for piano and winds · 2026
为钢琴与管乐而作 · 2026
A melody drifting between Dayung Sampan and Tian Mi Mi, lost and found in canon.
一段在《Dayung Sampan》与《甜蜜蜜》之间漂流的旋律，于卡农中时隐时现。
| Instruments 编制 | Piano and winds 钢琴与管乐 |
|---|---|
| Premiere 首演 | November 2026 (scheduled) — Ensemble Ten Ten ACL-Korea New Music Concert Series Prugio Art Hall, Seoul 2026年11月（计划）——Ensemble Ten Ten ACL-Korea 新音乐系列音乐会 首尔 Prugio Art Hall |
Dayung Mimi takes the circulating melody associated with Dayung Sampan and Tian Mi Mi as the starting point for an exploration of musical recognition. Canonic time shifts, transposition and the redistribution of melodic fragments across instruments allow the tune to emerge, become obscured and return in changing forms. The work asks how a melody retains — or changes — its identity as its parts shift through different musical contexts.
《Dayung Mimi》以流传于《Dayung Sampan》与《甜蜜蜜》之间的旋律为起点，探索我们如何辨认一段音乐。通过卡农式的时间错位、移调，以及旋律片段在不同乐器之间的重新分配，曲调时而浮现，时而隐去，又以变化的形态返回。作品由此追问：当旋律的各个部分在不同音乐语境中转换时，它如何保有或改变自身的身份？
The melody’s history runs through Dayung Sampan and Teresa Teng’s Tian Mi Mi, and the title itself takes part in the same kind of linguistic morphing found in Ba Ban Ba de Sanqu and Hi-Lo Fide-Lio. Transmission here is not the preservation of an untouched original: words, melodies and genres acquire new functions as they move. Transmission is transformation.
这段旋律的历史贯穿《Dayung Sampan》与邓丽君的《甜蜜蜜》，而标题本身也参与了同样的语言变形——正如《八板芭的散曲》与《Hi-Lo Fide-Lio》。在这里，传承并不是保存一个未经触碰的原貌：字词、旋律与体裁在流动中获得新的功能。传承即转化。
For scores, performance materials and other enquiries:
chungshih@chungshih.info
乐谱、演出资料及其他查询：
chungshih@chungshih.info