每月精選會員作品

林宜徵『次元穿梭』

Journey into the World of Dimensions

Mov. I the Earth

Mov. II the Metal World

Mov. IV the Fire World

樂曲解說 & 作曲家介紹

林宜徵 Zoe Lin

http://www.zoelin.me

次元穿梭 Journey into the World of Dimensions

iPhone VR App  版本免費下載連結:https://itunes.apple.com/us/app/vart-journey/id1284924147?mt=8

《次元穿梭》創作理念與方式 以音樂闡述次元的世界,雖然無法如科學般可信,但卻可以一種類似科幻小說的 方式,帶領大家想像探索這樣的世界和可能性。因此,此曲《次元穿梭》,以一 種『抽象主觀的遊記』為呈現方式,以組曲形式,包涵六首樂曲,描述一個主角 自地球出發,然後穿梭四個不同次元世界的主觀感受,最後回到地球,然由於經 歷過其他次元的主角,必定會『發展出』感受其他次元訊息的能力,因此當最後 回到地球時,他對地球的感受必定不同,因此最後一首樂曲,雖描述地球,對他 而言卻是一個『與之前不同的』地球,也可以說,相較於為旅行前的地球而言, 是另一個『平行世界』的地球。

由於平行宇宙的時空,即每一個人的每一個選擇都存在著一個可能的平行時空, 加上神經系統的限制,我們幾乎可以說,任何一個世界和次元,都是因為有這樣 的一個『主角』,才得以稱為『存在』的。換句話說,任何世界的存在都是『主 觀』,沒有感受的『主角』,那即便去宣稱有那樣的『世界』,就沒有意義。因此 在創作此曲時,揣摩一個『地球人』進入多次元世界的主觀感受,便相形重要。 如先前所提到,因為人類的大腦和神經無法處理多數多次元的訊息,勢必將這些 訊息扭曲成我們我熟悉的視像或聲音,因此便顯得如夢境般的混亂不合理。因此, 在這六首樂曲,便分別以主觀的方式解釋為以下六個世界感受的旅行:

  1. 自海水孕育生命的地球,令人感到舒適。

  2. 來到一個擁有金屬般的空氣以及堅硬如鋼的地表的世界,我感到相當雀躍與

    興奮。

  3. 一個非常乾燥荒蕪,僅有沙與風和部分泥水的世界,我感到非常無趣與不耐。

  4. 一個火爆酷熱的世界,我感覺到一場戰爭似乎正在進行。

  5. 一個由氣體和靈體組成的世界,在其中,我感覺『時間』時而延伸、時而縮

    短。

  6. 回到地球,但似乎又可感受到同時並存著先前旅行過的次元世界,而海洋在

    時空的位置也顛倒了,亦或是感受混亂了,但最後終歸平靜。


而也許,這個『數學式』如同電影『星際效應』內容一般,一半以我們自身的三度空間的物理 法則為架構,另一半則建立在另一次元的物理法則。只是,我們也許不需要飛到遠在天邊的黑洞 的奇異點內才能找到另一半數學式,而是透過夢境便可找到也說不定。

因此在聽覺上,主觀感受便由薩克管和鋼琴部分呈現,而關於次元環境的視像, 例如海水般的地球、或是金屬般的世界、荒蕪的沙塵、或是氣體的世界,皆由電 子音樂部分呈現。

《次元穿梭》器樂部分之基本骨架-象徵物理學法則 而次元間的物理架構,則存在於樂曲的內在架構中,此曲以一種變形版的整體序 列主義作為主要基本架構,再加以少部分容許的彈性,以象徵次元間仍有企圖獨 立存在的活力感。以下先探討主要基本架構部分,在探討在架構原則上所做的改 變與彈性:

主要基本架構 由於所有物理法則,是隱而不顯的,為了呈現物理法則的這樣一個特性,第一首 樂曲地球的器樂部分,以自由創作的方式完成。完成後則開始依照時間順序(每 一小節,每一拍的嚴格的先後順序),詳細分析記錄下所採用的五種 音樂元素之順序:力度、音程、節奏、音域、音韻法。而這記錄下的五種音樂元 素順序,象徵著不同的物質以及地球的物理法則。

