演出系列6：《天倪》台湾电子音乐家专场音乐会
时间：2008年10月28日19:30
地点：中央音乐学院附中音乐厅
1)《天倪》－为古筝、小提琴、大提琴与电子音乐而作 (2006／6’30”／北京首演)
作曲：赵菁文
古筝：翁慧
小提琴：杨瑞，大提琴：赵旭阳 “天倪”一词取自庄子之齐物论，意旨“自然的分际”。二元对立似是一永恒的现象，但区分此二元性，如是与非、天与地、黑与白、日出与日落等的“界限”，却也不断规律地变化。我试图将这种不断变化的二元共存性，表达于此乐曲的创作理念中。乐曲经由三个阶段：地籁、人籁、天籁；似风吹过千万种自然界的窍孔，使其自然地发出各种不同的声音，不断循环，而又使它们自己停止。声音由寂静产出，回归于其，以达“虚静推及于天地，通达于万物”、“行动似天之自然循环”的境界。时间与乐句、形式上的结构关系，也由标题之书法笔画延伸而来。
电子预置音乐的产生，则是使用史丹佛大学电子音乐与音响研究中心(CCRMA- Center for Computer Research in Music and Acoustics)所研发的程序应用软件，尤其是粒状声讯合成(granular synthesis)的技术，与成功大学资工系计算机音乐实验室所研发之“二胡声讯合成(Erhu Synthesis)”技术。此曲为奥地利新音乐团体Ensemble_Online Vienna委托创作，于2006年4月20日于德国达姆城首演。
2)《钢琴变奏曲》－电子音乐 (2008／7’30”／北京首演)
作曲：曾毓忠
此作品唯一之素材来源为钢琴。探索钢琴声音内在张力、音色(频谱型态)、以及声响姿态变形之最大可能性，是此作品主要之创作想法。许多预录之钢琴小片段透过各种数字音频技术加以处理，然后再以微蒙太奇混音之手法加以组织，建构与创作成为一首具有艺术趣味之作品。此作品开创与完成于2008年九月至十月中旬之间于台北教育大学计算机音乐研究室。
3)《流浪者之歌》－ 为小提琴独奏与计算机音乐而作 (2005／7’30”／北京首演)
作曲： 黄志方
小提琴：杨瑞
作品 “流浪者之歌” 编制上为小提琴独奏与计算机，该曲系为喜欢追求灵性生活的人们而作，乐曲中描述了人类灵魂深处的流浪生活，可以视为人们自出生后即展开流浪与追逐的一生，最后在大地寂静之声中又回归自然。以独奏小提琴代表流浪者一生之独白，计算机所预制之环境声响与各式电子音乐手法与创作来代表所遭遇的人生际遇，从出生到各种苦难或是快乐等经历，并结合赫塞之文学名著 "流浪者之歌" 的精神理念来创作此曲。曲中结合东方色彩与哲思、现代与中东和中国传统音乐特色，希望可营造出具有东方特色的现代音乐。本曲曾荣获2004年亚洲作曲家联盟在以色列所举办音乐节之征曲活动。
4) 风雷引 － 电子音乐 (2007／11’12”／北京首演)
作曲： 郑建文
这首作品是由台风时节，雷、雨、风之骤起骤停所交织而成的音景所启发。此作品藉由声音的各种参数之对比，作为音乐推进的主要力量。整个作品皆使用相同的素材来源，取材自敲击电饭锅的声音，经过特殊的数字音频处理而完成，主要包括各类滤波器、残响效果器、延迟效果器、取样技术、以及基于快速复立叶转换原理的 phase vocoder、mutation、spectral extraction等技术。此外，也包含了运用 Max/MSP 程序设计所完成的特殊空间处理器，使得声音可以被任意切割成长短不同的片段，并在双声道的虚拟音场路径中随机分布，藉以描写风雨交织的音景。
5)《绿岛小夜曲绮想》－为手风琴与Max/MSP而作(2007／11’00”／北京首演)
作曲： 曾兴魁
手风琴：阮明圆
对手风琴二、三十年来总存在着许多的幻想，创作这首曲子的缘起，由于结识了优秀的手风琴演奏家Primoz Parovel先生，他的多次示范演讲，让我对手风琴的风格、技巧有了更具体的掌握，于是写下我的第一首为手风琴独奏与计算机 Max/MSP互动艺术的的作品。作品取材于大家耳熟能详的歌曲“绿岛小夜曲”，绿岛像太洋洲般浪漫的风情，留给大家无限的遐思；但那60年代肃杀的白色恐布，对台湾人又是另一种的烙印，忘掉这些，绿岛其实就是“婆沙之洋、美丽之岛”──福尔摩沙。
本曲分为五大段落，依手风琴独奏与计算机Max/MSP交互穿插出现，第一大段为手风琴以“绿岛小夜曲”前半段旋律，在音乐会会场外的阳台或舞台后方独奏出现，绿岛小夜曲像遥远的歌声而传来。接着计算机以Max/MSP 启动预录的声音素材穿插其中。第二大段Allegro快速的对位，充份展现手风琴簧片乐器的特色，如芬兰作曲家M. Lindenberg说：手风琴像一组木管乐器群(Woodwind Ensemble)，个人甚同意他的论点，不过我还认为手风琴兼具小提琴般快速流动音形的能力。第三段是一些声音的实验，如细微音高的落差会带来声音乐振动(beats, tremolo)，这一段也引用了法国频谱作曲家(Spectrum composer) 格利色( Gerard Grisey 1946~1998) 的作品 “泛音”(Partiels)中的一段，理论上是二个不同音高之间的音，会产生有节奏的振动，其公式如下：Hr = Rt / Ms
Hr=Hertz (frequency) of rhythm, Rt= total number of rhythmic per measure
Ms= measure length in second 这些音响学的探索，以实际的作品来验证。第四段又回到“绿岛小夜曲”后半段旋律，手风琴左手低音伴奏以传统Stradella Bass出现。最后第五段手风琴以近似小提琴技巧，非常快速的音形流动，如触技曲般让手风琴演奏家展现其高超的技巧。最后以“绿岛小夜曲”的六音音阶，拉满风箱后逐渐消失，其自然产生的神奇般泛音，将会让音乐会会场听众无惊艳，后续的计算机音响滑奏至人类听觉的极限，也是科技与艺术的完美结合。
本节目计算机 Max/MSP程序 Bruce Gremo 协助完成，计算机电子音响片段由新竹市三民国小国乐团，范光宏老师指导录制；人声部份取自白鹭鸶文教基金会“音乐台湾”CD，李碧华主唱，感谢他们协助录音及同意使用。
6)《台湾三景》－ 为多媒体计算机音乐而作 (2007／7’00”／北京首演)
作曲：黄志方
《台湾三景》多媒体计算机音乐作品创作于2007年11月，主要创作灵感源自于台湾著名的景色，但有别于传统具象音乐的处理方式，而运用抽象的素材，包括数字合成的碎形与混沌理论所产生“自我类似性”的图形意象，并整合计算机音乐的声音素材，利用各式转换技术与声音合成，加上算法作曲与机率分布控制达成各种“声音形状” 之雕塑，完成这首具象多媒体计算机音乐之创作。“台湾三景”包括三个乐章，试将乐曲意境略叙如下：
