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There are always 1)unsung heroes in each field. In the anime industry, one of the most overlooked factors is BGM – that is, background music – and some of the most talented people working behind the scenes are those BGM composers.
That’s right, BGM composers.
Sure, I bet most of you have heard of names like Yoko Kanno注 and Joe Hisaishi. However, these names are mostly known because of certain super-popular anime or award-winning movies. We usually focus more on the story, art, or seiyuu cast, while BGM 2)takes a back seat. Some believe that if the anime is not great, the BGM is the same.
Oh yes, BGM is mainly used for providing emotion to scenery. It always goes alongside something, whether it’s a happy scene or a tragic moment. It is not the main course of a feast, but an 3)irreplaceable 4)side dish. Yet the truth is, a good piece of BGM, such as Hisaishi’s works, can really 5)enhance the feelings, and even upgrade a just-so-so anime to a musical 6)gem.
Known professionally as Joe Hisaishi, Mamoru Fujisawa was born in Nakano, Japan in 1950. When taking violin lessons at five, he discovered his passion for music, which led him to attend the Kunitachi College of Music, majoring in composition. In 1983, Hisaishi was 7)recommended by a record company to create an album for Nausicaä of the Valley of the Wind. He and the director, Hayao Miyazaki, became great friends and worked together on most of the Ghibli projects later on. It’s almost like a John Williams-Steven Spielberg or Danny Elfman-Tim Burton partnership. And this 8)merge of geniuses really works.
As a master in telling the story with his music, Hisaishi can transport his listeners to a far-away magical, fantasy kingdom. One moment you sit in a Parisian sidewalk café, warm and 9)cozy; the next you are lost in a rain forest, scared as hell. With an instantly 10)likeable main theme, he can use it in different 11)variations and 12)tempos, making it so 13)memorable that the tune may still remind you of certain scenes many years later.
If you have never paid much attention to BGM, start with Hisaishi. His works are not some average cartoon music. There are always 14)flighty and free-15)flowing feelings in his musical world. Even with the darkest parts, the hint of light and hope is always there, way up high, in Hisaishi’s sky…
各行各业都有无名英雄。在动画业界，其中一个最容易被人忽视的要素就是背景音乐（BGM），而在幕后默默耕耘的精英之中就包括那些背景音乐作曲家。
没错，就是背景音乐作曲家。
当然，我敢打赌大多数人都听说过菅野洋子和久石让。然而，人们都是因为某几部超红的动画或者获奖无数的电影才知道这些名字。我们往往更注重动画的剧情、画风或者声优阵容，而把它的背景音乐撵到冷板凳上。有些人认为如果动画不成功，背景音乐就不会出彩。
没错，背景音乐主要是为场景渲染气氛。它总会依附在其它要素上，无论那是快乐的一幕还是悲剧的时刻。它从来不是一场盛宴的主菜，却是其中不可取代的一碟小菜。而事实上，一段优美的背景音乐，例如久石让的作品，可以让观众更加感同身受，甚至能将一部
乏善可陈的动画打磨成音乐瑰宝。
以“久石让”为职业化名的藤泽守1950年出生于日本中野市。五岁学小提琴时，他发现自己对音乐十分热衷，这份热爱驱使他入读日本国立音乐大学的作曲专业。1983年，一家唱片公司推荐久石让为《风之谷》创作音乐专辑。他和该片的导演宫崎骏成了好朋友，在吉卜力工作室随后的大部分作品中都有合作。他们成了像约翰·威廉姆斯和史蒂芬·斯皮尔伯格、丹尼·艾夫曼和蒂姆·伯顿那样的黄金搭档。强强联手确实效果非凡。
久石让善于用音乐讲故事，他能将听众带到一个遥远的魔幻王国。前一刻你还坐在巴黎的路边咖啡馆，感觉温暖又舒适；下一秒便在热带雨林中迷了路，顿时胆战心惊。久石让的主旋律常常让人一听就爱不释手，他将主旋律进行多种变奏，节拍时快时慢——即使在多年之后，那经久难忘的调子还能唤起你对某个场景的记忆。
如果你从未留意过背景音乐，不妨从久石让开始吧。他的作品不是普普通通的动画音乐。他的音乐世界总是洋溢着奇思妙想和随风飘拂的自由感。即使最深沉的章节也总会透出一线光明与希望，高高在上，翱翔于久石让的天空……
That’s right, BGM composers.
