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Music Works In Order Of Finished Year:  (依創作年代排列)

1998    1999   2000   2001   2002   2003   2004   2005   2006   2007  2008

 

Music Works Categorized by Genre: (依作品種類及編制排列)

 

  •  Orchestra and Band (給管弦樂或樂團之器樂曲)
Genre Chinese Title English Title Finished Year

Symphonic Orchestra

管絃樂曲

     

 

時間印象 (管弦樂) Image of Time (for Orchestra) 2001

String Orchestra

弦樂團

     

 

夜之神秘 (弦樂團) Mystery of Night (for String Orchestra) 2004

Brass Band

銅管樂團

     
  朝向黎明(給銅管樂團與擊樂之 fanfare Toward the Dawn (fanfare for Brass Band and Percussion) 2005

Wind Ensemble

管樂團

冬之迴響(給管樂團與打擊樂) Echo of Winter (for Wind Ensemble and Percussionists) 2008
       

 

  •  Chamber Ensemble and Solo (給室內樂重奏或獨奏之器樂曲)
Genre Chinese Title English Title Finished Year

Chamber Ensemble

室內樂重奏

     
 

雪咒 (給二胡、長笛、大提琴、鋼琴之四重奏)

Snow Spell (quartet for Erhu, Flute, Cello, and Piano) 2006
  扁舟行 (給單簧管、小提琴、大提琴、鋼琴之四重奏) Sail Away (for Clarinet, Violin, Cello, and Piano, extended version) 2006
  雨夜札記(給小鼓之擊樂六重奏) A Message from the Night Rain (Percussion Sextet) 2005
  秋夜之舞 (給高音薩克斯風、中音薩克斯風與鋼琴之三重奏三樂章重訂版) Dancing Leaves of Autumn (Trio for Soprano Saxophone, Alto Saxophone, and Piano, three-movement version ) 2005
  秋夜之舞 (給高音薩克斯風、中音薩克斯風與鋼琴之三重奏,單樂章版) Dancing Leaves of Autumn (Trio for Soprano Saxophone, Alto Saxophone, and Piano, one-movement version ) 2004
  秋夜之舞 (給高音薩克斯風與鋼琴之二重奏) Dancing Leaves of Autumn (Duet for Soprano Saxophone and Piano) 2004
  扁舟行 (給單簧管、小提琴、大提琴、鋼琴之四重奏) Sail Away (for Clarinet, Violin, Cello, and Piano) 2000
  葬花 (給長笛與鋼琴) Funeral of Flowers (for Flute and Piano) 1999

Solo

獨奏曲

     
  晚春(給二胡的獨奏) Tune of Late Spring (for Chinese Fiddle, Erhu) 2006
  夜盡長 (給女高音與鋼琴) Endless Night (for soprano and piano) 2000

 

  •  Electroacoustic Music (電子音樂創作)
Genre Chinese Title English Title Finished Year

Stereo Tape Piece

二聲道電子音樂

     
  風雷引 Tune of Wind, Rain, and Thunder 2007
  三摩地 (修訂版) Samadhi (revised version) 2006
  尋夢 Under the Sea 2005
  我思 Methink (for SEAMUS 2006 Electroclip Project) 2005

8-Channel Tape Piece

八聲道電子音樂

     
  孤立 Isolation 2003

Interactive Music

互動音樂

     
  雪咒 (給二胡、長笛、大提琴、鋼琴及Max/MSP 之互動式音樂) Snow Spell (for Erhu, Flute, Cello, Piano and Max/MSP) 2007 (in progress)
  飛蛾與火 (給長笛與Max/MSP之互動式音樂) Moth and Fire (for Flute and Max/MSP) 2007
  風的素描 (給薩科斯風與Max/MSP之互動式音樂) Wind Sketch (for Soparno Saxophone and Max/MSP ) 2005, Revised in 2007.

 

  •  Intermedia and Performing Arts (超媒體或表演藝術之音樂創作)
Genre Chinese Title English Title Finished Year

Audio-Visual Work

作品

     
  輪迴 Samsara 2004

Music for Dance

為舞蹈之創作

     
       

Music for Drama

為戲劇之創作

     
       

Installation

裝置藝術

     
       

 

 

 

2008

 

l        Title: Echo of Winter 冬之迴響》(給管樂團與打擊樂器)

l       Finished Date: March 2008

l        Duration: 9 min

l        Program Notes:

此曲意在描寫留美期間,旅經愛荷華州時,一場雪景的驚豔。猶記當地一望無際的雪地,猶記愛荷華大學裡,覆雪的樹叢中,野兔靈巧的跳躍。也記得在當地一次夜晚的意外步行迷途中,一對熱心的學生情侶好意搭載。這些記憶的片段,一直在我的腦海裡,成為留美期間最美的回憶之一。 此曲乃藉由音樂描寫這次旅途中對於雪景的印象、寒冬中迷途的驚恐、及當地人的溫情,種種回憶片段,交織成一種似幻卻又真實的印象。音樂上則藉由配器上刻意製造的延音、回音的效果、即興所交織成的特殊音響,以呈現回憶中似真似幻景象。

 

2007

 

l        Title: Tune of Wind, Rain, and Thunder 風雷引》(電子音樂)

l       Finished Date: August 2007

l        Duration: 11 min 10 sec

l        Program Notes:

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. Special FFT filter with gradual parameter transition programmed in Max/MSP is also applied to create special musical gestures.    

