十方講座 | 改造貝多芬——舊藝術還是新藝術 ?

活動介紹

Introduction to the Activity

你聽到的貝多芬是貝多芬嗎？你聽到的鋼琴是鋼琴嗎？從古鋼琴到現代鋼琴，“琴”的發展歷經了漫長的技術變革過程。技術的變革直接導致了鋼琴藝術的變革：作曲家所為之創作的琴變了，隨之而變的是作曲方式；相應地，鋼琴家在現代鋼琴上彈奏在古鋼琴上創作的作品，需要改變曲譜的解讀方式以及彈奏方式。實際上，在現代鋼琴上彈奏在古鋼琴上創作的作品是一種對原曲的改造和重構。然而，歷史的發展未必後來者居上，現代鋼琴未必優於古鋼琴。發展並不是單一因素造就的，技術不一定是唯一因素，也不一定是主要因素。現代大眾所熟知的貝多芬是被改造過的“舊藝術”，而真實的貝多芬是未被認知的“新藝術”。

– 徐秋石博士

古鋼琴 Fortepiano

Is the Beethoven you hear Beethoven? Is the piano you hear a piano? From fortepiano to modern piano, the development of piano has been going through a long process of technological change. The changes in technology led directly to changes in piano art. The instrument that composers wrote their music for changed; therefore, the way they composed had to change. Accordingly, when a pianist plays classical music on a modern piano, the pianist needs to change and adjust the musical score, playing technique and way of expression. In fact, playing music, which was produced on fortepiano, on modern piano is a transformation and reconstruction of the original music. However, in the development of history, what came after is not necessarily superior to what came before. The modern piano may not be superior to fortepiano. The development is not caused by a single factor, and technology is neither the only factor, nor the main factor. The version of Beethoven which is widely known to the modern public is a reconstructed “old art”, while the real Beethoven is an unrecognized “new art”.

– Dr. Xu Qiushi

現代鋼琴 Modern piano

嘉宾介紹

Introduction to the Scholar

主講嘉賓： 徐秋石博士

lecture speaker： Dr. Xu Qiushi

徐秋石，南方科技大學人文社會科學榮譽學會青年會士。清華大學科技哲學專業博士，康奈爾大學科學與技術研究系聯合培養博士。碩士畢業於倫敦國王學院文化創意產業專業，本科畢業於中國傳媒大學錄音藝術（音響導演）專業，以及新聞學雙學位。主要研究方向：聲音研究（Sound Studies）、STS（科學與技術元勘/科技的社會研究）、文化研究和性別研究。致力於推廣聲音研究這一新興跨學科領域；主張做有趣、有品味、有人文情懷、有現實關照的研究；注重非學術文本的書寫，關注大眾文化和社會生活。

Qiushi XU is a Junior Fellow in the Society of Fellows in the Liberal Arts at the Southern University of Science and Technology. She received her Ph.D. in Philosophy of Science and Technology from Tsinghua University, China and was in a joint Ph.D. program in the Department of Science and Technology Studies at Cornell University, U.S.A. She obtained a MA in Cultural and Creative Industries at King’s College London, UK, and got a BA in Recording Arts (Sound Director) and a BA in Journalism in Communication University of China, China. Dr. XU’s main research fields include Sound Studies, STS (Science and Technology Studies), Cultural Studies and Gender Studies. She devotes herself to promoting the new and fast developing interdisciplinary field of Sound Studies. It is her academic ambition to do fascinating and tasteful research. In addition to academic research, she loves the writing of non-academic texts with paying attention to mass culture and social reality.

對話嘉賓：曾途

Dialogue Guests: Zeng Tu

曾途
四川美術學院副教授，
四川美術學院實驗藝術學院藝術&社會教研室主任，
四川美術學院“跨媒體特色工作室”負責人，
2013年創立十方藝術中心並擔任藝術總監。

藝術工作者，教育工作者，文化研究者，現場營建者。個人生長始於油畫、續於攝影、影像、跨媒體，現致力於圖像& 媒介、語言& 媒體、藝術& 社會的研究與生態化現場實踐，尤以東亞文明現代化的再反思為近年主要文化研究方向。

Tu Zeng
Educator, art worker, culture researcher, field builder. He is committed to image & media, language & media, art & social research and ecological field practice.
Associate Professor at Sichuan Fine Arts Institute;

Directorof the Art & Society Teaching and Research Section of the Experiment Art School of Sichuan Fine Arts Institute;

Head ofthe “CrossMedia Studio” of Sichuan Fine Arts Institute;

In 2013, he founded the DimensionsArt Center (DAC) and has served as art director eversince.

對話嘉賓：彭智燁

Dialogue Guests: Peng Zhiye

彭智燁，自由作曲家，畢業於四川音樂學院作曲系。曾赴歐洲學習，先後師從法國作曲家揚·霍班和奧地利作曲家克勞斯·朗，現居重慶。他試圖在作品中挖掘各種聲音和音色的頻譜特徵之間的聯繫，消解噪音與樂音之間的界限。他重視以數理邏輯來組織作品，大量運用諸如數列、矩陣等方法實現對結構的理性控制。他的作品包括管弦樂、室內樂、器樂與實時電子音樂、無伴奏合唱、影像配樂等，由專門收錄當代嚴肅音樂的數字圖書館BabelScores出版：https://www.babelscores.com/fr/ZhiyePeng

PENG Zhiye is a freelance composer living currently in Chongqing, China. He graduated from the composition department of Sichuan Conservatory, and studied in Europe successively with French composer Yann Robin and Austrian composer Klaus Lang. He excavates spectrums of sounds and tone colors, trying to bridge noise and tones. He highly values mathematical logic in organizing music, and significant use of mathematical methods such as sequence and matrix achieves him rational control over structures. His compositions, including orchestral, chamber, instrumental with live electronics, mixed choir a cappella, and incidental music etc., are published by digital library BabelScores which is entirely devoted to contemporary classical music:
https://www.babelscores.com/fr/ZhiyePeng