演出系列7：《流梦》日本电子乐专场音乐会2
2008北京国际电子音乐节电子音乐演出系列(7)
《流梦》日本电子音乐家专场音乐会
时间：2008年10月29日19:30
地点：中央音乐学院附中音乐厅
1) 《相克相生》- 电子音乐 (2007／8’58”／中国首演)
作曲：余田有希子
东京艺术大学音乐研究科音乐文化学专业音乐音响创造研究分野硕士毕业作品。日本乐器和西洋乐器相结合的4频道音响作品。
本作品是根据阴阳五行的“五行相克”，“五行相生”的思想而作的。相生和相克，两方面互动时，所有的东西都将能够保持平衡，但当那种平衡出现歪斜时，就有毁灭的和孤立的东西……，本作品试图表现上述情形。
在乐器的选择方面，各个方位都根据事先设定的八音表而配置。(东：鼓、西：钟、北：管、南：弦)。
2)《吟》－四声道电子音乐(2008/7’30”／中国首演)
作曲：石井广美
这个作品试图探索日本传统萨摩琵琶音乐与电子音乐如何结合的途径，出于这样的目的，一些萨摩琵琶的优秀作品已经开始从电子声学作曲的视角来进行创作了。
日本传统萨摩琵琶音乐是一种讲述性的音乐形式，以人的表达为主线，琵琶作为伴奏。传统的萨摩琵琶曲往往由接连不断的三部分构成。大部分曲子以单音旋律开头，使听众在乐曲回荡中领略细微的玄妙。曲子接着进入到第二部分——绝对精彩的演唱段落。随着极富表现力的歌声，乐曲之美一同安详的达到极致。此段音乐同样以此形式安排结构，以保持和表现传统萨摩琵琶的独特风格。
3) 《凝神聆听！》- 电子音乐 (2007/8’37”/中国首演)
作曲：成田和子
作品的标题来自柏拉图的一个讲学的内容，在那个讲学中，一个初学的学生邀请苏格拉底来倾听她所说的有关“爱”的内容，她解释了如何从观察众多美的人体中获得一种抽象的美，因为，在柏拉图哲学的对话中，人是从观察年轻男人的身体这样的具体的事物中开始获得美的。
作品的开始，能清楚听明白那个学生发出的每个词的意思，但随着声音的变形，这些词汇变得再不能听清，乐器、人声和噪音也逐渐被引入，如在柏拉图对话中一样，抽象的美再不与具体的美相连。作品的末尾，所有的声音都失去原始的面貌，以达到一种统一的创作理念。
4) 《鸣鸟》- 电子音乐 (2008/9’34”/中国首演)
作曲：小坂直敏
长期以来，鸟类的歌声，以及水声和昆虫的叫声，一直都被视为是音乐的灵感和主题。特别是鸟的声音常常成为音乐的原始素材，从文艺复兴时期的作曲家Clément Janequin(c1485-1558)到现代作曲家梅西安 (1908-1992)都有借用鸟鸣来创作的经历。今年是具体音乐60周年，音乐理念从传统器乐的演奏解放出来已经经历了很长的时间。这个作品是此类作品的第一次尝试。鸟的声音是2008年的春天在东京采录的。就声音的合成来讲，运用了粒子合成和一些调制技术。Max/MSP 用做现场的声音操作。也运用了一些自制的声音合成软件。
5) 《零度的思考》- 电子音乐(8’37”/中国首演)
作曲：岛津武仁
此作品采用了单簧管音色，并将其作计算机化声音调制处理。硬件环境为Apple Powerbook。
6)《流梦》－为视频与电子音乐而作(2008/5’34”)
作曲：石井广美
作品流梦沿袭日本传统艺术，将视觉和音乐部分紧密联系起来。视觉与音乐部分并行，使得二者在微妙中展开进行。作品中并没有任何突然的爆发，也没有任何突兀的间断，因为这些并不事传统的日本艺术特点。取而代之的，是细微的转变与缓慢的浮动。
声音来源于传统日本音乐中的雅乐和能乐，并融合了电子音乐处理。
视觉部分的灵感则来源于日本的纺织工业，原创风格的生产在日本纺织业已有久远的历史，当时雅乐和能乐的演奏者的着装为此莫属
微弱的彩粉色的图像曲段源自源像中的自然风光，充满了自然的色彩
7)《迷真》－为视频与电子音乐而作
作曲：余田有希子
视频：泰田敏彦
东京艺术大学音乐学部音乐环境创造科的毕业作品。当时是受同大学美术部工业科油漆专业学生太田敏彦的委托，要求为使用假面道具的表演制作一部音乐。作品的主题是“两面性”。
象“强--弱”，“善--恶”等，当意识到在自己的心中存在相反的两种性质时有不安和挣扎，作品主要是表现这种心境。
根据表演的故事情节制定了音乐的大致结构，使用了筝和尺八等日本乐器。这些主要的日本乐器先经录音，然后用电脑再进行加工制作。
musicacoustica2008 concert series(7)
《Ryum》－Japanese Electronic Musician Concert
Time: 19:30 29th Oct 2008
Place: concert hall of the Music School ATTACHED TO The CCOM
1) Mutual Generation and Restriction － Electroacoustic Music (2007/8’58”/China premier)
Composer: YODEN Yukiko
It was the graduate work of master's degree of Creativity and Research of Acoustics, Culturology of Music, Center for Music Research, Tokyo University of the Arts, which was a 4 band acoustic composition created with Japanese Instruments and Western Instruments。
This composition was based on the thought of “Five Elements”， which the core was mutual generation and restriction. All the things will keep good balance when generation and restriction are interacting. However, when the balance is destroyed, there will be some things appearing which are destructive and isolating. This composition was trying to express such situation。
As the choosing of instruments, every direction were configured by the tone table which was setted. (East: Drum West: Bell North: Pipe South: String )
2) Ginn-Klang – for Electroacoustic Music(7’30”)
Composer: Hiromi Ishii
This composition explored ways to relate traditional satsuma-biwa music to electroacoustic music. For this purpose, some masterpieces of Satsuma-biwa has been analysed from the vewipoint of electroacoustic composition。
The traditional music of the satsuma-biwa is a story-telling music which consists of vocal part and the biwa as accompaniment. Traditional satsuma-biwa music is usually structured by three different musical parts which are played continuously. Most pieces begin with single tones letting listen the audience to the subtle timbral nuance in resonances. The music moves to the second part which is a virtuoso by the biwa player. It leads music to a quiet climax in which the player sings expressively. The musical structure above has been applied to structure this piece so that it keeps the close relationship between the tradition of the biwa music。
3) Listen carefully! – for Electroacoustic Music (2007/8’37”/China premier)
Composer: Kazuko NARITA
