武修平 《漂。流》ADRIFT
演出日期｜2024/09/22（日）
演出時間｜13:30、14:30、15:30 三場次，每場約30分鐘
演出地點｜文化部文化資產局藝文展覽館A（免費入場）
節目簡介｜
樂高對許多人來說或許是隨處可見的普通玩具，但如果你在沙灘上發現整片樂高呢？1997年，一艘從鹿特丹前往紐約的貨輪因巨浪沉沒，船上的樂高玩具隨波逐流，近年來在英國康瓦爾郡的海灘上被發現。Tracey Williams在她的著作《Adrift - The Curious Tale of the LEGO Lost at Sea》中，記錄了這些樂高對當地尋寶活動的影響以及對海洋和環境造成的污染。
受到這一主題啟發，作曲家武修平計劃將他的音樂作品帶到港口、工廠遺址或廢墟等場所演出，以增強觀眾的沉浸感。作品將分為6個樂章，每個樂章象徵著遺失的樂高的一部分，觀眾可以通過這些音樂片段進行探索。展演將根據場地特性配合燈光和多媒體效果。
影像由《Adrift》作家Tracey Williams獨家授權，並由新星韓國導演Induk Lee製作多媒體影片。修平非常高興今年能與時間藝術工作室合作，將這個特別的故事帶給台中的觀眾，敬請期待這場由音樂、影像、海洋以及很多很多樂高組成的感官體驗。
LEGO might seem like an ordinary toy found everywhere, but imagine discovering an entire beach covered in LEGO pieces. In 1997, a container ship named the Tokio Express was struck by a rogue wave while en route from Rotterdam to New York City. The ship lost several large containers, including one filled with 4.8 million LEGO pieces. After 25 years at sea, these LEGO pieces, including dragons, octopuses, flippers, and flowers, have been washing up on beaches in Cornwall, England, following storms. Tracey Williams documents the impact of these LEGO pieces on local treasure hunts and the environmental pollution they have caused in her book Adrift - The Curious Tale of the LEGO Lost at Sea. Inspired by this story, composer Hsiu-Ping Patrick Wu plans to present ADRIFT at unique locations such as ports, factories, or abandoned sites to enhance the immersive experience for the audience. The work will be divided into six movements, each representing a part of the lost LEGO pieces, allowing the audience to explore through these musical segments. The performance will be accompanied by lighting and multimedia effects tailored to the venue.
演出人員｜
長 笛｜吳正宇
單簧管｜王冠傑
小提琴｜張庭碩
大提琴｜周尚樺
笙 ｜張婉俞
古 箏｜郭靖沐
打 擊｜翁明榆
電 聲｜區志恒
作曲家簡介｜
武修平出生於台灣彰化，是一位屢獲殊榮的旅美作曲家、小提琴家及多媒體藝術家，致力於探索多元文化的音樂語言。他的創作風格多元，涵蓋新浪漫主義、前衛音樂，並融入台灣音樂與極簡主義元素。武修平曾與多倫多交響樂團、半線室內樂、Hypercube Ensemble等音樂團體合作，他的作品在台灣、義大利、法國、克羅埃西亞、加拿大及美國的多個現代音樂節上首演，在小提琴演奏上也表現活躍。現於多倫多大學攻讀音樂藝術博士學位，師從Norbert Palej博士。修平擁有美國Longy音樂學院的作曲與小提琴演奏碩士學位及作曲研究生文憑，並獲得了加拿大戴爾豪斯大學的音樂學士學位。
Taiwanese-born Canadian Hsiu-Ping Patrick Wu is an award-winning composer, violinist, and multimedia artist, dedicated to blending his multicultural identity into his music. His compositions range from neo-romanticism to avant-garde, fusing theatrical elements, improvisation, minimalism, and Taiwanese traditions. Patrick has collaborated with renowned ensembles such as the Toronto Symphony Orchestra, Hypercube Ensemble, The Julius Quartet, Loadbang, Alkali Collective, Neave Trio, Gaia Quartet, nexbloom, and Changhua Chamber Music Society. His works have premiered at major festivals including highSCORE Composition Festival, Zodiac Music Festival, Uzmah Upbeat Composition Program, Atlantic Music Festival, Scotia Festival of Music, Tuckamore Chamber Music Festival, and the Mostly Modern Festival. He has studied with composers Jérôme Blais, Alexandra du Bois, Vivian Fung, Amy Beth Kirsten, David Ludwig, and Dinuk Wijeratne. As an active violinist, Patrick has performed in solo, chamber, and orchestral settings. He has studied violin with I-Ching Li, Philippe Djokic, and others, and served as concertmaster for the Evergreen Symphony Orchestra Summer Festival and Nova Scotia Youth Orchestra. Patrick is an Associate Composer of the Canadian Music Centre and a member of the Canadian League of Composers. He is currently pursuing a Doctor of Musical Arts at the University of Toronto under Dr. Norbert Palej and holds degrees from Longy School of Music and Dalhousie University.
