Chopin, Joy of Music Festival, Music Festical, Piano, Guitar, Music Competition
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Hong Kong Chopin Society Blog and FacebookHong Kong Chopin Society Blog and Facebook
Chopin, Joy of Music Festival, Music Festical, Piano, Guitar, Music Competition
Chopin, Joy of Music Festival, Music Festical, Piano, Guitar, Music Competition

A lunchtime series of five presentations by the
acclaimed musician, author and teacher

一連五堂的午餐講座,由著名音樂人、作家、教師斯普曼主講

Jeremy Siepmann

MUSIC FROM THE OUTSIDE IN
or
Adventures in Musical Perception

音樂由外至內 或 音樂感知之旅

Two journeys for the price of one. In five lunchtime celebrations the acclaimed author, broadcaster, musician and teacher Jeremy Siepmann presents two series back-to-back, each exploring the wonderful world of listening from contrasting perspectives. The Art of the Listener and The Art of the Interpreter both go behind the lines, as it were, to see how, and why, notes work as they do. Neither presumes, or requires, any technical knowledge of music whatever. Each is a voyage of discovery - investigating, among other things, the nature of musical discernment, and proposing, half incidentally, a redefinition of musical criticism (the accent falling firmly on the musical). On each day, The Art of the Listener - extolling the virtues of enlightened passivity - will precede lunch; The Art of the Interpreter - a wide-ranging anatomy of creative engagement - will follow. Both serious and humorous, each series, like the festival itself, is ultimately concerned with the unparalleled joy of music.

「聆聽者的藝術」與「演繹者的藝術」是兩輯性質互補的講座,以輕鬆幽默手法,啟發參加者認識這兩種藝術的要素,從而學會持續地(但不必刻意地)運用最高層次的音樂洞察力,參加者無須擁有音樂技術知識。每輯五堂,兩輯接續舉行。

For participants who attend the full five sessions of the series of presentations, the Society will be presenting an official certificate of attendance signed by Jeremy Siepmann.

全程出席講座的參加者,可獲本社頒發由斯普曼簽署的正式出席證書。

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

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
Intermission : 12:00 to 12:30
   
   
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

 

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

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
   
中場休息: 12:00 to 12:30
   
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》

 

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

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
Intermission : 12:00 to 12:30
   
   
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

 

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

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
   
中場休息: 12:00 to 12:30
   
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》

 

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

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
Intermission : 12:00 to 12:30
   
   
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;

 

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

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
   
中場休息: 12:00 to 12:30
   
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》

 

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

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
Intermission : 12:00 to 12:30
   
   
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

 

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

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
   
中場休息: 12:00 to 12:30
   
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)

 

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

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?
Intermission : 12:00 to 12:30
   
   
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

 

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

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」?
   
中場休息: 12:00 to 12:30
   
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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