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DAY 1 |
Tuesday 15th October 2013 |
Time |
11:00 to 13:30 (with an intermission between 12:00 to 12:30) |
Venue: |
Hong Kong City Hall Concert Hall |
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First part: 11:00 am to 12:00 (noon)
Overture: Attitudes of Mind: Directed and Undirected Listening
The Art of the Listener: The Ear of the Composer
- Where Music Starts: In the Land of Imagined Sound
- How Music Starts: The Dynamic, Intrinsically Dramatic Nature of Tone
- Beyond the Ear: Why (and how) Music Embraces the Deaf; a word from Evelyn Glennie
- Divine Motivation? Note Patterns. What Guides the Composer? Activity and Passivity
- Universal Archetype: Call and Response – from Africa to Venice, and Beyond
- The Composer as Couturier – or How to Dress a Note
- The Composer as Storyteller: The Great Manipulator
- The Composer as Painter: Imagery and the Sensuality of Sound
- The Composer as Architect
- Imagery in Music
- Surprise by Joy: The Amazing Tale of Beethoven’s Notebooks
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Intermission : |
12:00 to 12:30 |
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Second part: |
12:30 to 13:30 |
The Art of the Interpreter: A Study in Obedience
- Who’s the Boss? Where’s the Rule Book?
- Rhapsody in Black and White: A Tour of the Obvious (except it isn’t)
- The Perils of Literalism: The Score Is No More Than a Blueprint
- The Control of Ambiguity: A Vital Skill
- Asymmetry and Movement: Keeping the Listener Engaged
- Metronome: the Anti-musical Monster
- The Dubious Lessons of History: How Correctness Stole the Truth
Musical examples to include: Debussy Prélude à l’apres-midi d’un Faune; Bach: Prelude in C (WTC Book I); Handel: Passacaglia in G minor; Beethoven: Piano Sonata Op.31 No.3; Piano Sonata in E-flat, Op.7; Diabelli Variations. Bach: Prelude in C minor (WTC Book I); Twinkle, Twinkle Little Star; Baa Baa Black Sheep; Hatikvah; Smetana: Vltava; Rimsky- Korsakov/Harry James: Flight of the Bumble-bee; African traditional music; Monteverdi: Vespers of the Blessed Virgin
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第一天 : |
2013年10月15日 星期二 |
時 間 : |
11:00至13:30﹙12:00 至12:30為中場休息) |
地 點 : |
香港大會堂音樂廳 |
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第一節:11:00至12:00
前奏:心思的各種態度:刻意聆聽與非刻意聆聽 / 導賞與非導賞
聆聽者的藝術:作曲者的耳朵
- 樂之始:在想像之聲國度
- 樂之源:音調充滿動態並內蘊戲劇的本質
- 不一樣的聽覺:音樂為何(及如何)擁抱失聰者?且聽依芙蓮‧格妮一言
- 如有神助?音符模式。是什麼引導作曲者?主動與被動
- 普天同曲:呼與應,從非洲至威尼斯至天下…
- 作曲者如時裝設計師 – 如何裝飾一個音符
- 作曲者如說書人:操縱高手
- 作曲者如畫家:聲音的意象與感性
- 作曲者如建築師
- 音樂中的意象
- 喜出望外:貝多芬的筆記本中的美妙故事
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中場休息: |
12:00 to 12:30 |
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第二節: |
12:30 to 13:30 |
演繹者的藝術:遵循之道
- 誰是老板?可有規則手冊?
