Name: 2025 C-LAB 聲響藝術節：唯聲美學光譜
Start: 2025-11-15T19:00:00+08:00
End: 2025-11-15T20:30:00+08:00
Location: C-LAB臺灣當代文化實驗場 灰盒子

🌠2025 C-LAB 聲響藝術節：《唯聲美學光譜》- 音樂研究團體（Groupe de recherches musicales, GRM）🌠

這場音樂會將呈現法國「音樂研究團體」（Groupe de Recherches Musicales, GRM）的精選曲目，透過這些感知各異的跨世代作曲家，帶領觀眾展開穿越不同時期與美學的唯聲音樂之旅。音樂會將呈現以下作品：

貝翠絲·芙蕾拉（Beatriz Ferrerya），《誹謗》（Médisances [Slander], 1968/69, 7’00）
四聲道電聲樂曲，以特殊方式運用了管弦樂器、口弓、呼吸以及一些意想不到的技術缺陷。

菲利浦·卡爾森（Philippe Carson），《圖馬克》（Turmac, 1961, 9’45）
這件作品取材自荷蘭史岱文森（Stuyvesant）工廠的機器聲，以節奏的韻律和漸強將聽眾逐漸從機械的現實中抽離出來，最終為一段漫長的漸強，強度、密度和厚度持續提升，最終達到高潮。

伊娃·亞布凱爾（Eve Aboulkheir），《維納斯路》（Venus Road, 2024, 19’）
受新加坡麥裡芝蓄水池森林中的「維納斯路」啟發，以田野錄音和合成聲音共同演進，展開一場兼具都市喧囂與野生奇幻維度的聽覺漫遊。

馮索瓦•拜爾（François Bayle），《噪音的終結》（La fin du bruit, 1979, ver. 2012, 16’34）
本作品旨在超越聲音和噪音的範疇，創造普遍的音樂（general music）。其中融合了人群喧鬧、交通、劈啪聲和歡呼聲，並繼而匯集成一首零落而擴延的電音之歌。

尼可拉•狄巴德（Nicolas Debade），《黑北風》（Melamboreas, 2024, 19’）
曲名指一種在法國南部吹拂的風。作品以「有序的混亂」為基調，透過原料、碎片、數位處理和電子聲音等多樣元素，玩弄表象和感知。

馮索瓦•J.•波奈（François J. Bonnet），《光譜練習曲》（Étude spectrale, 2018, 9’）
光譜既是聲音的頻率特徵，也是幽靈、擬仿。本作品以此雙重視角探討光譜的概念，在這些維度之間蜿蜒穿梭。

Founded in 1958 by Pierre Schaeffer, a pioneer of Musique Concrète, the Groupe de Recherches Musicales (GRM) is renowned for its acousmatic repertoire and for the Acousmonium, an orchestra of loudspeakers created by François Bayle in 1974. Today, the GRM remains dedicated to presenting and embodying music itself—as well as the ways it is listened to and created—in constant dialogue with technological innovation.

This concert, performed by François J. Bonnet (Director of GRM) and Nicolas Debade (GRM member in charge of research and development), features a selection of works from the group’s repertoire. Through compositions by artists of different generations and sensitivities, audiences are invited on an auditory journey through diverse aesthetics and eras.

The program includes Turmac by Philippe Carson, based on sounds of machines from the Stuyvesant factories in the Netherlands. Its hypnotic rhythms and gradual build-up transport listeners away from mechanical reality, culminating in an extended crescendo of intensity, density, and thickness. Melamboreas by Nicolas Debade, titled after a southern French wind, is composed as an “organized chaos,” playing with representation and perception through raw materials, sonic fragments, digital processing, and electronic sounds. Médisances [Slander] by Beatriz Ferrerya is a four-channel electroacoustic work that manipulates orchestral instruments, mouth bow, breath, and even unexpected technical imperfections.

In Étude spectrale by François J. Bonnet, the concept of “spectrum” is explored through dual meanings—as both the frequency signature of sound and as a ghostly apparition—traversing these intertwined dimensions. Venus Road by Eve Aboulkheir was inspired by the forest pathway of the same name in Singapore’s MacRitchie Reservoir, merging field recordings and synthetic sounds into a fantastical soundscape where urban noise meets the wilderness. Finally, La fin du bruit by François Bayle aspires to create a form of “general music” that transcends the dichotomy between sound and noise, blending crowd murmurs, traffic, crackles, and cheers into a vast electric song that dissipates into an expansive sonic horizon.

Didier Allard © INA