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」招生等。畢業時，獲得「梅貽琦獎」，為清華畢業生最高榮譽。目前就讀於國立清華大學化學工程學系碩士班二年級。同時持續從事音樂創作與校園合作計畫，為清華大學114年校慶〈清華與我〉創作歌曲並擔任校歌改編與編曲工作，亦擔任USR計畫《TNUNAN泰雅歌劇音樂會》及跨域音樂劇《明日之夢》、月涵文學獎得獎詩詞作曲與編曲等。

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.

He is currently studying in Chemical Engineering at NTHU as a graduate student. Alongside his research, he continues to engage in music composition and cross-disciplinary collaborations within the university. He composed the theme song for NTHU’s 114th anniversary--NTHU & I, arranged and orchestrated the university’s alma mater. He also composed and arranged for the USR project TNUNAN Opera Concert, the interdisciplinary musical Dreams of Tomorrow, and art songs based on award-winning poems from the Yuehan Literary Prize.

【參賽作品】《雨霖鈴·上片》 While the Rain Remains

  《雨霖鈴·上片》源於我對柳永《雨霖鈴》的長久感受與沉潛。吸引我的並非離別哀愁，而是身處廣闊環境中心緒隨時空浮沉的狀態。作品自詞意出發，由景入心、由聲通念，探問個體意識在浩瀚音響中如何生成、漂移、聚焦與回返。小提琴獨奏象徵心念的聚焦，時隱時現，或融於氛圍，或瞬然明亮，循環於牽引與化散之間。全曲以心理時間與能量變化推進，聲音於靜與動的罅隙中懸浮，使情感在音與寂之間微震。音響語彙中融入南管的時間感與氣息節奏，以細緻延展的聲線與柔韌的張力，營造出呼吸般的流動。音樂不敘離歌，卻含離、留、回望之律；不言自我，卻於溶解與凝聚間顯出一縷清明。當最後音息沉入靜寂，尚有意念在遠方緩緩擴散。

While the Rain Remains originates from my long contemplation of LIU Yong’s Yu Lin Ling. What draws me is not the sorrow of parting, but the quiet movement of emotion drifting within the vastness of space and time. The work grows from the lingering atmosphere of the poem, following a path from scene to mind, from sound to thought, exploring how consciousness forms, drifts, focuses, and returns within a field of sound.

The solo violin represents the focus of thought—sometimes blending into the surrounding texture, sometimes emerging in brightness, circling between tension and release. The music unfolds through shifts in psychological time and energy, where sound hovers between motion and stillness, and emotion trembles between tone and silence.

Elements of Nanguan music appear in the phrasing and perception of time, its flexible linearity shapes an expanded sense of flow and stillness. This influence gives the sound both restraint and vitality, allowing each tone to breathe as part of a continuous pulse. The piece tells no farewell, yet carries the rhythm of departure, lingering, and reflection

As the final tone sinks into silence, consciousness continues to expand softly into the distance—like a quiet echo that extends beyond the end of the music.

2025.12