- 黑白狂想曲:顯而易見的路(其實不然)
- 一板一眼的危險:樂譜只不過是藍圖
- 控制模棱兩可:至關緊要的技能
- 不對稱與行進:吸引聆聽者繼續投入
- 拍子機:反音樂的怪獸
- 歷史這樣教錯了我們:為靠譜而失掉真相
音樂範例包括:德布西的《午後的牧神》;巴赫的《C大調前奏曲》(WTC第一冊);韓德爾的《G小調巴沙加牙舞曲》;貝多芬的《作品31之3鋼琴奏鳴曲》、《降E大調鋼琴奏鳴曲》(作品7)、《迪亞貝利變奏曲》;巴赫的《C小調前奏曲》(WTC第一冊);《一閃一閃小星星》;《小小黑羊》;《以色列國歌》;史麥塔納的《沃爾塔瓦河》;林姆斯基‧高沙可夫∕詹姆斯的《野蜂飛舞》;非洲傳統音樂;蒙台威爾第:《聖母晚禱曲》
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DAY 2 |
Wednesday 16th October 2013 |
Time |
11:00 to 13:30 (with an intermission between 12:00 to 12:30) |
Venue: |
Hong Kong City Hall Concert Hall |
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First part: 11:00 am to 12:00 (noon)
The Art of the Listener: The Performer’s Perspective
- Block That Blooper: The Quest for Accuracy, at every level
- Period Piece: The Search for Truth Through Information – not as easy as it sounds
- Life Study: Getting to Know the Composer. The value of biography in the making of a performance
- The Diversity of Rhythm: Temporal, Accentual, Melodic, Harmonic, Textural
- The Phenomenon of Rhythmic Polyphony
- Behind the Lines: Illuminating Latent Rhythms: Consistency Conceals, Variety Reveals
- Framing Fearful Symmetry: The Curse of Excessive Predictability
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Intermission : |
12:00 to 12:30 |
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Second part: |
12:30 to 13:30 |
The Art of the Interpreter: A Matter of Inflection – sculpting in sound
- Freedom of Speech: The Intimate Relation of Music and Words
- Words as the Model of Musical Performance: A Lesson from Bach, Beethoven, Gershwin and others
- The Art of Breathing: A Lesson in Life
- The Sound of Silence: The Dynamic Role of a Musical Vacuum
- The Manhattan Skyline: A Model of Bel Canto?
- Keeping in Tune: A Lesson from Florence Foster Jenkins
Musical examples to include: Bach: Prelude in G (WTC Book 2); Allemande and Sarabande from C minor Partita; Two-Part Invention in C; Beethoven: Eroica Variations; Mozart: Queen of the Night’s aria; Bobby McFerrin; Dylan Thomas: Fern Hill; Brahms ‘Paganini’ Variations
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第二天 : |
2013年10月16日 星期三 |
時 間 : |
11:00至13:30﹙12:00 至12:30為中場休息) |
地 點 : |
香港大會堂音樂廳 |
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第一節:11:00至12:00
聆聽者的藝術:演奏者的觀點
- 不要錯音!:在任何級別都以準確為目標
- 每個時期的樂曲:搜尋資料,找出真相。說易行難
- 研究生平:認識作曲者。傳記對演出的寶貴作用
- 多種多類的節奏:長短、輕重、帶旋律、起和聲作用、結構組成
- 節奏性複旋律樂曲的現象
- 線譜的背後:讓隱藏的節奏大顯光芒;追求一致性只會隱藏,多加變化才會顯露
- 避開嚴重的對稱:太容易預知會成咒詛
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中場休息: |
12:00 to 12:30 |
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第二節: |
12:30 to 13:30 |
演繹者的藝術:關於變調- 雕琢聲音
- 言論自由:音樂與文字的親密關係
- 歌詞作為音樂表演的典型:從巴赫、貝多芬、蓋希文等作曲家學習
- 呼吸的藝術:一生的功課
- 無聲之聲:音樂真空的強力角色
- 曼哈頓的都市輪廓:美聲唱法的典型?
- 不要走音: 從Florence Foster Jenkins學教訓
音樂範例包括:巴赫的《C大調前奏曲》(WTC第二冊)、《C小調小提琴組曲》中的〈阿勒曼德舞曲及薩拉邦德舞曲〉、《C大調兩部創意曲》;貝多芬的《英雄變奏曲》;莫扎特的《夜后詠歎調》;卜比‧麥法林;戴倫‧湯瑪斯的《蕨岡》;布拉姆斯的《帕格尼尼主題變奏曲》
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DAY 3 |
Thursday 17th October 2013 |
Time |
11:00 to 13:30 (with an intermission between 12:00 to 12:30) |
Venue: |
Hong Kong City Hall Concert Hall |
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First part: 11:00 am to 12:00 (noon)
The Art of the Listener: Passive Discrimination – the experience of the audience
- Music and Community
- Concentration and Distraction
- Concentration as Distraction – or ‘Down With Poirot!’
