2025年4月18日（周五）14:00，作曲系特邀维也纳音乐与艺术大学键盘、作曲、指挥系主任Jean Beers教授将举办题为“当代音乐作曲技术与基于文本的音乐（歌剧）”学术讲座。地点：中央音乐学院教学楼617。 欢迎大家参加！

主讲人简介：

Jean Beers教授是维也纳音乐与艺术大学（MUK）键盘、作曲与指挥系主任，长期从事作曲、钢琴演奏及艺术研究。她曾在欧洲、美国及中国多地举办音乐会与讲座，并受邀在2024年北京现代音乐节开幕式演出原创钢琴协奏曲。她的研究涵盖当代音乐创作、解构主义音乐理论及跨文化音乐实践，尤其擅长将哲学思考融入音乐创作。

讲座内容

Beers教授：

在本次讲座中，我将深入探讨近年来欧洲当代音乐作曲的发展，特别关注融合戏剧与文本的作品。我将重点介绍我的微型歌剧《女性的斗争与赋权》（About Female Struggle and Empowerment），这部作品涉及全球社会中与性别不平等相关的当代与历史性挑战。通过这部作品，我希望突显女性所面临的困境，以及在不同文化背景下持续争取赋权的过程。本讲座的核心主题是通过艺术探讨社会中的“女性”概念——以不同历史时期和艺术流派为灵感，通过“快照”的方式呈现这一主题。作品借鉴了文学来源中的特定时刻或情境，以刻画女性在社会中被忽视的不同形式：无论是作为个人、性别，还是作为超越生存必需品的“美”之艺术，即社会的“装饰品”。这个主题长期以来一直吸引着我，最近，我与中国手风琴家韩宜琳共同创作了一部大型作品《女书》（Nü Shu），它结合了手风琴独奏、电子音乐和现场表演，探讨强烈的女性身份认同。该作品已在德国、奥地利以及中国（北京和郑州）演出。“女书”本身是一种历史性的、秘密的、富有诗意的女性文字，由女性创造并用于女性之间的交流，这一概念深深启发了我的创作。 此外，我还将介绍我在博士研究期间发展出的个人作曲方法，该方法受到法国哲学家雅克·德里达（Jacques Derrida）现象学解构理论的影响。这种方法代表了一种对音乐结构和解读方式的转变，不仅包含传统的音乐元素，还深入探讨了哲学思想。通过对传统形式和叙事的解构，我的作曲方法力求为演奏者和观众创造一种动态、多层次且引人深思的体验。我的著作《音乐中的歧义性》（Ambiguity in Music）探讨了解构作为作曲方法在各种体裁和场景中的应用。 这场讲座将提供一个契机，让我们思考当代音乐如何成为社会评论与艺术创新的有力媒介。我期待与大家分享我的创作过程，并讨论这一方法在全球当代音乐创作背景下的更广泛影响。

Professor Beers：

Lecture on current contemporary music composition techniques and music with text (opera): In this lecture, I will delve into recent developments in contemporary music composition in Europe, with a special emphasis on work that blends drama and text. The focus of my discussion will be on my miniature opera, About Female Struggle and Empowerment, a composition that addresses both current and historical challenges related to gender inequality in societies worldwide. Through this work, I aim to highlight the struggles women face and the ongoing journey toward empowerment in different cultural contexts. The exploration of the idea of the "feminine" in society through art by means of snapshots inspired by different epochs and artistic genres is the theme here. Moments or situations from literary sources of inspiration are taken up to depict scenes that exemplify a form of disregard for the feminine: be it of the woman as a person, as a gender, or of "beautiful" art as an expression of that which goes beyond the necessary or essential for survival, the ornament of society. This subject has fascinated me since and most recently I co-created a large scale work for solo accordion, electronics and live performance named Nü Shu, together with the Chinese accordionist Han Yilin, that deals with strong female identities. It has been performed throughout Germany, Austria and in China (Beijing and Zhengzhou) already. “Nü Shu” is indeed a historical, secret, poetic language created by women for women. This inspired me for this work. Furthermore, I will introduce the individual composition method I developed during my doctoral research, which is influenced by the theories of deconstruction in phenomenology concepts by French philosopher Jacques Derrida. This method represents a shift in how music can be structured and interpreted, incorporating not only traditional musical elements but also a profound engagement with philosophical ideas. By deconstructing conventional forms and narratives, my approach seeks to create a dynamic, layered, and thought-provoking experience for both the performers and the audience. My book Ambiguity in Music deals with deconstruction as a composition method in various genres and settings. This lecture is an opportunity to reflect on how contemporary music can serve as a powerful medium for social commentary and artistic innovation. I look forward to sharing insights into my creative process and discussing the broader implications of this approach within the global context of contemporary music composition.