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Is it bizarre to name a musical instrument? I feel like I want to give my piano a name. The piano is made in Germany. Perhaps a German name. What about Jonas? 😊 ใครตั้งชื่อเครื่องดนตรีบ้างไหมคะ?
【新歌上架！！】
這是一首和 國立臺灣史前文化博物館 National Museum of Prehistory 及 蓋亞文化 出版的台灣史前奇幻冒險小說「風暴之子」擦出火花的歌曲－〈古老森林的後裔 Grandsons of Ancient Forest〉。
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歌曲以風暴之子的故事情節為發想，用聲音和旋律來打造人們對於這個失落卻無比珍貴的臺灣古文明一卑南文化的情感連結。在三千多年前的部落裡，人們追隨著古老的信仰，彼此相依的在這塊土地上生活著，而這片土地，我們稱呼為「台灣」，你是否也曾聆聽過這片山林，山林裡長眠於此的人們，正在與我們訴說這片土地的美麗故事，而這一切從來就不該被遺忘。
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＊ＮＥＷ ＳＯＮＧ ＲＥＬＥＡＳＥＤ＊
各大平台聆聽 Hear it at Digital Platform：https://snd.click/trt
ps. 部分國際平台因應年末假期會晚點曝光唷：Ｄ
Some platforms during the year-end holiday will postpone the release date 😀 More detailed song information is as follows!
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特別謝謝帶我們了解許多卑南文化的 葉長庚、宜婷、芸甯，難忘那天驅車前往台東參觀卑南文化的遺址、由你們帶領我們翻閱文獻、近距離觀看這些出土文物，聆聽背景文化與故事。卑南文化做為台灣重要的史前文化之一，能有這些轉譯的發想與執行，每個環節都令人興奮，期待越來越多人以新的目光聆聽這些土地蘊藏的美麗故事。
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【歌曲介紹】
Vali，是風的古語，也曾是一名少年與一頭雲豹的名字。狂風暴雨中，一條獨木舟劇烈起伏，卻始終不曾沉沒。船上什麼都沒有，只有一個昏迷的小孩—瓦利。這個在風暴中存活的奇蹟男孩，在踏上海境的土地後，將以風為名，在異族部落裡蛻變重生，開啟屬於他的遠古冒險長征......。
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歌曲內少年歌唱著一段部落長老們流傳的古老旋律，旋律裡唱述著：
Dee ie enssaa dnaaya（半月下的太陽之子）
Ii issee ento ui（靈魂永駐幻化成樹）
Kii inssee essaa libaya（聽，森林的細語唏囌）
io si kenna（唱述大地的美麗故事）
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而歌曲開端則訴說：
Mriya dehita
iude taka emu
Ameyín sáiya
（所有神話的背後都源於一段真實故事）
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主要演奏樂器為Lira de la estela de Luna，是由伊比利半島Luna（月亮）小鎮出土的一座石碑上圖案所復刻出的樂器，中文譯為月亮里拉琴（或稱塔特西里拉琴），該石碑目前存放於西班牙當地Zaragoza博物館，年代距今三千年左右，恰好與卑南文化時期有所重疊。歌曲中點綴著多種原始的傳統樂器，像是以羊趾甲製作而成的 Chajchas、早期以木頭製成的笛子 Quena、會發出下雨聲音的Palo de Lluvia 求雨棒、以種子製成的 Güiro de calabaza seca、跳舞專用的腳鈴 Pad Ghungroo、羊皮手鼓Frame Drum等等，期許用更開闊的聲響，編織出人們對於卑南文化的無限想像。
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【Information about Grandsons of Ancient Forest - Vali Original Soundtrack】
Vali is Taiwan’s first fantasy-adventure novel set in prehistoric times (more precisely, about 3,000 years ago). It is based on the Peinan culture.
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• Plot: The word “vali” means “wind” in an ancient language of Taiwan, and it is also the name of the boy and clouded leopard in the story. During a fierce storm, a canoe is violently tossed about on the water, staying afloat in spite of the tempest. All that is in the canoe is an unconscious boy, whose survival is a miracle and who will later be named after the wind—“Vali.” He ends up living with a tribe that is not his own, transforming, experiencing rebirth, and embarking on a long adventure…
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• About the song: The song, inspired by the plot of Vali, creates a musical and emotional link between listeners and a lost yet incomparably precious ancient civilization of Taiwan—the Peinan culture. Over 3,000 years ago, the inhabitants of a settlement on this island lived and depended on one another while following their religious beliefs. We call this island “Taiwan.” Have you ever listened carefully to its mountain forests and the people who sleep eternally in them? They are telling us the beautiful stories of Taiwan, stories that never should have been forgotten.
