟，便是今天人们看到的龙游石窟。不仅建造的年代不明，这些石窟的成因和用途更是众说纷坛，成为难以破解的千古之谜，也被当地人称为“奇迹”。
到现在，龙游石窟仍像一个巨大的问号，竖立在史学家、考古学家、建筑学家和游客的眼前，其神秘的构造和集人文、艺术、文化、工程技术于一体的神奇景观，令无数人为之心驰神往。
龙游石窟在方圆0.38平方公里的土丘上有规律地分布了大小不一的24个洞窟，面积从几百平方米到几千平方米不等，高度在20米到40米之间，开放参观的洞窟有5个。每个洞窟从矩形洞口开始垂直向下延伸，顶部呈漏斗型，洞窟内科学地分布着3～4根巨大的“鱼尾形”石柱，与洞顶浑然一体。
走进石窟的内部，会被眼前的景观所震撼，进入地底，仿佛是走进了一座庞大的宫殿，但是这个“宫殿”却显得有些空旷。
关于石窟的作用，说法有很多，但都没有得到证实，最初被认为是采石场，后面又有墓穴群、藏兵站、古粮仓等说法，却都没有证据或史料的支持，因此也给龙游石窟蒙上了一层神秘的色彩。更让人不解以及叹为观止的是，洞壁、洞顶和石柱上都均匀地留下了古人似乎带有装饰意图的凿痕。
石窟里听音乐的独特
石窟内特殊的空间结构，经过实验数据证明，非常有利于声音的传播，将石窟与声音学的结合，通过音乐带给人们最完美的呈现。
为举办这场音乐盛典，上海音乐学院音乐工程系教授于阳和团队已经酝酿了3年的时间。上海音乐学院李嘉副教授和国外的专家们此前多次进行实地考察，对石窟进行声学测试，都对洞内的奇妙声音环境和各种奇观惊叹不已。“你在洞窟中的每一个地方听，都能有不同的感受。”李嘉说。
李嘉讲起了测量的故事——
2016年10月，龙游石窟迎来了一位特殊的客人——约翰·乔宁，他是斯坦福计算机音乐与声学研究中心的教授、电子音乐的创始人，他一直醉心于各种声学空间的研究，索非亚大教堂、秘鲁的地下走廊等因自身的结构特点而拥有独特的声场效果的空间都是他的研究对象。
一次偶然的机会，乔宁在互联网上发现龙游石窟这个世界上最大的人工挖掘的地下空间。他对此产生了极大的兴趣。随后，乔宁与李嘉以及双方专家团队一同入窟探秘，进行声学测试和考察。
2017年10月，他们再一次用精密的仪器做了专业的测量。回忆这次去洞窟探秘的经历，李嘉至今记忆犹新。
“当时我们一行背了很多精密的电子仪器入内测量，但是由于洞内高达100%的湿度，带去的4个极其昂贵的4声道话筒没几天就坏了3个，可谓损失惨重。”李嘉说，即便是在這样极富挑战性的情况下，测试团队还是努力克服了困难，在石窟现场利用各种最先进的科学设备，采集了尽可能多的声音数据，也为此次音乐盛宴打下坚实的技术基础。
之前，龙游石窟也曾先后举办过多场音乐会，无一例外都没有使用扩音设备，而是利用石窟的特殊构造将乐器最本真的声效发挥到极致。这次的音乐会则搭建了一套完整的音响系统用以演出国内外作曲家的作品，其中大部分作品都是参考石窟的独特构造和测量数据而专门创作的。
浙江音乐学院音乐工程系副主任黄晓东教授说：“我相信这次音乐盛典一定会成为我们浙江文化和旅游融合发展的一张名片，它让石窟活起来、新起来。” From 24 to 27 October 2019， 15 concerts were held in the caves of Longyou， a city in southern Zhejiang. At the 15 concerts， musicians from US， Germany， UK， Norway， Australia， and China featured electronic music performances inside the underground caves.
In June 1992， four curious villagers in a remote village in Longyou decided to pump water out of some ponds that seemed bottomless. Four pumps worked nonstop 17 days and nights. Eventually they found 24 underground caves， closely located to each other in an area of 0.38 square kilometers. These caves are about 20 to 40 meters in height. Inside caves are huge pillars. The number of pillars varies from 2 to 5 from cave to cave. At present， only five of them are open to tourists.
