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衛武營的舞蹈、馬戲與當代音樂三大平台,扮演著串連國內外專業表演藝術社群的重要角色,2019年首次舉辦的「衛武營TIFA當代音樂平台」透過音樂展演、人才培訓、創意實驗與實踐,由多面向破解當代音樂密碼,降低大眾對當代音樂的陌生與恐懼。2020年,諸多表演節目因政府防疫措施而取消,經過了一年,臺灣不但疫情控制卓著,藝文活動也能正常進行,「2021衛武營TIFA當代音樂平台」也回來了。
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「2021衛武營TIFA當代音樂平台」的系列節目分布在衛武營五個不同的表演場域,並以「女性」、「亞洲力量」為兩大策展概念。在音樂廳舉行的開幕音樂會,以目前全球樂壇最具代表性與影響力的韓裔旅德作曲家陳銀淑之重要管絃樂作品貫穿全場;在高雄出生、基隆成長、目前定居紐約的鋼琴家林佳靜將在表演廳帶來兩位當代音樂巨人的鋼琴作品。在戲劇院登場的是《共鳴体》,由動見体核心藝術家林桂如、聲音裝置藝術家王仲堃和打擊樂團「自由擊」攜手合作,透過機械裝置、燈光、擊樂、肢體等形塑出由聽覺、視覺、觀演關係組成的演出。在榕樹廣場呈現的《在.不在》由三位舞蹈家與四位演奏家共同打造,以「樂舞共生」的本質,讓觀眾零距離感受表演中的「身聲交流」。在藝術迴廊則有KNM柏林新音樂室內樂團的《閱讀音樂》計畫放映,包括來自臺灣、德國、阿根廷與墨西哥的六位作曲家參與,他們以錄像規格創作,企圖凸顯當代音樂「以文本替代五線譜」的獨特之處。選擇在藝術迴廊播映,更讓觀眾感受當代音樂在非典型空間的非常規創作方式與結果。
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\n無論是業界人士,或是有點好奇卻又有點恐懼的初來者,我們都誠摯歡迎大家踏出一步,進入「衛武營TIFA當代音樂平台」的繽紛世界,在這裡隨著音樂與身體脈動,一起呼吸、一起聆聽。
策展人的話
\n\n衛武營當代音樂平台策展人|林芳宜
\n\n\n\n攝影:陳又維
\n\n國際當代樂壇的亞洲女力
\n\n「亞洲文化」與「女性」,一向是藝術研究的兩大領域,而亞洲女性作曲家在當代音樂上的成就,亦是國際樂壇的發展脈絡裡,極被注目的一環。從透過西方學院系統的訓練,傳達自身的文化基因,到全球化之後開始回溯母文化的探索與滋養,亞洲女性作曲家在西方龐大的音樂產業網絡中,以獨特的美學和藝術語彙,在一百年的新音樂史上寫下豐富的篇章。
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\n 德國音樂學學者狄貝流士(Ulrich Dibelius)以第二次世界大戰結束的1945年作為當代音樂的起始點,以區分大戰前的「現代音樂」(Moderne Musik) ,戰爭帶給整個社會結構與人文發展巨大的影響,其中國家之間的交流和人口的遷移,對於藝術發展更帶來推波助瀾的效能。戰後首位名列樂壇的亞洲女性作曲家為來自南韓的朴泳姬(Younghi Pagh-Paan, 1945-)。一如亞洲許多戰後第一代的藝術家,朴泳姬在首爾大學完成西方音樂學與作曲的完整教育後,獲得德國學術交流總署獎學金(DAAD), 帶著母文化的美學薰陶,赴歐洲歷練東西方的文化衝擊與最前衛的藝術創作方法。1980年她在德國最悠久的現代音樂節--多瑙耳辛根音樂日(Donaueschinger Musiktagen)發表大型管弦樂作品《Sori》,受到樂壇矚目,並以此開啟作曲家生涯。朴泳姬的作品緊密結合韓國傳統文化的涵養和西方音樂學的嚴謹,從藝術品鑑賞的角度來說,正是能夠窺見創作者美學風格和藝術哲思,同時又禁得起學術分析、具備技術含量的作品,這讓她在幾乎清一色男性作曲家的年代,樹立日後成為典範的基礎。朴泳姬同時也是當代音樂史上,不可忽略的一位教師,多年在德國不來梅音樂院(Hochschule für Künste Bremen)任教並在該校創立「新音樂工作坊」(Atelier Neue Musik) ,透過作品演練與實踐,培訓新生代創作者與演奏者,同時也多年於最重要的當代音樂人才搖籃-達姆城假日學校(Darmstädter Ferienkurse)擔任導師,2020年她獲頒「柏林藝術大獎」(Großer Berliner Kunstpreis),是該獎項自1948年創立至今唯一亞洲女性。
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繼朴泳姬之後,來自中國的陳怡(Chen Yi, 1953- )為中國文化大革命之後第一批得以接受大學教育的音樂家,她與中央音樂院的同班同學譚盾(Tan Dun,1957-)、郭文景(Guo Wenjing,1956-)、陳其綱(Chen Qigang,1951-)等人被稱為「中國第五代作曲家」,都在文革期間歷經「知青下鄉」並擁有豐富的民族音樂采風經驗。第五代作曲家在完成國內教育後,大部分前往美國與歐洲,接收西方前衛音樂的創作訓練,而他們所帶來的中國元素與中國絲竹樂器,為西方樂壇帶來一股風潮。陳怡於1986年前往美國,拜在周文中(Chou Wen-chung)門下,作為第五代曲家在西方國家發展的唯一女性,她不似譚盾等人在作品中大量引用民樂,而是承襲周文中以西方前衛技法探究中國美學的發展路線,加上陳怡自幼學習小提琴,西樂基礎和樂團經驗深厚,讓她的作品無論是在技法或架構格局上,都能呈現更高的藝術性。陳怡於2006以作品《四季》獲頒普立茲音樂獎(Pulitzer Prize for Music),是首位獲得此獎項的亞裔作曲家。
