結MV 終於推出了!! 上個月我們一起努力拍攝的成果,請大家幫我分享喔~
The official music video of The Fetter is finally out! Please share it with your friends!
V.K克 [結 The Fetter] Official MV https://youtu.be/mdi9TmEumvI
Endless Falling Lights : Supernova
❤️數位聆聽►https://supernova.vk-style.com
❤️專輯試聽► https://youtu.be/qD1zzuPH_38
來自於梵語:saṃyojana(五上分結)
由北市國樂團首席二胡大師王銘裕老師與笙演奏家孫衍詳老師以精湛的技巧與富有底蘊與情感的二胡技法與鋼琴的搭配,二胡運弓的行雲流水成就了獨特富有磁性的頻率,以及極寬的動態範圍,笙的獨特性帶給人們一種孤寂的悲鳴感,V.K克巧妙運用了中國七聲音階創作,並直白地把我們對愛與情的幻夢拉扯出底裡最細膩的秘密,旋律彷彿傾訴了一段故事,卻用音符隱沒了一些不可言喻的情懷。
Named after Sanskrit saṃyojana, featuring Erhu player Ming-Yu Wang and Sheng player Yen-Hsiang Sun from Taipei Chinese Orchestra, The Fetter is a piano piece with Erhu's special frequencies, wide dynamic range, and Sheng's sound of loneliness. V.K used the Chinese heptatonic scale in a clever way to tell a story with the melody, yet hiding some ineffable feelings between the notes.
梵語由来の言葉「saṃyojana(五上分結、ごじょうぶんけつ)」
台北市立国楽団の首席二胡奏者Ming-Yu Wang氏と笙演奏家Yen-Hsiang Sun氏の卓越した演奏技術、そして奥深さと情感が漂う二胡とピアノのサウンドアレンジ。中国古楽の七音階を巧みに駆使してV.Kが創り出すサウンドは、「愛」と「情」が持つ幻想の底から最も繊細な秘密をありのままに掴みだす。そのメロディーは心に秘めた物語を全て語るようでありながら、言葉では言い表すことのできない想いを内包している。二胡の弦がみせる滑らかな往来は独特の求心力を持つ波動と変幻自在な振り幅を体現し、笙が奏でる独自の音色は一種の孤独な嘆きを思わせる。
緩むことはない。
これは1つ、また1つと連なる、解くことのできない「結び目」だから。
산스크리트어 : saṃyojana (5 점과 점)
타이베이시 국악 악단의 대표 얼후 마스터 Wang Mingyu 선생님과 생(笙) 연주자 Sun Yanxiang 선생님의 뛰어난 기술과 이호 기술과 피아노의 풍부한 선율과 감성의 조합을 통해, VK는 기묘하게 중국의 7음 음계를 응용해 작곡을 하였고, 우리의 사랑과 몽환적인 느낌을 솔직하고 디테일하게 표현을 했습니다. 멜로디가 하나의 이야기를 들려주는 뜻이 말로 표현할 수 없는 감정이 모든 음표 안에 덮어 있습니다. 얼후의 애틋한 활공 연주가 독특한 매력과 매우 깊은 다이내믹한 느낌을 안겨 주었고, 생(笙)의 독특한 소리는 사람들에게 외로움과 슬픔을 안겨줍니다.
풀리는 않은 것은, 한 가닥 또 한 가닥의 매듭이 풀 수 없기 때문.
#VK克 #TheFetter #結 #VK #supernova
#光無盡墜落的美麗 #時空漣漪 #RipplesinSpacetime #EndlessFallingLights
同時也有39部Youtube影片,追蹤數超過237的網紅Alan Yu,也在其Youtube影片中提到,「Instagram」 https://www.instagram.com/alan__tw/ 「My Gear」 Camera - A7SIII 「My Lens」 Sigma 24-70 F2.8 Sony 24 F1.4 Sigma 35 F1.4 sony 90 F2.8 「...
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🎹鋼琴的大千世界/名家名言:「為何稱我為大師?主人在這裡(指著鋼琴),我只是他的奴才。」
— 李斯特著名的弟子,德國鋼琴家、作曲家、教育家 萊森奧爾(Alfred Reisenauer)
Why, there is the master (pointing to the piano), I am only the slave.”
