臺北市立國樂團 新絲路雙月刊 No.69

ⵍ䉗㏔鴚鱴 ♧⮵䖦㺥劵勑❔

SILK R AD 偈簥鴤 NO.69 March 2020

㏔垠偈簥鴤 Chinese Music In the New Silk Road

Taipei Chinese Orchestra Bimonthly ⵍ䉗㏔垠겼劓⮜

Taipei Chinese Orchestra Celebrates 40 years anniversary

by Exploring the Future with Original Intention

匯◸砟㿴 ◸嵍⻄砟傊ꪨ溸┞唅꼟垠簥鴤

Summit of East Asian Zithers: Paving the Way for A Silk Road of Zither

㝕䳀樦㵶椟⣍ ┯䕁䜆溸꼟垠⥝㞂鴤

Cellist WANG Jian, a Music Legend without Regrets

目錄

Content

潨ꛉбContent 偈䘽鴤 The New Route of Thinking 㸖긖侚◜ Cover Story 㵊䍵╭瞊 Guest Columnist Session ꃱ⩱☭朮 Stunning Figures ㏔垠偈镅汔 New Vision of Chinese Music ꄻ◳☭ꄻ┞⯤ The Moment ㏔垠뇒㵱 Music Feast 5$0⮃曭⿣ Published by TCO ⥝簣跖銋㳍笢⮬嵛ⳛ Traditional Arts Festival

൴Җˠ ᓁበᏭ ᘹఙᜪય

ዑϲ૽ ᔨϖԈ ‫۾֐ڒ‬ă‫ߒڒ‬ԗăӓၷ順ă߉ᇇϜăเЍշă഼։Ꮈăሂᇐຎăዑᇇஅ )ֶ‫ͩؖ‬ඊ൪順Ԕ*

SILK R AD

በᆶ؎ࣶ

ౘ̈බăเϲᆂăӕ݄ᆇăᛂ࠳ाăՂलᚹăเ⏵൝ăѦሄ寧

ЋထƝેҖበᏭ

‫މܯ‬Җ͛౹ᜪયѣࢨ̳Φ

ᖙᛌ

൑ᇲᖙᛌ 鄭立彬 鍾永宏

March 2020

┯ä?śćş¸ĺŠ˘âšŠď?‘ćšžë&#x;­ćş¸ĺ„¤âŠą

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�䉗�鴚鹴�� ♧⎾䖌㺼劾勑�

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ä•žď?˜ď?˜ď?œď?œâŻ’ď?žď?ž ď?™ćş¸ăž‚éˇŞĐŻâˇ‚äŤŒć›–ĺ€ ă?”â•šă?”ĺž ă?Ź

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ă?”ĺž ë‡’ăľą

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5$0âŽƒć›­âżŁ

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ď?˜ď?–ď?˜ď?–äŒ‘č•‡âľ?䉗âĽ?簣衖銋ăł?珢⎏徛ⳛ

30

Stride Through 4 Decades to a Spring of Rising Contention

Taipei Chinese Orchestra Celebrates 40 years anniversary by Exploring the Future with Original Intention

Summit of East Asian Zithers: Paving the Way for A Silk Road of Zithers

Cellist WANG Jian, a Music Legend without Regret

New sparks of thought from Music + AI,CHUNG Yiu-Kwong’s opinion on AI composition

The 88.3 Miracle – The Chinese Orchestra of Nantou Shuang Wen Junior High School

Music Feast

Published by TCO

2020 Taipei Traditional Arts Festival

Publisher

CHENG Li-Pin

Editor-in-Chief

CHUNG Yung-Hung

Artistic Advisors

LIN Ku-Fang, LIN Yu-Ting, WU Rung-Shun, SHIH Te-Yu, HUANG Kuang-Nan, TANG Liangxing, FAN Wei-Tsu, CHENG Te-Yuan (by stroke of Chinese surname)

Editorial Review Committee

CHEN Hsiao-Ping, HUANG Li-Feng, LU Kuan-Yi, SU Ying-En, LI Ting-Yiu, HUANG Chen-Chi, CHU Le-Ning

Executive EditorProduction

Chivalry Cultural and Creative Industry & Consultant Ltd.

English Translator

Super Translation Service.

01

新思路

The New Route of Thinking

ꎎ皒䔌

團長 General Director

‫ޘ‬࿅51໐Ϡ̝͟‫ޢ‬ĂΔξ઼3131ѐ۞ଣ৶ཙՎĂ˵Հΐિ‫ؠ‬Ą ౹ဥ51ѐͽֽĂΔξ઼ؕ௣Ӆ˧٤ण઼ሄ۞൑ࢨΞਕĄԧࣇჟࡁওማˠ͕۞གྷ‫׏‬Ă˵൴णᏉЪॡ΃۞າᓏćԧ ࣇᔛኛ઼ᅫЩछֽ݈˘णࢲ‫ݻ‬Ă˵૟˘΃˫˘΃۞‫ܦ‬ѐາսଯШ͵ࠧᄅέĄ 3131۞ߋ͟Ă૟ϤĶࢵय޽೭ჟᏴրЕķ۞Ķ‫ֲڌ‬კपķࢰሄ會೬ฟԔ၌ĄүࠎᄂΔ傳௚ᘹఙ‫۞؞‬ฟ၌ࢰሄ 會Ăώಞႊ΍ኛֽ31௙͟ώკᘹఙछРՅ˛ࢦăᔹ઼ҧ ൣႊ‫ݶ‬छՂۢࠠăᄋΟฮћཀྵႊ‫ݶ‬छ‫֐ࠞ܁‬ąഢ͐ Р ࠠ ᄋ পĂͽ̈́ᄂ៉კሄछሂᇐຎೀҜ‫ֲڌ‬კሄᖘ຾ТέĂߊѣᚮԫ۞ຍঈ‫ڀ‬ೳăϺѣ‫̂۞ݶם‬ঈϹᏉĂፖ跨傳௚۞ எ‫ޘ‬ᄃгા۞ᇃ‫ޘ‬Ăߏკሄ̝࡚౵୽ႌႽ࡭۞णனĄ ᇵߋˬ͡Ăϒ‫آ‬΍遊ĄĶࢳ魔˧րЕķଯ΍۞Ķϟ榜ᄃ‫ݱ‬ξķĂᔛኛሄਜ਼跟඾‫ܦ‬ѐႊ‫ݶ‬छเϲᛡăᏂ‫ࢳݴ‬ᄃ޽ ೭छѯॎᄹ۞ཙՎࡍୣॡ۩Ă‫ڟ‬ካĮϟ榜ᄃ‫ݱ‬ξį̚۞າΐ‫ݱ؂‬ฏࢲଐăĮ‫ܠ‬તκ௻įᄃĮ͡Ͱߵ۞߇ְį۞ ፧‫ݓ‬ҘાҒ૾ăĮသ྿୥‫ڒ‬Ϲᜩ詩į۞ᄋΟࡻฯঈໄăͽ̈́Į͇ୗį̚α̌ˬߐુ۞ϛӻ‫ޖ‬எĄ дĶᓁႾրЕķ̚ĂԧࣇГ‫ޘ‬ᔛኛ‫ז‬າΐ‫؂‬රሄဥࢰሄᓁႾཧᓐĂᄃΔξ઼‫˧ם‬χౄ΍Ϥˠ͛ෛ֎Ӕன઼̚Ч гϔࢲ۞Ķ઼ࢲķࢰሄ會Ąੵ˞ЩछѡϫγĂࣃ଀˘೩۞ߏĂώѨࢰሄ會পг؎੉үѡछѯኲ։ࠎΔξ઼௏̄ ࢵयᏥḋธณ֗౹ү୤௏າѡĮॳ‫ڑ‬഼įĂ఺૟ߏѩѡ۞͵ࠧࢵႊĄ ˬ͡۞ԍᓏĂிٙ៘ϫ۞ᄂΔ઼ᅫ޽೭̂ᔈӈ૟णฟĄ఺࣎ͧᔈߏΔξ઼ࢵ౹ăБ஧઱˘˘࣎ࢋՐ޽೭छ須ਕ Тॡዼ฿઼ሄဥᄃϹᜩሄဥ۞޽೭ͧᔈĂԧࣇ࿰ࢍϏֽ૟̝χౄјՏαѐ˘‫઼۞ޘ‬ᅫᔈְĄ ώѨͧᔈӛ͔˞Б஧33઼В:5Щ‫ܦ‬ѐ޽೭छಡЩĂ౵‫ޢ‬Ϥ̶ᛳ21઼࣎छ۞31Щр͘ซˢ͡‫ˬ۞غ‬ล߱ϒёͧ ซ ᔈĄ‫ب‬ॡĂϤΔξϹࢵय޽೭ই͐Ⴌ̈́Δξ઼ࢵय޽೭ᕿߋߵВТᅳ࢕۞઼ᅫෞᆶဥĂ૟ࠎԧࣇ޶ଧ౵੯‫۞ܪ‬ ѐ‫ޘ‬າߐĂᝌ‫ܓ‬ሄਜ਼Тֽણᄃ஽ְĄ

SILK R AD

02

┯䝶溸婢⚩暾럭溸儤⩱

Stride Through 4 Decades to a Spring of Rising Contention

Stride Through 4 Decades to a Spring of Rising Contention Since the foundation 40 years ago, TCO never stops exploring the interminable possibilities of Chinese music. We study the popular classic pieces, while examining new music that merges old and new generation; we encourage international masters to concertize their skills, while discovering and introducing young talent to the world.

In the Spring of 2020 TCO welcomes its opening with Summit of East Asian Zithers, a program from “Principal Conductor Selection Series” that kick starts the Taipei Traditional Arts Festival. The event will be joined by eminent zither musicians including Nanae Yoshimura, who plays the Japanese 20 string zither, YI Ji-young who plays the Gayageum, Baasankhuu Chinbat who plays the Yatga, and FAN Wei-Tsu, zither musician from Taiwan. On stage at the same time, the audience get to enjoy them contending with one another, and at times merge as one. The width and depth of the performance has overcome tradition and space, delivering the most beautiful zither music Spring time in March is the high time for outings. With young musicians HUANG Li-Teng, HSIAO Yi-Fei and Conductor CHIANG Chen-Hao, the “TCO Family Series” launched Kampung and the City, inviting audience to glide through the urban and rural Singapore; Oman Nisa and The Story of The Crescent Moon Lake speak in front of rich western background; Kada Meilin Symphonic Poemstalks about the heroes in Mongolia, and Ladder To Heaven looks into the mystery of Sanxingdui in Sichuan.

In “the Director Series”, again we are graced by SCO Music Director YEH Tsung and his collaboration with TCO in presenting the National Spirit that showcases folk customs across China from a humanistic point of view. In addition to masters’ pieces, in this concert we especially had composer Simon KONG Su-Leong to customize a bangda flute-based piece Kui Chi Tang for TCO’s principal bamboo flutist LAI Yi-Chun. This will be the world premiere for Kui Chi Tang.

At the end of March, organized by TCO, “Taipei International Conductor Competition” will be held as the world’s only competition that demands the contestants to master both the baton skills for Chinese orchestra and symphony orchestra. The challenge looks to be scheduled in the future as a quadrennial event.

The competition has received registration from 94 young participants in 22 countries, and 20 of the contestants from 10 countries will enter a three-phased formal final , with the jury joined by TSO and TCO’s principal conductor, respectively, Eliahu Inbal and Qu Chunquan, to reveal the stars of the year. The competition is open to every music fan.

03

封面故事

Cover Story

ⵍ䉗㏔鴚鱴 ♧⮵䖦㺥劵勑❔ Taipei Chinese Orchestra Celebrates 40 years anniversary

by Exploring the Future with Original Intention

文 Writer

SILK R AD

04

郭士榛 KUO Shi-Chen

51໐΃ܑјሢăࡼӴ۞ฟؕĂјϲ‫ٺ‬2:8:ѐ۞ᄂΔξ ϲ઼ሄဥĂΝѐᔙШ51ฉѐĂဥ‫ܜ‬ዑϲ૽ͽᘃᖞ‫ڤ‬ಛ ۞ሄ‫؞‬ႊ΍ᇉৡјϲ51ฉѐĂ̫ѐĂੵ˞‫ؼ‬ᜈΝѐሄ ‫؞‬͹คγĂՀ୕ͽĶ‫͕ܐ‬ķण୕ϏֽĄ

跨ࠧႊ΍ к̮Ӕன Δξ઼‫ٺ‬312:031ሄ‫؞‬Ăఢထ˞21࣎րЕă56इ64ಞ ჟ‫༼ܚ‬ϫĄ‫۞̚׎‬ĶᓁႾրЕķĂᔛะঔ̰γᖚຽ઼

఺Ѩ‫צ‬ᔛֽᄂĂ‫ܖ‬ा૟޽೭Įఄ‫׹‬ေįĂཧᓐ‫޽݋‬೭

Į઼ࢲįĂ‫ࢵ׌‬Тࠎ઼̚үѡछᅀ‫؞‬π۞ү‫ݡ‬Ą

ሄဥ۞ˬҜࢰሄᓁႾęࢶപ̚ሄဥᐊ೎‫پ‬ăາΐ‫؂‬ර ሄဥཧᓐĂ̈́Δξ઼݈ࢰሄᓁႾ‫ܖ‬ाВᓷ஽ᓝĂ3131 ᐊ ѐ4͡Ҍ5͡มĂཧᓐ‫ܖ׶‬ा‫׌‬Ҝ޽೭छ૟ֽᄂᄃΔξ