這首作品是由颱風時節,雷、雨、風之驟起驟停所交織而成的音景所啟發。此作品藉由聲音的各種參數之對比,作為音樂推進的主要力量。整個作品皆使用相同的素材來源,取材自敲擊電鍋的聲音,經過特殊的數位音訊處理而完成,主要包括各類濾波器、殘響效果器、延遲效果器、取樣技術、以及基於快速複立葉轉換原理的 phase vocodermutationspectral extraction等技術。此外,也包含了運用 Max/MSP 程式設計所完成的特殊空間處理器,使得聲音可以被任意切割成長短不同的片段,並在雙聲道的虛擬音場路徑中隨機分佈,藉以描寫風雨交織的音景。

 

 

l        Title: Snow Spell (Real-time for Erhu, Flute, Cello, and Piano, and Max/MSP)

《雪咒》(為二胡、長笛、鋼琴與大提琴與Max/MSP的四重奏 互動音樂)

l        Duration: ca. 18 min.

l        Finished Date: March 25, 2007

Excerpt 1 download

Excerpt 2 download

Excerpt 3 download

l        Program Notes:

 This one-movement piece, Snow Spell for erhu, flute, cello, piano and Max/MSP, is intended to depict the beauty of a snow scene mixed with eastern cultural association and related personal fantasy by presenting four different impressions of snow through music, The First Snowflake, Footprints Vanishing in the Storm, A Soliloquy in the Snow, and The Past Melts from the Window Panes. The four impressions of the snow scene will be presented in order in music through different textures, timbres, and temporalities. Transitions will obscure the demarcation between the four different sections. Pentatonic scales, traditional erhu glissandi, embellishment, and pizzicato techniques, and quotations from Chinese folk tune River of Sorrow are incorporated to evoke Chinese folklore as a context for the images of snow. The pitch structure focuses on the interval of a third, used both diatonically and chromatically in (0 1 4) or (0 1 4 5) pitch sets in order to combine the elements of eastern pentatonic materials, and western atonal techniques as a whole.

 

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l          Title: Moth and Fire (real-time interactive music for Flute and Max/MSP) 飛蛾與火》

 

l          Duration: ca. 12 min.

l          Finished Date: Jan 10, 2007

l          Program Notes:

This piece is inspired by the irony and sadness in the relationship between moth and fire - a moth tends to be attracted by the flame of fire in the darkness and eventually falls into the blaze. In this piece, the flute is intended to symbolize the moth and the computer the flame. The interactivity between the two are achieved by various real-time effects mainly including FFT freezer, spectral delay, granular delay, and reverse delay controlled by different algorithm based on the audio analysis of the flute performance. Different real-time effects and processed sound files of the flute are layered in various combinations to represent the image of the moth going in and out of the fire before its inevitable death in the fire.

《飛蛾與火》這首作品主要靈感來自飛蛾撲火的典故:「過去有佛,欲令眾生厭舍五欲,而說偈言:譬如飛蛾見火光,以愛火故而競入,不知焰炷燒然(燃)力,委命火中甘自焚」(《心地觀經·離世間品第六》)。 有感於生命的無奈乃在於無論你用何種方式去過,也都將走向結束,只是不同人選擇不同的方式去經歷它而已。 此曲乃藉由音樂呈現不願庸碌無為者,寧葬身火中也要擁有瞬間粲然的勇氣與此中無奈。長笛主要用來象徵飛蛾翩然,電腦部分則代表火焰灼灼,藉由互動科技將器樂與電腦即時數位效果器兩者緊密結合。其中使用的主要DSP技術包括快速傅立葉轉換(FFT)產生的踏板效果及頻譜延遲技術、結合粒子化合成之延遲效果、反相延遲技術,並由電腦偵測現場器樂演奏的各種姿態數據來控制上述效果器的各類參數。藉由不同起落的即時效果器,搭配預先錄製、變形處理過的相似音色,疊合出各種絢麗繽紛的音色與織度,飛蛾在化為灰燼前來往穿梭於熾熱火焰間的景象,乃歷歷呈現。

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2006 

 

l        Title: Snow Spell (Quartet for Erhu, Flute, Cello, and Piano)

