張凱喻 Kai-Yu CHANG

張凱喻，1998年生於臺中，畢業於臺南藝術大學中國音樂學系七年一貫制，現就讀東吳大學音樂系碩士班，主修作曲，師事嚴福榮教授，曾受李沛憶老師指導。創作領域涵蓋國樂、室內樂與管弦樂，風格融合臺灣傳統音樂語彙與當代作曲技法，並著重音色與結構的探索。大學期間主修二胡，師事林心智、蔣明坤、高揚、陳婷怡等老師，副修鋼琴，師事陳怡君老師。作品曾於多場校際交流音樂會中發表，包括鋼琴小品《鴞》《蝸牛》《蚊子》（2020）、《死寂》（2023）與《第一號弦樂四重奏》（2024）。近年創作受多方委託，作品包括《癲狂》（2024）、《光隙絮語》（2025），及心籟絲竹樂團委託之《殘花夜雨》（2025）。

Kai-Yu CHANG (b. 1998, Taichung) is a composer currently pursuing a master’s degree in composition at Soochow University, studying under Prof. Fuk-Wing YIM, and previously guided by Pei-Yi LI. He graduated from the seven-year program of the Department of Chinese Music at Tainan National University of the Arts. His works span Chinese instrumental music, chamber music, and orchestral genres, often integrating Taiwanese traditional musical elements with contemporary compositional techniques, with particular focus on timbre and structural exploration. During his undergraduate studies, he majored in erhu with Hsin-Chih LIN, Ming-Kun CHIANG, Yang KAO, and Ting-Yi CHEN, and minored in piano under Yi-Chun CHEN. His music has been featured in multiple intercollegiate concerts, including the piano miniatures Owl, Snail, and Mosquito (2020), Silence (2023), and String Quartet No. 1 (2024). In recent years, he has received several commissions, such as Madness (2024), Whispers of Light (2025), and Fallen Blossoms in the Night Rain (2025), commissioned by the Xin-lai Chinese Music Ensemble.

【參賽作品】《台灣風俗：魂祭》Taiwanese Customs: Soul Rites

   《台灣風俗：魂祭》以臺灣民俗中的「鬼月」為創作發想。自農曆七月初一至三十，人們祭拜孤魂野鬼、舉行普渡法會與諸多儀式。本曲以非敘事性的方式，透過四個段落展現鬼月的意象：〈地府〉、〈亡魂〉、〈祭祀〉、〈慶贊〉，並以北管曲牌《風入松－上管》作為核心素材，在全曲中拆解、變化與重組。

〈地府〉以深沈、神秘而壯闊的聲響描繪陰間景象，之後插入一段《風入松－上管》旋律作為過渡。〈亡魂〉象徵鬼門開後眾鬼湧入人間的畫面，氛圍略帶俏皮，並以旋律素材的變奏推展音樂。〈祭祀〉轉為人們對亡魂的敬意與哀弔，以同一旋律素材呈現由節奏性快板轉為線性慢板的對比，並以北管樂段銜接。〈慶贊〉則刻畫中元節的熱鬧場景，以歡快、節慶般的音樂結構呈現，在五聲音階與自由融入的素材中營造普渡與慶豐的氛圍，末段再度喚起開篇意象，象徵鬼門關閉、儀式結束。

Taiwanese Customs: Soul Rites draws inspiration from the Taiwanese folk tradition of the “Ghost Month,” observed from the first to the thirtieth day of the seventh lunar month. During this period, rituals and offerings are made to wandering spirits. Rather than following a narrative, the piece presents four musical images of Ghost Month—Underworld, Departed Souls, Ritual Offering, and Celebration—all derived from the Beiguan tune Feng Ru Song – Upper Part, which is continuously deconstructed, transformed, and reassembled throughout the work.

Underworld depicts the mysterious, solemn, and monumental atmosphere of the netherworld, followed by a transitional statement of the original Feng Ru Song melody. Departed Souls represents the moment when the gates of the underworld open and spirits surge into the human realm. The music adopts a slightly playful character, expanding through variations of the melodic materials. Ritual Offering shifts toward reverence and mourning for the departed, using the same melodic source but transforming its texture from a rhythmic allegro to a slower, linear motion, bridged by a Beiguan instrumental passage. Celebration portrays the festive aspects of the Ghost Festival—communal offerings, prayers for peace, and the spirit of harvest. Its lively, dance-like music incorporates pentatonic sonorities and freely interwoven motifs. The ending recalls the opening materials, symbolizing the closing of the ghost gates and the conclusion of the rites.

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