The Research Team of France
       BATTIER Marc
Born in France. Composer. Has started using computers in composition in the early 1970s. His electroacoustic music has been played in most countries of Europe, Japan, China, United States and Canada.

Full professor, University Paris-Sorbonne (Paris IV) in musicology and electroacoustic music. Director of the research group MINT (Musicology, informatique et nouvelles technologie). In addition, has been Ph.D. adviser at Ecole des Hautes Etudes en Sciences Sociales (Paris) since 1997. After two years as musical assistant at GRM (Groupe de recherches musicales, Paris, 1978-1979), has been tutor then head of musical documentation at IRCAM (Centre Georges Pompidou, Paris), 1979-2003.

Current research:
electroacoustic music studies; East-Asia electroacoustic music; origins of electroacoustic music; genesis of synthesis; modernism in art and music; relations between literature, art and music technology.

Co-founder of International Computer Music Association (ICMA); oco-organizer with Barry Truax of the 1978 UNESCO workshop on Computer Music (Canadian Commission for UNESCO; workshop held at Aarhus, Denmark).

Founder of Electroacoustic Music Studies Asia Network. Co-founder of Electroacoustic Music Studies Network (with Leigh Landy, professor, De Montfort University and Daniel Teruggi, Director, INA-GRM and Director of Research, Institut national de l’audiovisuel); co-organiser, EMS conferences: Ircam, Paris (2003), Montreal (Canada, 2005), Beijing (China, 2006); forthcoming: Leicester (UK, 2007); Paris (2008), Buenos Aires (2009), Evanston (Illinois, 2010).

Collaborator of the Musée de la musique (Cité de la musique): in 1992, designed the twentieth century collection of electric and electronic musical instrument for the museum.

Member of the international advisory boards of Organised Sound (Cambridge University Press) and Leonardo Music Journal (the MIT Press). Former member of the editorial board of Computer Music Journal. Vice President, Electronic Music Foundation (New York). President of OLATS, a Leonardo branch in France (Leonardo/ISAST). Member of the board of directors of the Beijing Node Art/Science Research Center (Planetary Collegium). Associate researcher, De Montfort University. Fulbright commission adviser (commission franco-américaine des échanges universitaires, Paris).

Member of Société française d' informatique musicale and Société française d’analyse musicale.
Member of Société Asiatique (Institut de France), Réseau Asie (CNRS) and Institut des Hautes Etudes Japonaises. Currently academic coordinator of the university Paris-Sorbonne with North America and Singapour.
　
Publications
　
  • "Des unanimistes ã l’art sonore : quand la littérature, l’art et la musique recrèent la technologie. L’influence du simultanéisme", in Musique et modernité en France, S. Caron, F. de Médicis et M. Duchesneau, éd., Montréal, Presses de l’Université de Montréal, 2006, p.389-416.
  • Avec B. Bossis, B, A. Veitl (sous la dir. de), Musique,instruments, machines. Autour des musiques électroacoustiques, Paris, OMF, collection MINT, Université de Paris-Sorbonne, 2006, 256 p.
  • "André Hodeir et la composition de Jazz et jazz", Les Cahiers du jazz, n. 3, 2006, p.54-59.
    "Electroacoustic music studies and the danger of loss", Organised Sound (Cambridge U. Press), vol. 9 n. 1, 2003, 47-53.
  • "A Constructivist approach to the analysis of electronic music and audio art - between instruments and faktura", Organised Sound (Cambridge U. Press), vol. 8 n° 3, 2003, 249-255.
  • "L’électronique dans l’opéra de Kaija Saariaho, L’Amour de loin" et "Notes sur l’électronique dans un opéra récent : K... de Philippe Manoury", Musurgia vol. X n° 2, 2003, p.51-59 et p. 43-49.
  • "Science et technologie comme source d’inspiration au XXe siècle" et "Laboratoires", in Musiques. Une encyclopédie pour le XXIe siècle, vol. I, "Musiques du XXe siècle", J.-J. Nattiez, éd., Paris, Actes Sud/Cité de la musique, 2003, p.512-532. Et p. 558-574.
  • "L’Opéra et les technologies du son artificiel", Analyse musicale n° 45, novembre 2002, p.23-32.
  • Avec M.M. Wanderley (sous la dir. de), Trends in gestural control of music, Ircam-Centre Pompidou, livre électronique sur cédérom, 2000, 800 p.
  • "Une nouvelle sensibilité esthétique", Emile (Séoul, Corée) n° 1 (traduit en coréen), 2002.
  • "Phonography and Invention of Sound", in Philosophical Reflections on Recorded Music, Middlesex University Press, ã paraitre, 2007
  • "Caractères de la musique electroacoustique au Japon", in La musique d’aujourd’hui au Japon : modernité et tradition. Actes de la journée d’études du 26 novembre 2003, M. Battier et H.M. Chen, éd., Paris, Université de Paris-Sorbonne, collection Musique et technologie, ã paraitre, 2007.
　 　
       François Picard
François Picard, born in Paris, 1954, is since 1998 Professor of analytical ethnomusicology at the Department of Music and Musicology at Paris IV Sorbonne University. He has first studied drama, flute, saxophone and electroacoustic composition. After ten years of work for drama and opera, he specialised in the study of traditional Chinese music and went to China where he studied mouth organ sheng, end-blown flute xiao, qin zither and guanzi shawm aswell at Chinese music history and theory at the Shanghai conservatory of Music (1986-1987). Focusing on Buddhist music, his doctoral thesis was defended under the supervision of Iannis Xenakis. He has made research for Ecole Française d’Extreme Orient and the International Institute for Asian Studies based in Leiden, The Nederlands. He has tought three years in Strasbourg before being nominated to the first chair of Ethnomusicology created in France. He is a member of several scientific associations and comitees and participate in research groups in sinology, musicology and religious anthropology.

