搜尋結果

訪談 蘇家威《時日如飛》 Chan Kai-young’s “Variations on Light and Space” Wyman Wat’s “Space Tight” Wong Chun-wai’s “Journey in the Dark” Chris Hung’s Leaving Lam Lai’s “Twinkle Twinkle Little Tango” So Ho-chi’s “Confined Matters” Livia Lin’s “the tree says…” Tam Ka-shu’s “Little Hidden Momentum” 1 2 3 4 5 ＊部分內容僅提供中文版本。

聲影集 2016：香港景觀（作曲家分享） 聲影集 2016：香港景觀 Concert 音樂會 Composers' Biography 作曲家簡介 Composers' Sharing 作曲家分享 分享可見於： https://thestandnews.com/art/聲影集-香港景觀作曲家分享/ https://thestandnews.com/art/sound-imagination-hong-kong-landscape-composers-sharing-1/ https://thestandnews.com/art/sound-imagination-hong-kong-landscape-composers-sharing-2/ 1/ 蘇家威《時日如飛》 I. Q&A 1) 圖像/影像如何啟發你的創作靈感？ 我代入了自己是拍攝者。拍攝的角度令我虛構了一位老人望著故居有感而發的情景。 2) 請形容一下你眼中的「香港」，在樂曲中如何呈現這感知/意像？ 「香港」是一個多元社會，但找一種聲音可以表達出「香港」則甚艱難。我利用了中國的五聲音階和西方的動機寫作技巧「製造」這種感覺。 3) 是次的委約作品都是根據特定的圖像/影像而創作並於音樂會一併呈現，這創作過程和純綷的音樂創作有何不同？ 圖片伸延了音樂的創意。透過圖片提供的元素，想像空間亦得以擴闊。這比抽象的思維更為實在。 II. 有關作曲家－蘇家威 創作習慣：我總會乖乖的先寫好草稿 喜歡的香港地方：澳牛 (Australia Diary Company) 喜歡的作曲家：陳其鋼、吉松隆、西松朗、Arvo Part 2/ 葉浩堃《縫》 I. Q&A 1) 樂曲如何與影像掛勾和配合？ 就如錄像一樣，在開始的部份看見船慢慢的經過，然後一 個身影隱約的在後方出現。在音樂方面，在緊密的和聲及織體設計下，將主旋律隱藏，然後又偶爾出現。 2) 請形容一下你眼中的「香港」，在樂曲中如何呈現這感知 ／意像？ 香港是一個急速的城市，在過往的作品中，我經常把這緊張的元素加入。在是次首演的作品《縫》當中，我刻意把速度變慢，但卻在這個「慢」的氣氛中加入一些快速的節奏，猶如普遍的香港人般，雖然身體想放鬆，但腦袋仍然不斷在工作。 3) 在這首作品中聽眾可特別留意之處？ 聽眾可以留意和聲的轉變，及弦樂四重奏內四聲部的交錯與交流。 II. 有關作曲家 - 葉浩堃 創作習慣：晚上，很晚的晚上 喜歡的香港地方：我家 喜歡的作曲家：Lutoslawski 3/ Kwok Tsun-huen’s The Barber I. Q&A 1) Briefly introduce your commissioned work. It's a viennese waltz. The music divided into two part, Slow and fast. 2) How did the image/video inspire you to write this piece? The Photograph is about a Barber shaving customer's hair when H5N1 was spreading. I tried to have a piece of music that prove a feeling as if they are having a little shelter from the storm there. 3) How does your commissioned work correlate with the visual image/video? The image gives me a feeling that the two people were having their own shelter when serious disease was spreading. They trusted and didn't mind if each other got the disease and might infect their own. This gives me a very cozy feeling and write the music. II. About the Composer – Kwok Tsun-huen Favorite composers: Stockhausen, Joseph Schwantner, Beethoven, the Beatles Favorite visual artists: Leonardo de Vinci, Pablo Picasso Favorite movies: 2001: Space Odessy, Watchmen 4/ Boo Chun-kit’s Looking from the Below I. Q&A 1. How did the image/video inspire you to write this piece? The duality of this image provides me an inspiration of the number of two. 2. Please share your perception of “Hong Kong”. How did you convey this perception in your work? I think there is full of juxtaposition in Hong Kong, especially for the cultural aspect. In my work, I decide to use two contrasting melodic motives; sometimes I make the two motives appear at the same time. 3. All visual elements of this concert, which served as the initial inspiration for the composers, will be projected on screen during the performance. What is the difference between composing with and without a specified visual image? To compose with a specific visual image, I think composers should aware of the extra-musical elements that may be induced from the image, for example memories, emotion. This can affect how the audiences perceive your music. II. About the Composer - Boo Chun-kit Hobbies: Reading books, watching movies Composing habit: Improvise at first, then find some crucial relations between the musical elements, and recompose Favorite composer: Brahms 5/ Chan Chin-ting’s Reaching Up, Touching Down I. Q&A 1. Briefly introduce your commissioned work. This piece explores different perspectives of Hong Kong’s cityscape, particularly of the perspective looking from below. It is inspired by an image that portrays a person lying on a rooftop amid city noise, facing up against the sunshine but with the face covered. 2. How did the image/video inspire you to write this piece? The music takes inspiration from the image, re-imagines and vitalizes the sound world surrounding the subject, as though the collage of city noise uncovers his/her face, rising up to above and beyond the infinite layers of Hong Kong’s modern cityscape. 3.) Briefly share with us the composing techniques or styles you used in the piece. The composition uses Serial techniques as a foundation for the harmonic contents. The use of certain pitch sets is associated with my impressions of the photograph. II. About the Composer - Chan Chin-ting Hobbies: photography, writing computer programs Composing habit: can compose anywhere with a pencil, eraser and staff paper Favorite sound: sound in nature 6/ Chan Ho-yi’s The Lost Days I. Q&A 1. How did the image/video inspire you to write this piece? The photo makes me to meditate and reminisce my old young days in Hong Kong. And they are only left for me to cherish so I write a sentimental piece. 2. How does your commissioned work correlate with the visual image/video? The music correlates the visual image by its harmonic design. The linear writing in strings also depicts the ladder in the playground. 3. All visual elements of this concert, which served as the initial inspiration for the composers, will be projected on screen during the performance. What is the difference between composing with and without a specified visual image? With a specified visual image, the purpose of music is to serve the message hidden beneath. Music without visual is purely the establishment of relationship through sound. II. About the Composer - Chan Ho-yi Hobbies: Cooking, Eating Favorite scene: The elegance and peacefulness of the medieval town in United Kingdom Favorite music: Chinese choral music 7/ Chan Kai-young’s Variations on Light and Space I. Q&A 1. How did the image/video inspire you to write this piece? I was inspired by the contrasting elements abound in the image: the moving and the still, the living and the lifeless, space and obstruction, natural and artificial entities, to name just a few. 2. How does your commissioned work correlate with the visual image/video? The timeline of piece follows the trajectory of natural light from left to right, following the direction of the protagonist. Incomplete statements of thematic fragments correspond to the hidden subject, and the sudden change of register and texture mirrors the change of spaciousness across the image. 