則第二首樂曲,將第一首樂曲的力度順序;用於第二首的音程上,第一首的音程 順序,用於第二首的節奏上;第一首的節奏順序,用於第二首的音域上;第一首 的音域順序,用於第二首的音運法上;第一首的節奏順序,用於第二首的音域上; 第一首的音域順序,用於第二首的音程上。最後完成第二首樂曲。而其餘樂曲創 作方式亦相同,皆以前一首的各音樂素材順序,相同的轉換手法來創作以象徵個 次元的內在法則-物理學架構之間的關聯與轉換。

容許的彈性-象徵次元間企圖獨立存在的活力感 邏輯上而言,完全以基本架構創作的樂曲,應該在最後一曲會回到第一首的原貌, 實則不然,因為音樂元素間的轉換,容易造成某些素材被簡化,將影響其後的樂 曲。因此,在這樣的架構下,必須容許部份的彈性,如同自然界以突變的方式, 保留物種發展所需之各種可能性,已將被簡化過的部份『豐富』回來。因此在架 構中容許了兩處『突變』的自由:第四首與第六首的力度不以前一首的音韻法順 序為架構,而是自由的選擇。此外,第六首的節奏與音韻法自樂曲中間至結尾處 亦逐漸自由,已脫離其他次元的法則,方能完全回到於旅行前在地球的感受。

電子音樂的層次架構-象徵蜷縮的次元 最後,在電子音樂部分的創作中,為了呈現部分次元『蜷縮』於其他次元的概念, 自第二首樂曲開始,便將前一首樂曲的電子音樂(有時包含器樂部分),以 Mammut 軟體,扭曲轉換成不同聲響,作為樂曲的電子音樂的背景層次。這樣 的背景層次,通常已扭曲至無法辨識為前一首樂曲的部分,唯有音域或架構的輪 廓上可隱約聽見,如此一來,物理上次元『蜷縮』的概念變得以呈現。

此外,後面的樂曲,其電子音樂不僅包含前一首的電子音樂資訊,在理論上,亦 包含了所有(前二首、三首等)的電子音樂資訊。舉例說明,假設以第三首而言, 由於第二首的電子音樂已包含第一首電子音樂的資訊,因此,第三首樂曲等於同 時包含了第一首與第二首的電子音樂資訊,只是第二首的資訊以倍數多於第一首 的資訊(第一首電子音樂資訊等於扭曲兩次,且音量以倍數縮小)。如此一來, 依此類推,到了第六首,所有次元之聲響皆包含其中,且是以等比的概念做聲音 上(音量和聲響上)的蜷縮。

Quantum mechanics and the potential for multi-dimensional existence fascinates me. Though I am not a scientist, I very much enjoy entertaining the possibility that other dimensions are hiding in our world. As a musician, I thought I could explore this notion established by Steven Hawkings and made popular by talented science fiction writers in the form of six movements.

Movement one is about Earth; the middle movements explore different worlds or dimensions; and the final movement relates to Earth again, but in new ways that are reflective of the musical and dimensional journey this piece sets out to pilot.

The instrumental parts of this composition express the emotions associated with a multi-dimensional journey. The electronic parts represent the different kinds of scenery I imagine to be present in all of the new worlds. Though a world with more than three dimensions is intangible and beyond many people's imagination, I will not compose a hodgepodge of nonsense sounds or notes to represent that which defies logic. I will compose based on sounds generated in the real world and organize those sounds in an illogical-logical way in order to represent the different worlds in each movement. I will draw upon research suggesting that while dreaming, people are not limited by their neural system as much as when they are awake, and therefore can sense information from other dimensions, i.e. visualize their dreams. I intend to conceptualize the way the brain transfers (or translates) such information into recognizable images in audible ways.

Unfortunately, the human brain does not always accurately translate images and sounds; this is why, when we recall our dreams, the narrative, imagery, and the like are foggy. As such, the four middle movements of my piece will be distinct in their sounds in order to capture the diverse experience in this journey:

Mvt. II: Use the sound of metal to suggest a world consumed by technology and without warmth.
Mvt III: Use sand and wind sounds to suggest a world that is dry and bold, without any living things.
Mvt. IV: Use sounds generated by an EQ to suggest a world that is hot and violent consumed by warfare and fires.
Mvt. V: Use sounds generated by an EQ to suggest a world that is not tangible, containing nothing but spirits or will-o'-the-wisp . The sound of “spirit air” starts from short value, and then gradually become longer, in order to convey a world in which time (or the measurement of time) is not stable. I want to express the idea that this world is beyond our space-time dimensions and completely imaginary. I want to create a world that scientists cannot prove exists or does not exist.

