Cashflow 77

I S SU E 77

MAY 2 0 1 5

專題特寫 Special Feature

顧嘉 煇 JOSEPH KOO

CASHFLOW

CASHFLOW I SS UE 77 MAY 2015

CONTENTS

目錄

編輯組 Editorial

香港作曲家及作詞家協會 企業傳訊部 Composers and Authors Society of Hong Kong Ltd Corporate Communications Department

撰文作者 Contributors

馮禮慈 Fung Lai Chi 賴映彤 Lai Ying Tong 胡銘堯 Dennis Wu 音樂出版人協會香港有限公司 Music Publishers Association of Hong Kong Ltd

P.3

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廣告查詢 Advertising Sales

香港作曲家及作詞家協會 企業傳訊部 Composers and Authors Society of Hong Kong Ltd Corporate Communications Department

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電話 Tel: (852) 2846 3272

製作機構 Produced by

·光「煇」的音樂旅程

·音樂巨人與新生代漫談樂事

·感謝煇哥──我們敬佩的前輩

·「需要創一個會去管理作品」──顧嘉煇

·薪火相傳「顧嘉煇新生代音樂獎」

稜創意有限公司 Prism Creation Ltd RM 704, 7/F, Hong Kong Arts Centre, 2 Harbour Road, Wan Chai, Hong Kong 電話 Tel: (852) 2111 1192 電郵 Email: prism@arts-news.net

音樂巡禮

UPCOMING MUSIC

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專題特寫

SPECIAL FEATURE

·顧嘉煇──退而不休的樂壇教父

出版機構 Published by

香港作曲家及作詞家協會 香港中環亞畢諾道三號 環貿中心十八樓 Composers and Authors Society of Hong Kong Ltd 18/F, Universal Trade Centre, 3 Arbuthnot Road, Central, Hong Kong 電話 Tel: (852) 2846 3268 傳真 Fax: (852) 2846 3261 網址 Website: www.cash.org.hk 電郵 Email: general@cash.org.hk, cash.flow@cash.org.hk © 2015 香港作曲家及作詞家協會 © 2015 Composers and Authors Society of Hong Kong Ltd 一切本刊圖文未經本刊出版人書面允 許，一律不得作局部或全部之翻印、 轉載、翻譯或任何形式或途徑的機械 式電子傳送。 No part of CASHFLOW, written or pictorial, may be reproduced or reprinted, translated or transmitted in any form or by any means mechanical or electronic in whole or in part without the written permission from the Publisher.

Joseph Koo – Retirement to the Fullness Koo’s Glorious Music Journey Music Dialogue between Master Koo and Newcomer All Inspired by Koo

“…felt the need to form a body handling our works” – Joseph Koo Passing on the Torch – “Joseph Koo New Generation Award”

16 贊 助 項 目 SPONSORSHIPS

·香港亞洲流行音樂節2015

·公佈獎學金得主

Hong Kong Asian-Pop Music Festival 2015 Scholarship Recipients Announced

19 版 權 知 識 ABOUT COPYRIGHT

·先問才做

Ask Before Act

20 人 物 專 訪 INTERVIEW

·作曲家──梅廣釗

Composer – Mui Kwong Chiu

24 協 會 動 態 CASH NEWS 30 會 員 專 區 MEMBER CORNER

jun 6月 5 6

音樂巡禮

5 五 Fri

UPCOMING MUSIC

五至六 Fri to Sat

音樂新一代2015音樂會 New Generation 2015 Concert

側田We Touch世界巡迴演唱會 2015 Justin Lo We Touch Live 2015

晚上8pm 香港電台一號錄播室 RTHK Studio 1 請留意港台第四台公佈門票索取詳情 Please stay tuned to RTHK Radio 4 for ticket details

晚上8:15pm 香港體育館 Hong Kong Coliseum HK$580 / $380 / $250

19 20

五至六 Fri to Sat

最愛潘源良是誰作品展 P For Poon Party 晚上8:15pm 香港體育館 Hong Kong Coliseum HK$580 / $380 / $250

jul 7月 1/7 31/10 香港音樂家群像系列：世紀詞聖－陳蝶衣 The Hong Kong Musicians Series: The Vibrant Lyricist – Chan Di Yee

香港中央圖書館（十樓藝術文獻閱覽室） Hong Kong Central Library (10/F Arts Document Reading Room) 免費入場 Free admission

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即日至

香港音樂家群像系列：中華頌歌－林聲翕 The Hong Kong Musicians Series: Ode to China – Lin Sheng Shih

aug 8月 4

香港中央圖書館（十樓藝術文獻閱覽室） Hong Kong Central Library (10/F Arts Document Reading Room) 免費入場 Free admission

二 Tue

喜動樂樂—香港原創音樂X微電影音樂會 YY PopUp Concert II: Original Music and Micro-movie 晚上8pm 香港大會堂劇院 Hong Kong City Hall Theatre HK$150 / $100

備註：以上活動資料（截至2015年5月6日）由有關主辦單位提供。如有查詢，請與有關主辦單位聯絡。 Note: The above event information (as of 6 May 2015) has been provided by the organisers. For any enquiries, please contact the organisers.

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音樂巡禮

UPCOMING MUSIC

活動推介 Event Highlights

19 -20/6

最愛潘源良是誰作品展 P For Poon Party 由寰亞娛樂有限公司、東亞娛樂有限公司及英皇娛樂集團合辦 Co-presented by Media Asia Entertainment Ltd, East Asia Entertainment Ltd and Emperor Entertainment Group 星級填詞人潘源良，由八十年代開始為 廣東歌填詞，有「浪子詞人」美譽。 至今作品數目近千首，合作過的歌手由 天王天后巨星級乃至近年新一輩歌手組 合，其筆下獲獎作品多不勝數。今次在 紅館舉行的個人作品展，將由樂壇好 友、原唱以及後輩歌手紛紛登場演繹他 歷年的經典金曲，定必為樂迷帶來驚 喜。 嘉賓：林子祥、葉蒨文、關淑怡、草 蜢、達明一派、倫永亮、張敬軒、林一 峰、林二汶和C AllStar 等，還有神秘原 唱嘉賓如陳慧嫻等將陸續登場。 Calvin Poon, the star lyricist, started his Cantopop lyric writing career in the 1980s and has established himself as

香港音樂家群像系列：中華頌歌－林聲翕 The Hong Kong Musicians Series: Ode to China – Lin Sheng Shih

Joseph Koo Introduction

由康樂及文化事務署香港公共圖書館及香港作曲家及作詞家協會合辦 Co-presented by the Leisure and Cultural Services Department, Hong Kong Public Libraries and CASH 林聲翕（1914－1991）被譽為中國樂 壇的長青樹，在作曲、指揮演奏和音樂 教育等領域均有傑出的成就。在近六十 年的音樂創作生涯裡，其創作超過三百 首，作品處處流露著抗戰情懷和歌頌中 華的感情；同時，他對音樂教育的工作 亦不遺餘力。是次展覽透過展出一批樂 譜、相片及唱片等珍貴文獻，讓參觀者 對林聲翕有更深入的認識。 Reputed as an “evergreen musician” in the history of Chinese music, Lin Sheng

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Shih (1914-1991) made remarkable achievements in composition, conducting as well as music education. In his music career of nearly 60 years, he composed over 300 songs, which mostly depicted his emotions towards wars and love for China; while at the same time, he had also dedicated himself to music education. This exhibition features his music scores, photographs and records, inspiring a closer look at Lin’s life.