樂高對許多人來說或許是隨處可見的普通玩具，但如果你在沙灘上發現整片樂高呢？1997年，一艘從鹿特丹前往紐約的貨輪因巨浪沉沒，船上的樂高玩具隨波逐流，近年來在英國康瓦爾郡的海灘上被發現。Tracey Williams在她的著作《Adrift - The Curious Tale of the LEGO Lost at Sea》中，記錄了這些樂高對當地尋寶活動的影響以及對海洋和環境造成的污染。
受到這一主題啟發，作曲家武修平計劃將他的音樂作品帶到港口、工廠遺址或廢墟等場所演出，以增強觀眾的沉浸感。作品將分為6個樂章，每個樂章象徵著遺失的樂高的一部分，觀眾可以通過這些音樂片段進行探索。展演將根據場地特性配合燈光和多媒體效果。
影像由《Adrift》作家Tracey Williams獨家授權，並由新星韓國導演Induk Lee製作多媒體影片。修平非常高興今年能與時間藝術工作室合作，將這個特別的故事帶給台中的觀眾，敬請期待這場由音樂、影像、海洋以及很多很多樂高組成的感官體驗。
LEGO might seem like an ordinary toy found everywhere, but imagine discovering an entire beach covered in LEGO pieces. In 1997, a container ship named the Tokio Express was struck by a rogue wave while en route from Rotterdam to New York City. The ship lost several large containers, including one filled with 4.8 million LEGO pieces. After 25 years at sea, these LEGO pieces, including dragons, octopuses, flippers, and flowers, have been washing up on beaches in Cornwall, England, following storms. Tracey Williams documents the impact of these LEGO pieces on local treasure hunts and the environmental pollution they have caused in her book Adrift - The Curious Tale of the LEGO Lost at Sea. Inspired by this story, composer Hsiu-Ping Patrick Wu plans to present ADRIFT at unique locations such as ports, factories, or abandoned sites to enhance the immersive experience for the audience. The work will be divided into six movements, each representing a part of the lost LEGO pieces, allowing the audience to explore through these musical segments. The performance will be accompanied by lighting and multimedia effects tailored to the venue.
演出人員｜
長 笛｜吳正宇
單簧管｜王冠傑
小提琴｜張庭碩
大提琴｜周尚樺
笙 ｜張婉俞
古 箏｜郭靖沐
打 擊｜翁明榆
電 聲｜區志恒
作曲家簡介｜
武修平出生於台灣彰化，是一位屢獲殊榮的旅美作曲家、小提琴家及多媒體藝術家，致力於探索多元文化的音樂語言。他的創作風格多元，涵蓋新浪漫主義、前衛音樂，並融入台灣音樂與極簡主義元素。武修平曾與多倫多交響樂團、半線室內樂、Hypercube Ensemble等音樂團體合作，他的作品在台灣、義大利、法國、克羅埃西亞、加拿大及美國的多個現代音樂節上首演，在小提琴演奏上也表現活躍。現於多倫多大學攻讀音樂藝術博士學位，師從Norbert Palej博士。修平擁有美國Longy音樂學院的作曲與小提琴演奏碩士學位及作曲研究生文憑，並獲得了加拿大戴爾豪斯大學的音樂學士學位。
Taiwanese-born Canadian Hsiu-Ping Patrick Wu is an award-winning composer, violinist, and multimedia artist, dedicated to blending his multicultural identity into his music. His compositions range from neo-romanticism to avant-garde, fusing theatrical elements, improvisation, minimalism, and Taiwanese traditions. Patrick has collaborated with renowned ensembles such as the Toronto Symphony Orchestra, Hypercube Ensemble, The Julius Quartet, Loadbang, Alkali Collective, Neave Trio, Gaia Quartet, nexbloom, and Changhua Chamber Music Society. His works have premiered at major festivals including highSCORE Composition Festival, Zodiac Music Festival, Uzmah Upbeat Composition Program, Atlantic Music Festival, Scotia Festival of Music, Tuckamore Chamber Music Festival, and the Mostly Modern Festival. He has studied with composers Jérôme Blais, Alexandra du Bois, Vivian Fung, Amy Beth Kirsten, David Ludwig, and Dinuk Wijeratne. As an active violinist, Patrick has performed in solo, chamber, and orchestral settings. He has studied violin with I-Ching Li, Philippe Djokic, and others, and served as concertmaster for the Evergreen Symphony Orchestra Summer Festival and Nova Scotia Youth Orchestra. Patrick is an Associate Composer of the Canadian Music Centre and a member of the Canadian League of Composers. He is currently pursuing a Doctor of Musical Arts at the University of Toronto under Dr. Norbert Palej and holds degrees from Longy School of Music and Dalhousie University.