《雪咒》(為二胡、長笛、鋼琴與大提琴的四重奏)

l        Duration: ca. 15 min.

l        Finished Date: Sept 25, 2006

l        Program Notes:

給二胡與長笛、大提琴鋼琴之四重奏單樂章作品《雪咒》(Snow Spell) 之創作靈感源於欣賞雪景之時所喚起之夾雜著文化聯想、個人情感與幻想的四種對雪的印象(英文標題因文化之不同,僅以相似的意象命名之) 「初雪晶瑩落地融」 (The First Snowflake)、「漫天飛雪掩孤墳」 (Footprints vanishing in the storm)、「雪夜獨白」 (A Soliloquy in the Snow)、「雪疏風杳記憶殘」 (The Past Melts from the Window Panes)。 樂曲依照此四個雪的印象為段落標題,依序發展。每個段落之間,或以音樂過渡相連結而模糊了標題段落的區分,或以織度對比、張力起落、和聲的穩定度及不同的音樂時間感傳達不同的標題意象,彼此串連成曲。樂曲中並運用二胡的各種傳統滑音、裝飾音的技巧,結合不同撥絃技法,藉以傳達中國文化的意象;此外,也藉由引用二胡名曲《江河水》的音樂片段於「雪夜獨白」的段落中,呈現《雪咒》一曲所要表達的對於往事陳跡之無奈與感傷,並引發對於中國文化中各種淒美印象的聯想。全曲運用三度音程為主要動機,轉換於調性與無調性之間,以期將東方素材及西方的創作技法融合為一。

 

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  •  Sail Away for Clarinet, Piano, Violin, and Cello. (This piece won 2007 Russell Horn Award (first prize) in Voices of Change Young Composers' Competition.)

 

Title:  Sail away ( for Clarinet, Violin, Cello and Piano ) 扁舟行

Date:  finished on August 31, 2006 (extended version of 2000 Sail Away)

Duration:  ca. 9 min.

Excerpt download

Program Note:

This piece was inspired by a Chinese poem entitled “The Nymph upon the River Bank” written by Su Shu (1037-1101).  When he wrote this poem, he was disappointed by the corrupt government for which he worked. In this poem, he imagined that he sailed a small boat at night toward a desolate place, to escape the political intrigue of his real life. The poem presents not only the poet’s sense of the heavy burden he faces, but also represents the sense of solitude that is a consequence of his higher moral standard. My piece is intended to express an ambivalent state of mind, affected by the joy of freedom and the sorrow of resulting solitude.

 

  •  Tune of Late Spring for Erhu Solo (This piece has won the 2nd place in the annual chamber music composition competition, Fine Arts Creation Award, held by the administer of Education in Taiwan in 2006.)

 

l          Title: Tune of Late Spring (for Erhu solo) 晚春》

 

l          Duration: ca. 12 min.

l          Finished Date: May, 2006

l          Program Notes:

The scenery of the late spring is beautiful but is approaching its end. Imagine the flowers of the late spring trying hard to take the fullest breath of the last spring breeze, to absorb the last rain of spring, and to grow into their full bloom before the torturing heat of the summer comes. While the beauty of life is short, it is so that we learn to cherish it and learn to make the most of life. This piece is intended to depict such complicate feelings toward life – a mixture of a little bit of sadness but also an eagerness to create beauty, to claim a moment of eternity, and to thrive on imperfectness and brevity of time.

In this piece, I try to incorporate pentatonic scales into the contemporary composition techniques and also try to combine traditional notation and the modern improvisation to present free temporality. Different techniques of pizzicato on Erhu are also explored to create new life for this ancient instrument.

 

晚春的繁花似錦總是稍縱即逝,試想此刻群芳盡最後的氣力,吸吮即將消逝的春風和被夏陽蒸乾的春雨,欲以其最後的絕豔,像悠悠天地爭取一瞬的永恆。生命中的美亦然如是,因為短暫,而使我們意識到它價值。歐陽修的詞《蝶戀花》:「雨橫風狂三月暮,門掩黃昏,無計留春住,淚眼問花花不語,亂紅飛過鞦韆去」正感嘆這種稍縱即逝的美,然而晚春的片刻及花與人之間的情感,實際上早已永恆留駐在這段文字中。此曲便是基於這種相似的情感而發,試圖傳達一股在傷逝中展現的新生命力,表現藝術家在殘缺與短暫的生命裡追求片刻永恆的渴望。

樂曲中試圖融合五聲音階於現代音樂的創作技法中,並結合傳統記譜法的優點配合現代音樂即興的手法,展現自由的時間感。此外,也試圖藉由不同的撥絃技巧為二胡開發出新的語言。有鑑於近代二胡演奏家之專業訓練,已經朝向小提琴的訓練方法,逐漸揚棄首調的練習方式,使得新生代的二胡專業演奏家得以在音高上更輕易掌握音準,此曲在音高的運用上,因而也採取更多的自由度,並期以此為古樂器賦予新的生命。

 

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2005

  •  Under the Sea  (This piece won the first prize in 2005 on-line fine-arts creativity electroacoustic music competition.  It was also selected to be presented in Spark Festival of SEAMUS 2007, Electronic Music and Art 2006, Santa Fe International Festival of Electroacoustic Music 2006 in New Mexico, Primavera en La Habana International Electroacoustic Music Festival 2006 in Cuba, and Bourges Synthese Festival 2006 in France, etc.