喜動樂樂—香港原創音樂X微電影音樂會 YY PopUp Concert II: Original Music and Micro-movie 由樂樂國樂團主辦 Presented by the Yao Yueh Chinese Music Association

YY PopUp, a new ensemble launched by the Yao Yueh Chinese Music Association in February 2015, will host a distinct

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Guests: George Lam, Sally Yeh, Shirley Kwan, Grasshopper, Tat Ming Pair, Anthony Lun, Hins Cheung, Chet Lam, Eman Lam and C AllStar, and many more original performers, such as Priscilla Chan, will stop by to surprise the audience.

1/3-30/6

樂樂國樂團於今年二月成立的新組合 「喜動樂樂」將於八月上演以香港原創 音樂結合微電影為主題的精選音樂會， 當中將有三首作品作世界首演，包括黃 學揚的《霞彩》(三弦、小提琴與中樂隊 作品)、王超鵬的《夙夜》(笙、鋼琴與 中樂隊作品)及梁志鏘的《和》(琵琶、 法國號與中樂隊作品)。三位作曲家的委 約作品均由CASH音樂基金贊助。

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a “prodigal lyricist”. With almost 1,000 works to his credit, his music partners range widely from superstars to today’s budding musicians; and many of his works have won awards. “P for Poon Party” is a concert showcasing his prevailing works over the years and an array of his good friends, original singers and new forces in the music industry will join and bring delights to fans.

concert featuring a crossover of Hong Kong’s original music and micro-movie in August. Within the programme, three of the pieces are world premieres, commissioned and sponsored by the CASH Music Fund. They include “Colours of Clouds” for sanxian, violin and Chinese ensemble by Wong Hok Yeung, “Day and Night” for sheng, piano and Chinese ensemble by Wong Chiu Pang, and “Harmony” for pipa, horn and Chinese ensemble by Leung Chi Cheung.

專題特寫

專題特寫

SPECIAL FEATURE

SPECIAL FEATURE

顧嘉煇退而不休的樂壇教父

JOSEPH KOO Retirement to the Fullest

今年，香港流行樂壇最矚目的大事，莫過於有「香港樂壇教父」之稱、亦被行內人尊稱 「 煇哥」的顧嘉煇先生，宣佈正式告別舞台、邁向退休生活的重大決定。 一連十二場的「 顧嘉煇榮休盛典演唱會」亦已於5月8日至19日假香港體育館圓滿舉行。

This year, one of the most remarkable events in the local pop music industry is definitely the retirement of Joseph Koo, the “Godfather of Cantopop”.

The big news was made official with 12 spectacular shows of Dr. Koo Glorious Concert in Hong Kong, which was successfully held in the Hong Kong Coliseum between 8 May 2015 and 19 May 2015. 煇哥的創作生涯逾半世紀，其筆下盡是膾炙人 口的經典，為香港流行樂壇貢獻良多。有幸在 煇哥音樂下成長的我們，對這份恩澤到底該從 何說起，又於其榮休後何去何從？ 其實煇哥除了是眾所周知的樂壇教父外，他亦 是本協會的創會會員，在他榮休之際，今期我 們特別以他作為專題特寫，首先跟大家一起走 一趟煇哥的音樂旅程，再由曾獲頒「顧嘉煇新 生代音樂獎」的賴映彤走訪煇哥，漫談樂壇、 創作及退休後的打算；此外，還請來了十位音 樂人分享他們心目中的煇哥，最後，當然不忘 介紹一下煇哥在上世紀如何與一班創作人成立 CASH，並在千禧年代與CASH一起點燃薪火 相傳的燭光。看完這個專題，相信你會更愛煇 哥，更欣賞煇哥為香港樂壇所做的一切。

Koo’s music career has lasted over half a century and his works have enjoyed great popularity. His devotion and contribution to Hong Kong’s music industry are undeniable. Having the luck to grow up in the cradle of his music, how shall we respond and carry on after his retirement?

Apart from a renowned composer, Koo is also a founding member of CASH. Taking this opportunity, we dedicate this issue’s special feature to him. First, let us start by walking you through his music journey.

Then, an interview with Koo about the music industry, composition and his retired life was conducted by Lai Ying Tong, one

of the recipients of the “Joseph Koo New Generation Award”. Following that, ten musicians were invited to talk about Koo. Lastly, we flashed back to the last century when Koo and a group of musicians founded CASH; and moved along to see how Koo has started to pass on his glorious music spirits to the millennium generation with CASH. After reading this special feature, we believe that you will love Koo and appreciate his contribution to the local music scene even more!

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專題特寫

SPECIAL FEATURE

光「煇」的音樂旅程 Koo’s Glorious Music Journey 撰文Text: 馮禮慈 Fung Lai Chi 攝影 Photography: www.trio-photo.com 場地 Location:

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顧嘉煇十多歲時由廣州來到香港，白天 工作，晚間進修；因其姊顧媚在夜總會 唱歌，而令他對音樂產生興趣，後成為琴 師，並為其姊寫下他人生的第一首作品 《夢》。六十年代初在因緣際會下， 顧嘉煇獲得美國伯克利音樂學院 （Berklee College of Music）的獎學金， 並獲邵逸夫先生的資助，留學美國兩年， 回港後在邵氏及嘉禾電影公司為電影作曲 配樂，及後加入電視廣播有限公司（無 綫）任音樂總監，創作了《歡樂今宵晚安 歌》（「歡樂今宵再會，各位觀眾晚安」） 等，自此嶄露頭角。 1974年，香港進入了「現代流行曲」時 期，由顧嘉煇作曲、仙杜拉主唱的《啼笑

姻緣》可說是揭開序幕的作品，同年推出 的許冠傑《雙星情歌》等歌曲帶起了現代 流行曲熱潮。《啼笑姻緣》同時開拓了中 式小調流行曲的曲種，是全球獨有的音樂 類型，外國固然沒有，就是台灣、中國在 此之前也沒有，此種曲風更成功地成為顧 嘉煇最具代表性的風格，也是大眾最熟知 的曲種。 顧嘉煇的中式小調流行曲作品豐碩浩瀚， 配合著上世紀七、八十年代電視劇熱潮 （尤其是武俠劇），席捲香港、東南亞及 其他華人社會，部分名作包括《書劍恩仇 錄》、《小李飛刀》 、 《陸小鳳》、《鮮 花滿月樓》、《 家 變》、《決戰前夕》、 《倚天屠龍記》 、 《 誓 要入刀山》、《大

亨 》 、 《 強 人 》 、 《 無 敵 是 最 寂 寞 》 、 《獅子山下》、《 抉 擇》 、 《網中人》、 《 楚 留 香 》 、 《 上 海 灘 》 、 《 輪 流 轉 》 、 《 倆 忘 煙 水 裡 》 、 《 萬 水 千 山 縱 橫 》 、 《 萬 水 千 山 總 是 情 》 、 《 勇 敢 的 中國人》、《 摘星》、《只有情永在》等 等。其時，顧嘉煇與同期的音樂人將香港 樂壇帶進了黃金期；而他的旋律在黃霑、 盧國沾、鄭國江等填詞人的出色詞作配合 下，亦成就了一代華人的「世代之聲」， 流傳至今仍不斷被傳唱，影響深遠，意義 重大。當中，顧嘉煇與黃霑的合作更廣泛 被譽為絕配，深入民心，傳頌歷久不衰。

顧嘉煇在香港流行樂壇地位崇高，被譽為「香港樂壇教父」， 他稱得上是香港現代流行樂壇揭幕者之一， 也是中式小調流行曲的始創者。 Joseph Koo has a premier status in Hong Kong and is reputed to be the “Godfather of Cantopop”. He is rightfully hailed as one of those who ushered in the local pop music scene; he is also the originator of a new Cantopop genre incorporating Chinese tunes into pop songs “Chinese tunes in pop”.

