小百合三重奏示範講座 Lecture Demonstration by Sayuri Trio

外展活動 Outreach Programme

© Chow CK

小百合三重奏示範講座 Lecture Demonstration by Sayuri Trio

音樂 Music | 馬來西亞、日本、菲律賓 Malaysia, Japan, the Philippines

十二月 Dec 7 10am - Dec 20 11pm

「無限亮」網頁內播放

Loop screening on No Limits website

• 粵語及日語主講 • 示範講座長約 45 分鐘 • 請勿擅自錄音或錄影 • In Cantonese and Japanese • Approx 45 minutes • Unauthorized photography or recording of any kind is strictly prohibited

小百合三重奏成員陳重仁博士將於示範講座中與大家分享發現小百合才華的經過，以及小百 合在音樂旅途上的故事。講座期間也會播放小百合的過往綵排和演出片段。另外，雖然音樂 會因疫情關係而取消，但小百合三重奏會特別錄製數首耳熟能詳的曲目，讓觀眾在網上欣賞。 Dr Chan Cheong Jan is Sayuri Shirai's mentor and a member of the Sayuri Trio. In the lecture demonstration, he will share the story of Sayuri Shirai on her musical journey. This will be accompanied by rehearsal footage and performance clips exclusively recorded by the Sayuri Trio members. Although the live concert has unfortunately been cancelled, audiences will still be able to get a glimpse of their music online.

曲目 Programme

《G 弦上的詠嘆調》Air on the G String 選自 D·大調第三管弦樂組曲第二樂章《詠嘆調》，BWV1068

From Orchestral Suite No 3 in D, BWV 1068: II. Air 《演藝人》The Entertainer 《烈火戰車》Chariots of Fire 《休息五分鐘》 Take Five 《超級瑪利奧》Super Mario 《散步》Hey Let’s Go 《龍貓》片頭曲 Opening theme song of Totoro

演出曲目及次序或有更改 Pieces and their order of performance are subject to change 巴赫 Johann Sebastian Bach

斯科特·喬普林 Scott Joplin 范吉利斯 Vangelis 保羅．戴斯蒙 Paul Desmond 近藤浩治 Koji Kondo 久石讓 Joe Hisaishi

小百合初嘗爵士樂—與陳博士一起探索音樂

白井小百合與陳重仁博士於 2012 年由父親白井義人教授介紹相識。白井教授任教 九州工業大學馬來西亞分校，和在博特拉大學音樂系任教的陳博士在同一校園工作，二人 首次會面時，白井教授便提及女兒小百合。白井小百合很快就拜訪了陳博士，因為整所 大學只有他的辦公室有馬林巴琴。此後七年，曾在日本深造八年的陳博士與白井一家迅速地 親近了起來。 陳博士憶述：「起初，我更像小百合的伴奏，她當時彈奏古典樂和流行樂。直至 2016 年， 我在九州熊本工作交流一年半，才開始教她接觸新的音樂類型⸺爵士樂和即興演奏。」 白井不會讀樂譜，也不能理解複雜的口頭指示。很多觀眾都對她為何能夠即興演奏和彈奏 爵士樂感到好奇。陳博士解釋：「我會在演出時與她交流，其實就是用音樂傳遞訊息，希望 她能夠聽出來。這也是爵士樂手慣常的交流方式。」陳博士的兒子陳樂軒後來作為鼓手加入 三重奏：「我一般叫樂軒保持基本拍子，我負責旋律及和弦，好讓小百合可以自由發揮。」 白井教授發現女兒接觸爵士樂後變得更有創意，但認為她還有進步空間。陳博士表示： 「作為爵士音樂家，我很期待小百合融入音樂，忘我表演的時刻。但這並不容易，因為她自小 學習古典樂，很習慣要堅持彈奏她認為『對』的表演。不過我認為她的即興演奏才是她真正 的強項。」 文：周慧禎 中譯：吳樂怡

Sayuri goes Jazz, a music exploration with Dr Chan

The story between Sayuri Shirai and Dr Chan Cheong Jan began one afternoon in 2012, when Sayuri’s father Prof Yoshihito Shirai, who was soon to be the Director of the satellite campus of Kyushu Institute of Technology (part of the Universiti Putra Malaysia), visited Dr Chan who was working on the same campus as Head of Jazz Studies in the Music Department. Prof Shirai mentioned his daughter during the meeting.

Soon after, Sayuri was brought to Dr Chan, because the only available marimba in the campus was in his office. It was also because of Dr Chan’s ties to Japan, where he studied for eight years, that his relationship with the Shirai family developed at an unexpected pace over the course of the next seven years.

Dr Chan recalls, “In the beginning, I was more like an accompanist to Sayuri who played classical and popular music. It was not until 2016, when I spent one and a half years as an exchange staff member in Kumamoto, Kyushu, that I started to coach her into a new area of playing—jazz and improvisation.”

Sayuri could not read musical notation, nor could she understand complex verbal instructions. How she could possibly play jazz and improvise is most frequently asked by audiences.“I interact with her while playing, which means sending musical signals and hoping that she will catch them. This is also a typical way of how jazz musicians communicate,”Dr Chan explains. The coaching also involves Chan Le Xuan, Dr Chan’s son and now the drummer of the Sayuri Trio. “I ask my son to keep playing the groove. At the same time, I play rhythms and chords, and let Sayuri respond freely and improvise.”