 

Title: Under the Sea (stereo tape piece) 海底尋夢

Date: finished in April 22, 2005

Duration: 6 min.

Excerpt download

Program Notes:

This piece is inspired by Jules Verne’s novel, Twenty Thousand Leagues under the Sea. In this piece, sound samples from piano, glasses, and a computer keyboard are transformed through convolution, ring modulation, time stretching techniques to represent the imagined soundscape of a submarine and waves. The piece is also intended to portray the shimmering scenes under the sea when an imagined submarine passes through, flashing the light around for illumination. Reverberation effects are used in this piece to give the impression of mystery, and the sudden surge of textural density and velocity is also used several times to create different surprises in this adventure. The piece ends with a fade-out drone to represent the continuation of the journey toward more adventures under the sea.

這首曲子是來自閱讀法國作家Jules Verne 所著之科幻小說《海底二萬浬》所得之靈感。 此曲藉由 convolution (兩種聲音的音色參數相乘而得之新音色之聲音合成技巧)ring modulation (一種頻率調變的聲音合成)、granular synthesis (粒子化聲音合成)、time stretching(聲音延展)、spectral filtering (頻譜濾波處理)等聲音變形與合成之技巧,將鋼琴聲、玻璃碎裂聲、電腦鍵盤的打字等聲音重新合成或變形,並依照音樂發展的需要與音色變化的需求,將聲音檔案相互疊合或歷時排列,用以描繪幻想中乘坐潛水艇至深海中探險時,所見聞之海底聲響世界以及探照燈照耀之下海中光影的變化。 此曲並透過 reverb(殘響)的聲音處理,營造一種神秘的色彩,而樂曲中張力的驟然起落,則代表著海底歷險所帶來的各種驚奇。樂曲尾聲以持續變化的長音及其音量淡出的方式,表達後續未完的一連串更精彩的海底歷險。

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  •  Toward the Dawn (This piece has not yet been formally premiered. The recording is from a reading session at the University of North Texas.)

 

Title: Toward the Dawn (Fanfare for Brass Ensemble and Percussion) 《朝像黎明》

Date: finished in November 25, 2005

Duration: ca. 3 min.

Excerpt download

Program Notes:

The brass fanfare Toward the Dawn combines the atonal and tonal elements to depict a journey from darkness, danger, and struggle to brightness and success, through which passions and hope for a bright future are never given up. The music starts from atonal elements with a few tonal harmonic implications in between before it reaches the stable tonal passage at the last eight measures which implies the final success after previous assiduous efforts in this journey.

為銅管樂團和打擊樂所寫的《朝像黎明》遊移於調性與無調性之間,調性至曲末逐漸明朗,藉以象徵一個從黑暗朝向光明的旅程,而旅人在這旅程中即使經歷多次掙扎、危難,仍鍥而不捨。音樂開始於無調性或多調性的音高結構上,間或穿插少許調性和聲的暗示,直到曲末最後八小節,才真正到達穩定的調區,象徵歷劫之後的最後勝利。

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  •  A Message from the Night Rain for six percussionists won the fourth prize in the 3rd Percussion Music Composing Competition in Taiwan and will be presented in "Taiwan Percussion Time by Taipei Percussion" concert in Taipei on May 14, 2005.

 

Title: A Message from the Night Rain (Percussion Sextet) 雨夜札記

Date: finished in January 20, 2005

Duration: ca. 9 min.

Excerpt download

Program Notes:

This piece is inspired by my experiences of listening to the raindrop in the night. The sound of rain tends to calm down all the unknown anxiety and intricate thoughts in my mind. The sounds of rain that strikes the windowpane by my side and other things outside the window seem to form another kind of music that expresses itself mainly through different velocity and spatial settings. With this in mind, I try to simplify the instrumentation of this piece by using only six snare drums of different pitches to present my impression of such listening experiences. I also try to combine traditional notation, modern spatial notation, and aleatory control to create the textures I need to suit the formal structure of my music and to present my impression of the sounds of rain.