區志恒作品《C₁₂H₂₂O₁₁》
演出日期｜2024/09/29（日）
演出時間｜14:00、14:30、15:00、15:30 四場次，每場約15分鐘
演出地點｜月眉觀光糖廠製糖工廠（免費入場）
節目簡介｜
C₁₂H₂₂O₁₁，是蔗糖的化學式。
糖業的發展在臺灣歷史中佔據相當重要的角色。自日治時期而起，糖業為臺灣第一波現代化的產業，糖業也帶來了臺灣鐵路發展的開始，糖廠機械深入大小鄉村，大規模生產的甘蔗園、現代化設施與新市鎮改變了農業社會的風貌。
本作品以月眉糖廠以及臺灣的糖業發展為引子，描繪台灣圍繞糖業而生的現代化記憶。月眉糖廠保留了許多日治時期的建築結構、房舍、日式建築、糖廠機組、機械、隧道，都具有其歷史價值與意義，而月眉糖廠亦擁有全國唯一的的囪底隧道，是連接鍋爐和煙囪的排煙道。在二次大戰期間，月眉糖廠因遭受到美軍的猛烈轟炸，工廠建物損毀嚴重，至今糖廠內的煙囪仍然可以看到彈孔的痕跡。
具有百年歷史的月眉糖廠，廠內的設備印證了臺灣的文化歷史，而本作品嘗試以聲音呈現糖廠與糖業橫跨百年時間軸的文化景貌，聚焦日本殖民統治台灣時期的製糖產業發展，以當代音樂的創作追溯台灣的文化歷史與現代化的記憶。
"C₁₂H₂₂O₁₁" is the chemical formula for sucrose, the purest form of sugar. The sugar industry has played a significant role in Taiwan's history. Beginning in the Japanese colonial era, the sugar industry was Taiwan's first wave of modern industrialisation. It also initiated the development of Taiwan's railroads. Mechanised sugar factories reached into towns and villages, with large-scale sugarcane plantations, modern facilities, and new towns transforming the agricultural society. This music work uses the Yuemei Sugar Factory and Taiwan's sugar industry development as a starting point to depict Taiwan's modernisation memories centred around sugar. The Yuemei Sugar Factory preserves many architectural structures, houses, Japanese-style buildings, factory equipment, machinery, and tunnels from the colonial period, all of which hold historical value. It also has Taiwan's only chimney tunnel, connecting the boiler and chimney for smoke exhaust. During World War II, the Yuemei Sugar Factory was heavily bombed by the American military, causing severe damage to the factory buildings. Bullet holes can still be seen on the chimney to this day. With a century of history, the Yuemei Sugar Factory's equipment reflects Taiwan's cultural history. This piece attempts to present the cultural landscape of the sugar factory and industry over a hundred years through sound, focusing on the development of the sugar industry during Japanese colonial rule, using contemporary music to trace Taiwan's cultural history and modernisation memories.
