Silk Road Bimonthly 082
He that travels far knows much. This saying also applies to the composition of music creations. On certain level, good music should be inspired by travel. When composers have a higher understanding and appreciation for landscape, regional culture, characters of the instruments and musicians, they are more likely to create music that embodies the spirit of things that truly matters to a generation. The importance of drawing inspiration from folk culture goes without saying. Though studying the cultural heritage from predecessors is rudimentary to the development of modern Chinese music, there is no denying of the significance of new music creations. Chinese music must evolve with time. Rolling stone gathers no moss. Some composers are used to create works behind closed doors. These works are mostly the manifestation of personal imagination. The lack of communication with others and the world is quite unfortunate indeed. As a matter of fact, many works of Chinese music are title music. This means the repertoire is telling a story relating to certain people, place, and affairs. If the composer is willing to travel, gather information on local culture and character or engage in a more in-depth conversation with the musicians who perform, the new musical creations will certainly grow in sophistication and profundity. In view of this, Taipei Chinese Orchestra (TCO) initiated the bellwether program, commissioning composers and performers to gather information together through travel. This also serves as an opportunity for further acquaintance between the two. On February 10th, a new Chinese music concerto scheduled to debut in December, HUANG Zheng-Ming, the performer and YAN Min-Xiu, the composer, called on Hakka maestro LAI Ren-Zheng in Tongluo township, Miaoli. Their mission was to explore the beauty of a rarely seen Taiwanese instrument, Tiexianzai — a two-stringed fiddle with a characteristic metal amplifying at the end of its neck. Tiexianzai resembles Erhu both in appearance and playing techniques. Mr. LAI explained the inner workings of the instrument and performed a piece to a Hakka folk song for the audience. The rich and resonating voice is in perfect harmony with the simple string music. Both artists learned a great deal more after playing with the instrument themselves and having a basic understanding of the way it works, the sound it produces and the characters of the performance it gives. Gathering information and material from field excursions are paramount to music creations. The experiences and findings are all ground for new artistic work. We hope to encourage more participation and increase stimuli throughout the creative process. Working alone behind closed doors or rushing to meet a deadline is not the ideal scenario for outstanding music creation. There were in fact, examples of great success produced by the collaboration of composers and performers. Case in point, The Great Wall Capriccio — Erhu concerto, was the exceptional work of composer LIU Wen-Jin and Erhu virtuoso MIN Hui-Fen. Give the composers and the performers a chance to meet somewhere new and explore unfamiliar territory together. The chemistry may surprise you. One plus one equals two wings that flap and allow Chinese music to soar high. 01 The Route to Innovation : Folk Culture is the Foundation of Creation
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