這首曲子是來自夜半聽雨所得到的靈感。夜雨阻隔了平日的喧囂擾攘,也沈澱了平日內心無名的紛擾不安,此際所有的思緒都凝聚成一種冥想式的專注,沈浸在雨滴敲打身旁近處的玻璃窗與輕擊窗外遠處萬物所形成的翕響之中,頓時化成一種聲音透過不同空間與力度為主要表達方式,所呈現的美感經驗。移植到這首曲子中,我嘗試著將擊樂的編制單一化,透過六個不同音高的小鼓來表達這種相似的美感經驗。在記譜上,則融合了傳統記譜法與新的空間記譜法、機遇控制的想法,企圖將這些不同方式所能營造的織度配合形式上的需要,來呈現我的音樂想法。

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  •  Wind Sketch (real-time interactive music for Soprano Sax.) It was premiered at the UNT Spectrum Concert featuring Richard and Candace Scholars on April 19, 2005. It was also selected to be presented in SEAMUS National Conference 2006.
 

Title: Wind Sketch (real-time interactive music for soprano saxophone and Max/MSP) 風的素描

Date: finished in April 19, 2005. Revised in 2007.

Duration: ca. 9 min.

Program Notes:

Wind Sketch (real-time interactive music for soprano sax and Max/MSP) is intended to portray the temporary peace of mind experienced when I am listening to various sounds carried by the wind. In this piece, the saxophone depicts the sounds of the wind while the computer part represents the sounds of the wind, heard by a peaceful mind able to hear everything after all subjectivities are let go. In such an ideal state of mind, no choices are made, no conflicts between good and evil are found, no regret and expectation exists, and only music (nature) states everything in its own way.

The computer part of the piece is programmed in Max/MSP and includes DSP effects such as pitch shifting, delay, reverb, and harmonizer. Musical imitation is created by using delay effects and delay with pitch shifting. A music event detector is used in the Max/MSP patch to detect the phrase of the music which triggers DSP effects to reflect the intensity of the gesture.

欣賞自然界的風雨蟲鳥常帶給我一種出塵的想法,此時此刻,彷彿世俗的理想、現實的侷限、身心的苦痛都可以暫時消融,身體不復存在、思想不復輾轉,只有風的印象與禪心的自然映照。此首曲子及基於這樣的感受,將薩克斯風作為「風」、電腦即時聲音分析與互動的手段作為「心的映照」,放棄大量使用預錄的聲音檔案之搭配,而以即時回饋為電腦音樂部分主要的設計,企圖表達異鄉遊子獨坐聽風,靜待內心矛盾與無奈的繁雜心情沈澱、消融在風與禪心的反照中之心情。

程式設計部分,分為五大部分:聲音播放與收錄、混音器、音樂姿態分析gestural control、效果器、Qlist自動化控制。藉由麥克風現場即時將聲音透過Max/MSP收錄到電腦之中,並將聲音透過軟體混音器的控制,發送到每個效果器。利用音樂樂句姿態分析的結果,驅動效果器的內部參數,配合少數預先錄製的聲音片段,由薩克斯風演奏者以MIDI踏板透過Qlist來做整體操控,使之能與薩克斯風即時呼應,產生音樂性地結合。

主程式的整體的外觀架構如下:

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  •  Dancing Leaves of Autumn (for Soprano Sax, Alto Sax and Piano) This piece is an extended version of Dancing of Autumn Leaves (2004). It is extended to three movements and was premiered in the UNT Spectrum Concert featuring Richard and Candace Scholars on April 19, 2005.

 

Title: Dancing Leaves of Autumn (for Soprano Sax, Alto Sax and Piano) 秋夜之舞

Date: finished in Feb.20, 2005

Duration: ca. 10 min.

Excerpt download

Program Notes:

This piece consists of three movements. The first movement, Lamento moderato, is intended to depict my feelings when I see leaves falling. This reminds me of the inevitable end of every pleasant event in life. The second movement, Allegretto energico, portrays the rapid passage of time that man can never grasp. The third movement represents the falling leaves of trees which dance with the wind in fall on my campus, University of North Texas. Some UNT students practice saxophone outside the practice room, and the falling leaves, for me, then seem to dance with the jazz tunes they play when the wind blows at the same time. This movement is divided into four sections, Andante comodo, Adagio sereno, Moderato appassionato, and Andante nostalgico. These sections depict different gestures suggested by leaves picking up and dropping with the wind. The movement ends with a diminuendo passage of sax improvisation which is intended to represent the way “dancers” of leaves gradually dance away while only the illusion of the rustle from their dance steps is left behind for the audience, just like a pleasant moment in life that passes so soon but exists forever in memory.

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2004

  •  Samsara (Electronic Music with Video) This piece was selected to be presented in the 2nd Annual Bellingham Electronic Arts Festival in Washington (2005) , SEAMUS 2005 in Indiana, Most Significant 2004 II multimedia concert in Mount Union College on November 18, 2004 and in LaTex 2004 Electronic Music Festival in Shepherd School on November 12, 2004. It wasl also selected to be presented in ICMC 2005 in Barcelona in Spain.