The underground caves have remained a mystery. They were evidently manmade. But who made them for what purpose and when have remained unknown. History about Longyou goes back as far as to the Han Dynasty （202BC-220AD）. Nothing earlier about Longyou is known. Architects and engineers wow at the design and construction and sizes. Historians scratch their heads， guessing that they might have been graves， or secret military battalions or granaries， or quarries. While historians are busy trying to come up with conjectures and conclusions， musicians are overjoyed and excited.
Numerous concerts had been held there， all without the assistance of any acoustic systems before the 15 concerts in October 2019. Electronic music， on the other hand， needs a full range of equipment. In order to make it possible to hold electronic concerts in these underground caves， scholars and musicians carried out thorough field studies. Professor Yu Yang and his team from the Music Engineering Department of Shanghai Conservatory of Music did preparatory work in a space of three years.
Li Jia， an associate professor with Shanghai Conservatory of Music， and some international scholars and musicians visited these caves many times. They carried out tests and experiments and gained a big load of acoustic data.
One of the international scholars is John Chowning， an emeritus professor with the Center for Computer Research in Music and Acoustics of Stanford University. After running into the Longyou caves online by accident， Professor Chowning took great interest. In October 2016， he and Li Jia and other scholars came to Longyou to test the caves. In October 2017 they carried a large number of sophisticated equipment into the caves and did a thorough study. Three of the four quadraphonic microphones went out of order due to the 100% humidity inside the caves. The data they collected during these visits were necessary. For the concerts in October 2019， a special acoustic system was designed and put together and installed to make the best out of the contours and other features of the caves. Most of the compositions were created by Chinese and international composers exclusively for the cave concerts.
Benjamin Matthew Houge， a professor of Berklee College of Music based in Boston， USA， played ， a musical work he created for Longyou. He gave his performance at Cave Number 2， the major venue for the 15 concerts.
Professor Andreas Weixler with the Anton Bruckner Private University gave a performance titled ， in which ancient Chinese zither played a part. “The traditional Chinese musical instrument features a special sound. The work integrates the ancient zither and the electronic music in the hope that the audience could feel the new， the mysterious and the legendary in the piece，” says the professor.
The specific structures of the underground cavernous spaces and acoustic data are all reflected in these music works. “You have different musical experiences at different seats，” emphasizes Li Jia.