— Alfred Reisenauer (1 November 1863 – 3 October 1907) German pianist, composer, and music educator.
📹 跟隨在李斯特學習長達十二年至李斯特過世(1874-1886)的萊森奧爾,演奏李斯特的第十號匈牙利狂想曲:
https://youtu.be/e12YwuHiQtY
📰 延伸閱讀 - 【李斯特學派 / the school of Liszt】♩.♪
https://www.facebook.com/notes/fan-chiang-yi-%E8%8C%83%E5%A7%9C%E6%AF%85/%E6%9D%8E%E6%96%AF%E7%89%B9%E5%AD%B8%E6%B4%BE-the-school-of-liszt/289155141104454/
———————————————————————1905-1906 鋼琴名家萊森奧爾(Alfred Reisenauer)在美國進行數月的巡迴演出,並接受美國著名音樂雜誌”Etude”的專訪。文章於1906年七月出版,隔年他在德國巡迴演出期間於下榻的飯店房間內過世。
📰 藝術家的養成 - 萊森奧爾的見解
The Making of an Artist - The Views of Alfred Reisenauer.
▪️With Liszt
“When I had reached a certain grade of advancement it was my great fortune to become associated with the immortal Franz Liszt. I consider Liszt the greatest man I have ever met. By this I mean that I have never met, in any other walk of life, a man with the mental grasp, splendid disposition and glorious genius. This may seem a somewhat extravagant statement. I have met many, many great men, rulers, jurists, authors, scientists, teachers, merchants and warriors, but never have I met a man in any position whom I have not thought would have proved the inferior of Franz Liszt, had Liszt chosen to follow the career of the man in question. Liszt’s personality can only be expressed by one word, ‘colossal.’ He had the most generous nature of any man I have ever met. He had aspirations to become a great composer, greater than his own measure of his work as a composer had revealed to him. The dire position of Wagner presented itself. He abandoned his own ambitions— ambitions higher than those he ever held toward piano virtuosity—abandoned them completely to champion the difficult cause of the great Wagner. What Liszt suffered to make this sacrifice, the world does not know. But no finer example of moral heroism can be imagined. His conversations with me upon the subject were so intimate that I do not care to reveal one word.
▪️Liszt’s Pedagogical Methods
“His generosity and personal force in his work with the young artists he assisted, are hard to describe. You ask me whether he had a certain method. I reply, he abhorred methods in the modern sense of the term. His work was eclectic in the highest sense. In one way he could not be considered a teacher at all. He charged no fees and had irregular and somewhat unsystematic classes. In another sense he was the greatest of teachers. Sit at the piano and I will indicate the general plan pursued by Liszt at a lesson.”
Reisenauer is a remarkable and witty mimic of people he desires to describe. The present writer sat at the piano and played at some length through several short compositions, eventually coming to the inevitable “Chopin Valse, Op. 69, No. 1, in A flat major.” In the meanwhile, Reisenauer had gone to another room and, after listening patiently, returned, imitating the walk, facial expression and the peculiar guttural snort characteristic of Liszt in his later years. Then followed a long “kindly sermon” upon the emotional possibilities of the composition. This was interrupted with snorts and went with kaleidoscopic rapidity from French to German and back again many, many times. Imitating Liszt he said, “First of all we must arrive at the very essence of the thing; the germ that Chopin chose to have grow and blossom in his soul. It is, roughly considered, this:(見譜例圖四)
Chopin’s next thought was, no doubt:(見譜例圖五)
But with his unerring good taste and sense of symmetry he writes it so:(見譜例圖六)
Now consider the thing in studying it and while playing it from the composer’s attitude. By this I mean that during the mental process of conception before the actual transference of the thought to paper, the thought itself is in a nebulous condition. The composer sees it in a thousand lights before he actually determines upon the exact form he desires to perpetuate. For instance, this theme might have gone through Chopin’s mind much after this fashion:(見譜例圖七)
The main idea being to reach the embryo of Chopin’s thought and by artistic insight divine the connotation of that thought, as nearly as possible in the light of the treatment Chopin has given it.
