Tang Man-ngai Imen was born in 1972. He studied composition and electronic music with Mr. Law Wing-Fai and Mr. Clarence Mak at the Hong Kong Academy for Performing Arts and graduated in 1998. As the recipient of The Composers and Authors Society Scholarship for Overseas Studies, he is now doing his Master of Music in Composition at the University of Melbourne in Australia. Tang's compositions include solo, chamber, vocal, electronic, multi-media and orchestral works.
The "Firefly" is written for flute. B-flat clarinet, B-flat bass clarinet, French horn in F; piano and percussion. This piece describes young people, the goals they have for themselves, their families, society and their country in good time and in bad. They want to fight the unfair and inhuman right policies. The composer attempts to use music to represent the different kinds of emotion-anger and impatience evokes at different stages. The title "Firefly" represents the composer's belief that young people have a light in their heart.
テクスト：A. (歩みは消え失せ/傷が残され/海のそばの砂浜には/新たな痕跡と、新たな悲嘆) B. (雨が落ちる/石の上に、大地の上に/癒すように、焦がれるように/乾ききった魂たち) C. (水が、流れてゆく/山から海へと/今一度ひとつになって歓喜する/始まりと終わりと)
Christine MUYCO
Tunog-Tanaga I (Sound Poem)
Maria Christine Muyco, composer and educator, presently works as a senior lecturer at the Theory and Composition Department of the University of the Philippines College of Music. She holds a master's degree in Music Composition from the University of British Columbia where she has studied with Stephen Chatman and Keith Hamel as well as with some visiting European professors. Her Bachelor's degree in Music Composition was taken from the University of the Philippines where she was first trained by Ramon Santos and Josefino Toledo.
Tunog- Tanage I (Sound Poem): Year Composed: 1999. Instrumentation Guiro, Timpani, Temple Blocks, Bongos (Perc. 1) Suspended Cymbal, Maracas, Rainstick, Crotales, Claves, Gong/ Tamtam (Perc. 2). Vocal Dramatist (preferably female): can act and dance. The Text: A. Binubura ng paa/ Sugat na iniwan/ Ng dagat sa buhangin/ Bagong bakas, bagong sakit. (The feet erases/ The wound left/ By the sea on the sand/ New trace, new pains). B. Ang ulan pumapatak/ Sa mga bato, sa lupa/ Hinihilom, tigang/ Na kaluluwa. (The rain drops/ on the stone, on the earth/ healing, parched/ Dried souls). C. Tubig, dumadaloy/ Mula bundok hanggang dagat/ T'wang piuag-iisa muli/ Umpisa't katapusan. (Water, flowing/ From the mountain to the sea/ Rejoices in uniting once more/ The beginning and the end).
Jiradej Setabundhu studied music with Bruce Gaston at Chulalongkorn University, Thailand. He worked as a director of guitar department at Chintakarn Music Institute and was a guitarist of the Fong Naam Ensemble, Both parts of Smoky Speculation are based on two improvisations. The second part is twice as long as the first. The duration of the first part is doubled and all of its main pitches and harmony are mapped onto the second part. Next, a rondeau piece by the fourteenth century composer Solage is chosen as another skeleton. This rondeau is called 'Fumeux fume' (Smoky fumes). The title 'Smoky Speculation' is actually the verse of section B of Solage's work. Here the mapping process creates a relationship similar to those between the main melody and its various realizations found in Thai music. The rondeau is repeated 3 times, each time twice faster than the previous one. This process provides a structure and a way to control harmony and voice-leading of the piece.
