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Invited Composers and Computer Music Program Introduction
Invited Composers and Computer Music Program Introduction
電聲音樂作曲家委託創作曲目與演奏家介紹
電聲音樂作曲家委託創作曲目與演奏家介紹
Ken Paoli: "Three VignettesOne Turbulent Night The Temple Garden Drum Dance". This electronic work was algorithmically generated using the hypermetric theories of Edward T. Cone as a method to organize rhythm motivically. Time spans measured with a real-world clock set the duration for musical phrase length, which holds rhythmic values in arrays. The same rhythmic values are supplied to each array, but the ordering of the rhythm elements are varied. The work makes use of samples that have been submitted to an AI genetic process using Synthplant 2. Samples generate genetic strands which are variants of the original sample. Automation of the synth parameters, in turn, effect the attributes of the sampled “patch.” The output of the algorithmically generated material is input to a DAW and recorded for compositional processing and editing.
Ken Paoli：《三個畫面》
一個動盪的夜晚
寺廟花園鼓舞
這部電子作品是透過愛德華·T·科恩（Edward T. Cone）的超度量理論進行演算法生成，該理論用於動機性地組織節奏。樂句長度的時間跨度以真實世界的時鐘測量，並設定音樂樂句的持續時間，將節奏數值存儲於陣列中。相同的節奏數值提供給每個陣列，但節奏元素的順序有所變化。
作品使用提交至 Synthplant 2 的 AI 遺傳過程所產生的樣本。樣本生成遺傳鏈，這些鏈是原始
樣本的變體。合成器參數的自動化則進一步影響這些取樣「音色片段」的屬性。經演算法生成的素材輸入至數位音頻工作站（DAW）並進行錄音，之後進行作曲處理與編輯。
Ken Poli肯.保利
Ken Poli肯.保利
Prof. Ken Paoli, Professor of Music at College of DuPage, USA.
Ken Paoli, Professor of Music at College of DuPage, studied composition with Phil Winsor at DePaul University. His graduate degrees are from Northwestern University, studying composition with M. William Karlins. Ken’s research interest includes algorithmic composition and his paper titled “Macrostructure and Transition in an Algorithmic Composition Environment” was published in the proceedings of the ICMC in 2017 and his paper titled “Hindemith and Algorithmic Harmonic Generation” was published by the ICMC in 2019. “Frasi ipermetriche: Hypermetrics in a Computer-Assisted Algorithmic Composition Environment” was presented at the ICMC in 2024. Ken is involved in archiving and researching the works of American composer Phil Winsor. His paper entitled “Phil Winsor’s Musical Poetics: Music is Nothing, Music is nowhere, Music is Nothing” was published in the preceedings of the ICMC in 2020.Ken’s paper “Phil Winsor’s Eighth Degree of the Yang Ch’in and Showers of Flowers: An examination of Process and Development was presented at ICMC 2022. His paper “Phil Winsor: An Exemplar of the Artist-Technologist” was presented at ICMC 2024.
Ken Paoli，現任杜佩奇學院（College of DuPage）音樂教授，曾於德保羅大學（DePaul University）師從Phil Winsor學習作曲。他的研究所學位來自西北大學（Northwestern University），在那裡師從M. William Karlins專攻作曲。Ken的研究興趣包括演算法作曲，他的論文〈Macrostructure and Transition in an Algorithmic Composition Environment〉於2017年發表在國際電腦音樂會議（ICMC）論文集中；論文〈Hindemith and Algorithmic Harmonic Generation〉則於2019年由ICMC發表。2024年，他發表了〈Frasi ipermetriche: Hypermetrics in a Computer-Assisted Algorithmic Composition Environment〉於ICMC。Ken也致力於美國作曲家Phil Winsor作品的研究與保存。他的論文〈Phil Winsor’s Musical Poetics: Music is Nothing, Music is nowhere, Music is Nothing〉於2020年發表在ICMC論文集中；2022年於ICMC發表了〈Phil Winsor’s Eighth Degree of the Yang Ch’in and Showers of Flowers: An examination of Process and Development〉。此外，他的論文〈Phil Winsor: An Exemplar of the Artist-Technologist〉於2024年在ICMC會議上發表。
Leigh Landy: "Qing + Cha 磬 + 镲 Old / New 舊 / 新 Leigh Landy" (2023, 6 minutes)
East Asian bowls and cymbals + 8-channel recording Programme note: This is the fourth work in Landy’s Old/New series that commenced with the commissioned festival composition for the 2013 Musicacoustica Festival, China/Music 中國/音樂 Old/New 舊/新. In that work samples taken from recordings of a wide variety of forms of Chinese traditional music were captured and recomposed. In this work, created ten years later at the request of the percussionist, Thierry Miroglio, Chinese and other East Asian bowls and cymbals have been sampled and recomposed in surround sound providing an atmospheric sonic immersive environment in which the live performance involving only those instruments completes the composition. The version performed on this occasion is a fixed-medium version based on observations made of Miroglio’s performance. It is interesting to note how acoustic sounds become electroacoustic through recomposition. The series and this composition’s goal is to demonstrate how music and instruments with rich traditions can represent profound histories while remaining dynamic and thus eternally modern. In the case of this work, the dynamic can also be found in the fact that a French percussionist has become virtuosic performing East Asian instruments. Technical notes: The eight channels are placed in the form of an octagon, ideally equidistant, with the left front loudspeaker as channel 1, the right front loudspeaker as 2 and the odd numbered speakers all on the left and even ones on the right with 7 (rear left) and 8 (rear right). The work is quite meditative, but this does not mean it has to be very quiet at all times. In fact, the dynamic range is quite large, but the piece should never sound very loud.