演出人員｜
長 笛｜吳正宇
大提琴｜周尚樺
電 聲｜區志恒
作曲家簡介｜
區志恒 Chi-Hang Au 出生於香港，畢業於香港知專設計學院數碼音樂及媒體系高級文憑 ，其後來台深造，畢業於國立臺灣藝術大學音樂系。現作曲師事許德彰老師，曾師事唐旦祥老師。在學期間曾獲得香港特別行政區政府獎學金，台灣板橋南區扶輪社「琴韻傳馨」獎學金。 音樂創作函蓋了獨奏、室內樂、管弦樂、以及電子音樂等，其中作品《Exile》獲選為香港作曲家聯會《音樂新一代2022》作品徵集之入圍作品，另外作品《Concur》亦於2023 C-Lab 台灣聲響實驗室 x 法國 IRCAM 工作坊中演出。近期在台灣亦積極參與及協助多項不同藝術計劃的音效設計、錄音、混音等工作，包括2021年C-LAB未來媒體藝術節、找我劇場《展覽會之畫》音樂繪畫劇場、2022年C-LAB聲徜音樂節《音樂正發生|未知的聲音旅程》等多項藝術工作。
Chi-Hang AU, born in Hong Kong, began his formal music education at the Hong Kong Design Institute, where he studied music theory and music technology. He received a Higher Diploma in Digital Music and Media in 2018. Subsequently, he graduated from the National Taiwan University of Arts with a bachelor's degree in music, studying composition under Dr. Hui Tak-Cheung. Throughout his academic journey, Chi-Hang AU was honoured with the Hong Kong Special Administrative Region Government Scholarship and the Taiwan Rotary Club of Panchiao South Scholarship. In 2022, he was a finalist in the New Generation competition organised by the Hong Kong Composers' Guild. He also participated in the 2023 C-lab X IRCAM workshop hosted by Taiwan C-Lab. His creative portfolio spans a wide range of musical genres, including solo instrumental pieces, orchestral works, and compositions for small and large ensembles featuring both Western and traditional instruments, as well as electroacoustic music. His works have been performed by various ensembles and selected for numerous performances. In addition to composition, Chi-Hang AU actively engages in diverse art projects, including theatre, animation, and multimedia productions. His roles often involve sound design, electronic music execution, recording, and mixing, both in Taiwan and Hong Kong.
C₁₂H₂₂O₁₁，是蔗糖的化學式。
糖業的發展在臺灣歷史中佔據相當重要的角色。自日治時期而起，糖業為臺灣第一波現代化的產業，糖業也帶來了臺灣鐵路發展的開始，糖廠機械深入大小鄉村，大規模生產的甘蔗園、現代化設施與新市鎮改變了農業社會的風貌。
本作品以月眉糖廠以及臺灣的糖業發展為引子，描繪台灣圍繞糖業而生的現代化記憶。月眉糖廠保留了許多日治時期的建築結構、房舍、日式建築、糖廠機組、機械、隧道，都具有其歷史價值與意義，而月眉糖廠亦擁有全國唯一的的囪底隧道，是連接鍋爐和煙囪的排煙道。在二次大戰期間，月眉糖廠因遭受到美軍的猛烈轟炸，工廠建物損毀嚴重，至今糖廠內的煙囪仍然可以看到彈孔的痕跡。
具有百年歷史的月眉糖廠，廠內的設備印證了臺灣的文化歷史，而本作品嘗試以聲音呈現糖廠與糖業橫跨百年時間軸的文化景貌，聚焦日本殖民統治台灣時期的製糖產業發展，以當代音樂的創作追溯台灣的文化歷史與現代化的記憶。
"C₁₂H₂₂O₁₁" is the chemical formula for sucrose, the purest form of sugar. The sugar industry has played a significant role in Taiwan's history. Beginning in the Japanese colonial era, the sugar industry was Taiwan's first wave of modern industrialisation. It also initiated the development of Taiwan's railroads. Mechanised sugar factories reached into towns and villages, with large-scale sugarcane plantations, modern facilities, and new towns transforming the agricultural society. This music work uses the Yuemei Sugar Factory and Taiwan's sugar industry development as a starting point to depict Taiwan's modernisation memories centred around sugar. The Yuemei Sugar Factory preserves many architectural structures, houses, Japanese-style buildings, factory equipment, machinery, and tunnels from the colonial period, all of which hold historical value. It also has Taiwan's only chimney tunnel, connecting the boiler and chimney for smoke exhaust. During World War II, the Yuemei Sugar Factory was heavily bombed by the American military, causing severe damage to the factory buildings. Bullet holes can still be seen on the chimney to this day. With a century of history, the Yuemei Sugar Factory's equipment reflects Taiwan's cultural history. This piece attempts to present the cultural landscape of the sugar factory and industry over a hundred years through sound, focusing on the development of the sugar industry during Japanese colonial rule, using contemporary music to trace Taiwan's cultural history and modernisation memories.