1. 风吹沙：海滩上看那苍茫大地，享受微风吹动着碧彩与金沙，和太阳映射的绚丽光芒融合为一体。
2. 垦丁的星空：在海边的夜晚仰首望群星，剎那间流星划破寂静的世界，拥着我的幻想与希望。
3. 合欢飘雪：寒冬的山顶上，俯拾皆是雪花片片。凝视着各种变换的形状，彷佛进入了未曾存在的异想世界。
7)《西藏边际》－为打击乐与电子音乐而作 (2008／7’11”／北京首演)
作曲： 吴宜蓁
打击乐：艾思辰
西藏是佛教相当兴盛的地方，无论男女老幼皆可见到他们虔诚地以五体投地的姿势礼拜佛陀。如此的景象令人动容，同时也给予我们一种启示：人类虽自称为万物之灵，但是以宇宙万物的角度来审视人类时，却又是如此的渺小。此作品使用唢吶的声音素材制造Chorus及Loop 效果，使原来单独一只的唢吶声变成如同一群唢吶吹奏之浑厚感受；此外乐曲中也添加木鱼及法铃等声音素材，以体现佛教的宗教气息。乐曲一开始便以Loop的合成唢吶出场，随之而来的是击乐的呼应。主题开始之后作曲者运用Reverse的方式将既有的调性作品旋律片段化后倒转，造成一种不断地推进与渐强的听觉张力，同时又隐约可听到旋律性的主题逐渐地开展出来，并且再次地进入另一新的意境之中。此作品运用许多Dynamic EQ的声音合成滤波技术，急促的“咻”～“咻”～的滑动音高与气音，配合主旋律的进行，制造了另一种新的复合音色。此外乐曲中运用了许多国乐乐器的声音素材透过Audio Much与Adobe Audition加以形变，以试图展现中国传统的文化特性与人文精神。
musicacoustica2008 concert series(6)
<Natural Boundary>-Taiwanese Electronic Musician Concert
Time: 19:30 28th Oct 2008
Place: concert hall of the Music School ATTACHED TO The CCOM
1) Natural Boundary - for zheng, violin, cello and electronics (2006/6’30”／Beijing premier)
Composer: CHAO Ching-Wen
Zheng: Weng Hui Violin: Yang Rui Cello: Zhao Xuyang
Natural Boundary, in Chinese title pronounced as Tien-Nee, inspired by the term in one of Chuang-Tzyy:s doctrines, denotes the naturally but constantly varying line which distinguishes the wrong from right, black from white, yes from no, and so forth. The piece goes through 3 stages: The first unfolds sounds which seem to come from nowhere- silence, harmonics and percussive points, like the noises in nature, circulate the space. The wind brings the songs chanted in the second stage, in which heterophonic technique rules the lines in respiratory continuity. This continuity leads to the final stage, in which the constantly 3-dimensional sonic events interweave, exchange, shift or derive in sudden moments. The time structure, originated from the number of strokes in the characters of the Chinese title, constructs the waves of sound speeding up and down, and comfortably grows wide and narrow in space。
The making of electronics is based on the granular synthesis technique developed by Fernando Lopez-Lezcano at CCRMA-Stanford, as well as the Erhu-Synth software newly explored by Hsiao Yi-Song at the NCK-University in Taiwan. The piece was commissioned by Ensemble_Online Vienna and premiered on April 20, 2006 in Darmstadt, Germany。
2) PianoForte – For Electronic Music (2008/7’30”/Beijing premier)
Composer: TSENG Yu-Chung
The title comes from the single sound source of the piece-Piano(Forte)，which characterizes the work. The idea of limiting sound source and samples being recorded in small fragments is to work closely to sound, to investigate the tension of sound, to explore the possible transformation of sound, and to develop unique timbres and gestures。