He has published a book on Chinese music, one on East Asian musics, several articles and more than thirty CD recordings, including many field recordings. He has been working as artistic director for many musical or dramatical productions from China, Taiwan or Tibet to our in Europe. He has founded a group of Chinese musicians in France, focusing on the restitution of old scores, where he plays Chinese flute, shawm and mouth organ. He is presently researching on the exchanges between Jesuit Missionaries and musicians in Peking during 17th and 18th centuries. He has been the main organizer of two international conferences on Chinese music and Chinese arts and culture held in Paris.
　
Publications
　
  • "De l'accord de quelques carillons de cloches et de pierres de la Chine ancienne", Bulletin du Groupe d'acoustique musicale n° 114, Paris, 48 p.
  • La Musique chinoise, Èdition corrigée, augmentée et mise ã jour, Paris, You-Feng, 187 p.
  • Lexique des musiques d’Asie orientale, Paris, You-Feng, 192 p.
　 Disques
　
  • Chine : fanbai, chant liturgique bouddhique. Leçon du soir au temple de Quanzhou, Ocora C559080.
  • Chine : Nan-kouan, ballades chantées par Tsai Hsiao-Yueh, vol. 2-3 et 4-5-6,en collaboration avec Kristofer Schipper, Ocora C560037-041.
  • Opéra du Sichuan, la Légende de Serpent Blanc, Buda Records, collection « Musique du Monde » 92555-2 (Grand Prix du disque Académie Charles-Cros).
  • Joseph-Marie Amiot (1718-1793), Messe des jésuites de Pékin, ensemble XVIII-21, Musique des Lumières, direction Jean-Christophe Frisch, ensemble Meihua Fleur de prunus, chœur du Centre Catholique Chinois de Paris, direction François Picard, Astrée Auvidis E 8642.
  • Chine : jésuites et courtisanes, XVIII-21 Musique des Lumières, direction Jean-Christophe Frisch, Fleur de prunus, direction François Picard, Buda Records, collection "Musique du Monde" CD 1984872.
  • Chine : Hymne ã Confucius, Fleur de prunus, direction François Picard, Buda Records, collection "Musique du Monde" CD 3016783.
  • Vepres ã la Vierge en Chine, Chœur du Beitang (Pékin), XVIII-21 Musique des Lumières, direction Jean-Christophe Frisch, K617 155.
  • Chine : Recueil de l’Ermitage du Prunus, Chen Leiji, cithare qin, Ocora C 560175.
　
　
　 ANAKESA Apollinaire
　 Doctor of Paris IV Sorbonne, violinist an sinologist, Apollinaire ANAKESA KULULUKA pursued musical studies (violin) at the Institut des Arts et du Spectacle then at the Université Zaire, Institut National des Arts, before learning at the Shanghai Music Conservatory, then at the Ecole Normale de Musique of Paris. He studies Music, Musicology and history of music at the University of Paris IV. He is now working on the intercultural links in the fields of contemporary musical creation. He works specially on the relation between the Sub-Saharan and Chinese oral musical systems with the Western Art Music of the XIXth and XXth centuries. An associate searcher in the Centre de Recherche Langages Musicaux (CRLM) of Paris IV Sorbonne, he is as well a member of the Réseau d’Etude des Musiques Electroacoustiques et Traditionnelles de l’Asie orientale (REMETAO) and of the laboratoire LACITO/CNRS. He teaches as well.
　
Publications
　
  • Charles Chaynes : un prélude et deux harmonies …variation pour une passion musicale stéréotomique, Editions Millénaire III, 2007, 385 p.
  • Jean-Louis Florentz… sur les marches du soleil, préface de Louis Jambou, Lillebonne, Millénaire III, 1998, 166 p.
  • "La World music savante: une nouvelle identité culturelle de la musique contemporaine ?", in Musurgia, IX, n° 3-4, 2002, p. 55-72 ; 87.
  • "La Création du monde de Darius Milhaud", in Etvdes, revue de culture contemporaine, novembre 2002, p. 532-535.
  • "Du fait gestuel ã l’empreinte sonore", in Cahiers de Musiques traditionnelles. Le Geste musical, n° 14, Genève, Georg Ateliers d’ethnomusicologie, 2001, pp. 221-236.
  • "Approche de l’expression du sacré des musiques traditionnelles subsahariennes dans la musique savante occidentale contemporaine", in Internationale de l’Imaginaire, Nouvelle série, n° 15 : Les Spectacles des autres, Paris, Babel, 2001, p. 197-231.
  • "L’espace des musiques traditionnelles et son interaction avec la création contemporaine", in CHOUVEL, J.-M. et SOLOMOS, M. (éd.), L’espace: Musique/Philosophie, Paris, L’Harmattan, 1998, pp. 279-288.
  • "Morder, Hoffnung der Frauen de Paul Hindemith", Ostinato, n° 6-7, 1995-96, p. 301-314.
  • "Le langage de Hindemith dans son ballet Der Damon. Quel langage musical, pour quel dmon ?",
    Ostinato, n° 6-7, 1995-96, p. 323-335.
  • "Zaishuo [On en reparlera…]", Wu cai de shijie [Un Monde multicolore, Revue de l’Institut des Langues de Pékin], Beijing, 1991, p. 38-40.
　 Membre du Réseau d’étude des musiques électroacoustiques et traditionnelles de l’Asie orientale (REMETAO)
 