3. All visual elements of this concert, which served as the initial inspiration for the composers, will be projected on screen during the performance. What is the difference between composing with and without a specified visual image? The image is fundamental to guiding the imagination of the audience and offering an extra dimension of meaning in the music. II. About the Composer - Chan Kai-young Hobbies: Travel and Photography Favorite sound: All forms of water Favorite film director: Hayao Miyazaki 8/ Chris Hung’s Leaving I. Q&A 1) How does your commissioned work correlate with the visual image/video? Image serves as the catalyst of the music, being treated as the guiding direction for the idea of the composition. I would reserve my thought here in order to give you some space of free imagination. However, a trace of hint is shown in my program notes: "In the midst of climbing my mountain, On the verge of leaving my dream… Are you just an illusion?" 2) Briefly share with us the composing techniques or styles you used in the piece. Non-exact Imitative texture between different parts. Gradation of tension towards a climatic point. 3) Please introduce the special features or fragments of your work. In general, the melodic contour of the music is ascending with the metaphor of the first impression of the visual stimulus and physical presence of the photo. Very few extended techniques are employed in this work, probably one of the easiest piece I've composed... II. About the Composer – Chris Hung Composing habit: Gestural, fragmental, textural aspects first Favorite place in Hong Kong: Stanley Favorite composer(s): Karl Amadeus Hartmann / György Kurtág / Salvatore Sciarrino / 細川俊夫 9/ Lam Lai’s Twinkle Twinkle Little Tango I. Q&A 1) How did the image/video inspire you to write this piece? When I first viewed the photo, I immediately thought about street dancing. Since Milonga is one of my favourite dance, I was thinking to use an interesting tune that everyone is familiar with. I also think Mozart's Twelve Variations on "Ah vous dirai-je, Maman" may be an interesting match with tango. 2) How does your commissioned work correlate with the visual image/video? I remember I played this game on the street when I was small. There is an interesting rhythm in the foot steps, as most of the time you need to stop your posture and get the balance. I think this kind of irregular rhythm will also be interesting to hear in the piece. 3) Please share your perception of “Hong Kong”. How did you convey this perception in your work? I like the fast pacing of daily life in Hong Kong. When you are walking on the street, there are lots of fast repetition around you. Therefore, I try to put the piece to be similar to this circumstance, which is fast and having lots of tiny repetition. II. About the Composer – Lam Lai Composing habit: Start with a cup of milk tea Favorite place in Hong Kong: Central Favorite sound: water sound 10/ Livia Lin’s the tree says… I. Q&A 1) How did the image/video inspire you to write this piece? While many find Hong Kong to be a small vibrant city lacking recreational spaces, the image reminds me of pockets of nature and greenery in the city which we unconsciously not notice. The dense trees eclipsing the individual inspire me to put the trees on center stage in my composition. 2) All visual elements of this concert, which served as the initial inspiration for the composers, will be projected on screen during the performance. What is the difference between composing with and without a specified visual image? Music is a temporal form of art while a still image offers information instantly. I think composing with specific image prompts me to take more time in expressing an idea because I believe the audience, too, would have the luxury of delving deeper into the artists’ messages through listening and looking simultaneously. 3) Please introduce the special features or fragments of your work. This work anchors on two rhythmic elements – dotted rhythm and triplet. These rhythmic sways mimic the gentle flutter of the leaves throughout the composition. The audience will hopefully disengage from the steady pulse and assimilate with the ambience of the swaying leaves imperceptibly. II. About the Composer – Livia Lin Favorite place in Hong Kong: Lantau Island, Repulse Bay, Hong Kong International Airport Favorite scene: the meeting of the sky and water, the people flow in a cafe Favorite visual artist: Vasily Kandinsky, Jackson Pollock 11/ Lun Wai-kit’s Modernization I. Q&A 1) Briefly introduce your commissioned work. Migration of sound. 2) How did the image/video inspire you to write this piece? The first thing I have done was to find out the place/angle the photo was taken, then with the description of photo, I started to imagine what sound should be included in it. 3) All visual elements of this concert, which served as the initial inspiration for the composers, will be projected on screen during the performance. What is the difference between composing with and without a specified visual image? I don't need to think too much when there is an image. II. About the Composer – Lun Wai-kit Hobbies: DIY Composing habit: start actually composing at the last minute before deadline Favorite sound: Raindrops 12/ Shao Litang’s Seeking I. Q&A 1) How did the image/video inspire you to write this piece? The inspiration of the photo to me is that what we are really looking for in life. Life is full of experiences and anything can happen. Depending on what kind of person you are, you may be looking for different things. 