As the temperature drops and the year winds down, we turn once again to reflection and remembrance. This issue's cover story features the legendary erhu virtuoso MIN Huifen, exploring the operatic vocal qualities in her erhu performance, the interpretive philosophy through which she contemplates life, and an artistic journey marked by hardship yet devoted to supporting and developing many younger musicians. Beyond complementing the year-end concert, Living on the Strings: MIN Huifen, the Erhu Legend, the article also serves as a tribute marking the 80th anniversary of this pioneering figure in Chinese music.

In this issue of "Chinese Music as Daily Practice," makeup and hairstyling come into focus, showcasing the finer details of stage appearance and its connection to musical performance. The three interviewees, HSU Penny, LIN Chen Feng, and HSIEH Tsung-Hsin, speak respectively as a makeup and hair designer, a male performer, and a female performer. Each describes how they experimented and gradually found a balance between stage appearance and musical performance that still feels true to themselves.

"New Vision of Chinese Music" this time invites HUANG Ya-Nung, a suona artist who actively engages in cross-disciplinary collaboration and creative expression, to present the evolution of the suona. HUANG traces the past and present of the suona, showing how this instrument has journeyed through history and culture, and explores its many social roles in communication, festive occasions, military processions, and labor. The column "The Moment" continues WAN Chih-Yi's historical account of Chinese music practitioners in Taiwan during the 1960s and 1970s. This installment focuses on two guzheng artists, WEI De-Dong and WEI De-Liang, tracing their paths of study and their long-term commitment to teaching and promoting Chinese music in their local communities. Both articles present highlights from broader fieldwork and historical research and are essential reading for anyone seeking a deeper understanding of Chinese music culture.

According to Director CHENG Li-Pin, this issue of Silkroad remains lively and diverse in its overall approach, showcasing the freedom, passion, and depth of thought of both the Taipei Chinese Orchestra (TCO) team and the contributing writers. Silkroad continues the legacy of its predecessor, Beishi Guoyue. It has adjusted its format to align with the current trend toward digitization and paperless media. On the other hand, it strives to preserve written forms that connect with a broader international audience for Chinese music, while reading and listening habits continue to change. Meanwhile, Silkroad aims to complement the TCO's recent projects and plans, for example, the feature on MIN Huifen alongside the commemorative concert, and how "Chinese Music as Daily Practice" connects with the newly established YouTube channel, TCO Channel, across multiple media. All of these diverse initiatives seek to explore and deepen the culture of Chinese music, present its many facets to a wide audience, and strengthen the TCO's brand identity.

Looking back on 2025, the TCO has achieved fruitful results in both educational outreach and the performance and promotion of Chinese music. Director CHENG Li-Pin notes that since resuming his post in 2024, he has been committed to enriching the orchestra's programs and activities. These efforts include The Music of LO Leung-Fai series in the 2025/26 season, the One School One Orchestra project that began this year in partnership with elementary schools in Taipei, and TCO Rising Stars Chinese Orchestra, which takes professional training as its guiding objective. These initiatives respond to changes in music program enrollments and concert-going habits, while demonstrating a strong commitment to grounding Chinese music in the Taiwanese context. In the coming year, in addition to the exciting second half of the 2025/26 season, the TCO will undertake a European tour in June, representing Chinese music from Taiwan on the world stage and further raising its international profile. The year ahead is brimming with energy and promise.

01 【The Route to Innovation】Honoring Legends, Exploring New Dimensions

02【Cover Story】Reveries on the Strings, Echoes of the Singing Tone

03 【Chinese Music as Daily Practice】Looking Like Yourself The Philosophy of Stage Styling for Chinese Music Performers

04 【New Vision of Chinese Music】The Suona's Multiverse A Sonic Journey Along the Silk Road

05 【The Moment】Guzheng Artists WEI De-Dong and WEI De-Liang

• 01 【The Route to Innovation】Honoring Legends, Exploring New Dimensions.pdf
• 02 【Cover Story】Reveries on the Strings, Echoes of the Singing Tone.pdf
• 03 【Chinese Music as Daily Practice】Looking Like Yourself The Philosophy of Stage Styling for Chinese Music Performers.pdf
• 04 【New Vision of Chinese Music】The Suona's Multiverse A Sonic Journey Along the Silk Road.pdf
• 05 【The Moment】Guzheng Artists WEI De-Dong and WEI De-Liang.pdf

In August this year, the Taipei Chinese Orchestra (hereinafter referred to as TCO) hosted the 2025 Summer Chinese Music Training Camp and the TCO Rising Stars Taipei Chinese Orchestra summer program, both of which received enthusiastic responses. TCO guided participants of all ages to learn and explore the art of Chinese music, shining with passion and brilliance on stage. Next, TCO will launch its 2025/26 new season, themed The Music of LO Leung-Fai, featuring eight captivating program series. The season will bring together renowned performers from Taiwan and abroad to present moving musical works. In this season, TCO will once again embark on its journey From Taipei to the World, performing at three of Europe’s most prestigious concert halls — the Berlin Philharmonic Concert Hall, the Gewandhaus in Leipzig, and the Golden Hall in Vienna — to bring the beauty of Chinese music to European audiences. Beyond live performances, starting in September, TCO will also premiere two new programs on its official YouTube channel: TCO Concert Highlights Premiere and Just Vibing! Chinese Music as Daily Practice, enabling music lovers to experience the charm of Chinese music both online and offline.

In this issue of Chinese Music as Daily Practice, TCO invited Sheng performer CHU Le-Ning and Erhu performer WU Meng-Shan to share their thoughts on the theme Chinese Music and Sports. Performance itself can also be seen as a form of “exercise.” Through regular physical training, musicians can benefit in areas such as body and muscle coordination, breath control, and mental discipline. Music is not confined to technical mastery; it also requires an awareness of one’s body language and perceptual abilities. The stage is not merely a space for sound, but also a theater of the body. Through their bodies, performers transform music into tangible energy, embodying sincerity while reaching toward an ideal personality and artistic realm.

At first glance, war and music may seem like distant subjects. Yet, under the observation of TCO Associate Conductor CHIANG Chen-Hao, the focus turns to two significant works: The Fantasia – The Chin Dynasty Terra Cotta Soldiers by PENG Xiuwen, and Symphony No. 5 by the Danish composer Carl August Nielsen. Art has long been an essential medium for recording and reflecting on war, as seen in painting, sculpture, film, and literature. Though Eastern and Western traditions use different vocabularies and perspectives, both express the human spirit under the shadow of war. Let us, through this article, listen to that chapter of wartime history as preserved in music.

LI Zhen-Dong was one of the key promoters of Chinese music during the 1960s and 1970s. By profession he was a dentist and operated the “Da-Dong Dental Clinic,” but instead of attracting patients, the clinic became a gathering place for students of Chinese music and friends from the music community—a hub for learning and exchange. This article, written by Professor CHEN Duan-An, documents Mr. LI’s contributions in teaching Chinese music, advancing music education, reforming instruments, composing and arranging, as well as founding the “University Chinese Orchestra.” Mr. Li was also tireless in nurturing younger generations. Beyond his dedicated teaching, he wholeheartedly recommended his students for performance opportunities, recording projects, and faculty positions in music departments. Through these efforts, he opened the doors of the musical world to them, and many of his students continue to shine on the stage to this day.

In the new season From Taipei to the World, TCO embraces both tradition and innovation. On one hand, it presents the program series The Music of LO Leung-Fai, which captures significant chapters in the history of Taiwanese Chinese music. On the other, it actively explores new directions—creating cross-disciplinary productions that blend folk songs with musical theater, while also expanding its presence and engagement on digital platforms. TCO sincerely invites music lovers to join in this highly anticipated season, to see the world from Taipei and see Taipei on the world stage.

01【The Route to Innovation】From Taipei to the World Seeing Taipei on the World Stage

02【Cover Story】Cultural Mission and Musical Excellence The Splendid Opening of the 202526 Season

03【Chinese Music as Daily Practice】Body as Concerto Cultivating Resonance with the Universe

04【New Vision of Chinese Music】If War Breaks Out Afar On PENG Xiuwen's The Fantasia

05【The Moment】In Gratitude to Professor LI Chen-Tung-Learning the Erhu at National Taiwan University(Part 5)

• Silk Road Bimonthly 101.pdf

During the height of summer, Taiwan is filled with enthusiasm and vitality. Events such as the Penghu International Fireworks Festival, the Yilan International Children's Folklore and Folkgame Festival, and the Taiwan International Hot Air Balloon Festival attract people of all ages. In this lively atmosphere, the Taipei Chinese Orchestra (TCO) has also organized a series of exciting Chinese Music events.

At the beginning of summer, TCO presents a family concert titled "Ding Ding! Time Music Box." The performance features selected young actors and hosts from children's television, who lead the audience in songs and movement. Through lively storytelling and music, the concert brings children closer to Chinese Music in a fun and engaging way.

The "Summer 114" Chinese Music Workshop and the "TCO Rising Stars Chinese Orchestra" Summer Camps offer a wide range of courses tailored to learners of different ages and stages. With guidance from professional instructors, participants—both children and adults—immerse themselves in the beauty of Chinese Music and build meaningful memories of their musical growth.

As summer comes to an end, TCO continues its educational efforts with the "One School, One Chinese Orchestra Initiative." This program aims to establish a sustainable school ensemble system, reflecting TCO's long-standing commitment to promoting and deepening Chinese Music education in communities.