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In the song, the boy sings an ancient melody passed down by the village elders, which goes:
Dee ie enssaa dnaaya (Children of the sun, beneath a half moon.)
Ii issee ento ui (Their spirits live eternally in the form of trees.)
Kii inssee essaa libaya (Hear the whispers of the forest,)
io si kenna (singing the beautiful stories of this land.)
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The beginning of the song goes:
Mriya dehita
iude taka emu
Ameyín sáiya
(All myths are based on true stories.)
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The main instrument is Lira de la estela de Luna(Lyre of Luna). It is the recreation of one of the oldest string instruments of the Iberian Peninsula. It was created based on an engraving representing a string instrument similar to an ancient Mediterranean lyre. This engraving is on an anthropomorphic funeral stele dating back three thousand years that was found in the town of Luna (Zaragoza) in 1975. The characteristics of the engraving are very similar to the style of the Tartessian period (10 to 6 B.C.).
Besides, this song is dotted with a variety of original traditional musical instruments, like Chajchas, Quena, Palo de Lluvia, Güiro de calabaza seca, Pad Ghungroo, Frame Drum, etc.
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小說《風暴之子》作者：奇幻作家 葛葉
封面繪師：Nofi
國立臺灣史前文化博物館授權
Yerko Fuenzalida Lorca
【Non-Confined Space 非/密閉空間】首張專輯《Flow, Gesture, and Spaces》Bandcamp已經上架，附上英文版的介紹。
Between the spheres of free improvisation, jazz, trap, and musique concrète, lies Non-Confined Space. The name of this Taipei-based duo – saxophone polyglot Minyen Hsieh and audiovisual electronica experimentalist Ge-Chun Cheng (aka Sonic Deadhorse) – aptly describes their approach to exploring the fertile space they find themselves in. Drawing inspiration from their differing musical approaches and worlds, plus energy from the lively Taiwanese music scene, Non-Confined Space is a bold and future-facing hybrid. Cheng deploys piles of samples alongside Hsieh’s versatile saxophone, resculpting the results into a sublime and boldly experimental debut album of beats and processed improvisations unlike anything you’ve heard before.
Taking its title from a philosophical textbook about free-jazz, Flow, Gesture, and Spaces is a revelatory introduction to the duo, mixing the utterly free improvisations of their live shows (exemplified with spontaneous straight-to-tape takes on two of the album’s ten tracks) with an approach to studio composition inspired by the philosophy of improvisation. Basic outlines – often borrowing chord movements from the likes of Coltrane and Wayne Shorter, or pulling beats from Cheng’s huge library – would be cut loose in studio sessions, later augmented by psychedelic post-production. Utilizing methodology from the eponymous book, Flow, Gesture, and Spaces is nonetheless based on “simple elements” as the duo put it, “rhythm, intervals, timbre, and energy.
As a pairing, Non-Confined Space seem to come from polar opposite ends of the spectrum, musically. Performing professionally since the age of 19, Minyen Hsieh first picked up the saxophone back in high school, going on to study with local jazz musicians, and eventually studying the instrument at Koninklijk Conservatorium in Brussels. He’s since made a vast array of music, from traditional swing to the loosened bop of his debut solo album Firry Path, and collaborations with pianist Shih-Yang Lee and legendary Japanese free-drummer Sabu Toyozumi. Non-Confined Space is Hsieh’s first deep foray into the art of electronic processing.
Ge-Chun Cheng’s primary solo project since 2007 has been Sonic Deadhorse. A sample-hungry outfit blending the “indulgence of the 70s, melancholy of the 80s, nihilism of the 90s, and isolation of the new century”, the project has produced a wide-range of sounds from post-Flying Lotus fusion beats to wild live performances of a club-influenced mix of post-rock, dubstep, and chiptune (documented on a 2016 live set for Boiler Room). Working as something of a one-man band has left autodidact Cheng well prepared to not only match the classically trained Hsieh, but to push his partner into wild new directions. “I can always get organic feedback and responses from Minyen,” explains Cheng. “It makes me want to put more elements and processing into the music, and to change style more often.”