The source recordings were manipulated and transformed by using several software including Csound, SoundHack, Metasynth, Audiomulch and Audition …etc. The processed sounds were then organized(E. Varèse) in a manner of micro-montage mixage(H. Vaggione) to create an artistic interest work。
The work was created and finished at the Computer Music Studio at National Taipei University of Education between September and Mid-October in 2008。
3) Song of the Wanderers - for violin and computer music (2005/7’30” /Beijing premier)
Composer: HUANG Chihfang
Violin: Yang Rui
The “Songs of the Wanderers” was written for violin solo and computer. The piece is composed for the people who are desired to pursuit the spiritual life, and depicts the wandering life of the mankind soul. It can be considered as the reflection of the true life for the people who was born with natural, and then followed with their own wandering life, and return to the silence earth eventually。
4) Tune of Wind, Rain and Thunder - for 2-channel electroacoustic tape (2007/11:12/Beijing premier)
Composer: CHENG Chien-Wen
This piece is intended to create an imagined soundscape of a summer typhoon at the place where I currently live (Taipei). Although it sometimes brings damages, I still love the soundscape it creates. During the typhoon time, the rain and wind always rise and fall in an extremely dramatic way, very much like the expression in the avant-garde contemporary music. For me, it actually carries a soothing power during such hot summer not only because of the cool wind and rain it carries but also because of its dramatic action which seems to shout out the emotions inside me. In this piece, all the sound materials are taken from the recorded noises produced by various ways of striking a pot. Signal processing techniques used to transform the sound sources mainly include spectral mutation, spectral extraction, convolution, granular synthesis and sampling techniques. Random spatial distribution of sound grains is created in Max/MSP. Filters based on FFT with gradual parameter transition programmed in Max/MSP are also applied to create special musical gestures。
5) Capriccio on Serenade of Green Island - for accordion and Max/MSP (2007/11:00/Beijing premier)
Composer: TZENG Shing-Kwei
Accordion: Ruan Mingyuan
The piece is constructed basically from the 60:s Taiwanese pop ballade "Serenade of Green Island." Green Island is a sixteen square kilometer island south-east of Taiwan, sometimes nicknamed "Burning Island." The landscape is some like of French Polynesia or other small Pacific Island, with a tropical climate and romantic mood. But during the 60:s Martial Law period in Taiwan, this island was used as a jail for political prisoners, and this has branded it as a terrible place to Taiwanese. But now forget all this: Green Island is a part of beautiful Formosa - Taiwan.