\n\n戰後第一代的藝術家背靠傳統、面向前衛、大破大立,無論是西方音樂的傳統或是母文化傳統,都不難在其作品中窺見,而第二代藝術家則乘著全球化的風潮與隨著科技而來的多媒材,開啟百家齊鳴的世代,其中最具代表性的人物當屬來自韓國的陳銀淑(Chin Unsuk, 1961-)和來自日本的向井山朋子(Tomoko Mukaiyama, 1963-)。陳銀淑先於首爾大學主修作曲,極早即獲得國際獎項,後取得德國學術交流總署獎學金前往德國深造。1985年1988年師從李給悌(György Ligeti)期間,她並無繼續參賽和正式發表作品,而是潛心解構僵化的後音列技法,在理論與美學實踐之間,找到自己的音樂語彙。這個蛻變過程,常可見於來自理論先行於創意表達的國家--通常也是非西方古典音樂的主流國家,而這也正是學習一種「外來文化」藝術創作方法的必經過程。陳銀淑的作品並不特別標榜亞洲素材,亦不強調文化根源,而是以精湛的創作技法實踐聲響藝術。陳銀淑的作曲家生涯發展緊密連結當代音樂的產業網絡,是現今當代樂壇壇最活躍、也最受矚目的亞洲女性作曲家。
\n相較於陳銀淑,以演奏當代音樂崛起歐洲樂壇的鋼琴家向井山朋子,嚴格說來並不在作曲家之列,然而多年來,她融合演奏、視覺藝術、劇場藝術與行為藝術的跨域製作,無論是創意、藝術性或數量、製作規模,放眼國際樂壇,鮮少音樂家能夠與之比擬。向井山朋子的作品無疑完全展現「國際公民」的特點:不以國界自限、不以文化特色為訴求,而是直取各藝術領域的本質,並扣緊各類藝術的當代脈動。
同樣來自日本的望月京(Misato Mochizuki, 1969-)屬於接收全球化隨之而來的大量文化資源、同時也開始回望母文化相貌的世代。她在東京大學取得碩士學位後,前往巴黎深造,承襲了法國當代音樂的聲響色彩與東方的美學哲思,因此在她的作品中,可看到西方的精準和東方的自由並存。這種反應全球人文發展的特質,一直延續至今,相較於獲得主流國家的認可,新世代的亞洲作曲家更追求自我的表達和個人風格。來自中國的王穎(Wang Ying, 1976-)和杜韻(Du Yun, 1977-)同樣畢業於上海音樂院,王穎前往德國、杜韻則選擇美國,兩人朝截然不同的美學風格發展,卻都不再乘載亞洲文化的傳承包袱。 王穎結合德法當代音樂的優點、掌握西方樂器、絲竹樂器、電聲與多媒材,兼具嚴謹結構和聲響創意的作品,不刻意鋪排設計屬於中國或亞洲的傳統,但來自傳統的美學語彙卻也不時顯露在作品的脈絡中。杜韻則將一位藝術家的國際性發揮得淋漓盡致,並在高度國際化的同時,直面非主流文化的發展議題。杜韻可謂最不設限的創作者、表演者與策展人,作品風格涵蓋嘻哈、戲曲、古典和流行,透過策展與製作,她開啟一個新世代--不再以外來者角度,融入歐美音樂產業與網絡,而是以個人的藝術實踐,在縝密的既有產業結構中,建立新的社交與發展網絡,進而站在世界的高度探索自身的文化淵源。杜韻的多功發展讓她成為第二位普立茲音樂獎的亞洲女性藝術家。
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亞洲女性作曲家的數量並不少,然而即使當代音樂是極小眾的藝術,創作者仍無法自外於社會連結,綜觀這幾位作曲家的職涯發展,不難發現創作與社交網絡是相輔相成的,她們都是在亞洲完成大學教育、成年後才移居歐洲繼續深造,對她們而言,難以克服的從來不是創作技法的學習和演練,而是由主流國家和男性掌握多數發語權的產業暨社交結構。她們目前各居一方、作品在全球不間斷被演出,同時也持續書寫音樂史中,屬於亞洲女性的章節。
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Words from Executive and Artistic Director
\n\nNational Kaohsiung Center for the Arts (Weiwuying), Executive and Artistic Director |CHIEN Wen-Pin