- Music as Entertainment
- Music as a Game – a Mini-Study in Suspense and Rivalry
- Music as Escapism – more the rule than the exception
- Music and Conversation – A Match Made in Heaven?
- Music as Conversation – The Triumph of Democracy
- The Role of Applause: A Brief History of a Curious Ritual
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Intermission : |
12:00 to 12:30 |
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Second part: |
12:30 to 13:30 |
The Art of the Interpreter: Mastering Clarity – phrasing and articulation (and their infinite variety)
- Riders of the Lost Arc – Rescuing Melody from Metre
- E Pluribus Unum – Mastering Musical Debate. The World of Hidden Polyphony
- Negotiating the Musical Class System: Keeping Notes in Their Place. Or maybe not.
- A Tapestry of Contrasts – The Uses of Tone Colour
- The Principles and Techniques of Musical Movement
- Palindromes and Other Seductions – The Recognition and Deployment of Patterns
- Music in 3D: Foreground, Background, Middleground – and the room between
- The Neglected Art of Mixed Articulation
- The Bigger Picture: How to make (or rather, how to convey) a Musical Phrase
Musical examples to include: Jerome Kern: Showboat; Lionel Hampton: Space, Man; Bach: excerpts from selected fugues; Ravel, arr. Grainger: La vallée des cloches; Johann Strauss II: Excursion Train Polka; Chopin: Etude in A flat, Op.25, No.1; Bach: C-minor Prelude (WTC Book II); Stravinsky: The Rite of Spring;
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第三天 : |
2013年10月17日 星期四 |
時 間 : |
11:00至13:30﹙12:00 至12:30為中場休息) |
地 點 : |
香港大會堂音樂廳 |
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第一節:11:00至12:00
聆聽者的藝術:被動歧視 - 觀眾的體會
- 音樂與社群
- 專心與分心
- 專心地分心,或作「打倒白羅!」
- 視音樂為娛樂
- 視音樂為遊戲:小探懸疑與競爭
- 視音樂為逃避:常規多於例外
- 音樂與對話:天作之合?
- 視音樂為對話:民主的勝利
- 拍掌的作用:這個奇怪禮節的簡史
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中場休息: |
12:00 to 12:30 |
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第二節: |
12:30 to 13:30 |
演繹者的藝術:掌握清晰表達之術 - 分句與表達(及無窮無盡的變化)
- 騎調奇兵:從韻律拯救旋律
- 合眾為一:掌握音樂辯論。隱藏複調旋律的天地
- 輾轉找出音樂分類系統:把音符固定下來。但也許不然
- 交織的對比:運用音色
- 音樂行進的原理與技術
- 迴文與其他引誘:辨認與部署模式
- 立體音樂:背景、中場,及兩者之間
- 被遺忘的混合表達藝術
- 更高更廣的角度:如何製造(或者說,傳達)樂句
音樂範例包括:寇恩的《畫舫璇宮》;漢普頓的《人在太空》;巴赫數首賦格曲選段;拉威爾的《鐘聲谷》(葛人傑編曲);小約翰‧史特勞斯的《郊遊火車波爾卡舞曲》;蕭邦的《降A大調練習曲》,作品25之1;巴赫的《C小調前奏曲》(WTC第二冊);史特拉文斯基的《春之祭》
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DAY 4 |
Friday 18th October 2013 |
Time |
11:00 to 13:30 (with an intermission between 12:00 to 12:30) |
Venue: |
Hong Kong City Hall Concert Hall |
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First part: 11:00 am to 12:00 (noon)
The Art of the Listener: Musical Criticism – Anatomy, Diagnosis and Cure
- The Nature of the Beast: What Is a Music Critic?