Leigh Landy:《Qing + Cha 磬 + 镲 Old / New 舊 / 新 Leigh Landy》
（2023年，時長6分鐘）
東亞鐘磬與鈸 + 八聲道錄音
這是Landy的*「舊/新」*系列的第四部作品，該系列始於2013年Musicacoustica中國音樂節委託的作品《中國/音樂 舊/新》。在那部作品中，Landy錄製並重新編曲了來自各種形式的中國傳統音樂樣本。而在這部十年後、應打擊樂演奏家Thierry Miroglio之請創作的作品中，中國及其他東亞地區的鐘磬和鈸被錄製取樣，並以環繞音重新編曲，創造出一個具有沉浸感的聲音氛圍環境，這個環境通過僅使用這些樂器的現場演奏完成整部作品。本次演出的是一個固定媒介的版本，基於對Miroglio演奏的觀察而製作。
值得注意的是，通過重新編曲，聲音如何從原本的聲學聲響轉化為電聲音樂。而這個系列以及本作品的目標，是展示具有豐富傳統的音樂與樂器如何在承載深厚歷史的同時，保持動態，並因此永遠具有現代性。在本作品的案例中，這種動態還體現在一位法國打擊樂演奏家如何在東亞樂器上展現出精湛的技藝。
技術說明：
八個聲道呈正八邊形擺放，理想狀態下相距相等，1號聲道為左前方揚聲器，2號聲道為右前方揚聲器，奇數聲道皆在左側，偶數聲道皆在右側，7號（左後）和8號（右後）。
這部作品具有冥想的特質，但這並不意味著它必須始終保持非常安靜。事實上，作品的動態範圍相當大，但整首作品不應該聽起來過於響亮。
Leigh Landy李蘭蒂
Leigh Landy李蘭蒂
Professor Leigh Landy Job: Professor of Contemporary Music, Director – Music, Technology and Innovation Research Centre (MTIRC) Faculty: Computing, Engineering and Media School/department: Leicester Media School Research group(s): Music, Technology and Innovation – Institute for Sonic Creativity, UK. Leigh Landy is a composer and musicologist of Dutch and American citizenship. He holds a Research Chair at De Montfort University where he directs the Music, Technology and Innovation Research Centre. Composition Landy's compositions include several works for video, dance and theatre. He has worked extensively with the late playwright, Heiner Müller, the new media artist, Michel Jaffrennou and the composer-performer, Jos Zwaanenburg. He was composer in residence for the Dutch National Theatre during its first years of existence and is currently co-director of Idée Fixe – Experimental Sound and Movement Theatre with the choreographer, Evelyn Jamieson.A complete list of his compositions, recordings, publications and other creative endeavours can be found on his personal website. Musicology Landy's musicological publications focus on studies of electroacoustic music, including the notion of musical dramaturgy, contemporary music in a cross-arts context, access and the contemporary time-based arts, and devising practices in the performing arts. He is editor of the international journal of music technology Organised Sound (Cambridge University Press) and author of over 100 articles (see his personal website) and eight books.
教授 Leigh Landy 職位：現代音樂教授，音樂、科技與創新研究中心（MTIRC）主任 學院：計算機、工程與媒體學院 學校/部門：萊斯特媒體學院 研究群組：音樂、科技與創新 – 聲音創意研究所（英國） Leigh Landy 是擁有荷蘭和美國國籍的作曲家與音樂學家。他在德蒙福特大學擔任研究講座教授，並擔任音樂、科技與創新研究中心主任。 作曲 Landy 的作品涵蓋影像、舞蹈和戲劇等領域。他曾與已故劇作家海納·穆勒（Heiner Müller）、新媒體藝術家米歇爾·賈弗雷努（Michel Jaffrennou）以及作曲家兼表演者約斯·茲瓦內堡（Jos Zwaanenburg）有廣泛合作。他曾在荷蘭國家劇院創立初期擔任駐院作曲家，目前與編舞家伊芙琳·詹米森（Evelyn Jamieson）共同擔任“Idée Fixe – 實驗聲音與動作劇場”聯合總監。其完整的作品、錄音、出版物和其他創作活動可在其個人網站上找到。 音樂學 Landy 的音樂學著作專注於電子聲音音樂研究，涉及音樂戲劇性、跨藝術背景下的當代音樂、時基藝術的普及化，以及表演藝術中的創作實踐。他是國際音樂技術期刊《Organised Sound》（劍橋大學出版社）的編輯，並出版了超過100篇文章（詳見個人網站）和八本專著。
Naotoshi Osaka: Uguisu Valley Trill and Water for Electronic Acoustics (2024) The Uguisu, a Japanese bush warbler, is known for its distinctive singing style, which includes three different ways of singing, one of which is the vigorous valley trill. Typically, this trill follows a duple rhythm, but I recently had the chance to hear a rare occurrence of a triple rhythm. This piece explores the various variations of the valley trill as its main theme. The recorded singing voices are extended musically, and virtual trills are introduced. The water stirring sound is also used more as a background sound. The combination of water, its processed sound effects, and bird singing adds another layer of interest to this piece.
小坂直敏：《鶯谷的顫音與電子音響之水》（2024）鶯，是一種日本的莺鸟，以其獨特的歌唱風格著稱，其中包括三種不同的鳴唱方式，其中之一便是強而有力的谷中顫音。通常，這種顫音以二拍節奏呈現，但我最近有幸聽到罕見的三拍節奏版本。這首作品以谷中顫音的各種變化為主要主題，將錄製的鳥鳴聲進行音樂性的延展，並引入虛擬顫音。此外，水流攪動的聲音更多地作為背景音使用。水聲、經過處理的音效與鳥鳴的結合，為這首作品增添了另一層次的趣味。
Naotoshi Osaka小坂直敏
Naotoshi Osaka小坂直敏
Prof. Naotoshi Osaka: Professor at the Department of Information and Media Studies, School of Future Science and Technology, Tokyo Denki University, Japan. Naotoshi Osaka received his M.S. degree in electrical engineering from Waseda University and received Ph.D. in engineering in 1994. He presented his piece in ICMC'93, '03, and '06. His music interest focuses on timbre synthesis from orchestral sound to computer generated sound. He has also organized computer music concerts, such as the NTT Computer Music Symposium I (1997) and II (2001). From 1996 to 2003 he led a computer music research group at NTT Communication Science Laboratories in Atsugi, Kanagawa. He is presently a professor of Tokyo Denki University. He is a president of Japanese Society for Sonic Arts (JSSA) in 2009.