Koo came to Hong Kong from Guangzhou when he was a teenager.

He worked during the day and studied at night. His elder sister Koo Mei was a singer at nightclubs and because of her, Koo started his interest in music. He later became a keyboard accompanist and composed his first song “Dream” for his sister to great acclaim. In the early 1960s, Koo received a scholarship from the Berklee College of Music by chance and also with funding from Mr. Run Run Shaw, he studied music for two years in the US. Upon returning Koo worked for film companies Shaw Brothers and Golden Harvest writing scores for movies.

Later he joined Television Broadcasts Ltd (TVB) as music director; he wrote songs, including the “EYT Goodnight Song”,

which started to bring him recognition and popularity.

In 1974, Hong Kong entered the age of Cantopop. Koo’s “Ti Xiao Yin Yuan” (sung

by Sandra Lang) was literally the song that inaugurated the period. In the same year, Sam Hui’s “Shuang Xing Qing Ge” and other hits in combination brought modern pop songs to prominence. Furthermore, Koo’s “Ti Xiao Yin Yuan” also created a new Cantopop genre in which Chinese tunes were first incorporated into pop songs at that time. It was a unique style that could not be found elsewhere around the globe, not even in Taiwan or mainland China.

Since then, the style has turned into Koo’s signature – one that is most remarkable and well-known among his great varieties of music.

Koo’s “Chinese tunes in pop” blossomed into a rich collection alongside the wave of TV drama series (particularly martial arts series) in the 1970s and 1980s, which swept through Hong Kong, Southeast Asia and other Chinese communities. In this respect, Koo and other musicians brought the local music scene to a golden era. Koo’s tunes combining brilliant lyrics from James Wong, Jim Lo, Cheng Kok Kong and others marked the “Greatest Voice” of the Chinese and their works still prevail today with great impact and farreaching significance. In particular, the collaboration of Koo and James Wong has been described as the perfect match; their works have touched many people’s hearts and still continue to charm today.

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專題特寫

SPECIAL FEATURE

[1]

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到上世紀九十年代，隨著顧嘉煇移民加拿 大，作品產量開始減少。不過他一直沒有 停止創作，至近年仍間中有新作，例如為 電視劇《洛神》、《金牌冰人》、《歲月 風雲》等創作主題曲和插曲，當中由李克 勤與小剛合唱的《 歲 月風雲》尤受歡迎。 而2014年他為電視劇《 大 藥坊》寫的主題 曲《心藥》，由張德蘭主唱，更讓大家重 拾七、八十年代中文歌黃金期的感覺。 除了最具代表性的中式小調流行曲/武俠劇 歌曲外，顧嘉煇的作品亦相當多元化，皆具 氣 象：

Since Koo immigrated to Canada in the 1990s, his output has slowed down, but he never stopped composing. Until recent years, he occasionally wrote new works for TV drama series, such as Where the Legend Begins, Better Halves and The Drive of Life. Among the list, the theme song of The Drive of Life “Sui Yue Feng Yun” (sung by Hacken Lee and Steve Chou) was particularly popular. In 2014, another theme song called “Xin Yao” for the TV drama series All That is Bitter is Sweet written by Koo and sung by Teresa Cheung has brought back the feelings of the golden era of Cantopop in the 1970s and 1980s.

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．傳統國語時代曲──《夢》、《明日天 涯》 、 《明日之歌》等，這類作品為數不 算多，但都是精品，都具經典級地位。 ．兒歌──《小太陽》、《跳飛機》、 《430穿梭機》、《黑白殭屍》、《小時 候》、《烏卒卒》等，全是不少港人心 中的長青歌曲，簡單雋永。(《小太陽》 尤其經典，近期大熱電影《五個小孩的校 長》中《小太陽》被用作重點歌曲。) ．輕快詼諧歌──《天降財神》、《戲班小 子》、《飲勝》等，展示顧嘉煇個性另一 面。

Apart from his most representative style of “Chinese tunes in pop”, Koo’s music is also diversified and includes traditional Mandarin pop songs, children’s songs, Western style pop songs and duets.

Koo’s duet works are especially worth noting as he and other composers of the same period established a duet format in performing Chinese tunes. The format did not only secure the role of duets in the local pop music scene, but it is still largely used nowadays.

Over the years, Koo has received countless music awards at Hong Kong pop music award ceremonies. For lifetime

．歐西曲風格──《今晚夜》、《交出我 的心》、《乘風破浪》、《萊茵河之 戀》等，雖不及中式小調流行曲數量多 及重要，但當中不少是經典。 ．合唱歌──《只有情永在》、《倆忘煙 水裏》、《鐵血丹心》、《世間始終你 好》等，值得一提的是顧嘉煇及同期作 曲人於中式小調流行曲所建立的男女對 唱形式，鞏固了合唱歌在香港流行曲的 地位，直到今天，香港的男女對唱歌仍 大致沿用這種中式小調流行曲所建立的 對唱法。

achievement awards alone, Koo received the “CASH Hall of Fame Award” from CASH, the “Highest Honor Award” (now “The Golden Needle Award”) and the “Silver Jubilee Honorary Award” from the RTHK’s Top 10 Chinese Gold Songs Award, the “Distinguished Contribution of a Composer” award from the Commercial Radio, the “Special Honor Award” from the TVB Jade Solid Gold Award, the “Lifetime Achievement Award” from Pepsi Music Billboard, and the “Lifetime Achievement Award” from the Hong Kong Arts Development Awards. In addition, Koo was awarded the MBE medal in 1982 and the “Bronze Bauhinia Star” by the

[3]

[1] 煇哥於1997年獲 「 CASH音樂成就大獎 」。 Koo was awarded the “CASH Hall of Fame Award” in 1997.

[2] 2010年煇哥獲得「香港藝術發展獎──終身 成就獎」。 (相片由香港藝術發展局提供) In 2010, Koo received the “Hong Kong Arts Development Awards – Lifetime Achievement Award”. (Photo provided by the Hong Kong Arts Development Council)

[3] 「煇黃」這個組合深入民心，打造無數經 典。 Koo and the late James Wong were a perfect match and created many popular songs.

歷年來，顧嘉煇在香港的流行曲頒獎禮獲 獎不計其數，單是終身成就獎式的獎項就 有香港作曲家及作詞家協會頒發的「CASH 音樂成就大獎」 、 香港電台十大中文金曲 「最高榮譽獎」（金針獎前身）及「金曲 銀禧榮譽大獎」、商業電台「最有貢獻作 曲人」大獎、無線電視勁歌金曲「榮譽大 獎」、百事音樂風雲榜「終身成就獎」、 香港藝術發展獎的「終身成就獎」等。此 外，顧嘉煇亦於1982年獲英女皇頒MBE勳 銜，1998年獲香港特區政府頒授銅紫荊勳 章，2011年獲香港演藝學院頒授榮譽音樂 博士學位，再於2014年同時獲香港教育學 院頒授榮譽人文學博士學位及香港中文大

Hong Kong SAR Government in 1998.