　
　
       CHEN Hui-Mei
Winner of the National Flute Competition of Taiwan, Hui-Mei CHEN began her professional career at the age of twenty as a member of the National Symphony Orchestra of Taiwan. After her study in CNR de Paris with Sophie Cherrier, she assumed an even more active role in Taiwan's musical scene, as a pedagogue as well as a performer. She was the co-founder of several ensembles; her woodwind quintet was twice selected as "Best Chamber Music Ensemble of the Year" by the National Concert Hall of Taiwan. She was also featured many times as soloist in Taiwan, Malaysia, Japan and Paris.
 
In her second venture (1996-1997) to Paris, she obtained her DEA degree in Paris Sorbonne University and the IRCAM, which launched her new career as an academic researcher. In her third venture to Paris(2000-2007), she obtained her Doctoral degree in Paris Sorbonne University on June 2007, under the supervision of Professor Marc Battier.
 
　
Publications
　
  • L'osmose de la culture traditionnelle et de l'écriture occidentale dans deux œuvres pour flûte seule d'Isang Yun et Yoshihisa Taira, mémoire de Diplôme d’Ètudes Approndies, sous la direction de Hugues Dufourt, Formation doctorale Musique et Musicologie du XXe siècle, EHESS/IRCAM/Paris IV, 1997, 103 p.
  • "Ba li guo ji yishu cun bao gao" [Rapport du stage d'un an effectué ã la Cité Internationale des Arts ã Paris], Rapport interne pour le Ministère d'Èducation de Taiwan, 1997, 17 p.
  • "Shen mi lang man de la ding mei zhou zuo jia wei la luo bo si yu qi pen she qi di yuan qi" [Un compositeur mystérieux et romantique de l'Amérique latine - Heitor Villa-Lobos et son œuvre Assobio a Jato], Music &Musicians Monthly, juin 1999, no. 201 (Taipei), p. 78-80
  • "Wei la luo bo si de Chôros xi lie" [La série Chôros de Heitor Villa-Lobos], Music & Musicians Monthly, juillet 1999, no. 202 (Taipei), pp. 68-69
  • "La flûte en concert : l'influence du répertoire contemporain sur l'interprétation", in Les pratiques de concert, Actes de la Journée du 30 mars 2002, sous la direction de J. -P. Mialaret et D. Pistone, Observatoire musical français, Paris, Université de Paris IV Sorbonne, 2003, p. 57-65.
  • Texte sur le compositeur Yoshihisa Taira, programme du festival de musique ã Lyon, mars 2003 et ã Reims, juin 2003.
  • "La musique d’aujourd’hui au Japon: modernité et tradition", Actes du colloque de la journée du 26 novembre, sous la direction de H.M. Chen et M. Battier, Observatoire musical français, Université de Paris IV Sorbonne (ã paraitre).
  • "Quelques aspects caractéristiques de la musique du compositeur Yoshihisa Taira", in Actes du colloque de la journée du 26 novembre, Observatoire musical français, Université de Paris-Sorbonne (ã paraitre).
  • "L’influence du Japon ã l’époque de l’occupation ã Taiwan et en Corée sur la création musicale ã travers le parcours de quelque compositeurs", Japon Pluriel, Actes du colloque SFEJ 2006, 10 p. (ã paraitre).
  • "L'occidentalisation musicale ã Taiwan et en Corée ã travers l'occupation japonaise", Cipango (Paris), 15 p. (ã paraitre).
　
　
　 The Research Team of Taiwan
      

HSU Jui-Kun

EDUCATION
Degrees School/Dept. Major Period
Doctorate Universite Paris 8 / Arts, Philosophy, Aesthetics Music 1989-1998