 

Title: Samsara (electroacoustic music with video) 輪迴

Date: finished on August 12, 2004

Duration: ca. 6 min.

 

Program Notes:

Samsara means “cycle of existence” (cycle of life and death) in Buddhism and Hinduism, where life is nothing but an illusion (maya), and the material world is a place fragmented and constantly changing through the repeated process of formation, existence, destruction, and emptiness.

In the accompanying video, the same footage of flowers is repeatedly used through the distortion, reposition, and rotation of the pixels sampled from the original images. This helps to achieve visual coherence. The different scenes are arranged in a special order to represent the repeated life and death of flowers, symbolizing the endless cycle of birth, age, illness, and the death of all creatures.

In the music, sound samples of water drops, the traditional Chinese bamboo flute, and the Chinese zither are used mainly through the techniques of convolution and granular synthesis to create a dreamy ambiance and to symbolize the fleeting and illusionary life. Besides, pentatonic scales are also intentionally applied to create the mysterious impression of oriental religion and philosophical thinking.

 

影像與音樂結合之數位作品Samsara,以藝術的手法呈現佛教「輪迴」的概念,以花開花落、夕陽西下、烈火、灰燼、水波等意象,表達凡人眼中所能感受或觸摸的萬事萬物,其實都逃不了「成、住、壞、空」的過程,而此生或許曾有過絕美的一刻或叱吒風雲的一時,也不過如幻象一般,疾逝如旋開旋滅、方生方死的水波。

在影片的處理上,主要使用花開花落的影片片段為軸心素材,運用各種數位影像特效的處理,將其透過扭曲(distortion)、重置(reposition)、旋轉(rotation)及光影的特殊處理來重新呈現,以期達到藝術的集中性(coherence)。每個場景也經過特別的順序安排與連接表達生、老、病、死無盡的循環。

在音樂處理上,則將水滴、中國笛、古箏等聲音,透過音色互融(convolution)、粒子化合成(granular synthesis)等技術,來營造夢幻般的氣氛及表達生命的虛幻短暫。五聲音階也被刻意運用其中,以營造東方宗教哲學之神秘色彩。

 

 

 

 

 

 
 

 

     
     

 

     
   

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  • Dancing Leaves of Autumn for Soprano Sax, Alto Sax and Piano was selected by Chang-Huei Shiu Cultural Foundation to be performed in the “2004 Young Composers’ Masterpieces” concert in Taiwan on September 26, 2004.

 

 

Title:  Dancing Leaves of Autumn (duet for soprano sax and piano) 秋夜之舞

Date:  finished on December 10, 2003

Duration: ca. 5 min 35 sec

Excerpt download

Program Note:

This piece is intended to depict the falling leaves of the trees which dance with the wind in fall on my campus, University of North Texas.  It is divided into four sections, Andante comodo, Adagio sereno, Moderato appassionato, and Andante nostalgico. These sections depict different gestures suggested by leaves picking up and dropping with the wind. The movement ends with a diminuendo passage of sax improvisation which is intended to represent the way “dancers” of leaves gradually dance away while only the illusion of the rustle from their dance steps is left behind for the audience, just like a pleasant moment in life that passes so soon but exists forever in memory.

此曲的靈感乃來自在美求學期間,偶然間聽到薩克斯風主修的學生,隨性地在音樂系館外即興演奏時的美感經驗,和著滿地落葉隨著秋風起舞時的沙沙作響,時而激昂,時而沈吟,滿地落葉或簇擁成群,或零星起舞,交織成一片美麗的翕響,也喚起內心一絲恬淡與閒散。 此曲共分四個段落,舒適的行板,寂靜的慢板、激昂的中板、懷舊的行板,並包含薩克斯風的即興片段,以描寫落葉隨風起舞的種種姿態,全曲結束於薩克斯風漸行漸遠的即興中。

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2003

  •  Tape piece Samadhi was selected to be presented in International Electroacoustic Music Festival "Primavera en La Habana" on March 21, 2004.

 

Title:  Samadhi (2-channel Tape Music) 三摩地》

Duration:  6 min 10 sec

Date:  finished on November 5, 2003 (revised in May 2006)

Excerpt download

Program Note:

Samadhi, a terminology in Buddhism and Hinduism, is a state of deep meditation contemplation which leads to higher consciousness.  Inspired by the thinking of Buddhism and with my personal experiences and preference of practicing meditation, I try, in this piece, to convey an imagery of deep meditation and concentration and to create a mysterious atmosphere of oriental religions.  However, I did not draw the raw materials directly from real sounds recorded in oriental temples.  Instead, only a male’s talking, noises produced by a cart, and school bells recorded from regular life are used.  Through the techniques mainly including convolution, granular synthesis, time-stretch, morphing, spectral filtering and etc., the raw materials are transformed into different sounds but at the same time in some way bear the resemblance to the original to be identifiable and are rearranged musically to achieve coherence.