- The Tools of the Trade: How (and for what) Does a Critic Listen?
- Twas Ever Thus: A Potted History of Music Criticism
- Categories of Criticism 1: To Whom, For Whom, Does/Should the Critic Write?
- Categories of Criticism 2: Criticism of Compositions/Criticism of Performance
- Critics Criticized: The Reviewed Speak Up
- Critics in the Digital Universe: What Price Expertise Now?
- Expertise in the Dock: The Virtues of Knowledge Questioned
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Intermission : |
12:00 to 12:30 |
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Second part: |
12:30 to 13:30 |
The Art of the Interpreter: The Conundrum of Structure – ‘Who’s in charge here, anyway?’
- The Shape of Sound: What is Structure in Sound –And Do You Need to Know?
- Families of Form: The Circle and the Arrow
- Can Structure Be Expressive? Sonata Form Steps Up
- Rachmaninov and ‘The Point’: Movement and Culmination
- Completing the Incomplete: the Goal of Structure
- The Relative Roles of Composer and Interpreter in Clarifying (and Animating) Structure
- Climax and Culmination: How Do You Get There? How Do You Know You Are There?
- The Role (Psychological and Musical) of the Coda
Musical examples to include: Bach: Prelude in C major (WTC Book 1); Beethoven: Fifth Symphony; Bagatelle in A minor, Op.119 No.9; Beethoven/Schickele: Symphony No.5; Stravinsky: The Firebird; Haydn: Symphony No.22 (‘The Philosopher’); Dudley Moore: And the Same to You; Schubert: Impromptu in E flat; Mozart: Concertos in G major, K.453, and D minor, K.466
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第四天 : |
2013年10月18日 星期五 |
時 間 : |
11:00至13:30﹙12:00 至12:30為中場休息) |
地 點 : |
香港大會堂音樂廳 |
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第一節:11:00至12:00
聆聽者的藝術:音樂批評之解剖、診斷與治療
- 野獸的本性:何謂樂評人?
- 謀生技能:樂評人如何聽?聽些什麼?
- 老是如此:音樂批評的濃縮史
- 評論的類別之一:寫給誰、為誰寫、如何寫?
- 評論的類別之二:對樂曲的評論∕對演奏的評論
- 批評樂評人:被評者的辯護
- 數碼宇宙中的樂評人:專家何價?
- 被告席上的專家:知識受質疑的好處
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中場休息: |
12:00 to 12:30 |
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第二節: |
12:30 to 13:30 |
演繹者的藝術:結構之難題:「究竟由誰負責?」
- 聲音的形狀:聲音的結構…你真的需要知道嗎?
- 各個形狀族:圓圈與箭
- 結構有表情嗎?奏鳴曲式站出來
- 拉赫瑪尼諾夫與《點》:行進與高潮
- 完成與未完成:結構的目標
- 作曲者與演繹者在闡明結構(及賦予生命)的相對角色
- 高潮與頂點:如何到達?怎麼知道已經到達?
- 尾聲的(心理與音樂)角色
音樂範例包括:巴赫的《C大調前奏曲》(WTC第一冊);貝多芬的《第五交響曲》、《A小調短曲》(作品119之9);貝多芬∕舒克勒的《第五交響曲》;史特拉文斯基的《火鳥》;海頓的《第二十二交響曲(「哲學家」)》;杜利‧摩亞的《彼此彼此》;舒伯特的《降E大調即興曲》;莫扎特的《G大調協奏曲》(作品K453)及《D小調協奏曲》(作品K466)
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DAY 5 |
Saturday 19th October 2013 |
Time |
11:00 to 13:30 (with an intermission between 12:00 to 12:30) |
Venue: |
Hong Kong City Hall Concert Hall |
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First part: 11:00 am to 12:00 (noon)
The Art of the Listener: The Challenge of Recordings – a new approach to hearing
- The Miracle (and Menace) of Musical Permanence
- Recording as Medium and Message
- What Does Recording Capture?
- What Can It Not Capture?
- Audio Air-Brushing, Musical Facelifts and a New Narcissism
- Recording as an Interpretative Tool: The Greatest Instrument of All?