Koo also earned an Honorary Doctorate in Music from The Hong Kong Academy for Performing Arts in 2011; then an Honorary Doctorate in Humanities from The Hong Kong Institute of Education and an Honorary Doctorate in Social Sciences from The Chinese University of Hong Kong in 2014. Having three honorary doctorates in one pocket is definitely rare but it was more than achievable for Koo. Fans love and adore Koo’s music. There were strings of successful concerts featuring either Koo alone or with others.

In 1999, Lin Xi, Mark Lui, Koo and

學頒授榮譽社會科學博士，集三料榮譽博 士學位於一身，成就實屬罕見。

5月假紅磡香港體育館舉行的《顧嘉煇榮休 盛典演唱會》最終加開至十二場。

至於樂迷對顧嘉煇的愛戴，從以顧嘉煇作 品為題的演唱會往績可見一斑。1999年 有林夕、雷頌德、顧嘉煇與黃霑擔綱的 《夕德煇黃拉闊創作人音樂會》、1998 年及2000年顧嘉煇與黃霑分別合作的 《真友情演唱會》及《香港煇黃演唱會》、 2008年香港中樂團的《顧嘉煇名曲精 選》音樂會，顧嘉煇更親自為新作品擔 任指揮、2012年《顧嘉煇大師經典演唱 會》，獲得多位歌手參與演出，盛極一 時。今年，顧嘉煇決定榮休告別舞台，於

來到廿一世紀千禧年代，樂壇教父不忘 鼓勵後輩，於2009年以CASH創會會員身 份與CASH共同設立「顧嘉煇新生代音樂 獎」，以表揚表現突出的本地新一代音樂 創作人，承先啟後，薪火相傳。

James Wong joined to hold the “Xi Tak Fai Wong Musicians’ Live Concert”. In 1998 and 2000, Koo and James Wong partnered to give the “1998 Friendship Concert” and the “Fai Wong 2000 Live in Concert” respectively. In 2008, the Hong Kong Chinese Orchestra presented the concert “All-time Favourites by Joseph Koo” where Koo even conducted his new works on stage. In 2012, many singers joined to perform in the “Joseph Koo Concert 2012”. This year Koo decided to bid farewell to the stage and a total of 12 shows of the “Dr. Koo Glorious Concert in Hong Kong” was held in May at the Hong Kong Coliseum.

In the 21st century, Master Koo continues to devote himself to encouraging the young generations. In 2009, as a founding member of CASH, Koo joined CASH to set up the “Joseph Koo New Generation Award” in recognition of local outstanding young music talents, in order to pass on the music torch.

綜觀顧嘉煇創作廣闊深邃，貢獻並成就了 香港樂壇數個世代，是個不折不扣的音樂 巨人。

Koo’s creativity, achievements and contribution cover several generations of the local music scene. He is undoubtedly a real Hong Kong music giant.

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SPECIAL FEATURE

音樂巨人與 新生代漫談樂事

Music Dialogue between Master Koo and Newcomer

訪問選址為亞洲協會香港中心。這中心除了俯瞰 金鐘一帶的現代化建築物外，四周也枝繁葉茂， 點綴著中心的佈置和雕塑更添一份高尚的藝術氣 質；這正好切合今天的受訪者──顧嘉輝大師的 典雅。 The interview was set up at the Asia Society Hong Kong Center. Overlooking modern architecture in Admiralty and yet surrounded by plenty of greenery, the well decorated centre with many sculptures radiated an artistic sense of elegance and nobility, which paralleled the interviewee of the day – Master Joseph Koo.

訪問及撰文Interview & Text: 賴映彤 Lai Ying Tong 攝影 Photography: www.trio-photo.com 場地 Location: 8

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能與一代樂壇教父對話，作為後輩的我當 然要把握這個難得的機會向煇哥學習。不 過我實在很好奇，煇哥雖然早在九十年代 移民加拿大溫哥華，但一直與香港樂壇 保持緊密聯繫，何以今年突然有退休的念 頭。 「其實我一直都是香港、溫哥華兩邊往 返，跟香港的關係很密切。近年，我對畫 畫的興趣比較大，相信完成了演唱會後， 我可以投放更多時間於繪畫上。」 熟悉煇哥的朋友也知道，這位大師的藝術 天份先見於繪畫，後來受姐姐顧媚的影響 而有更多機會接觸音樂，並從中發掘出他 的音樂才華。既然如此，未知煇哥會否考 慮舉辦一個結合自己的畫作和音樂的展覽 呢？ Having such a rare opportunity to hold a dialogue with the Godfather of Cantopop, I certainly grabbed the chance to learn as much from him as possible.

However just before that, I was very eager to know what made Master Koo decide to retire this year since he has always kept close contact with Hong Kong’s music scene even though he immigrated to Vancouver, Canada in the 1990s.

“Actually, I have been flying in and out between Hong Kong and Vancouver, and maintaining a very close relationship with Hong Kong. In recent years, I became more interested in painting. I believe after the retirement concert, I will devote more time to painting.”

People who are familiar with Master Koo would know that he first showed a talent for painting. Then through his elder sister Koo Mei, he found an interest, talent and even a career in music. That being the case, would Master Koo consider organising an exhibition with his paintings and music works as co-themes?

「這個提議很好。以前都有人跟我提及 過，可惜暫時還沒有想到一個理想的方 法，將畫作和音樂的題材串聯起來。只要 我找到一個適合的方法，要舉辦這類型的 展覽是可行的。」 煇哥的經典作品當中，大多數膾炙人口的歌 曲都是來自電視劇主題曲。七、八十年代的 樂壇，大部分作品都以提供娛樂為前提。反 觀今天，我們的流行曲更多了其他取向，例 如探討社會、生活、時事等內容。對於這個 趨勢，煇哥認為如何？流行曲應以娛樂還是 反映社會為主？ 「我覺得可以並駕齊驅。一個作品除了有 娛樂性外，亦要能帶出教育意義，相信會 是個不錯的方向。」

“That is a very good proposal. Some people also mentioned this to me in the past, but unfortunately I have not come up with a good way to connect painting and music yet. Once I figure out a suitable means, such an exhibition is feasible.”

A large number of Master Koo’s popular songs are theme songs for TV drama series. During the 1970s and 1980s, many popular songs were premised on providing entertainment. In contrast, the music scene today has more diverse themes, such as addressing social issues or current affairs and exploring life.

What does Master Koo think about this trend?

Should popular songs aim to provide entertainment or act as a mirror for the society?

“I think the two can go hand in hand. A music composition can be entertaining while having some educational significance. I believe this would be a good direction to go.”

話題轉到音樂，當然不忘向煇哥討教一些 作曲心得。 「作曲不應該勉強，很難千方百計追求靈 感；靈感難以觸摸，要來便來，要順其自 然。」 相信以下是很多作曲人都想問的問題。每 個創作人都會有自己的習慣，有些人會先 寫旋律，有些人會先想和弦結構，有些則 會曲詞同步進行。煇哥的創作習慣又是怎 樣的呢？ 「我習慣先想旋律，再配以和音⋯⋯我不 會先寫副歌的hookline，通常我想到甚麼就 寫甚麼，再聽聽，然後反覆修改。」

Once we were on the subject of music, I took the opportunity to ask Master Koo about his composing experience and if he would share some tips.

