吳晉碩

吳晉碩，生於高雄，先後畢業於高雄中學、國立臺北藝術大學音樂系，師事黃惠鈴、李思嫻、蕭慶瑜、洪崇焜、楊聰賢、馬定一教授，現就讀Brandeis University主修理論與作曲，師事張玉慧教授。在學期間，作品受Transient Canvas、Lydian String Quartet、Beo String Quartet、Loadbang、Sound Icon等團體演奏。此外，作品於Takefu International New Music Festival、Wintergreen Summer Music Festival、Charlotte New Music Festival、三校聯合音樂會、擊樂之夜、關渡新聲音樂會等演出。除了在校學習，並獲Brian Bondari、細川俊夫、Isabel Mundry、Daron Hagen、David Dzubay、Christopher Biggs、Mara Gibson、Kyong Mee Choi等作曲家指導。

Chin-Shuo Wu

Taiwanese composer Chin-Shuo Wu (b.1993) diversely delineates musical aspects through miscellaneous materials and creative notions in acoustic music. His works often involve the various domain such as arts, literatures, physical and psychological phenomenon.

Chin-Shuo was the recipient of awards from Taiwan National Music Competition. Furthermore, he has collaborated with renowned musicians and ensembles in Taiwan and United States, including Transient Canvas, Lydian String Quartet, Beo String Quartet, Loadbang, Sound Icon and TNUA Percussion Ensemble. His compositions, additionally, have been performed at numerous festivals and concerts such as Charlotte New Music Festival, Takefu International Music Festival, Wintergreen Summer Music Festival, Taipei Intercollegiate Student Composers Concert, TNUA Percussion Ensemble Concert, TNUA Emerging Young Artists Concert, and so on.

Obtaining Merit-Based and Need-Based Scholarship, Chin-Shuo is currently perusing MFA in music composition and theory at Brandeis University. His principal instructor is Prof. Yu-Hui Chang. Prior to the graduate studies in the United States, he earned BM in music composition and theory at Taipei National University of the Arts, under the tutelage of Prof. Chung-Kun Hung, Tsung-Hsien Yang and Ting-Yi Ma. In addition to learning at school, he has also participated in master classes and private lessons with Brian Bondari, Toshio Hosokawa, Isabel Mundry, Daron Hagen, David Dzubay, Christopher Biggs, Mara Gibson, Kyong Mee Choi, and so forth.

《結構．解構》

《結構．解構》，啟發於荷蘭畫家－皮特．蒙德里安（Piet Cornelies Mondrian）於巴黎時期的系列畫作《樹》。此時期畫風受畢卡索和布拉克等立體派的作品影響，並加入自身印象派畫風進而創作。儘管樹木的姿態略為抽象，仍可清晰辨識其形狀。此外，在畫中仍可見些微色塊，這些色塊不僅使樹木富有生命力，更描繪其自然性。

此曲透過不同音樂素材，完整描摹畫作。樂曲架構，藉由中心音向外擴散，從下至上，完整呈現樹木的結構；片段的織體，描述樹幹及樹枝之粗細；音高素材以五度與泛音列堆疊，創造不同和聲聲響，再藉由器樂音色變化與力度，顯現畫中的色塊之明亮度。

對於畫家而言，此時期畫作雖為全新面貌，卻融入原有畫風。對我而言，此曲風格雖有別於先前之作品，仍保有自身音樂語言。經過不斷建築及拆解，置入觀察畫作之思想及情感，創作出嶄新作品。

Construction．Deconstruction

Construction．Deconstruction is based by the series of still-life paintings “Tree”, which were painted by Dutch artist Piet Cornelies Mondrian (1872-1944). While in Paris, the influence of the Cubist style of Pablo Picasso (1881-1973) and Georges Braque (1882-1963) apparently appeared in Mondrian's work. Affected by two fabulous painters, he still obtained the impressionism style. Take the paintings, “Tree”, for instance, even though the gesture of trees is slightly abstract, its shape is able to be recognized. Additionally, the colored patches naturally embellish the vitality of the trees. These two features demonstrate Mondrian was not totally being involved in the Cubist style.

In this piece, I try to utilize different musical materials to delineate the paintings. The trees, from up to down, are structurally presented through one note that gradually diffuses; the textural fragmentations attentively depict the thickness of trunk and branches; overlapping intervals of perfect fifth, harmonic series, dynamics and timbral changes of instruments completely limn the brightness of colored patches.

As Mondrian’s experiences in Paris, the style of this piece is quite distinguished from my previous pieces. Passing through the observations of these paintings, this piece is integrated not only individual emotion and thinking but personally musical language.