From Mvt. II to Mvt. V, the electronic music will progress from sounds that are hard and concise, and then gradually dissolve into sounds that are not tangible and more akin to the spirits. Since these sounds are recognizable in our reality but organized in a way that is not quite logical, I am taking a page from surrealism.

In order to present the idea that all of these worlds and dimensions are unified under a grand physical rule, musical elements such as dynamics, pitch intervals, rhythmic pattern, register, and articulations will be carefully interlocked and based upon total-serialism compositional methods.

I hope that when an audience listens to this piece that they will hear many elements individually and as a part of the whole. The instrumental part should bring up associations with reading science fiction novels; and in combination with the electronic part, I want the audience to feel like they're watching a sci-fi movie. The story I am creating can be depicted in two different forms (novel and film), and I hope to find an artist to collaborate with in creating some images for this work in the future.

林宜徵簡介

古典音樂暨電子音樂作曲家,同時也是 Unity 3D、 iOS App、網頁前端開發工程師。於26 歲獲得美國威斯康辛大學麥迪遜分校作曲博士學位,曾任教於台灣大學夏季學院、市立臺北大學通識中心、台灣藝術大學音樂系,現任教於輔仁大學音樂系,並專注於音樂科技領域之研究。


自身的VR虛擬實境音樂遊戲多媒體作品『次元穿梭』,受邀參展於台灣 WOCMAT-IRCAM 2016 國際聯合研討會、德國漢堡 Klingt gut 2017 電子音樂研討會、Audio Mostly 2017 英國 Queen Mary University of London 聲響工程國際研討會。並受日本東京電機大學小坂直敏教授之邀,於未来科学部情報メディア学科(未來科學信息和媒體系)協助指導 Unity 開發與音樂科技相關結合運用。作品亦曾於世界各地展演,包括:美國、捷克、德國、英國、法國、日本、馬來西亞。


熱愛學習、追求作品與個人獨特性,從小覺得生命有太多的秘密需要追尋,三十年來追尋足跡包括音樂和電子音樂(所學樂器包括鋼琴、敲擊樂器、古琴、日本津輕三味線)、禪學和電腦程式語言(Python, HTML 5, CSS, JavaScript, Octave),我看待我的作品,如同是一種對生命探索的『印記』或『足跡』,過去曾專注於創作中西音樂融合之當代音樂作品 6 年之久,喜好京劇、崑曲、印度音樂、日本音樂、爵士樂等,近年則專注於研究電子音樂,音樂科技方面,除實作後製、DAW、Max 聲音設計外,也研究 AI 在音樂上的運用與音訊號處理。喜歡科普知識(包括量子力學),希望能從自己的音樂創作中,表達對這廣闊奧秘世界的驚嘆。


Yi-Cheng Lin, a composer, electronic music composer, iOS/ Unity 3D (VR)/Web frontend developer, received DMA degree in composition at University of Wisconsin-Madison at age of 26. She is an Assistant Professor at Fu-Jen University, and has work at University of Taipei, Summer Common Course of National Taiwan University and National Taiwan University of Arts. She is now researching in music technology.


Her VR Musical work has been invited to present worldwide, including WOCMAT-IRCAM Joint Conference 2016, in Taiwan, Klingt gut 2017, in Hamburg, Germany, and Audio Mostly 2017, at Queen Mary University of London, UK. In addition, she was also invited by Prof. Naotoshi Osaka, to Department of Information Systems and Multimedia Design, Tokyo Denki University to present her VR work and assist student developing Unity project for a week.


Not only a composer with musical works performed in States, France, Czech Republic, Malaysia, and Taiwan, but also a pianist, percussionist, Japanese Tsugaru Shamisen player. A self-directed learner fascinated by various knowledge, including quantum physics, as well as programing language of C#, swift, python, html5, CSS, and JavaScript.


Her music is more like a "print of life." She has composed for fusing oriental music with western music for 6 years, and love Jing Opera, Kun Opera, Indian music, Japanese Music, and Jazz music. Recently, she is researching and doing projects with electronic music, music technology, post-production, Max, AI, and Audio Signal Processing. Thus, composing music with fresh sonorities and styles of oriental voices and imaginary science-fictional scenes.


                                                               

Taipei City, Taiwan

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