\n\n\n\nTaiwan Dance Platform, Weiwuying Circus Platform, and TIFA Contemporary Music Platform in Weiwuying play an important role in connecting Taiwanese and International professional performing arts communities. Inaugurated in 2019, Weiwuying TIFA Contemporary Music Platform had successfully led the public to understand and overcome the fear of contemporary music through holding a variety of events and activities, including music exhibitions and performances, talent cultivation workshops, creative experiments and practices. In 2020, many art programs were cancelled due to the government's pandemic prevention policies. However, in the past year, Taiwan has exhibited great control of the pandemic, with many art events taking place as planned, including the return of the Weiwuying TIFA Contemporary Music Platform.
\n\nThe 2021 Weiwuying TIFA Contemporary Music Platform takes place in Weiwuying's five different venues and are based on the two major curation themes of "female" and "Asian strength". The Opening Concert will take place in the Concert Hall, featuring the important orchestral works of German-based Unsuk CHIN, one of the most representative and impactful ethnic-Korean composers globally today. In the Recital Hall, New York-based Jenny LIN, born in Kaohsiung and raised in Keelung, will present the piano works of two leading contemporary composers. In the Playhouse, artist LIN Kuei-ju from M.O.V.E. Theatre will collaborate with sound installation artist WANG Chung-kun and percussion ensemble Freedom Beat to present Resonance: Into the Maze, which combines mechanical devices, lighting, percussion sounds, and body movements to present a performance consisting of aural and visual experiences as well as interactions between the performers and the audience. Here and Now at Banyan Plaza will be presented by three dancers and four instrumentalists and uses the essence of "coexistence of music and dance" to allow the audience to closely observe how body and sound interact. Weiwuying Art Gallery will show a screening of KNM Berlin's Tunings of the World 2.0, which involved six composers from Taiwan, Germany, Argentina, and Mexico who used the composition method of video recordings to show the uniqueness of substituting staff with text in contemporary music. The Art Gallery was selected as the location for the screening so as to allow the audience to experience how contemporary music is performed and how it sounds in an uncommon performing space.