Master National Taiwan Normal Unvi. / Dept. of Music Musicology 1983-1986

WORK EXPERIENCE
Period Title Institution
Aug-2006 to present Professor & Dean College of Fine and Applied Arts, NTNU
Aug-1983 to July-1986 Professor & Director Graduate Institute of Ethomusicology, NTNU

 Publications
  • Music, Culture and Aesthetic, 2004 (Taipei).
  • Study on「Wozzeck」by A.Berg, 2001 (Taipei).
  • La musique taoïste à Taiwan—une troisième secte taoïste revèllée par la musique liturgique 1999 Univ. Paris VIII (thèse de doctorat).
  • Study on liturgical music in the traditional ceremony of Dongkang, 1984 (Taipei).

　 Writings
  • Initial study on the music structure of the taiwanese opera 「Bi-An-Hua」( the flower in the other side), 2006 (Taipei).
  • The performance aesthetic of taiwanese troubadour Chen-Da, 2003 (Taippei).
  • The contributions of musicologist Hsu Chang-houei in the studies of aborigine music, 2002 (Taipei).
  • Inspecting the Southern Taoist Sect by the liturgical music, 2000 (Taipei).
　
　
       HUANG Chun-Zen
Chun-Zen Huang (B.A., National Taiwan Normal University; MA, Ph.D., the Catholic University of America), musicologist, specializes in history of western music, and musical digital archives. His interests include archives studies, patronage studies, American 20th century music, sound recording history, activities of western opera in Shanghai settlement before World War II, and multimedia application. During the past two years, he is cooperated with prof. Alvin Su of National Cheng Kung University (Department of computer science and information engineering) to develop a digital archives environment in music in NTNU. His present project is to create a virtual violin museum, which used Augmented Reality for Virtual 3D Exhibition tools developed by Institute of Information Science, Academia Sinica. He is currently the associate professor of graduate institute of Ethnomusicology of NTNU, and the leader of DADC (Digital Archival Documents Center, NTNU).
　
Selected works:
　
  • Traveling Opera Troupes in Shanghai, 1842-1949. Ph.D. Dissertation, 1997.
    Stranded by the War: the Russian Grand Opera Company. Capital Chapter meeting of American Musicology Society, 1999.
  • "The Legend of Mrs. E.S. Coolidge-American Patron of Music", Study of Music, 2004 (Taipei).
  • The Night of Appalachian Spring, 2005 (Taipei).
  • Reading Baker’s Biographical Dictionary of Musicians from Slonimsky Archives, 2005.
　 Participated Works:
　
  • The Zwiefalten Antiphoner: Karlsruhe, Badische Landesbibliothek, Aug. Perg. LX.
    (A Cantus Index) Ottawa: the Institute of Medieval Music, 1996.
  • Two Cambrai Antiphoners: Cambrai, Mediatheque Municipale, 38 and Impr. XVI C 4.
    (A Cantus Index) Ottawa: the Institute of Medieval Music, 1995.
  • Music History from Primary Sources: a Guide to Moldenhauer Archive. Washington
    D. C.: Library of Congress, 1997.
　 Current Projects:
　
  • "Digital Archives Program for Violin Collection of Chimei Museum",
    2006 National Digital Archives Program, Taiwan.
  • "Digital Archives Program for 60th Anniversary of NTNU Music",
    2005 National Digital Archives Program, Taiwan.
　
　
       CHAO Ching-Wen