Prof Shirai found that Sayuri became much more creative after studying jazz with Dr Chan. Yet, there is still room for growth. “As a jazz musician, I look forward to those moments when Sayuri gets into the groove and forgets about herself. But this is not easy, as Sayuri is very determined to produce the same performance that she perceives as ‘right’ in her mind, due to the classical music training that she received,” Dr Chan says. “But I see her spontaneity as her real strength.”

Text: Christy Chow

白井小百合 Sayuri Shirai 馬林巴木琴 Marimba

白井小百合是日本福岡的馬林巴木琴家，自小患有唐氏綜合症。她十一歲首次接觸這項樂 器，當時她已費多年時間尋找適合自己的藝術表達方式。白井師承日本著名馬林巴木琴導師 暨北九州馬林巴木琴樂團 RIM 琴手高松聰美。白井獲邀到吉隆坡不同的社區和文化團體演出， 隨意而自然的即興演奏深受當地歡迎，觀眾更將她譽為帶來希望和鼓勵的音樂大使。 2012 年起，民族音樂學者及爵士樂手陳重仁博士與白井遊遍九州，為福岡多家老人院和 社福機構帶來正能量，其中包括 2016 年熊本地震受災者群體。白井與陳博士的組合亦啟發 馬來西亞博特拉大學設立研究所，旨在研究通過藝術發展共融。 Sayuri Shirai hails from Fukuoka, Japan. She is a marimba player with Down syndrome. Her encounter with marimba at the age of 11 was the result of years of effort to find an artistic form that could match the abilities she had been given. She studied marimba under the tutelage of Satomi Takamatsu, a renowned marimba instructor and player with the acclaimed Kitakyushu Marimba Orchestra RIM in Japan. The wonder of Shirai as a musical messenger of hope and encouragement became apparent when she was heard by the multicultural communities of Kuala Lumpur, which embraced her spontaneity and intuition in improvisation. Her musical journey with the jazz musician and ethnomusicologist Dr Chan Cheong Jan since 2012 has brought a positive impact to communities who suffered during the 2016 Kumamoto Earthquake, as well as numerous homes for the disabled and the elderly in Fukuoka. It also inspired the establishment of Fusion Lab, a research centre for disability-inclusive development through the arts in Universiti Putra Malaysia.

陳重仁博士 Dr Chan Cheong Jan 音樂總監、鋼琴 Music Director, Piano

陳重仁博士是一位民族音樂學者和爵士樂手。他在馬來西亞的大專院校教授爵士樂數十載， 並多次指導學術研究，包括與後殖民地時期的馬來群島的聲音、音樂和行為有關的研究 項目。他喜歡將不同範疇事物的共通點連結起來，足跡遍及各類跨學科和跨文化的研究領域， 如馬來西亞民歌、節慶音景和中國傳統的神祇巡遊。陳重仁博士畢業於大阪大學並取得文學 博士學位，曾在日本國立音樂大學任教，及於熊本大學擔任跨學科研究教授，現為馬來西亞 博特拉大學音樂系爵士樂研究主管。 Dr Chan Cheong Jan is an ethnomusicologist and a jazz musician. He has trained jazz undergraduates in Malaysia for decades and has supervised research related to the many facets of sound, music and behaviour in the postcolonial Malay Archipelago. His interests in linking up pieces of convergence that exist in different fields has left footprints on topics that are interdisciplinary and intercultural, spanning Malay folksongs, festival soundscape, and the parade of deities of the Chinese diaspora. With a Doctor of Literature from Osaka University, Chan has taught at the Kunitachi College of Music, Tokyo. He was a research professor in Kumamoto University for interdisciplinary studies, and he is currently the Head of Jazz Studies in the Department of Music in Universiti Putra Malaysia.

約瑟夫．亞納斯圖 Joseph Arnesto 低音大提琴 Double Bass

陳樂軒 Chan Le Xuan 鼓、敲擊 Drums and Percussion

約瑟夫．亞納斯圖於吉隆坡市政局管弦樂團擔任大提琴 首席，亦是吉隆坡的資深爵士低音大提琴手。他是 馬來西亞思特雅大學、馬來西亞博特拉大學、國立蘇丹 依德理斯教育大學和海洋音頻技術學院的音樂講師。 Joseph Arnesto is the principal cellist of the Kuala Lumpur City Hall Orchestra and a veteran jazz bassist in Kuala Lumpur. He was the bassist for many music festivals and events, and has worked with numerous acclaimed artists. Arnesto has been a music instructor at UCSI University, Universiti Putra Malaysia, Universiti Pendidkan Sultan Idris and the Ocean Institute of Audio Technology.

陳樂軒自十四歲起在教會自學爵士鼓，雖然未曾接受正規 的音樂訓練，卻一直受父親陳重仁博士的影響和指導。 2016 年，他在日本熊本旅居時被邀請加入小百合的樂隊。 此後，他幾乎只為小百合三重奏擔任鼓手，並隨樂隊於 福岡、熊本、吉隆坡等地演出。 Chan Le Xuan's self-taught drumming began in church at the age of 14. He was also shaped under the influence and supervision of his father Dr Chan Cheong Jan. During his stay in Kumamoto in 2016, he was brought in as a bandmate for Sayuri Shirai, and remains a drummer almost exclusively for the Sayuri Trio.