Įఄ‫׹‬ေįࠎ̂೩ൣ‫ݶם‬ѡĄҘ͞ሄѡү‫ࢋݡ‬ᄃ઼ሄ

઼ВТ‫ݶ‬ᜩ̂रሄౢĄ

‫ګ‬įĂ̈೩ൣЪүкߏĮୖৡįĂдѩଐ‫˭ڶ‬Ăᄃ̂

ဥЪүĂਕᏴፄү‫఼ݡ‬૱̙кĂ᐀ൣЪүкߏĮเ

೩ൣЪүү‫ݡ‬Ᏼፄ性Հ͌ćĮఄ‫׹‬ေįߏ‫ܕ‬ೀѐ̂೩

ൣᄃ઼ሄဥЪү૱΍ன۞ү‫ݡ‬Ă఺Ѩᔛኛ۞̂೩ൣछ

ͳઉĂߏࢵѨ‫׶‬Δξ઼ЪүĂ跨ࠧႊ΍΄ˠഇ‫ޞ‬Ą

Ҙሄ޽೭ 跨Ш઼ሄ ‫ܖ‬ा‫׶‬ཧᓐ‫׌‬Ҝ޽೭छĂЪү࿅۞ሄဥፖ跨̚Ҙሄ

Į઼ࢲįࠎϔ୉გ‫ؽ‬ሄү‫ݡ‬ĂӔன˞າᖞ͵΃Ϲആ

ࠧĄዑϲ૽ဥ‫ܑܜ‬ϯĂͽ݈޽೭઼ሄ‫޽׶‬೭Ҙሄ۞֎

۞ຍ෪Ăͽ傳௚ΟൣѡĮ୥‫ˬ܅‬Ԙį۞͹ᗟүࠎજ

Ғ̶଀‫୻ޝ‬຾Ăҭ఺ೀѐֽĂҘሄ޽೭慢慢跨Ш઼ ሄĂ͍‫׎‬ѐᅅࢰሄछд఺͞ࢬᔌ๕Հ‫ځ‬ពĈĶ઼ሄᅮ

機Ăᆸᆸᅍ進Ă或ҲӤ୺ભă或ঈ๕ޭσĂሄѡ̚Ӕ

ซ ன΍۞ԛԛҒҒĂᖳಱкត۞ଐဩĂϹᖐј˘۵΄ˠ

ࢋՀк޽೭छ˘੓Ӆ˧Ă͍‫׎‬ᅮࢋညཧᓐ‫ܖ׶‬ा‫׌‬Ҝ

࿦ϖ۞ଐᘃĄ

̂रඈ৺۞޽೭छֽઇᅳᐝѿĄķ ည ‫ܖ‬ाᄃΔξ઼ѣ඾࠹༊அ໚ĂጯҘሄ΍֗۞΁ĂΔξ ઼ߏ‫޽׎‬೭۞ௐ˘઼࣎ሄဥĂϺഅᔛ‫׎‬ፉЇ࿅Δξ઼ ༊ ࢰሄᓁႾćཧᓐ‫݋‬ଂ3113ѐତЇາΐ‫؂‬රሄဥࢰሄᓁ ႾĂགྷ૱‫צ‬ᔛֽᄂ‫މ‬यЧ઼̂ሄဥĂ‫׎‬അ೩΍˘࣎ࢦ ࢋ۞៍‫ه‬Ăᖙᖼ˘ਠˠᄮࠎ઼ሄဥᄃҘሄဥ̙˘ᇹ۞ ຐ‫ڱ‬ĈĶன΃઼ሄဥ۞‫ޙ‬ཉĂ‫׎‬၁ߏଂҘሄဥֽ۞Ă ਠ ЯѩĂд޽೭ԫఙ˯ԆБ࠹఼Ă֭՟ѣ̦ᆃ̙˘ᇹ̝ ఍Ąķ ώ֗˵跨ࠧ̚Ҙሄ޽೭۞ዑϲ૽ဥ‫޽ܜ‬΍ĂҘሄ޽೭ ၆ሄဥႊ΍۞ჟ໤性ࢋՐͧ৷઼ሄ۞޽೭ࢋՐ੼ĈĶ ٙᏜሄဥჟ໤性Ăညߏႊ‫ݶ‬ፋᆅ‫ޘ‬ăࢰ໤ࢋՐඈĂߏ ઼ሄဥᅮࢋజҹ‫۞ڇ‬યᗟĂЯࠎ઼ሄሄጡдࢰ໤˯۞ ည ႊ‫ͧࢋߏݶ‬Ҙሄጡֽ۞ӧᙱĂٙͽҘሄ΍֗۞޽೭၆ ఺͞ࢬࢋՐ會ՀᚑᖰĄķ ̙ኢߏ઼ሄ或ҘሄĂૄώ޽೭ࣧநౌߏ࠹఼۞ĂӔன ۞ࢰሄࢲॾĂ͹ࢋ‫פ‬ՙ‫޽ٺ‬೭۞詮ᛖĂዑϲ૽ဥ‫ܜ‬ᓝ ּĈĶಶზߏϹᜩሄ޽೭ࢬ၆Ο΃གྷ‫׏‬ѡϫĂ̙გߏ ͐ࠃҹ或浪漫或‫ޢ‬ഇ۞ன΃ሄĂ࿃‫۞ז‬યᗟౌߏд‫ٺ‬ тңᅞᛖрሄѡĂЯѩĂϤҘሄ޽೭छֽ޽೭઼ሄ ‫׎‬၁̙ߏ͉̂યᗟĂ౵ࢦࢋ۞ߏĂ޽೭छ၆‫ٺ‬ϔ୉ࢰ

Δξ઼۞ĶᄂΔ̝ᓏķ ዑϲ૽ဥ‫ܜ‬ҋ3126ѐ˯ЇҌ̫Ă̏‫ܕ‬6ѐЍౚĂ޽೭

΍֗۞΁Ă၆ሄဥ۞གྷᒉѣ඾Հкഇ‫׶ޞ‬ຐ‫ڱ‬Ăԓ୕

౹ౄ΍༊ѐ෱‫ݱ‬Ϲᜩሄဥ‫׎ٺ‬Ϲᜩሄះᒉౄ΍۞Ķ෱

‫̝ݱ‬ᓏķໄ‫ه‬Ă慢慢г讓Δξ઼Ă˵ਕ൴ण΍ҋ̎፾

প۞ĶᄂΔ̝ᓏķĄ

Δξ઼51

ѐሄ‫؞‬ໄ‫ه‬ĂͽĶᘃᖞķࠎ͹คĂዑϲ૽

ฉ ဥ‫ܑܜ‬ϯĂ఺ߏҋ̎ፉЇဥ‫ܜ‬6ѐ༊̚Ăఢထ΍۞౵

рሄ‫؞‬Ă̙Ϊᔛኛ‫ۢז‬Щ۞̂रֽ݈ႊ΍Ăሄ‫༼۞؞‬

ϫщଵ˯˵ౌ‫ז‬ҜćপҾఢထ۞ĶГனགྷ‫׏‬րЕķĂ

૟࿅‫៍ـ‬ிᛇ଀ჟ૾Ăҭ‫ܕ‬ѐϏႊ΍۞ү‫ݡ‬ĂࢦາГ

ो΍ֽӔனĂּтͳϒπ۞Į៤ခፆįĂࠎΔξ઼౹

ဥௐ˘ಞႊ΍۞ௐ˘ࢵѡ̄Ă఺ֱ၆Δξ઼ֽᄲ‫ܧ‬૱

ࢦࢋ۞གྷ‫׏‬ሄѡĂυ須౅࿅̙ᕝႊ΍̖ਕ傳ٚ˭ΝĄ

֕࿅ᘃᖞฟؕ౹າĂዑϲ૽ဥ‫ܑܜ‬ϯĂତᜈ۞ሄ‫؞‬૟

ͽĶ‫͕ܐ‬ķࠎ͹คĂϡĶາķ఺࣎ໄ‫ه‬ĂฟؕՀкЪ

үΞਕĂּтĈᔛኛۢЩ۞ࢰሄछᄃΔξ઼ซҖௐ˘

Ѩ۞ЪүĂ或ߏឰѐᅅ˘ዅ۞ࢰሄछѣ機會ᄃΔξ઼

ЪүćᖣѩĂ૲ᅳΔξ઼ଂĶ‫͕ܐ‬ķฟؕĂण୕Ϗ

ֽĄ

ሄ۞நྋᄃᄮᙊߏӎ͙၁Ąķ

05

封面故事

Cover Story ‫ܖ‬ा

▍ 2020ᄂΔξ傳௚ᘹఙ‫؞‬ 2020 Taipei Traditional Arts Festival 3/8)͟*∼6/14)͟*

SILK R AD

˯ƝΔξ઼ዑဥ‫ܜ‬ ˭Ɲཧᓐ

06

Հк߿જੈिĂኛବೡQR Code More information, please scan QR Code.

The age of forty means the start of maturity and development.

or modern music works, the question is how to interpret the music

Founded in 1979, last year the Taipei Chinese Orchestra embraced

well. Therefore, to let a Western music conductor to lead a Chinese

its 40th anniversary, and celebrated it with season programs of

orchestra is not really a big issue. The most important issue is

nostalgic music. This year it will continue last season’s retro theme,

whether the conductor has enough knowledge and understanding

and behold the future prospect with the Original Intention.

towards Chinese music”, CHENG explained.

series, 45 sets and 53 marvelous programs. Among all, the “Director

Cross-Field Performance Bringing Diversity

Series” invited three professional Chinese music directors, local and

Under s invitation to Taiwan, SHAO En will be holding the baton for

In the 2019/2020 season, Taipei Chinese Orchestra put together 10

overseas – Hui-Chang Yan, the Music Director of Hong Kong Chinese Orchestra, Singapore Chinese Orchestra Music Director Tsung Yeh, and SHAO En, the former Music Director of TCO, to elevate the celebration. In March and April 2020, here in Taiwan under Tsung Yeh and SHAO En’s batons the TCO will honor a number of masterpieces.

When Chinese Music Under the Baton of Western Music Conductors

Zhuang Zhou’s Dream, while YEH Tsung will lead the orchestra to play National Spirit, both composed by Chinese composer ZHAO Jiping.

Zhuang Zhou’s Dream is a cello concerto. There are very limited works that merge western music and Chinese orchestra. The classic collaboration for piano is typically Yellow River, and Liang Chu for violin. As for cello, the selection is even fewer. Zhuang Zhou’s Dream is performed more often as a collaboration between cello and

SHAO En and YEN Tsung have performed with both western and

Chinese orchestra over the recent years. The Cellist Jian Wang is

Chinese orchestras. As per TCO’s General Director CHENG Li-Pin,

invited to perform with TCO for the first time. The combination will

conductors used to stay in their field, either western or Chinese. But,

bring a cross-field show much anticipated.

over the years, Western music conductors begin to cross the territory and serve in Chinese music. The trend is particularly so among

National Spirit, an Chinese orchestral music composing an image of

young musicians, “it takes more than some of the conductors to

old generations replaced by new ones, is motivated by the theme of

promote Chinese music. We really need maestro-to-be conductors

Guqin’s Three Stanzas of Plum-blossoms; pushed forward layer by

such as YEN Tsung and SHAO En to guide us.”

layer, sometimes low key, sometimes full bloom and full of grandeur. The many altering hues and forms brought out in the music

It is not the first collaboration for SHAO En and TCO. Trained in western music, TCO is SHAO En’s first Chinese orchestra as conductor, and he was invited as TCO’s Music Director YEH Tsung joined the Singapore Chinese Orchestra (SCO) as Music Director in 2002, and has since appeared in several major Chinese orchestra as guest conductors in Taiwan. YEH Tsung proposed a critical point of view that fundamentally reversed the impression of the very difference between Chinese orchestra and classical orchestra, “the ensemble of modern Chinese orchestra basically adopts classical orchestra, therefore the conductors’ skill requirements are identical.”

Conducting also Chinese orehestra and western orchestra, General Director CHENG pointed out that the requirement a conductor asks for western orchestra to perform in terms of preciseness is much higher than that of a pure Chinese orchestra, “the preciseness of an orchestra, such as whether the performance of each instrument is on the same tempo, whether every note is hit precisely, is something a Chinese orchestra needs to work on very hard, due to the difficulty for a Chinese musical instruments to hit every note correctly is much higher than Western music instruments. Therefore, a Western orchestra conductor needs to be much more careful with regard preciseness.”

The conducting principle basis for Chinese and Western music is interchangeable, and the music characteristic is presented depending on how a conductor interprets it. “When a symphony conductor is given repertoires of old, classic pieces, regardless of Baroque romantic

concoct meaningful, eternal emotion.

TCO’s “The Sound of Taipei” It’s been five years since CHENG being the General Director of TCO. As a conductor himself, CHENG has more expectations and thoughts about the development of the orchestra. Seeing “The Sound of Philadelphia” realized in the symphony hall by Philadelphia Symphony Orchestra back then, CHENG expects to see the day when TCO creates its own “The Sound of Taipei”.

This season, praising TCO’s 40th anniversary, the theme is Nostalgia. This is the best season Cheng has ever organized during his five years as General Director of the group. In addition to world renowned maestros’ performances, the arrangement of the seasonal program is spot on. The special project “Classic Representation Series” will bring back the performances well received by the audience but not played in recent years, such as Zheng-Ping Wang’s Exercise for Gongs and Drums, the first piece played in the first performance of TCO after foundation. Classic music pieces that are important to TCO must be heard over and over again to be passed on continuausly.

Walking down the path of nostalgia towards innovation, the theme of the future season is set to be “the Original Intention”, says General Director, the concept of “New” is realized by TCO and never-before collaborated musicians, as well partnership with young performers, leading the orchestra into the future with the Original Intention.