This newly composed piece has been programmed recently to be presented in the International Electroacoustic Music Festival “Primavera en La Habana” on March 21, 2004, held by the the Cuban Institute of Music and the National Laboratory of Electroacoustic Music.

三摩地,或稱三昧,譯為等持、正定。即遠離心之浮沉,而得平等安詳之修行境界。此曲乃由於佛教思想與個人靜坐經驗所啟發,藉由聲波編輯的技巧,包括convolution (多種聲音檔案之特質相乘而產生新音色之技術), granular synthesis(粒子化合成), time stretch(聲音在時間上的延展之技術), pitch change(音高改變之技術), morphing(既有的聲音檔案在時間軸上漸變成另一個既有的聲音檔案之技術), spectral filtering(頻譜上的濾波處理),將一些擷取於日常生活中的聲音(包括說話聲、手推車的聲音、學校鐘聲等)經過上述技巧做聲音變形並按照音樂美學上的原則,重新組合混音而來,藉以呈現東方宗教的神秘色彩及禪定中的神秘境界。此曲曾獲選於2004年古巴Primavera en La Habana國際電子音樂節、第八屆Santa Fe國際電子音樂節等發表。

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2002

  •  Orchestral Piece Image of Time was the call-for-scores winner of “Tune in to Taiwan 2002 – Taiwan Composers Series” held by National Chiang Kai Shek Cultural Center and Asian Composers' League in Taiwan.

 

Title:  Image of Time (for Orchestra ) 時間印象

Duration:  ca. 15 min.

Date:  finished on June 2001

Excerpt download

Program Note:

Life expectancy for men is limited and no one can really have the whole control over time and over one's life.  However, our perception about time is never limited by the physical time or clock time.  When we are listening to music, what we feel about time is quiet different from the temporal experiences of our daily routines.  Drawing on the techniques used in literature and movies such as montage, flashback, etc., also inspired by Kramer's ideas about time in music (vertical time, gestural time, moment time, etc.), I tried to compose a piece that can possibly change some specified listeners' perception about time by special formal design, intended control of repetitions, quotations, etc..

This piece was selected to be presented by National Symphony Orchestra of Taiwan in "Tune in to Taiwan 2002 - Taiwan Composers Series" in National Concert Hall in Taiwan in November of 2002. 

(以下節錄自鄭建文碩士論文「管弦樂《時間印象》及其創作理念」之論文摘要)

人的生命有限,沒有人可以真的掌握自己的生命長短,儘管有些人並不願意直接面對這個潛藏在每個生命背後的終極問題,但對藝術工作者而言,在藝術的領域中,人卻可以操控時間,即使這種藝術中的時間操控,對於現實生命的無常與生滅而言,也許只是一個無謂的掙扎或吶喊,但也不乏作為一種情感抒發的媒介與安慰。 對於我自身的經驗而言,也自覺到回憶或幻想常是自己最易取得的精神慰藉,而聆賞或創作藝術作品的過程則提供了一種脫離物理性時空限制之暫時性解放,進而在聆賞時或創作時得以藉此忘卻「現實」生活中種種負面經驗,並提供另一個可以拋開俗塵煩憂的虛擬時空。

我除了寄情於音樂之外,也極欲試圖從宗教或哲學中找尋自身的定位與理解人生苦樂的其他角度,儘管凡人如我並無法體會佛家「空性」的說法,但也從莊周夢蝶所傳達出的另類思考中瞭解夢與現實之間,何者為真,何者為虛,其實並無絕對的說法,而一切認知上的虛實、悲喜、苦樂、生滅之間,可能只是主觀的造作而已。西方哲學家康德則認為我們通常所謂的現實,其實是我們的感官和智力對這一現實的感知和理解,而非這一現實自身;如果說有現實的話,那是經過我們的感官和理解力過濾的「我們的現實」,因此康德說:「在我們身上,任何認知過程在時間上都不能先於經驗。」 相似的想法在東方提供了一種達觀的人生觀,在西方則被用來強調主觀感受,並肯定人類思考的價值。在藝術的創作與欣賞過程中,也造就了一種虛擬的時空,在這種時空中,個人的主觀感受得到強調,可以暫時不去拘泥於「時鐘時間」與其背後「現實」中的苦惱;在這種時空中,所有回憶或綺想都可以變得真實。

管弦樂《時間印象》之創作乃有感於此,一方面藉由音樂創作的過程,讓自身以另一種形式再重溫或「重現」年少時,行經植物園的荷花池畔,所聽到的悠然樂響(儘管已是挾著另一個時間點所累積的不同想法與觀點去做回顧),另一方面也嘗試使用一種別於一般性的音樂事件之因果安排,傳達音樂經驗中可以是非線性的、因果錯置的時序與時間感。

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2000

  •  Endless Night (for soprano and piano) won the Hakka Art Song Composition Competition Held by Cultural Bureau of Hsinchu Council of R.O.C.

