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Interspersed amongst rehearsals for the symphony “Mazu’s Bodygaurds” 海神家族, we learn how the composer’s musical imagination, plots from classic Taiwanese novels, and the composer’s own experiences of the White Terror all intertwine in this piece. One of the major takeaways from this film is the keen awareness of local history here in Taiwan. By juxtaposing Lai’s works and multiple performers’ perspectives on his music, this documentary helps us understand the differences between how composer and performers make sense of these often difficult works. The film combines footage of rehearsals and performances with interviews with performers, conductors, and the composer. The Taipei Symphony Orchestra 臺北市立交響樂團 performs the symphonic work “Mazu’s Bodyguards” 海神家族 by Lai Deh-ho 賴德和, conducted by Kai-hsi Fan 范楷西, in Music of My Home 吾鄉樂音。 It has also been heartening to see how seemingly fragmentary snippets of film captured over the space of several years can coalesce into a moving, insightful narrative. Writing from the standpoint of a researcher in the thick of archival research and fieldwork, watching these films gives me a welcome opportunity to take a step back and think about the nature of fieldwork, its ethics and obligations, its potentials and pitfalls.

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Through film screening, dialogues with the directors and co-authors, and a series of discussions, we aim to invite music and film lovers and professionals to pay attention to the diverse sound cultures across Sinophone societies, the conditions in which they are situated, and the challenges they are facing.

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In response to the World Day for Audiovisual Heritage, the Digital Archive Center for Music, National Taiwan Normal University, and the He Luting Advanced Research Institute of Chinese Music and the Asia-Europe Music Research Centre of Shanghai Conservatory of Music jointly co-organized the 2022 Sinophone Musics Film Festival. In its own words, the festival describes itself thus: Taken as a body of work, these films give viewers a glimpse of the richness and diversity of Sinosphere musics. As you can see in the festival trailer below, the films cover subjects ranging from the “ boat people ” of Hong Kong, to the Chinese diaspora in Indonesia, migrant laborers in Taiwan (a topic I address briefly in a post from a few weeks ago ), and aboriginal communities in China’s interior provinces and Taiwan.

RECORDING: Hardware samplers vs.The films featured in this festival all marry ethnographic fieldwork with documentary filmmaking, reflecting ethnomusicologists’ growing interest in multimedia presentations of their work.

SONGWRITING: Backing Track Preparation & Options.

So again, check it out and let me know what you think! Comment below… especially if you’re a MIDI geek!

But it’s pretty impressive, what RapidComposer can do… if you take the time with it. They may not be very realistic, as you get the best sounds when RapidComposer is controlling virtual instruments such as Omnisphere, EZKeys, or any realistic Kontakt library (found in Native Instruments’ “KOMPLETE” series). Now, this guy uses RapidComposer, but with realistic virtual instruments from Kontakt and such… the built-in sounds when you download RapidComposer are soundfonts (created by Attila, and myself).

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He truly has created something amazing that no other software developer has done yet, and with so many features.Ĭheck out some of the videos created by a very helpful member named “Yellukhan”: Six years after RC debuted, its fanbase grew exponentially, and I am really happy for Mr. RC 3.0 was released in spring 2016, and offered a lot more than 2.5.

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I did all of this for version 2.5, and in exchange, Attila gave me a license for the full version of the software. But I discovered it, and saw its potential, so I emailed Attila, and offered to help him work a lot of the bugs out, and do a tutorial series on it, as well as help him develop phrases and new soundfonts which I created from scratch. When RapidComposer began, it had a very rough start, because it crashed so much. RapidComposer was created by Attila Mezei, a Hungarian software developer. I invite all of you (especially those of you who love MIDI composition) to check out the demo. Now, RC has been updated to version 3.1, with a new user interface, and many more features.

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I last talked about it a few years ago, as there was a big update to version 2.5. I played a big part in developing and popularizing this cool MIDI-based software, that allows you to quickly do a lot of cool MIDI stuff.

I’ve moved to – That is my new home from now on, for this blog and ALL entries, past, present and future. Click the category/link at top of my site () that says “SONGWRITING/RECORDING TIPS”.