- The Potential of Endless Repetition: Does Familiarity Breed Contempt?
- In Technotopia: The Triumph of an Illusion, or A New Reality?
- Passivity and the Road to Spiritual Atrophy
- The Face of Janus: Music and the Internet. Is Enough Too Much?
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Intermission : |
12:00 to 12:30 |
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Second part: |
12:30 to 13:30 |
The Art of the Interpreter: Drama, Dreams and Character. Involving the Audience
- Artists and Models: A Basic Glossary of Expressive Devices Based on Our Physical Responses to Emotional and Spiritual Experience
- Rhetoric and Reticence: The Art of Controlled Exaggeration
- Truth and Consequence: Secrets of the Musical Plot. The Art of Connection
- Beyond the Metronome: The Infinite Flexibility of Rhythm
- Pomp and Circumstance: Size in Music - Not the Same as Strength or Length
- Music and Memory: The Art of Varied Repetition
- A Clutch of Contradictions: Rubato in Strict Time; Crescendo Without Getting Louder; Infinite Rubato; Rhythmic Dynamics: playing ‘piano’ in forte and ‘forte’ in piano
- All in the Mind: The Difference Between Tempo and Pace
- The Colour of Chords: A Study in Balance
- How Context Alters Content
- The Nature and Future of Musical Truth
Musical examples to include: Beethoven: Piano Sonata in D, Op.10, No.3; Chopin: Prelude in C minor; Bach: sundry Preludes; Sibelius: Kyllikki, Op.41; Beethoven: Ninth Symphony; Monteverdi: Duo Seraphim; Rachmaninov: Second Piano Concerto; Peter Schickele: Do You Suffer? Schubert: Sonata in B flat, D.960
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第五天 : |
2013年10月19日 星期六 |
時 間 : |
11:00至13:30﹙12:00 至12:30為中場休息) |
地 點 : |
香港大會堂音樂廳 |
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第一節:11:00至12:00
聆聽者的藝術:錄音予人的挑戰:聽音樂的新手法
- 音樂永恆性之奇蹟(與禍害)
- 錄音是媒介也是信息
- 錄音收錄了什麼?
- 有什麼不能收錄?
- 聲音修飾、音樂整容、新自戀派
- 錄音是演繹工具:最萬能的樂器?
- 無窮無盡重複的潛能:英雄慣見亦常人?
- 在技術烏托邦:幻象的勝利,抑或是現實新相?
- 被動與精神萎縮之路
- 兩面看:音樂與互聯網。說「夠了」,是否即代表「已過」?
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中場休息: |
12:00 to 12:30 |
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第二節: |
12:30 to 13:30 |
演繹者的藝術:戲劇、夢想與角色。讓觀眾投入
- 藝術家與模特兒:根據我們情緒及心靈經歷的身體反應而撰的「表情運用法初階詞彙」
- 修辭與無言:克制誇張的藝術
- 真相與後果:音樂情節的秘密。連結的藝術
- 拍子機以外:節奏的無限靈活性
- 大鑼大鼓抑或因狀況而定:音樂作品長短輕重,不足以定其鉅細
- 音樂與記憶:變化著重複的藝術
- 矛盾的離合器:嚴謹拍子中的彈性速度;增強而沒有更響亮;無限彈性變速;有節奏的力度 — 在強音中奏「弱音」及在弱音中奏「強音」
- 都在腦袋中:拍子與步伐的差異
- 和弦的色彩:對平衡的研究
- 上文下理如何改變內容
- 音樂真相的本質與未來
音樂範例包括:貝多芬的《D大調鋼琴奏鳴曲》(作品10之3);蕭邦的《C小調前奏曲》;巴赫的幾首前奏曲;西貝流斯的《居麗琪》(作品41);貝多芬的《第九交響曲》;蒙台威爾第的《兩位天使》;拉赫瑪尼諾夫的《第二鋼琴協奏曲》;舒克勒的《你受罪嗎?》;舒伯特的《降B大調奏鳴曲》(作品D960)
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