小坂直敏教授：日本東京電機大學未來科學技術學院資訊與媒體研究系教授。小坂直敏於早稻田大學獲得電機工程碩士學位，並於1994年獲得工程學博士學位。他曾於ICMC（國際電腦音樂大會）1993年、2003年和2006年發表作品。他的音樂興趣集中在音色合成，範圍從管弦樂聲音到電腦生成聲音。此外，他還策劃了多場電腦音樂音樂會，如NTT電腦音樂研討會I（1997年）和II（2001年）。1996年至2003年間，他在位於神奈川縣厚木市的NTT通信科學實驗室領導了一個電腦音樂研究小組。目前，他是東京電機大學的教授，並於2009年擔任日本聲音藝術學會（JSSA）會長。
Yi-Cheng Lin: 3D Illusory Immersive Soundscape: "Lava's Roaring Dance"
林宜徵：3D 沈浸式魔幻聲景：《熔岩之舞》
"Lava's Roaring Dance" Molten lava flows beneath the earth, Winding like a fiery dragon, devouring land, Explosions of heat in the dark, Shining, roaring, Turning all in its path to ash and flame. Yet, as it advances, The glacier's cold confronts, Deep within ice and snow, Lava's heat bursts through the surface, But the frigid air gathers, Forming chimney-like ice pillars, Half fire, half ice— A battle where fire and ice entwine Frozen in place. Lava enters the icy tunnel, Each step carving marks on frozen walls, Steam and heat, Etching hollows on the ice, Like blooming frozen flowers, Breaths intertwined, Eroding solid ice into shifting forms, Shards of crystal shatter, In the clash, A silent symphony reverberates. At the tunnel’s end, A cavern dark and deep, Silent as death, Cold waters mirror the faint glow, Ripples whispering ancient secrets— Here, fire and ice meet their end, Yet a new beginning stirs. The lake flows into the abyss, Where the underwater world sleeps, There, a volcano stirs, In the deep, dark sea, Earthquakes disturb the stillness, Eruptions send molten rock, Scorching light in cold waters, Slowly solidifying, Rising to the surface— An island of life. This island, Born of ice and fire, Carries life and hope, Amid the boundless ocean.
炙熱的岩漿，在地底流淌，如⽕龍般蜿蜒，吞噬⼤地，迸發的熱浪，在⿊暗中閃耀，流動著，咆哮著，化為灰燼與⽕光。然⽽，隨著它的前⾏，冰川的寒冷迎⾯⽽來，在冰雪的深處，岩漿的熱氣衝破地表，嚴寒的天氣，在洞⼜堆積冰柱，⼀半是⽕，⼀半是冰，天地間的對峙，凝結於此。岩漿進入冰隧道，每⼀步，都在冰壁上刻下印記，⽔蒸氣與熱氣，在冰的表⾯，留下凹洞，如冰花般綻放，交錯的氣息，將冰侵蝕出千變萬化的形狀，⼀⽚⽚冰晶，碰撞中碎裂，隧道中，回響無聲的交響。隧道的盡頭，⼀個幽暗的洞穴展開，寂靜如死，冰冷的湖⽔，如鏡⾯般，倒映著隧道的幽光，漣漪粼粼，彷彿訴說著遠古的秘密，這裡是冰與⽕交融的終點，卻也是新的開始。湖⽔通往深處，隱藏著海底的世界，那裡，海底⽕山蠢動著，在⿊暗的深海中，地震的震動擾動了寧靜，⽕山的噴發，伴隨著熔岩與礦物，在海底散發出炙熱的光芒，熔岩在冰冷的海⽔中，慢慢凝固，⼀點⼀滴，浮上⽔⾯，形成了⽣命之島。這座島嶼，在冰與⽕的交融中誕⽣，如黎明之光，帶來了⽣命與希望，在無垠的海洋上靜靜漂浮。
Yi-Cheng Lin林宜徵
Yi-Cheng Lin林宜徵
Zoe (Yi-Cheng) Lin is a composer and software engineer specializing in digital music. Holding a doctoral degree in composition from the University of Wisconsin-Madison, she previously led AI music research as Chief Music Officer at an AI music company. Currently, Lin is a full-time composer and adjunct assistant professor at National Taiwan Normal University. Her expertise lies in visual-auditory synesthetic electronic music, 3D immersive composition, and ambisonic system sound projection. Lin's electronic compositions have been exhibited/selected in 21 countries at 32 international music festivals, including Ars Electronica 2024 (Linz, Austria), IRCAM Forum 2024 (Paris, France), ACMC 2024 (Sydney Melbourne, Australia), ICAD 2024 (NY, USA, selected), NYCEMF 2024 (USA), ICMC 2024 (South Korea), MediSouP 2024 (Cyprus), SiMN 2023 (Brazil), MUSLAB 2023 (Ecuador), MiRNArte 2023 (Venice, Italy), SICMF 2023 (Seoul, South Korea), NIME 2023 "Mixed Realities Workshop" (Mexico), NYCEMF 2023 (New York), Spatial Audio Conference 2023(United Kingdom), NoiseFloor 2023 (United Kingdom), Earth Day Art Model 2023 (hosted by Indiana University, USA), MOXsonic Festival 2023, SICMF2022, Atemporánea Festival 2022 (Argentina), ICMC 2022 (Ireland), IRCAM-Forum 2022 (New York). Lin's works also feature in albums associated with 2024 EMPIRICA RECORD, SiMN 2023 and MUSLAB 2023. Overall, she
has participated in international exhibition events, demonstrating her global impact in the field of electronic music.
