2013 Spasms for Prepared Piano, Percussions and Violin 2012 Music for “Rite of City- Tainan” for electronics in collaboration with … Read More →
Award-winning composer Alain Chiu’s 趙朗天 music has been performed in concert halls and festivals throughout the world, including performances in … Read More →
Teaching has became one of my passions: I have the great pleasure to the success of many of my students, … Read More →
Why learn to read music? Why not CD?
It is often said that music is an elusive form of art, the emotion and message conveyed are often subjective and perplexing for an untrained person. However, if one looks more closely, you will find that the method to notate the so-called “elusive form of art” is highly systematic and logical.
It is important to understand that before the introduction of recordings and various music distribution channel radio, CDs, iTunes etc, sheet music is the only way for anyone to learn a piece of music other than attending a concert. The ability to “read” music has thus becoming a very essential skill. Some might argue that even today, “reading” sheet music is still the only way to truly learn the intention of the composer.
You process the information given by the composer by combining cognitions from your sight and internal vocalization (fancy term for humming a tune to yourself). Such processed information provides a more powerful tool for your brain to “learn” than relying solely on audible information, which can often be deceiving.
One should be able to find enough information, given the skills of the composer is adequate, to perform or understand a piece of music just by looking at the score. I will discuss a few basic elements of a score over the next few weeks. Stay tuned for upcoming entries when we will discuss about the staff notation and clefs!
In this series, I will explore some of the basics of music theory that you need to know in order to be able to explore and further appreciate the craft of the art.
I will make also tell you the more obscure, little known side of the topics covered so that some of the more advance readers will have something to take home.
This series is in no ways comprehensive of course, but my aim is to try to give you the fundamental needed to go forward in your music learning, appreciation, analysis, performing, composition journey.
As always, please feel free to leave comments, start a discussion or send me suggestions of topics you want me to cover.
A good friend of ours, Maurice Lai (黎宇文) has recently completed his new dance film, 城市祭 ‧ 回望 Rite of City -Reminisce, about Tainan and the problems it faces in the wake of rapid urbanisation. This dance video has been shown in Hong Kong, Taiwan with many prospective showings to come.
Soundgoods is responsible for the music from 04'16'' to 07'00'', the rest of the music comes from the two piano version of…
My second collaboration with choreographer Max Lee and the HKAF results in “Spasms”: a new piece for prepared piano, violin and percussions.
The Series continues to promote contemporary choreography and cross-discipline collaborations in Hong Kong. This year, 11 gifted choreographers are featured in six innovative new dance works, set to music by local composers.
I am joined by my friends and good musicians Louis Siu (percussions), Eric Chan (violin) along with dancer Alice Ma and Dramaturge Franky McNugget and have created a work on autism and how we all have a little bit of something we want to safely guard within ourselves..
For more information, please visit: http://www.hk.artsfestival.org/en/programme/206-hkjc-contemporary-dance-series#about-this-programme
I look forward to seeing some of you there!
Showcasing Hong Kong’s latest generation of dance talents, highlighting the energy and enthusiasm in HongKong’s contemporary dance scene.
Programme 1 (24-25 Feb) Presenting a myriad of dance styles set to contemporary instrumental, electronic and ensemble music all written by local composers. The dancers explore life — how we enter and leave it, and how possessions enter and leave our lives.
Max Lee A dancer, choreographer, actor and video artist, Lee studied at London Contemporary Dance School and now works in theatre and video productions. With an existentialist theme, his piece questions our relationships with one another — how we go unnoticed, how we are controlled and how we can feel so much pain without being physically hurt.