2) All visual elements of this concert, which served as the initial inspiration for the composers, will be projected on screen during the performance. What is the difference between composing with and without a specified visual image? Composers will think about the interaction carefully between the message from the image and music. 3) Briefly share with us the composing techniques or styles you used in the piece. This piece starts with a vigorous six-note motive, followed by a peaceful harmonic section that gradually develops into a multi-layered chant-like theme. This theme becomes more energetic and rhythmic, moving towards a climax that resolves peacefully. II. About the Composer – Shao Litang Hobbies: Eating, Hiking Favorite place in Hong Kong: Tapmun (Grass-Island) Favorite scene: Maple leaves glowed red in the sunlight 13/ Shuen Lai-yin’s Street through a Glass Ball I. Q&A 1) All visual elements of this concert, which served as the initial inspiration for the composers, will be projected on screen during the performance. What is the difference between composing with and without a specified visual image? The visual image gave me loads of inspiration. It helps me to determine the structure, atmosphere and musical flow of the piece. 2) Briefly share with us the composing techniques or styles you used in the piece. I have constructed a chord using diatonic scales, and the chord developed from a close position and expanded to open position, whereas music tension is created and resolved at the same time. 3) Please introduce the special features or fragments of your work. It is a simple short piece. I tried to avoid special gestures in my work, as I would like to express the feeling of "Lost" in my music, which is motionless and solitude. II. About the Composer – Shuen Lai-yin Hobbies: Playing guitar, singing in a choir, riding bicycle. Favorite scene: Sunset near seashore Favorite composer/music: Toru Takemitsu 14/ So Ho-chi’s Confined Matters I. Q&A 1) How did the image/video inspire you to write this piece? The dense composition of the image makes me think of how my life is in this dense city. Hong Kong always have many things happen in a small places. Sometime they are too many, but at least they are colourful and diverse. 2) Please share your perception of “Hong Kong”. How did you convey this perception in your work? I think Hong Kong is a fast-pacing city that people receive many information and feel very differently. In my imagination, it is like montage or painting by Pablo Picasso. Inspired by this idea, I try to organise different blocks of materials in a musical way. 3) Briefly share with us the composing techniques or styles you used in the piece. There are musical elements in the piece where distinguished gesture and texture existed. Some of them might have different pitch organisation system in order to create contrast between elements which is to create the idea of montage. II. About the Composer – So Ho-chi Hobbies: Hiking, wondering in Hong Kong, reading Favorite place in Hong Kong: Tuen Mun Favorite composer/music: Igor Stravinsky 15/ Tam Ka-shu’s Little Hidden Momentum I. Q&A 1) Briefly introduce your commissioned work. My work depicts the restless spirit of Hong Kong – there are motions even in a quiet situation. It is inspired by an image that centred a workman and a still curtain fills up the other space. 2) How did the image/video inspire you to write this piece? While the large curtain in the image seems to project a still atmosphere, the truck and the worker reveal a vivid motion. This contrast in activity immediately connects me to a night scene in Causeway Bay – streets are empty but still project a dynamic atmosphere. 3) All visual elements of this concert, which served as the initial inspiration for the composers, will be projected on screen during the performance. What is the difference between composing with and without a specified visual image? Visual images set a fix parameter for composers. In order to bring out the theme of the images, composers have to fit their imagination within the set boundary. However, this does not mean to limit our creativity. Instead, we might see the parameters as guidelines for composing. II. About the Composer - Tam Ka Shu Favorite place in Hong Kong: Po Toi Island Favorite composer: Gyorgy Ligeti and Alfred Schnittke Favorite visual artist: Salvador Dali 16/ Wong Chun-wai’s Journey in the Dark I. Q&A 1) How did the image/video inspire you to write this piece? Through the video we observe people traveling in a train underground: to an observer they are isolated individuals on an aimless journey, moving forward passively and restlessly. It seems to be asking the meaning of life, a journey that we must all go on. 2) How does your commissioned work correlate with the visual image/video? The video is in black and white, and my music corresponds by carrying a dark tone, resulted from the use of non-functional harmonic progression, the domination of minor-sounding sonorities, and the prominent of the lower register of the instruments. 