In the "Chinese Music as Daily Practice" column, three photographers—CHANG Chen-Chou, WANG Ming-Yu, and CHENG Yi-Chung—share their experiences with Chinese Music. Both light and sound are fleeting art forms—how can one capture such moving moments? Through the combined perspectives of musicians and photographers, the column offers a different way of interpreting and reflecting on these emotions.

The 2025 Taipei Chinese Instrumental Competition concluded successfully, with this year's featured category being the dizi. Young musicians ZHANG Qianhao, WU Bo-Chien, and HUANG Hsu-Lei won the top three prizes. In the "New Vision of Chinese Music" column, the three winners reflect on their participation. Although the competition has ended, the experience has become a new starting point in their musical journeys, guiding and inspiring their future artistic development.

The column "The Moment" recalls the lifelong contributions of Mr. LI Chao-Hsing, as written by Professor LIN Yueh-Li. Mr. LI not only supported Professor CHOU Chi-Feng in managing the China Youth Corps Chinese Orchestra, but also founded Hsueh-Yi Publishing, which provided essential scores and books that supported the development of Chinese Music performance and education. By mentoring young musicians and nurturing new voices, he quietly shaped the conditions for Chinese Music to flourish in Taiwan for years to come.

Whether in education or public engagement, the efforts of TCO and Mr. LI Chao-Hsing have helped preserve and carry forward the traditions of Chinese Music. This summer, join TCO and step into the heartfelt rhythms of Chinese Music.

01【The Route to Innovation】Vibrant Sounds of Summer The Taipei Chinese Orchestra Launches Its Fiery Season

02【Cover Story】From Preschoolers to Rising Stars Taipei Chinese Orchestra's Four-Part Educational Initiative for 2025

03【Chinese Music as Daily Practice】Just Vibing! Chinese Music as Daily Practice

04【New Vision of Chinese Music】The Dizi Speaks Portraits of a New Generation Reflections on the Taipei Chinese Instumental Competition

05【The Moment】The Guiding Light of Chinese Music in Taiwan —LI Chao-Hsing, a Pioneer of Chinese Music in Taiwan (Part 4)

• Silk Road Bimonthly 100.pdf

As the 2024/25 season draws to a close, the Taipei Chinese Orchestra (TCO) presents 2 spectacular finale performances. First is the revival of My Mom Needs an Education, a TCO original opera that premiered in 2019. Starring Golden Horse Award winner for Best Supporting Actress LU Hsueh-Feng, the production portrays the modern “all-capable mom” figure with humor and warmth. Blending singing, drama, puppetry, and music, the opera captures the joys and struggles of family life, rekindling long-held emotional memories.

Next comes A Summit of Erhu Virtuosi: 2025 Taipei Traditional Arts Festival Closing Concert, which brings together huqin virtuosi from Taiwan, Hong Kong, and Singapore—including WANG Ming-Yu, ZHANG Chongxue, and LI Baoshun—for a dazzling showcase of classic erhu concertos.

This issue features a new column, Chinese Music as Daily Practice, exploring the connections between Chinese Music and daily life. In its first article, Professor SHEN Dong introduces a new multimedia project by TCO that aims to integrate Chinese Music more into everyday life and bring it closer to its audiences in a relaxed and accessible way.

In the column New Vision of Chinese Music, PAO Pei-Lan shares her experience participating in the Chinese Music Festival in Japan. Although the performers and ensembles were not professionals, they represented various Chinese Music Ensembles across Japan. The event provided insight into the rich and evolving forms of Chinese Music practiced overseas. For those interested, the Kansai region provides a chance to witness this distinctive musical scene in person.

The column The Moment continues its tribute to trailblazers in the Chinese Music community. SHIEH Yie-Hong reflects on the legacy of his mentor LIANG Zaiping, who played a pivotal role in promoting guzheng education and development in Taiwan. Through personal recollections, SHIEH honors LIANG’s contributions to Chinese Music and his lasting influence as a musician and a person of great integrity.

In the coming year, Chinese Music in the New Silk Road will present travel writing, artist profiles, and lifestyle reflections to build a musical lifestyle journal that bridges tradition and contemporary living. Through relaxed and accessible writing, this publication invites readers to rediscover Chinese Music as a part of everyday life. Rooted in the spirit of “Living Chinese Music Anew”, we welcome you to join us in seeing, hearing, and experiencing Chinese Music from a fresh perspective.

01【The Route to Innovation】Vibing TCO! Living Chinese Music Anew

02【Cover Story】Spotlight on the 2024_25 Season Finale

03【Chinese Music as Daily Practice】Just Vibing! Chinese Music as Daily Practice

04【New Vision of Chinese Music】A Field Report from the Chinese Music Festival in Osaka

05【The Moment】LIANG Zai-Ping, a Pioneer in Chinese Music in Taiwan

• 新絲路第99期.pdf

As Taiwan's leading publicly funded professional Chinese orchestra, the Taipei Chinese Orchestra (TCO) tirelessly advances its mission, capturing the intricate and fleeting beauty of Taiwanese Chinese music in every performance.

Beyond nurturing its main orchestra, TCO encompasses 7 subsidiary ensembles and regularly conducts traditional music workshops. While the main orchestra's robust artistry and innovative programming often captivate regular audiences, the subsidiary ensembles also offer numerous commendable qualities. Their passion and simplicity imbue TCO's Chinese Music programs with fresh, vibrant energy, demonstrating the authentic integration of Chinese Music into everyday life.

The 7 key subsidiary ensembles include the TCO Children's Orchestra, TCO Junior Youth Orchestra, TCO Youth Orchestra, TCO Academy Chinese Orchestra, TCO Teachers Orchestra, TCO Civic Orchestra, and TCO Chorus. The age-specificorchestras form a seamless professional training system for Chinese Music talent. The TCO Academy Chinese Orchestra, founded in 2010 under the leadership of CHUNG Yiu-Kwong, comprises young professionals and graduate students in Chinese Music. In addition to holding two scheduled concerts annually, the ensemble members also serve as a valuable talent resource for the main orchestra. The Children’s and Junior Youth Orchestras boast a large membership, reflecting the thriving involvement of Chinese Music in Taiwan’s elementary and secondary school club activities. Established in 1984, the Youth Orchestra, affectionately known as "Little TCO," has cultivated numerous professional and amateur talents.

Unlike the 4 selectively admitted ensembles described earlier, the Teachers Orchestra, Civic Orchestra, and Chorus are composed entirely of community members who share a deep passion for Chinese Music. Operating year-round with regular weekly rehearsals, these groups foster connections among individuals from diverse professions and age groups, united by their love for the genre. They rehearse diligently and integrate Chinese Music into their daily lives. Unlike professionals, for whom music is a career, performing and listening to Chinese Music is a heartfelt hobby. While their performances may not always achieve technical perfection, they excel in emotional depth, leaving a lasting impression on both performers and audiences. By actively inviting friends and family to experience Chinese Music, they expand the audience for the genre, support the main orchestra, and play a vital role in the flourishing development of Taiwanese Chinese Music.

In addition to its ensembles, TCO regularly and occasionally offers a variety of traditional music workshops, including courses in nanguan, beiguan, kunqu opera, and jinghu. These workshops provide opportunities for the public to engage with traditional music, contributing to preserving Taiwan’s musical heritage. They are attended by members of the general publicand musicians from the main orchestra, who use these classes to enrich their understanding and expand their repertoire of traditional Chinese Music.

As the year draws to a close, these subsidiary groups take the stage for their annual public performances. Through their music, they unveil the many dimensions of Chinese Music, painting a rich and dynamic portrait of this timeless art form. Witness their passion as they bring each note to life, showcasing the vibrant and multifaceted sounds of Chinese Music on stage and in our lives.

01 【The Route to Innovation】Bringing Heritage to Life Celebrating the Vibrant Voices of Taiwanese Chinese Music

02 【Cover Story】Strings of Emotions Music Connecting the Past and Present

06 【New Vision of Chinese Music】Rethinking the Sound of Modern Chinese Orchestras from a Conductor's Perspective

• 《新絲路》第98期.pdf

The conceptualization of "The Sound of Taipei" has been a core ambition for the Taipei Chinese Orchestra (TCO), a vision first articulated by CHENG Li-Pin in 2015 when he took on the role of General Director. His aim was to establish a unique and intriguing identity for TCO, characterized by a commanding contemporary sound that embodies the spiritual dimensions and cultural heights of our ethnic heritage. This September, TCO's European tour and the season-opening concert, both fittingly named "The Sound of Taipei," are set to showcase the evolution of this vision. With CHENG Li-Pin's return as, "The Sound of Taipei" is poised to be redefined again.

Since the mid-20th century, pioneers like PENG Xiuwen have laid the groundwork for Chinese Orchestras, modeled after Western Symphony Orchestras, across Chinese communities. The term for Chinese Music varies regionally: "MInyue" in Mainland China, "Zhongyue" in Hong Kong and Macau, "Huayue" in Malaysia and Singapore, and "Gouyue" in Taiwan, which represents themusic of the Republic of China. With his extensive experience in conducting both Chinese and Western music, CHENG Li-Pin excels in orchestra management and talent development across various ensembles. He is a staunch advocate for the authenticity of Chinese Music, emphasizing its need to reflect local characteristics in both technique and spirit.

In orchestral ensembles, Western and Chinese Music each follows specific technical standards to ensure a blend and resonance. Historically, at Chinese Music concerts, the balance of sounds often diminished the aesthetic appeal of the music. Aware of this issue, CHENG Li-Pin continually adjusted the orchestra's seating arrangement during his tenure as, proactively enhancing acoustic effects to achieve an ideally harmonious sound blend.