\n\nWhether you are a professional musician, or a newcomer with a little bit of curiosity and fear, we welcome you to step into the colorful world of Weiwuying TIFA Contemporary Music Platform, where we can breathe and listen together with music and bodily rhythms.
\n\n\n',color:{a:1,r:50,g:50,b:50},type:"content"},{programs:[],seq:2,name:"Curatorial concept",content:'
Words from the Curator
\n\nCurator, Weiwuying Contemporary Music Platform|LIN Fang-Yi
\n\n\n\n©CHEN You-wei
\n\nAsian Female Power in the International Contemporary Music World
\n\n"Asian culture" and "female" have persisted as two major fields in art studies. Moreover, the achievements of Asian females in contemporary music have received tremendous attention within the developing context of the international music world. From expressing one's cultural inheritance through systematic training in Western schools, to returning to the exploration and nurturing of one's mother culture post-globalization, Asian female composers have, within the colossal network of the Western music industry, created a rich collection of works in 100 years of new music history through their unique aesthetic and artistic vocabularies.
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German music scholar Ulrich Dibelius used 1945, the ending year of WWII, as the starting point for contemporary music and the point of differentiation from ModerneMusik (modern music) before WWII. The War brought a huge impact on social structure and cultural development, wherein the interaction and immigration between countries further accelerated artistic development. Korean composer Younghi Pagh-Paan (1945-) was the first renowned Asian female composer post-war. Like many first-generation artists after the war, after completing her study of musicology and composition at Seoul National University, she won the German Academic Exchange Service and carried the aesthetic influence of her mother culture with her as she headed to Europe, where she learned the cultural impact between East and West and the most avant-garde musical styles. In 1980, she received the attention of the musical world when she presented her large-scale orchestral work Sori at DonaueschingerMusiktagen, the most longstanding modern music festival in Germany, with her composing career thus taking off. Younghi Pagh-Paan's works combine the restraint of traditional Korean culture and the rigorousness of Western music. From the perspective of art-appreciation, one is precisely able to see the artist's aesthetic style and artistic thinking. At the same time, her works withstand academic analysis and are rich in artistic techniques, laying the foundation for her to become a paragon in the later era made up almost exclusively of male composers. Younghi Pagh-Paan is also a prominent teacher in contemporary music history. She has taught for many years at Hochschule für Künste Bremen in Germany, where she created the contemporary music workshop Atelier Neue Musik, which cultivates new composers and performers through the practice and actualization of works. She was also a long-time mentor at Darmstädter Ferienkurse, the most important spot for the cultivation of contemporary music talents. In 2020, she was awarded Großer Berliner Kunstpreis (Berlin Art Prize) and is the only Asian woman to receive the award since the award's establishment in 1948.
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In succession to Pagh-Paan, Chinese composer Chen Yi (1953-) was among the first generation to be able to attend university after the Cultural Revolution. She, together with her classmates at Central Conservatory of Music, Tan Dun (1957-), Guo Wenjing (1956-), and Chen Qigang (1951-), were named by the people as the "5th generation composers of China"; they all experienced the "sent-down educated youth" program and had rich experiences in ethnomusicology. Composers of the 5th generation usually go to the US or Europe after completing education in China to learn the avant-garde style of Western music, where the Chinese musical elements and Chinese traditional instruments that they bring along also became a trend in the Western music world. Chen Yi went to the US in 1986, where she studied with Chou Wen-chung. As the only female among the 5th generation composers, Chou did not incorporate large amounts of Chinese folk music in her works like Tan Dun, but instead inherited Chou Wen-chung's development path of using Western avant-garde techniques to explore Chinese aesthetics. Chen Yi also started playing the violin at a young age and thus had a solid foundation in Western music as well as abundant experience playing in the orchestra. Therefore, her works demonstrate a sublime level of artistry in terms of techniques and structures. Chen Yi was awarded the 2006 Pulitzer Prize for Music with Si Ji and was the first Asian composer to win this award. The first post-war generation was rooted in tradition and progressed towards the avant-garde and breaking the norm; thus, one sees both Western musical traditions and traditions of the composers' own countries in their works. Meanwhile the second generation, with globalization and the multimedia brought about by technological advancements, initiated an era where many school of thoughts prospered. The most representative among these composers were Chin Unsuk (1961-) and Tomoko Mukaiyama (1963-).Chin Unsuk majored in composition in Seoul National University and was awarded an international award at an early age. She later received the German Academic Exchange Service to study in Germany. While studying with György Ligeti from 1985 to 1988, she did not participate in any competitions or premier any works; instead, she committed herself to deconstructing post serial techniques that had already become rigid, and through a balance of theory and aesthetic practice, finding her own musical language. Such a metamorphosis is often seen in countries where theory comes before creative expression, which are usually not the mainstream countries that come to mind when one thinks of Western classical music. This is also a necessary process for learning the composition methods of a foreign culture. Chin Unsuk's works do not specifically feature Asian elements or cultural origins; instead, sound art is demonstrated through the use of virtuosic composing techniques. The development of Chin Unsuk's composition career is closely tied with the network of the contemporary music industry, and she is the most active and prominent Asian female composer in today's contemporary music world.
