洪霽新 Chi-Hsin HUNG

洪霽新，2007年出生於臺灣臺中，目前就讀於德國漢諾威音樂、戲劇與媒體學院，主修作曲。師事Gordon Williamson 與 Joachim Heintz。於臺中市立臺中第二高級中等學校就學期間，師事謝宗仁教授及何靜宜老師。

自九歲學習打擊樂與鋼琴。十二歲時在鋼琴啟蒙老師的鼓勵下，向何靜宜老師學習理論作曲六年，並在十五歲時向謝宗仁教授學習作曲、現代音樂與對位法。作曲大師班曾受周久渝教授、Miroslaf Srnka指導。

2024年入選【NSO以樂會客2.0 國際作曲家工作坊】，曾在113學年度全國學生音樂比賽樂曲創作或歌曲創作高中職A組獲得特優第二名，在111及113學年度臺中市學生音樂比賽樂曲創作或歌曲創作高中職A組獲得第一名，2021年第三屆《音為愛》合唱詞曲創作比賽獲得總監特別獎。

Chi-Hsin HUNG, born in 2007 in Taichung, Taiwan, is currently studying composition at the Hochschule für Musik, Theater und Medien Hannover in Germany, under the guidance of Gordon Williamson and Joachim Heintz. He previously studied with Prof. Tsung-Jen Hsieh and Ching-Yi Ho, and has participated in composition masterclasses with Prof. Chiu-Yu Chou and Miroslav Srnka.

He began studying percussion and piano at the age of nine. Encouraged by his first piano teacher, he started learning music theory and composition with Ching-Yi Ho at the age of twelve, and later continued his studies in composition, contemporary music, and counterpoint with Prof. Tsung-Jen Hsieh at fifteen.

In 2024, he was selected for the [NSO X Jörg Widmann X Hakka Affairs Council] International Composer Workshop. He received Second Prize (Excellent) in the Senior High School A Division of the National Student Music Competition (Composition/Songwriting Category) in the 113th academic year, and First Prize in the same category of the Taichung Student Music Competition in both the 111th and 113th academic years. He was also awarded the Artistic Director’s Special Prize at the 3rd Music for Love Choral Composition Competition in 2021.

【參賽作品】《屏》Invisible

    臺灣的存在於世，卻被視為若有似無，彷彿一道無形的屏障覆蓋著。

全曲主要分為三個段落，分別是第一段的衝突與掙扎、第二段的若有似無及第三段的希望。

第一段使用激烈與衝突的音色、音高及極端的音量，控訴著被掩蓋下的無奈與掙扎。

第二段使用如弦樂的泛音與橋後奏、木琴棒尾演奏、管樂的氣音甚至用嘴巴發出氣音等等，以聲音的虛實描繪存在與否的狀態，也在末段暗示第三段會出現的主題。

第三段使用臺灣創作民謠《補破網》，描述這一切過後，即便還有再修補的，但所有這塊島嶼的生命還是充滿希望。此段出現的民謠旋律串在各個聲部與樂器之間，讓音色更加多元，張力也帶入最後的高潮，並且最後全曲在一聲三角鐵中結束。

Taiwan exists in the world, yet is often perceived as if it were almost invisible—shrouded by an intangible barrier.

The piece is structured in three main sections: the conflict and struggle of the first section, the ambiguity of presence in the second, and the hope expressed in the third.

The first section employs intense and confrontational timbres, registers, and extreme dynamics to voice the suppressed frustration and struggle beneath the veil.

The second section uses sonorities such as string harmonics and sul ponticello effects, the reverse end of mallets on the marimba, air sounds in winds, and even breath produced directly by the performers. Through these blurred and delicate textures, it depicts a state oscillating between presence and absence, while subtly foreshadowing the theme of the third section.

The third section incorporates the Taiwanese folk song Mending the Broken Net “póo-phuà-bāng”, portraying that even after all the wounds and repair, the life force of this island remains full of hope. The folk melody appears across different parts and instruments, enriching the timbral diversity and driving the music toward its final climax. The piece concludes with a single note of the triangle.

2025.12