演出人員｜
長 笛｜吳正宇
大提琴｜周尚樺
電 聲｜區志恒
作曲家簡介｜
區志恒 Chi-Hang Au 出生於香港，畢業於香港知專設計學院數碼音樂及媒體系高級文憑 ，其後來台深造，畢業於國立臺灣藝術大學音樂系。現作曲師事許德彰老師，曾師事唐旦祥老師。在學期間曾獲得香港特別行政區政府獎學金，台灣板橋南區扶輪社「琴韻傳馨」獎學金。 音樂創作函蓋了獨奏、室內樂、管弦樂、以及電子音樂等，其中作品《Exile》獲選為香港作曲家聯會《音樂新一代2022》作品徵集之入圍作品，另外作品《Concur》亦於2023 C-Lab 台灣聲響實驗室 x 法國 IRCAM 工作坊中演出。近期在台灣亦積極參與及協助多項不同藝術計劃的音效設計、錄音、混音等工作，包括2021年C-LAB未來媒體藝術節、找我劇場《展覽會之畫》音樂繪畫劇場、2022年C-LAB聲徜音樂節《音樂正發生|未知的聲音旅程》等多項藝術工作。
Chi-Hang AU, born in Hong Kong, began his formal music education at the Hong Kong Design Institute, where he studied music theory and music technology. He received a Higher Diploma in Digital Music and Media in 2018. Subsequently, he graduated from the National Taiwan University of Arts with a bachelor's degree in music, studying composition under Dr. Hui Tak-Cheung. Throughout his academic journey, Chi-Hang AU was honoured with the Hong Kong Special Administrative Region Government Scholarship and the Taiwan Rotary Club of Panchiao South Scholarship. In 2022, he was a finalist in the New Generation competition organised by the Hong Kong Composers' Guild. He also participated in the 2023 C-lab X IRCAM workshop hosted by Taiwan C-Lab. His creative portfolio spans a wide range of musical genres, including solo instrumental pieces, orchestral works, and compositions for small and large ensembles featuring both Western and traditional instruments, as well as electroacoustic music. His works have been performed by various ensembles and selected for numerous performances. In addition to composition, Chi-Hang AU actively engages in diverse art projects, including theatre, animation, and multimedia productions. His roles often involve sound design, electronic music execution, recording, and mixing, both in Taiwan and Hong Kong.
張譽馨作品《讀聲：1944.10至1945.08》
演出日期｜2024/10/13（日）
演出時間｜14:00、15:20 兩場次，每場約40分鐘
演出地點｜文化部文化資產局舞蹈排練室（免費入場）
節目簡介｜
《讀聲：1944.10至1945.08》是作曲者首次為人生前18年幾乎每天必經的場景：臺中文資局（前身：臺中酒廠），量身打造新作。作曲者走訪由舊時酒廠建築群改建的展廳、舞台、排練區、工匠作坊等，各個獨立而自顯特色的建築體，將過往時間裡的故事串聯成底蘊深厚的地景。
作曲者因此從七號（菸草）倉庫外的彈孔，追溯1944年10月至1945年8月，美軍在太平洋戰爭當中，為削弱日本戰力所進行的戰略轟炸，為《讀聲：1944.10至1945.08》爬找文獻與日記，意圖將當時的人物與場景的聲音，轉化為音樂創作，包括躲空襲的醫生家庭、戰機執飛人員、糖廠酒廠等紀錄。