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客座主筆

Guest Columnist Session

匯◸砟㿴 ◸嵍⻄砟傊ꪨ溸┞唅꼟垠簥鴤 Summit of East Asian Zithers: Paving the Way for A Silk Road of Zithers 文

樊慰慈（中國文化大學藝術學院院長、箏藝之研藝術總監）

By FAN Wei-Tsu

Dean, College of Arts, Chinese Culture University; Artist Director, Art of Zheng

‫ܛ‬ঔҧ倻ൣᘹఙ༼ᑅคࢰሄ會˘ഀĂ3129ѐ5͡8͟Ă‫ܛ‬ঔᘹఙ͕̚Ąࢵႊ‫ܛ‬ཐ઼ĈĮ௙路įαࢦ‫ݶם‬ѡĂࠎҧ倻ൣăკă͟ώკăᄋΟკᄃҧ 倻ൣሄဥĄဦ݈ଵν੓Ĉ‫֐ࠞ܁‬٬ഢ͐প)ᄋΟკ*ăРՅ˛ࢦ)͟ώკ*ă‫ܛ‬ཐ઼)޽೭*ăሂᇐຎ)კ*ă͛։୿)ҧ倻ൣ*Ą

።˳ᑓາă‫ॆܕ‬ᅈֽ д༊̫Ч჌઼ሄጡ̚Ă̏‫˼׌׍‬ዶѐ።Ϋ۞კ̙ҭдරˠгડጾѣ౵੼۞೼̈́த‫̼͛׶‬Ᏸᙊ‫ޘ‬ĂТॡдֲэЧ г˵ѣధкࢉϠ൴णĂјࠎ̙Тϔ୉Чҋ۞΃ܑ性ሄጡĂᛊтᔹ઼۞Ķҧ倻ൣķĞHbzbhfvnğă͟ώ۞Ķკķ ĞLpupğăᄋΟ۞ĶฮћཀྵķĞZbuhbĂܸჍᄋΟკğă෸‫۞ݑ‬ĶᇅკķĞÂ O USBOIĂܸჍ෸‫ݑ‬კğඈĄ

2:71Ҍ91ѐมĂд༊ॡ۞̚ර઼ሄጯ會ୖдπநְ‫ܜ‬Ğ2:21.3111ğă઼̼͛̂̚ጯ઼ሄրఄώϲ͹Ї

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Ğ2:35.3112ğ̈́ዑᇇஅି଱۞А‫ޢ‬ଯજ˭Ăᄂ៉അᄃ఺ֱዐ઼۞傳௚ࢰሄछ૜ะгϹ߹ĂΒ߁͟ώ傳௚ࢰሄ ̂र̚फฮሄ̝ౌĞ29:7.2:8:ğăன΃͟ώკλН઱ߏዩ˘Ğ2:34.3126ğăᔹ઼ҧ倻ൣ঍͜เۧጔ Ğ2:47.3129ğඈౌֽ࿅ᄂ៉ణયႊ΍Ą

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2:91ѐ΃̚ཧ‫̼͛ث׌ޢ‬Ϲ߹͟ৈᐛᓄĂᐌ‫˩˟ޢ‬ዶ ѐมᄂ៉۞઼ሄ൴ण‫̂׶‬ౙன΃ϔሄ֕ШϺՎϺᔌĂ дѡϫ‫׶‬ႊ‫ݶ‬ԫఙ۞ኳณ˯ᔵ̙ᕝ೩̿Ăᄃֲэ‫΁׎‬ гડ傳௚ࢰሄछ̝ม۞Ϲ߹‫ݒ‬ఢሀᒺ̈而ព଀࿬ߐĄ ॡҌ3121ѐĂඊ۰‫צ‬ᄂ៉઼ሄဥ̈́ॡЇ‫މ‬यዸဥ޽೭ ۞ᛂ͛ᇉҁर̝؎੉Ăࠎ該ဥඉထ˞˘ಞ஽̂ษࢦ۞ IJკ௑ൣঔijࢰሄ會Ăࢵ‫ޘ‬дಏ˘ࢰሄ會裡ะඕ͟ώ კăҧ倻ൣă෸‫ݑ‬კĂᄃკ‫઼׶‬ሄဥТέᚥᘹĄ‫̚׎‬ ͟ώკ۞ొ̶ӈᔛኛ༊ॡ̏ѐ࿈‫܅‬ϥ۞РՅ˛ࢦႊ‫ݶ‬ ༊΃үѡछˬ͢༶۞Į‫ݶם̝ڗ‬ѡįĞௐ˘號͟ώკ ‫ݶם‬ѡğĄ

傳௚ăன΃ă߹Җม۞࿣ᅣᄃϹᏉ ‫઼̚΃ܕ‬კጪੵໂ͌ᇴг͞߹ࠁ傳ٚˠ̪ღчЧҋ۞ 傳௚ѡϫ̈́ࢲॾĂ඗̂кᇴ૞ຽ‫׶‬ຽዶᇅკ۰ౌߏ傳 ௚ᄃன΃࣒ࣘĄҭ͟ώკጪ‫ؕݒ‬௣д傳௚ᄃன΃კ̝ มѣ඾ጨᕑ̶‫۞ځ‬ડ࿣Ă݈۰፾ጽ˩ˬ௙傳௚კĂ‫ޢ‬ ۰‫˩˟ͽ݋‬௙ன΃კࠎ͹Ă‫ࠁ׌‬ႊ‫ݶ‬۰̙會෸ࠧঘᕷ ၆͞۞ѡϫĊ而РՅ˛ࢦӈᛳ͟ώன΃კሄ۞΃ܑˠ ‫˘̝ۏ‬Ą Ķკ௑ൣঔķᙱ଀гᔛะ˞̙Тϔ୉۞კछᆅჸ˘ ૅĂሄဥԓ୕ࢰሄ會ᑅคਕឰЧ჌კ୉ሄጡѣ˘੓ႊ ‫۞ݶ‬機會Ăࣧώࢍ൪Ϊ΍˘ࢵ៍ி耳ሢਕ詳۞ᄂ៉ϔ ᔀᆅ‫˘ݶ‬൫Ąҭඊ۰ຐ‫ז‬3121ѐϒࣃႇᓏࡓ遍Бֲ߷ ۞ᄂ៉߹Җ͇ЬዒᚊӖీ͵26‫׹‬ѐĂ‫׍‬ѣ̙˲۞̼͛ ຍཌྷĄᇈ଀ዒᚊӖ͛ିૄ‫ܛ‬會۞ЩჍ଱ᝋ‫ޢ‬Ăүѡ۰ ͽ࣎ˠࣧ౹୊‫ޠ‬ᙉᆷ΍ĮዒᚊӖį̣ࢦ‫ݶם‬ѡĂ֭Ϥ РՅ˛ࢦ‫׶‬該ಞొ̶კछ઼̈́ሄဥĂдᜪᚗ͛޽೭˭ ࢵႊĄ 傳௚ࢰሄ‫ٺ‬༊΃۞൴णĂдᔹ઼˵ѣ̶ҾᙷҬ‫͟ٺ‬ώ ‫઼̝̚׶‬఍Ą˘͞ࢬĂ΁ࣇͽ߆‫˧̝ع‬јϲ઼ϲ઼ሄ ੰĂ࡭˧‫ࣧٺ‬ϗࣧ‫ק‬傳௚ࢰሄ۞ࡁտ̈́ܲхĂ而็௚ វր˭۞ႊ‫ݶ‬۰఼૱̙ႊ‫ݶ‬༊΃ࢰሄć˟͞ࢬĂкᇴ ጯੰࠁ۞傳௚ࢰሄႊ‫ݶ‬۰‫݋‬௫‫ٺ‬ဘ試Β߁Ҙёăன ΃ă߹Җ۞к̮ࢲॾĂѣొ̶֭ͽ̂ౙன΃ϔሄ൴ण ࠎࣄᙡĄдѡϫ˯Ăҧ倻ൣࡊ঱ጯϠ఼૱須ঘᕷˬ̂ ડ๴ĈझԗሄăϔܸሄĞ೸አğăன΃ሄćдሄጡ አ ˯Ă傳௚ሄѡĞΒ߁झԗሄ̈́೸አğͽ˩˟௙۞ҧ倻 ൣᇅ‫ݶ‬Ăன΃ሄ‫ᙷ݋‬Ҭ઼̚‫͟׶‬ώ۞ଐԛĂͽࢰાΐ ᆵ۞˩ˣ或˟˩̣௙ҧ倻ൣႊ‫ݶ‬Ą ˯ƝΔξ઼ᕿߋߵ޽೭ ˭Ɲ͟ώკРՅ˛ࢦ

09

客座主筆

Guest Columnist Session ᄋΟკ͐ࠞ֐ąഢ͐প

▍ 2020ᄂΔξ傳௚ᘹఙ‫؞‬ฟ၌ࢰሄ會ę‫ֲڌ‬კप 2020 Taipei Traditional Arts Festival Opening Concert

SILK R AD

˯ƝΟკሂᇐຎ

Summit of East Asian Zithers

˭ƝҧࡠൣՂۢࠠ

3/8)͟*14:30 Հк߿જੈिĂኛବೡQR Code More information, please scan QR Code.

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௙路ĈҚᓑֲ߷Ч࣎კ୉۞ࢰሄක路 ၆‫߷ֲٺ‬Чгડკ୉ሄጡม۞၁ኳϹ߹ЪүĂᔹ઼‫ܕ‬ѐ˵ฟؕणฟ᎕ໂ۞ҖજĄ3129ѐ5͡ĂҜ‫ٺ‬੭̋‫ ۞ࢠܕ‬ ‫ܛ‬ঔҧ倻ൣሄဥ͹Ᏹ˞˘項ҾฟϠࢬ۞ᘹఙ༼ĂᔛኛРՅ˛ࢦăඊ۰̈́ᄋΟკႊ‫ݶ‬छ‫֐ࠞ܁‬٬ഢ͐পᄃҧ倻琴 ТέĂࢵႊ˞ᔹ઼үѡछ‫ܛ‬ཐ઼૞ࠎ఺Ѩᘹఙ༼χౄ۞Į௙路įαࢦ‫ݶם‬ѡĄѩѡ૟໚ҋ̚ă͟ăᔹăᄋ۞α ࢵϔᔀ୊‫ޠ‬μӻгበᖐд˘੓Ăдҧ倻ൣሄဥ‫׶‬Շခ۞ࡍୣ‫˭ݶם‬ĂαІკ୉ሄጡౌѣਕ൴೭ЧҋপҒ۞‫ܜ‬ቔ ፾‫ݶ‬ර૾ሄ߱Ăдπ‫ܕٽ‬ˠ̚˫ѣ؈पࡎ੓۞ࢰሄड़‫ڍ‬Ą д֤Ѩ۞ࢰሄϹ߹̚Ăඊ۰ࢵ‫ܕޘ‬෼ᗓତᛈ‫ז‬ᄋΟკĄ傳௚۞ฮћཀྵሄጡώ֗̏跡‫ܕ‬ε傳Ăன΃ᄋΟკႊ‫ݶ‬۰ ֹٙϡ۞ሄጡ̂кࣄᝦ‫ٺ‬კ或ҧ倻ൣĂҭჯ޺傳௚ฮћཀྵ૟ሄጡΠბ‫ٸ‬д̂ჿ˯۞傾୆ᇅ‫ݻݶ‬๕Ąд޽‫݋˯ڱ‬

ᙷҬҧ倻ൣ۞͘๕Ă֭Тᇹ̙ᑛ޽ϥ而ͽ޽肉☜ᇅĂ而ొЊன΃޽‫˵ڱ‬इϡከൣ۞ᇅ‫ݶ‬ԫμĄᔵ൒൑ኢдሄጡ

‫̈́טݭ‬ᇅ‫͞ݶ‬ё˯ĂӮᙱᄲ༊΃۞ᄋΟკᔘܲ঻˞к͌ৌϒ۞傳௚ĉҭ֤Ѩତᛈགྷរ裡౵ឰඊ۰ৠொ۞Ă̪ߏ

ଂ‫޽֐ࠞ܁‬ม߹ᜨ΍˘၇၇̙Զ̙љ۞ᄋΟ̂ਨࣧࢲଐĊ ᚶ˩ѐ݈۞Ķკ௑ൣঔķ̝‫ޢ‬ĂΩ˘ಞะඕֲ߷̙Тгડკ୉ሄጡ۞Ķ‫ֲڌ‬კपķĂ௣૟‫̫ٺ‬ѐ4͡9͟˭̾д

̋̚ૅษࢦ൳ಞĂϤᕿߋߵ޽೭Δξ઼ઇࠎ3131ᄂΔξ傳௚ᘹఙ‫۞؞‬ฟ၌ࢰሄ會ĄѡϫΒ߁кొᄂ៉ࢵႊ۞ჟ

‫ݡ‬ĈРՅ˛ࢦႊ‫͢ˬݶ‬༶۞ௐ˟號͟ώკ‫ݶם‬ѡĮԔѡᄃߋ᜶ᛰįĂ‫֐ࠞ܁‬ႊ‫ݶ‬ᄋΟүѡछৼߤ‫۞ܛ‬ĮᄋΟკ

‫ݶם‬ѡįĂҧ倻ൣЩछՂۢࠠ‫݋‬૟૲઼ֽ࡚༊΃үѡछա౪ҹ)Epobme Xpnbdl*۞IJሹ୊˯‫͇ܦ‬ij)Ᏼҋҧ倻ൣ

‫ݶם‬ѡĮ೸Ҷ۞༼‫ݶ‬į۞ௐ˟ሄౢ*Ăඊ۰‫݋‬ᄃՂۢࠠ‫֐ࠞ܁׶‬ႊ‫ݶ‬পࠎώಞࢰሄ會ࢦາ࣒ࢎ۞ĮዒᚊӖįˬ

ࢦ‫ݶם‬ѡĂαҜ፾‫ݶ‬छ֭૟ВТࠎ៍ிᚥ˯‫ܛ‬ཐ઼۞Į௙路įαࢦ‫ݶם‬ѡĄтТѡЩĮ௙路įٙϯĂ఺ಞࢰሄ

會ಶߏాඕֲ߷̙Тკ୉۞˘୧ࢰሄක路Ą

3129ѐ5͡8͟୎มĂ‫ܛ‬ঔҧ倻ൣᘹఙ༼ᑅคࢰሄ會‫ޢ‬ĂࢵႊĮ௙路įαࢦ‫ݶם‬ѡ۞ೀҜ͹ࢋˠ‫ۏ‬ЪᇆĂ ဦν੓Ĉკᘹ̝ࡁᘹఙᓁႾሂᇐຎăҧ倻ൣछ͛։୿ă͟ώკछРՅ˛ࢦăᄋΟკछ‫֐ࠞ܁‬٥ഢ͐পă޽೭暨үѡछ‫ܛ‬ཐ઼

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厢座丝筆

A brief history of culture exchange among Asian zither musicians in recent decades

Guest Columnist Session

Among various traditional Chinese musical instruments extant today, Zheng, backed with two thousand years of continuous history, is arguably the most prevalent and beloved one in the Chinese society at large. It also has close cousins evolved across Asia through the SDVW PLOOHQQLXP 7KHVH LQFOXGH .RUHDQ *D\DJHXP -DSDQHVH .RWR 0RQJROLDQ <DWJD DQG 9LHWQDPHVH Ä&#x2C6;jQ WUDQK DPRQJ RWKHUV Between 1960 and 1980, under the enthusiastic endeavors of several prominent musicians and scholars, e.g. LIANG Tsai-Ping (1910-2000, Board Director of Chinese Music Association), ZHUANG Ben-Li (1924-2001, Chairman, Chinese Music Department, Chinese Culture University), CHENG Te-Yuan (Professor, Chinese Music Department, Chinese Culture University), the traditional music field in Taiwan had strong ties among its colleagues in neighboring countries. Eminent music figures such as Japanese traditional music grand master Nakajima Utashitoďź&#x2C6;1896-1979ďź&#x2030;ă&#x20AC; contemporary Koto virtuoso Shinichi Yuizeďź&#x2C6;1923-2015ďź&#x2030;ă&#x20AC; Gayageum maestro Hwang Byungkiďź&#x2C6;1936-2018ďź&#x2030;all had visited and performed in Taiwan during that era.