Commissioning new works is at the forefront of TCO's annual agenda. CHENG Li-Pin highlights the development of the Nanyang style in Singapore and Cantonese Music by the Guangdong National Orchestra as examples of where ongoing, extensive commissioning has led to their current evolution. In Taiwan, the focus of the Chinese Orchestra should be on engaging Taiwanese composers or creating works that reflect Taiwanese imagery to distinguish it from other cultural influences. The orchestra has a significant demand for a diverse repertoire and continuously performing new works is crucial for them to become classics.

Marketing and promotion remain central objectives at TCO, Taiwan’s premier professional performance group, where challenges lie more in marketing strategies than in the quality of performances. With rising consumer awareness, strategically cultivating and attracting audiences to concert halls is paramount. Under the leadership of CHUNG Yiukwong, program planning has embraced a cross-disciplinary approach, incorporating traditional theatres like Beijing Opera and Taiwanese Opera, which harmonize closelywith the tonality of Chinese Music.

Since its establishment 45 years ago, TCO has been pivotal in ensuring the continuous creation of high-quality works, leading to exceptional performances that have contributed to the enduring success of Chinese music. Chinese music, particularly its innovative use of ethnic elements, has shone brightly in contemporary scenes. Only works that resonate with audiences and performers earn the chance for repeat performances, truly testing their lasting appeal.

Music, an abstract art, can transcend the barriers of tradition and modernity, cross cultural boundaries, and intersect with literature,opera, and archaeology. Through its interpretation, it opens up the marvels of a generation, revealing the ineffable and eternal truth and beauty inherent in music. As "The Sound of Taipei" propels the great wheel of time at TCO, it upholds a legacy of enlightenment and innovation, marking 45 years of its rich history.

01【The Route to Innovation】The Sound of Taipei Unlocking the Marvels of Our Generation

02【Cover Story】Celebrating 45 Years “The Sound of Taipei” Goes Global as CHENG Li-Pin Returns to Lead TCO

06【New Vision of Chinese Music】The Practice and Challenges of Conducting Chinese Orchestra II

• 《新絲路》第97期.pdf

Music, the Connection Between People.

Today, society and all professions seem to have emerged from the shadows of the pandemic. However, if one looks closely, some lingering effects remain. Starting with last year's "Extreme Music," the Taipei Chinese Orchestra (TCO) has focused its planning around "creating a new starting point for the post-pandemic reopening of national borders," bringing the artistic energy of many international maestros back into the view of audiences in Taiwan. Building on this momentum, the overall program for the 2024/25 season "Glorious 45: Listen to Taipei" has practically returned to its pre-pandemic international standards, much to the delight and excitement of everyone!

The new season opens with a long-anticipated return to international touring. "Principal Conductor Series" starts with "The Sound of Taipei" in September, featuring Principal Conductor CHANG Yu-An for the Taipei audience. Subsequently, the orchestra will tour the Czech Republic and Germany, reintroducing TCO's presence to the global stage. The tour opportunity arose in 2020 when Taipei and Prague established a sister city relationship to foster political and arts exchanges. TCO's performances made a lasting impression on Czech music officials, leading to this tour invitation. In the same year, TCO also planned a tour in Germany since Taiwanese conductor CHUANG Tung-Chieh, cellist YANG Wen-Sinn, and sheng player WU Wei were all based in the country. However, both tours were abruptly halted due to the pandemic. In 2024, as the world revives, TCO has reorganized its tours to Germany and the Czech Republic. Led by CHANG Yu-An, who resides in Germany, the orchestra's journey to Europe is set to rekindle past connections. They aim to elevate "The Sound of Taipei" internationally while enriching Taiwan’s musical landscape with vibrant new experiences.

The concert's repertoire is carefully curated to showcase the rich folk customs of Taiwan and the contemporary creative power of Chinese Music. It features a special collaboration with WU Wei, an internationally acclaimed sheng player based in Europe, to enhance the program. WU Wei has gained global recognition for his mastery of the sheng, a reed instrument unique to Asia, and has collaborated with musicians and orchestras worldwide. His performances in Taiwan have consistently received rave reviews and enthusiastic acclaim from local music lovers. "The Sound of Taipei" concert promises to captivate both seasoned local enthusiasts and newcomers to Chinese Music, offering them a chance to experience the unique beauty of Taiwanese Chinese Music. TCO's refined and profound offerings will also add a vibrant new dimension to Taiwan’s cultural diplomacy.

The promotion of "internationalization," "international performances," and "international maestros" is not intended to create exclusive or esoteric environments. The true significance of these endeavors lies in fostering interactions and connections among individuals, resulting in cultural exchanges and the accrual of cultural wealth. These dynamics nurture the fertile ground for the arts, whose blossoms and fruits enrich the land. The beauty of Chinese Music lies in its rich and complex heritage, mirroring the evolution of eras and offering boundless possibilities. Just as Taiwan embraces a myriad of cultures, TCO embodies this inclusive spirit, continually reaching out to forge new connections and advance together.

01【The Route to Innovation】From the East to the World Chinese Music on the Global Stage

02【Cover Story】Leaping Dragons Elevating the Voice of Taipei's Chinese Music

06【New Vision of Chinese Music】The Practice and Challenges of Conducting Chinese Orchestra I

• 《新絲路》第96期.pdf

As time swiftly passes, the 2023/24 music season is quickly drawing to a close. As we emerge from the pandemic's shadow, this season has been marked by a vibrant and international flair. The Taipei Chinese Orchestra (TCO) has collaborated with renowned international maestros, exhibiting diverse and captivating musical styles. In April, the TCO International Composition Competition, formerly the Taipei Chinese Instrumental Competition, attracted global submissions, featuring young composers' boundless passion and creativity for Chinese Music. In this issue of The Silk Road, we unveil the behind-the-scenes stories of the competition.

In his article, "2024 TCO International Composition Competition Concludes with Enhanced Creativity and Expert Insights," YEN Tsai-Teng presents an in-depth exploration of the competition, providing insights from the perspectives of both composers and award-winners. The article discusses selection criteria and offers general guidance. It features interviews with several judges who also encourage and constructively give feedback to composers who were not selected for awards. The article underscores how the judges' recognition and high expectations align with the competition's aim to foster greater engagement in Chinese Music composition and revitalize the modern Chinese Music scene.

Another feature, "A Single Competition, Three Aesthetics, Infinite Aspirations for Chinese Music: Interviews with 2024 TCO International Composition Competition Winners LIU De-Yi, YE Xiaoyang, and CHO Chi-Jou," delves into the personal and educational journeys of the 3 winners, discussing their unique creative processes and visions for the future. Their varied backgrounds have influenced distinctive compositional styles, illuminating the potential of these emerging composers. Recently, TCO has warmly embraced a trio of new talents. In her article "A New Era of Talent Ushers in a Fresh Chapter for TCO," LIU Ma-Li profiles three young musicians—SIAO Yi-Fei, CHEN Ting-Yu, and WANG Tzu-Chi. She explores their musical journeys and the fresh aspirations they bring to the orchestra, heralding a new era of artistic collaboration within TCO.

In another insightful piece, "The Versatile TCO──The Birth and Impact of Contemporary Chinese Music Crossovers," KUO Pei-Ching offers a retrospective analysis of TCO's interdisciplinary engagements, which significantly shaped Taiwan's vibrant Chinese Music landscape.

Confucius famously stated, "To do a good job, one must first sharpen one's tools." In line with this wisdom, LEE Chiao-Yu's article, "The Crafting and Maintenance of Erhus," provides an in-depth look at the art of crafting and the daily care required for the erhu. This guide introduces readers to the materials and techniques used in creating this Chinese stringed instrument and details how to maintain and preserve it. Additionally, WAN Chih-Yi's article, "Teacher WANG Rui-Yu and His Contributions to Chinese Music," revisits WANG Rui-Yu's influential role in Chinese Music during the 1960s and 1970s. It also highlights his continued efforts to promote the genre, thereby nurturing a sustainable and thriving musical landscape for musicians in Taiwan.

For the 2023/24 season, TCO centered its theme around "Extreme Music," partnering with world-renowned maestros and performance groups to deliver exceptional Chinese Music and captivating traditional art performances. Was there a particular show that struck a chord with you? As we reflect on the season and look to the future, what thrilling new offerings can we expect from TCO in the 2024/25 season? Let's keep our eyes peeled for what's coming next!

01【The Route to Innovation】World-Renowned Maestros and Emerging Composers Converge to Create the Ultimate Performance at the Taipei Chinese Orchestra

02【Cover Story】2024 TCO International Composition Competition Concludes with Enhanced Creativity and Expert Insights

06【New Vision of Chinese Music】The Versatile TCO──The Birth and Impact of Contemporary Chinese Music CrossoversIns

• 新絲路NO95.pdf

In 1956, the Orchestra of Broadcasting Corporation of China established the "Composition Studio of Broadcasting Corporation of China" and hired specialists to compose music, paving the way for Taiwan's Chinese music creation. Over the past more than 60 years, it has undergone changes, not only in the style of its works, but also in the form of its instruments. This issue of “The Route to Innovation” revolves around the exciting competition of the "Composition" project at the 2024 Taipei Chinese Instrumental Competition, leading readers to review the creative process of traditional Chinese music by various sectors in Taiwan and the Taipei Chinese Orchestra (TCO).