The piece contains five sections with accordion solo and the computer music Max/MSP program alternating within each. The first section is an accordion solo with the tune "Serenade of Green Island" playing behind the stage or on an outdoor balcony. The melody comes in from the distance (lontano)， and then Max/MSP plays the prepared sound files. The second section is "Allegro" with counterpoint. The very fast melody spreads out across the character of the reed instrument. As the Finnish Composer M. Lindenberg has said, "The accordion instrument is like a set of woodwind ensemble." I agree with his viewpoint, but I rather think this instrument, like the violin, has the ability to create some kind of very fast, mobile figure. In the third section I try a frequency experiment, e.g. the tiny differences in pitch create some beating or tremolo. I quote a small part from "Partiels pour 18 Instruments" of the French spectrum composer Gerard Grisey (1946 - 1998). In theory two slightly different frequencies cause a regular near resonance beating or tremolo at their difference frequency, the formula being |freq1 - freq2| = freq3 in Hz。
Hr = Rt/Ms
Hr=Hertz (frequency) of rhythm, Rt= total number of rhythmic per measure
Ms= measure length in second
The fourth part brings the second half of the pop music, with the left hand of the accordion playing a traditional Stradella Bass. The fifth part is like a toccata, bringing again a very fast mobile figure (moto perpetuo) and unfolding the magnificent technique in a violinistic manner. With the hexachord of the "Serenade of Green Island" as a codetta, the accordionist pulls the bellows fully and remains until the air disappears, to produce the magic harmonics from the keyboards of the accordion. Then the computer produces a pitch glissando to the limit of human hearing. It is a combination of art and science。
The Max/MSP program was finished under the instruction by Bruce Gremo. Interactive machine is used with the Kroond, la kitchen , France。
Chinese instruments is recorded by San-Ming Elemental School of Hsin-Chu city, coached under teacher Kuan-Hung Fan, human voice was extracted from CD of Lee Bi-hua, Foundation of the Egret, Taiwan。
6) 3 Taiwanese Landscapes - multimedia computer music (2007/7’00” /Beijing premier)
Composer: HUANG Chihfang
The multimedia computer music piece “Three Taiwanese Landscapes” was composed in November of 2007. The main idea was inspired by the famous scenes of Taiwan. The composition techniques differ from the conventional music concrete techniques, but use the abstract materials instead, including the digital synthesized graphics with the “self-similarity” features derived from fractal and chaos theory, to integrate the computerized sound samples with proper transformations and sound synthesis. In addition the algorithmic composition with probability and distribution control are used for the various “sound shapes” sculptures, to complete the computer music piece with multimedia concrete. The artistic conception of the piece “Three Taiwanese Landscapes” is as the following description” into three movements:
Movement 1 “Blowing Sand”： Laying down the beach and watching the invisible world, we enjoy the colorful sky and golden sand in the breeze, to fuse the sunlight with gorgeous colors into a whole。
Movement 2 “Starry Sky of Kenting”： To look up to watch the starry sky of Kenting while walking along the seashore, the shooting stars suddenly appear and break the silence of the earth, to brace my fantasy and hope into a dream。
Movement 3 “Drifting Snow of Ho-Huan”： In the chilly winter, there are drifting snowflakes all around the top of Ho-Huan mountain. With all kind of transformed shapes stared, it seems to guide me to walk into an imaginary world with great wonders。
7) Tibet Frontier - Percussion with Computer Music (2008/7’11” /Beijing premier)
Composer: WU Yi-Chen
Percussion: Ai Sichen
Tibet is a holy place of the Buddhism, no matter men or women, children or elder all worship devoutly in their temple, the composer wants to present this kind of emotion about Buddhism and also want to express the Tibetan culture and religious in this musical work. Ancient Tibet's spirit is very traditional like it’s habits and activities, in this tranquil paradise we can see Tibetans praying frequently, murmuring the mantra, there, we can realize how to perform religious rituals and as we know, it is affecting。
The sound material of“Sonar”is transformed to produce loop effect at the beginning of this work and it is also synthesized by Chorus effect to become “thick”， that seems like a group of Sonar which are performing in a band. Besides , in order to express the religious spirit of the Buddhism, the composer uses wood blocks and bells materials to produce a kind of holy atmosphere. Another character in this work is the Dynamic EQ technique and Reverse Effect. Dynamic EQ Effect can produce a special sound like white noise effect but slide; Reverse Effect can make original melody become faintly discernable, like the landscape of mysterious Tibet。