林宜徵是⼀位科技⾳樂的作曲家及軟體⼯程師，擁有美國威斯康⾟⼤學⿆迪遜分校作曲博⼠學位。曾任⼀家AI⾳樂公司的⾳樂研發長（Chief Music Officer)，帶領團隊從事 AI ⾳樂研究⼯作。⽬前為全職作曲家，並擔任國⽴臺灣師範⼤學兼任助理教授。她專精於視聽聯覺的電聲⾳樂、3D 沉浸式作曲技法。林宜徵的電聲⾳樂作品曾在 21 個國家、32 個國際⾳樂節中展出或入選，包括 Ars Electronica 2024（奧地利林茲）、IRCAM Forum 2024（法國巴黎）、ACMC 2024（澳洲雪梨/墨爾本）、ICAD 2024（美國紐約，入選）、NYCEMF 2024（美國）、ICMC 2024（南韓）、MediSouP 2024（賽普勒斯）、SiMN 2023（巴西）、MUSLAB 2023（厄瓜多）、MiRNArte 2023（義⼤利威尼斯）、SICMF 2023（韓國⾸爾）、NIME 2023 “Mixed Realities Workshop”（墨西哥）、NYCEMF 2023（美國紐約）、Spatial Audio Conference 2023（英國）、NoiseFloor 2023（英國）、Earth Day Art Model 2023（由美國印第安納⼤學主辦）、MOXsonic Festival 2023、SICMF 2022、Atemporánea Festival 2022（阿根廷）、ICMC 2022（愛爾蘭）、IRCAM-Forum 2022（美國紐約）...等。其作品亦收錄於 2024 年的 EMPIRICA RECORD（義⼤利），以及 SiMN 2023 與 MUSLAB
2023 相關的專輯中。
Chien-Wen Cheng: "Echoes of Serenity " for audiovisual work that integrates electronic music with interactive visuals
鄭建文：《寧靜的回聲 》結合電子音樂與互動影像的影音作品
Echo of Serenity is an audiovisual work that integrates electronic music with interactive visuals, centered on the theme of meditation. Using the pure and ethereal tones of the handpan as its foundational material, the piece employs digital audio techniques such as granular synthesis, spectral delay, and reverb to transform and reconstruct the sound elements. This process vividly depicts the inner journey experienced during meditation—from the chaos of scattered thoughts to tranquility, gradually focusing attention until reaching a state of profound serenity and peace.
The visual component incorporates interactive features that respond to the pitch and volume of the electronic music. By dynamically adjusting parameters of fluid effects, it creates visual expressions synchronized with the sound, enriching the overall visual depth.
The structure of the composition, including its texture, soundscapes, and dynamic tension, mirrors the different stages of meditation, unfolding layer by layer to portray the progressive transformation of the inner self. From initial immersion to the emergence of thoughts, followed by a phase of mental turbulence, and finally arriving at pure serenity, the work seeks to capture the gradual emotional and spiritual transitions that occur during meditation.
《寧靜的回聲》（Echoes of Serenity）是一部結合電子音樂與互動影像的影音作品，以冥想為主題，運用手碟（Handpan）純淨而空靈的音色作為基礎素材，透過數位音訊技術包括粒子化合成、頻譜延遲與殘響等手法，進行的聲音素材的變形與重塑，藉以描繪了人們在冥想過程中所經歷的內心旅程——從思緒的混亂到平靜，由注意力的分散逐漸集中，最終達至深層的寧靜與平和。影像部分則結合音樂的互動特性，透過偵測電子音樂中的音高與音量，動態調控流體特效的參數變化，創造出與聲音同步的視覺藝術表現，也藉此豐富整體的視覺層次。全曲的織體、音響與張力的結構設計與冥想過程的不同階段相呼應，逐層展開，展現內心逐漸轉化的歷程。從初步沉浸到思緒浮現，再到思緒紛亂，最後邁向純然平靜，作品嘗試捕捉冥想中情緒與心靈的漸變過程。
Chien-Wen, Cheng鄭建文
Chien-Wen, Cheng鄭建文
Chien-Wen Cheng received his D.M.A. in Music Composition at the University of North Texas (2007), specializing in interactive computer music composition. Currently he works as full-time associate professor in the Department of Interaction Design at National Taipei University of Technology in Taiwan. He has won numerous composition awards and honors including: Best Background Music in Moonwhite International Film Festival (2018); winner of the NTSO (National Taiwan Symphonic Orchestra) composer commission competition (2013); winner of the 2012 TMC international Composition Competition (Taiwan); third prize in 2011 NTSO orchestral composition competition (Taiwan); first prize in the “2007 Voices of Change Young Composers Competition” (USA); second prize in the “2006 Fine Arts Creation Award” (Taiwan); fourth prize in “The 3rd Percussion Music Composing Competition” (Taiwan, 2005); selected work in the 2002 orchestral call-for-scores competition in “Tune in to Taiwan – Taiwan Composers Series”; fourth prize in the “2000 Hakka Vocal Music Composition Contest” (Taiwan); first prizes (2005, 2006) and second prize (2007) in the On-line Art Creativity Competitions (Taiwan); ICMC 2008 Regional Composition Prize (UK); honorary mention in Musica Nova International Competition of Electroacoustic Music (2011), and finalists in Musica Nova International Competition of Electroacoustic Music (2010), Città di Udine International Composition Competition of Electroacoustic Music (2010), Bourge International Composition Competition (2009), and VI Concurso Internacional de Miniaturas Electroacusticas 2008 (Spain). His electroacoustic works were also included in ICMC, SEAMUS, and Computer Music Journal DVD and CD releases.