WAN Chih-Yi's article "A Review of the Path of Taiwan's Chinese Music Creation" summarizes the achievements accumulated by various institutions from the 1950s to the present, including the Orchestra of Broadcasting Corporation of China, The China Youth Corps., the Ministry of Education, the Taiwan Chinese Music Association, the National Taiwan Arts Education Center, the Council for Cultural Affairs, the National Culture and Arts Foundation, the National Center for Traditional Arts. The article also attaches many precious program lists, newspaper clippings, and other historical documents. I believe that every Chinese music enthusiast can find a few familiar names from them, recalling the beautiful music they once brought to us. YEN Tsai-Teng's article "Leading the Future of Chinese Music: Taipei Chinese Orchestra's Promotion and Contribution to Chinese Music Composition in the Past 40 Years" starts with CHEN Tscheng-Hsiung's promotion of the commissioned creation mechanism since 1984, goes to the "Works Release Conference" section of the "Chinese Composers Symposium", and then to the "CCA Ethnic Music Creation Award" and "TCO International Composition Competition", recording TCO's efforts in collaborating with professional composers, organizing composition competitions, seminars, workshops, and more over the years for Chinese music creation.

Similarly, with TCO as the main reporting object, LIU Ma-Li's "Music from the Mountains - Three Concerts of TCO" showcases a broader and more diverse perspective of contemporary Chinese music creation in the 21st century. On May 4th, the "A Triptych of Love-TANG Muhai & TCO" concert will perform TAN Dun's Secret of Wind and Birds Symphonic Poem for Cellphone and Chinese Orchestra, which is expected to create a different music scene with the electronic sound system of 3C products and the performance of live orchestras. In addition, the article introduces three concerts in collaboration with the violin, highlighting the characteristic of the integration of East and West in contemporary Chinese music, which builds a heterogeneous dialogue space without boundaries. The addition of violins and even cellphones to the creation of traditional Chinese music has shown us the richness and extensibility of its sound. In terms of sound issues, in addition to relying on the infinite creativity of composers, perfect coordination of instrument performance is also required. LEE Chiao-Yu's article "The Building, Evolvement and Maintenance of Chinese Musical Instruments in Taiwan" has expanded our new knowledge in this area. The article introduces lectures held by various universities and colleges in the past three years, allowing instrument makers LI Chun-Cheng, along with SHAN Chih-Yuan, pipa repair technician LIN Tsung-Hsien, and others, to broaden the vision of music students. Comparing the "Forum on the Improvement and Development of Chinese Ethnic Musical Instruments" held at the 2023 Beijing International Exhibition on Music with the "2023 First Exhibition Area of Chinese Ethnic Improved Musical Instruments", readers are prompted to reflect on the current development of Taiwan's musical instrument production.

Faced with the upcoming "Eternity of music-2024 Taipei Chinese Instrumental Competition Composition (Final Round)" on April 26th, we look forward to readers reviewing the journey of Chinese music creation in Taiwan from several selected articles on “The Route to Innovation “in this issue. At the same time, we will reflect on the appearance of new-generation Chinese music works, the outline of musical melodies, and the new voices of Chinese music that we are looking forward to.

01【The Route to Innovation】Reviewing the History of Traditional Chinese Music Creation in Taiwan and Thinking about its New Form that We

02【Cover Story】Music from the Mountains Three Concerts by the Taipei Chinese Orchestra

04【Guest Columnist Session】The Building, Evolvement and Maintenance of Chinese Musical Instruments in Taiwan

• 94期《新絲路》.pdf

With the completion of Taipei City in 1884, Taipei has formally ascended to the magnificent stage of Taiwan's history. From stone walls and bricks to glass curtains, from vast fields to the bustling traffic, although there is a sense of vicissitudes, the footprints of the passing years are still hidden in the streets and alleys, making this city always inclusive, with both innovative energy and traditional heritage.

The Taipei Traditional Arts Festival (hereinafter referred to as the TTAF), organized by the Taipei Chinese Orchestra (TCO), is an art festival that has emerged with the pulse of the city. It reflects the past, present, and future of Taipei City's art and culture, presenting the sound landscape and music aesthetics of the place we've been living in. This year marks the 140th anniversary of Taipei's founding, and the TTA is themed around "Charms of Taipei". From March 9th to June 8th, a total of 30 programs will belaunched, inviting you to experience the rich and colorful cultural atmosphere of Taipei.

In addition to introducing the exciting program content of the 2024 TTA, this issue of NEW SILK ROAD also delves into the past, present, and future of traditional Chinese music. Compared with the history of Taipei City, we can also experience the traces and warmth of traditional Chinese music in the vicissitudes of time. The narrative of the cultivation of Taiwanese national musicians in the 1970s, based on the storytelling of Mr. Hsieh Yi-hung, leads readers to recall the establishment and growth of the HanSheng Chinese Instruments Orchestra, HanSheng Chinese Instruments Club, Taitung Chinese Instruments Orchestra, Youguang Chinese Instruments Orchestra, and even the Qin Sheng Ladies' Chinese Instruments Orchestra. Just like the 16-string zheng that Mr. Hsieh Yi-hung never forgets, those dust-covered sounds are worth listening to again, and the way of the past is worth looking back on indetail.

The efforts of contemporary Chinese musicians can be seen in LI Li-Chin's recent experience of traveling to Europe and the United States (both crossing the boundaries of nation and the musical instrument). Her stay in New York and the Cité Internationale des Arts in Paris brought her into contact with artists from all over the world and from different fields. From movement actors and visual artists, she adjusted and expanded her "personal setup" as a "sheng" player, in anticipation of developing the infinite possibilitiesof instrumentalist's physical performances. When "traditional Chinese music can be traditional, but also can be beyond being traditional", contemporary performers will have unlimited possibilities.

If we want to explore the various possibilities of Chinese music, some serious academic discussions are necessary. Professor SHEN Diau-Long's article on "False Issues" and "True Issues" of the "Taiwan School of Music" as seen by outsiders is undoubtedly a special article on the future of traditional Chinese music. Starting from the paper "The Taiwan School of Music: Retrospect and Prospect of Traditional Chinese Music Creation in Taiwan in the 21st Century" published by WONG Man-Yee, a young scholartravels in Europe, Professor Shen contemplates the phenomenon of localization of traditional Chinese music in Taiwan since the 1990s, and puts forward the phenomenon of confusion of the three stages of research, from the "actual problem" to the "research problem" to the "answering problem", in an attempt to discuss the "real issues" of the "Taiwan School of Music". As WONGMan-Yee adds, "Should the attitude of completely excluding the 'Taiwan Music School' from academic discussions also be subjected to a more in-depth debate on the hidden political ideology behind it? It is indeed worthwhile for us to ponder on this.

While looking back to the past and looking forward to the future, don't forget to grasp the present, and in the spring of 2024, please carefully choose the program that best suits you in the Taipei Traditional Arts Festival, experience the irreplaceable charm of live performances, and witness the most wonderful style of the 140th anniversary of the city of Taipei!

01【The Route to Innovation】Feeling the Traces and Warmth of Time in the Vicissitudes of Taipei's 140-Year History

02【Cover Story】Rooted in Tradition, Embracing Innovation Crafting a Contemporary Kaleidoscope of Chinese Music

06【New Vision of Chinese Music】Refuse to Be Limited by Body or Chinese Musical Instruments

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Over the past three years, the global pandemic has necessitated a metaphorical hibernation and period of reflection as the best course of action. In the post-pandemic era, all sectors universally long to revive past prosperity. The arts and culture sector has recently emerged from its gloom, unveiling performances as vibrant and colorful as a blossoming garden, signaling a fresh, hopeful atmosphere as we approach the New Year.

Reflecting on 2023, the Taipei Chinese Orchestra (TCO) staged several major annual productions: WANG ZHAOJUN, the Musical Concert, the ethnic dance drama Eternal Love across the Magpie Bridge, and “The Rite of Spring” concert. Beyond their impressive box office and attendance numbers, these productions set new benchmarks for cross-cultural and boundary-crossing collaborations in Chinese Music.“The Rite of Spring” concert, in particular, significantly altered the music industry’s view on the harmony between Western and Chinese orchestras, turning skepticism into admiration for the unique sound of the Chinese Orchestra. This innovative approach not only added ethnic richness and musical depth to these two classic works but also paved new pathways in the rich and diverse world of Chinese orchestral composition.

Last year’s “Music Soaring” forum brought together Chinese Music professionals from Taiwan and overseas, all deeply engaged in local development, to exchange insights and experiences from their respective areas. This gathering aimed to trace and understand the current developmental trends of Chinese Music in Taiwan, facilitating an exchange of ideas and inspirations among these practitioners. Building on the momentum of the forum, this magazine has featured a series of reports on diverse topics and regions, culminating in this current 92nd issue. Notably, it will delve into the increasingly emphasized areas of “Artistic Long-term Care” and “Music Education for the Elderly, ”drawing on the real-life experiences of Chinese musicians to explore broader possibilities for the future social application of Chinese Music.

At the end of December this year, the “Erhu Virtuosi” concert, featuring WONG On Yuen and his son, is set to stir the memories of Chinese Music enthusiasts, taking them back to the 1980s. That era witnessed WONG On Yuen’s erhu phenomenon sweep across Taiwan, establishing an erhu legend. His reappearance at Zhongshan Hall this year presents a golden opportunity for fans to experience the maestro’s captivating stage presence.

The upcoming 2024 marks the Year of the Dragon and the 140th anniversary of Taipei’s founding. The TCO, under the theme of “Music and Literature,” will continue exploring Chinese Music’s artistry. As part of the Taipei Traditional Arts Season, the focus will be on “Taipei’s Elegance,” showcasing Taiwan’s contemporary and diverse cultural ecology through exquisitecreations and performances by renowned artists and outstanding teams. As we reminisce about the past year and look forward to the future, we invite the public to join TCO in experiencing and co-creating these moments of artistic splendor, celebrating Taipei’s rich cultural heritage together.

