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艺人

彭智烨

语种

纯音乐

厂牌

None

发行时间

2019年11月18日

专辑类别

合集、杂锦

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专辑介绍

彭智烨 PENG Zhiye -【造粒厂 I】The Granulation Plant I

Composed by 彭智烨 PENG Zhiye (2019), for contrabass and 4 MIDI channels

[track 1] 【造粒厂 I】The Granulation Plant I _Part 1_Performed by PENG Zhiye

[track 2] 【造粒厂 I】The Granulation Plant I _Part 2_Performed by PENG Zhiye

[track 3] 【造粒厂 I】The Granulation Plant I _Part 3_Performed by PENG Zhiye

彭智烨 PENG Zhiye -【造粒厂 II】The Granulation Plant II

Composed by 彭智烨 PENG Zhiye (2019), for 4 spoken voices, 4 MIDI channels and large tam-tam

[track 4] 【造粒厂 II】The Granulation Plant II _ Part 1_Performed by Tessitura Ensemble

[track 5] 【造粒厂 II】The Granulation Plant II _ Part 2_Performed by Tessitura Ensemble

【造粒厂 I】作品简介

作品提及的“造粒厂”是坐落于九龙坡区黄桷坪的一处废弃工厂，隶属于曾经的重庆发电厂。进入这个工业时代的遗留物，作曲家强烈感受到场域给他的刺激。在这个机器与人共生的空间里，环境对机器是适宜的，但是对人并不友好。这里边的噪音，这里边的温度，这里边的粉尘和气味，还有里面的一些可能的危险，对人都是不友好的。还有这里面机器的体量和它的强度——一颗螺丝，有的就有碗口这么大——和人体完全不在一个量级，远远大于人体的限度。虽然这些机器已经不再运转，但是还能嗅到它对人有一种威慑，像沉睡的巨兽，还能感受到它的气息。

作曲家采集了遗留于厂房的金属筒在地面上拖拽所发出的声响。这一声响仿佛我们不在场的过去，在这里日复一日发生的劳动情景的重现。它近似于乐音，但并无通常意义上的“悦耳”，有非常复杂的频谱和噪音成分，也有某种窒闷的碾压性意味。这与厂房里人所能感受到的对机器适宜但对人体并不友好的环境，是一致的。

作曲家从这一声音采样出发，在变格定弦的低音提琴上发出同一频率的泛音，通过弓法的变化产生音色的频闪和游移，通过力度的起伏晕染原初的拖拽声响。

全曲分为三个部分，各约12分钟，不间断演奏。四个轨道的MIDI独立输出到分置开的四个扬声器，其中两个扬声器位于观众看不到的一墙之隔的另一个空间。这样差别不仅在于声音的空间距离，还有建筑墙体的掩蔽作用，像是生产状态中不同厂房声音空间的相互作用。作曲家希望以他的方式来重建造粒厂的声音环境。

[The Granulation Plant I] PROGRAM NOTES

The mentioned granulation plant is an abandoned factory, formerly a part of Chongqing Power Plant, located in Huangjueping of Jiulongpo District. The composer felt deeply provoked the moment he entered this relic of industrial era. In the space machines and human beings shared, the circumstances were appropriate for machines but not for human. The noise, the temperature, the dust, the smell, and possible dangers, were all nothing about human friendly. Moreover, massing and intensity of these machines were far beyond limitations of human body. Just imagine a screw here, as large as a bowl. Although they no longer work, these machines like sleeping giant beasts, with gruff breath, still make you feel threatened.

The composer recorded the sound when dragging some metallic tubes abandoned in the workshop on the floor, which recapitulated a laboring scene that used to take place here day after day, in the past when we were not present. It approximates a musical tone, but does not please an ear in the typical sense, with its complicated spectrum and noise components, and a sense of choke and grind, which shares similarity with one’s perception under the circumstances that were appropriate for machines but not for human in the workshop.

Starting from the sound sample, he found a flageolet at the same pitch on contrabass with scordatura tuning. The timbre flickers or wobbles with constantly changed bowing, and the original dragging sound is tinted as dynamics of contrabass undulate.

The whole piece divides into three sections, approx. 12 minutes each, played without breaks. Four channels of MIDI are output individually to four loudspeakers placed apart, two of which sit in another space out of audience’s sight, separated by a wall. Not only the distances from loudspeakers, also a sheltering or muffling effect caused by the wall, adds to the distinction, which is an analogy to the interaction of sound spaces in different workshops when the plant used to run. The composer hopes to rebuild sonic circumstances of the plant in his own way.

【造粒厂 II】作品简介

张贴于造粒厂厂房内的“安全操作规程”，由四位表演者用普通话的腔调念出来。各种不同日常的发音方法——如气声、夸张的拖长、顿音、渐强等——在同样不同日常的节奏下，发出的字句虽以语言沟通工具的“外貌”出现，但同时它又掺入了一些听悉中的“噪音”，随即产生向器乐（MIDI声音）同质性转化的机会。这样，人声获得了语言（意指）、语音（符号）、声音、音乐几种属性的中间态，并处于动态变化中。从结果来说，作曲家希望借此获得一种色彩多变但又同质性或曰整体化的织体。

[The Granulation Plant II] PROGRAM NOTES

"Safety Operation Regulations" posted in workshops of the granulation plant, are uttered in the tones of Mandarin Chinese by the four performers. Various articulations differring from routine -- such as breathy murmur, exaggerated prolonging, staccato, crescendo etc. -- in rhythms also differring from routine speaking, utter the words which appear as a tool for communication as in real life, but meanwhile attached with some “noise” against speech recognition and understanding. Then breeds the possibility for human voices to be transformed homogenously, towards instrumental sounds (MIDI sounds). Thus human voices inhabit an intermediate state which is also ever-changing, between language (the signified), pronunciation (the signifier), sound and music. The composer hopes it comes out to be a texture that is rich in colors but also homogenous or of integration.