Ching-Wen Chao is currently appointed as assistant professor in the Music Department of the National Taiwan Normal University. She lectured at Stanford University in year 2002 and 2003. She received her DMA in composition at Stanford University, where she studied with Jonathan Harvey, Brian Ferneyhough and Chris Chafe. She was also committed to her research and composition of electronic music at the Center for Computer Research in Music and Acoustics (CCRMA).

Her recent piano work "In an instant…" was published and discussed in Neue Zeitschrift für Musik of Sep-Oct 2006. Recent awards include the First Prize of the Young Composers Competition of the Asian Composers League, and the First Prize of the Music Taipei Composition Competition, 2005 Arts Award in Taiwan, the First Prize of the 2003 Fanfare Composition Competition held by the Taiwan National Symphony Orchestra, and the fellowship recipient of the Chiang Ching-Kuo Founation Fellowship in Humanities. Her works have been premiered in various music festivals such as the 60th Congress of the Institut fuer Neue Musik und Musikerziehung in Darmstadt, Dresdner Tage Fuer Zeitgenoessische Musik, Festival des 38ème Rugissants, Festival of the GMEM, Colon Electronico Festival, 2004 Contemporary Clarinet Music Festival, Seoul International Computer Music Festival, International Computer Music Conference (ICMC), Music99 Festival and Courses, etc. In recent years she has collaborated with world-renowned new-music ensembles such as the Arditti String Quartet, Klangforum Wien, Ensemble On_line Vienna, California EAR Unit, St. Lawrence String Quartet, VOXNOVA, EARPLAY, Taiwan National Symphony Orchestra, Taiwan Wind Ensemble, as well as performers as Pi-Hsien Chen, members of the Eighth Blackbird, of the CALARTS ensemble and of Ju Percussion Ensemble. Her works have been performed in various music festivals and electronic music centers in major cities of Canada, China, France, Germany, Indonesia, Korea, New Zealand, Taiwan and US.
 
　

Date of Creation

Recent Compositions

Recent Performances

2006/10

The Hidden Dimension
-for soprano, mezzo-soprano and tape

October 31, 2006
Yun-Yi Chen, Hsin-Yi Chen, National Recital Hall, Taiwan

2006/4

 Natural Boundary
–for zheng, violin, cello and electronics
(commissioned by Ensemble On_line Vienna)

July 21, 2006
Austrian Radio ORF(Oe1)
July 3, 2006
Deutschlandradio Kultur Berlin, World New Music Festival Series
April 21, 2006
Ausstellungshalle im Haus der Kulturen der Welt, Berlin, Germany
April 20, 2006
Akademie fur Tonkunst, Kammermusiksaal, Institut fur Neue Musik und Musikerziehung Darmstadt, Germany

2005/10

Retentir, Archetype, Exuberant Dances –for wind ensemble
(commissioned by Taiwan Wind Ensemble)

August 1, 2006
2006 Asian Pacific Wind Festival, Taiwan Wind Ensemble, conducted by Cheng-Hsiung Chen, Macau
July 29, 2006
2006 Hong Kong Wind Festival

2004/9

In an instant…
-for piano
(commissioned by Pi-Hsien Chen for Dresdner Tage Fuer Zeitgenoessische Musik)

October 17, 2006
Konzert im Rahmen des Symposions “Musik und Globalisierung” der Kunstuniversitat Graz, Kulturzentrum bei den Minoriten, Graz
Mathilde Hoursiangou (pianist of Klangforum Wien)
October 10, 2004
GLOBAL EAR IV- Chinas Komponisten Fern Der Heimat, Dresdner Tage Fuer Zeitgenoessische Musik, Societaetstheater Dresden, Germany