3) Briefly share with us the composing techniques or styles you used in the piece. In the music the string quartet is divided into three groups of instruments – violin I, cello and the inner group of instruments – each playing with their own materials and styles, symbolizing the isolation of individuals. There are almost no dialogues among them but the wheel of destiny pushes them all. II. About the Composers – Wong Chun-wai Hobbies: Composing Favorite composers: Joe Hisaishi/Gustav Mahler/Maurice Ravel/John Williams Favorite movie: Spirited away 17/ Wyman Wat’s Space Tight I. Q&A 1) Briefly introduce your commissioned work. My work “Space Tight” is about the high-density living environment in Central, Hong Kong. Fast, busy, crowded are the best words to describe the condition nowadays. 2) How does your commissioned work correlate with the visual image/video? According to the image, there are several high buildings surrounding a comparatively shorter yellow building in Central. We cannot find any space left in the picture. Thus, I composed my work with many compact rhythms to create this kind of tight feeling. 3) All visual elements of this concert, which served as the initial inspiration for the composers, will be projected on screen during the performance. What is the difference between composing with and without a specified visual image? With the specified visual image, it is no doubt that the composer’s idea will be more directly projected to the audience, which in turn helps the audiences’ understandings to the new works. Moreover, I believe that the visual elements will further stimulate the audiences’ own imaginations. II. About the Composers - Wyman Wat Favorite scene: Trams on rails in rainy day Favorite composer: Prokofiev Favorite visual artist: Piet Mondrian 18/ Yau May-kay’s The Road before me I. Q&A 1) Briefly introduce your commissioned work. 'The Road Before Me' was composed during busiest time of year 2015. 2) How did the image/video inspire you to write this piece? The video exactly reflects my commuting in Hong Kong - its repetitiveness, its tediousness ... 3) Briefly share with us the composing techniques or styles you used in the piece. Minimalism is used in this piece and I think it describes the video and my thoughts really well. II. About the Composer - Yau May-kay Favorite place in Hong Kong: I like hiking in Fanling, it overlooks the whole area of Fanling and the mainland which is breathtaking. Favorite composer/music: J.S. Bach Favorite director/movie: Abbas Kiarostami

【聲之幻象】跨媒體音樂之旅 由香港作曲家聯會策劃，《聲之幻象》跨媒體音樂之旅將於 2026年2月11日（星期三）晚上8時，香港大會堂劇院隆重舉行。是次演出匯聚三組以作曲家為核心的創作團隊，結合音樂、影像與燈光等媒介，構築出一場虛實交錯、如幻似真的觀演體驗。 這場音樂會不僅僅是對「聲音」的欣賞，更是一場穿梭於感官與想像之間、探索聲像融合可能性的藝術實驗。每一組作品皆呈現出對於音樂敘事、空間感知與跨媒體表達方式的嶄新思考，邀請觀眾進入一個由聲、光、影交織而成的沉浸式世界。 節目作品包括： 《迴光》 作曲及影像設計：蘇傳安、黃詠虹、林鈺浠、鄧灝威、李佳琳 以流動影像與聲音構築記憶空間的演出，引領觀眾在變動與消逝之間，重新觀看、聆聽與感受。 《爍》 創作團隊：李一𥯤、陳一云、余林橞 融合聲與光、模糊感知界線的多媒體作品，靈感源自Jon Fosse小說《Kvitleit》，探討人在極端環境中身心轉化與現實與幻覺交錯的靈性經驗。 《《+;![].我迷失在.＊ 這場﹍×°醫學遊戲：掰擙。阿咩嗯文°°°×．﹏\》》 創作團隊：楊凱晴、胡皓嵐、王晉希 透過模擬外科手術及即時動作感應聲響，將人體轉化為生化樂器，深刻探討科技增強與人類身體之間的關係與矛盾。 購票連結 : https://www.urbtix.hk/event-detail/14466 團隊介紹 《爍》 李一葦 作曲 李氏是香港炙手可熱的年青作曲人，其作品涵蓋獨奏、電子、重奏、室樂、管弦樂和歌劇，曾於亞洲、歐洲、英國及北美洲多個國際音樂節演出。近年首演作品包括於德國德累斯頓的森珀歌劇院首演的人工智能歌劇《逐流人生》（2021-22）、由香港管弦樂團委約及首演的《焰》（2023-24）和《燼》（2024），由克羅地亞MBZ音樂雙年展委約的樂隊作品《此時｜此刻》（2024-25）等。李氏的管弦樂作品《燼》於2025年獲香港作曲家及作詞家協會頒發第二十三屆金帆獎「最佳正統音樂作品」。他亦曾以指揮身份與法蘭克福現代樂團、科隆音樂工廠及斯圖加特新聲樂獨唱家等歐洲頂尖樂團合作，演奏當代音樂的經典曲目和全新創作。 李氏亦獲譽為香港頂尖兒的長笛演奏家，專長當代音樂，以演繹細膩而有力為人稱譽。自2016年起成為香港創樂團樂手。曾多次舉行個人演奏會，包括於城市大學藝術節（2021）、康文署《音樂顯才華》（2018）和《大會堂薈萃》（2023）系列亮相；2025年亦於香港創樂團《新視野》演奏會為法國作曲家布烈茲為長笛和鋼琴譜寫的《小奏鳴曲》（1946-49）作香港首演。李氏於2023年獲邀於為奧地利新音樂出版商KAIROS灌錄卡密諾‧門德斯的長笛作品，廣受好評。 除了創作與演奏外，李氏亦熱衷於教學，於2020年獲英國皇家音樂學院頒授文憑(LRAM)。現為香港大學助理講師、香港演藝學院兼任木管室樂講師，以及琉森音樂節學院長笛講師（2022-23）。他亦於2025年獲邀北赴神州，於廣州華南師範大學首屆「當代創意音樂營」擔任導師，教授長笛、指揮和作曲。 陳一云 光影設計 陳一云從事光影藝術及劇場創作。英國《劇場及表演設計》期刋形容陳氏為「一位來自香港、令人興奮的創作人，以及對光作為表演元素的新興評論人」。她主力探索光之音樂性、關係性和物質性。個人重要創作包括光影裝置劇場《界．面》、《與物俱增》、《病理誌》及《Memento Mori: Sonata for Light》。 陳氏近年活躍於跨界合作光影藝術創作，曾和視覺藝術家鮑藹倫、伍韶勁、攝影藝術家尹子聰、鋼琴家張緯晴、作曲家上野健及香港舞蹈團等合作，參與 M+ 與巴塞爾藝術展共同呈獻的製作、M+ 委約新作、新視野藝術節、大館操場音樂節等項目。亦曾為香港雙年展 2003 得獎作品暨香港藝術館藏品《有棵沒人種的樹》創作燈光。 陳氏獲香港演藝學院藝術碩士（優異），主修燈光。研究成果常發表於國際藝術期刋及會議，亦曾獲德國柏林藝術學院及布拉格四年展邀請擔任燈光專題講者。 余林橞 聲音演出 余林橞為聲音藝術家及策展人，興趣在於以發聲物件和身體動作作即興演出，以及融合不同的藝術實踐、個人經驗及歷史，透過合作，將人們在空間裏連結。余氏曾受當代敲擊樂訓練，目前擔任「現在音樂」的藝術總監，亦為室內敲擊樂團 The Up:Strike Project的創辦人之一，以及香港創樂團的聯席樂手。 余林橞十分活躍，曾獲以下機構及團體委約：香港藝術中心與曼城Castlefield Gallery（2022）、Axel Vervoordt Gallery Hong Kong（2021）、香港創樂團 （Sonic Ecology網上研討會, 2021）、香港西九文化區自由空間（《創作：舞・樂互碰》, 2020）。余氏最近參與了《manτεία》（manteia, 2024）（一場由Peter Nelson和Roberto Trillo執導、以AI工具為占卜手段的多媒體表演）；《從甚麼時候開始》（2023）——由鄧慧中與周耀輝創作的多媒體劇場演出；《Somnium》（2022）——由許敖山創作的裝置／歌劇／迷睡表演。余氏亦為表演研究者，與「不加鎖舞踴館」的創意團隊緊密合作，參與一個持續進行的研究項目，致力於開發樂譜和記譜法，使其成為跨領域創作的媒介與語言。 余林橞策劃了四屆「聲形」聲音藝術節，由「現在音樂」和「大館當代美術館」共同呈獻，最近一屆（「聲形2024」）乃 「HICCUP」 的一部分。余氏亦以共同策展人身份策劃了三屆「UNHEARD sound and music festival?」（與香港逸東酒店及_dtby合辦），以及與香港西九藝術文化區自由空間策劃了「Noise Fest 2024」。她致力於推廣聲音藝術及其教育工作，最近透過「現在音樂」策劃了「推信封聲音藝術推廣計畫」，旨在打破傳統觀念，以藝術創作及跨界合作的方式讓人重新認識聲音。 余林橞畢業於加拿大蒙特利爾麥基爾大學，獲得音樂學士和碩士學位，現任教於香港大學音樂系及香港演藝學院舞台及製作藝術學院。 《《+;![].我迷失在.＊ 這場﹍×°醫學遊戲：掰擙。阿咩嗯文°°°×．﹏\》》 楊凱晴 作曲，燈光及舞台設計，演出 楊凱晴是定居瑞士的香港創作人，創作領域涵蓋當代音樂創作、當代音樂劇場、錄像藝術、實驗自我聲樂、視聽藝術裝置等。她的作品喜歡雜亂融入她覺得好玩的事物，把腦裡天馬行空的怪念頭全都搬上舞台和畫面。楊氏的音樂曾於威尼斯雙年展、鹿特丹 De Doelen（Stichting Rizoom）、香港小交響樂團、荷蘭國立歌劇院與芭蕾舞團、Gaudeamus Festival 等國際平台發表。她為當代音樂劇場作品《sans-visage》創作的影像亦入選 2025 Concours Nicati決賽。 胡皓嵐 視覺投影設計，裝置程式，演出 胡皓嵐為作曲家、跨媒體藝術家，作品涵蓋聲音裝置、網頁互動作品、聲音與影像作品以及器樂作品。他尤其對建築與聲音、空間與時間的關係感興趣。 胡氏畢業於柏林藝術大學（獲聲音研究及聲音藝術碩士）、香港大學建築系及香港演藝學院音樂學院（主修作曲）。 王晉希 燈光設計 王晉希畢業於香港演藝學院，獲藝術學士學位，主修燈光設計。 王氏曾為本地及外地的製作擔任燈光設計、舞台管理及執行舞台監督，亦為本地不同中小學擔任科藝導師及製作指導。 近期參與的製作包括：一路青空《玩具同「萌」・Fighting！！》、中英劇團《哈姆邁特》、Paprika Studio x 東九文化中心《尤利西斯的凝視》、偶友佳作《鐵甲稻草人》、一條褲製作《規劃香港》（香港演藝學院首演及再規劃版）、臨時戲班《願望石》、半肥瘦《聲的形狀》（2023、24及25）、奇想偶戲劇團《地裡的鯨魚》等。 《迴光》 蘇傳安 作曲 蘇傳安早年在香港演藝學院修讀作曲及電子音樂，師從香港著名作曲家麥偉鑄教授、鄧文藝先生。後赴歐洲電影學院攻讀多媒體現代配樂藝術創作碩士，師隨Prof. Andy Hill，進一步拓展影視與互動媒體音樂的專業領域，奠定其多元風格的基礎。 蘇氏的作品涵蓋室內樂、管弦樂、中樂、多媒體創作、流行音樂及影視配樂。他曾擔任多個重要藝術項目的音樂總監、作曲及編曲，包括：饒宗頤大師「饒荷光影展」、故宮「金彰華彩」古代金器展音樂製作、香港藝術節「Laila」聲音裝置創作。他亦為不同媒體類型進行編曲/配器工作。 曾合作的團體包括：香港管弦樂團、香港演藝學院、風車草劇團、香港天籟敦煌樂團、香港創樂團、樂樂國樂團、The Euphonious、香港新青年合唱團、東邊舞蹈團等等。 