趙繼群 Chi-Chun Chao

    趙繼群，1999年出生於高雄市，自幼習琴，並於就讀國立新竹高中普通班時開始學習作曲，師從邱浩源老師。隨後進入國立清華大學音樂學系，主修理論作曲，並在周久渝教授指導下深入研究音樂創作與理論。同時，雙主修化學工程學系。在校時曾參與國立清華大學簡介影片製作、清華「音樂+X」招生。畢業時，獲得「梅貽琦獎」，為清華畢業生最高榮譽。畢業後，進入化學品貿易領域，負責觸媒代理業務。兩年後，決定回到歸校園進修，目前就讀於國立清華大學化學工程學系碩士班一年級。

    Chi-Chun Chao, born in 1999 in Kaohsiung city. He started playing the violin in his childhood, and began to study composing with Hao-Yuan Chiu during the second year in Hsinchu Senior High School. Later, he studied composing with Chiu-Yu Chou and double-majored in chemical engineering in National Tsing Hua University. While in school, he participated in the production of National Tsinghua University’s introduction video and Tsing Hua’s “Music + X” enrollment. Upon graduation, he received the "Dr. Mei-Yi-Chi. Memorial Prize", the highest honor for graduated students at NTHU. After graduation, he entered the chemical trading field and was responsible for the catalyst agency business. Two years later, he decided to return to school for further studies and is currently studying in the first year of the master's program in the Department of Chemical Engineering at NTHU.

【參賽作品】招請 Invocation

《招請》直接呼應賽夏族的矮靈祭音樂中的第一首曲目。祭典第一天，由主祭率領族人，面向東方以歌舞迎接矮人前來，以虔敬的祝禱召請矮靈。這不僅是我對臺灣原住民族音樂遺產的一次創新性詮釋，更是個人文化探索的成果。我希望在這部作品中，保留賽夏族音樂的精髓與特色，同時引入重金屬音樂的強烈節奏和音色對比，增強張力與音樂多樣性。

    樂曲結構部分，我運用馬可夫鏈，對賽夏族音樂的結構進行轉化(馬克夫鏈為狀態空間中經過從一個狀態到另一個狀態的轉換的隨機過程，我用此種方式生成矩陣，並間接生成新的旋律與聲響片段)。此種方式使得音樂中的傳統旋律片段可以隨機變化，產生不可預測的音樂流動。這些轉化手法不僅僅是技術性的操作，更是一種對傳統結構的重塑，即傳統與現代的交織。

    On the first day of the festival, the chief of the SaySiyat leads the tribe to welcome the Ta’ay with songs and dances facing the east, and summoned the Ta’ay with devout blessings. Invocation isn’t just an innovative interpretation of the musical heritage of Taiwan’s indigenous people, but also the result of my personal cultural exploration. In this work, I hope to retain the essence and characteristics of SaySiyat’s music, while introducing the strong rhythm and timbre contrast of heavy metal music to enhance tension and musical diversity.

    For the structure of the music, I used Markov chains to transform the structure of SaySiyat’s music. This method allows traditional melody fragments in music to change randomly, producing unpredictable music flows. These transformation techniques are not only technical operations, but also a reshaping of traditional structures, that is, the interweaving of tradition and modernity.