我都唔知邊個咁無聊得閒寫啲咁嘅melody....
音與音之間至少要相隔3個semitones（比喻1.5米社交距離）
每一句phrasing唔可以多過4個音（ 比喻四人限聚）
然後，會有一個又一個人願意一齊陪玩呢件事！
終於搞到超過50個音樂人「分開一齊玩」呢首歌同埋各自炮製video
我地玩吓玩吓，玩到由歌名原本叫「限聚曲」到變做《無限聚曲》
成個過程好峰迴路轉！
本來以為我地去到7月唔洗再限聚，點知我地到今日仍然四人限聚！
我地想話俾大家知嘅係，做音樂嘅人，雖然在疫情期間成行都係好唔容易，但係音樂繼續可以聯繫我地，而我地會繼續用音樂聚在一起，為這世界這城市的新生態送上祝福！

《無限聚曲》
曲: 馮穎琪 @vickyneverhome
詞: 周耀輝 @yiufaichow
編: 伍卓賢 & 無限聚群組
監: 🤷
唱: 無限聚群組
混音: Maggie Shum @Espresso Studio

感謝每一位參與《無限聚曲》的音樂朋友。特別多謝同事Chloe 不厭其煩coordinate咁多個音樂單位，同埋Video。你地知唔知呢個video idea係從一個疫情下嘅茶餐廳早餐開始㗎，我+Chloe+Hoyin Chan，brainstorm到呢個idea....我估你地以後都會好怕同我食早餐😅

香港，有音樂，也有音樂圈。
音樂人，有音樂，也有香港。

#無限聚曲
#一個人一首歌

Brian Eno在明年1月出版繼The Ship後的新專輯Reflection。

Reflection – 1st January 2017: http://brian-eno.net

Reflection is the latest work in a long series. It started (as far as record releases are concerned) with Discreet Music in 1975 ( - or did it start with the first Fripp and Eno album in 1973? Or did it start with the first original piece of music I ever made, at Ipswich Art School in 1965 - recordings of a metal lampshade slowed down to half and quarter speed, all overlaid?)

Anyway, it’s the music that I later called ‘Ambient’. I don’t think I understand what that term stands for anymore - it seems to have swollen to accommodate some quite unexpected bedfellows - but I still use it to distinguish it from pieces of music that have fixed duration and rhythmically connected, locked together elements.

The pedigree of this piece includes Thursday Afternoon, Neroli (whose subtitle is Thinking Music IV) and LUX. I’ve made a lot of thinking music, but most of it I’ve kept for myself. Now I notice that people are using some of those earlier records in the way that I use them - as provocative spaces for thinking - so I feel more inclined to make them public.

Pieces like this have another name: they’re GENERATIVE. By that I mean they make themselves. My job as a composer is to set in place a group of sounds and phrases, and then some rules which decide what happens to them. I then set the whole system playing and see what it does, adjusting the sounds and the phrases and the rules until I get something I’m happy with. Because those rules are probabilistic ( - often taking the form ‘perform operation x, y percent of the time’) the piece unfolds differently every time it is activated. What you have here is a recording of one of those unfoldings.

Reflection is so called because I find it makes me think back. It makes me think things over. It seems to create a psychological space that encourages internal conversation. And external ones actually - people seem to enjoy it as the background to their conversations. When I make a piece like this most of my time is spent listening to it for long periods - sometimes several whole days - observing what it does to different situations, seeing how it makes me feel. I make my observations and then tweak the rules. Because everything in the pieces is probabilistic and because the probabilities pile up it can take a very long time to get an idea of all the variations that might occur in the piece. One rule might say ‘raise 1 out of every 100 notes by 5 semitones’ and another might say ‘raise one out of every 50 notes by 7 semitones’. If those two instructions are operating on the same data stream, sometimes - very rarely - they will both operate on the same note…so something like 1 in every 5000 notes will be raised by 12 semitones. You won’t know which of those 5000 notes it’s going to be. Since there are a lot of these types of operations going on together, on different but parallel data streams, the end result is a complex and unpredictable web.

Perhaps you can divide artists into two categories: farmers and cowboys. The farmers settle a piece of land and cultivate it carefully, finding more and more value in it. The cowboys look for new places and are excited by the sheer fact of discovery, and the freedom of being somewhere that not many people have been before. I used to think I was temperamentally more cowboy than farmer… but the fact that the series to which this piece belongs has been running now for over 4 decades makes me think that there’s quite a big bit of farmer in me.