for percussion trio · 2026
为打击乐三重奏而作 · 2026
Breath, not beat: three percussionists circling round sounds and round forms.
以呼吸取代节拍：三位击乐手围绕圆的声响与圆的形式循环。
| Instruments 编制 | Three sets of skin and metal percussion of indefinite pitch 三组无固定音高的皮面与金属打击乐器 |
|---|---|
| Duration 时长 | ca. 10 minutes 约十分钟 |
| Dedication 题献 | To Jennifer Tham 献给 Jennifer Tham |
| Commission 委约 | Singapore Composers Festival 2026 2026 新加坡作曲家节 |
| Premiere 首演 | 7 June 2026 — Morse Percussion CSS x Space for Sound Concert, Singapore Composers Festival 2026 The Practice Space, The Theatre Practice, Singapore 2026年6月7日——Morse Percussion CSS x Space for Sound 音乐会，2026 新加坡作曲家节 新加坡 The Practice Space, The Theatre Practice |
Rounding Round was composed for the Singapore Composers Festival 2026 and Morse Percussion, and is dedicated to Jennifer Tham for her enduring friendship in artistic practice, and for continually keeping the spirit of exploration and experimentation alive — especially vital in a small island nation and community such as Singapore.
《Rounding Round》为 2026 年新加坡作曲家节与 Morse Percussion 而作，献给 Jennifer Tham，感谢她多年来在艺术实践中的深厚友谊，以及她始终让探索与实验的精神保持活力——这在新加坡这样一个小小的岛国与社群中尤为珍贵。
The title and the idea of the work are inspired by her continuing posts titled ‘round things’. The work explores many kinds of roundness: the rounding off of sounds; round, circular and curving movements in producing sound; the surrounding space as ritual ground; and the round as a musical form akin to canon, with its cyclical iterations and imitations and its recurring, rondo-like nature.
作品的标题与构思，来自她持续发布的“round things”（圆的事物）系列。作品从多个层面探索“圆”：声音的圆润收尾；发声时圆形与曲线的动作；环绕四周的空间作为仪式的场域；以及作为曲式的“轮唱”——如卡农般循环往复的模仿，与回旋曲般的重现。
With so much roundedness, the work is intended to be contemplative: letting sounds and silences be, their timing and spacing shaped only by the performers’ breath.
在如此丰盈的“圆”之中，作品意在沉思：让声音与静默自在存在，时间与间距只由演奏者的呼吸来调度。
Breath replaces beat as the unit of time. Each player has a set of skin and metal instruments with large, preferably round surfaces, rubbed in circular and curving motions with brushes, sticks, superballs, hands and fingers; rice, sand, beads or chains may colour their resonance.
以呼吸取代节拍作为时间单位。每位乐手各有一组皮面与金属乐器，最好是面积较大的圆形表面，以刷子、鼓棒、弹力球、手掌与手指作圆形或曲线的摩擦；也可加入米、沙、珠子或链条，为共鸣增添色彩。
The trio plays through the score three times: first breathing together; then with rubato, ‘like walking leisurely alongside friends’; and finally each completely independent of the others. Along the way the players move round the circle of instruments, each returning at the end to where they began.
三位乐手把乐谱演奏三遍：第一遍一起呼吸；第二遍加入弹性速度，“如与朋友悠闲同行”；第三遍则各自完全独立。演奏过程中，乐手沿着乐器围成的圆移动，最终各自回到起点。
Chang Tou Liang, Pianomania, June 2026
Chang Tou Liang，Pianomania，2026年6月（英文）
For scores, performance materials and other enquiries:
chungshih@chungshih.info
乐谱、演出资料及其他查询：
chungshih@chungshih.info