2004/3

PaleFire II
-for clarinet and tape

March 12, 2005
WOCMAT2005- Workshop on Computer Music And Audio Technology, National Taiwan University, Taipei
July 24, 2004
2004 Contemporary Clarinet Music Festival, Washington DC, the United States
April 2, 2004
2004 International Clarinet Music Festival, Michigan, the United States

2003/6

Soundstates (2003 revision)
-for percussion and tape

June 18, 2006
Ya-Lin Huang, Forum Auditorium, Taipei
March 19, 2006
WOCMAT 2006 (Workshop on Computer Music and Audio Technology), National Taiwan Normal University

2002/6

Requiem Moksa
-for violin, bass, 12 vocalists and 4-channel Tape
(awarded by the Chiang Ching-Kuo Foundation Fellowship)

June 4, 2002
Stanford University, US

2002/5

Spiritus Intus Alit
-for baritone and live-electronics

April 27, 2005
Festival de Centro Historico，Mexico City
November 27, 2004
Festival des 38ème Rugissants, Grenoble, France
May 15, 2004
“Temptation de l’Occident,” Festival of the GMEM, Nicholas Isherwood, Ste. Catherine Church, Marseilles, France
　 　
　
　
       SU Wen-Yu

Alvin W.Y. Su (b. 1964) received his B.S. degree in control engineering from National Chiao-Tung University, Hsin-Chu, Taiwan, R.O.C., in 1986. He received his M.S. and Ph.D. degrees in electrical engineering from Polytechnic University, Brooklyn, New York, in 1990 and 1993, respectively.

From 1993 to 1994, he was with CCRMA, Stanford University, Stanford, CA. From 1994 to 1995, he was with CCL (Computer and Communication Lab.), ITRI, Taiwan. In 1995, he joined the Department of Information Engineering, Chun-Hwa University, Hsin-Chu, Taiwan. In 2000, he joined the Department of Computer Science and Information Engineering of National Cheng-Kung University (NCKU), where he served as an associate professor. He is the director of Campus Information System Group of NCKU. He is the director of SCREAM (Studio of Computer REseArch on Music and Multimedia), NCKU. His research interests cover the areas of digital audio/video signal processing, physical modeling of acoustic instruments, multimedia data compression, P2P multimedia streaming systems, embedded systems, VLSI signal processor design and ESL (Electronic System Level) tool design.

Dr. Su has published journal papers and conference papers with emphasis on the study of analysis and synthesis of Chinese traditional musical instruments such guqin and erhu. He is also interested in the notation system of guqin. He won the 2006 best annual paper award of Journal of Information Science and Engineering. From 2005, Dr. Su joined the work of digital archive researches with Prof. C.Z. Hwang of Music Department, NTNU. From 7/2007, Prof. Hwang and Dr. Su will start the archiving work of Nan-Kuan music.

From 2006, SCREAM started collaboration with CCRMA, Stanford and IRCAM, Paris on various computer music researches. The SMP multimedia tool developed in SCREAM has been successfully interfaced to Planet, CCRMA, 2006. New IRCAM/SCREAM projects related to music signal analysis will be started from 2007.

In 2005, Dr. Su co-found the first WOCMAT, which is the largest computer music workshop in Taiwan. In 2006, WOCMAT had become an international workshop.

