|風格派別||鋼琴與電腦音樂(piano and computer music on tape)|
The composition, scored for live instrument-the piano and taped computer music, reflects composer’s interest in the integration of both medium.
In fact, it is the main idea of this composition. Therefore, this composition can be viewed as an exploration of coexistence of opposites ,i.e., the fixed (pre-recorded) and live aspects of performance. The coexistence of the 2 opposite forces is a suggestion of Ying Yang, a prominent aspect of Chinese philosophy. As heard in the work, Ying was represented by the sounds of tape part, while Yang was represented by the piano part.
The sound sources of the tape part were mainly drawn from piano sounds. The material was then manipulated and transformed by using several synthesis techniques such as Phase vocoding, granular..etc, to provide the optimal fussion of both medium, just as the harmonious coexistence of Ying and Yang. This is the main philosophical thought behind the piece.
將現場演奏鋼琴與預錄電腦音樂兩種截然不同之表演行事方式作一結合是本樂曲創作上的一個主要想法; 把固定 fixed 與非固定 live 兩種不同甚至相反的媒介作結合，同時又讓它們一起並存相生,某種程度上反應了中國哲學上陰和陽兩種力量之並存與制衡.而嘗試把陰和陽之概念或多或少不同程度地應用於創作上一直是創作者多年來之興趣。
在本作品中，電腦音樂部分之素材主要來自鋼琴，並經由一些數位聲音信號處理(DASP)技術之形變與合成，特別是聲響「顆粒合成」(granular synthesis)，創造本曲所需之複雜「聲堆」(sound cloud)織體，而「音聲相位編碼」(phase vocoding)技術之應用，拉長或移高鋼琴音樂能儘量不改變其聲音特質，這使得這些電腦形變之聲響與鋼琴聲部可以作最佳之結合,就如同陰和陽兩種力量之和諧並存一般。