鄭建文為美國北德州大學音樂藝術博士（主修作曲，並專精於電腦音樂）、國立交通大學音樂研究所理論作曲碩士。現任國立臺北科技大學互動設計系專任副教授。曾獲作曲獎項主要包括：Moonwhite Film Festival 國際電影節「最佳配樂獎」（2018）；國立台灣交響樂團委託創作徵曲比賽獲選(2013)；TMC(台灣音樂中心）國際作曲比賽優勝 (2012)；國立台灣交響樂團「建置音樂創作與行銷平台」徵曲比賽獲得第三名 (2011)；美國達拉斯交響樂團暨Voices of Change所主辦之「Russell Horn青年作曲比賽」首獎 (2007)、ICMC國際電腦音樂學會區域作曲獎 (Regional Composition Prize ) (2008)、教育部文藝創作獎（2003、2006、2009）、全國藝術創意作品線上競賽「音樂、音效創意類」優等獎（2007)、特優獎(2005、2006)、臺北打擊樂團「青年打擊樂作曲比賽」佳作（2005)、國家交響樂團「啟動台灣的聲音」管弦樂徵曲比賽獲選演出(2002)；新竹縣文化局「第四屆客家新曲獎」佳作(2000)等、捷克Musica Nova 電子音樂創作比賽「榮譽提名」(2011)。其電子音樂被收錄於各類國際性影音出版品中，諸如：國際電腦音樂學會（ICMA）2008 年年會作品選集CD；美國電子音樂學會(SEAMUS)首張影音DVD選集、2007年MIT Computer Music Journal 之DVD影音作品選集、SEAMUS 電子音樂創作比賽 Electroclip 決選作品集CD、西班牙Confluencias國際電子音樂創作比賽決選作品集CD。除了擅長器樂作曲與音樂理論之外，其主要研究與創作在於結合器樂演奏與互動科技，曾以「互動音樂」研究計畫獲得「教育部留學獎學金」百萬贊助（2005-2006）。2010年與台灣藝術大學「林珮淳數位藝術實驗室」合作之《Nexus II》互動多媒體舞蹈表演作品，獲選文建會「科技與表演藝術結合旗艦計畫」百萬補助。其音樂作品頻繁發表於國際間，亦使其自 2006 年起，多次獲得美國版權協會ASCAP Plus Award 獎助。2019 年出版《由音色塑形探套我近期之音樂創作》之當代音樂創作之音色音響相關研究之專書。
Jeff (Chih-Fang) Huang: “Image IV” for Erhu Improvisation, Violin Improvisation, Dance Imporvisation, and Electroacoustic Music
黃志方：《映象IV》（給二胡即興、小提琴即興 [黃志方]、舞蹈即興與電聲音樂）
"Image IV" borrows the Taoist spiritual image from chaos, to make the listeners' hearing from simple to complex; from stillness to motion; to enter the world of unconsciousness, and eventually fuses the electroacoustic music with nature inside our mind. A cadenza is performed by Erhu and Dance improvisation before the last part of the piece. This piece predecessor "Image I" was performed at ZEPERNICK - XIX. Randspiele, Berlin, on July 3 2011, and Alte Feuerwache Köln New Music Festival on July 21, 2011.
《映象IV》借用了道家“混沌”中的靈性意象，將聽眾的聽覺從簡單引向複雜，從靜止走向運動，進入無意識的世界，最終將電子音樂與內心的自然融合。在作品的最後一部分之前，二胡即興演奏與舞蹈即興演出了一段華彩樂段。這首作品的前身《映象I》於2011年7月3日在柏林第十九屆蘭德斯皮勒音樂節（ZEPERNICK - XIX. Randspiele）及2011年7月21日在科隆新音樂節（Alte Feuerwache Köln New Music Festival）上演出。
Jeff (Chih-Fang) Huang黃志方
Jeff (Chih-Fang) Huang黃志方
Chih-Fang (Jeff) Huang, AI Automated Composition and Max/MSP programming expert. Associate Professor at Kainan University, Taiwan, was born in Taipei, Taiwan. He was the 6th / 7th TCMA (Taiwanese Computer Music Association) Chair in 2010~2015. Now he is the Permanent Council Member of TCMA currently. He acquired both a Ph.D. in mechanical engineering and a master’s degree in music composition respectively from National Chiao Tung University. He studied composition under Prof. Wu, Tin-Lien, and computer music under Prof. Phil Winsor. His electroacoustic pieces have been performed in Asia, Cuba, Europe, and the USA, such as the electroacoustic music works “Song of Wanderers - for violin and digital concrete” selected in Asia Composer’s League (ACL), Israel 2004, and the electroacoustic piece “Microcosmos” were selected and performed in International Computer Music Conference (ICMC) in 2006, and the composition presented in CEMI (Center for Experiment Music and Intermedia), University of North Texas in 2010, and works performed in Berlin, Cologne, Sweden, Italy in 2011-12, etc. He is also the fellow of 2012 Art Music Residency, New York. In 2013 he was selected into the International Conducting Master Class of Martinu Philharmonic Orchestra under Mr. Kirk Trevor and Prof. Donald Schleicher, performing the works of Debussy, Brahms, etc. In 2015 he was invited as the Guest Conductor for the Greater Miami Youth Symphony (GMYS) orchestra. His multimedia works for singing voice synthesis is performed at CCRMA, Stanford University, and CEMI, North Texas University in Jan. of 2016. His research papers include many fields, such as AI Music Therapy System, AI automated music composition and the sound synthesis, which have been published in ICMC and international SCI/SSCI/AHCI Journals. He is the reviewer for ICMC music and paper. Now he is also the conductor of the Taoyuan New Philharmonic Orchestra, Taiwan. GAI Music, AI Music Therapy System inventor.