The title of this work refers to the famous excerpt from Plato's Symposium where the Stranger invites Socrates to listen to what she wants to tell him regarding love (ta erotika). She explains how to achieve from the observation of beautifull bodies the abstract notion of beauty. As in the platonician dialogue one starts from observing concrete things such as bodies of young men,
at the beginning of the musical piece one understands clearfully the words pronounced by the Stranger (peir? de mo?). Through a musical transformation which desembodies them, these words are no longer discernable. Composite sound materials have been added to them (instrument, voice, noise…). As in Plato's dialogue where abstract beauty has no more connection with individual beauty, at the end of the musical transformation the sound materials have lost their identity of origine for the sake of a musical unity。
4)Birdsong – for Electroacoustic Music (2008/9’34”/China premier)
Composer: Naotoshi Osaka
The songs of birds have long been an inspiration or theme for music, as well as insect sounds and water sounds. Especially birdsongs have always been source material for music, ranging from the Renaissance composer Clément Janequin (c1485-1558) to the more recent composer Olivier Messiaen (1908-1992). This year is the 60th anniversary of Music Concrete, and it has already been a long time since the idea of music was emancipated from performance by traditional instruments. This piece is the first of such pieces. The main birdsongs were recorded in Hachioji, Tokyo in the spring of 2008. As for sound synthesis, granular synthesis and several modulation techniques are used. Max/MSP is used for real-time sound manipulation. Self-made sound synthesis software is also used。
5)A thought at Zero degree – for Electronicacoustic Music (8’37”/China premier)
Composer: Takehito Shimazu
This piece is made of the sound of clarinette With such sound, by means of some way of moduration inside a computer (Apple Powerbook)
6)Ryum - for Electronicacoustic Music and Vedio (2008/5’34”)
Composer: Hiromi Ishii
Ryum was composed to create a close relationship between visual- and music-part in the sense of traditional Japanese art. Both visual and music part were composed in parallel so that musical and visual timing can be adjusted delicately. This piece does not include any sudden explosions, or surprising interruptions as they are not the expression ways of Japanese traditional art. The subtle changes and slowly floating transformations are the manner of this piece.
The sound materials were taken from traditional Japanese music gagaku and noh and processed by the manner of electroacoustic composition。
The idea for visual part was inspired by Japanese textile industry Nishijin which has a long history of producing original style textile and has been in demand by the gagaku and noh performers for their clothes。
The faint pastel color tone of images was derived from the original landscape in source image, which are the colors of the nature。
7) Miss the Real – for Electronicacoustic Music and Vedio
Composer: YODEN Yukiko
It was composed at the period of studying in the Musical Creativity and the Environment major of Music department, Tokyo University of the Arts. At that time, It was commissioned by Ohta Toshihiko whose major was Industrial Painting of Faculty Fine Arts. The ordinary purpose was to write a music for a performance with props masks. The subject of this composition is “Dual Character”， just like “forte-piano”， “kind-evil” and so on. When realizing there are things that have contrary character in the deep heart, people will feel upset and struggling. This composition was written to express such mood。
The construction was based on the plot of the performance. Some Japanese instruments was used such as koto and Shakuhachi. These instruments were recorded at first. Then, they were processed by the computer。
