演出系列4：《亚洲之声》亚洲电子音乐日音乐会
《亚洲之声》亚洲电子音乐日纪念音乐会
时间：2008年10月27日19:30
地点：中央音乐学院演奏厅
1) 《调频鼓》- 电子音乐(8’13”/北京首演)
作曲：麦伟铸(中国／香港)
作品以频率调制(FM)音响为基本素材，产生多样的音色和节奏变化。FM合成中，鼓音只由两个振荡器生成，一个是载波器，一个为调节器。两个振荡器的频率比及调制器的水平都在音乐中有不同设定。中间部分，鼓音的振幅包络被延伸，形成长的持续。与其相对应的短促、飞快的声音变化，则随现场的音乐控制，获得更人性化的处理。作品声音素材是在NeXT计算机上，使用斯坦福大学的综合程序Common Music和Common Lisp生成，合成部分则在香港演艺学院电子音乐工作室完成。
2)《花之雨》－为数字影像与电子音乐而作(9’43”/中国首演)
作曲：菲尔·温瑟(美国)
数字影像： 菲尔·温瑟(美国)
《花之雨》包括一些不规则的动画片段以及一些从扬琴采样后变形的数字音频。
作曲家试图利用扬琴某种奇妙的声音特质。技术上则使用音频移位、多重循环、微音变化的重复采样等技术。
3)《流动》- 电子音乐(2003/11’13”/中国首演)
作曲：成田和子(日本)
此作品是通过几个互相重叠的序列创作而成。
4)《纯化》 － 为打击乐与预置电子音乐而作(2003／11’30”/北京首演)
作曲：赵菁文(台湾)
打击乐：范妮(中国／北京)
SoundStates探索声音描述物质、形状的可能性；反映自然界中，气态、液态、固态之间，天然而奇妙的转化过程。曲首“固态”的声形，源自真实马林巴木琴(Marimba)演奏的录音，但其声音被切割处理成细碎的声响，这些声响逐渐被解构、消化，转化为液态，而后成为气态。乐曲的音响与音色，由木质渐转为金属，真实的演奏与计算机程序处理过后的金属音色交错复杂，渗入又消褪，围绕击乐器泛音的微妙色彩。乐曲最终以循环不已、持续上升的洪流，渗和铁琴(vibraphone)金属的和声色彩，包裹住先前素材的再现，最后升华至围绕B音的，隐约、飘渺的旋律。
预置电子音乐部分，则是采集自Marimba, Cymbals, Gongs, Tam-Tam等真实乐器演奏的录音，在Common Lisp Music音乐程序语言(史丹佛大学电子音乐与音响研究中心所研发)的环境下，经粒状合成法(granular synthesis)、声响空间定位产生器(dlocsig)、缩放控制器(scaler)等工具将其重新组合成陌生的音响。
5) 《48 13 N, 16 20 O》- 电子音乐 (2002/14’50”/中国首演)
作曲：朴泰弘(韩国)
《48 13 N，16 20 O》是一系列的作品中，第一个涉及到声音属性的特定空间，特定地理位置以及区域听觉存在的作品。这部作品的基础，是由2002年夏天，在某个城市的大一个月的时间里录制的所有声音素材组成的。作品也是一个记者和一个作曲家在路上完成的。
6)《舞笛》-为数字影像与电子音乐而作 (2008北京国际电子音乐节约稿作品／6’21”／世界首演)
作曲：刘思军(中国／北京)
数字影像：刘磊(中国／北京)
笛子是最具东方色彩的乐器之一，笛声同时也是最令人心仪的声源。作品《舞笛》正是运用了笛子的音色采样作为主题，在Protools音频工作站中加以编辑处理，同时采用Grm tools插件效果中Pitch shift、flanger等诸多功能对声音的原型进行改造，并将笛子的多种演奏法通过电子化处理以及剪接拼贴变得更加飘逸，此外视频的加入会引导听众解读笛声以外的宽阔世界。
7)《意志的胜利，偏执的失聪》－ 为8声道电子音乐而作(8’18”／中国首演)
作曲：何仲实(新加坡)
失聪，在白噪声和黑色静寂之间和有声与无声之间的灰色，落入失聪的灰色迷蒙中，假如说作品是在彩色印片中，那也是只有黑白的黑白世界。
作品的原始声音材料包括一部电影中非常少见的音频，这个电影有一个平静的、颠覆性的名字Sieg des Willens(柏林，时间大约是1944/45)。来自两位艺术家的自传，一位是活跃于两次大战之间的歌剧表演家Nun Erst Recht，一位是舞台表演家Kammersaenger Fritz Schaetzler，后者向公众隐瞒了多年自己残疾的事实，作为一个非印欧人的后裔，(纳粹时期)Schaetzler经常遭到无端的拘捕。他的幸存缘于以前剧院的同僚的帮助，以及其他高级别党派成员的默许。
这个作品由四组立体声同时播放，并通过八个扬声器播出。在这部作品里，没有最佳的听音位置，所有的听众都会根据他们所处的不同位置，得到不同的听音体验。
8)《格调》－为钢琴独奏与5.1多声道环绕系统电子音乐现场设置(2006/10’54”/北京首演)
作曲：安承弼(中国／上海)
钢琴：冯驰
本曲2008年6月8日首演于法国国家电台梅西安音乐厅。这部作品的基础构造带有浓厚的东方视觉艺术色彩：在作品的中间部分，作曲家用仅有的声音创造出一片璀璨的音乐空间，犹如那些简约派艺术。作者在钢琴配乐的同时加上简单的钟鸣声，和断断续续的深沉的电子音乐，就像流动的风声一般。
在字典中，格调表达的意思是通过内容和结构的和谐来表现艺术。但是在具有东方色彩的视觉艺术中，格调却极大地模糊了那个用来衡量一件艺术品的西方公认审美观。这已经是对美如何认知的问题了。犹如在佛教中，感悟代表着对一件事物的了解已经上升到另一个质的层面一样。"格调"也让人们感受到另一种已经无法用"美"来形容的感觉。在某些艺术领域中，"格调"或许就是我们所一直期盼的最后艺术珍品。
在这部作品中，与其说"格调"表达了作者的憧憬，更确切地说，它已经成为艺术品中的一种代表形式。在乐曲的开头，人们听见一个迅速交替的钢琴声和其电子声，意在表达到达绝对状态的不安感；然而在结尾，作品以打击乐的声音作为终止来表达一种不安的状态，而强回声后的退逝，就像无尽的终止。暗示作者对格调的艺术探求仍旧没有停下脚步。
<Sound of Asia>-Concert for CEMC-EMSAN Day
Time: 19:30 27th Oct 208
Place: Recital Hall, CCOM
1)FM Drumming － for Electroacoustic Music (8’13”/Beijing premier)
Composer: Clarence Mak (Hong Kong/China)
This piece used frequency modulation (FM) sound as its basic material, generating a great deal of rhythmic variety with patterns and pulse as much as tone color。
The drumming tones were created with only two oscillators in the principle of FM synthesis, one is the carrier and the other is the modulator. The tone color changes in its quality and quantity while the frequency ratio of the two oscillators and the modulator's level are in different settings in the music. The middle part, the amplitude shaping (envelope) of the drumming tones was extended to make a long sustained sound. The contrasting short phrases of fast running notes were humanized with the musical gestures which were lively performed with a computer mouse in a program created by the composer. Most elements of the piece, including the sound source and the rhythmic patterns, were created on a NeXT computer with the synthesis programs Common Music and Common Lisp Music at Stanford University, and the composition was realized in the Electronic Music Studio at the Hong Kong Academy for the Performing Arts。