“Composition is not meant to be forced, and neither is inspiration. Inspiration is intangible; when it comes, it comes. One must take it easy.”

I believe many composers would like to know the answer to this one: Composers have their own creative habits. Some may write the melody first, some may think of the chord structure first, and some may write the music and lyrics at the same time. What is the composing habit of Master Koo? “I write the melody first, and then put in the harmonies... I would not write the hook in the chorus first. Usually I write down whatever I can think of. Then I repeat the loop of listening and modification.”

顧嘉煇近年的畫作 Paintings by Koo in recent years

顧媚 Koo Mei

春 Spring

大排擋 Street-side Eatery

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SPECIAL FEATURE

「五聲音階經常出現於你的作品中，甚至 是你的標記，有甚麼原因嗎？」我問。 「通常我會以五聲音階（即Do Re Mi So La）創作，因為這種旋律帶有中國風的韻 味。但如果只用五聲音階創作的話可能會 有點單調。加上西方和聲的應用和大量弦 樂的配器，出來的效果就會比較有趣、動 聽。」 「如果要你在芸芸作品中選一首你最喜愛 的，你會選哪一首呢？」我好奇地問。 「《忘盡心中情》是一首我自己很喜愛的 作品。《獅子山下》則是一首很有代表性 的歌，光是歌名已經很能夠代表香港。但 我比較喜歡《忘盡心中情》，因為一開始 的部分全都是以五聲音階進行，很中國 “Pentatonic melodies often appear in your works, or it may even be said to be your trademark. Is there any reason for that?” I asked.

“Usually I apply pentatonics (i.e., Do Re Mi So La) in my composition because it gives the melody a Chinese flavour. But to solely use pentatonics for the whole creation may sound a little monotonous. Therefore, by adding Western harmonies and lots of symphonic orchestration, the piece of music will be more interesting and appealing.”

“If you were asked to choose your most favourite song from your gallery of works, what would it be?”

I asked curiously.

“Personally, I like ‘Wang Jin Xin Zhong Qing’ very much while ‘Under the Lion Rock’ is very representative; the song title itself is good enough to represent Hong Kong. But ‘Wang Jin Xin Zhong Qing’ remains my favourite because its beginning is all in pentatonic and filled with 10

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化，再配上西方和聲，感覺很新鮮。」

後記 Postscript

近年的流行曲很多時會有一個現象──旋律 多音，密密麻麻；但煇哥的作品向來以簡 單、易記見稱。煇哥對此又有何看法呢？

於2012年我有幸獲得「顧嘉煇新生代音樂獎」。猶 記得當我知道自己獲獎的時候，有一種受寵若驚的感 覺。頒獎禮當晚從煇哥手上接過獎項，對我來說意義 重大。顧嘉煇這個名字，不但是香港樂壇的代表、

「我自己比較喜歡簡潔的旋律。再配以適合 的和聲，效果會較理想。」

是巨星們公認的奇才，也是我們音樂工業所尊敬的教 父。事隔三年，與煇哥對話，除了可藉此機會窺探煇 哥的創作心得外，亦更了解他對音樂的一些想法。在

最後，煇哥有甚麼勉勵的說話給我們這些後 輩呢？

此謹祝煇哥榮休後生活愉快，在享受繪畫的同時，亦

「作曲是一種發自內心的感覺，你要對音樂 有興趣，才會有一種創作的動力。有了發自 內心的旋律加上西方的和音，便不難做出一 首動聽的歌。遇到問題或困難時，要堅持， 不要放棄。」

I was fortunate to receive the “Joseph Koo

不忘提攜後輩。

New Generation Award” in 2012. When I learnt about the news, I felt most flattered. At the award ceremony, the moment Master Koo handed me the award was very significant.

The name Joseph Koo represents the Hong

Chinese styled charms. And, after adding Western harmonies, it gives a very fresh feeling.”

In recent years, there is a common phenomenon spotted in many pop songs – multi-tone melodies densely put together. But Master Koo’s works have always been renowned for being simple and easy to remember. What is Master Koo’s opinion on this?

Kong music scene. He is recognised as a prodigy by many music performers and he is also a well-respected godfather to us, to our music industry. After a lapse of three years, this interview with him allowed me to delve into his creative experiences, and also to understand some of his ideas towards music. Taking this chance, I wish him a happy retirement. While he enjoys painting and leisure, I hope that he would

“I myself prefer simple melodies matched with appropriate harmonies. I think such arrangements are more ideal.”

Finally, what are the words of encouragement Master Koo has for the younger generation?

“Composition starts with your heart. You have to cultivate an interest in music before you are motivated to compose. If you put the melodies in your heart together with Western harmonies, it will not be difficult to write a good song. Whenever you encounter problems or difficulties, simply persevere; never give up.”

continue to nurture the younger generation.

?

感謝煇哥 我們敬佩的前輩

All Inspired by Koo

顧嘉煇的音樂一直散發著跨年代、跨時空的魅力， 而無論對於哪一個年代的音樂人來說，他的作品都是不可多得的養分，為他們的創作帶來不少啟發。 為此，我們邀請了十位音樂人談談煇哥，回顧一下他們與煇哥的「初相識」以及想對煇哥說的話。 Sparking charm and delights through time and space, Koo’s music enriches and inspires many young musicians. In this part, ten musicians were invited to talk about Koo. 問：

1

何時第一次接觸煇哥的作品？

2

最喜歡煇哥哪一首作品？原因？

3

煇哥退休在即，你有甚麼話想對煇哥說？

4

假如有一天你決定退休，你會打算做些甚 麼？

張敬軒 Hins Cheung

1 第一次接觸煇哥的作品是小時候，那時內地剛開始可以 收看到香港電視劇集。對他的第一個印象就是甄妮姐姐 主唱《奮鬥》⋯⋯小時候已經知道他是一位好有才華、 好資深的音樂大師。 2 最喜歡煇哥寫給葉德嫻的《不捨也為愛》。煇哥寫的小 調作品也特別好聽，從中可以聽到煇哥的情感裡有很多 浪漫細膩的部分，而且在音樂編排上，verse、chorus以 至arrangement都映出煇哥那美麗而浪漫的內心世界。

陳輝陽 Chan Fai Young

1 當我還是胚胎的時候。我敢肯定母親懷著我時，一定看過無綫的電視節目， 尤其是《歡樂今宵》，那首短而精湛的片尾曲。 2 「是他也是你和我⋯⋯」那個 II - V progression。《狂潮》的第一句多麼貴 氣，拿捏主題到位。曲裡很多和聲的應用是當時粵語流行曲少有的。

3 煇哥榮休，我很榮幸在「顧嘉煇榮休盛典演唱會」中成 為參與表演的一份子。希望煇哥可利用榮休的日子更加 去享受生活，日後有多些時間上茶樓。如果有靈感，請 繼續創作。傳承一直對音樂行業很重要，所以希望煇哥 可以將音樂修養傳授給後輩。

4 寫自己喜歡寫的，做自己喜歡做的。

4 假如有一日退休，我都會像煇哥一樣舉行「榮休作品 展」⋯⋯但退休對我來說，不過是回歸平淡生活，去寫 歌、睇書或者遊歷世界，也給自己多一些時間去學習， 就似很多公公、婆婆去修讀學士或博士學位一樣。

“I first ‘listened’ to Koo’s music when I was in my mother’s womb. I am pretty sure my mother – carrying me – watched TVB’s dramas or programmes, particularly the show called Enjoy Yourself Tonight, which was wrapped up by a short but incredible end credit tune composed by Koo.”