 

  •  Sail Away (for Clarinet, Violin, Cello, Piano) won the mention award in 2003 Fine Art Creation Prize administered by Ministry of Education, Taiwan, R.O.C. Before that, it has been presented in "Tune of Hsin-Chu Series" concert in Taiwan in 2000.

 

Title:  Sail away ( for Clarinet, Violin, Cello and Piano ) 扁舟行

Date:  finished on August 31, 2000

Duration:  ca. 5 min.

 Program Note:

這一首曲子是由夜讀蘇軾《臨江仙》一詞所得靈感,而寫成之給豎笛、大提琴、小提琴、鋼琴的四重奏。蘇軾《臨江仙》這一闋詞的內容為:

夜飲東坡醒復醉,歸來彷彿三更。家童鼻息已雷鳴,敲門都不應,椅杖聽江聲。 長恨此身非我有,何時忘卻營營。夜闌風靜縠紋平,小舟從此逝,江海寄餘生。

    整闋詞的中心精神在於後半闕,酒醒之後,懷疑此身並非屬於自己所擁有,感嘆不知何時能夠拋卻所有的煩惱,而能乘一小舟,在湖光山色中逍遙此生。我的這首曲子便是描寫這種情感與想像,藉由藝術的虛擬空間與時間,而得以暫時跳脫現實中紛然雜陳的事事物物與各種因之而生的諸多煩惱。

音樂的第一小節至第十七小節主要在描寫夜深人靜之時,小舟悄悄卸下纜線而出發,乘舟者的雀躍與期待之情。音樂由寂靜中略帶神秘氣氛而緩緩開始,時而加入短小的節奏音型,表達出乘舟者暗藏在心中的雀躍。

音樂帶至第十八小節,才由小提琴首次呈現一個較清楚的半音下行之旋律動機,使得之前曖昧不明的氣氛營造得到一個較清楚的焦點,樂曲的內容也自此逐漸明朗。在此是傳達小舟已經遠離岸邊時,乘舟者一種忽然得到解放的喜悅。由十八小節的小提琴,對應到第二十七小節大提琴之半音下行的旋律動機之對稱結構,而正式開展了樂曲的主要內容。

第三十小節起,則是描寫乘舟者真正遠離塵囂時,所產生的另一種矛盾的情感,儘管塵世間有種種煩惱,人與人之間亦常有衝突與競爭,但遠離了人群,卻引發另一種生命中喪失人際互動而產生的孤獨與無名的悲情。音樂上,則藉由旋律性抒情的材料之運用與發展,來描寫這種莫名的哀愁。

第四十八小節起的音樂則是要傳達一種哀愁之餘,想要在滾滾江濤中忘卻所有俗世悲喜,尋求一種融入自然、天人合一的解脫,此時,自身已不存在,只有江濤與風聲相互鳴嘯與呼應,音樂此時逐漸引到高潮,並藉由「低限音樂」的手法之啟發,各樂器將一個片段不斷地重複,讓各樂器間相互交融成一片撲朔迷離的織度,藉由這種重複,以產生一種trance的效果,藉以洗滌一切凡塵所帶來的各種雜念與悲喜,進而達到另一種心靈的寧靜。

        自第六十一小節開始,則音樂進入另一種安靜與悠閒,材料上回到曲子開始時的材料,但卻捨棄神秘的氣氛之營造與短小節奏動機的使用,轉而直接以柔和的旋律,及與相對於第四十八小節起的音樂比較之下,較為稀疏的織度與溫和的力度,顯示一種因為心靈的寧靜而達到的另一種自在。此外,也藉此音樂逐漸的減低力度與減少音的活動,勾勒出以第三者的角度看小舟漸行漸遠,消逝於霧氣氤氳的江浪中之景象

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1999

  •  Presentation of Trio for Violin, Cello, Piano in "Tune of Hsin-Chu Series" concert in Taiwan.

 

1998

  •  Presentation of Duet for Percussion and Piano in "Tune of Hsin-Chu Series" concert in Taiwan.

 

 

 

 

 

You can listen to my music excerpts by using Internet Explorer or some other browsers that are compatible with Windows Media Player to view this page.

線上聆聽樂曲片段 之系統需求:

(1)  使用 Internet Explorer 瀏覽器

 (2) 已安裝 Window Media Player 9 以上版本。

 

last update01.22.2010