Dr. Su is a member of IEEE Computer Society and Signal Processing Society. He is also a member of Audio Engineering Society.
　 　
　 期刊論文(因篇幅因素，僅提供相關此研究之部分論文)
　
  • Alvin W.Y. Su and S.F. Liang, “A New Automatic IIR Analysis/Synthesis Technique For Plucked-String Instruments”, IEEE. Trans. On Speech and Audio, pp.747~754. Oct. 2001.
  • Alvin W.Y. Su and S.F. Liang, “A Class Of Physical Modeling Recurrent Networks for Analysis/Synthesis Technique of Plucked-String Instruments”, accepted for publication by IEEE. Trans. On Neural Networks, scheduled at 9/2002.
  • Alvin W. Y. Su, Wei-Chen Chang, and Rei-Wen Wang, “An IIR Synthesis Method for Plucked-String Instruments with Embedded Portamento”, Journal of the Audio Engineering Society, Vol. 50, No.5, May, 2002.
  • S.F. Liang and Alvin W.Y. Su, “Modeling and Analysis of Acoustic Musical Strings Using Kelly-Lochbaum Lattice Networks“, Journal of Information Science and Engineering, Vol. 20 No. 6, pp. 1161-1182, November, 2004. (Journal Of Information Science and Engineering, Best Paper Award 2006)
  • Wei-Chen Chang and Alvin W. Y. Su, “A Multi-Channel Recurrent Network Analysis/Synthesis Model for Coupled-String Instruments,” IEEE Trans. on Audio, Speech and Language Processing, vol. 14, no. 6, pp. 2233-2241, Nov, 2006.
  • Alvin W. Y. Su, Yi-Song Xiao, Jia-Lin Yeh, and Jien-Long Wu, “Real-Time Internet MPEG-4 SA Player and the Streaming Engine”, 116th Convention of Audio Engineering Society, Paper 6025, Berlin, May, 2004.
  • 張瑋倫, 蘇文鈺, “古琴減字譜 數位輸入應用軟體之開發”, 文學數位製作與教學研討會, 2005.
  • Alvin W. Y. Su, Wei-Chen Chang and Jing-Xin Wang, “A New Audio Compression Method Based On Spectral Oriented Trees”, 118th Convention of Audio Engineering Society, Paper 6042, Barcelona, Spain, May 28-31, 2005.
  • Wei-Chen Chang, Jing-Xin Wang and Alvin W. Y. Su, "Harmonic Structure Reconstruction in Audio Compression Method Based on Spectral Oriented Trees," 120th Convention of Audio Engineering Society, Paper 6809, Paris, France, May 20-23, 2006.
  • 1995 Tien-Ming Wang , Yi-Song Siao , and Alvin W. Y. Su, “JavaOL – A Structured Audio Orchestra Language: Tools, Player and Streaming Engine,” 120th Convention of Audio Engineering Society, Paper 6706, Paris, France, May 20-23, 2006.
　
　
       TZENG Shing-Kwei
  • 1946 born at Ping-Tung, Taiwan.
  • 1968-1972 studied at Music Department of National Taiwan Normal University, graduated with B.A.
  • 1977-1981 got scholarship of Education Ministry Taiwan. Studied at Musik Hochschule im Freiburg. Major in composition with Prof. Klaus Huber and Prof. Brian Ferneyhough; theory with Prof. Peter Foertig. Minor in piano with Prof. Edith Picht-Axenfeld and Prof. Wolfgang Watzinger.
  • 1981 graduated with “ Pruefung der Kuenstlerlischen Reifer” at Musik Hochschule im Freiburg/ Germany.
  • 1980 participated Darmstadt Sommer Ferien Kurs.
  • 1981~2005 as Professor at Music Department of National Taiwan Normal University, Taipei/Taiwan. Teach in composition (individual instruction), form and composition, computer music, music analysis etc.
  • 1986-1987 got scholarship of French Government, studied film music at Ecole Normal de Musique de Paris/ France. Graduated with Diplom.
  • 1987 Research at IRCAM/ Paris France (Institut Recherch Coordination Acoustique et Musique Contemporaire).
  • 1990 co-founder of ISCM-Taipei Section (International Society for Contemporary Music).
  • 1999 established Society of Electronic and Acoustic Music, Taiwan and was selected as Ist Chairman, 2005~2007as the 3rd Chiarman.
  • 2001, 2002 participated the Workshop 2001, 2002 CCRMA Stanford University, 2005,2006 participated the Max/ MSP workshop at CNMAT Berkeley University. Fulbright Scholar 2002~03, visiting scholar CCRMA, Stanford University (2002~03) Visiting Scholar, Guest composer of College of Music, University of North Texas. Since 2005 retired from National Taiwan Normal University and is retained at Department of Information Communications by Kai-Nan University.
His compositions were performed by Gaudeamus Music Week, 1981/84 by ASKO Ensemble, World Music Days and Festival of ISCM Hong Kong 1988, Alkmaar Music Festival 1990 (Netherlands), Asia Pacific Festival Sentai/Japen1988 Seoul/ Korea 1990, Presence Festival Paris/France 1996 by Ensemble 2E2M/ France, Keelong/Taiwan New music Festival 1997 by Ensemble 2E2MQuartet Alea III Boston/ USA 1995 etc. 1999 to 2002 he was the Chairman of SEAM (Society of Electro Acoustic Music Taiwan), is a member of ACL (Asia Composers’ League), ISCM (International Society for Contemporary Music), and Society of Taiwanese Music Education.
 