As the cross-strait cultural activities gradually warmed up since the mid-1980s, Taiwanâ&#x20AC;&#x2122;s traditional Chinese music development has been in sync with the overwhelming progression of the contemporary Chinese music on the Mainland for over three decades, witnessing a steady growth of new repertoires and virtuosic performing skills. With a few exceptions, however, the magnitude of artistic exchange with traditional musicians from other Asian counties has wavered. One of such exceptions occurred in 2010 when the National Chinese Orchestra of Taiwan (NCO), under the direction of its former Principle Guest Conductor SU Wen-Ching, commissioned this ZULWHU WR RUJDQL]H D JDOD FRQFHUW FHOHEUDWLQJ WKH $VLDQ ]LWKHUV LQ ZKLFK SHUIRUPHUV RI =KHQJ .RWR *D\DJHXP DQG Ä&#x2C6;jQ WUDQK ZHUH brought together to play with Chinese orchestra on the same stage for the very first time in Taiwan. Among the musicians participating in this major event was Nanae Yoshimura, a distinguished Koto maestro from Tokyo, who played contemporary Japanese composer Minoru Mikiâ&#x20AC;&#x2122;s First Koto Concerto Pine .

A cross road of traditional, modern and popular idioms Except for a few true guardians of certain local traditional Zheng schools who still faithfully adhere to the authentic styles handed down orally from generations, the great majority of Zheng players nowadays, professional and amateur included, is expected to learn and play a broad range of both traditional and contemporary repertoires. In comparison, there is still a clear line drawn between the old and new schools among Japanese Koto players today. While the old school only employs the traditional 13-stringed Koto, the new school also plays their repertoires on the 20-stringed Koto invented just half a century ago. The players of the two schools mostly would not cross perform the repertoire of the other party. Nanae Yoshimura is one of the major exponents of the new Koto school.

While the above mentioned 2010 gala concert gathered distinguished zither musicians from all over Asia to play on the same stage, it would be even more meaningful if they could somehow play together in an ensemble rather than just playing individually in solos or concertos. Consequently NCO brought about an idea of having them perform in unison a familiar tune, perhaps a certain Taiwanese folk song, as the grand finale of the concert. Taking this idea as the point of departure, however, I thought about the year 2010 being the fifteenth anniversary of the world famous Taiwan pop singer DENG Li-Junâ&#x20AC;&#x2122;s death and it would be of particular significance if I could write an original work for Asian zithers dedicated to Miss. DENG in that occasion. After obtaining the right to use the namesake from the DENG Li-Jun Foundation in Taiwan, the DENG Lijun Concerto IRU ]LWKHU TXLQWHW .RWR *D\DJHXP Ä&#x2C6;jQ WUDQK DQG =KHQJV

with Chinese orchestra was born and was premiered later that December by Nanae Yoshimura and other zither performers with Gu Pao-Wen conducting the NCO in Taipei.

The contemporary development of traditional music in Korea is similar to what happening in Japan and China in different respects. On the one hand, certain branch of the traditional Korean musicians, most remarkably those who work for the government sponsored National Gugak Center, adhere faithfully to the authenticity of the old style. Like their counterpart in Japan, some of these musicians would not cross perform contemporary music. On the other hand, the majority of academically trained music students learn to play a wider range of styles drawing from Western classical, modern and popular music, besides the Korean music classics. Some of them also pay close attention to the technical novelties of contemporary Zheng and Koto works. As for the standard Gayageum repertoire, it is typically divided into three major categories: court music (Jeongak), folk music (Sanjo) and contemporary music. The traditional 12-stringed Gayageum is used to play court music and folk music. The wider ranged modern Gayageums with 18 to 25 strings are used

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to play contemporary music, a situation similar to those of Zheng and Koto.

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String Road: the Silk Road connecting Asian Zithers Lately Korean musicians also have taken the initiative to collaborate more actively among zither performers from different parts of Asia. In April 2018, the Gayageum Orchestra in Gimhae near Busan city organized a Gayageum festival in which Zheng, Koto and Yatga joined forces in the final climax with the premiere of a commissioned work String Road Concerto by Korean composer Kim Sung Kook. This work tactfully weaves together folk songs from Mongolia, Japan, China and Korea with extensive solo flourishes and cadenzas played on individual zither of the corresponding nation, and is united by the vigorous rhythmic patterns from the accompanying Gayageum orchestra and Janggu, a type of traditional Korean drum. This writer joined with Nanae Yoshimura, Yatga performer Baasnkhuu Chinbat and Gayageum performer Moon Yang-Sook in presenting this beautiful work on stage to an enthusiastic audience.

It was my first close encounter with the Yatga. While the traditional instrument itself was essentially lost in recent history, Yatga musicians nowadays have mostly adapted Zheng or Gayageum, or a hybrid of both, as their performance vehicle but would sometimes maintain the traditional way of playing style by putting the instrument on the thigh in a tilted way. The fingerings of playing Yatga is similar to those of Gayageum. Both instruments need to use flash on the tip of the fingers, rather than nails, when plucking the strings, unlike how Zheng and Koto are played. Modern Yatka also adapts certain performance techniques from the harp. Though it might be hard for me to tell how much authenticity of the tradition is still preserved in Yatga playing nowadays, the mesmerizing rendition of a Mongolian tune streaming from Baasnkhuu Chinbat’s fingers was quite captivating to this listener.

Ten years after the last major gathering of various Asian zithers in Taipei, the next chapter is finally materialized in form of the Summit of Zithers of East Asia, which will serve as the opening concert of the 2020 Taipei Traditional Arts Festival on March 8 at 2:30 pm at Taipei’s historical Zhong-Shan Hall. The concert is given by Taipei Chinese Orchestra under the baton of its Principle Conductor Qu Chunquan. It reunits several major performers from the 2018 Gimhae Festival, including its director, renowned Gayageum virtuoso YI Ji-young, and Baasnkhuu Chinbat, Nanae Yoshimura, as well as this writer, to present premier performances of several major contemporary works to Taiwan audience. The repertoire includes Minoru Miki’s Second Koto Concerto Overture and Shunno-Den, Natsagiin Jantsannorov’s Yatga Concerto, American composer Donald Womack’s Spiral Toward the Center of the Sky (the second movement from Concerto for Gayageum Scattered Rhythms ), FAN Wei-Tsu’s Den Lijun Triple Concerto for Zheng, Gayageum and Yatga with Chinese Orchestra (in a new version tailor made for this concert), and Kim Sung Kook’s String Road Concerto. The orchestral parts of all these works, except for the Den Lijun Triple Concerto, have been transcribed from their original scores to the Chinese Orchestra.

As the title of the String Road Concerto implies, a special music event like this hopes to pave the way for a Silk Road which would ultimately connects all members from the Asian Zither family.

3129ѐ5͡8͟୎มĂ‫ܛ‬ঔҧ倻ൣᘹఙ༼ᑅคࢰሄ會‫ޢ‬έ˘ഀĂဦν੓Ĉ޽೭暨үѡछ‫ܛ‬ཐ઼ăᄋΟკछ‫֐ࠞ܁‬٥ഢ͐পă͟ώკछРՅ˛ࢦă ҧ倻ൣछՂۢࠠăҧ倻ൣछ͛։୿ăკᘹ̝ࡁᘹఙᓁႾሂᇐຎ Backstage at the final concert of the 2018 Gimhae Gayageum Festival. From the left: Composer and conductor Kim Sung Kook, Yatga performer Baasnkhuu Chinbat, Koto performer Nanae Yoshimura, Gayageum performers YI Ji-young and Moon Yang-Sook, Zheng performer FAN Wei-Tsu.

13

追光人物

Stunning Figures

㝕䳀樦㵶椟⣍ ┯䕁䜆溸꼟垠⥝㞂鴤 Cellist WANG Jian, a Music Legend without Regret

文 Writer

郭士榛 照片提供 KUO Shih-Chen Photo

王健 WANG Jian

кѨ‫צ‬ᔛֽᄂ‫׶‬ϹᜩሄဥЪү۞̂೩ൣछͳઉĂ3131ѐГ‫ֽޘ‬ᄂĂ૟ࢵѨᄃᄂΔξϲ઼ሄဥЪүĂႊ‫ݶ‬үѡछ

ᅀ‫؞‬π۞ү‫ݡ‬Įఄ‫׹‬ေįĄͳઉᄲĈĶ఺ߏ˘ࢵ傳͵ү‫ݡ‬ĂΞͽ·Њ൴೭̂೩ൣ۞ࢰҒĂ˫ਕ൴೭̚ሄဥ۞ᐹ

࡚প性Ă̂೩ൣ‫̚׶‬ሄဥ௡Ъ‫ޢ‬ĂՀणன΍ѩѡ঎漫ăᐹฮă͑ຐ۞ଐ༼Ąķ ͳઉдࢶപഅ‫̚׶‬ሄဥЪүႊ΍࿅Įఄ‫׹‬ေįĂ΁ᄮࠎĂϔ୉ࢰሄѣధкᐹս̝఍Ă而઼̚ሄጡ௡јሄဥ۞ᓏ ࢰ‫ޝ‬পҾĂࠤҌѣֱᔘߏҘ͞ሄဥ఍ந̙‫۞ז‬ຏˠᓏࢰĂΪߏΞଓϔ୉ሄဥ̚Ăਕᄃ̂೩ൣႊ΍۞ѡϫ̙֭

кĂ‫ܧ‬૱ฟ͕னд̂೩ൣѣ˞Įఄ‫׹‬ေį఺࣎ү‫ݡ‬ĂĶԧ‫ࠡޝ‬ଓ఺˘࣎ү‫ݡ‬Ăϫֽ݈ᄲ఺ߏ̂೩ൣ઱˘Ξͽ‫׶‬

ϔ୉ሄဥЪү۞ү‫ݡ‬Ăιਕ·Њ൴೭ϔ୉ሄဥপᕇĂߏࢵ‫ܧ‬૱р᝘۞ѡ̄Ąķ

ͳઉஎຏĮఄ‫׹‬ေįߏ˘߹ү‫ݡ‬Ă‫ޝ‬ഇ‫ޞ‬5͡22͟д઼छࢰሄះ‫׶‬Δξ઼Ъү۞ႊ΍Ą

ࢰሄ Бˠᙷ໛఼۞ᄬ֏ ĶࢰሄߏΞͽឰБˠᙷ໛఼۞ᄬ֏Ăι̙ညᄬ֏ă͛фࢋጯ‫ؠ˘ז‬඀‫̖ޘ‬ΞநྋĂࢰሄ‫ޝ‬ट‫ٽ‬ឰˠຏ‫זצ‬ଐ ຏĂ̙會ѣ͉̂۞ࠧቢć઼ᄃ઼̝มĂΞਕѣ̙Тᄬ֏Ăҭ߇ְߏ˘ᇹĂᄲ۞ౌߏˠᙷ۞߇ְĂٙͽԧдႊ‫ ݶ‬ ѩү‫ݡ‬ॡĂ會ࣄᙡϔ୉ሄጡႊ‫ֽڱ͞ݶ‬ႊ‫̂ݶ‬೩ൣĂ൴೭Чҋٙ‫ܜ‬ĂᏉЪ੓ֽ̖Հѣຍ‫ޥ‬ĄķͳઉᄲĄ Ķԧᛳ‫̰ٺ‬Ш۞ˠĂ౵ಈᝌឰˠຏજ۞‫ڌ‬ҘĄķЯѩĂͳઉቚൣॡĂ̂ཝ或ຍᙊ裡၆ࢰሄౌѣຏᛇĄĶቚൣॡ

ࡶ՟ѣຏᛇĂ或ᛇ଀̙р᝘ĂԱ̙‫ז‬ቚൣଐჰॡĂԧಶ̙ቚൣ˞ĂΪдѣຏᛇॡ̖ቚൣĄķͳઉܑϯĂ΁ႊ΍

ॡᔘߏ會ღૺĂࠤҌࢋՐՀ੼ֱâ‫ࢋؠ‬ѣຏᛇĂࢋѣ˘჌ঈ‫ڤ‬ĂซˢՏ࣎ү‫ݡ‬፾প۞ဩࠧ̚ĄͳઉᄲĈĶࢰ ሄ跟ன၁ϖᅈߏ‫׌‬аְĂԧ‫ࠡޝ‬ଓԧҋ̎̍ү跟Ϡ߿ԆБΞͽ̶ฟĄķͳઉᄲĂ΁дႊ‫ࢰݶ‬ሄॡĂĶ‫ܧ‬૱ᚑඥ 而ᄮৌĄķҭߏ˭˞έĂĶԧಶߏ࠻३࠻࿪ᇆĂ̙ಈᝌۤϹĂԆԆББಶߏ೼఼۞˘ਠˠĄķ

˞ྋ྽ந̚۞ទᏭ 5໐ฟؕ跟ᐌͭᏐጯ̂೩ൣĂͳઉ޽΍Ăҋ̎ѣ‫ݔ۞̂ޝ‬ਗ਼性ॾĂ̈ॡ‫̙ޝ‬рିĂ࠻੓ֽညߏ΁ЯͭᏐ̖ٛ̂ ೩ൣĂҭְ၁˯Ă‫ͳߏݒ‬ઉᄮࠎᑕ該఺ᇹઇ̖會ΝઇĂ΁۞ͭᏐ‫׶‬ҁरౌ會ЯՄ߉ିĄĶԧߏ‫ޝ‬ѣҋ͹ਕ˧۞ ˠĂͭᏐЯѩឰԧ൴णҋ̎۞ਕ˧ĄķͳઉܑϯĂຐઇр˘Іְ˘‫ࢋؠ‬ѣҋ̎۞ຐ‫ڱ࠻׶ڱ‬ĂࡶజજΪ᝘ҁर ᄲ۞ઇĂߏ൑‫ڱ‬ጯ‫ڌז‬Ҙ۞Ă΁៍၅ٙѣѣ͇Њ۞‫̄ޅ‬Ă᝘˞ҁर۞ᄲ‫ޢڱ‬Ăౌ會Ν‫ޥ‬҂ăநྋۢᙊ‫ ۞ࢬޢ‬ ྽நĂ૟ֽ̖Ξਕϡҋ̎۞நྋਕ˧Ν଀‫ۢז‬ᙊĂۢᙊߏឰҰநྋ྽ந۞̍‫׍‬而̏ĂЯѩ˞ྋ྽ந̚۞ទᏭĂ ਕૉѣ̶‫۞ژ‬ਕ˧̖౵ࢦࢋĄ