01【The Route to Innovation】Exploring the Possibilities of Social Practice in the Future of Chinese Music

02【Cover Story】A Lifelong Love and Glorious Soundscape - About Two TCO Concerts

04【Guest Columnist Session】The Wisdom and Legacy of Chinese Orchestra Conductors (2)

06【New Vision of Chinese Music】Prof. LI Chi’s Pedagogy The Art of Chinese Music Education at UCLA

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As the 2024/25 season draws to a close, the Taipei Chinese Orchestra (TCO) presents 2 spectacular finale performances. First is the revival of My Mom Needs an Education, a TCO original opera that premiered in 2019. Starring Golden Horse Award winner for Best Supporting Actress LU Hsueh-Feng, the production portrays the modern “all-capable mom” figure with humor and warmth. Blending singing, drama, puppetry, and music, the opera captures the joys and struggles of family life, rekindling long-held emotional memories.

Next comes A Summit of Erhu Virtuosi: 2025 Taipei Traditional Arts Festival Closing Concert, which brings together huqin virtuosi from Taiwan, Hong Kong, and Singapore—including WANG Ming-Yu, ZHANG Chongxue, and LI Baoshun—for a dazzling showcase of classic erhu concertos.

This issue features a new column, Chinese Music as Daily Practice, exploring the connections between Chinese Music and daily life. In its first article, Professor SHEN Dong introduces a new multimedia project by TCO that aims to integrate Chinese Music more into everyday life and bring it closer to its audiences in a relaxed and accessible way.

In the column New Vision of Chinese Music, PAO Pei-Lan shares her experience participating in the Chinese Music Festival in Japan. Although the performers and ensembles were not professionals, they represented various Chinese Music Ensembles across Japan. The event provided insight into the rich and evolving forms of Chinese Music practiced overseas. For those interested, the Kansai region provides a chance to witness this distinctive musical scene in person.

The column The Moment continues its tribute to trailblazers in the Chinese Music community. SHIEH Yie-Hong reflects on the legacy of his mentor LIANG Zaiping, who played a pivotal role in promoting guzheng education and development in Taiwan. Through personal recollections, SHIEH honors LIANG’s contributions to Chinese Music and his lasting influence as a musician and a person of great integrity.

In the coming year, Chinese Music in the New Silk Road will present travel writing, artist profiles, and lifestyle reflections to build a musical lifestyle journal that bridges tradition and contemporary living. Through relaxed and accessible writing, this publication invites readers to rediscover Chinese Music as a part of everyday life. Rooted in the spirit of “Living Chinese Music Anew”, we welcome you to join us in seeing, hearing, and experiencing Chinese Music from a fresh perspective.

01【The Route to Innovation】Cultural Depth and Pursuing the Pinnacle of Chinese Music

02【Cover Story】Echoes Amidst Classics Introducing the New Season of Taipei Chinese Orchestra

04【Guest Columnist Session】The Wisdom and Legacy of Chinese Orchestra Conductors (1)

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From its inception up to 1984, the Taipei Chinese Orchestra (TCO) gathered compositions through a call-for-entries approach. In 1984, Director CHEN Tscheng-Hsiung entrusted TUNG Yung-Shen with composing The Overture of Huaxia's Radiance. This piece debuted at the Taipei Arts Festival, and became the pioneering event in what has become the long tradition of commissioned works for the orchestra. In 1987, with the inauguration of the National Concert Hall, LO Leung-Fai was invited to craft The Festivity Overture, which remains a celebrated classic to this day. Since the founding of TCO, commissioning new compositions has been one of its core endeavors, as it continually strives to foster innovation in Chinese music. As we enter the 2023/24 season, we continue to embrace our enduring philosophy and actively advance the TCO Composition Project. Given Taiwan's diverse socio-cultural landscape, the TCO Composition Project launched at the end of 2021 is divided into three distinct sub-themes: Original Dance Music, Sounds of Formosa, and Stories of Taipei City. The Original Dance Music series draws primary inspiration from materials related to Taiwan's indigenous peoples. The upcoming season will debut LI Yuan-Chen’s new piece, The Trail Head a Note to a Fieldtrip in Shakadang, and LIN Tsen-Ling's Sea Offering. With changing societal perspectives, the intellectual property rights associated with the traditional wisdom of indigenous peoples cannot be overlooked. Modern-day composers must approach this with gravity, engaging in meticulous fieldwork, learning, and firsthand experiences, ensuring creations are birthed from mutual respect and understanding. Crafting Original Dance Music might be more daunting than anticipated, being that it is not merely a derivative work but an intricate cultural translation and cooperative act. Sounds of Formosa and Stories of Taipei City illuminate Taiwan and Taipei's natural landscapes and rich cultural tapestry. Through these musical narratives, the Taiwanese are drawn closer to their homeland's essence, and the orchestra also showcases Taiwan's distinctiveness on global platforms, amplifying Taiwan's voice. In 2022, the “Invocation” concert, led by CHIEN Wen-Pin, garnered a nomination in the 21st Taishin Arts Award's fourth season. The nominator, CHEN Yi-Chen, highlighted several pieces inspired by local beliefs and traditions, such as LIN Tsen-Ling's The Blasting of Master Handan, YEN Ming-Hsiu's The Legend of Yimin for Labaxian and Chinese Orchestra, and Ryan Zen's Romantic God of Love. These compositions seamlessly meld traditional musical elements with modern sensibilities. Particularly remarkable is a piece crafted for the labaxian—an almost forgotten instrument, now vivaciously revived and presented to the broader musical audience. Crafting Chinese musical compositions that truly capture Taiwan's unique essence has become a significant topic in the music community over the past decade, influenced by increased international exchanges and a heightened sense of identity. To this end, the TCO has undertaken several initiatives. In 2013, under the leadership of Director ZHONG Yao-Guang, the Taipei Map project was initiated. He invited 12 composers and directors to create music and micro-films for each of Taipei's 12 administrative districts. Then, in 2017, Director CHENG Li-Pin introduced the “TCO Theater”, assembling a team of directors, composers, and actors, all proudly "Made in Taiwan." Fast forward to 2022, Director CHEN Cheng-Kang led the rediscovery of the traditional Taiwanese instrument, the labaxian. This instrument further provided a fresh interpretation of Taiwanese Chinese Music in terms of its historical roots and instrumental resonance. The ancient Chinese philosopher Xunzi once said, “With persistence, even metal and stone can be carved.” The TCO has certainly embodied such persistence in the long journey of commissioning compositions. Over the past 40 years, under the leadership of various group leaders, music directors and principal conductors and the unyielding efforts of its members, they have successfully premiered over a hundred new Chinese music compositions. They are also recognized as “the orchestra that performed the most Taiwanese compositions.” As the journey of Chinese music creation continues, the new season beckons your exploration. 

01【Cover Story】Boundless Harmonies of Strings and Winds – Extreme.Music: The 2023/24 Season of Taipei Chinese Orchestra

02【New Vision】Huqin × TikTok in China: A Glimpse into Mainland China's Online Practice of Huqin Performance and Education

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The Taipei Chinese Orchestra (TCO) holds 120 to 150 concerts annually. Alongside orchestra-centric performances, several programs are carried out in collaboration with self-organized local teams and groups. As a public sector representative in arts and culture and a participant in government arts policy, the TCO's role goes beyond that of a typical orchestra. Its mission is to lead the way for Chinese music in Taiwan, achieved through advancement in performance and the demonstration of strong, diverse functions. As a government organization, a publicly funded professional orchestra such as the TCO provides a stable environment for performers and, in turn, helps elevate the overall artistic standards. It allows the public to engage in high-quality aesthetic experiences, which contribute to the accumulation of cultural capital in society. Meanwhile, Chinese music in Taiwan, though firmly rooted in tradition, has embraced new formats. This unique blend of old and new has turned Chinese music into a vessel for Taiwan's diverse cultural spirit. Therefore, the TCO is tasked with enhancing performance and shouldering more responsibility in research and promotion. It transforms present and past culture into resources for future sustainable development. This mission aligns with contemporary curatorial thinking, aiming to make music appreciation an immersive, multi-dimensional aesthetic experience enriched by humanistic thought. Arts and culture professionals must address shared challenges in the post-pandemic era. As we all know, COVID-19 forced the global art sector to pause and reassess its forms of presentation. While lockdowns may be behind us, the tumultuous period is not over. Amidst the recovery from the pandemic, Taiwanese musicians face not only the ongoing challenge of a declining birth rate but also the impact caused by changing audio-visual consumption habits. Traditional Chinese music performers are not exempt from these challenges. During times when audiences could not physically attend concerts, the TCO kept its momentum, offering continuous public access to traditional music through online performances. They also pooled resources for online performances with local teams, providing a vital lifeline for many arts groups. As art consumption patterns and forms evolved, the TCO facilitated events such as academic seminars, forums, and round-table discussions to encourage different perspectives and experiences, fostering unity and mutual support in preparation for future challenges. The word "challenge" can elicit feelings of anxiety, but it can also ignite innovation. The journey may encounter setbacks, yet certain paths might transform into enduring masterpieces that could inspire future generations. The traditional dance drama Eternal Love Across the Magpie Bridge is the season's grand finale. As a trailblazer in Taiwanese creative dance drama in the 1980s, its composer, Mr. CHEN Si-Sum, played a crucial role in the evolution of Taiwan's Chinese music. The original performance in 1984 left a significant mark in the Taiwanese performing arts community, and its re-performance during the 1995 Taipei International Dance Season was an unmitigated box office success. The current revival not only reconstructs the choreography but also rearranges the orchestration based on the current setup of the Chinese orchestra. It blends contemporary ideas and techniques into its stage design. By honoring cultural traditions and infusing them with new energy, the TCO is transforming its vision and mission into actions, kindling its spark within everyone, and propelling Chinese music in Taiwan ever forward. 