　 He has won :
　
  • Le Premiere Grand Prix de 3eme Concour International Composition pour Orque, 1986 ST. Remy/France.
  • Le Premiere Prix de Ville D’Avry International Library for Contemporary Music, 1984 Paris/ France.
  • Composition Prize of National Arts Foundation, 1983 Taiwan.
　
　
       LIEN Hsien-Sheng
Born in 1959 in Taipei, Hsien-Sheng Lien has studied musicology with Hsu Tsang-Houei, music theory with Lu Yen and music analysis with Chang Hao after graduation from the Law School of National Taiwan University. He has also translated Technique de Mon Langage Musical by Olivier Messiaen into Chinese and published it in Taiwan. In 1993, he went to France for advanced studies with the scholarship offered by the government of Taiwan. He studied composition with Alain Weber, Jacques Castérède, Yoshihisa Taïra, Emmanuel Nunes and Michaël Levinas in Paris. In the spring of 2005, he received his doctor degree in Music and Musicology of Twenty Century at the University of Paris IV – Sorbonne with his dissertation on the Chinese composer Qigang Chen's works and contemporary Chinese and Japanese music. As a composer, Hsien-Sheng Lien was awarded the first prize of Creation of Literature and Art by the Ministry of Education Taiwan in 1998 and has recently won the first prize of 2005 Formosa Composition Competition with his work Eprouvante Simplicité for soprano, baritone and ensemble of eight musicians, as well as the second prize of 2006 Hsu Tsang-Houei International Music Composition Award with his latest work Le vent, la terre et le chant for mix chorus, piano, percussion and bamboos. Actually, he teaches Twenty Century Music and The Contemporary Asian Music in the National Taiwan Normal University. As postdoctoral fellowship, he continues his study of the Asian contemporary music in the Academia Sinica of Taiwan, Republic of Chine.
　
Publications :
　
  • Traduction chinoise de "Technique de mon langage musical" d'Olivier MESSIAEN,
    publiée à Taiwan par le traducteur et autorisée par Edition Alphonse Leduc & Cie Paris, 1992.
　 Articles en français :
　
  • "Poème lyrique II de Qigang Chen et la vocalité dans la musique contemporaine chinoise", in Intention et création dans l'art d'aujourd'hui, Marc Battier et Bruno Bossis (éd.), Série Conférences et Séminaires, n°19, Paris, Université de Paris – Sorbonne (Observatoire Musical Français), 2005, p.27-39.
  • "Pentatonisme et lyrisme – Analyses mélodiques de certaines œuvres tardives de Tôru Takemitsu et Qigang Chen", in Analyse mélodique, Danielle Pistone et Matthieu Favrot (éd.), Série Conférences et séminaires, n° 28, Paris, Université Paris IV – Sorbonne (Observatoire Musical Français), 2007, p.89-100.
　 Œuvres musicales:
　
  • "Trois pièces pour piano", 1995.
  • "Les roseaux", pour soprano et piano, 1996.
  • "La lune se lève", pour soprano, flûte et percussion, 1996.
  • "Je bois seul lors de pluies continuelles", pour quatuor à cordes, 1997.
    - Première prix du "Prix de Littérature et des Beaux-arts du Ministère de l’Education", 1998 (Taiwan).
  • "Rappel de l’âme", pour clarinette, violon, violoncelle et piano, 2000
    - Crée à Taipei, Taiwan, le 15 décembre 2000.
  • "Jeux des fleurs de prunier", pour violon et piano, 2001.
    - Crée à Taipei, Taiwan, le 27 avril 2002, dans la série de concert consacré à la
      musique contemporaine, sous le titre du "Démarrage des voix de Taiwan".
  • "Eprouvante Simplicité – d'après le poème de René Char",
    pour soprano, baryton et ensemble instrumental (2002-2005)
    – Premier prix du "Concours Formosa de la Composition" le 19 mars 2005 à Taipei.
  • "Sourire face au vent", pour choeur mixte avec les bambous, 2005.
  • "Les parfums descendent et flottent sur l’eau", pour six instruments traditionnels chinois, 2006.
  • "Le vent, la terre et le chant" pour choeur mixte, piano, percussion et bambous, 2006.
    – Deuxième prix du "2006 Concours International de Composition à la mémoire de Hsu Tsang-Houei".