演出人員｜
長 笛｜吳正宇
小提琴｜林 暘
笙 ｜張婉俞
古 箏｜郭靖沐
《讀聲：1944.10至1945.08》是作曲者首次為人生前18年幾乎每天必經的場景：臺中文資局（前身：臺中酒廠），量身打造新作。作曲者走訪由舊時酒廠建築群改建的展廳、舞台、排練區、工匠作坊等，各個獨立而自顯特色的建築體，將過往時間裡的故事串聯成底蘊深厚的地景。
作曲者因此從七號（菸草）倉庫外的彈孔，追溯1944年10月至1945年8月，美軍在太平洋戰爭當中，為削弱日本戰力所進行的戰略轟炸，為《讀聲：1944.10至1945.08》爬找文獻與日記，意圖將當時的人物與場景的聲音，轉化為音樂創作，包括躲空襲的醫生家庭、戰機執飛人員、糖廠酒廠等紀錄。
演出人員｜
長 笛｜吳正宇
小提琴｜林 暘
笙 ｜張婉俞
古 箏｜郭靖沐
Chatori Shimizu（清水悟）作品《Xiexie Raccoon（謝謝浣熊）》
演出日期｜2024/11/02（六）
演出時間｜14:00、14:30、15:00、15:30 四場次，每場約15分鐘
演出地點｜無為草堂（低消入場）
節目簡介｜
這首尚未決定標題的作品，是特別為台中無為草堂所創作的。主題將會圍繞台灣茶文化，以現場音樂展演、錄像作品，融合在無為草堂的室內建築環境之中。
This work with the title to be decided is a site-specific composition to be performed in 無為草堂 in Taichung City, Taiwan. "Site-Specific Music" are compositions that integrate the unique attributes of a particular location into the musical piece itself. This work-in-progress composition is to incorporate choreography and videography as part of the music.
演出人員｜
擊樂｜Ross Aftel
古箏｜許馨方
這首尚未決定標題的作品，是特別為台中無為草堂所創作的。主題將會圍繞台灣茶文化，以現場音樂展演、錄像作品，融合在無為草堂的室內建築環境之中。
This work with the title to be decided is a site-specific composition to be performed in 無為草堂 in Taichung City, Taiwan. "Site-Specific Music" are compositions that integrate the unique attributes of a particular location into the musical piece itself. This work-in-progress composition is to incorporate choreography and videography as part of the music.
演出人員｜
擊樂｜Ross Aftel
古箏｜許馨方
江芷昀作品《星塵、氤氳、黑火藥》
演出日期｜2024/11/16（六）
演出時間｜10:30、11:30、13:30、14:30、15:30 五場次，每場約30分鐘
演出地點｜黃金博物館四連棟宿舍（預約入場）
節目簡介｜
音樂劇場作品《星塵、氤氳、黑火藥》從虛構出發，家族中最後一位尋礦人在雷電的指引中看見命運，找到金礦。從歷史誕生前的地質學講起，直至個人於金瓜石的記憶，以及普世的礦城記憶。人們訴諸於有形的恆常之物及無常歷史來掌握稍縱即逝，然為何人類心智配備有遺忘之機能？歷史作為記憶作為故事，總量實如金礦有限，故金礦象徵記憶之寶貴；與之相對，作品中有座遺忘之城，據說保存著一切人們所遺失之物，反證遺忘之益處：協助人類適應這個世界上的一切變化。
演出人員｜
長 笛｜吳正宇
小提琴｜林 暘
古 箏｜郭靖沐
打 擊｜黃泱宏
劇本創作｜朱曼寧
底片影像｜張亞 Ulia
音樂劇場作品《星塵、氤氳、黑火藥》從虛構出發，家族中最後一位尋礦人在雷電的指引中看見命運，找到金礦。從歷史誕生前的地質學講起，直至個人於金瓜石的記憶，以及普世的礦城記憶。人們訴諸於有形的恆常之物及無常歷史來掌握稍縱即逝，然為何人類心智配備有遺忘之機能？歷史作為記憶作為故事，總量實如金礦有限，故金礦象徵記憶之寶貴；與之相對，作品中有座遺忘之城，據說保存著一切人們所遺失之物，反證遺忘之益處：協助人類適應這個世界上的一切變化。
演出人員｜
長 笛｜吳正宇
小提琴｜林 暘
古 箏｜郭靖沐
打 擊｜黃泱宏
劇本創作｜朱曼寧
底片影像｜張亞 Ulia
