許 德 彰 Hsu, Tai-Cheung
許德彰出生於香港。其作品曾於第三十八屆入野賞、Leibniz Harmonien International Composition Competition 2016等 等多個國際作曲比賽中獲得首獎。 曾受利物浦皇家管弦樂團、義大利MDI樂團、德國Flex樂團、 韓國TIMF樂團、荷蘭新樂團、New European樂團、荷蘭高地 雅慕斯音樂節等專業樂團、音樂節委約創作室內樂或多媒體作 品。作品曾獲選於英國哈德斯菲德當代音樂節(HCMF)、法國 Manifest音樂節、阿姆斯特丹作曲家音樂節、古巴夏灣那現代 音樂節、丹麥Suså現代音樂節、韓國統營國際音樂節(TIMF)、 光州亞洲文化中心藝術節等國際音樂節中演出。許氏近期作品題材多涉及集體記憶。探討音樂作品如何給予過去的聲音新的生命,並與當下聲音產生對位與碰撞的一些可能性。許氏現為東海大學音樂系專案助理教授,並任教於國立臺灣師範大學。
Tai-Cheung Hui was born in Hong Kong. His works has been awarded numerous prizes include 1st prize in 38th Irino Prize, Leibniz Harmonien International Composition Competition 2016 and various international composition competitions. He has been commissioned by Royal Liverpool Philharmonic Orchestra, MDI Ensemble in Italy, Flex Ensemble in Germany, TIMF Ensemble in Korea, Nieuw Ensemble Amsterdam, New European Ensemble, Gaudeamus Music Week ASKO Ensemble and other professional orchestras and music festivals to create chamber music or multimedia works. His works have been selected in Huddersfield Contemporary Music Festival (HCMF), French Manifest Festival, The Composers Festival, Havana Contemporary Music Festival in Cuba, Suså Festival 2016 in Denmark, Performed in international music festivals such as Toneong International Music Festival (TIMF) and the Gwangju Asia Culture Center (ACC) Art Festival. Tai-Cheung Hui's recent works mostly involve collective memory. It discusses how music works give new life to the past sound, and possibilities of counterpoint and collision with the present sound. He is now assistant project professor of the Music Department of Tung Hai University, and also teaches at National Taiwan Normal University.
Tai-Cheung Hui was born in Hong Kong. His works has been awarded numerous prizes include 1st prize in 38th Irino Prize, Leibniz Harmonien International Composition Competition 2016 and various international composition competitions. He has been commissioned by Royal Liverpool Philharmonic Orchestra, MDI Ensemble in Italy, Flex Ensemble in Germany, TIMF Ensemble in Korea, Nieuw Ensemble Amsterdam, New European Ensemble, Gaudeamus Music Week ASKO Ensemble and other professional orchestras and music festivals to create chamber music or multimedia works. His works have been selected in Huddersfield Contemporary Music Festival (HCMF), French Manifest Festival, The Composers Festival, Havana Contemporary Music Festival in Cuba, Suså Festival 2016 in Denmark, Performed in international music festivals such as Toneong International Music Festival (TIMF) and the Gwangju Asia Culture Center (ACC) Art Festival. Tai-Cheung Hui's recent works mostly involve collective memory. It discusses how music works give new life to the past sound, and possibilities of counterpoint and collision with the present sound. He is now assistant project professor of the Music Department of Tung Hai University, and also teaches at National Taiwan Normal University.
作品 Works
《Things that might have been》影像、聲音紀錄+錄音+實驗音樂、即時電子聲響(觀眾肢體互動),尺寸視場地而定,2021
Things that might have been, Video, sound recording, experimental music, instant electronic sound (audience physical interaction), Dimensions variable, 2021
此作品是以一間即將被夷平房子消失前的聲音紀錄。其中,作品對朴子地區進行錄音採樣和還原,紀錄的今天朴子有關人、事、物和環境的聲景。可能出現在朴子地區居民的音樂/聲音文化元素。最後再以創作者的主視覺,將科技音樂元素融合前兩者構建出具有紀錄、研究和創新意義的全新聲音影像 作品。
作品的另一部分將通過觀眾的肢體動作和他們的移動裝置觸發各種不同的聲響片段, 它們內容將包含原始的朴子地區錄音素材到抽象的電聲,並與循環播放的影像和音樂 有機的結合,使觀眾以“演奏者”的角色參與到作品當中。
This work is a sound record of a house that is about to be razed before it disappears. The works recorded the sound scene of people, things, objects and environment related to Puzi by recorded, sampled and reduced Puzi area and the music/sound cultural elements that may appear in residents of Puzi area. Finally, based on the creator's main vision, a new sound and image work with recording, research and innovation significance is constructed by combining the elements of scientific and technological music with the former two.
The other part of the work will trigger various sound clips through the audience's body movements and their mobile devices. Their contents will include the original recording materials of Puzi area to abstract electroacoustic sounds, and organically combine with the circularly played images and music, so that the audience can participate in the work as a “performer”.
Things that might have been, Video, sound recording, experimental music, instant electronic sound (audience physical interaction), Dimensions variable, 2021
此作品是以一間即將被夷平房子消失前的聲音紀錄。其中,作品對朴子地區進行錄音採樣和還原,紀錄的今天朴子有關人、事、物和環境的聲景。可能出現在朴子地區居民的音樂/聲音文化元素。最後再以創作者的主視覺,將科技音樂元素融合前兩者構建出具有紀錄、研究和創新意義的全新聲音影像 作品。
作品的另一部分將通過觀眾的肢體動作和他們的移動裝置觸發各種不同的聲響片段, 它們內容將包含原始的朴子地區錄音素材到抽象的電聲,並與循環播放的影像和音樂 有機的結合,使觀眾以“演奏者”的角色參與到作品當中。
This work is a sound record of a house that is about to be razed before it disappears. The works recorded the sound scene of people, things, objects and environment related to Puzi by recorded, sampled and reduced Puzi area and the music/sound cultural elements that may appear in residents of Puzi area. Finally, based on the creator's main vision, a new sound and image work with recording, research and innovation significance is constructed by combining the elements of scientific and technological music with the former two.
The other part of the work will trigger various sound clips through the audience's body movements and their mobile devices. Their contents will include the original recording materials of Puzi area to abstract electroacoustic sounds, and organically combine with the circularly played images and music, so that the audience can participate in the work as a “performer”.