SILK R AD

ຏाҋ̎˘Ϡౌѣෳˠ࠹ӄ۞ͳઉĂ2:79ѐ΍Ϡд͛ࢭॡ΃Ă๽๽छߏโ̣ᙷĂ4໐ॡĂә‫ܜ‬௏۞ϓᏐజ˭‫ٸ‬農ՅĂ 23໐Бछ̖ဥ๪Ąଂ̈ͳઉಶ跟ᐌႊ‫̂ݶ‬೩ൣ۞ͭᏐጯൣĂ΁Ϡ߿̚Տ͇ಶߏቚ௫̂೩ൣĂҋ൒而൒ಶຑ˯˞Ą

14

追光人物

ጯᘹఙࢋઇໂ̂ᜁࠗ јΑ۞ˠπ͟ಶ會ઇр໤౯Ă運ঈֽॡ̖Ξ̈́ॡ൴

Stunning Figures

೭Ą2:8:ѐ‫׻‬運̝ৠாᜪͳઉĂ઼࡚̈೩ൣିͭΫ‫؃‬ ‫͞ء઼̚צ‬ᔛኛణય̂ౙ޽ጱ༊гጯϠĂͳઉ༊ॡಶ ᝝˯ঔࢰሄጯੰ‫̈ܢ‬ĂజᕇЩд̂रࢬ݈ႊ‫ݶ‬Ă࿅඀ ‫ٮ‬ј˞̬௜઼̚ࢰሄ༊ॡ൴णன‫ࡔ۞ڶ‬ᐂͯĮଂͨ፨ ‫זڌ‬ంϑপįĂࢶപಱથ‫ڒ‬壽ၷЯ࠻˞ࡔᐂͯ҃資ӄ ΁΍઼ጯൣĂฟୁͳઉ傳؈ࢰሄछϠ୾۞ฟؕĂ͟‫ޢ‬ дΫ‫۞؃‬ခᐽᄃ͚޺˭Ăͳઉኼ˯࢒࡚ጯ௫̝路Ą ̃‫̫׊‬ѐ4໐ĂҌ‫ٺ‬Ϗֽ會̙會ٚ᝚ࢰሄ۞路Ăͳઉ ܑϯĂԆБ࠻‫̄ޅ‬Ϗֽҋ̎ᏴፄĂੵ‫ܧ‬с̙ຐࢋĂࡶ ৌࢋ֕ࢰሄ路˵̙會‫᚜ܡ‬сĂጯᘹఙࢋઇໂ̂ᜁࠗĂ ࿅඀‫ܧ‬૱֙ࡴĂன̫ԓ୕ਕගсԣሄϠ߿Ăૈዳр۞ ௫ၚĄҌ‫ٺ‬ҋ̎̏ߏ઼ᅫۢЩ̂೩ൣछĂ‫֕ॄޢ̙ޢ‬ ˯ˠϠ఺୧路Ăͳઉ୮̙҂ᇋаඍĶҋ̙̎‫ॄޢ‬ĂЯ ࠎԧಈᝌႊ‫ݶ‬ăሤຑࢰሄĄķ

▍ ఄ‫׹‬ေę‫ܖ‬ाōͳઉ Zhuang Zhou’s Dream SHAO En & WANG Jian 4/11(六) 19:30 Հк߿જੈिĂኛବೡQR Code More information, please scan QR Code.

SILK R AD

ᄃ͵ࠧሄဥЪү۞ͳઉ

16

ͳઉᄃ̃‫׊‬

Well-known cellist WANG Jian, who has been invited to Taiwan many times to perform with a symphony orchestra, will come to Taiwan again in 2020. For the first time, Wang will cooperate with Taipei Chinese Orchestra to perform Zhuang Zhou’s Dream, a work by composer Zhao Jiping. He said, “This is a masterpiece handed down from ancient times that can fully display the tone of cello and can develop the beautiful characteristics of Taipei Chinese Orchestra. The combination of the two will better show the romantic,

Understand the logic behind things WANG Jian began to learn cello from his father when he was 4 years old. He pointed out that he was rebellious and difficult to teach when he was young. It seemed that Wang learned to play the cello because of his father, but in fact, he only did what he thought was right. His father and teacher always taught him according to his aptitude. Wang said, “I am very independent, so my father let me develop my

elegant and fantasy plot of the work.”

ability.” In Wang’s opinion, in order to do something well, one must

WANG Jian once performed Zhuang Zhou’s Dream together with

he/she only passively follows the teacher’s instructions. He has

TCO in Hong Kong. He believes that Chinese folk music has many

discovered the fact that all gifted children, after listening to the

excellent features, and the effect of orchestras composed of Chinese

teacher’s instructions, will try their best to think and understand the

musical instruments is very special, even with some touching music

truth behind them, so as to improve their understanding ability to

that western orchestras cannot perform. It is a pity, however, in the

acquire knowledge in the future. Knowledge is only a tool to

Chinese orchestras, there are too few works that can be perform with

understand the truth of things. Therefore, understanding the logic

cello. But he is very glad that the cello can perform Zhuang Zhou’s

behind things and possessing the ability to analyze are the most

Dream. He said, “I cherish this piece of work very much, because it

important.

have one’s own ideas or thoughts. He/she cannot learn anything if

is the only one that can be performed by cello with Chinese Orchestra at present. It is a very melodious piece of music that can give full

WANG Jian, who is grateful for the nice people that help him all his

play to the characteristics of a Chinese Orchestra.”

life, was born in 1968, the era of China’s Cultural Revolution. His

Fully acknowledging that Zhuang Zhou’s Dream is a first-class work, WANG Jian looks forward to the performance in the National Concert Hall on April 11 in cooperation with TCO.

Music, the Language Common to All Mankind WANG Jian said, “Unlike language and literature which require a

mother’s family was classified as one of the Five Black Categories (a definition of five groups of undesirables in society in the 1950s).

When Wang was 3 years old, his mother who was capable of playing the flute was sent to the countryside. It was not until Wang was 12 years old that his whole family was reunited. From an early age, WANG Jian studied cello from his father who can play cello. He practiced cello day after day and naturally became interested in cello.

certain level of education to understand, music can be enjoyed by all

Learning art requires great sacrifice

mankind and can easily arouse emotions among people without too

Successful people always make preparations at ordinary times so that

much boundary. The languages of different countries may be

they can show their talents when the opportunity comes. In 1979,

different, but their stories are the same, all about human beings and

WANG Jian was favored by destiny. At that time, Stern, the

their emotions. Therefore, when performing this piece of work, I will

godfather of American violin, was by Chinese authorities to visit

play cello inspired by the performance methods of Chinese musical

Mainland China to guide local students. WANG Jian, a student of

instruments, so as to combine their respective advantages, which is

primary school affiliated to Shanghai Conservatory of Music, was

more interesting and wonderful.”

pointed out to play in front of Stern. The whole thing was filmed into

“My personality is somewhat introverted, so I am much fond of things that can move people.” Therefore, when practicing cello, the music has been deeply etched into the mind and consciousness of WANG Jian. “I only practice cello when I can be really touched by the music. If I cannot have a feeling for the music, or I feel the music is unpleasant to hear, I will be in no mood for practicing it.” WANG Jian told us that he is still nervous when performing. Sometimes, he even requires himself to have a deep feeling for the music, or create an atmosphere, so as to present the unique artistic conception of each work. Wang said, “music and reality are two completely different things. I am very glad that my work and life do not interfere with each other. When playing the cello, I am always with a very serious and conscientious attitude. But when I get off the stage, I just read books and watch movies like ordinary people. I am not interested in socializing.”

the documentary From Mao to Mozart, which was about the development of Chinese music at that time. LIN Shou-rong, a wealthy Hong Kong businessman, watched the documentary and funded WANG Jian to study piano abroad, thus starting his legendary career as a musician. Later, with Stern’s encouragement and support, WANG Jian went to the United States to study music.

WANG Jian has a 3-year-old daughter. Regarding whether to let his daughter follow the music path, Wang says he will fully respect her own choice, and he will not dissuade her if she really wants to learn music. Learning art requires great sacrifice and the process is very difficult. Nowadays, Wang hopes to give her daughter a happy life and develop her good habits. As an internationally renowned cellist, facing the question of “do you regret living such a musical life”, WANG Jian replied without hesitation, “I do not regret it, because I like performing cello and love music.”

17

國樂新視界

New Vision of Chinese Music

꼟垠☭䈰冝䢙仙⮃偈挪蛟 Ꞗ脙⩱庑鞽"*✑剱

New sparks of thought from Music + AI, CHUNG Yiu-Kwong’s opinion on AI composition 文 Writer

盧家珍 LU Jia-Chen

SILK R AD

ˠ̍ംᇊĞBsujgjdjbm Joufmmjhfodf- BJğ‫ࢰ׶‬ሄ ۞ᏉЪĂߏࢰሄ౹үᅳા۞າࡎ৔Ă̙僅၆னѣ۞ ࢰሄயຽౄј˞˘‫ؠ‬ᇆᜩĂ˵χ৔˞үѡछ౹ү۞ ‫ؠ׽‬ሀёĄΝѐ8͡Ă઼̚Įௐ˘ੑགྷ͟ಡįѣ࣎ᓒ જ۞າჷᇾᗟęĶBJүѡᙹᖬࢰሄயຽĂ:6&ଂຽ۰ Ξਕజ‫΃פ‬Ċķ఺ߏৌ۞๜ĉ‫ܕ‬ѐֽ᎕ໂࡁտBJүѡ ۞ᔨᚹЍĂ೩΍˞΁۞࠻‫ڱ‬Ą

BJΞͽ‫΃פ‬үѡछ๜ĉ ĶҰ‫ז‬hpphmfߤᙯᔣфĈUif cftu BJ dpnqptjujpo tpguxbsf pg 3131Ăಶ會࠻‫ז‬ధкүѡహវĂ෱ϡ41 ‫ז‬211࡚‫̙ܛ‬ඈĂѣ۞ࠤҌᔘҺ෱Ăт‫ڍ‬BJΞͽ‫΃פ‬ үѡछĂ֤үѡछ੎̙ߏ͉ຆᆊ˞ĉķᔨᚹЍ৯྽Ă ϫ݈:ј۞થຽүѡహវࢋᄦү˘࣎ሄ̙֭߱ӧᙱĂ Ξͽ௑ЪᇃӘ或ൺͯ੨ሄ۞ᅮՐĂҭࡶࢋ˘ࢵඕၹԆ ፋ۞ѡ̪̄ѣᙱ‫ޘ‬Ą Ҍ‫ٺ‬ညDbncsjehf或VDMB఺ᙷ࿪̄ࢰሄቿ‫۞ݎ‬ጯ७Ă ٙ൴ण۞BJ඀ё͹ࢋߏ੫၆ିֈΑਕ而నࢍĄּт࿪ ཝ౅࿅̶‫̂ژ‬ณ۞͐ᄿү‫ݡ‬ĂԱ΍΁үѡ۞ᄬ‫ڱ‬ၚ 性ĂГሀϼࢦ௡΍ᙷҬࢲॾ۞ѡ̄Ă఺ᇹ۞ˠ̍ംᇊ ጯ௫࿅඀Ă‫׎‬၁˵ᑕϡ‫ٺ‬ᘱ൪ିֈඈ̙ТᅳાĄ ᔨᚹЍᄮࠎĂ࿅Ν3ă41ѐֽĂ࿪ཝдүѡ˯Էႊ۞ ‫׎‬၁ߏᅃӄ۞֎ҒĂѣధкహវΞͽ‫ם‬ӄүѡछઇ運 ზĂ‫઼ڱͽ˫̚׎‬ᘀல‫͕̚ޘ‬ன΃ࢰሄࡁտ͕̚ ĞJSDBNğࠎ΃ܑĂҭᔘߏ଀౅࿅ᇤᆷ඀ёనࢍ Ğqsphsbnnjohğ‫׶‬በቅĞdpejohğ̖ਕԆјĂჍ̙ ˯ߏBJүѡĄ̙࿅Ă‫ܕ‬ѐֽξࢬ˯ฟؕ΍னĶࢰሄᗖ ԛ౹үహវķĞnvtjd qspupuzqjoh tpguxbsfğĂү ѡछԯຐࢋ۞৵ՄϴซΝĂт˘߱֓к‫۞܆‬͹ࢋજ ซ 機ă˘߱‫׶‬ᓏ或ᒑ̀༼‫ݶ‬Ă࿪ཝಶ會஄Ϡјሄѡ۞ᗖ ԛĂүѡछ߄Ᏼ࿅‫ޢ‬Гΐͽ࣒ԼĂ఺ᇹ̏ზ଀˯ߏBJ ‫׶‬үѡछĶᓑ͘౹үķ˞Ą

BJ૲ֽ۞үѡ̂᜙ซ Ķ31͵ࡔͽֽĂ࿪ཝ۞ᅃӄឰүѡԫఙՀซล˞˘࣎ ซ ᆸѨ ĊķᔨᚹЍᄲĂѝഇүѡߏӱд᐀ൣ݈ӈᎸᇅ Ċ Ѝ ‫ݶ‬Ă൒‫ޢ‬Гඊ੃˭ֽĂࡶߏ୊‫ޠ‬ ‫ޠ‬較‫ܜ‬Ăᔘ଀ѣంϑপ ۞੃ጸ˧̖ΞͽБొᆷдᙉ˯Ă౹ү˘ࢵѡ̄଀‫˯܅‬ ΗѐҌ˘ѐćҭߏѣ˞࿪ཝ̝‫ޢ‬Ăᇅ࿅۞ࢰ௑ϲ‫ג‬ಶ 會੃ᐂ˭ֽĂࠎүѡछ঻˭ௐ˘ॡม۞ីຏĄ 而࿪ཝ۞運ზΑਕ‫݋‬೩ֻүѡछՀ̂۞ຐည۩มĂࡻ ઼ࡊጯछTufqifo Xpmgsbn೩΍‫ޝ‬кּ̄Ăགྷ࿅̂ณ ۞ࢍზ̖會൴னᔳᖟд‫۞̚׎‬ሀёĞqbuufsoğĂ或 ߏ˘࣎ᖎಏ۞͞඀ёགྷ࿅̂ณࢍზ‫ޢ‬Ă̖ឰˠ൴ன΍ ˘࣎λ̂ѣఢ‫ߛ۞݋‬ၹĄ఺ֱ運ზߏಏያˠཝΞਕᏱ ̙‫ז‬ĂҭүѡछΞͽԯࡊጯछ೩ֻ۞ቢ৶Ϲග࿪ཝĂ Гϡ࿪ཝ೩ֻ۞ᇴፂֽ౹үćּтүѡछࡶຐࢋдѡ ᙉ۞୊‫ޠ‬ቢ୧Ӕனߙ჌‫ב‬ᇴѡቢĂಶΞͽӀϡ࿪ཝ運 ზ‫۞ޢ‬ᇴፂĂឰѡ̄யϠࢰ੼ѡቢ或‫ࢰ΁׎‬ሄણᇴ۞ ត‫ݶ‬Ă఺ᇹ̙ಶߏĶѣࡊጯֶፂ۞ត‫ݶ‬ķ๜ĉ