“Koo’s songs are very pleasing to the ears; they are delicate and romantic. From his music, it is not hard to see through to his soul – a beautiful world full of tenderness, which I admire a lot.”

3 寫自己喜歡寫的，做自己喜歡做的。

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馮穎琪 Vicky Fung

林一峰 Chet Lam

1 媽媽說，四歲那年，我突然在鋼琴彈起《小李飛刀》的調子， 之後媽媽就讓我去學彈鋼琴了⋯⋯那應該是我第一次接觸煇哥 的作品吧。

1 一定是小時候看武俠片，而在眾多電視主題曲之中，第一次聽到心裡去的， 就是《楚留香之蝙蝠傳奇》的主題曲《笑踏河山》 。

2 煇哥實在有太多經典作品了，如果真的要選一首，我會選《畫 出彩虹》。煇哥所有作品都各有特色，但這首有一種尤其脫俗 的氣質，能穿越時空的一種感動。

3 煇哥，感激您為香港創作了這麼多百聽不厭的作品，能在您的 音樂中成長，是我們這一代的福份，而您的音樂正是我們這一 代創作人的養分，也是香港人成長的一部分。

2 就旋律而言，我的心頭好是《情比雨絲》 ；這首作品我在2012年第12張個 人專輯《 愛鄖書》裏，以古典結他三重奏方式編曲及重新演繹過，希望煇哥 會喜歡。 3 謝謝煇哥與前輩們為粵語樂壇打了這麼好的根基，我們會緊守崗位繼續努 力；如果煇哥願意的話，我希望他能在退休前寫一首歌給我，我會用盡心力 把詞寫好。 4 旅行跟烹飪⋯⋯不需要等退休才做啦（ 笑） ！

4 從來做音樂都是生活的一部分，就算有一天所謂退休，也會繼 續寫，就一如既往，為自己而寫，為我愛的人而寫。

“I would like to thank Koo for writing so many good songs for Hong Kong. They are a pool of precious and inspiring resources for composers. We are lucky to be nurtured in his music. It is a great part of our lives.”

Eric Kwok 1 第一次接觸煇哥的作品是《小李飛刀》。 2 最 喜 歡 《 射 鵰 英 雄 傳 之 華 山 論 劍 》 主 題 曲 《 世 間 始 終 你 好 》 ， 因為編曲上以不同的中式樂器做出現代音響合成器稱為 「arpeggiation」的效果，在當時是非常前衛的事。而且這首 歌自成一格，有別於煇哥以往的作品，歌曲亦很振奮人心。 3 希望煇哥可以為我編一首曲，或和我合作寫一首歌。 4 我想我會回到玩線上遊戲World of Warcraft的生活，哈哈！

“Koo’s music arrangements were ahead of his time.

Particularly, I admire his avant-garde technique of mixing different Chinese instruments to do what we call ‘arpeggiation’, by using synthesisers today.”

“I would like to express my deepest gratitude to Koo and the elders, for their great contribution to Cantopop. We will continue to keep it strong.

If there was a chance, I hope Koo could compose a song for me, and I would promise to write the lyrics with my best efforts.”

伍仲衡 Harry Ng 1 小時候學鋼琴，總不喜歡彈那些老師教的歌，但聽到好聽的流行曲，就會在 鋼琴前彈上半天，記得第一隻彈的流行曲，叫《心事》，歌詞是「未敢將一 串心事，講給小雨知⋯⋯」，後來才知道是煇哥的作品。 2 《心債》、《狂潮》、《畫出彩虹》、《 星夜星塵》、《當年情》等，實在 太多。煇哥的旋律能寫出意境、氣派，尤其旋律跟和弦之間的配合，真令我 嘆為觀止，好聽之餘也形成了強烈的顧嘉煇signature，永遠是我學習音樂的 最好教材。 3 煇哥，你永遠是我的偶像，希望你和煇嫂身體健康、生活愉快，閒時找我吃 飯吧。 4 無論我退不退休，我都在玩音樂，能與一班好朋友jam歌、夾band，確是人 生一件很幸福的事。

“The first Cantopop song I learnt during piano lessons when I was small was written by Koo, though I did not know it at that time. Koo is always my idol. I wish Koo and his wife a happy life and good health.”

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伍樂城 Ronald Ng 1 七、八十年代的無綫電視劇。 2 太多，煇哥的作品都好易入腦及經典，若只能選一首的話就會選《上海灘》！ 旋律簡單，結構清晰，編曲恰到好處，深深感染聽眾。更重要的是這首完美的 歌曲由完美的歌手葉麗儀小姐演繹。 3 仍沒有親身認識煇哥的機會，希望有一天，能邀請他為我的作品監製一次。 4 沒有退休的念頭。

鄧智偉 Tang Chi Wai 1 第一次接觸煇哥的作品是小時候看電視劇，他大部分作品都 很深入民心。 2 我很喜歡《誰可改變》這首歌的旋律，這麼多年仍然有很大 的迴響，是經典金曲中的金曲。 3 好好享受人生。但我相信煇哥對音樂創作的熱誠是永不止 息，他是一個很好的典範，好旋律精神延續到我們這一班後 輩音樂創作人，他在音樂上輝煌的成就很值得我們敬佩。

“Many songs of Koo are great pieces that can be heard on everybody’s lips. If I am only allowed to choose one, my favourite would be ‘Shang Hai Tan’. It has a simple melody and a clear structure. Such perfect balance in arrangement touches people’s heart; needless to say, it was performed by a perfect singer, Francis Yip.”

4 沒有想過，我很希望只要一天我還有感受，我也不會停止創 作，我創作故我存在。

舒文 Schumann

Johnny Yim

1 當然是由小時候的主要娛樂開始⋯⋯就是煇哥的經典電視劇主題曲，到今天， 所有歌曲都已經imprint了在我腦袋入面，尤其一些古裝電視劇歌曲。

1 應該是《小李飛刀》那時候，印象最深刻的是自己用筷子扮 作拉小提琴演奏這首歌。

2 最喜歡是電視劇《飛越十八層》的主題曲《難為正邪定分界》。這首歌以合唱 型式創作，但卻以兩個男性對唱，而且是代表著劇中兩個一正一邪的角色，再 滲入古典歌劇（opera）的元素，讓歌曲本身的創造性、娛樂性甚至戲劇性都 不下於整套電視劇，以當時來說絕對是前衛的破格作品。當然，煇哥的作品中 一定有很多令人喜愛的經典。

2 其實煇哥的作品很多我都喜歡，尤其是他的編曲。煇哥在美 國讀音樂，但他的作品並不受限於中西樂曲風格，常常會在 中國風為主的作品中發現西洋音樂的元素，相反，在廣東時 代曲中亦會有另外一種驚喜。這是我喜歡煇哥作品的原因。

“I would like to congratulate Koo on his new chapter and hope he would enjoy the best of it, yet I believe his passion for songwriting will continue. We love and respect him; and he has always been a good role model for us.”