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Compared to Chin Unsuk, Tomoko Mukaiyama, a pianist who emerged in the European music world as a contemporary music performer, is not a composer strictly speaking. However, she has participated in interdisciplinary projects that combine music performance, visual art, theater art and the behavioral art for many years. In the international music world, few musicians can compete with her in regards to creativity, artistry, and numbers and scales of creation. Tomoko Mukaiyama's works fully demonstrate the characteristics of what it means to be an international citizen: free of self-imposed national boundaries and the seeking of cultural characteristics; instead, she directly touches upon the core of each art field and closely follows their modern developments.
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\nAlso from Japan, Misato Mochizuki (1969-) belongs to the generation that began looking back at one's mother culture after receiving huge amount of culture resources due to globalization. After receiving her master’s degree from University of Tokyo, she continued her studies in Paris, inheriting both French contemporary acoustic colors and Eastern aesthetic thinking. Therefore, in her works one sees both the precision of the West and the freedom of the East. Such a quality that reflects the global cultural development has continued to today. Compared to gaining recognition from mainstream countries, Asian composers of the new generation focus more on self-expression and the development of their own styles. Chinese composers Wang Ying (1976-) and Du Yun (1977) both graduated from the Shanghai Conservatory of Music, after which Wang Ying went to Germany and Du Yun went to the US. Though they undertook drastically different paths of aesthetic development, neither continued to undertake the burden of passing on the Asian culture. Wang Ying combines the merits of German and French contemporary music with Western instruments, traditional Chinese instruments, electronics, and multimedia, creating works with precise structures and acoustic creativity. She does not intentionally exhibit Chinese or Asian traditions, but the Chinese traditional aesthetic language does occasionally present itself in her works. Du Yun, on the other hand, brings the internationality of an artist into full play; and amidst a high-degree of internationalization, she also directly addresses the development topics of non-mainstream culture. Du Yun can be said to be the artist, performer, and curator with the least boundaries, with her works including the styles of hip-hop, Chinese dramas, Western classical music, and pop music. Through curating for and producing projects, she opened a new era where one no longer incorporates the European/American music industry and network as an outsider; instead, the actualization of one's own art is used to establish a new social and development network within the closely knitted structure of the music industry, which is further used to explore one's own cultural context from a global perspective. Du Yun's multi-functional development allowed her to become the second Asian female artist to win the Pulitzer Prize for Music.
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\nAlthough Asian female composers are not small in number, it is still hard for them to connect with society despite contemporary music being a non-mainstream art form. From the career development of the above composers, we can see how work creation and social network are closely related. They all continued their studies in Europe and the US after coming of age and completing college education in Asia. For them, the real challenge does not lie in leaning new composition techniques and practices, but in the industrial and social structure whose speaking rights are predominantly controlled by mainstream countries and males. They have each built their own reputations and statuses, and as their works continue to be performed around the world, they continue to write new chapters for the Asian female in music history.
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