19

國樂新視界

New Vision of Chinese Music

Ķ̙࿅఺֭‫ܧ‬Տ࣎үѡछౌᏱ଀‫ז‬Ăᔘࢋ၆඀ёనࢍ

ĮBJ౹͵ࡔįѣ9࣎ሄౢĂ‫ג̚׎‬ຍщଵ˞઼̚ōᄂ

ѣ˘ֱ˞ྋĄķᔨᚹЍ౹үĮϨ੺‫ڌ‬Җį‫ߏܮ‬тѩĂ

៉ă‫߷ܧ‬ōО‫ޘ‬ăཀྵӀ‫ڍ‬ཐႇō͐ᄿăᘲ੺κֲō‫ܠ‬

࿪ཝ運ზ΍ࣧؕ資फ़̝‫ޢ‬Ăᔘ會Гүࢰાඈ௟ొአ

ٛұ۞၆ჍԛёĂ而д৵Մᄃ࿪ཝԫఙ۞運ϡ˯Ă‫ ݋‬

ፋĄЍߏ८͕ሄ߱‫͇׌˞܅ܮ‬ᆷ඀ёĂ༼‫ݶ‬ԆБ޷໰

ͽִᆐ۞តԛĞNpsqijohğă‫߷ܧ‬χᑝሄ۞к༼‫ ݶ‬

О‫ޘ‬ခሄ۞൴णሀёֽనࢍĂѣֱг͞‫݋‬ኛ࿪ཝҋજ

ĞQpmzsizuinğăႇѡ۞ਫ਼ᜩड़‫ڍ‬ĞEfmbzğ或к̮

ᏴࢰĄĶӈ‫ܮ‬ѣ࿪ཝ‫ם‬ӄĂზᇴጯᔘߏԘ˞˘࣎ѝ

જ機൴णĞNpujwf EfwfmpqnfouğĂͽ̈́ࣧҝϔ‫ ݑ׶‬

˯Ă͍‫ז࠻׎‬Ꮘ၌΍னfssps۞ॡ࣏Ăৌ۞ࢋ൴Ⴚ

Δგѡአ۞‫ם‬አĞIbsnpoj{bujpoğඈĂឰˠ̙Ϥ଀

બ Ċᛇ଀ᆷд̣ቢᙉ˯ᔘͧ較ԣĊķᔨᚹЍᄲĂᔵ൒

ഇ‫ޞ‬౵‫ޢ‬Ӕன۞ड़‫ڍ‬Ą

тѩĂ༊ሄѡଂ࿪ཝ̚߹ࠈ΍ֽॡâ̷ౌࣃ଀˞Ą Ķԧ͹ࢋϡ˘έNBD QSP౹үĂҭ運算ኑᗔॡĂΩγ 而౵າ౹ү۞ĮBJ౹͵ࡔįߏဘ試ᑕϡĶࢰሄᗖԛ౹ү

ˬέQD會ΐˢ̍ үҖЕĄķᔨᚹЍ Ꮈ࡭‫ܑ۞ݎݎ‬ଐĂ

హវķ۞‫ם‬ӄĄᔨᚹЍᄮࠎĂ࿪ཝΞͽдൺॡม̝̰

ညໂ˞២ࡁ࿪‫ܨە‬୬৔ᙯ۞̈‫ޅ‬Ăય΁ຐ̙ຐ࠻࠻BJ

௡Ъ΍ЧёЧᇹ۞ࢰሄᗖԛĂ傳௚үѡछΞਕࢋ‫܅‬ᇴ

тң̶‫۞΁ژ‬ү‫ݡ‬Ă΁৯඾ᄲĈĶ̙ࢋӐĊ౹ү۰ౌ

̖࣎͡Ա‫ֱ఺ז‬ᇴณ۞ࢰሄᗖԛĄѣ˞࿪ཝ۞‫ם‬ӄĂ

ԓ୕ՐາՐតĂт‫ڍ‬ზ΍ᔨᚹЍѣ‫۞ؠ׽‬౹үሀёĂ

னдᔨᚹЍΞͽд˘˟͇̰Ăΐˢҋ̎۞‫ޥ‬ჯ૟ࢰሄ

ԧ會๋͕ࡠĊ ķ࠻ֽĂBJˠ ംᇊĂৌ۞ឰˠ˫ຑ˫ ̍ ެબĊ

ᗖԛ̟ͽᐎ๬Ă̂​̂ᙹᖬ˞傳௚үѡ۞‫ޥ‬ჯ‫׶‬үຽ߹඀Ą

ĮBJ౹͵ࡔįᄃᑝሄႊ‫ݶ‬छFofmzo HmfoojfЪү ᛷᇆर Kjn Dbmmbhibo

▍ AI౹͵ࡔęᔨᚹЍōཀྵᜋؐ AI Genesis CHUNG Yiu-Kwong & Evelyn GLENNIE

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4/19)͟*14:30 Հк߿જੈिĂኛବೡQR Code More information, please scan QR Code.

The integration of AI and music represents a new breakthrough in the field of music creation, which not only affects the existing music industry but also breaks the traditional mode of composers. “AI Composition Dominates Music Industry, 95% Practitioners May Be Replaced”, a sensational news headline appeared in CHINA BUSINESS NEWS last July. Is this true? In response, Chung Yiu-Kwong, who has been focused on studying AI composition in recent years, offered his opinions.

The calculation function of the computer can provide more room of

Can AI replace composer?

example, if a composer wants to present a certain function curve in

CHUNG Yiu-Kwong said with a smile, “If you look up the keyword: the best AI composition software of 2020 in google, you will get many composition software, which charge US $30 to US $100, and some are even free to use. How can such a cheap AI composition software replace a composer?” He further pointed out that at present, 90% of commercial AI composition software can generate a piece of music, which can meet the requirements of advertising or short film. But it is not easy for AI composition software to compose a piece of complete music.

obtain pitch contour or variations of other music parameters. Are

The main function of AI composing programs developed by universities such as Cambridge and UCLA where electronic music thrives is for education. For example, by analyzing a large number of Bach’s works, the computer summarizes the grammatical structure of his composition, and then imitates and reconstructs a piece of music similar to his style. This kind of AI learning process is also applied to different fields such as painting education.

imagination for composers. Stephen Wolfram, a British scientist, has discovered that a pattern hidden in many examples can be discovered only after a large number of calculations, or a huge regular structure can be obtained only after a lot of calculations of a simple equation.

The human brain cannot perform these huge calculations. Composers can input data provided by scientists into computers, and then use the information generated by computers to compose music. For the melody of a music score, he can use computer-generated data to these “variations with scientific guidance”?

“If a composer wants to do this, he has to understand some knowledge of programming.” When creating The white horse goes east, CHUNG Yiu-Kwong first let the computer calculate the original data, and then made adjustments to the details such as sound range. It took him two days to program the core segment of the music. Some notes were automatically selected by the computer. The rhythm was completely designed according to the development pattern of Indian drum music. CHUNG Yiu-Kwong said, “even with the help of a computer, I spent the whole morning on calculation. When ‘error’ appears on the screen, it really drives me crazy! I even think writing on the staff with a pen is faster than this!” However, when the music was successfully played from the computer, all the efforts were worthwhile.

In the latest creation of AI Genesis, CHUNG Yiu-Kwong has been

In CHUNG Yiu-Kwong’s view, in the past 20 or 30 years, computers have actually played an auxiliary role in composing music. Many software programs, represented by the Institute for Research and Coordination in Acoustics/Music (IRCAM) of France’s Pompidou center, can assist composers do some calculations. However, this process can only be completed through programming and coding, which cannot be considered AI composition. However, “music prototyping software” has appeared on the market in recent years. The composer inputs the required material (A fregment of Beethoven’s music, a harmony progression a jazz rhythm) into the software, and the computer will generate the prototypes of the music. Then, the composer selects and modifies the music from them. In this way, AI and composers have “joined efforts” to create music.

assisted by the “music prototyping software”. He believes that

The Great Progress of Music Composition by AI

music, etc., thus showing the amazing effect.

CHUNG Yiu-Kwong said, “since the 20th century, music composition technology has made greater progress due to computers.” The traditional way of composing music is that the composer plays on the piano and then writes down the music with a pen. In case the melody is quite long, the composer must have a memory as good as Mozart to write it all down on the music score. In this way, it takes six months to one year to compose a piece of music. However, the computer can record the played notes immediately, thus leaving the composer with the first moment of inspiration.

quite complicated, I will use three more PCs.” CHUNG cheerful

computers can create all kinds of prototypes of music in a short time, while traditional composers may take months to do so. With the aid of a computer, CHUNG can integrate his unique thinking into the prototype and create beautiful melody within a day or two, which greatly subverts the traditional way of thinking and the operation process of composing music.

AI Genesis has eight movements, including symmetrical forms of China & Taiwan, Africa & India, Gregorian Chant & Bach, Romania & Arabia. On the application of materials and computer technology, the music adopts the Morphing of Beijing opera, the Polyrhythm of Afro-Beat, the Delay or Motive Development of songs, and the Harmonization of aboriginal and north-south wind

“Normally, I use a MAC PRO to create music. If the calculation is expression is just like a child struggling to pass the video games.

Regarding whether he would like to see how AI analyzed his music works, he replied with a smile, “I think it’s better not to do this!

Composers always try to seek change and innovation. If the computer works out a fixed creation pattern of Chung Yiu-Kwong, I will be a little sad about that!” In a word, AI is really something that people love and hate!

21

這些人這一刻

The Moment

䕞⯒ 溸㞂鷪Я ⷂ䫌曖倁㏔╚㏔垠㏬ The 88.3 Miracle – The Chinese Orchestra of Nantou Shuang Wen Junior High School 文 Writer

黃微芬 照片提供 HUANG Wei-Fen Photo

王政忠 WANG Zheng-Zhong

д‫ݑ‬ԸᎩ߆‫̼͛ع‬Ԋႊᘹះႊ΍

‫ݑ‬ԸᎩϲஜ઼͛̚âٙഅགྷߏ61ѐ՟ѣࢰሄҁर۞ઐฏ̈७ĂጯϠࣇ̙അррг˯࿅ࢰሄኝĂ˵՟̦ᆃሄந ૄᖂĂҭдሤҕିरͳ߆‫۞م‬ଯજ˭Ăஜ઼̙͛̚Ϊѣ˞ࢰሄኝĂᔘ௡˞઼ሄဥâ路ଂ࿬ฟؕĂ‫ܑ΃ֽޢז‬ ‫ݑ‬ԸᎩ֎ుБ઼ጯϠࢰሄͧᔈĂϹ΍99/4۞‫ீܪ‬јᒻĂጯϠࣇϡҖજᙋ‫˞ځ‬ҋ̎Ă˵ᆷ˭˞Ķஜ̚ķ˘࣎ Ķ࠹‫̄ޅܫ‬ķ۞؈ᖹĄ Ķᄂ៉д3129ѐQJTBĞ઼ᅫጯϠਕ˧ෞณࢍ൪ğ۞ય‫ס‬አߤ̚ĂБ͵ࠧ౵च怕εୀ۞ጯϠಶߏᄂ៉۞ጯϠĂ31

SILK R AD

ѐ݈ԧಶ‫ځ‬ព၅ᛇ‫ז‬Ąķᄲ఺ή話۞ˠߏͳ߆‫م‬ĂБ઼઱˘ᒔ଀TvqfsିरăQpxfsିर‫׶‬रᜢረˬ̂অၷ۞଀ ͹ĂᔘЯ΍‫ۍ‬ĮҁरĂҰ會̙會аֽį˘३Ăᚶ而జԼ‫ٮ‬ј࿪ᇆĂឰ΁ᖙᖼઐฏିֈ۞߇ְՀΐᇃࠎˠۢĂј ࠎᄂ៉ିֈࠧ੼ۢЩ‫۞ޘ‬ሤ‫ܝ‬ˠ‫ۏ‬Ą