01【The Route to Innovation】Artistic Practice and Social Engagement: Navigating the Post-Pandemic Challenges

02【Cover Story】Swing It! The Free Musical Spirit Soaring between Tradition and Modernity

03【New Vision】Points Of Intersection: American Composer Meets East-Asian Instruments

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Good art withstands the test of time. From the recording of LO Leung-Fai’s Spring, Summer, Autumn, and Winter to the re-staging of CHENG Si-Sum's dance drama Eternal Love across the Magpie Bridge, these Chinese musical works, which were born in the 1980s, are still charming today. With rich melody lines, they create a unique flavor of traditional music and are artistically appealing on multiple levels. Today, 40 years later, we are embracing the classics to help create our future, giving new life to our works with more diverse artistic creative energy. In the final performance of the 2023 Taipei Traditional Arts Festival—Spectacular of TCO: The Traditional Dance Drama 2023—dancer HSU Li-Mei is invited to reconstruct the dance score and conductor CHENG Li-Pin to re-orchestrate Eternal Love across the Magpie Bridge. With new thinking and stage technology, combined with the talents of music, dance, theater, multimedia, and other fields, the audience will be led to experience again the classic love story of the Cowhand and the Weaver Maiden.

The TCO’s philosophy of tradition with innovation can also be seen in the performers and repertoire of the concert “Ecstatic on Strings—A Soirée of Erhu Virtuosi”. The jury and winners of the 2023 Taipei Chinese Instrumental Competition will all perform on the same stage, symbolizing the passing down to a new generation. The repertoire also recalls the historical development of the huqin—from LIU Tianhua's Ten Greatest Hits from the early 1920s to SUN Wenming's Flowing Waves from the 1950s, from HE Zhanhao and CHEN Gang's Liang Shanbo and Zhu Yingtai to LIU Wenjin's The Great Wall Capriccio from the 1980s—performers pay tribute to the classics by reproducing them. In terms of new works, the Second Erhu Concerto, composed by Taiwanese composer LIU Shueh-Shuan in the 21st century, is cited as a demonstration of the achievements of Chinese music rooted in Taiwan. The concert will also include the premiere of Taipei Style, commissioned in 2023 from Singaporean composer WANG Chenwei, representing Taipei as an international city and TCO as an orchestra based internationally on the Taiwanese brand, in its tireless efforts to fulfill its vision of making Taiwan hear the world and the world hear Taiwan. 

Classic works need time to become refined and to become settled, but becoming a classic takes more than just the passage of time. The thread of the humanities weaving through the depths of time produce the classics, but also they define what a classic is. The conferment of cultural capital and the application of discourse’s power have always been taken seriously by intellectuals, and in the same way musicians also have inherent responsibilities. Therefore, in addition to performing the duties of exhibition, TCO also makes efforts to plan a platform for discussion and dialogue. The TCO 2023 International Symposium on the Creation of Chinese Music is a collection of keynote speeches, paper presentations, roundtable discussions, special concerts, music collection, and other activities. Topics of discussion include “Dialogue between Ethnomusicologists and Composers” by LEE Ming-Yen and WANG Chenwei, and international scholar Dr. Donald Reid WOMACK's observations on “The Collision and Integration of East and West—Contemporary Creation of Eastern Instrumental Music”. It seems that through meticulous classification and discussion, as was suggested by next-generation scholar WANG Min-Erh’s groundbreaking hypothesis, we have ushered in the “Taiwan School of Music” of the 21st century, laying a cornerstone for Taiwan's traditional music creation and through well-crafted musical works, we write our own classics.

01 The Route to Innovation : Through Well-Crafted Musical Works, We Write Our Own Classics

02 Cover Story : The Third Magpie Bridge Production in Forty Years, Revisiting Classics : Large-Scale Traditional Dance Drama Eternal Love across the Magpie Bridge

03 New Vision of Chinese Music : Distinct Locations and Cultures – A Discussion of the Development of Two Chinese Music Ensembles in the United States

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Spring is coming to an end and what could be more apt than celebrating it with an all-encompassing music programme by Taipei Chinese orchestra (TCO). TCO is ready to wow the audience once again with a rich and versatile programme and activities. Many world-class virtuosi will lead in the up-coming TCO concerts as a show of reconnecting with the rest of the world since covid-19 almost brought a halt to regional and global communication. Conductor YE Tsung flew in from the United States and QUEK Ling-Kiong from Singapore. Young conductor Kahchun WONG also joins the fun. Other internationally acclaimed musicians partaking in the festival are YANG Wen-Sinn, WU Wei, and WANG Jian. Together with TCO, the virtuosi are ready to raise their game. TCO’s late spring programme covers a wide spectrum of music from East to West – ZHUANG Zhou's Dream Cello Concerto and The Rite of Spring; Zhuolu & Dreaming of Butterflie and Pictures at an Exhibition – the clash and fusion of Eastern and Western music continues to push boundaries and gain new perspectives. It is most certainly not an easy feat to achieve. The interaction and fusion across cultures and genres require time, in-depth understanding, and mutual respect. Bi-musicality and Crossover production are still relatively new concepts waiting to be explored. To fight the battle and win the war, we need meticulous but bold composers and conductors, highly skilled orchestras, and professional production teams. Not to mention encouragement and appreciation from kindred spirits and like-minded souls in the audience seats. This is what a successful performance makes and a hopeful and aspiring future for contemporary Chinese music needs. We believe that all the seemly naïve and foolhardy attempts will act as catalysts to revitalize the Chinese music world and facilitate the growth and advancement of the music culture that is near and dear to our hearts.

To thrive in a generation brimming with diversity and change requires an open mind. We must not be afraid to incorporate the best from the West and the East, seeking connections among music, performing arts, and traditional arts. Needless to say, related academic research and discussions of Chinese music composition also plays an important role. This year, the programme of Taipei Traditional Arts Festival includes indigenous folk songs, a middle eastern dance play – A Magnificent Century, the collaborative work of Musical Serendipity of Japanese and Hana No Waon – Meeting and Fusion, Taiwanese opera from the well-known Troupe Ming Hwa Yuan – The Ri Theatrical Troupe and Siou Hua Yuan Taiwanese Opera Troupe, and Hakka plays from Tzu Hsuan Chu Opera Troupe. Sound of Joy Ensemble, a group of extremely talented visually impaired musicians also takes part in the celebration. The music season really speaks to and for all groups of the public in love with music. As for the TCO music education plan, Taipei Chinese instrumental Competition and Who Will Take Over – The Star Project for Young Musicians of Chinese Music are the cradle for aspiring Chinese music talents. In addition, a series of Chinese music international seminars are hosted for enthusiastic professors and composers from China, Southeast Asia, Europe, the United States and Australia. They congregate in Taiwan to discuss the impact on Chinese music composition as the society and environment changes over the years. Finally, it is our most sincere hope that the fans and readers of New Silk Road will take a minute or two to visit the issues crucial to the composition and development of Chinese music whilst appreciating the wonderous music we present. Let us value, cherish, and promote the Chinese music we love from every angle possible.

01 The Route to Innovation : Celebrate the Passing of Time with All-Encompassing Sounds and Promote Chinese Music by All Means Possible

02 Cover Story : Glorious Arts Taipei – Redefining Tradition and Daring to Create

03 Guest Columnist Session : Showcasing the Chinese Orchestra's Uniqueness through The Rite of Spring and Pictures at an Exhibition

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The Taiwan Musicology Forum 2022, organized by the Taiwan Music Society and the Department of Chinese Music of the National Taiwan School of the Arts, featured single papers and panel discussions on the theme of Chinese music, such as the Female symbol performance of the Taiwan Women's Chinese Orchestra in the 1960s, the historical recording study of the Chenggong High School's Chinese Music Club, the Chinese music culture of Malaysia and the teaching and promotion of Chinese music in Japan. It also examines the themes of disease and war in the creation of Chinese music from the angle of social concern. In addition to serious academic discussions, the Tujia Daliuzi workshop led by Li Hui, honorably retired member of Taipei Chinese Orchestra (hereinafter referred to TCO), and the lunchtime music salon organized by graduate students from various universities added rich practical experience in music. These discussions reflect the growing diversity and importance of Chinese music in the environment of academia and performing arts exhibitions in Taiwan.

As a leading Chinese orchestra at home, TCO has been committed to music practice for more than 40 years and enjoys a high reputation for its high-quality concerts. However, at the same time, we also need to face the challenges of the rapidly changing form of digital technology performance, the cross-cultural and cross-domain aesthetic challenges under globalization, the reflections on music culture in post-modernism and post-colonialism and so on. All these issues make us unable to hold on to the past, and a broader and multi-level dialogue is needed to lead musicians to face the audience and society in the new era. Therefore, we look forward to regularly discussing the deep cultural implications and music aesthetics behind the stage through academic projects such as the journal New Silk Road, the international symposium on Chinese Music in Spring and Autumn, oral history workshops, etc. At the same time, we will accumulate rich historical materials of Chinese music literature. It helps us to create more in-depth and profound works in the execution of various tasks entrusted to the orchestra, such as program planning, ommissioned creation, album publishing, cross-border cooperation and international exchanges.

