陳以軒
Yi-Hsien Chen

    陳以軒，臺灣青年作曲家。先後畢業於國立臺北藝術大學及國立臺灣師範大學，作曲師事潘世姬教授、李和莆教授。2016年獲加州大學聖地牙哥分校五年全額獎學金，專攻作曲博士，先後師從Katharina Rosenberger、Roger Reynolds、Chinary Ung，現與Lei Liang學習。

    近年積極參與各界音樂活動，如2018年，弦樂四重奏《傾瞬之境》獲選美國「六月的水牛城」(June in Buffalo)音樂節首演作品；2019年獲美國“庫普蘭之家”(Aaron Copland Houses) “What's the Score?"委託創作獎；同年，以聲景及南管研究計畫獲得教育部兩年留學獎學金。作品中，深受古琴與南管之多維度聲響的影響，力圖在單一旋律探索音色與聲響空間的多層次性，整合噪音、音色偏離等素材於織度表情中。

   Yi-Hsien Chen is a Taiwanese composer. He studied with Prof. Shyhji Pan-Chew and Wen-Pin Hope Lee and received degrees from Taipei National University of the Arts and National Taiwan Normal University. In 2016, he begins to pursue Ph.D. with major in music theory and composition at UC San Diego where Lei Liang is his advisor and committee. He was awarded with full scholarship from UC San Diego for five years. He also studied with Katharina Rosenberger, Roger Reynolds, and Chinary Ung.

   In 2018, his string quartet “Reawakening” was selected to premier at music festival, June in Buffalo. He also received commissioning award, “What’s the Score?” sponsored by the Aaron Copland House to collaborate with the students in University City High School to create a new piece for concert band. In 2019, Chen was awarded two years scholarship provided by the Taiwanese government, Ministry of Education, for his research on the soundscape.

   With his inspiration from the music of Guqin and Nanguan, Chen is interested in exploring the multi-dimensionality of timbre and space in a single melodic line, revealing an expressive texture where various noises and timbral deviation are integrated as an organized whole.

入選2021青年音樂創作競賽作品《望遠聲》Viewing Distant Song

    《望遠聲》受啟發自布農族山歌《背負重物之歌》（Maci Lumah）。領唱人在山裡與族人輪唱，告知在山中工作的各位：「今日工作即將告一段落！」。歌聲穿梭於空間中形成獨特的「支聲異音」織度。每個聲部的音色亦受到演唱者所處位置的影響，忽遠忽近、忽快忽慢，單一旋律線條實際體現了多層次的空間變化與色彩交疊。某日，筆者於山中遠處偶然聽見此曲，在尋找遠處歌聲時驚見山林的壯觀，此時歌聲產生的空間感與視覺體驗交疊，激發以聲望景、由景尋聲的想像。

作品以《背負重物之歌》的基本素材——和聲、音色、節奏及空間的不同面相展開，並於每個段落相互觀照，如從和聲建構音色，再從音色特性引出節奏動態，最後讓素材變化於樂器群中輪轉聚離，試圖形成空間感。

    Viewing Distant Song is inspired by Maci Lumah (Song of Carrying Heavy Things), a famous tune by Taiwanese Bunun. This music is sung when the daily work is almost finished. A leader usually starts with a bright melodic line to echo with other Bununese, telling everyone that: “It’s time to go home!” The beautiful sound of voices traveling around the space becomes a unique texture of heterophony. Each voice has different a color in terms of the space where the singer locates. Sometimes they are close and fast; other times they are far and slow. It is the single melody that speaks rich layering of timbre and transformation of space. One day, I happened to hear this song far from the mountain. As I tried to find where it came from, I was surprised by the spectacular sight of mountain. It was the moment I discovered that my perception of sound and vision are blending together, forming an imagination that we see the landscape through sound; and hear the sound through landscape.

        The whole piece is based on the materials of Maci Lumah, such as harmony, timbre, rhythm, and space. Each material is structurally interrelated: The timbre is constructed from the harmonic component; and we seek the rhythmic pulsations from timbre. As all the materials constantly move, gather, and disperse within instrumental groups, we perceive a sense of spatial movement.