蘇氏的創作兼具東方韻味與西方結構，擅長以音樂連結不同藝術媒介。他持續探索電子音樂、實驗聲響與傳統樂器的融合。 鄧灝威 概念 鄧灝威先後畢業於香港浸會大學中文系、香港演藝學院戲劇學院導演系(一級榮譽)。疫情期間，曾為中英劇團駐團導演。2024年1月，首度以演員身份參與意象作業Ima Collab 《Candide》演出，並到米蘭、華沙及南韓等地巡演。 近年導演作品包括：佘樂妍《別役實二次元》、Ima Collab 《歌之浪流者》、甘聖希《帝女 ‧應如》音樂會；艾菲斯劇團《離留之境》；多媒體音樂劇場《一個人的Lullaby 》；去劇場《港城阿牛》；鄧樹榮戲劇工作室《Romeo & Juliet》（執行導演）；窮人誌《我和我和她的故事》； 天邊外劇場《十牛圖》（環境劇場）、《傷逝如她》、《學業進暴》、《Seek and Hide》；愛麗絲劇場實驗室「後戲劇讀」《自我控訴》；中英劇團《廢胎》；香港話劇團《慾望號雞批》等。 在戲劇創作以外，鄧氏亦熱愛音樂和攝影。曾為窮人誌《我和我和她的故事》、天邊外劇場《李逵的藍與黑東北村落版》(2016)、《安蒂崗妮 ‧ 東北禁葬版》等擔任現場樂手。 李佳琳 影像設計 李佳琳畢業於香港演藝學院，主修藝術及項目管理（一級榮譽碩士），現為自由身舞台工作者及影像設計師。 李氏曾參與製作多項作品，當中她以製作經理身份參與的《一切從海浪開始》獲第八屆烏鎮戲劇節青年競演小鎮獎「最佳個人表現獎」。 近期參與的劇場作品包括：《香港比舞2024》（製作統籌）；進念 ‧ 二十面體《唔講得》（舞台監督）；西九文化區 x 綠葉劇團：《山海經》第一部曲 ── 山川命（執行舞台監督及舞台監督）；《你係編舞喎》（執行舞台監督）；多空間《球賽 – 奔分世界》（製作經理及舞台監督）；多媒體劇場《一個人的Lullaby》（製作經理）；艾菲斯劇團《離留之境》（助理監製）；新加坡南洋劇社《小塵世》、《牛 · 車 · 水》（製作助理) 等。 近期演唱會製作包括：《FWD 富衛保險呈獻：Jeremy Lee Rise In Love Live 2025》、《My Music．My Life 盧冠廷一生所愛演唱會2025》 、《陳柏宇 LIFE IS LIVE 演唱會 2025》、《周國賢Endy Chow TailorMate Live 2024》、《側田第一秒巡迴演唱會》、麥浚龍2024年《金榜題名 project_mayhem》演唱會等。 近期影像設計作品包括：《'Bye.' BYEJACK CONCERT 2024》、中英劇團《他媽的科技》（影像及平面設計）、《A New Way of Seeing…》等。 黃詠虹 中提琴 黃詠虹是生於香港的中提琴演奏家，目前於香港演藝學院攻讀碩士學位，師從Jeremy Williams先生。她於2023年在香港演藝學院完成音樂學士學位，師從蔡睿先生，畢業時更榮獲院長嘉許名單的殊榮。 在學期間，曾於大師班中接受多位知名音樂家的指導，包括Steven Tenenbom、Stanley Konopka、Wesley Collins、Amihai Grosz等。她對演奏室內樂及管弦樂充滿熱忱，亦是Ionica弦樂四重奏的創團成員。 2025年，黃氏獲資助參加肯特布羅瑟姆音樂節（Kent Blossom Music Festival），並擔任KBMF室內樂團的中提琴首席。2024年，她與Steven Tenenbom於香港演藝學院弦樂室內音樂節的開幕音樂會中同台演出。自2022年起，她亦持續擔任香港演藝學院交響樂團的中提琴首席。 在學期間，黃氏獲得多項獎學金，包括劉元生先生與夫人獎學金、香港演藝學院獎學金及黃維明紀念獎學金等。目前她以自由身音樂家身份活躍於樂壇，積極與多個樂團合作，包括香港小交響樂團、澳門樂團及繼心交響樂團等。

香江華采 2.0 於 2006 年首次舉辦的《香江華采》計畫，獲得各界的踴躍支持和讚譽！徇眾要 求，香港中樂團與香港作曲家聯會再次合作，於 2024 年推出《香江華采 2.0》。 橫跨兩年的《香江華采 2.0》包括採風及新作品徵集 。 香港中樂團與香港作曲家聯會再度攜手合作「香江華采2.0」，以音樂訴說香港故事，讓中樂成為這座城市最怡人的聲音。除了公開徵集作品外，音樂會更特別邀請三位本地作曲家—陳永華、黃學揚及許翔威，創作全新樂章。不同世代的作曲家聚首一堂，以音符交流、以旋律對話，透過他們的筆觸描繪時代脈搏，呈現多元而鮮活的城市風貌。 *是次徵稿只接受持有有效香港居民身分證之人士報名 了解更多 Candenzas of Hong Kong 2.0 Concert 2026 The Result of selected works 2026 : 《燈火》凌君亮 曲 《驚蟄》梁俊灝 曲 《司晨》黃子維 曲 Commissioned Works by Invitation 2025 : 《鳳凰湼槃 》陳永華曲（香港中樂團委作/世界首演） 《沁香港灣風 》許翔威曲（香港中樂團委作/世界首演） 《花影春語》黃學揚曲（香港中樂團委作/世界首演） Candenzas of Hong Kong 2.0 Concert 2025 The Result of selected works 2025 : 《昇華水影》沈耀忠 曲 《掛亮子》錢璟 曲 民族管弦序曲《繁花春華》黃子維 曲 Commissioned Works by Invitation 2025 : 《歲月印記–獅子山》陳能濟曲（香港中樂團委作/世界首演） 《天梯風色》麥偉鑄曲（香港中樂團委作/世界首演） 《邊壯守望》陳錦標曲（香港中樂團委作/世界首演） 香港中樂團及香港作曲家聯會合辦的「香江華采2.0」， 作曲家們在采風過程中，觀自然，察人文，將自己的審美體悟、藝術直覺譜作樂曲，實為「妙悟」。 如今香港中樂團將此「妙悟」化作聽覺盛宴與眾同享，邀一眾知音人於樂中悠遊神州。音起音落，從城市空間轉去郊野公園，聽衆聲喧嘩，也聼萬物生長。轉軸撥弦間，看盡都市繁華，縱情山水之姿，品人間烟火，亦賞留白意蘊。 正所謂「觀宇宙之大，察品類之盛，極視聽之娛」 香江華采2.0 2025年3月13日（六）下午5:00 香港理工大學賽馬會綜藝館 $380, $300, $250, $200 指揮：閻惠昌 節目：https://bit.ly/4ijFKoT 合辦：香港作曲家聯會 協辦：香港理工大學 支持機構： 香港中文大學音樂系 香港作曲家及作詞家協會 香港教育大學文化與創意藝術學系 香港浸會大學音樂學院 香港理工大學 香港演藝學院音樂學院作曲及電子音樂系 (按筆劃序) 香江華采2.0_2026 poster 香江華采2.0_2026 poster 1/1 1/19 廣西採風之旅 香港作曲家聯會早於一月六日至一月九日攜同聯會理事及會員，前往中國廣西省南寧市進行音樂一連串活動交流。 是次活動由香港作曲家聯會與香港中樂團合辦，乘坐高鐵前往中國廣西，進行交流活動。 活動包括傳統民俗的采風活動、中國壯族嘹歌及民歌、天琴音樂等。 期待來年為會員爭取更多趣味與意義並重的活動！

琴緣飛渡 2019 《琴緣飛渡》音樂會是由香港作曲家聯會、香港中文大學崇基學院和香港電台第四台聯合策劃。我們即將欣賞到香港作曲家聯會的作曲家與及崇基學院音樂系的同學，透過香港《凝音樂坊》的中樂演奏家結合一支長笛和色士風的音樂創作。 演出日期和時間： 2019年3月8日（星期五）晚上8點 演出場地： 香港電台一號錄播室 音樂會監製： 陳啟揚博士／李德芬 演奏者： 陳子俊（長笛） 華智誠（色士風） 凝音樂坊 黃翎欣（琵琶） 馬詩恩（揚琴） 林玲玲（柳琴、大阮） 吳棨熙（中阮、大阮） 劉惠欣（古箏） 節目： 梁柏希 - 湖山影未圓* 林俊熹 - 森夜之鬱* 洪銘健 - 時之砂 鄭靖楠 - 淨 黃俊諱 - 秋葉 麥偉鑄 - 花飛花非 *委約作品

音樂沙龍 II 日期與時間 : 2024年5月4日 (六) ｜晚上8時 網上音樂會 : https://youtu.be/XByauESEABk 演出團體 : Mivos Quartet 節目 : Kiko Shao｜Capriccio of Cantonese Shadows 黎渺揚｜吐露之水 陳展霆｜行馬 楊凱晴｜耳色流 陳明志｜風雨中抱緊自由 Matthew Lam｜Invocation 節目場刊 :

聲影集 2016：香港景觀（作曲家簡介） 聲影集 2016：聲動香港 Concert 音樂會 Composers' Biography 作曲家簡介 Composers' Sharing 作曲家分享 Boo Chun-kit 布俊傑 Chan Chin-ting 陳展霆 Chan Ho-yi 陳浩貽 Chan Kai-young 陳啟揚 Chris Hung 洪銘健 Kwok Tsun-huen 郭雋晅 Lam Lai 林儷 Lau Hiu-kong 劉曉江 Livia Lin 凌崎偵 Lun Wai-kit 倫偉傑 Shao Litang 邵麗棠 Shuen Lai-yin 孫禮賢 So Ho-chi 蘇浩慈 So Ka-wai 蘇家威 Tam Ka-shu 譚家樹 Joyce Tang 鄧慧中 Wong Chun-wai 黃俊諱 Wyman Wat 屈雅汶 Yau May-kay 邱美琪 Austin Yip 葉浩堃 Composers' Biography 作曲家簡介 Boo Chun-kit 布俊傑 Born in Hong Kong, Boo Chun Kit started learning the piano at his young age, while began to compose in secondary school. Boo is currently studying in the Bachelor of Music with major in composition at The Hong Kong Academy for Performing Arts. In 2013, his work Gather Instant was performed in the SOUND- IMAGination: Hong Kong One Moment Concert. In 2014, his work Iridescent Clouds for string quartet was selected to perform in the New Generation 2014 Concert. He is also keen on multimedia production, and exploring music through different presentations and perspectives. Chan Chin-ting 陳展霆 Composer Chin Ting (Patrick) CHAN (b. 1986) has held faculty positions at the University of Missouri–Kansas City and Kansas City Kansas Community College. His music has been featured throughout the North and South Americas, Europe and Asia; at festivals such as the International Computer Music Conference, the International Rostrum of Composers, IRCAM’s ManiFeste, June in Buffalo and the Wellesley Composers Conference, among many others. His works are published with the ABLAZE Records, Darling’s Acoustical Delight, Melos Music, Music from SEAMUS, Navona Records/PARMA Recordings, the SCI Journal of Music Scores and Unfolding Music Publishing (ASCAP). Chan Ho-yi David 陳浩貽 David Ho-Yi Chan is a young composer, conductor and organist born in Hong Kong. His paper and compositions had been presented in various international academic occasions, including 2nd Chinese Composers’ Conference (2013), International Society of Contemporary Music (ISCM) World Music Days (2014) and Asian Composer League Festival & Conference (2015). With the support from CASH Music Fund and Jebsen & Co. Choral Arts Youth Scholarship, Chan is currently pursuing master of composition at the Royal College of Music