演出系列2：《脸谱》开幕式多媒体电子音乐会
时间：2008年10月26日20时
地点：中华世纪坛大屏幕厅
1)《都鸟》－为尺八与电子音乐而作 (2008/13’30”/中国首演)
作曲：马克·巴埃
尺八演奏： 胡玉林
作品受巴黎INA/GRM委托而创作。是一部诗歌的电子音乐作品。由于作品中的诗歌需要用演出国家的本地语言朗诵，因此，作品有了几个版本。该诗歌在公元9世纪首次发表，它的内容是表现长途跋涉之人的痛苦心灵突然被一只鸟所唤醒。这首诗歌作品已由作曲家、歌唱家弗兰克·雷恩(Franck Royon Le Mée(1952-1993)首演，他用他那柔和的嗓音，赋予了诗歌多种多样的情感。他的朗诵由INA-GRM工作室录制，只有他的声音才能让人体会到此部作品电声层面的意义。尺八部分是与Jean-Fran?ois Lagrost联合创作，谨以此篇献给 Franck Royon Le Mée。
2)《启示》－ 电子音乐(2008/8’00”/ 为2008北京国际电子音乐节而作/世界首演 )
作曲：西岗龙彦
本作品是为本届北京国际电子音乐节而作。主要根据2006年在大阪首演的作品“CAGE”为携带打击乐演奏者的倍大提琴独奏而作的现场电子音乐版本，力求用Electroacoustics 能够进行再现，并作了改创。“CAGE”的日语意思是“启示”的意思，也可以解说成日本传统艺能中文乐的“景事”(人形剧中较重视音乐的部分)。
3)《遥远》－ 为女高音、电子音乐与数字影像而作(2008／中国首演)
作曲： 卡佳·萨利亚奥
演唱：齐妮亚·哈纽丝亚克
标题“lonh”词意为 “遥远”、“久远”，源于古普罗旺斯语，本剧的歌词即以此种语言演唱。歌词本身取自于流传于中世纪一个著名学者的诗，作者是中世纪游吟诗人Jaufré Rudel。诗歌的内容是关于远方的爱。这首作品与原诗的结构大致相符，被分为9段。女高音声部的唱词采用了原诗中的一些对称与重复的片段，但与原诗相比这些片段的使用相当自由，因此唱词是Rudels原诗的拼贴与剪接。
电声部分可听到歌词以三种语言进行吟诵：奥克语(现代普罗旺斯语)、法语及英语。奥克语由诗人Jacques Roubaud诵读，他已经对这首诗进行了大量的研究，并同年轻的法国姑娘Julie Parsillé一道将其译为法语。语音素材及鸟鸣、风声、雨声等具体音响都经过了Ircam转换程序进行了大量的变化处理，如谐振过滤器、交叉合成等，我本人则使用相位声码器将之进行声场拓展。在使用ProTools进行了初步混音后，声音素材被置于一个虚拟声场中，从而在一个三维空间中进行传播(使用Ircam音乐工作站的空间分配程序)。
4)《树的可能》－ 为二胡、电子音乐与数字影像而作 (2008／10’00”／世界首演)
作曲：本和华·聂伯纳
数字影像：本和华·聂伯纳
二胡演奏：周凌燕
这是一首为二胡、现场电子音响、磁带与视频写作的作品，它使用了在音乐色彩、结构以及有控制的即兴演奏等领域的研究成果。首演于上一次北京现代音乐节的作品《复杂手势、单一行为》，显示了作品的构成及表演技术是建立在作曲家与演奏者的合作基础之上，作曲家确定了这部作品的宏观结构与一般性手势，而表演者将负责作品的微观结构，即对音符、顺序、乐句、和声及旋律系统的选择。作品建立在作曲家与演奏者的互动关系之上。作品呈现出强调作品本身与表演、与电子声学音乐之间的联系。
遵循着这个观念，听众可以依据过去与当前信息而对一个动作的所有结果作出各种预测，作曲家与演奏者们试图使用一系列可能性来将作品的综合系统予以最大的视觉化。通过理论与技术层面的作曲技术将随机性过程持续的过滤筛选。
作品分成5个部分，每一个部分都集中于一个专门的和声系统，这些和声系统涉及5个古代调式。此外，我们也将通过或多或少序列化的途径，采用有限的变换调式(5个古典＋5个现代调式音阶)。
5)《钟声》－为钟声、笛子与电子音乐而作(9’50”/ 中国首演 )
作曲：安斗镇
长笛：罗敬淑
音乐分解并重建了安斗镇的音乐材料。
音乐独创的三重奏，重复分解并重建竹笛独奏，以现代观念重新诠释韩国传统竹笛音乐独奏。同时，音乐深刻挖掘了韩国乐器的独到之处，以及现代文化中的蜕变。
6)《脸谱 II 》－为电子音乐与数字影像而作(2008／12’00”／世界首演)
作曲：张小夫
数字影像设计制作：马舸
《脸谱 II》中文简介(“Visages peint dans les Opéra Pékin II”)
中国京剧脸谱以“生”、“旦”、“净”、“丑”将剧中人物提炼成四类角色符号，而这四类角色又以特定的四种声音和程式化的表演出现。
在作品《脸谱 II》中，作曲家试图突破传统戏剧程式化的声音模式，用现代电子音乐的技术手段对“生”、“旦”、“净”、“丑”四种不同声音的“唱”、“念”、“说”、“韵白”及京剧打击乐器的声音进行变形处理，充分利用电子音乐的空间特性，在虚拟与现实之间，抽象与具象之间寻求电子音乐的声音魅力和新的审美境界，并通过与数字影像现场实时合成，而勾勒出一种新的声音脸谱。
作品《脸谱II》由法国政府和法国布尔吉斯国立电子音乐中心(IMEB)于2007年联合委约，2008北京国际电子音乐节世界首演。
musicacoustica2008 concert series(2)
《Visages peint dans les Opéra de Pékin》－MUSICACOUSTICA2008 Openning Ceremony Multimedia Concert
Time: 20:00 26th Oct 208
Place: The Large-Screen Hall of China Millennium Monument
1) Capital bird – for Flute and Electroacoustic Music(2008/13’30”/China premier)
