熊仁岳

臺灣臺北市人，畢業於國立臺灣藝術大學中國音樂學系，現就讀於國立臺灣藝術大學中國音樂學系碩士班，主修竹笛演奏，師事呂武恭，並曾受劉貞伶、繆沁琳、孫瑞金、黃智怡老師指導；曾副修鋼琴，師事郭韻玲、鄧純麗；曾學習小提琴，師事謝燕坤；作曲啟蒙與師事鄭建文教授。在學期間曾獲許多演奏獎項，亦參加多場演出，並擔任鋼琴合作於數場演出；並學習音樂創作至今。
其音樂創作藉由自我的情感探索經驗，及細膩的音色音響所形成的音景，鋪陳其意境與戲劇張力。

Jen-Yueh Hsiung

Jen-Yueh Hsiung was born in Taiwan Taipei city. He is studying at the National Taiwan University Of Art, major in Chinese flute with Teacher Wu-Gong Lu. In the past, his Chinese Flute was instructed by Zhen-Ling Liu, Cin-Lin Miu, Riu-Jin Sun, Zhi-Yi Huang, Learning piano from Teacher Yun-Ling Guo, Chun-Li Deng, learning violin with Teacher Yen-Kun Hsieh, studying composition initiate by Professor Chien-Wen Cheng. He won many awards, participated in many performances, serving as a piano accompanist, and study music composition until now. 
He expresses many emotional exploration in his music composition, the soundscape was formed by the delicate sound, paving the artistic concept and drama tension.

《尋光》

管弦樂《尋光》啟發自閱讀英國詩人John keats(1795-1821)的詩作“Bright star”的美感經驗，詩中以星辰意喻永恆，與面對將消逝的愛欲兩相映照，表達有限生命之中迫切的追求與耽美，本作品試圖藉此描寫灰暗之中對星辰之想像與思索的歷程。
由弦樂長音開始，以音色音響為主，並逐漸形成音類集（0, 1, 4）作為音高的選擇來源。擊樂與鋼琴描摹遠星不時閃現，與低頻擊樂兩音一組之姿貫串全曲。中段加入木管線條及弦樂的跳動醞釀不安的躁動，樂團總奏之一致漸強姿態成為局部高潮點的設計，隱喻尋求之堅定與焦慮。末段以音群的翻攪、銅管咆嘯與激動跌宕的長線條，表示思索的白熱化，並進行音域擴展與低頻擊樂融合，進行到較統一的織度，於盛大眩目中結束，喻示將要尋得內心的光芒。

Seeking light

“Seeking light”for orchestral is inspired by the aesthetic experience of reading the poem “Bright Star” by the English poet John Keats (1795-1821). The poem revolves around the poet’s admiration for the eternal stars in comparison with the vanishing love, to express the eager pursuit in one’s short life. This piece is dedicated to the imagination of stars and the journey of thought in the dark.
Starting with a long string note, the tone combines to gradually form the Pitch-Set (0, 1, 4) as the source of the pitch. The percussion and piano are used to depict the flashes of the distant stars, which are accompanied by the two-tone groups of the low percussion note throughout the whole piece. In the middle section, woodwinds are added into the intensifying string notes to create the sense of uneasiness, which is enhanced even more by the orchestral tutti to bring about the local climax as a metaphor for firmness and anxiety during the quest. At the end, the shifting notes, thundering brass, and the excitement and up and down of the long melody indicate the contemplation has reached the critical point. Meanwhile, the range is extended and joined with the low percussion notes to form a unified texture and end in the grand dazzling, implying the inner light will eventually be found.