under the tutelage of Joseph Horovitz. He is also serving as the Director of Music at John Keble Church in London. Chan Kai-young 陳啟揚 A Benjamin Franklin Doctoral Fellow at the University of Pennsylvania, Kai-Young Chan’s music is performed across the continents by leading ensembles such as Pittsburgh Symphony Orchestra, Curtis Symphony Orchestra, Daedalus Quartet, International Ensemble Modern Academy, and Hong Kong New Ensemble. He was featured in ISCM World Music Days (Slovenia in 2015, Belgium in 2012), Havana Contemporary Music Festival (Cuba), International Forum of New Music (Mexico), Chinese Composers’ Festival (Hong Kong), Darmstadt Ferienkurse(Germany), Risuonanze Festival(Italy), and International Rostrum of Composers(Helsinki). His music is published by Editions Peters and recorded on Ablaze Records and PARMA Recordings. Please visit http://www.chankaiyoung.com for more information. Chris Hung 洪銘健 Chris Hung’s music has been performed in many countries and he has collaborated with various ensembles and orchestras around the world. Hung has participated many international music festivals, such as ISCM World Music Days and 45th Darmstadt Summer Course for New Music etc. Accolades include Finalists in 2015 and 2011 SCO Chinese Orchestral Composition, 2014 Sibelius Composition Competition, "Florence String Quartet Call For Scores" Composition Competition and First Prize in “Sofia 2013” International Composition Competition etc. Dr. Hung’s scores are published by French publisher Babelscores. Currently Dr. Hung serves as one of the Directors of the Hong Kong Composers’ Guild. Homepage: http://chris-hung.com Kwok Tsun-huen 郭雋晅 Kwok Tsun Huen, Corvus, graduated from the Hong Kong Baptist University with a Bachelor of music composition and a Master of Conducting. His major composition teachers included Dr. Christopher J. Keyes and Dr. Joyce W. C. Tang. After finishing the study in the University, Corvus went to the Shanghai Music Conservatory to have further studies on Violin Making. Ever since primary school, Corvus started learning to play the violin, then shortly after, the piano, the guitar and also the Guzheng. He even built an electric guitar to try to understand the instrument as a technical device. He is the Foley artist of the film <26 Happiness Road>, and also the Music director of several dramas and musicals, including , , and . His works were selected in the New Generation Composition Competition 2012-2014 and was being performed by several ensembles and being broadcast on RTHK. In 2015, his work is being performed in USA. Lam Lai 林儷 Lam Lai was born in Hong Kong. She studied music composition in The Hong Kong Academy for Performing Arts and the Royal Conservatory in The Hague. Her compositions are performed in public around globe include orchestral, ensemble, electronic and interdisciplinary works. As a composer, she tends to create new hybrids of media and exploring sounds experience in music. She has focused on combining conventional performance practices with other forms of art such as electronic sound, visual art, film, literature and theatre. Currently, she is working with the music-theatre company de Veenfabriek for the performance RAARRR and touring around the Netherlands. Lau Hiu-kong 劉曉江 Lau Hiu Kong, Lawrence is currently pursuing a Bachelor of Music, major in composition at The Hong Kong Academy for Performing Arts. Lau is active on promoting his music. His piano trio, Thorns, was performed on the concert of 32nd Asian Composers League Conference & Festival in Japan. Last year, His works, Cicada’s cry for Pipa, Sheng, Woodwind Quintet and Xiao for four Clarinets were performed in Beijing and Italy respectively. As a student composer, Lau has written for not only chamber music but also theatre, where he explores various concepts and languages. He has participated in several theatre productions, including Claustrophobic Space and Post-Guangxi. Livia Lin 凌崎偵 Livia Lin is the 2011 recipient of the Saint Botolph Club Foundation Emerging Artist Award. A Berklee College of Music graduate double majoring in Music Production & Engineering and Film Scoring, Lin was awarded scholarship to study composition at Tufts University where she received her MA. She has presented her compositions at the Asian Composers’ League Festivals and the Festival of Women in Arts, to name a few. Active in classical music productions, Lin has been credited as audio engineer in albums of composer Arthur Levering, Bang on a Can bassist Robert Black, and the Blue Heron Renaissance Choir. Lin also holds an LRSM (distinction) in piano performance. Lun Wai-kit 倫偉傑 EDWARD LUN, a music free-lancer graduated from the Hong Kong Institute of Education with Bachelor of Education (Secondary), studied composition with Dr. LAI SHEUNG-PING. He is now working as a composer, arranger, producer, etc., and had co-operated with music organizations and artists such as Chan Fai-young and Hilarious Productions Limited, etc. He is now a member of Composers and Authors Society of Hong Kong, Hong Kong Composers’ Guild, musician in Hong Kong Chamber Wind Philharmonia, and teaching brass and band/orchestra in several schools. Shao Litang 邵麗棠 Shao Litang is currently a Doctor of Philosophy candidate at the University of Hong Kong under the supervision of Dr. Joshua Chan. She received her Master of Music degree majoring composition at the Hong Kong Academy for Performing Arts. Shao’s Chinese ensemble work Four Pieces of Chinese Calligraphy for Dizi, Soprano sheng, Pipa, Yangqin and Erhu was shortlisted in the score submission of “Music form the Heart” held by the Hong Kong Chinese Orchestra(HKCO) and was performed by HKCO in the concert. This piece also received the third prize of the 7th Con Tempo