趙立瑋 Li-Wei CHAO

趙立瑋近年來作品多嘗試將東方的作曲語彙以西方之作曲技術來進行實踐，並透過樂音與噪音之聯繫手法，作為自身之創作理念。

曾榮獲第三十二屆東京曲盟音樂節青年作曲首獎以及TMC國際作曲大賽優選，並入選世界各地音樂節：包括2025川崎曲盟音樂節、2022衛武營國際音樂節、2017 TIFA國際藝術節、臺北現代音樂節（2024、2023、2016及2012）、2016英國愛丁堡藝穗節、2015年菲律賓曲盟音樂節、2014年ISCM波蘭音樂節、東京曲盟音樂節、2013年新加坡曲盟音樂節以及2012年臺北現代音樂節和國際電腦音樂研討會聲音藝廊等。

趙立瑋為國立臺北藝術大學作曲博士，國立交通大學音樂研究所碩士，作曲曾師事馬定一、李子聲、江易錚、王思雅及黃思瑜教授。自2011年起加入成為亞洲作曲家聯盟暨中華民國作曲家協會，以及國際現代音樂協會臺灣分會會員。並於2016年獲選臺灣傳統藝術中心人才培育庫之作曲家。  

Born in Kaohsiung, Taiwan, CHAO received his M. F. A. at the Graduate School of music at the Taiwan Chiao-Tung National University (2010-2013), and D. M. A. at the Taipei National University of Arts (2015-2022) in composition. CHAO has been an active member of the Asian Composers' League National Committee (ACL), Taiwan division, and the International Society of Contemporary Music (ISCM), Taiwan division since 2010.

Since 2010, he has received several prizes, including 1st Prize of Asian Composers League Young Composers Awards (Yokohama, 2014), Excellent work of National Taiwan Symphony Orchestra Composition (2013), TMC National Composer Competition Preferred piece (2012) and some other prizes in Taiwan. His works were also performed at several festivals, including International Society for Contemporary Music Festival (Wroclaw, 2014), the 31st, 32nd, 33rd, 37th Asian Composers League Conference and Festival (Kawasaki 2025, Philippines 2015, Yokohama 2014 & Singapore 2013), Edinburgh Festival Fringe (2016 Scotland), Taipei International New Music Festival (Taipei 2024, 2023, 2016 and 2012), Taiwan International Festival of Art (Taipei, 2017), Weiwuying International Music Festival (Kaohsiung, 2022) and International Computer Music Workshop Sound Gallery (Hsinchu 2012).  

【參賽作品】古老的旋律 Ancient Melody

本曲靈感源自南管音樂的意象，並以此作為創作的核心概念。透過中西樂器各自鮮明的特性，展現出預想中的旋律意象。整首作品運用陌生樂器的不協和聲響，象徵性地描繪出多條旋律線的交織與變化。隨著樂曲的推進與起伏，音高逐漸在泛音與陌生音色中浮現，最終展現出完整的旋律輪廓與整體結構。

作曲家刻意設計在樂曲大段落之間的音色轉換，期望觀眾能感受到聲音質感的變化。透過泛音、噪音與實音之間的連結，邀請聽眾一同感受聲響的多彩層次，並進入作曲家所欲傳達的聲音敘事之中。

This piece draws inspiration from the imagery of Nanguan melodies, using it as the core idea for the composition. Through the distinct characteristics of both Chinese and Western instruments, the intended melodic imagery is expressed. The entire composition uses the dissonant sounds of unfamiliar instruments to represent different melodic lines metaphorically. As the music develops and fluctuates, the pitch gradually emerges through harmonics and unfamiliar tones, ultimately bringing out the full melody of the piece, and showcasing the overall structure of the melody. The composer intentionally wants the audience to notice the shifts in timbre between the larger sections. Through the connections between overtone, noise, and real tones, the audience is invited to experience the diverse colors of sound and the underlying sonic narrative that the composer seeks to convey.

2025.12