2)Showers of Flowers - for Electroacoustic Music and Digital Images , (9:43/China premier)
Composer: Phil Winsor (USA)，
Digital Images: Phil Winsor (USA)
Showers of Flowers consists of Fractal animations along with digital audio put together from transformed audio samples of the Chinese hammer dulcimer, the Yang-Chin. I wanted to take advantage of the wonderful ring-through textures that emanate from the instrument and seem to float on forever. Even though it may seem that digital reverberation has been added to the samples, they are unaltered in this respect. The techniques I used were simple ones, ranging from time and frequency shifting to multiple loop overlays and composite, microtonally shifted, repeated samples to create a drone effect。
3)Fluidity - Electroacoustic Music (2003/11:13/China premier)
Composer: Kazuko NARITA (Japan)
This piece is composed with several sequences laid so as to overlap one another。
4)SOUNDSTATES - for percussion and computer-generated tape(2003/11’30”/Beijing premier)
Composer: Ching-wen chao (Taiwan)
Percussion: Fan Ni (Beijing/China)
SoundStates explores the 3 states of matter (gas, liquid and solid) and their transformations into one another. This flowing from one sound state to the other forms the basis of the structure of the piece, to reflect a similar process in the spontaneous changes in nature. The piece begins with solid, block-like sounds which gradually disintegrate; it ends with a succession of rising, more atmospheric sounds, with a return to elements of the original material. The source sounds were mostly drawn from the marimba and were digitally processed in the CLM (Common Lisp Music) environment。
5)<48 13 N, 16 20 O> - Electroacoustic Music (2002/14’50”/China premier)
Composer: Tae Hong Park (Korea)
48 13 N, 16 20 O is the first of a series of pieces that
deals with sonic attributes of a particular place, specific
geographical location, and regional auditory entities. The sonic objects that were recorded during the period of approximately 1 month in one city in the summer of 2002 comprise the basis of the piece. This composition is the outcome of walking the path of the reporter and the composer。
6)The Dance of Flute - for Electroacoustic Music and Digital Images(2008/6’21”/World premier)
Composer: Liu Sijun (Beijing/China)
Image: Liu Lei (Beijing/China)
Flute is one of the musical instruments which can represent the oriental art to a great extent, and at the same time, flute can produce the most admiring sound. We use the flute’s timbre as the theme of The Dance of Flute, and edit it with Protools. What’s more, we take the advantage of functions of Grm tools, such as Pitch shift and flanger, to reconstruct the audio prototype, and make the music more elegant by computerizing and editing and rearranging the methods of flute performance. Besides, the audience can appreciate the expansive realm beyond the fluting with the help of video。
7) Victiry of Will, the Deafthetics of Bias (8’18”)
Composer: HOH Chung Shih (Singpore)
Deaf, the victinnitus grey between white sound and black silence and sound
and silence, draped in the grey coma-flage of a deaf clef where there are no choices but only the victintinnabulations of realities thought better left unsaid as histories, told and read in black-and-white, say their piece in the ‘technicolor’ that is the black and white of only black or white.