作品曾獲選受邀于歐、美、日、亞洲、中國大陸、中南美洲等國際音樂節演出，電腦音樂作曲家與音樂科技研究人員，同時具有工程博士與作曲碩士，擅長音樂科技跨領 域之研究與創作。師事吳丁連教授，AI電腦音樂向 Prof. Phil Winsor 學習。作品在國內外獲獎與演出，如臺灣省交響樂團作曲比賽佳作、臺灣藝術教育館之全國藝術創意作品競賽音樂創意類比賽「特優」等。2004 年獲選 ACL 亞洲作曲家聯盟大會暨音樂節代表臺灣于以色列演出;2004 年「澎湖鄉土音樂創作甄選暨作品發表」以所創作之 三樂章鋼琴組曲「菊島風情」獲得「首獎」，並擔任鋼琴獨奏演出。2006 年在臺北國家音樂廳實驗劇場發表數件室內樂創作並指揮。作品曾獲選受邀於美國 ICMC 國際電子音樂會議、美國北德州大學 CEMI 實驗音樂與跨媒介中心、德國柏林 Randspiele Zepernic 2011、科隆 Alte Feuerwache 2011、義大利 Musica Insieme Panicale 2012 現代音樂節作品、聯合國 UNESCO 國際作曲評議會發表等。現為開南大學專任副教授，國立交通大學聲音與音樂創意科技碩士學程與國立清華大學音樂系兼任副教授。桃園新愛樂管弦樂團指揮，並榮獲 2012 年紐約 OMI 國際藝術家駐村 Fellow。曾獲選 2013 年捷克國際暑期指揮大師班受教于 Kirk Trevor 大師與 Donald Schleicher 教授，指揮馬替奴愛樂管弦樂團演出 Debussy, Brahms...等經典曲目，2015 年獲邀擔任美國大邁阿密 青年管弦樂團客席指揮頗受好評，2017年後擔任 ICMC 音樂、論文評委。GAI音樂、AI音療系統發明人。
Sandra Tavali Wuan-Chin Li: Zhi Zhi for Two Pianos, Computer Generated Sound and Visual 李婉菁（1968-）: 孜孜，為雙鋼琴、電子音樂與影像（高雄場） 鋼琴/郭亮吟、李錦雯
Sandra Li 李婉菁
Sandra Li 李婉菁
西拉雅人，自幼與父親李茂松教授學習鋼琴。美國約翰霍普金斯大學琵琶地音樂院電腦音樂研究所畢業，師事Dr. Geoffrey Wright，畢業論文 《A Performer’s Musicological Research in Performing Interactive Computer Music》 獲選發表於 International Computer Music Conference 〔國際電腦音樂協會 – ICMC〕 。經年致力於電腦實驗音樂的演奏與創作，並於台北／台南長期主持「電音工作坊」，培育年輕音樂人。近年來常與藝術、媒體機構如身體氣象館、經維互動、探索頻道等；藝術家姚立群、盧盈良、姚立群、吳俊輝、陳明秀、陳偉、劉守曜、區秀詒（馬來西亞）等擔任配樂製作。 創作風格傾向專著於使用冷冽的電子音色表現最真摯的人性面。音樂型式跨越古典、電子異響、重金屬搖滾等。曾任古典（Indulge跨界美聲樂團）、金屬樂團（閃靈樂團、衹樂團）鍵盤手，2012 年起，率領DJ、搖滾樂手與韓國藝術家李幸俊，聯合呈現實驗電影與多投影電影現場表演《狂喜洗澡狂》。2014 年，策畫「手作：巴爾的摩－首爾－台北三城音樂會」。為實驗音樂劇作品「黑暗巴洛克」（2009）、「五月」（2022）之音樂總監。 音樂作品〈扮仙〉獲選音樂資訊檢索領域專業級別的年度國際學術會議展演（International Society for music information retrieval [ISMIR], 2014, 台灣）、電聲暨音樂大會（Sound and Music Computing Conference [SMC], 2015, 愛爾蘭）、2016 klingt gut! 聲音研討會 （ 2016 klingt gut! Symposium on Sound，德國）；2017 NYCEMF（美國紐約）、2018TAxT桃園科技藝術節、2018 ICMC 演出（韓國大邱）曾獲紐約樂評人Jean Ballard Terepka評論為：”Ban Shan…….an impression of combined dancerly delicacy and cosmic largeness emerges, and the protected god became a powerful force of creativity.”— New York (2017, 6)
Hsin-Lei Chen: "Komm, sel'ge Ruh" for Electronic Music
陳欣蕾：《Komm, sel'ge Ruh》給電聲音樂
This piece incorporates J. S. Bach's chorale "Komm, süßer Tod" (Come, Sweet Death) as its central theme, creating a solemn and profound musical atmosphere. Originally a meditative work imbued with a serene prayer for the end of life, the chorale is presented here through the sound of the organ, highlighting its majestic yet introspective qualities. In the structure of the music, the organ serves as the main voice, interwoven with the rising and falling of bell tones, evoking a sense of overlapping time and space. This composition is not only a tribute to Bach’s original work but also an attempt to reinterpret its longing for spiritual redemption through modern musical techniques. The piece begins with a gentle introduction by the organ, gradually layered with the resonance of bells. As the melody unfolds, the organ chords and the rhythmic tolling of the bells intertwine, creating a prayer-like musical tableau. The piece concludes with a moment of silence and lingering echoes, leaving the audience with an endless aftertaste and deep reflection.