24 February, 8:15pm
25 February, 3:00pm
25 February, 8:15pm
Studio Theatre, HK Cultural Centre
View seat plan
Hong Kong-born Louis Siu takes centre stage on timpani unveiling a spectrum of dazzling percussive sounds unique to these drums.Together with his friends on Chinese and Western percussion, Siu takes the audience on a sonic journey exploring the rhythms and timbres of their instruments with mesmerizing music. With numerous awards for his outstanding performances, Siu has played in Asia, Australia and the US. His dedication to performing contemporary music has led him to premiere compositions by various modern composers. In this recital, Siu will perform newly commissioned compositions by Alain Chiu and Austin Yip, alongside dramatic and frenetic pieces by Elliot Carter and William Kraft.
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Elliot Carter Excerpts from Eight Pieces for Solo Timpani Ross Edwards Marimba Dances for solo marimba Dave Hollinden Cold Pressed for solo percussion Alain Chiu Resonantia Part 1 (world premiere) Austin Yip Resonantia Part 2* (world premiere) Toshi Ichiyanagi Rhythm Gradation for solo timpani Alex Orfaly Rhapsody No 2 for solo timpani William Kraft Timpani Concerto No 1 (arranged for piano and percussion ensemble) Percussion LOUIS SIU^ CHAU CHIN-TUNG^^ RIEKO KOYAMA^^ VICKY SHIN
Piano CYNTHIA CHAN * Commissioned by the Hong Kong Arts Festival with support from CASH Music Fund ^ By kind permission of the Macao Orchestra ^^ By kind permission of the Hong Kong Sinfonietta
Walkalator (Chereographer/ Director Alan Wong, Vicky Hung; Music Alain Chiu) is featured in the opening ceremony of the 4th Jumping Frames International Dance Video Festival.
The winner of 2010 Jumping Frames festival, this short film has been shown in Italy, Taiwan, Macau with many more scheduled screening.
About Jumping Frames Dance Video Festival
Dance video is a unique art genre that encompasses the aesthetics of dance and video. Started in 2004 in Hong Kong, Jumping Frames is a biennial festival which aims to facilitate the conversation between two established art forms – Video and Dance. It is the only dance video festival in Asia that features both commissioned works and works for competition. The festival has attracted dance and video artists from all over the world to take part. It serves to promote dance video, as well as to provide a platform for the artists and audience alike to share, discuss and explore the unlimited possibilities of dance video in an artistic and a cultural context.
“Reflection on the Last Moment for a Ridiculous Man” will received its Asia premiere. Arranged for Trio, led by the founder of “Hong Kong New Music Ensemble” William Lane, is a piece of “sheer emotional energy” about a Camusian character in a short story by Doestoevsky.
Friday, January 22, 2010
6:30pm – 9:00pm
香港藝術中心 外面空地/Outside HK Arts Centre
香港灣仔港灣道二號/2 Harbour Road, Wanchai
Hong Kong, Hong KongView Map
1.Peter @ the Marshmallow Kisses – 結他Guitar, 唱Vocal
Kenny – 色士風Saxophone, 小號Trumpet
Miller – 唱Vocal
Indie Pop獨立流行音樂/ Bossa Nova巴薩諾瓦2. Strings Appassionato
Joanna Cheng – 大提琴Cello
Jenny Lui – 中提琴Viola
Classical Music 古典音樂
Bach: cello suite III (arr for viola and cello)
3.Edmund Leung – 結他Guitar, 唱Vocal
劉子斌ah bunn– 手風琴Accordion
Folk Rock 民謠搖滾
4. 黃衍仁 wong hin yan – 結他Guitar, 唱Vocal
5.Alain Chiu and Musicians 趙朗天與樂手
鋼琴獨奏Solo Piano, 弦樂四重奏String Quartet
Contemporary Music 現代音樂
6. strings music
various classical pieces for strings
Orchestra of Our Time received over one hundred outstanding submissions from composers throughout the world for consideration in its Call for Scores Project. Alain Chiu’s “Dirty Dialogue” for solo piano is one of the pieces that is chosen to be rehearsed and recorded by the Grammy-award winning Orchestra. Additionally, some of the compositions may be considered for performances in the Orchestra of Our Time’s future performance series