22

༊ѐ΁д:32гዩ࿅‫ޢ‬ĂЯࠎጯϠ˘ήĶҁरĂҰ會

΁ᄲĂ‫ݑ‬Ը઼̚ߏ˘ٙ‫˼׌‬ˠ۞ጯ७Ă઼ሄဥ˫ߏତ

̙會аֽĉķĂፁજ˞΁ࣧώΪຐ༊࣎Ķ࿅‫މ‬ķ۞‫ه‬

ќ઼઼̈ሄ঱۞லຽϠĂ而Ķஜ̚ķΪѣѺֽˠĂ֤

ᐝĂᏴፄд༊Ԇһ‫̪ޢ‬൒а‫ז‬၁௫ॡ۞Ķஜ̚ķĂฟ

˘ಞ۞౼ӀĂឰጯϠࣇ࠹‫ܫ‬Ă΁ࣇΞͽ౹ౄ؈ᖹĊ

ؕ˘ాҚ۞ԓ୕̍඀Ăјϲ઼ሄဥ‫ߏܮ‬ඉர̝˘Ą ‫׎‬၁ஜ઼̚ሄဥѝԯΝͧᔈ༊јߏΝ‫ݱ‬ξЫͱଵ۞ࢠ ΁̙Ꮥ֏Ă31ѐ݈Ķஜ̚ķጯડ۞઼̈லຽϠĂѣ˘

遊Ăӈ‫ܮ‬ᔘߏௐ˟ЩĂ̂夥‫׊‬ᔘߏЫ଀‫ޝ‬ฟ͕ćπॡ

Η會ᖼ‫ז‬γࢬ۞‫ݱ‬ξጯ७ΝળĂ঻˭ֽ۞ጯϠĂ‫ٸ‬ጯ

ሄဥੵ˞Տѐ‫׌‬Ѩ७̰ăՏ‫׌‬ѐ˘Ѩ۞७γ൴ܑγĂ

ࡦ३Β۞ॡ࣏Ă會‫ג‬ຍԯ७Щ‫ࡦ̰ـ‬д裡ࢬĂ̙ᙸຍ

˵會གྷ૱ણᄃг͞߿જĂ̶ֳሄဥ۞ጯ௫ј‫ڍ‬Ă3127

ԯ७Щᜨ΍ֽĂጯϠࣇ၆ጯ௫՟ѣજ機ă՟ѣјಶ

ѐ‫ࠤܐ‬Ҍѣ機會ᄃᄂΔξϲ઼ሄဥТέâ๴‫׊‬д‫ݑ‬

ຏă৿ͻҋ‫͕ܫ‬Ăҋ൒˵՟̦ᆃјΑ۞གྷរĄ

ԸᎩ߆‫̼͛ع‬Ԋႊᘹះႊ΍ĂጯϠࣇՀሄ˞Ą

ࠎԼච఺჌ଐ‫ڶ‬Ăͳ߆‫م‬Ш७‫ܜ‬೩ᛉјϲකѻሄဥĂ

д̫ѐ3͡۞˘Ѩछ‫ܜ‬ᄲ‫ځ‬會̚Ăѣछ‫ܜ‬Шͳ߆‫م‬χ

ያ඾෴ֽ۞˘Բ˟͘ሄጡĂଂ˘ฟؕΪ會൴΍Ķ୭ᗗ

᝘ሄဥҁर۞‫ؖ‬ЩĂࠎ۞ߏឰᔘд᝝̈ጯ‫̄ޅ‬೩ѝΝ

୭ᐲķ‫׶‬Ķᏼ͢ᐝķ۞ᓏࢰĂ慢慢гĂਕ‫ݶ‬΍˞୊

ጯ઼ሄĂͽ‫ܮ‬૟ֽ順Ӏ‫଀פ‬ซˢஜ઼̚ሄဥ۞資ॾĂ

ăᓝᏱј‫ڍ‬൴ܑ會ăણΐᎩᔈ‫׶‬Б઼ᔈâ路ౖ඾ ‫ޠ‬ ሄဥ‫΁۞̂ܜ‬Ă࣎̚ϟࡴ౵ߏᕇ滴д͕ᐝĄ

఺၆ͽ݈۞Ķஜ̚ķֽᄲĂᖎۡߏ̙Ξ‫ޥ‬ᛉ۞͇͞؆ ᙌĂҭனдĶஜ̚ķઇ‫˞ז‬ćͳ߆‫م‬ᄃጯϠࣇĶ౹ౄ ؈ᖹķ۞߇ְĂд̼͌̄۞னдĂᄲ੓ֽՀညߏᄂ៉

അགྷĂሄဥЯࠎ;̙΍޽ጱҁर۞ᛗᕇ෱而జ࢝̚

ઐฏିֈ۞˘‫݋‬傳؈Ą

ᕝĂ˵അགྷЯࠎБ઼ᔈ΍槌Ă౹˭ᄂ៉ࢰሄͧᔈБ઼ ᔈ౵Ҳ̶۞੃ᐂĂጯϠࣇ˘路ଂ雲‫ࣵڒ‬а‫ݑ‬Ըćҭ΁

னдͳ߆‫˫م‬ฟؕүĶေķ˞Ă‫׶‬࿅Ν̙Т۞ߏĂன

˵̙會Ԟ੃Ă֤˘ѐሄဥຍγгᑝୀ˞‫ݑ‬Ը઼̚Ăᒔ

д఺࣎Ķԧѣ˘࣎ေķ運જĂѣ˞ିֈొ۞๸೯Ăᄂ

଀БᎩ݄࢕۞ঐि傳аጯ७‫ޢ‬ĂБ७रϠ኏˞΍ֽĂ

៉۞ઐฏିֈĂឰˠ࠻଀֍ԓ୕۞ϏֽĄ

‫ٱ‬д˘੓ᝌ‫ײ‬Ă֤જˠ۞ಞഀĂҌ̫̪ឰͳ߆‫م‬જ टĂχଂ͕裡វᄮ‫ז‬Ă઼ሄĂ̏གྷјࠎ఺ٙጯ७ҁर 跟ጯϠ۞˘࣎ВТ᝭ๆĄ

ࢰሄ會னಞ

23

這些人這一刻

The Moment

˯Ɲͳ߆‫م‬ҁर

24

SILK R AD

˭ƝጯϠቚ௫

Nantou Shuang Wen Junior High School, a remote small-scale

Take a trip down memory lane, there were times when the

school where for 50 years there had never been a music teacher,

orchestra was halted due to lack of budget for the teacher; when

its students have never had any music lesson nor music grammar

the orchestra made a mistake during a national competition and

basics, One day under the watch of Teacher WANG

was given the lowest score ever. Devastated by the result, the

Zheng-Zhong , began the school started its own music class, and

kids cried all the way home from Yunlin to Nantou; however he

even organized a Chinese Orchestra. Started from scratch, the

will always remember that year when the orchestra by chance

orchestra went all the way to the national student music competi-

defeated Nantou Junior High and took home the county champi-

tion representing Nantou County, won a high mark of 88.3,

on title. Upon hearing the good news, the whole school rushed

ώ‫ب‬ᄂ

proved themselves worthy of it, and have the school recorded a

out and hugged together, screaming and cheering for the champi-

ሄ΃ܑ

marvelous miracle by “having faith in our children”.

on team. to today, Wang is still overwhelmed by the scene,

Ğᔹ઼

realizing that classical Chinese music has become the mutual

ᄃᄂ៉

pride of the school’s teachers and its students.

ົĂঈ

WANG once mentioned “as per the results from the questionnaire of 2018 PISA (the Program for International Student

3131 ઼ࢲ

ಞѨĈ

Assessment), the students most afraid of failure in the world are

Nantou Junior High is a school of 2000 students receiving its

students in Taiwan, I noticed it twenty years ago”. The only

Chinese orchestra members directly from the orchestra in prima-

Taiwanese teacher crowned with titles of Super Teacher, Power

ry schools, while Shuang Wen was just a school of hundreds of

Teacher and National Excellent Teacher Award, has just another

children, the victory led them to believe that they too can create

ைᆊĈ

title as writer. His first book Turn Around was later cinematized.

miracles.

How he transformed and uplifted the education circumstance in remote area is now widespread, and the teacher became the most

The Orchestra has long seen going away for competition as a

talked about topic in Taiwan’s education circle.

field trip where they enjoy eating steak and touring the city. They appreciate good food even if they get a second place in the

After the 921 Earthquake, when asked “Will you come back,

contest; in addition to the school presentations every 6 months

Teacher?”, WANG began to reconsider about his original “just a

and inter-school presentations every other year, the orchestra

passing by teacher” plan. After military service, he returned to

performs also at local events to share their learning results. In the

Shuang Wen, where he taught as an intern, and kick started a

beginning of 2016, the group had a rare opportunity to bring

series of project, including putting together a Chinese Orchestra,

themselves to the stage of the Performance Hall of Culture

as one of his many strategies.

Bureau of Nantou County and performed with Taipei Chinese Orchestra, a truly memorable day for all.

20 years ago, half of local students who finished 6th grade within SW junior high’s school district would instead go to secondary

This February on a Parent’s Day, one parent asked WANG for

schools in other cities, while for the remainder going to SW, they

the name of the teacher of orchestra, so that the child could learn

would carry school bags so that the name of the school was faced

Chinese music in advance to better qualify themselves for the

inward. When the students were not motivated to study, not

orchestra in the future. Such an unlikely thing

driven by the sense of achievement, they lacked confidence in

become “Possible”; under the impact of Low Birth Rate, Wang

themselves, and hence learned with very little successful experi-

and these students’ story of “creating a miracle” is like a legend

ences.

for education in remote areas in Taiwan.

To make things better, Wang proposed a music chinese chamber

Today, WANG has another dream. Different from the previous

orchestra project to the school principal. They planned and

one, this “I have a dream” movement is backed up by Ministry of

purchased some second hand instruments to begin with. From

Education, giving education in Taiwan remote area a promising

“squeaky, scratchy” noise, little by little, the children began to

future.

has now

piece the melody together and show their achievement and results, show their results in county and national competition.

Wang was there all the way from the start, observed everything.

25

гᕇĈ

國樂饗宴

Music Feast

5$0蕇ⵍ䉗皒㏔垠㏬ Taipei Chinese Orchestra

3131ᄂΔξ傳௚ᘹఙ‫؞‬ę ઼ࢲęཧᓐ ' UDP

2020 Taipei Traditional Art Festival－ National Spirit - YEH Tsung & TCO

კ

ࢰሄ會ͽಱѣϔ୉পҒ۞Į઼ࢲįٛฟԔ၌Ăͳ̜ࡓ

ࠠ

३ᆷ‫ڌ‬Δโ˿гϠ‫׻‬៙ႇ۞Į‫ܦ‬৲૳įăᙌ࠼۞གྷ‫ ׏‬

Ă

̝үĮҘΔ௡ѡįă২͛൥۞▢Ӟ‫ݶם‬ѡĮಓᆂįĂ

प

ࠎሄਜ਼‫ג‬ထ઼̚Чгࢲଐᄃˠ͛ଐᘃĄ

The concert will begin with National Spirit, full of national character, followed by WANG Dan-Hong’s Like Green Bed Curtains that sings the praises of the black soil of northeast China, TAN Dun’s classic The Northwestern Suite and QIN Wenchen’s Calling for Phoenix Suona Concerto, portraying the customs and conditions and culture of different parts of China.

ώಞࢰሄ會পҾ؎੉үѡछѯኲ։ࠎUDP௏̄ࢵयᏥ ธณ֗౹үາѡĂ֭ϤUDP▢Ӟࢵय‫̄ڒ‬Ϥ૲ֽჟ ૾‫ݶם‬ѡϫĂឰሄਜ਼ࣇᅳரજˠᚵ৾۞઼ሄࢲଐĄ ಞѨĈ4032)̱*2:;41 гᕇĈᄂΔξ̋̚ૅ̚ϒះ)ᄂΔξ‫ؼ‬π‫ݑ‬路:9號* ைᆊĈ%411 611 911 2111)‫׌‬ះੰ઴ைր௚*

For this concert, composer Simon KONG Su-Leong has been commissioned to compose a new tune for TCO’s principal flutist LAI Yi-Chun, and principal suonaist LIN Zi-You will bring splendid concertos, showing music fans all the charm of Chinese music.

Time: 7:30 P.M. on April 21 (Saturday) Place: Zhongzheng Chamber, Zhongshan Hall, Taipei City (No. 98 South Yanping Road, Taipei) Fares: NT$ 300 500 800 1000 (The NTCH Ticketing System)

3131ᄂΔξ傳௚ᘹఙ‫؞‬ę BJ౹͵ࡔęᔨᚹЍ ' ཀྵᜋؐ ֳ᜖઼ᅫ۞ۢЩᑝሄႊ‫ݶ‬छֶ‫܀‬൞ąཀྵᜋؐГ‫צޘ‬ᔛ ֽᄂĂᓑੀүѡछᔨᚹЍᄃUDP˘੓Ăࠎଋ૲ֽ耳ϫ ˘າ۞ү‫ݡ‬Ą ፉЇώಞࢰሄ會޽೭۞ᔨᚹЍĂপҾඕЪ࿪ཝ඀ёĂ ࠎࢰሄ會౹ү‫ܜ‬྿41̶ᛗ۞ĮBJ౹͵ࡔįĂ‫غז‬會т ңणனĉࣃ଀ഇ‫ޞ‬Ą ಞѨĈ502:)͟*25;41 гᕇĈᄂΔξ̋̚ૅ̚ϒះ)ᄂΔξ‫ؼ‬π‫ݑ‬路:9號* ைᆊĈ%411 611 911 2111)‫׌‬ះੰ઴ைր௚*

SILK R AD

26

2020Taipei Traditional Art Festival－ AI Genesis - CHUNG Yiu-Kwong & Evelyn GLENNIE Internationally renowned percussionist Evelyn Glennie has once again been invited and will partner composer CHUNG Yiu-Kwong and the TCO to perform new works.

Conductor of this concert CHUNG Yiu-Kwong has utilized computer programs to create the 30-minute long AI Genesis specially for the concert. Just how will it be displayed? Let’s all wait and see.

Time: 2:30 P.M. on April 19 (Sunday) Place: Zhongzheng Chamber, Zhongshan Hall, Taipei City (No. 98 South Yanping Road, Taipei) Fares: NT$ 300 500 800 1000 (The NTCH Ticketing System)

/$0蕇挗㏔垠㏬

National Chinese Orchestra Taiwan

Į3131ᄂ̼͛͟Ϲ߹Ǖሮᒘᄂ៉JǕ ᄂ៉ࢰሄ͵ࡔᖳරįࢰሄ會 ώಞࢰሄ會૟ͽ઼ሄඕЪᄂ៉ࢦࢋ۞傳௚ܑႊᘹఙ͛ ̼資யĂּтĈࣧҝϔࢰሄăႇͿᑚă‫މ‬छࢰሄඈĂ Ӕன၈າ۞傳ᘹࢲᄻĂ3131ѐ6͡࿰ࢍᅈ࢒Ķ‫ ౌִڌ‬ Չ֭ડՉ̳֭會ૅࢰሄះķႊ΍Ă૟ᄂ៉傳ᘹ̝࡚ଯ णҌ઼ᅫĄ ಞѨĈ4028)͟*2:;41 гᕇĈᄂ៉ᑚѡܑ͕̂̚ႊះ )ᄂΔξ̀‫ڒ‬ડ ͛‫ڒ‬路862號*

2020 Taiwan-Japan Cultural Exchange : Bright Taiwan－ Taiwanese Music Through the Ages This concert will combine Chinese music with Taiwan ’s important traditional performing arts and cultural assets, such as aboriginal music, Chinese opera, Hakka music, etc., and present a new style of art transfer. promoteing the beauty of Taiwan's art transfer internationally.

Time: 7:30 P.M. on March 17 (Sunday) Place: Taiwan Traditional Theatre Center Main Theater (751 Wen-lin Road, Shilin District , Taipei City) Fares: NT$ 100 (The NTCH Ticketing System)

ைᆊĈ%211 )‫׌‬ះੰ઴ைր௚*

3131ᄂ៉ᑚѡᘹఙ༼Ĉ ĮቿᘎෝԘˠมᑚ∼ᑚѡ઼ሄᆐಞį

2020 Taiwan Traditional Theatre Festival－ Chinese Opera Theatre

ѩႊ΍̰टΞͽӔனགྷ‫׏‬ᆐүăᑚѡЩ֎ăᆐಞԫఙ

This performance content can present a comprehensive and exquisite performance of classic dramas, famous opera actors, and theater technology. It is hoped that it will excite the intrinsic characteristics of the creator's life, and then stimulate the deep resonance and emotion that touch the audience. At the same time, I also hope that through the multiple carriers that keep pace with the times, the traditional performing arts can be presented to different audiences through different presentations.