This issue of New Silk Road covers various aspects, from WANG ZHAOJUN, which explores the performance aspect, and the Star Project for Young Musicians of Chinese Music, to the Resounding-Hearing the Sounds of Pipa, which introduces academic promotion, and continues to visit the predecessors of Chinese music. In the The Moment section, we present HUANG Wen-Liang's exciting life in Chinese music, and further consider the spirit and methodology of oral history as an inspiration for the construction of Chinese music history. From these themes, we can slowly coalesce the diversified aspects and depths of the development of TCO and even Taiwan's Chinese music, echoing the article Features of Chinese Orchestra: Interview with General Director of Taipei Chinese Orchestra CHEN Cheng-Kang and Singapore Chinese Orchestra Executive Director Terence HO Wee San by guest columnist session LEE Ming-Yen in this issue. On the other hand, we have applied these concepts to our recent musical practice, presenting the Spectacular of TCO : Invocation CHIEN Wen-Pin & TCO concert, revitalizing Taiwan's historical characteristic instrument, the horn string, and presenting both and novel charms in the concert.

We hope that the music of TCO is not just the personal practice of musicians, but an artistic concern that can be based in Taiwan and look at the world. Whether in the post-epidemic era or in the face of the stormy international situation of the 21st century, we can allow Chinese music to enrich the lives of our people and allow musicians to create in a stable and comfortable environment. Finally, echoing the discussion on "Global Music History" in this musicology forum, we believe that the development of Chinese music over the past century can also provide diverse perspectives and thinking for global music history, and we should continue to use Chinese music to dialogue with the world in the pulse of such times.

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Summer is that an end and autumn is around the corner. The humidity in the air is gradually stripping away the hot scorching heat. The new music season of TCO is about to begin in the crisp autumn wind. The All-Embracing Music is the theme of the new music season. Under the leadership of principle conductor CHANG Yu-An, TCO guarantees a season of inclusive and diverse soundscape of Taipei. There are in total 63 performances from 3 different series: Spectacular of TCO, Warmness of TCO Family, and Iridescence of Traditional Arts. 100 guest performers and 20 partner troupes will fight the aftermath of Covid-19 with TCO to bring new life to performing arts. Conductor Quek Ling Kiong, YEH Tsung, WONG Kah-Chun and ZHANG Guo-Yong, and performer YANG Wen-Sinn, WU Wei, and WANG Jian Wang will visit Taipei again after all this time and present their best work with TCO for the fans.

The all-embracing music is an integral part of the cross-discipline productions this season. The new season encompasses operas, musicals, and dance dramas. The original production Formosa Bloom will greet the audiences at National Kaohsiung Center for the Arts (Weiwuying) in November. In January 2023, TCO and All U people theatre will put on WANG Zhaojun, the Musical together. The piece is produced by CHANG Ta-Chun, directed by HSIEH Nien-Tsu, composed by LEE Che-Yi, and performed by actor Tony SUN, and actress FANG Yu-Hsin. Eternal Love Across the Magpie Bridge 2.0 is a traditional dance-drama scheduled to show in June 2023. The production tells the never-ending love of the herd boy and the weaving maiden. Their hearts will go on even when the whole world is coming to an end, and the rain will never stop falling on the eve of every double seventh festival. Another highlight of the new music season is the Invocation concert conducted by CHIEN Wen-Pin. YEN Ming-Hsiu will premier her very first labaxian concerto The Legend of Yimin for Labaxian and Chinese Orchestra and the labaxian quartet Invocation for Two Labaxians, Zhonghu, and Cello as a nod to all-embracing music. We expect to bring out the vitality and strength through the dialogue between composers and musicians and the chemistry between the composers and the culture that nurtured the music form. Through the participation of composers, performers, conductors, and the administrative team, we hope to inspire, awe, and reach out to more people with these music productions.

The weather is getting cooler but not our passion for music. We implore music fans to be patient and stay with us for the new season. For it is the continuation of the summer filled with enthralling Chinese music workshops, Chinese music festivals and performances. In the post pandemic era, TCO promises to ride out the rest of the storm as the cultural engine with private troupes, making more connections and continue to network in an effort to revitalize performing arts and enrich the cultural life of citizens. The all-embracing music signals the beginning of a new period. Hopefully we will be able to pool our resources and efforts together in the up-coming music season and enter a glorious new epoch for Chinese music after the pandemic.

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Covid-19 has plagued the world for nearly 3 years, haunting humans like the darkest of nights. Performing arts workers in Taiwan have suffered tremendously during this period marred by fear and trepidation. Now that the world seems to have adopted a new approach towards the pandemic, everything is gradually getting back on track. We must now learn to co-exist with this disastrous virus and again connect with audiences in closer physical proximity.

August 2022 marked a new beginning for TCO. When the pandemic hit the stop button, we were put on hold. We had to lay low for a while, taking stock and recharging, patiently waiting for a breakthrough. This new music season, we are given reasons to hope. Under the leadership of our new principal conductor Chang Yu-An, the future is at hand. He is rooted in Chinese music but also welcomes the influence of other Eastern and Western music cultures. He is both meticulously thorough and extremely passionate. His music has no boundaries. Nothing will hinder his pursuit for better music and melodies. Time and time again, his works fascinate the Chinese music community and the audiences with alluring charm. The liberal mindset is also why there is a growing diversity in music troupes taking part in Taipei Traditional Arts Festival this year. We see indigenous Taiwan aboriginals, new immigrants from Southeast Asia, and visually impaired musicians imparting their own color and spice to the celebration, adding to a very different yet wonderful side of the city. The TCO Chinese Music Party will be held at Daan forest park in September. Approximately eight to ten private Chinese orchestras have been invited to take part in the jubilation. As a public orchestra, TCO has the responsibility to reach out and lend a helping hand as private Chinese orchestras struggle to get back on their feet, trying to locate venues and book openings for concerts now that the pandemic is finally dying down a little.

We are capable of doing much more than we believe. The pandemic gave us an opportunity to explore our potential. From live broadcasts to playing simultaneously from different locations, from video clips to online streaming, the TCO’s marketing approach has grown more flexible. Ideas keep pouring out—modifying, shaping, and perfecting new performance routines. The future of Chinese music knows no bounds. However, castles and fortresses cannot be built on thin air. A solid knowledge base is required to turn the endless possibilities into reality. As the old aphorism says,“With a copper mirror, we can tidy up our appearances. With an understanding of history, we know our places in the present world.” Studying the history of Chinese music and examining past events will set us on the right track towards a brighter future. Therefore, we invited the Taipei City Archives and the Taiwan Oral History Society to co-organize the Chinese Orchestral Music Oral History Workshop in the latter half of 2022. We hope this workshop will lay the groundwork for Chinese orchestral music and we look forward to future academic activities, where we can refine the methodologies of oral history studies.

History helps us understand the world in the present. We reap the fruit of past successes and hope to overcome the destructive force of the pandemic with the wisdom of today. In the future, TCO shall branch out even more and become a comprehensive body that surpasses all limits. The music of the future should not be trapped within a certain mold or category. It transcends showcases and stage performances. By nurture all-encompassing music creations, TCO sincerely hopes that Chinese music will thrive and shine for years to come.

01 The Route to Innovation : Performance PLUS × All-Inclusive Music

02 Cover Story : Live In the Moment and Make it Count – The New TCO Season Presents an Eclectic Repertoire for Fans Around the World

03 A Journey into Chinese Music : The Development of Chinese Music Education (Part 2) – Older Adults and Chinese Music

• 新絲路第84期.pdf

TCO and the Chinese music world in Taiwan worked diligently to bring about “The Taipei Chinese Instrumental Competition — Pipa” in April 2022 and the 2022 “Who Will Take Over — The Star Project for Young Musicians of Chinese Music.” These are vital platforms where young talents can interact and network with the world and ensure the advancement of the art of Chinese music.

The international panel of judges sitting on The Taipei Chinese Instrumental Competition — Pipa serves a window to the world. As for the star project, it is a vital platform for musicians from professional orchestras and music schools to communicate, interact and share their findings and insights on Chinese music locally. Musicians, conductors, art administrative, and all related talents weaved a very fine and complicated web encompassing the contemporary Chinese music society. Here all sorts of innovations and creations are allowed to ebb and flow freely and eventually enrich and broaden the repertoire and history of Chinese music. It is vital that young and aspiring musicians have something to fall back on and support them during their experiments and exploration towards the future. For the winners of music competitions are the chosen ones who will lead the Chinese music community to glory and greatness to come.

CHANG Yu-An succeeded as the principle conductor of TCO on May 2nd. As the winner of the Bucharest International Conducting Competition, he is a very good example of the rising stars in the Chinese music community. Fans are thrilled to see him join the TCO family. There is no doubt he will lead the orchestra towards a brand-new stage. CHANG was elected through a rigorous selection process. His appointment demonstrates the faith the director, the principal, and the members of the orchestra have in young talents. This edition, the cover story unveils the artistic concept and program planning of conductor CHANG. His exuberance and zest for Chinese music will no doubt brighten up the future of TCO and ignite sparkle.

Young and aspiring musicians are the future of Chinese music, but they also face very different challenges and problems. In 2020, the entire world succumbed to the destruction of COVID-19. Many scheduled performances and meetings were postponed or disrupted. Physical concerts were no longer valid, and the digital ones took their place. Yet crisis can also become opportunity. TCO News bears witness to the transformation of music concerts and how music continues to influence people's lives through new media. The distance and challenge of communicating through the screen encouraged innovative solutions and creativity. The integration of on-line and off-line contacts and interaction provides new possibilities for the future.