“It is not so much the performer’s duty to play mere notes and dynamic marks, as it is for him to make an artistic estimate of the composer’s intention and to feel that during the period of reproduction, he simulates the natural psychological conditions which affected the composer during the actual process of composition. In this way the composition becomes a living entity—a tangible resurrection of the soul of the great Chopin. Without such penetrative genius a pianist is no more than a mere machine and with it he may develop into an artist of the highest type.”
▪️A Unique Attitude.
Reisenauer’s attitude toward the piano is unique and interesting. Musicians are generally understood to have an affectionate regard for their instruments, almost paternal. Not so with Reisenauer. He even goes so far as to make this statement: “I have always been drawn to the piano by a peculiar charm I have never been able to explain to myself. I feel that I must play, play, play, play, play. It has become a second nature to me. I have played so much and so long that the piano has become a part of me. Yet I am never free from the feeling that it is a constant battle with the instrument, and even with my technical resources I am not able to express all the beauties I hear in the music. While music is my very life, I nevertheless hate the piano. I play because I can’t help playing and because there is no other instrument which can come as near imitating the melodies and the harmonies of the music I feel. People say wherever I go, ‘Ah, he is a master.’ What absurdity! I the master? Why, there is the master (pointing to the piano), I am only the slave.”
▪️The Future of Pianoforte Music.
An interesting question that frequently arises in musical circles relates to the future possibilities of the art of composition in its connection with the pianoforte. Not a few have some considerable apprehension regarding the possible dearth of new melodic material and the technical and artistic treatment of such material. “I do not think that there need be any fear of a lack of original melodic material or original methods of treating such material. The possibilities of the art of musical composition have by no means been exhausted. While I feel that in a certain sense, very difficult to illustrate with words, one great ‘school’ of composition for the pianoforte ended with Liszt and the other in Brahms, nevertheless I can but prophesy the arising of many new and wonderful schools in the future. I base my prophecy upon the premises of frequent similiar (sic) conditions during the history of musical art.” These are Reisenauer’s views upon this matter.
Continuing, he said: “It is my ambition to give a lengthy series of recitals, with programs arranged to give a chronological aspect of all the great masterpieces in music. I hope to be enabled to do this before I retire. It is part of a plan to circle the world in a manner that has not yet been done.” When asked whether these programs were to resemble Rubinstein’s famous historical recitals in London, years ago, he replied: “They will be more extensive than the Rubinstein recitals. The times make such a series posssible (sic) now, which Rubinstein would have hesitated to give.”
As to American composers, Reisenauer is so thoroughly and enthusiastically won over by MacDowell that he has not given the other composers sufficient attention to warrant a critical opinion. I found upon questioning, that he had made a genuinely sincere effort to find new material in America, but he said that outside of MacDowell, he found nothing but indifferently good salon-music. With the works of several American composers he was, however, unfamiliar. He has done little or nothing himself as a composer and declared that it was not his forte.
▪️American Musical Taste.
Reisenauer says: “American musical taste is in many ways astonishing. Many musicians who came to America prior to the time of Thomas and Damrosch returned to Europe with what were, no doubt, true stories of the musical conditions in America at that time. These stories were given wide circulation in Europe, and it is difficult for Europeans to understand the cultured condition of the American people at the present time. America can never thank Dr. Leopold Damrosch and Theodore Thomas enough for their unceasing labors. Thanks to the impetus that they gave the movement, it is now possible to play programs in almost any American city that are in no sense different from those one is expected to give in great European capitals. The status of musical education in the leading American cities is surprisingly high. Of course the commercial element necessarily affects it to a certain extent; but in many cases this is not as injurious as might be imagined. The future of music in America seems very roseate to me and I can look back to my American concert tours with great pleasure.
▪️Concert Conditions in America.