Composer: Marc Battier ，
Shakuhachi Player: Hu Yulin
Commision of INA/GRM, Paris
The poem in this piece was first published in the 9th century AD. It
speaks of the pain of those who travel far away when, all of a sudden, a
bird awakens one's heart。
The poem has been performed by Franck Royon Le Mée (1952-1993)， a
composer and singer extraordinaire. With his supple voice, he was able
to enhance the various feelings of the poem. The recording of his reading
was made in the studios of INA-GRM. Only his voice was used to realize
the electroacoustic layers of the piece。
The shakuhachi part has been written with the collaboration of Jean-
François Lagrost。
The piece is dedicated to Franck Royon Le Mée。
Notes de programme
2) CAGE - Electroacoustic Music(2008/8’00”/World premier)
Composer: Tatsuhiko Nishika
This opus was composed for Musicacoustica Beijing. It was mainly according of the opus named CAGE for solo contrabass with percussionist which was Debuted on Osaka。
The japanese meaning of CAGE is inspiration, also can be explained by the Jingshi which is apply in the traditional japanese skill of Elegant music。
3) Lonh – for Soprano, Digital Images and Electroacoustic Music ( 2008/China premier)
Composer: Kaija Saariaho
Soprano: Xenia Hanusiak
The title Lonh, meaning far away or distant, comes from the old Provençal language, in which the text is sung. The text itself, a poem about love from afar, famous among scholars of mediaeval poetry, is attributed to the mediaeval troubadour Jaufré Rudel。
Formally, the piece loosely follows the form of the poem, and is thus divided into nine sections. Some of the symmetrical and repeating aspects are found in the solo soprano part, which as such uses rather freely the elements for the original text, so that the resulting text is rather a collage based on Rudels song。
In the electronic part, one can hear the text in three languages: Occitan (Provençal)， French and English. The texts in Occitan were read by the poet Jacques Roubaud - who has intensively studied this poem and also translated it into French - and also by Julie Parsillé, a young French girl. This vocal material, as well as some concrete sounds of for example birds, wind and rain, were processed with a large variety of Ircam transformation programs, such as resonant filters (Chant programme)， cross-synthesis and me stretching with the phase-vocoder (AudioSculpt programme). Saariaho's instrumental range in Lonh is derived from asian percussion instruments.