Sure, I bet most of you have heard of names like Yoko Kanno注 and Joe Hisaishi. However, these names are mostly known because of certain super-popular anime or award-winning movies. We usually focus more on the story, art, or seiyuu cast, while BGM 2)takes a back seat. Some believe that if the anime is not great, the BGM is the same.
Oh yes, BGM is mainly used for providing emotion to scenery. It always goes alongside something, whether it’s a happy scene or a tragic moment. It is not the main course of a feast, but an 3)irreplaceable 4)side dish. Yet the truth is, a good piece of BGM, such as Hisaishi’s works, can really 5)enhance the feelings, and even upgrade a just-so-so anime to a musical 6)gem.
Known professionally as Joe Hisaishi, Mamoru Fujisawa was born in Nakano, Japan in 1950. When taking violin lessons at five, he discovered his passion for music, which led him to attend the Kunitachi College of Music, majoring in composition. In 1983, Hisaishi was 7)recommended by a record company to create an album for Nausicaä of the Valley of the Wind. He and the director, Hayao Miyazaki, became great friends and worked together on most of the Ghibli projects later on. It’s almost like a John Williams-Steven Spielberg or Danny Elfman-Tim Burton partnership. And this 8)merge of geniuses really works.
As a master in telling the story with his music, Hisaishi can transport his listeners to a far-away magical, fantasy kingdom. One moment you sit in a Parisian sidewalk café, warm and 9)cozy; the next you are lost in a rain forest, scared as hell. With an instantly 10)likeable main theme, he can use it in different 11)variations and 12)tempos, making it so 13)memorable that the tune may still remind you of certain scenes many years later.
If you have never paid much attention to BGM, start with Hisaishi. His works are not some average cartoon music. There are always 14)flighty and free-15)flowing feelings in his musical world. Even with the darkest parts, the hint of light and hope is always there, way up high, in Hisaishi’s sky…
各行各业都有无名英雄。在动画业界，其中一个最容易被人忽视的要素就是背景音乐（BGM），而在幕后默默耕耘的精英之中就包括那些背景音乐作曲家。
没错，就是背景音乐作曲家。
当然，我敢打赌大多数人都听说过菅野洋子和久石让。然而，人们都是因为某几部超红的动画或者获奖无数的电影才知道这些名字。我们往往更注重动画的剧情、画风或者声优阵容，而把它的背景音乐撵到冷板凳上。有些人认为如果动画不成功，背景音乐就不会出彩。
没错，背景音乐主要是为场景渲染气氛。它总会依附在其它要素上，无论那是快乐的一幕还是悲剧的时刻。它从来不是一场盛宴的主菜，却是其中不可取代的一碟小菜。而事实上，一段优美的背景音乐，例如久石让的作品，可以让观众更加感同身受，甚至能将一部
乏善可陈的动画打磨成音乐瑰宝。
以“久石让”为职业化名的藤泽守1950年出生于日本中野市。五岁学小提琴时，他发现自己对音乐十分热衷，这份热爱驱使他入读日本国立音乐大学的作曲专业。1983年，一家唱片公司推荐久石让为《风之谷》创作音乐专辑。他和该片的导演宫崎骏成了好朋友，在吉卜力工作室随后的大部分作品中都有合作。他们成了像约翰·威廉姆斯和史蒂芬·斯皮尔伯格、丹尼·艾夫曼和蒂姆·伯顿那样的黄金搭档。强强联手确实效果非凡。
久石让善于用音乐讲故事，他能将听众带到一个遥远的魔幻王国。前一刻你还坐在巴黎的路边咖啡馆，感觉温暖又舒适；下一秒便在热带雨林中迷了路，顿时胆战心惊。久石让的主旋律常常让人一听就爱不释手，他将主旋律进行多种变奏，节拍时快时慢——即使在多年之后，那经久难忘的调子还能唤起你对某个场景的记忆。
如果你从未留意过背景音乐，不妨从久石让开始吧。他的作品不是普普通通的动画音乐。他的音乐世界总是洋溢着奇思妙想和随风飘拂的自由感。即使最深沉的章节也总会透出一线光明与希望，高高在上，翱翔于久石让的天空……