“All the attendees of these concerts spoke highly of the perfect musical experience inside the caves. We got the best through the sound system. This is exactly what made the concerts fun. The concerts brought vibration to the caves and made them totally new，” notes Professor Huang Xiaodong， deputy director of the Music Engineering Department of Zhejiang Conservatory of Music. Huang and his team gave a high-tech concert at Cave Number 4.
声光、舞蹈、器乐和电子乐，在有着2000多年历史的古老洞窟里交汇，在空旷声场中融合，汇聚成一曲曲奇妙丰富的混响……
2019龙游石窟国际音乐盛典，让音乐与石窟碰撞，让潮流音乐元素在历史回想中激荡。来自美国、德国、英国、挪威、奥地利等国以及英国皇家伯明翰音乐学院、上海音乐学院、浙江音乐学院的国内外音乐大师团队，在龙游石窟为全世界音乐爱好者奉献了为期4天的音乐盛宴。
千年石窟里的音乐盛典
音乐盛典中，来自世界各地电子音乐领域的10多位顶尖音乐家，在龙游石窟呈现15场精彩演出，献上了“洞洞有音、处处是乐”。
2号洞窟为主要的演出场地，以“圣境听音”为主题，依托石窟结构与声音学完美结合，打造梦幻圣境般的盛宴。主题为《五彩缤纷》的开幕演出空灵而又美妙，既有琴箫和鸣的《无诤颂》、青瓷瓯乐的《听·瓷》等展示中国传统民乐和非物质文化遗产的优美乐曲，也有《洞境云歌》这样融合了越剧人声、视觉影像与电子音乐的现代化作品。
“峡江清空峡雨急，寒声夜半萧潇发……”伴随着不断变换的光线和水声，来自美国伯克利音乐学院的教授本杰明·马修·霍吉优雅地演绎着他为龙游石窟专门创作的《光口夜雨》。他说：“我特别喜欢中华优秀传统文化，这次来龙游参加音乐会，就是想通过古典和现代科技的结合凸显传统的美。在龙游石窟里唱歌的时候，我感到非常自然和纯粹。”
奥地利布鲁克纳私立大学教授安德烈亚斯·魏茨在自己的作品《龙游石窟的水灵》中加入了中国的古筝，他说：“中国的传统器乐的音色非常特别，这一次的作品结合了古筝和电子音乐，希望能给观众朋友带来耳目一新、神秘和传奇的感觉。”
在4号洞窟里，浙江音乐学院音乐工程系副主任黄晓东教授及其团队带来了一场高科技“声、光、电”三位一体的沉浸式艺术盛宴“声筑图腾”，让观众享受在特殊声场环境下的沉浸式演出体验，探究古老洞穴神秘与久远的历史。
黄晓东说：“所有人都赞叹龙游石窟内完美的声场，作曲家和创作者要在现场实时控制声音和音量，这也是电子类音乐会的主要特征。我们通过实现预置的装置、声音轨道，根据自己的耳朵得到最想要的结果，这是音乐会好玩的地方。”
神秘的龙游石窟
1992年，当地人传说中的“无底塘”，在4个农民的隆隆水泵声中“水落石出”，展示在人们面前的一个个石窟，便是今天人们看到的龙游石窟。不仅建造的年代不明，这些石窟的成因和用途更是众说纷坛，成为难以破解的千古之谜，也被当地人称为“奇迹”。
到现在，龙游石窟仍像一个巨大的问号，竖立在史学家、考古学家、建筑学家和游客的眼前，其神秘的构造和集人文、艺术、文化、工程技术于一体的神奇景观，令无数人为之心驰神往。
龙游石窟在方圆0.38平方公里的土丘上有规律地分布了大小不一的24个洞窟，面积从几百平方米到几千平方米不等，高度在20米到40米之间，开放参观的洞窟有5个。每个洞窟从矩形洞口开始垂直向下延伸，顶部呈漏斗型，洞窟内科学地分布着3～4根巨大的“鱼尾形”石柱，与洞顶浑然一体。
走进石窟的内部，会被眼前的景观所震撼，进入地底，仿佛是走进了一座庞大的宫殿，但是这个“宫殿”却显得有些空旷。
关于石窟的作用，说法有很多，但都没有得到证实，最初被认为是采石场，后面又有墓穴群、藏兵站、古粮仓等说法，却都没有证据或史料的支持，因此也给龙游石窟蒙上了一层神秘的色彩。更让人不解以及叹为观止的是，洞壁、洞顶和石柱上都均匀地留下了古人似乎带有装饰意图的凿痕。
石窟里听音乐的独特
石窟内特殊的空间结构，经过实验数据证明，非常有利于声音的传播，将石窟与声音学的结合，通过音乐带给人们最完美的呈现。
为举办这场音乐盛典，上海音乐学院音乐工程系教授于阳和团队已经酝酿了3年的时间。上海音乐学院李嘉副教授和国外的专家们此前多次进行实地考察，对石窟进行声学测试，都对洞内的奇妙声音环境和各种奇观惊叹不已。“你在洞窟中的每一个地方听，都能有不同的感受。”李嘉说。
李嘉讲起了测量的故事——
2016年10月，龙游石窟迎来了一位特殊的客人——约翰·乔宁，他是斯坦福计算机音乐与声学研究中心的教授、电子音乐的创始人，他一直醉心于各种声学空间的研究，索非亚大教堂、秘鲁的地下走廊等因自身的结构特点而拥有独特的声场效果的空间都是他的研究对象。
一次偶然的机会，乔宁在互联网上发现龙游石窟这个世界上最大的人工挖掘的地下空间。他对此产生了极大的兴趣。随后，乔宁与李嘉以及双方专家团队一同入窟探秘，进行声学测试和考察。
2017年10月，他们再一次用精密的仪器做了专业的测量。回忆这次去洞窟探秘的经历，李嘉至今记忆犹新。
“当时我们一行背了很多精密的电子仪器入内测量，但是由于洞内高达100%的湿度，带去的4个极其昂贵的4声道话筒没几天就坏了3个，可谓损失惨重。”李嘉说，即便是在這样极富挑战性的情况下，测试团队还是努力克服了困难，在石窟现场利用各种最先进的科学设备，采集了尽可能多的声音数据，也为此次音乐盛宴打下坚实的技术基础。
之前，龙游石窟也曾先后举办过多场音乐会，无一例外都没有使用扩音设备，而是利用石窟的特殊构造将乐器最本真的声效发挥到极致。这次的音乐会则搭建了一套完整的音响系统用以演出国内外作曲家的作品，其中大部分作品都是参考石窟的独特构造和测量数据而专门创作的。
浙江音乐学院音乐工程系副主任黄晓东教授说：“我相信这次音乐盛典一定会成为我们浙江文化和旅游融合发展的一张名片，它让石窟活起来、新起来。” From 24 to 27 October 2019， 15 concerts were held in the caves of Longyou， a city in southern Zhejiang. At the 15 concerts， musicians from US， Germany， UK， Norway， Australia， and China featured electronic music performances inside the underground caves.