Chinese New Chamber Music Composition Competition presented by the Central Conservatory of Music. Shuen Lai-yin 孫禮賢 Shuen Lai Yin is currently studying in The Hong Kong Academy for Performing Arts, with major in composition and electronic music. His compositions range from Western and Chinese instrumental chamber music, live electronics and choral music. His choral compositions “The Turns of Life”, “Goodbye Again, Cambridge” and “Deer Enclosure” are premiered by The Greeners’ Sound. Also, Shuen’s instrumental music has been performed by various music groups as Hong Kong New Music Ensemble, Jenga Percussion Ensemble, Romer String Quartet. Recently, his piece “Rainscape” is selected and premiered in the Asian Composers League 2015. So Ho-chi 蘇浩慈 So Ho Chi is a composition and electronic music student who is now studying in Hong Kong Academy for Performing Arts, under the teaching of Dr. Tang Lok Yin, in which he has presented various acoustic instrumental and vocal chamber and electronics works. So Ka-wai 蘇家威 SO Ka-wai obtained both his undergraduate and M.Phil degree at Hong Kong Baptist University, majoring music composition under the supervision of Prof. Christopher Keyes and Dr. Christopher Coleman. His works have been premiered local and overseas, including ACL Conference and Festival (Taipei in 2011, Manila in 2015), Yogyakarta Contemporary Music Festival (Indonesia), the XVI World Saxophone Congress (Scotland) and Kagoshima Asian Youth Arts Festival (Japan). Moreover, his works were selected as set pieces frequently in the Hong Kong Schools Music Festival. Tam Ka-shu 譚家樹 Ka-Shu Tam (b.1991) draws most of his inspiration from daily conversations. His interest in the human nature and the universe deeply influences his music perceptions. Tam's works have been performed across the world, and have also received radio broadcasts. He also earned commissions, including a commission by Hong Kong Education Bureau. Tam completed his Bachelor of Art in Hong Kong Baptist University. He earned his Master of Music in the University of Missouri - Kansas City. His major composition teachers include James Mobberley, Zhou Long, Chen Yi, Paul Rudy, Christopher Keyes and Christopher Coleman. Joyce Tang 鄧慧中 Joyce Tang has attracted numerous commissions from performing groups and performers, and many of her works have been performed worldwide. Website: www.joycewctang.com Wong Chun-wai 黃俊諱 Earning his doctorate from the Chinese University of Hong Kong, Wong Chun-wai has a versatile composition profile comprising concert music, musicals and film scores. His compositions are featured worldwide in occasions such as the International Rostrum of Composers, ISCM World Music Days and ACL Festival. His music is performed by professional musicians including the Internationale Ensemble Modern Akademie (IEMA), Hong Kong Philharmonic Orchestra and performers from the New York Philharmonic. His works are recorded on Ablaze Records and published by the Hong Kong Composers’ Guild. For more information, please visit http://www.wongchunwaimusic.com . Wyman Wat 屈雅汶 Wyman received her Master of Music Degree from The Hong Kong Academy for Performing Arts, majoring in composition, under the guidance of Mr. Law Wing-fai and Professor Richard Tsang. A number of her compositions had been presented and performed in Hong Kong and overseas with high praises. Her works Ancient Path (2006) and Animated Timeframes (2007) were performed and broadcasted by RTHK Radio 4. Her works Stone Tones (2008), The Man of Dust (2010), Ripples On… (2010), Prelude of Celebration (2011) and Somewhere in a City (2011) were commissioned by the Macao Percussion Association, Hong Kong Wind Kamerata, Parsons Wind Orchestra and HKBDA Band Directors Wind Orchestra respectively. Wyman is also active in promoting contemporary music and creative music making as both a composer and a flutist, collaborating with local and international artists. Yau May-kay 邱美琪 May Kay Yau entered the Hong Kong Academy of Performing Arts at the age of 17. There she was the winner of the Concerto Trial and had her first orchestral piece presented in the concert of the 5th Anniversary of the Establishment of Hong Kong Special Administrative Region. Following that she was awarded a scholarship to pursue a Masters Degree at the Royal Academy of Music in London and completed her PhD study at the University of Bristol. Her compositions have been performed in Asia, North America and Europe. She was awarded Salabert Prix in George Enescu International Competition in Romania, and Aberdeen Music Prize in Scotland. Austin Yip 葉浩堃 Born in Hong Kong, Austin Yip’s works have been performed worldwide, festivals he participated include ISCM, ACL and many more. Yip obtained his PhD and Master of Philosophy (composition) degrees at the University of Hong Kong. He also holds a Bachelor of Arts (Music) degree from the University of California, Berkeley and a FTCL from Trinity College, London. Yip is the holder of James Kitagawa Memorial Music Scholarship, Regents’ and Chancellor’s Scholarship, Henry Holbrook Scholarship, James King Scholarship, Eisner Prize, Milton C. Witzel Memorial Prize, Rayson Huang Scholarship, CASH Best Commissioned Piece Award and the winner of the 1st Singapore Asian Composers Festival. Yip’s works are published by ABRSM (UK), BabelScores (France), Ablaze Records (US/ Australia) and Hong Kong Composers Guild. He is currently a lecturer at the Hong Kong Baptist University. Boo Chun-kit Chan Chin-ting Chan Ho-yi David Chan Kai-young Chris Hung Kwok Tsun-huen Lam Lai Lau Hiu-kong Livia Lin Lun Wai-kit Shao Litang Shuen Lai-yin So Ho-chi So Ka-wai Tam Ka-shu Joyce Tang Wong Chun-wai Wyman Wat Yau May-kay Austin Yip

香港音樂界大灣區文化行 2018