“One of the great difficulties, however, in concert touring in America is the matter of enormous distances. I often think that American audiences rarely hear great pianists at their best. Considering the large amounts of money involved in a successful American tour and the business enterprise which must be extremely forceful to make such a tour possible, it is not to be wondered that enormous journeys must be made in ridiculously short time. No one can imagine what this means to even a man of my build.” (Reisenauer is a wonderfully strong and powerful man.) “I have been obliged to play in one Western city one night and in an Eastern city the following night. Hundreds of miles lay between them. In the latter city I was obliged to go directly from the railroad depot to the stage of the concert hall, hungry, tired, travel worn and without practice opportunities. How can a man be at his best under such conditions—yet certain conditions make these things unavoidable in America, and the pianist must suffer occasional criticism for not playing uniformly well. In Europe such conditions do not exist owing to the closely populated districts. I am glad to have the opportunity to make this statement, as no doubt a very great many Americans fail to realize under what distressing conditions an artist is often obliged to play in America.”
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💐LIVE Info💐
初の配信ライブ開催が決定!
7/12(sun)17:00 START
LIVEWIRE - Yogee New Waves Presents -Naked-
LIVEWIREにて開催されるYogee New Wavesのライブストリーミング。「Naked」と題した今回のライブは『剥き出し』をテーマに、生では感じる事の出来ない距離感、最大限にライブの熱が伝わるカメラワークや演出を交えた、これまでのライブ映像とは一線を画す一つの映像作品となっています。
4人編成の緊張感あるセッション、角舘健悟の弾き語り、サポートメンバーに松井泉(パーカッション)、高野勲(キーボード)を迎えた6人編成でのライブと、3部構成に及ぶ凝縮したパフォーマンスをお届けします!"今"だからこそ実現した貴重なライブです。お楽しみに!
…
お客さんと僕らの間に存在する、物理的な距離。
その間をカメラはするりと抜けてみせます。
部屋を暗くして音を大きくして観ましょう。
(角舘健悟)
…
LIVEWIRE - Yogee New Waves Presents -Naked-
2020年7月12日(日) OPEN 16:30 / START 17:00
TICKETS NOW ON SALE!!
ADV.¥2,000
DOOR ¥2,500
チケット販売期間:7 月 3 日(金)18:00~7 月 18 日(土)21:00
アーカイブ:7 月 18 日(土)23:59
<チケット購入はこちら>
https://livewire.jp/schedule/yogeenewwaves200712/
<お問い合わせ先>
livewire@spaceshower.jp
…
Entitling 「Naked」, the band will present a “stripped naked” live show by mashing up their exciting performance and the fully utilized dynamic camera works.
There will be 3 parts on this stream that consists of: The tension core 4 pieces set, Kengo’s stand-alone, and the now evolved 6 pieces set by welcoming Izumi Matsui on percussion and Isao Takano on keys.
Tune in to their condensed live stream and experience the exclusive show that this era made is possible!
Do not mind the physical distance, We will slip out the screen to you.
So lights out, crank up, sit back and ENJOY!(from Kengo Kakudate)
…
Yogee New Waves 即將於 LIVEWIRE 進行 LIVE 直播演出!
此次以「Naked」為主題,透過相機的視野和運鏡傳遞演出熱度,呈現一場毫無保留且現場無法體驗、前所未有的距離感,也計畫將影片製作成和以往演出紀錄全然不同的影像作品。
透過充滿張力的四人編制、角舘健悟的自彈自唱、以及加入支援樂手松井泉(percussion)、高野勲(kb.)的六人編制,將三種不同氛圍的編制濃縮成一場精緻的演奏。也是唯有「現在」才能體現的珍貴演出,敬請期待吧!
就像是存在於觀眾和我們之間的那種物理距離,相機在彼此的間隙中自由順暢的運鏡。
把房間燈光調暗、聲音調大,一起享受表演吧!(角舘健悟)
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「Instagram」
https://www.instagram.com/alan__tw/
「My Gear」
Camera - A7SIII
「My Lens」
Sigma 24-70 F2.8
Sony 24 F1.4
Sigma 35 F1.4
sony 90 F2.8
「 Drone」
DJI Mavic pro 2
「 Gimbal」
Ronin s
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Watch Dogs ไทย
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Watch Dogs is an action-adventure game, played from a third-person view. The player controls hacker Aiden Pearce, who uses his smartphone to control trains and traffic lights, infiltrate security systems, jam cellphones, access pedestrians' private information, and empty their bank accounts. System hacking involves the solving of puzzles. The game is set in a fictionalized version of Chicago ("Windy City"), an open world environment which permits free-roaming. It has a day-night cycle and dynamic weather system, which changes the behavior of non-player characters (NPCs). For melee combat, Pearce has an extensible truncheon; other combat uses handguns, shotguns, sniper rifles, machine guns, and grenade launchers. There is a slow motion option for gunplay, and the player can use proximity IEDs, grenades, and electronic lures. Lethal and non-lethal mission approaches can be enacted.