In June 1992， four curious villagers in a remote village in Longyou decided to pump water out of some ponds that seemed bottomless. Four pumps worked nonstop 17 days and nights. Eventually they found 24 underground caves， closely located to each other in an area of 0.38 square kilometers. These caves are about 20 to 40 meters in height. Inside caves are huge pillars. The number of pillars varies from 2 to 5 from cave to cave. At present， only five of them are open to tourists.
The underground caves have remained a mystery. They were evidently manmade. But who made them for what purpose and when have remained unknown. History about Longyou goes back as far as to the Han Dynasty （202BC-220AD）. Nothing earlier about Longyou is known. Architects and engineers wow at the design and construction and sizes. Historians scratch their heads， guessing that they might have been graves， or secret military battalions or granaries， or quarries. While historians are busy trying to come up with conjectures and conclusions， musicians are overjoyed and excited.
Numerous concerts had been held there， all without the assistance of any acoustic systems before the 15 concerts in October 2019. Electronic music， on the other hand， needs a full range of equipment. In order to make it possible to hold electronic concerts in these underground caves， scholars and musicians carried out thorough field studies. Professor Yu Yang and his team from the Music Engineering Department of Shanghai Conservatory of Music did preparatory work in a space of three years.
Li Jia， an associate professor with Shanghai Conservatory of Music， and some international scholars and musicians visited these caves many times. They carried out tests and experiments and gained a big load of acoustic data.
One of the international scholars is John Chowning， an emeritus professor with the Center for Computer Research in Music and Acoustics of Stanford University. After running into the Longyou caves online by accident， Professor Chowning took great interest. In October 2016， he and Li Jia and other scholars came to Longyou to test the caves. In October 2017 they carried a large number of sophisticated equipment into the caves and did a thorough study. Three of the four quadraphonic microphones went out of order due to the 100% humidity inside the caves. The data they collected during these visits were necessary. For the concerts in October 2019， a special acoustic system was designed and put together and installed to make the best out of the contours and other features of the caves. Most of the compositions were created by Chinese and international composers exclusively for the cave concerts.
Benjamin Matthew Houge， a professor of Berklee College of Music based in Boston， USA， played ， a musical work he created for Longyou. He gave his performance at Cave Number 2， the major venue for the 15 concerts.
Professor Andreas Weixler with the Anton Bruckner Private University gave a performance titled ， in which ancient Chinese zither played a part. “The traditional Chinese musical instrument features a special sound. The work integrates the ancient zither and the electronic music in the hope that the audience could feel the new， the mysterious and the legendary in the piece，” says the professor.
The specific structures of the underground cavernous spaces and acoustic data are all reflected in these music works. “You have different musical experiences at different seats，” emphasizes Li Jia.
“All the attendees of these concerts spoke highly of the perfect musical experience inside the caves. We got the best through the sound system. This is exactly what made the concerts fun. The concerts brought vibration to the caves and made them totally new，” notes Professor Huang Xiaodong， deputy director of the Music Engineering Department of Zhejiang Conservatory of Music. Huang and his team gave a high-tech concert at Cave Number 4.