本曲採用了巴赫（J. S. Bach）的合唱曲《Komm, süßer Tod》（來吧，甜蜜的死亡）為核心素材。這首合唱曲原本是一首沉思性的作品，帶有對生命終點的寧靜祈願，而在本曲中，透過管風琴的音色，展現了其既莊嚴又令人內省的一面。 在音樂的結構中，管風琴的聲音作為主體，結合此起彼落的鐘聲，形成一種時間與空間交錯的感受。 本曲不僅是對巴赫原曲的致敬，更試圖以現代音樂的手法重新詮釋那種對靈魂救贖的渴望。音樂由柔和的管風琴引導進入，逐漸加入鐘聲的層次，隨著旋律的推進，管風琴的和弦與鐘聲的節奏彼此交織，形成如同禱告般的音樂場景，最終以靜默與低回作為結尾，留給聽眾無盡的餘韻與省思。
Hsin-Lei Chen陳欣蕾
Hsin-Lei Chen陳欣蕾
Hsin-Lei Chen (1982- Chen Hsin-lei is a composer, Secretary-General of the ISCM-Taiwan, member of council of Taiwan Computer Music Association, Artistic Director of Spring Sprouts Chamber, Resident Composer of Whispering Choir, and Adjunct Assistant Professor at National Tsing Hua University and National Taichung University of Education. She received her Bachelor's degree in Composition from Taipei National University of the Arts, studying under Dr. Hong Chung-kun. She earned her Master's and Doctoral degrees in Theory and Composition from the College-Conservatory of Music at the University of Cincinnati, studying under Dr. Michael Fiday, Prof. Mara Helmuth, and Prof. Joel Hoffman. Her work "Singing in the Deepest Night..." won the Best Multimedia and Harp Piece at the World Harp Congress. "Renascence" (Chamber Orchestra and Electronics) was selected for the National Culture and Arts Foundation's Encouraging Creation Composition Competition. Her violin concertos "Deep," "Lament" and "Agony" won the University of Cincinnati Orchestral Composition Competition. "Ebb and Flow" (for orchestra) won the ERM Media Next Master Work Award. Her violin concerto "Deep" received the Third Prize and Audience Choice Award at the Formosa Composition Competition in Taiwan. In 2021, she received a grant from the National Culture and Arts Foundation to publish the AR Music Picture Book "Apple Seed." Her works have been performed at the National Concert Hall in Taipei, Zhongshan Hall in Taipei, Werner Hall in Cincinnati, Carnegie Hall in New York, National Centre for the Performing Arts in Beijing, Zhongshan Hall in Beijing, Beijing Concert Hall, Qin Tai Music Hall in Wuhan, and Samsung Hall in Seoul. She has collaborated with the National Taiwan Symphony Orchestra, Taipei Symphony Orchestra, Philharmonic Orchestra, New Aspect Chamber Orchestra, University of Cincinnati Philharmonia Orchestra, Bowling Green State University Symphony Orchestra, , Georgia Institute of Technology Symphony Orchestra, China Conservatory Orchestra, Café Momus Contemporary Music Ensemble, Taipei Philharmonic Choir, Yu Yin Choir, Hope Children's Choir, MYX’D quartet in Bulgaria, Stradivari String Quartet, Romer Quartet in Hong Kong, Artrich Strings Quartet in Taiwan, Jade Quartet in Germany, and DNA Trio. She was recently invited to compose music for the stage play Exclusion by Kenneth Lin and Trip Cullman, which premiered at the Experimental Theater of the Kennedy Center in Washington, D.C., from May to June 2023. At the same time, she also composed music for a stage play directed by Himmelstein, as well as Agatha Christie’s classic work And Then There Were None, which is scheduled to premiere at Everyman Theatre from December 2024 to January 2025. In addition, she created a four-movement orchestral piece inspired by Clara Schumann’s piano works, which was performed on tour across the United States from November 2023 to early 2024 and is scheduled to be performed in Kuala Lumpur, Malaysia, in 2025.
陳欣蕾，作曲家、現代音樂協會台北分會秘書長、電腦音樂學會理事、小草田室內樂團藝術總監、微聲盼望合唱團駐團作曲家、現任教於清華大學和台中教育大學。 於國立臺北藝術大學取得作曲學士學位，師從洪崇焜博士；辛辛那提大學音樂系取得理論作曲碩士、博士學位，師從Michael Fiday博士、Mara Helmuth教授、Joel Hoffman教授。 《在最深的夜，我們歌唱......》曾獲世界豎琴大會多媒體與豎琴最佳作品；《源》（室內管絃樂團和錄音）文建會鼓勵創作作曲比賽入選；《沉》、《慯》、《慟》小提琴協奏曲贏得美國辛辛那提大學管弦樂作品比賽；《潮汐》（Ebb and Flow 給管弦樂）贏得美國ERM Media Next Master Work Award；《沉》小提琴協奏曲在福爾摩沙作曲大賽獲得三獎與觀眾獎。於2021年獲得國藝會藝文贊助出版AR音樂繪本《蘋果種子》。 作品在台北國家音樂廳、台北中山堂、辛辛那提Werner音樂廳、紐約卡內基音樂廳、北京國家大劇院、北京中山堂音樂廳、北京音樂廳、武漢琴台音樂廳、首爾三星戲劇院演出。 合作過國立台灣交響樂團、台北市立交響樂團、愛樂管弦樂團、新逸交響樂團、辛辛那提大學愛樂管弦樂團、保林格林大學交響樂團、喬治亞科技大學交響樂團、中央音樂學院管弦樂團、Café Momus辛辛那提大學現代音樂室內樂、台北愛樂合唱團、雨韻合唱團、希望之聲兒童合唱團、保加利亞MYX’D四重奏、史特拉第瓦弦樂四重奏、 香港羅曼四重奏、台灣藝心四重奏、德國玉四重奏、中國圓號團、基因三重奏。 她最近受邀為Kenneth Lin和Trip Cullman的舞台劇《Exclusion》創作音樂，此劇於2023年5月至6月在華盛頓甘迺迪藝術中心的實驗劇場首演。同時，她也為Himmelstein導演的舞台劇，以及阿嘉莎·克莉絲蒂的經典作品《無人生還》（And Then There Were None）創作音樂，後者預計於2024年12月至2025年1月在Everyman劇院首演。此外，她以克拉拉·舒曼的鋼琴曲為主題創作了一部四樂章的管弦樂作品，該作品於2023年11月至2024年初在美國巡迴演出，並計劃於2025年在馬來西亞吉隆坡演出。
And, more computer music composers from the whole world.
And, more computer music composers from the whole world.