3 雖然煇哥退休在即，但依然希望將來會有和他合作的機會。 3 希望煇哥休息後就盡快復出 ;) 4 其實未想過決定退休，但希望休息後就盡快復出⋯⋯ haha ;)

“Koo’s music is never short of surprises. I am deeply impressed by its originality. For example, ‘Nan Wei Zheng Xie Ding Fen Jie’, the theme song of You Only Live Twice, was for men’s chorus with a special opera arrangement representing two struggling characters of good and evil…

The song was one-of-its-kind and it was no less entertaining than the TV drama itself.”

4 我應該會去一些自己一直很想去但仍未有機會去的地方旅 行，例如南極、北極等！

“What I love most about Koo’s music is that it is not confined to either Western or Chinese styles, even though he had learnt music in the US. Instead, a mixture of both could usually be found. This is the one big delight I could not wait to experience through his Cantopop songs.”

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專題特寫

SPECIAL FEATURE

「需要創一個會去管理作品」

“...felt the need to form a body to handle our works”

── 顧嘉煇 Joseph Koo

顧嘉煇的音樂就街知巷聞，但他對音樂版權的 貢獻則鮮為人知。 早在七十年代，現代流行曲開始蓬勃發展，作 品產量非常多，煇哥及同期音樂人當時卻慨嘆 無人集中管理和處理版稅事宜；其時，香港以 外的地區如英國、美國和日本等的音樂版權發 展及管理已很成熟，均有專責機構作有關處 理。

挑戰性；他表示日後仍會和CASH保持聯繫， 亦期望CASH繼續鼓勵創作，協助香港樂壇健 康發展。

Joseph Koo is well-known for his music.

However, his contribution to music copyright is not that popular.

身為CASH創會會員之一的煇哥憶述：「在 很早期（香港）並沒有任何作曲作詞人協 會。於是我們一班人，有寫廣東歌的我和黃 霑、寫國語歌的吳大江、寫英文歌的Anders Nelsson等一起傾談，說著、說著便決定成立 CASH──香港作曲家及作詞家協會。」他續 說：「CASH幫助我們管理作品、收集版稅， 是很重要的。」

Dating back to the 1970s, when contemporary pop music started to boom and thus an incredible amount of songs were produced, Koo and his peer group of music writers realised that they needed someone to manage their works and collect royalties for them. At that time, in countries like UK, US and Japan, music copyright was well developed and managed by specialist organisations.

不知不覺CASH已踏入第38年。在這數碼音樂 流行的年代，顧嘉煇認為CASH的工作將更富

Koo, as one of the founding members of CASH, recalls, “In those early days,

there was no organisation for composers and authors. Therefore, James Wong and I for Cantopop songs, Ng Tai Kong for Mandarin songs, Anders Nelsson for English songs, and others discussed the issue. In the end, we decided to set up CASH – Composers and Authors Society of Hong Kong Ltd.” He continues, “The role of CASH is very important; it helps us handle our songs and collect royalties.”

This year marks the 38th year since CASH’s establishment. Koo believes that CASH’s mission has become even more challenging in the era of digital music. He will keep in touch with CASH and look forward to CASH’s continuous efforts in encouraging new creations and supporting the healthy development of Hong Kong’s music industry.

自CASH成立至今，煇哥經常出席這個大家庭的周年晚宴與好友聚首。 Since the establishment of CASH, Koo has often joined CASH’s annual dinners to enjoy being part of the family and meeting his good friends.

煇哥（左一）與一眾創會會員及理事在CASH二十周年晚宴上祝酒。 Koo (L1) and other founding members and directors toasted at the 20th anniversary dinner of CASH. 14

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薪火相傳「顧嘉煇新生代音樂獎」

Passing on the Torch – “Joseph Koo New Generation Award”

2009年得主Recipient Christopher Chak

2010年得主Recipient Vincent Chow

顧嘉煇雖然於九十年代移居加拿大，閒時作 曲、作畫，但他始終心繫香港，並不忘傳承 他的音樂精神、人生哲理；多年來，煇哥不 時返港，或到大學與學生分享，或參與樂壇 活動，與年輕一輩互相交流。他提示新一代 音樂人要本著赤子的熱誠為香港樂壇努力耕 耘。

2011年得主Recipient 孫耀威 Eric Suen

獎者，都會是創作路上的一大鼓勵，推進他 們繼續努力，貢獻香港樂壇。■

六年前，為鼓勵新一代表現突出的音樂創 作人，煇哥與CASH一起設立「顧嘉煇新生 代音樂獎」。過去六屆的得主分別是作曲人 Christopher Chak (2009) 及Vincent Chow (2010)、創作歌手孫耀威 (2011)、作曲人賴 映彤 (2012)、作詞人小克 (2013) 及陳詠謙 (2014)。

Though Joseph Koo immigrated to Canada in the 1990s and has led a leisure life of songwriting and painting, he keeps returning to Hong Kong over the years to share his music passion and philosophy of life with younger generations. Sometimes he shows up at universities for talks.

Sometimes he attends activities for young musicians. Through such an exchange, he hopes that young musicians would follow their love for music and strive to make the local music industry better.

各得獎者不但各有所長，而且對音樂創作的 熱誠與成績均有目共睹。他們得到以煇哥命 名的獎項，都異口同聲表示深感榮幸。這標 誌著一份認同的獎項，相信對今後每一位得

Six years ago, Koo and CASH launched the “Joseph Koo New Generation Award” in recognition of local new generation musicians who made outstanding

2012年得主Recipient 賴映彤 Lai Ying Tong

2013年得主Recipient 小克 Siu Hak

achievements in the music scene. The six recipients of each previous year included Christopher Chak (2009, composer), Vincent Chow (2010, composer), Eric Suen (2011, singer-songwriter), Lai Ying Tong (2012, composer), Siu Hak (2013, lyricist) and Chan Wing Him (2014, lyricist).

Each recipient of the award showed talent and remarkable achievements as well as passion for music. All of them felt honoured to receive an award named after Koo. We believe that, for all future recipients, the award not only symbolises a recognition of hard work, it is also a great encouragement that helps young musicians advance their music careers and fuels their continuous contribution to Hong Kong’s music industry. ■

2014年得主Recipient 陳詠謙 Chan Wing Him CASHFLOW 77

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贊助項目

SPONSORSHIPS 日本代表GILLE 連奪「亞洲超級新星大獎」、 「最佳舞台演繹大獎」及「 最佳歌曲演繹大獎」。 GILLE from Japan received the “Super Nova Award”, the “Best Stage Performance Award” and the “Best Vocal Performance Award”.