音樂新一代 2017 入圍及得獎名單 Composers 作曲家 Titles 作品名稱 Results 成績 Chan Chi-long Tony 陳志朗 Fearing the Shadow 《杯弓蛇影》 Winner 冠軍 Lai Miu-yeung 黎渺揚 Introduction and Intermezzo 《序奏與間奏曲》 - Lee Ye-won 李睿源 Lifecycle 《Lifecycle》 - Tse Nok-kiu 謝諾翹 The Last Bite of a Plastic Paradise 《最後一噬塑桃源》 - Tsui Mei-ling Meilina 徐美玲 Surrounded by Cosmic Dust 《遨遊宇宙塵中》 1st Runner-up 亞軍 Wong Anson Ying-shun 王應淳 D’URBAN 《D’URBAN》 - Wu Chi-ching Esther 胡旨澄 Sea Scraped 《刮海》 2nd Runner-up 季軍 Yung Sing-nga 翁聲雅 Ripple 《漪》 - 音樂新一代 2017 音樂會 演出日期和時間：2017年6月1日（星期四）晚上8時 演出場地：九龍廣播道30號香港電台一號錄播室 演出嘉賓： 梁志承（單簧管） 何珈樺（中提琴） 王翹𦑊 （大提琴） 宋可樟（鋼琴） 委約作品：鄭重《無中生有》 音樂會由香港電台第四台（FM97.6-98.9 兆赫及 www.rthk.hk ）錄音，並於2018年6月16日星期五晚上8時在「第四台音樂會」播出，並在6月21日星期三下午2時重播。

國際現代音樂協會（ISCM）是擁有50多個會員國的國際網絡，旨在推廣及傳播當代音樂。它是首個設立的國際平台以新音樂的發展、傳播及交流為任。每年度的國際現代音樂協會世界音樂日演出來自各個會員國的新音樂作品，展示這個時代音樂創作的多樣性。 國際現代音樂協會世界音樂日 國際現代音樂協會（ISCM）是擁有50多個會員國的國際網絡，旨在推廣及傳播當代音樂。它是首個設立的國際平台以新音樂的發展、傳播及交流為任。每年度的國際現代音樂協會世界音樂日演出來自各個會員國的新音樂作品，展示這個時代音樂創作的多樣性。 香港作曲家聯會代表香港作為國際現代音樂協會的會員。 請瀏覽國際現代音樂協會網站 以獲取更多資訊。 被揀選參與音樂日的香港作曲家代表作品： 2022 奧克蘭及基督城．新西蘭 曾葉發－《遠光》 2019 塔林及塔爾圖．愛沙尼亞 陳展霆－"Double Exposure" So Ho-chi－"Radio Conversation" 2018 北京．中國 葉浩堃－《時間馬達》 葉樹堅－《仙景圖》 2017 溫哥華．加拿大 陸尉俊－《舞火龍》 2016 統營市．南韓 陳展霆－"tempora mutantur" 2015 盧布爾雅那．斯洛文尼亞 陳啟揚－《蜃景》 洪銘健－"Vibrant City" 2014 弗羅茨瓦夫．波蘭 陳浩貽－《題都城南莊》 2013 科希策，布拉迪斯拉發（斯洛伐克）．維也納（奧地利 李昌－《即興曲II》 2012 安特衛普．比利時 黃俊諱 － 《戰‧不斷》 陳啟揚 － 《雨霖鈴曲》 2011 薩格勒布．克羅地亞 馮迪倫 － 《清絃三弄》 梁智軒 － 《極‧擊》 2010 悉尼．澳洲 彭振町 － 《在不一樣的空間》 葉浩堃 － 《柬蟲京鳴》 楊嘉輝 － 《建設有中國特式的社會主義》 2009 哥德堡．瑞典 黃學揚 － 《焰》 梁基爵 － "Dot and Block" 張珮珊 － 《龍》 張珮珊 － 《大排檔》 2007 香港，中國 陳慶恩 － " There's Something in the Wind" 陳錦標 － 《電車走過的日子》 陳明志 － 《精．氣．神》 陳偉光 － 《中國歌曲兩首》 張珮珊 － 《水姿幻象》 葉劍豪－ "Momento" 林樂培 － 《謝灶君》 林鈞暉 － 《城市本能》 劉詠浲 － 《學生字》 羅永暉 － 《千章掃》 麥偉鑄 － 《緣在半途間》 莫健兒 － 《彩幻千層》 鄧樂姸 － 《 溶》 鄧文藝 － 《安魂曲—紀念教宗若望保祿二世》 曾葉發 － 《心。動》 Wu Cheuk-nam － "Ayala" 2006 斯圖加特，德國 陳永華 － 《敦煌飛天》 2005 薩格勒布，克羅地亞 葉樹堅 － 《五靈角》 2004 瑞士 鄧文藝 － 《山疊疊，水重重》

CALL FOR SCORES 樂譜徵收 Title: SOUND-IMAGination 2018: Hong Kong Culture Deadline: 2017-10-15 Entry Fee: Nil Info link: Nil Supporting Document: download SOUND-IMAGination: Hong Kong Culture Call-for-proposals The concert will showcase 12 newly written works for 12 videos matching our theme, of each be 3–4 minutes. We welcome both video makers and composers to submit proposal for (1) video, (2) music, or (3) video and music. We encourage proposals that include collaborative production of video and music as one participating item. Composers are welcomed to work with their own professional videographers. Selected videos will be offered a rental fee, whilst commission for the newly written musical works will only be allocated to members of the Hong Kong Composers’ Guild only. Details are as follows: Each applicant can submit one proposal only. Each proposal may indicate the priority of interest in categories (1) video production only, (2) writing music only, and/or (3) collaborative production of video and music (possible to have more than 1 person in one proposal). The duration of each work should be between 3-4 minutes. Videos should be muted, with format preferably in mp4, 1920 x 1080 resolution, H.264 codec, and 25fps. Musical works can be written for solo, duet, trio, or quartet, within the instrumentation of one violin, one viola, one cello, and one piano, with or without tape. To be confirmed with individual successful applicant. The duration of work should be intimately fit with the video, which is about 3-4 minutes. There will be no conductor at the concert. Please make sure that the score is notated clearly, and all the instrumental techniques are practical enough for the performers. Composers, from category (2) and (3), must be member of the Hong Kong Composers’ Guild. Each selected video-only proposal will lead to an offer of HKD2,000 to the video-maker as video rental fee. Each selected composer, under the music-only category, will be offered a commission fee of HKD2,500 for the newly written musical work. Each collaborative video-and-music production will be offered a total of HKD4,500 as project commission. The videos and the musical works should not contain indecent or offensive messages. The videos should pass the criteria under the Film Censorship Guideline by the OFNAA. Participating members must be either the copyright holders of the videos or they must have been granted permission to use the videos. The Guild is not responsible for any legal or financial matters arising from the use of the videos. Proposal shall be submitted with the attached application form and be sent via email to grace@hkcg.org by 15 October 2017. The email should contain the name of applicant(s) of the video-maker and/or the composer while the application form must be anonymous and the files should be marked with the title only. Registration and proposal Applicants who wish to be considered for this project should: For category (1) and (3): Prepare a sample of video of at least 20 seconds to show the concept of proposing production. For category (2) and (3): Send a recent chamber work (in PDF format) that involves at least two of the above instruments, and any optional recording (in mp3 format). Submission deadline: 15 October 2017 Announcement of results Selected applicants will be notified by the end of October 2017. Event schedule 15 October - Deadline of proposal submission Before November - Announcement of selected video-makers and composers 7 January - Submission of video works Early-January (2018) - Composers receive videos, endorsed after Film Censorship by OFNAA 23 March - Submission of musical works 25 April - SOUND-IMAGination Concert Back

支持本會 香港作曲家聯會是本地嚴肅音樂作曲家為培育及推介新音樂創作及欣賞而成立的非牟利組織。除了定期舉辦新作品音樂會、作曲比賽、研習班、講座展覽、委約創作、出版樂譜及唱片錄音之外，香港作曲家聯會更致力提高大眾、特別是青年人對作曲的興趣，並定期指派作曲家到學校培訓下一代創作人材，矢志在本港推動音樂這重要創意藝術在各方面的發展。 您的捐款支持對本會的發展十分重要。詳情請致電2877 3982或電郵至info@hkcg.org 與本會聯絡。