After a preliminary mixing with ProTools, the sound materials were projected into a virtual acoustic, moved through a three-dimensional space (Spatialisateur programme on the Ircam Music Workstation)。
The work for the electronic part has been realised in Ircam with the assistance of Gilbert Nouno, and with the help and supervision of Jean-Baptiste Barričre。
4)L’arbre des Possibes – for Er-hu, Digital Images and Electroacoustic Music(2008/ 10’00”/World premier)
Composer: Benoit H. J. Granier
Digital Images: Benoit H. J. Granier
Er-hu: Zhou Lingyan
“L’arbre Des Possibles” is a composition for Ehru, Live electronics, Tape and Video thatfollows researches in the area of musical colours, structure and controlled improvisation。
The composition “Geste Pluriels, Acte Unique” that was premiered at The Beijing Modern Music Festival, presented composition and performance technique, where the piece is based on collaboration between the composer and the musician, where composer defines the macro structure of the piece, the general gesture, and the performer will take in charge the micro organization of the piece, that is the choice of the notes, sequences, musical phrases, harmonic and melodic systems。
The composition is based on the relationship between the composer and the performer.The present composition is following this experience trying to push the connectionsbetween composition and performance as well as electronic versus acoustic music。
Following the idea that one can predict every outcome of an action depending on past and present information, the composer and performers are trying to visualize the best compositional system using a set of probabilities. The random process is constantly filtered using composition techniques in both theoretical and technical level。
The Piece is devised in to five sections. Every sections focus on a special harmonic system that refers to five ancient modes (). In addition, we will also use limited transposition modes (5 classical + 5 modern modals scales) , in a more or less serial way。
1 Weber, B. “L’ultime Secret”， P.32, Ed. Le livre de Poche
5)Chungsung - for Flute and Electroacoustic Music (9：50/China premier)
Composer: Ahn Doo-jin
Flute: KyungSook Ra
The piece deconstructs and reconstructs the musical material of Cheong Seong Gok, a Korean traditional tune for Daegum [Bamboo Flute] solo. By repeating the process of deconstruction and reconstruction of the of the bamboo flute solo, the modern
reinterpretation of the piece creates different timbral and structural aspect. As a result, the piece also inspects characteristics of the unique sound of the Korean instrument and metamorphosing them in the context of modern culture。
Tech-note Electro- sound : It can play stereo channel or 5.1 Surround channel。
Flute : It may be attachment with contact microphone or general microphone
If you select my piece than I 'll participate your festival with Flutist,
and bring my microphone and Computer。
6) Visages peint dans les Opéra de Pékin II - for Electroacoustic Music and Digital Images , (2008／12’00”／ World Premier)
Composer: ZHANG Xiao-fu
Digital Images: MA Ge
Notes for “Visages peint dans les Opéra Békin II” by Zhang xiofu
All the world's a stage,
And all the men and women merely players:
They have their exits and their entrances;
And one man in his time plays many parts…
——William Shakespeare: As You Like It
In time-honoured Peking opera, there are four main types of roles which follow traditionally fixed patterns for specific types to highlight the disposition and quality in the personages so that the audience may immediately identify them:"sheng" is the positive male role, "dan" is the positive female role, "jing" is a supporting male role with striking character and "chou" is the comedian or clown. Apart from distinguishable vocal territura, every type has its telltale facial makeup and decoration pattern--i.e. Lianpu, which clearly denotes the nature of each character。
The composer attempted in this work to revise the set of percussions----the soul of Peking opera music----into the classification of material criterion, i.e. leathern, bronze, wooden and clavier----these acoustic patterns are an interesting couplet (counterpoint) to the four facial makeup patterns: sheng, dan, jing and chou, as well as the four major vocal patterns in Peking opera: chang(singing)， nian(reciting)， shuo(speaking voice) and yunbai(rhythmical declamation). Electroacoustic methods are utilized in the transformation and synthesization of varius percussion and vocal sound. A completely new kind of "acoustic facial makeup patterns" is vividly portrayed。
“Visages peint dans les Opéra Pékin II”， was a commission the French government and IMEB, for electroacoustic music in 2007. And it’s debut performed in MUSICACOUSTICA Beijing 2008。