Since first meeting at a jam session in Taipei City, Non-Confined Spaces have evolved into an improv outfit for the 21st century, as indebted to Aphex Twin and Squarepusher as they are to Archie Shepp and Sun Ra. The road to Flow, Gesture, and Spaces has seen the duo play for dance performances, visual exhibitions, and even live-painting. Their own live shows also include various interactive and audiovisual elements, consistently focusing in on those three core elements checked in the album’s title. Non-Confined Spaces is a project far from tied down, flirting with bass-heavy tropicalia on ‘Serotonin Cell’, psychedelic post-Madlib hip-hop on ‘Melodic Gesture’, and noisy electrified free jazz on ‘Entropy’. The latter is one of two live takes featuring drummer Weichung Lin and keyboardist YuYing Hsu – allies from the Taiwan scene – capturing the explosive spontaneity and uncannily wonky sounds of this unique duo reconstructing samples live on the spot. Flow, Gesture, and Spaces is a true journey into the heart of the unknown.
Tristan Bath
地點:桃園興仁夜市 街演(手持 晃動 移焦 請見諒)
喜歡的話請去粉絲團幫她按個讚,會不定時更新動態喔^^
欣蒂 Cyndee ↓↓↓
https://www.facebook.com/CyndeeDrummer/
欣蒂Cyndee粉絲後援會↓↓↓
https://www.facebook.com/groups/1603975993260830/
這一首音樂的身材很好!孤島梨幫之後變成怎麼樣呢?【中正嘻研社CCU Hip-Hop 2020 Cypher - 欸你過來一Shot】
連結:https://youtu.be/PzY3K5MqtqE
Wesley: good style. Nice change ups and really good cadence. Also very strong stage presence, although his outfit looks kind of college nerdy but it works for him. Needs to change up his style so that he stands out more. The dancing needs more work, feels like he’s trying to hard and some shots but that’s OK because they’re college kids.
羅福公：really good. Strong stage presence and strong emoting. Excellent incorporation of Japanese, Chinese, and English. Although, some of the English pronunciation was way off even in the name of trying to make things rhyme. Aside from that his style is cool and not much to really improve. Dresses like a deep-sea fisherman from the movie life aquatic with Steve Zissou
Third guy: technically really decent rapper. Although the drunken/lazy Mumble rap tongue rhyme scheme has been done better by 蛋頭. Really liked the HAM part towards the end, but the incorrect incorporation of hip-hop lingo and lines from other popular American rap songs(Migos) was a bit off putting. Also most of the English is mispronounced.
Gfate: I didn’t get what you were trying to do at all. Are you rapping? Ranting? Mumbling? Nice voice tho.
Fifth Guy: Really dig his swag. His voice is deep and smooth. LIke the elongation style and his rhyming style just sways. Rapping style is very musical. Sounds like an instrument. Very confident and natural in front of the camera.
Kerrita: Nice singing voice but sometimes out of tune. Usage of pitch correction is pretty obvious. The English took me out. Also her jazz singing style doesn’t really match the song. Too much vibrato and execution of syncopation wasn’t precise. However, the rap was really good. I’d like to hear her rap more. Score: 3.0
As a Group: If you’re going to rep your school/present yourself as a crew, then you need to have some overall theme(dress, swag, etc) that presents you as a team. This video feels like random people came together for one project, but they don’t really know each other or have chemistry. Find something that makes your school/group unique and exploit it.