Tough wisdom is key to the sustainable development of an art, the discussion and exploration of knowledge, the research into historical record, and learning from the experienced virtuosi are also vital to the advancement and promotion of Chinese music. This issue, A Journey into Chinese Music features an analysis on the system, course design, and educational concept of Chinese music higher education, giving readers a peak into the core requirements of talent cultivation in selected universities and at how students can acquire knowledge and sagacity that prepare them for challenges to come. The New Silk Road will continue to map out all aspects of Chinese music education and explore issues in different age range. In other columns such as Chinese Music Studies, New Vision of Chinese Music, and The Moment, we promise to deliver just as always in the hope of gathering sufficient knowledge and wisdom to fuel the success of the next generation of Chinese music talents.

01 The Route to Innovation : May Wisdom and Experience Illuminate the Work and Performance of Young Music Talents

02 Cover Story : Welcoming Our New Conductor : Showing Chinese Orchestral Music’s Unique Contemporary Value

03 A Journey into Chinese Music : The Development of Chinese Music Education (Part 1) — Chinese Music Higher Education in Taiwan

• 新絲路第83期_雙頁小.pdf

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 10^th, 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

02 TCO Theater : Confessing Ardent Love with Painting — Interviewing HSIEH Nien-Tsu, Director of WANG Zhaojun, The Musical

03 Cover Story : The Nursery of Rising Talent — 2022 Taipei Chinese Instrumental Competition and Concert

• 新絲路第82期.pdf

As the saying goes in France,“the mission of artists is to create sunshine when there is none.”Since 2020, the pandemic has seemed to block all the sunshine. People avoid gathering and keep  their doors closed. In this dark age, however, Taiwan’s Chinese Music community and academia have cooperated with each other to build a collaboration platform for common prosperity and common good, seeking to create sunshine in the future.

Taiwan has been engaged in professional Chinese music education for over 50 years but now the new generation of musicians needs more stage training. At this moment, the public orchestras have a responsibility to create opportunities for them. Who Will Take Over — The Star Project for Young Musicians of Chinese Music is the best such collaborative platform. This project — initiated by Taipei Chinese Orchestra, Kaohsiung Chinese Orchestra, Tainan City Traditional Orchestra, Taoyuan Chinese Orchestra, and 3 departments of Chinese music at Chinese Culture University, National Taiwan University of Arts, and Tainan National University of the Arts — began in 2020. Every year, young musicians are recommended into the platform and then invited by the orchestras to perform together during the season. It is unquestionably cultivating the future pillars of Taiwanese music community.

In 2021, the first ever season of Who Will Take Over broke down the barrier between these orchestras. Kaohsiung Chinese Orchestra, Tainan City Traditional Orchestra, and Taoyuan Chinese Orchestra each sent 1 musician to perform with Taipei Chinese Orchestra in their regular concerts. In the second season, the exchange will expand to include conductors and art administrators. This pioneering work has never been done before in Taiwan’s Chinese music community. Today, this collaboration shares resources, exchanges experiences in different venues and art festivals, and provides opportunities for growth, from the spotlight to backstage. Through this platform, outstanding students also have an opportunity to work with professional orchestras. In the future, this collaborative platform will continue create new and more diverse opportunities for collaboration between orchestras and schools.

Besides the cultivation of talented musicians, the construction of an oral history is also urgently needed. The conference Spring and Autumn of Chinese Music discussed the importance of this issue, and the column. “This Moment” from New Silk Road is dedicated to the mission of recording the people, events, and music of Taiwan’s Chinese music community, being another collaborative platform to connect orchestras and schools. In order to make this column more systematic and academic, we are considering organizing an academic workshop and training. We hope to cultivate more music professionals who can record oral history in a more rigorous and detailed manner. We have already received support from ITH Academia Sinica and Taipei City Archives, and many music history teachers have expressed their willingness to participate the workshop. We are very encouraged.

For two years we have experienced the darkness of the pandemic. But even in the darkness there are still many stars shining brightly. We believe as long as we work together, the collaborative light of Chinese music in Taiwan will grow more and more dazzling.

01 The Route to Innovation : Alternative Cooperation during the Pandemic - Building the Cross-Platform of Chinese Music

02 Cover Story : A Profound and Sentimental Art : “The Splendor of Traditional Theatrical Music” by LIN Gu-Fang and QU Chunquan

03 A Journey into Chinese Music : 2022 “Who Will Take Over — The Star Project for Young Musicians of Chinese Music”

• 新絲路第81期(小檔).pdf

COVID -19 has finally released its deadly grip in Taiwan in the autumn of 2021. The performing arts industry is once again welcoming audiences back into the theater without further restrictions. As the year is coming to an end, TCO is scheduled to introduce more than 30 performances in November and December in the hope of lightening and soothing the wearied hearts living under the overhanging threat and menace of the contagious virus for so long with the beauty of music.

The programs lined up include large-scale outdoor exhibitions. Covid -19 dealt the performing community a heavy blow. To provide Chinese orchestras without performing or rehearsing opportunities a platform to communicate and network, TCO decided to host Party Up on November 13th and 14th so that no fellow musicians were left behind in times of stress. They also organized the Square Arts Festival at Central Art Park in Taipei in early December and the Family Carnival at the 228 Peace Memorial Park from 25th to 26th later the same month. People will get a chance to get out of their houses, reconnect with each other and gather the courage to move forward as a community again.

In December, the Principal Conductor Series features Bang, Beat, Blast, Boom! As Fast as the Wind Blows! ─ an exhilarating encounter between the East and the West percussion worlds. WU Pei-Ching, a founding member of Ju Percussion Group wows the audience with her exceptional six-mallet technique. Together with Hsieh Tsung-Hsin, the principal percussionist of TCO who excels in both Yangqin and Chinese percussion instruments, they will knock your socks off!

Peerless Fashion ─ An Evening of Legendary Divas of the Brilliance Series at Taipei Music Center will dazzle the audiences with the magnificent performance of divas and aspiring musicians of Peking opera, Taiwanese opera and folk songs. They plan to show the audience with their masterful interpretation of classics like Red Chamber Dream, Looking for the Peach Garden, and Moon Zither. As the first Chinese orchestra to perform at Taiwan Music Center, TCO aspires to put on an extraordinary hybrid performance that incorporates many different art forms and touches the hearts of people young and old. It is our most sincere wish that young people will learn to love going to theaters and art centers together with their family and truly get a chance to appreciate the beauty of pop music from different time eras.

As important as onstage performances are, there is no denying the critical role of music education in daily lives. The brand-new“Chinese Music Studies” by TCO is the very first column dedicated to the reviews on Chinese music. In the future, TCO will invite more professionals to write short essays or reviews on Chinese music in anticipation to nurture a healthy academic environment for discussions and insights on productions, performances, analysis and researches for the art form. This will definitely add to the richness of the ecosystem of Chinese music in Taiwan.

This issue,“The Moment” features an interview on LIN Yue-Li, esteemed Chinese music artist in southern and central Taiwan. She has dedicated a great amount of her time to the children at the China Youth Corps Chinese Orchestra. Ever since the publication of CHEN Jianting’s interview in issue 79, we saw an opportunity to map out the development of Chinese orchestra through the stories told by these giants in the field. As they are all valuable first hand material on the history of Chinese music in Taiwan.

At the same time,TCO sets in motion the 2022 Musician’s Journey to Inspiration. Arrangers and composers interested in folk and ethnic music travel to the birthplace of a specific culture where they endeavor to explore and exploit the essence of local culture and life style. At the end of their stay, they will put on a performance for the local people, thereby deepening the connection between music and society.

The past year has been a turbulent year for the people in Taiwan. Now that the pandemic is under control, TCO invites all of you to join us on the path to recovery and move forward to a better future full of possibilities.

01 The Route to Innovation : New Ties, New Prospects, New Future

02 Cover Story : Healthy Competition Is Key to Relationship Bliss "An Exclusive Interview of LANG Tsu-Yun, Producer of Peerless Fashion : An Evening of Legendary Divas"

03 A Journey Into Music : Archiving The Era — The Chinese Music Publications in 2021

• Silk Road Bimonthly 080.pdf

• 新絲路第79期雙頁小(更新).pdf

• 新絲路78期 完稿檔案(小檔).pdf

• 新絲路第77期.pdf

• 20210416 新絲路第76期(完稿)小修.pdf

• 新絲路75期_完稿_雙頁_大.pdf

• 新絲路第74期.pdf

• 新絲路73期_彩稿8稿_finial_1016.pdf

• (更新)新絲路72期_完稿_大檔_0829.pdf

• 新絲路71期_完稿_ 調整完成_0617.pdf

• 北市國新絲路70期_finial_大檔_0415.pdf

• 新絲路第69期_完稿檔案.pdf

• 2019-新絲路 Vol 68-A3(完稿).pdf

• 2019-新絲路 Vol 67-上傳檔.pdf

• 2019-新絲路 Vol 66-上傳版.pdf

• 新絲路VOL.65 上傳版.pdf

• Silk Road Bimonthly 064.pdf

• Silk Road Bimonthly 063.pdf

• Silk Road Bimonthly 062.pdf

• Silk Road Bimonthly 061.pdf

• Silk Road Bimonthly 060.pdf

• Silk Road Bimonthly 059.pdf

• Silk Road Bimonthly 058.pdf

• Silk Road Bimonthly 057(P1-11).pdf
• Silk Road Bimonthly 057(P12-20).pdf

• Silk road 56.pdf

• silkroad 2017october.pdf

• 781714253823.pdf

• 763019475651.pdf