以及，更多來自世界各地的電腦音樂作曲家
以及，更多來自世界各地的電腦音樂作曲家
The following are the performers以下為演奏家
The following are the performers以下為演奏家
本次演奏Prof. Ken Poli肯.保利、Prof. Naotoshi Osaka小坂直敏、Prof. Huang黃志方、Prof. Chien-Wen, Cheng鄭建文、Prof. Jeff (Chih-Fang) Huang黃志方、Hsin-Lei Chen陳欣蕾的作品
Erhu Performer二胡演奏家
Erhu Performer二胡演奏家
Pei-Yu Liao廖珮妤
Pei-Yu Liao廖珮妤
Pei-Yu Liao is currently a Gaohu performer in the Taoyuan City Chinese Orchestra and the director of Rainbow Ensemble Music Studio. Began learning piano at the age of 4 and started studying the erhu at the age of 9. Attended the National Taiwan College of Performing Arts, earned a Bachelor’s degree in Chinese Music from the Chinese Culture University, and obtained a Master’s degree in Chinese Music from the National Taiwan University of Arts. With extensive performance experience, in addition to erhu, they are also skilled in jinghu and banhu. They have held numerous erhu solo concerts, performing across Taiwan, and were invited to Japan three consecutive times as a soloist. In 2015, they were invited to hold a solo huqin recital, "胡說八道" (Hu Shuo Ba Dao), at the Penang Performing Arts Centre in Malaysia.
現為桃園市國樂團高胡演奏員、采虹音樂小集工作室負責人。4歲開始學習鋼琴，9歲開始學習二胡，先後就讀國立台灣戲曲專科學校、中國文化大學中國音樂學系學士、國立臺灣藝術大學中國音樂學系碩士。
演出經驗豐富，除了二胡演奏之外，也擅長京胡與板胡，屢次舉辦二胡獨奏會，演奏足跡遍佈臺灣各地，連續三次以獨奏家身分受邀前往日本演出。
2015年受邀至馬來西亞檳城表演藝術中心舉辦個人胡琴獨奏會－<胡說八道>。
本次演奏Prof. Ken Poli肯.保利、Prof. Naotoshi Osaka小坂直敏、Prof. Huang黃志方、Prof. Yi-Cheng Lin林宜徵、Prof. Chien-Wen, Cheng鄭建文、Prof. Jeff (Chih-Fang) Huang黃志方、Hsin-Lei Chen陳欣蕾的作品
Improvisational Dancer即興舞蹈家
Improvisational Dancer即興舞蹈家
Yu-Chen Hsu許瑜真
Yu-Chen Hsu許瑜真
Currently studying in the Daytime Master's Program of the Department of Dance at the National Taiwan University of Arts. Graduated from the Department of Ethnomusicology at Nanhua University, majoring in dance and minoring in the Guqin (Chinese zither).
Performance Experience:
・2024 - Dancer in the dance drama "Taiwan Qiyan Tales"
・2023 - Dancer in "Strange Encounters at the Corner" by Wen-Chung Lin Dance Company
・2023 - Guqin solo performance at the Songfeng Elegant Gathering
・2023 - Creator of "Miao", Hsu Yu-Chen’s graduation production
・2022 - Participant in the interdisciplinary music theatre at Nanhua University’s Department of Ethnomusicology
・2021 - Performer in the opening ceremony of "Qin and Dance" at Liang Hsien-Wei’s Qin Exhibition
・2020 - Participant in "The Rising Wind" excerpts, choreographed by Professor Lin Wen-Chung, as part of the WDAAP TRRS International Dance Forum with Nanhua University
・2019 - Performer with Zhuoshui River Arts Dance Company at the Spain Arts Dance Festival
Awards:
・2024 - 2nd Place, Performing Arts Category, 20th Yunlin Cultural Awards
・2024 - 5th Place, Traditional Tai Chi Sword 54 Form (Women’s Group), National Games
・2023 - Excellence Award, 4th Place, National Student Dance Competition (University Division, Modern Dance, Solo)
・2022 - 4th Place, Traditional Tai Chi Sword 54 Form (Women’s Group), National Games
・2022 - Excellence Award, National Student Dance Competition (University Division, Modern Dance, Solo)
・2021 - 1st Place, Modern Dance (University Dance Department Division), Asia-Pacific International Music and Dance Competition
・2021 - Awarded "Yunlin’s Pride" Honor
・2020 - 1st Place, Youth Female Group (Other Yang Style Tai Chi), 9th National President’s Cup Tai Chi Championship
目前就讀於臺灣藝術大學舞蹈學系日間碩士班
畢業於南華大學民族音樂學系 主修舞蹈 副修古琴
演出經歷
・2024年參與舞劇《台灣奇岩物語》舞者
・2023年參與林文中舞團《轉角碰見怪》舞者
・2023年參與松風雅集古琴獨奏演出
・2023年製作「淼」許瑜真畢業製作
・2022年參與南華大學民族音樂學系跨界音樂劇場
・2021年參與漆木新聲-梁晊瑋斲琴展古琴舞蹈開幕式表演
・2020年隨南華大學民族音樂學系參與林文中教授作品《風起》選粹，WDAAP TRRS 國際舞蹈論壇演出
・2019年隨濁水溪藝術舞蹈團參加西班牙藝術舞蹈節
獲獎經歷
・2024年獲第20屆雲林文化獎表演藝術類第二名
・2024年全民運動會女子組傳統太極劍五十四式 第五名
・2023年全國學生舞蹈比賽大專個人組現代舞 優等 第四名
・2022年全民運動會女子組傳統太極劍五十四式 第四名
・2022年全國學生舞蹈比賽大專個人組現代舞 優等
・2021年亞太盃國際音樂舞蹈大賽現代舞個人組大專舞蹈系組 第一名
・2021年榮獲雲林之光
・2020年第九屆總統盃全國太極拳錦標賽-女子青年組其他楊氏太極拳第一名
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