Victiry of Will’s source material includes rare found audio of that which remains of a film with the quietly subversive title of Sieg des Willens (Berlin circa 1944/45) based on the autobiography, Nun Erst Recht, by one of Germany’s most interesting, interwar operatic performers. Kammersaenger Fritz Schaetzler achieved success as a stage performer in spite physical disabilities which remained for years hidden from the public. As an individual of non-aryan heritage, Schaetzler was subject to frequent arrest, usually ordered by Goebbles. He survived due to the personal intervention of Emmy Goering (a former theater colleague) and the tacit shielding of other high ranking party members.
Schaetzler’s was a life dumbed by the deafening greys of camouflaged
disabilities, dislocated identities and hidden messages and remains shrouded in the muted grey of history’s political pursuit of the clear cut, the black and white.
For this project, Petrovic created a guide/mother video, inspired by and
appropriating violent images by Goya, which was then destroyed after a
seed/child sound file has been created. This file was then passed sequentially among three sound artists – Hoh, Raco-Rands and Schindelmann. Employing in the process the inherent deafness of a Chinese Whisper, each working independently, and un-hearing at his respective aesthetic location progressively distorting the seed/child file according to biases. This skewed sound file was then edited and configured by further dislocating the final seed/child sound image through various types of spatialization (swastika traceries, automatic calligraphic patterns, arabesques, spastic gestures, violent jabbing, etc。) into an eight- channel environment。
This work is made up of four stereo tracks played simultaneously into eight speakers. Live diffusion on the mixer is possible as a performance option. There is no preferred ‘sweet spot’ for listening. Listeners will receive different biased
experiences depending on their locations: (可删到300字)
8)Gediao - for Piano and live electro-acoustic music 5.1 multi-channel surround system (2006/10’54”/Beijing premier)
Composer: AN Cheng-bi (Shanghai/China)
Piano: Feng Chi
The basic construction of this piece carries out an abundant oriental vision art: in the centre of the piece, the composer use the sound to create a fantastic space of music, just like the minimalisme art. The tune of the piano and the simple bell ring make the sound like the flowing wind with the consecutive profound electronic elements。
In the dictionary, "Gediao" means the expression of art via harmonious content and structure. On the contrast, "Gediao" tremendouslty blurs the western authorized aesthetics view which be used to identify an art object in the oriental vision art. This becomes a problem about the cognition of "beauty". As in the Buddisim, realization stands for the understanding of a object has been escalated onto another level of quality.
In this piece, "Gediao" reflects the expectation of the composer, furthermore, it becomes a representative form of art. In the beginning of the piece, we may hear a swift alternative piano sound and the electronic sound, which means the sense of insecurity in the absolute situation ; while in the end, the piece was closed by the percussion to express a unstable status. The fade out of the forte echo likes the endless epilogue, which is interpreted to mean that the pace of the composer to pursue the art of "Gediao" will never be ceased。