۞ტЪჟቜणႊĂഇ୕ਕ፬ᒜ΍౹ү۰Ϡ‫̰۞׻‬ᛃপ ኳĂซ而፬൴ᛈજ៍ி̰͕எᆸ۞ВᆀᄃຏજĄТॡ ˵ഇ୕౅࿅ᄃॡ࣌ซ۞к̮載វĂ૟傳௚۞ܑႊᘹఙ Ăਕ౅࿅̙Т۞ӔனĂឰՀк៍ிಈຑĄ ಞѨĈ4038)͟*2:;41 гᕇĈᄂ៉ᑚѡܑ͕̂̚ႊះ )ᄂΔξ̀‫ڒ‬ડ͛‫ڒ‬路862號* ைᆊĈ%411 611 911 2-111 3-111)‫׌‬ះੰ઴ைր௚*

Time: 7:30 P.M. on March 27 (Sunday) Place: Taiwan Traditional Theatre Center Main Theater (751 Wen-lin Road, Shilin District , Taipei City) Fares: NT$ 500 800 1,000 2,000 (The NTCH Ticketing System)

27

國樂饗宴

Music Feast

,$0둛겋䉗㏔垠㏬ Kaohsiung Chinese Orchestra

Įᚗफຩৠ੃įᏐ̄ࢰሄᘱ ൪ᄲᄂ៉ிৠ‫ځ‬ჟ૾дгࢰሄ߇ְ

《Taiwan Island Se ar c h f or G o ds 》 parent-child music painting

Įᚗफຩৠ੃įᏐ̄ࢰሄᘱĂഇధᖣϤѩѨ۞ႊ΍͔

It is hoped that this performance will guide more children to come into contact the Chinese music to achieve the educational purpose of the promotion of Chinese music, and to help everyone find the connection of life and faith in an easy and diverse way, and to know the land where they grew up The story of Taiwan ’s gods and legends is like nutrients that irrigate this land. Only with a true understanding can we find recognition.

ጱՀк̈‫̓ڈ‬ତᛈ઼ሄͽ྿‫઼ז‬ሄଯᇃ̝ିֈϫ۞Ă

֭ਕᖣϤᅅᗫк̮۞͞ёᑒ̂छԱаϠ߿‫ܫ׶‬Ј۞ా

ඕĂᄮᙊдҋ̎Ϡ‫˿ͯ఺۞ܜ‬г˯൴Ϡ۞߇ְĂέ៉

ৠ‫׶ځ‬傳ᄲಶညߏ᛿൅఺ͯ˿г۞ዳ̶ਠĂ઱ѣৌ۞

நྋ̖ਕԱаᄮТĄ

ಞѨĈ5029)̱*22;11026;41

гᕇĈ̂‫̼͛ڌ‬ᘹఙ͕̚

)੼ฯξᆂ̋ડЍᅈ路272號*

ைᆊĈ%411 611 811 :11)‫׌‬ះੰ઴ைր௚*

SILK R AD

28

Time: 11:00 A.M. / 3:30 P.M. on April 8 (Saturday) Place: Kaohsiung City Da Dong Art Center (No.161, Guang Yuan Rd.,FengShan District , Kaohsiung City) Fares: NT$ 300 500 700 900 (The NTCH Ticketing System)

出版品 TCO

5$0⮃曭⿣

Published by TCO

Published by TCO

ᄂ៉ႇᆐĮԧ۞๽๽ͣॺૈį

Taiwanese opera：My Mother is a Genius

UDPࣧ౹ႇᆐБາᄦүĂࢦன౵෭͕۞߇ฏаጸĂᔘ

This opera is originally created by TCO, which reproduces the most intimate attachment and memory to the hometown, and shows the elegant beauty of a “gifted” mother of the whole world through a warm plot.

Б͇˭Ķͣॺૈķ۞๽๽˘࣎໢暖۞̳྽Ą

Į‫܅‬ϥշ‫ޅ‬įүछ໅ಱฝஎଐࣧ඾ĂΔξ઼跨ࠧᄦү

ᄂ៉າႇᆐĂϡႇăϡᑚăϡઊăϡࢰሄĂႇෝ౵ೌ

ಈϹᖐ۞ࣖநᏐଐĂᘃຐ౵ࣵ৯̙଀۞ј‫ܜ‬аጸĄ

д‫ݱ‬ฏम෼ᄃˠࣖᙯܼ۞តજมĂ঻˭౵எ‫ ̼͛۞ג‬ ࢲഀĄტᘹ‫࡚܅‬շመޫ​ޫăႇͿᑚЩ֎ӕౠᆂৌଐᛸ

͘࿝ᚥĂΐ˯൑፾ѣઊᆐဥጽ‫۞ܜ‬魔͑ࢲॾୃְ࡚

ጯâТಓᏹஎᖟд͕‫۞غ‬ౘѐຏજĄ

΍‫ۍ‬機ᙯĈᄂΔξϲ઼ሄဥ

΍‫͟ۍ‬ഇĈ312:ѐ23͡

ȓȝȌȘĈ58238688214:8 ‫ؠ‬ᆊĈ911̮

This opera is adapted from the original work of well-known writer Yang Fumin (who has also written the A Boy Named Flora A) and made into a new opera by Taipei Chinese Orchestra. By means of songs, dramas, puppets and music, this opera extols the affection between family members mixed with joys and sorrows, and recalls the most painful memories of growth.

Against the background of the gap between urban and rural areas and the ever-changing human relationships, the opera presents the most profound cultural landscape. The opera is starring by Peng Qiaqia, a charming actor in variety show, and Lu Xuefeng, a famous actress of Taiwanese opera. In addition, the TCO is good at narrative aesthetics of magic style. Together, they have awakened the innermost feelings of many years.

Publishing Agency/Taipei Chinese Orchestra Publication Date/December 2019 ISBN/4712757710397 Price/NT$ 800

ൡൢă֩‫ݚ‬ү‫ݡ‬ჟᏴ

Selected Works of Pipa and Ruanxian

219ѐ‫ޘ‬΍‫ۍ‬ሄᙉ͹ࢋᏴ‫פ‬ᄂ៉үѡछ౹ү̝ൡൢă

The music score, published in 2019, is mainly selected from the Pipa and Ruanxian works created by Taiwanese composers, with solo scores as the main content. It covers 59 original or adapted works by 38 Taiwanese composers, and is rich in content and worth collecting.

֩‫ݚ‬ү‫ݡ‬Ă̰टͽ፾‫ݶ‬ᙉࠎ͹ĂᘲЕᄂ៉49Ҝүѡछ

В6:ࢵ౹ү或Լበү‫ݡ‬Ă̰टк̮ᖳಱĂࣃ଀ଋќᖟĄ

ώ΍‫ۍ‬ሄᙉॾёࠎ࿪̄‫)ۍ‬qegᑫ*Ă֭ཉˢ‫ٺ‬VTCᐼх

Ⴤ)9Hटณ*Ăᝌ‫ܓ‬ຑሄ۰Ꮸ᜙ࠀᔉĄ

΍‫ۍ‬機ᙯĈᄂΔξϲ઼ሄဥ

΍‫͟ۍ‬ഇĈ312:ѐ23͡ ‫ؠ‬ᆊĈ911̮

The music score is in electronic edition (PDF format) and stored on USB (8G). Music lovers are welcome to purchase it.

Publishing Agency/Taipei Chinese Orchestra Publication Date/December 2019 Price/NT$ 800

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傳統藝術季系列活動

䌑蕇ⵍ䉗⥝簣跖銋㳍笢⮬嵛ⳛ 2020 T

Traditional Arts Festival

ีϫ Item

͟ഇ Time

߿જгᕇ Place

1

03/08)͟*14:30

ᄂΔξ̋̚ૅ̚ϒះ Zhongzheng Auditorium, Taipei Zhongshan Hall

2

03/14)̱*19:30

ᄂΔξ̋̚ૅ̚ϒះ Zhongzheng Auditorium, Taipei Zhongshan Hall

3

03/21)̱*19:30

ᄂΔξ̋̚ૅ̚ϒះ Zhongzheng Auditorium, Taipei Zhongshan Hall

4

03/28-29)̱.͟*09:00、13:30

ᄂΔξ̋̚ૅЍೇះ Guangfu Auditorium, Taipei Zhongshan Hall

5

03/30)˘*09:00、13:30

ᄂΔξ̋̚ૅЍೇះ Guangfu Auditorium, Taipei Zhongshan Hall

6

04/01)ˬ*19:00

ᄂΔξ̋̚ૅ̚ϒះ Zhongzheng Auditorium, Taipei Zhongshan Hall

7

04/11)̱*19:30

઼छࢰሄះ National Concert Hall

8

04/12)͟*14:30

ᄂΔξ̋̚ૅ̚ϒះ Zhongzheng Auditorium, Taipei Zhongshan Hall

9

04/18)̱*19:30

ᄂΔξ̋̚ૅЍೇះ Guangfu Auditorium, Taipei Zhongshan Hall

10

04/19)͟*14:30

ᄂΔξ̋̚ૅ̚ϒះ Zhongzheng Auditorium, Taipei Zhongshan Hall

11

05/01)̣*19:30

ᄂΔξ̋̚ૅЍೇះ Guangfu Auditorium, Taipei Zhongshan Hall

12

05/02)̱*19:30

ᄂΔξ̋̚ૅ̚ϒះ Zhongzheng Auditorium, Taipei Zhongshan Hall

13

05/03)͟*14:30

ᄂΔξ̋̚ૅЍೇះ Guangfu Auditorium, Taipei Zhongshan Hall

14

05/08)̣*19:30

ᄂΔξ̋̚ૅЍೇះ Guangfu Auditorium, Taipei Zhongshan Hall

15

05/09)̱*19:30

ᄂΔξ̋̚ૅЍೇះ Guangfu Auditorium, Taipei Zhongshan Hall

16

05/16)̱*19:30、5/17)͟*14:30

઼छࢰሄះ National Concert Hall

17

05/21)α*19:30

኎‫ڠ‬ᒉ઼छᘹఙ̼͕͛̚ࢰሄះ Concert Hall,National Kaohsiung Cen

18

05/23)̱*19:00

ᄂΔξ̋̚ૅᇃಞ Plaza, Taipei Zhongshan Hall

19

05/23)̱*19:30

኎‫ڠ‬ᒉ઼छᘹఙ̼͕͛̚ᑚᆐੰ Playhouse,National Kaohsiung Center

20

05/23)̱*19:30

ᄂΔξ̋̚ૅ̚ϒះ Zhongzheng Auditorium, Taipei Zhongshan Hall

21

05/24)͟*14:30

ᄂΔξ̋̚ૅЍೇះ Guangfu Auditorium, Taipei Zhongshan Hall

22

05/24)͟*19:00

ᄂΔξ̋̚ૅᇃಞ Plaza, Taipei Zhongshan Hall

23

05/30)̱*19:30

ᄂ઼̚छႇᆐੰ National Taichung Theater

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30

06/12)̣*19:30、06/13)̱*14:30、19:30 06/14)͟*14:30

ᄂΔξ̋̚ૅ̚ϒះ Zhongzheng Auditorium, Taipei Zhongshan Hall

ͽ˯༼

Taipei Traditional Arts Festival

nter for the Arts(Weiwuying)

r for the Arts(Weiwuying)

༼ϫЩჍ Programme 3131 ᄂΔξ傳௚ᘹఙ‫؞‬ฟ၌ࢰሄ會ę‫ֲڌ‬კप

2020 Taipei Traditional Arts Festival Opening Concert Summit of East Asian Zithers

ϟ榜ᄃ‫ݱ‬ξ Kampung and The City ઼ࢲęཧᓐ'UDP National Spirit - YEH Tsung & TCO 3131ᄂΔ઼ᅫ޽೭̂ᔈ‫ܐ‬ᔈ 2020 Taipei International Conducting Competition 3131ᄂΔ઼ᅫ޽೭̂ᔈኑᔈ 3131ᄂΔ઼ᅫ޽೭̂ᔈՙᔈࢰሄ會 ఄ‫׹‬ေę‫ܖ‬ा'ͳઉ Zhuang Zhou’s Dream - SHAO En & WANG Jian ̙జ᏷Ԟ۞߇ְĈ͇Ѝ Illuminated ൑઼ᑝęᙯ‫઼ٺ‬ሄᄃ͵ࠧᑝሄ Shaking Thoroughly:Chinese Music and Percussion around the World BJ౹͵ࡔęᔨᚹЍ'ॾᜋؐ AI Genesis - CHUNG Yiu-Kwong & Evelyn GLENNIE གሄะඕ號 Cantonese Music Assembly ௉‫ͫ•ۥ‬ԯ•ধ੧ęૺцщ'ӓᛴ Worshipping, Torches, Liquor - CHANG Yu-An& WU Wei ҲࢰᒑᜩęषฮӖҲࢰ೩ൣ፾‫ݶ‬會 Jazz up the Strings - HSU Ya-Chun Double Bass Concert ᑝ෸ęᔁଂᛟχᑝ፾‫ݶ‬會 Beyond Percussion - HSIEH Tsung-Hsin Percussion Recital ߹જの۩ঈę‫ڒ‬ाჰәგ፾‫ݶ‬會 Air That Flows - LIN En-Hsu Blowpipe Recital ࠧ, ę KQH ' UDP [Boundary +] ę JPG & TCO 跨෸ę3131 UDP֟ਫ਼ࢰሄ會 Crossover - 2020 TCO Tour Concert Ibllb̂ᑚ ॡֽ運ᖼ Hakka Theater Payback ࠧ, ę KQH ' UDP [Boundary +] ę JPG & TCO ᄲ३ˠࢰሄᆐಞęࢲර̂ቌṽ Storyteller Cinema - Narration for Dadaocheng ΔგąႇͿᑚ۞၆話ę͇̋ஊ Peikuan Opera Weeping at Mount of Heaven ‫۞ݱع‬飯ॸͿ Remembered Food in Tainan ࠧ, ę KQH ' UDP [Boundary +] ę JPG & TCO UDP ᆐੰęࢰሄᆐĮ༊‫ܛ‬ቷјሢॡįTCO Theater - Musical: When the Lotus Blooms

༼ϫ̰टтѣளજĂະኛͽUDP‫ء‬შ̳Әࠎ໤Ą If there is any change in the above program content, please refer to the TCO official website announcement

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SILK R AD

㏔垠偈簥鴤

Chinese Music In the New Silk Road