Pearce can scale vertical surfaces, hack forklifts and aerial work platforms to reach places otherwise unreachable, and can crouch behind walls to hide from enemies. The player has an array of vehicles with which to navigate the setting, including motorcycles, muscle cars, off-road vehicles, SUVs, luxury vehicles, sports cars, and speedboats.
The car radio is customizable, with about fifty songs.
If the player steals a car, its driver can summon the police;
if the player has a good reputation, the driver may acquiesce. A good reputation may be gained by detecting (and stopping) crimes, and a bad reputation results from committing crimes.
The skill tree is upgraded with points earned from hacking, combat, driving, and crafted items.
Money can be used to purchase guns, outfits, and vehicles.
There are several minigames, ranging from killing aliens to controlling a large, robotic spider.
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Hypixel SkyBlock-極龍遊戲頻道xDraGon Gaming
記得點讚和訂閲,感謝大家收看~
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--Dynamic Duo--https://www.youtube.com/watch?v=ayC7Z...
--SkyBlock Texture Pack--https://hypixel.net/threads/hypixel-s...
◆◆◆◆◆◆◆◆◆◆◆◆ MC Server Rank ◆◆◆◆◆◆◆◆◆◆◆◆◆
➤Hypixel : MVP+ Rank
--https://store.hypixel.net/
➤MinePlex : Titan Tank
--http://www.mineplex.com/shop
➤MC-Central : Iron Rank
--https://buy.mccentral.org/
➤SkyLord (Earth) : Air Rank
--http://store.skylords.org/category/90...
➤SkyLord (Space) : Astronaut Rank
--http://store.skylords.org/category/10...
➤LifeBoat : YT Rank
--https://lbsg.net/youtube-rank/
◆◆◆◆◆◆◆◆◆◆◆ 烈火工作室相關資訊 ◆◆◆◆◆◆◆◆◆◆◆◆
➤烈火工作室 FB專頁 : https://www.facebook.com/blazesStudio...
➤烈火工作室 YT頻道 :
https://www.youtube.com/channel/UCLMU...
◆◆◆◆◆◆◆◆◆◆◆◆◆◆ 電腦配置 ◆◆◆◆◆◆◆◆◆◆◆◆◆◆
➤CPU / 處理器 : Intel Core™ I7-7700 3.60GHz
➤GPU / 顯示卡 : Forsa GeForce GTX 1060 3GB Fury OC
➤MotherBoard / 主機版 : Gigabyte GA-B250M Gaming
➤RAM / 臨時存取 : KingSton DDR4 2133MHz 8GB x2
➤Storage / 儲存空間 : Toshiba 2TB 7200rpm
➤Mouse / 滑鼠 : 雷騰裂紋遊戲鼠標
➤KeyBoard / 鍵盤 : 雷騰金屬機械鍵盤
➤HeadPhone / 耳機 : 賽德斯發光遊戲耳機
➤MousePad / 滑鼠墊 : Razer Mantis 滑鼠墊
◆◆◆◆◆◆◆◆◆◆◆◆◆◆◆ BGM ◆◆◆◆◆◆◆◆◆◆◆◆◆◆◆
➤Beat_Your_Competitio
➤Dallex - Lights [XimerTracks]
➤Elektronomia - Energy [NCS Release]
◆◆◆◆◆◆◆◆◆◆◆◆◆◆ 使用程式 ◆◆◆◆◆◆◆◆◆◆◆◆◆◆
➤拍片程式 : OCam
➤剪片程式 : 威力導演
➤繪圖程式 : Paint.net + FotoJet
◆◆◆◆◆◆◆◆◆◆◆◆◆◆◆◆◆◆◆◆◆◆◆◆◆◆◆◆◆◆◆◆
#SkyBlockHK #skyblock攻略 #skyblock賺錢方法
#skyblock香港
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