若侵犯版權或需要我們下架，煩請來信告知~ :D
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Rentak Selangor 2019 aims to educating, promoting & sharing the "Dendang Hati ?, Lagu Jiwa?, Irama Kita ?" to the public
Beats of Selangor ? ~ Chinese
A great ?? efforts of Catholic High School (CHS) to preserve the Chinese heritage, art & cultures to ? generation ?????????? of all Malaysians ????? Sharing some of the details which all credited to her media friend, Ms Lily ??♀️;
Chinese Orchestra
It's based on the structure & principles of a Western symphony orchestra using Chinese instruments. The orchestra is divided into 4️⃣ sections ~ wind, plucked strings, bow strings & percussion. It's usually performs modernized traditional music. Some of the instruments used are;
1️⃣ Erhu 二胡
✅ It's 1 of the most important Chinese instruments, with a
history of over 4K years
✅ It's a 2️⃣-stringed bowed Chinese musical instrument,
AKA the Chinese violin / Chinese 2️⃣-stringed fiddle
✅ It can be used in both traditional & contemporary music
arrangements; pop, rock & jazz
✅ It's played vertically, resting on the musician's lap. It has ❌
fingerboard, hence the player's fingers must hold & vibrate the
strings by pressing only against the strings themselves
2️⃣ Pipa 琵琶
✅ It's a 4️⃣-stringed Chinese musical instrument, AKA Chinese lute
✅ It has been played for almost 2K years in China & existed
as early as the Han dynasty
✅ It was once reigned as the “king” of Chinese folk instruments
✅ The instrument has a pear-shaped wooden body & the string
was once made of silk, however today, it is made of nylon-wrapped
steel. Silk strings were played either with a plectrum / with bare
fingers, but steel strings are played with finger picks
3️⃣ Dulcimer 扬琴
✅ AKA yangqin (扬琴) is believed to have originated in Central
Asia & was brought to China by sea-faring European traders at the end of the Ming Dynasty (around AD 1600).
✅ Classified as a plucked string instrument, the Chinese yangqin is also a
hammered dulcimer that is played with rubber-tipped sticks.
✅ The modern dulcimer has been rationalized & has become an essential
instrument in the Chinese orchestra
✅ It's used both as a solo instrument & in ensembles
4️⃣ Bamboo flute 笛子
✅ It's a Chinese transverse flute / Chinese bamboo flute
✅ Traditionally & most of the dizi is made by using (a single piece of) bamboo
✅ It's played using circular breathing "advanced" techniques
✅ It's a key Chinese musical instrument & is used in Chinese folk
music, opera & modern Chinese orchestra
Wushu (武术)
It was developed in 1949 in an effort to standardize the practice of traditional Chinese martial arts. The modern concepts of wushu were fully developed by the Ming & Qing dynasties
Type of performances are Wushu Weapons, Doubles Weapons, Flag, Doubles Taiji Sword, Trio Taiji Broadsword & Trio Taijiquan
The basic wushu movements are;
✅ Ma bu : 马步 - Horse stance
✅ Gong Bu : 弓步 - Bow stance
✅ Pu bu : 仆步 - Flat Stance or Crouch stance
✅ Chong Quan : 冲拳- Fist Punching
✅ Teng Kong Fei Jiao : 腾空飞脚 - Jumping front kick
✅ Bai Lian : 摆莲 - Lotus kick
✅ Xuan Zi : 旋子 - Butterfly kick
Basic wushu sword & boardsword movements are;
✅ Chan tou : 缠头 - Twining around the head with broadsword
✅ Guo nao : 裹脑 - Wrapping around the head with broadsword
✅ Wan Hua : 腕花 - Rotate the wrist, move the sword in forward-downward vertical circles on both sides close to your body, force reaching tip of the sword
✅ Guajian : 挂剑 - Hold the sword straight & move it in upward-backward / downward-backward vertical circles close to your body, with force reaching the front part of the blade
✅ Liao jian : 撩剑 - Move the sword in a forward-upward vertical circle, force reaching the foible
Diabolo 扯铃/ 抖空竹
It's a juggling / circus prop consists of an axle & 2 cups AKA Chinese yo-yo. It's spun using a string attached to 2️⃣ hand sticks. Multiple cups can be spun on a same string too. A large variety of tricks are possible with the diabolo, including tosses & various types of interaction with the sticks, string & various parts of the user's body
24 Season Drum (Ershisi Jieling Gu : 节令鼓)
It's a Malaysian art that was invented in 1988 by a music teacher, Tan Hooi Song & a poet Tan Chai Puan, at Foon Yew High School in Johor. It consists of 24 large drum is called Shigu (獅鼓) that represents the agricultural seasons in the Chinese calendar. The original performance styles depict movements of farmers & activities on a farm. The name of each season is usually written in
Chinese calligraphy on the drum.
The drum is played using 2️⃣ wooden sticks, striking its surface, sides or hitting the 2️⃣ sticks together
Each colour on the drum has a special meaning;
❤️ red symbolizes auspiciousness & passion
? black represents perseverance
? yellow signifies the Chinese culture & tradition
More details soon via ? siennylovesdrawing.wordpress.com
#RS4 #RentakSelangor #DiscoverSelangor #VM2020 #VisitMalaysia2020 #TakeMeAnywhere #GayaTravel #Malaysia
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