香港亞洲流行音樂節2015

Hong Kong Asian-Pop Music Festival 2015 由國際唱片業協會(香港會)主辦的第五屆「香 港亞洲流行音樂節2015」是本協會的年度贊 助項目之一，今年已於3月27日假香港會議展 覽中心舉行。 這項集結亞洲力量的音樂盛事傳承「亞洲音樂 一體化」主題，今年除再次邀請到來自中國內 地、香港、台灣、日本、韓國、新加坡和馬來 西亞七個地區的音樂代表於「巨星獻藝」環節 上切磋表演外，還首次得到泰國加入，派出代 表於「亞洲超級新星大賽」與其他七地的樂壇 新星角逐殊榮。

音樂節晚會既是樂壇巨星雲集之地，也是亞洲 超級新星誕生的舞台。在「亞洲超級新星大 賽」中，八個參賽地區的新星各展聲、色、 藝，經過兩個回合的盡情演出以及各地資深音 樂人的專業評審後，日本代表GILLE勇奪「亞 洲超級新星大獎」榮譽，並囊括「最佳舞台演 繹大獎」及「最佳歌曲演繹大獎」，成為音 樂節史上首位「連中三元」的新星。至於由 全球樂迷透過互聯網投票選出的「Letv人氣大 獎」 ，得主為新加坡代表Reuby。 16

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The fifth Hong Kong Asian-Pop Music Festival (HKAMF 2015), organised by the IFPI (Hong Kong Group) and fully supported by CASH as one of the sponsors again this year, was successfully held on 27 March 2015 at the Hong Kong Convention and Exhibition Centre.

Blasting the stage with Asia’s powerful voices and passing on the theme “Music in One Asia”, this music extravaganza once again attracted superstars from seven Asian regions, including mainland China, Hong Kong, Taiwan, Japan, Korea, Singapore and Malaysia who participated in the “Music Showcase” performance.

Thailand joined for the first time in the “Super Nova Contest” to compete with the seven other regions.

HKAMF 2015 did not just gather the cream of Asian performers; it was also a stage to witness the birth of Asia’s super nova.

During the “Super Nova Contest”, budding recording stars from the eight regions showcased their talents. After two rounds of performance and evaluation by the adjudicator panel’s eight regional music professionals, GILLE from Japan enjoyed the glory of winning the “Super Nova Award”, the “Best Stage Performance Award” and the “Best Vocal Performance Award” in the festival, while the “Letv’s Viewers’ Top Pick Award”, voted by the global audience via an online poll, went to Reuby from Singapore. 評審團 The Adjudicator Panel

譚天玄 Tian-xuan Tan（中國 China） 許愿 Clarence Hui（香港 Hong Kong） 姚謙 Yao Chien（台灣 Taiwan） her0ism（日本 Japan） Byoen Serngbok（韓國 Korea） 李迪文 Dick Lee（新加坡 Singapore） 王禮麟 Jin Ong（馬來西亞 Malaysia） Jirapan Ansvananda（泰國 Thailand） 相片由國際唱片業協會（香港會）提供 Photos provided by the IFPI (Hong Kong Group)

巨星獻藝

Music Showcase 林峯（香港）Raymond Lam (Hong Kong)

余楓（中國） Yu Feng (China)

范曉萱+A（台灣） Mavis Fan+A (Taiwan)

張碧晨（中國） Zhang Bichen (China)

INFINITE（韓國Korea）

何維健（新加坡） Derrick Hoh (Singapore)

品冠（馬來西亞） Victor Wong (Malaysia)

SEKAI NO OWARI（日本Japan）

亞洲超級新星大賽

Kingkong & the Chum （泰國Thailand）

Super Nova Contest

GILLE (日本Japan)

孫盛希（台灣） Sun Shi Shi (Taiwan)

The Barberettes（韓國Korea）

馮允謙（香港） Jay Fung (Hong Kong)

新加坡代表Reuby 獲頒「Letv 人氣 大獎」。 Reuby from Singapore won the “Letv’s Viewers’ Top Pick Award”.

POOVA （馬來西亞Malaysia）

劉思涵（中國） Koala Liu (China) CASHFLOW 77

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贊助項目

SPONSORSHIPS

公佈獎學金得主 Scholarship Recipients Announced 由CASH音樂基金贊助、香港中文大學頒發的2014/15年度 「 香港作曲家及作詞家協會獎學金」得主為以下兩位音樂系 學生。

Sponsored by the CASH Music Fund and presented by The Chinese University of Hong Kong (CUHK), “The Composers and Authors Society of Hong Kong Scholarships 2014/15” have been awarded to the following two students from the Department of Music.

徐美玲 Tsui Mei Ling, Meilina 音樂系三年級本科生 Final-year undergraduate in music

許家臻 Hui Ka Chun, Ernest 音樂系畢業生 Graduate in music ·現為青協香港旋律駐團作曲家及澳門文 化中心兒童合唱團音樂總監，曾分別師 隨李允琪教授、盧厚敏博士及陳偉光教 授修習作曲及陳少君老師學習聲樂 ·近期作品：合唱作品《江城子．十年 生死兩茫茫》（獲選為「第二屆國際 合唱聯盟國際作曲比賽」的十五首最 佳作品之一）、無伴奏合唱作品《Vox Populi》、無伴奏劇場《孤城劫》原創 音樂及合唱作品《Ave Maria》 ·Currently the Resident Composer of the Hong Kong Federation of Youth Groups’ Hong Kong Melody Makers and Music Director of the Macao Cultural Centre Children’s Choir; studied composition with Prof. Wendy Lee, Dr. Lo Hau Man and Prof. Victor Chan, and voice with Ms. Chan Siu Kwan ·Recent compositions: choral work “Forever Apart” (one of the top 15 works in the “2nd IFCM International Competition for Choral Composition”), “Vox Populi” for a cappella, original score for a cappella theatre “Twisted Fate” and choral work “Ave Maria” 18

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由CASH音樂基金贊助、香 港演藝學院頒發的2014/15 年度「香港作曲家及作詞家 協會作曲家獎學金」得主為 以下音樂系學生。

Sponsored by the CASH Music Fund and presented by The Hong Kong Academy for Performing Arts (HKAPA), the “CASH Composition Scholarship 2014/15” has been awarded to the following student from the Department of Music.

·現師隨羅乃新女士學習鋼琴、陳偉光教 授學習作曲，亦曾隨李允琪教授和盧厚 敏博士學習作曲 ·近期作品：弦樂四重奏《狂想變態曲》 及鋼琴作品《墨和紙》 ·Studies piano with Ms. Nancy Loo and composition with Prof. Victor Chan; also studied composition with Prof. Wendy Lee and Dr. Lo Hau Man ·Recent compositions: “Rhapsodic Metamorphosis” for string quartet and “Ink and Paper (Paintings at the Chinese Exhibition)” for piano solo

李健一 Li Kin Yat 音樂系三年級本科生 Final-year undergraduate in music ·現師隨鄧文藝先生學習作曲、麥偉鑄教 授學習電子音樂以及辜柏麟先生學習指 揮，亦曾隨伍盛中博士學習鋼琴 ·近期作品：弦樂四重奏作品《維納斯與 白貓》及笙、中國打擊樂和古箏作品 《挑戰者深淵》 ·Studies composition with Mr. Tang Man Ngai, electronic music with Prof.

Clarence Mak and conducting with Mr. Alan Cumberland; also studied piano with Dr. Ng Shing Chung ·Recent compositions: “The Cat and Venus” for string quartet and “Challenger Deep” for sheng, Chinese percussion and guzheng

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ASK BEFORE ACT 撰文 Text:

音樂出版人協會香港有限公司 Music Publishers Association of Hong Kong Ltd (MPA)

由最早期的黑膠唱片及錄音帶發展至現今的光 碟唱片年代，音樂產品的家用概念一直被忽 略。其實在音樂產品的包裝上一般都印有版權 聲明，如：「任何人在未經授權的情況下不得 複製、租借及公開播放本產品。」可是留意的 人不多。有些人認為如何享用產品上的音樂是 他們的自由，導致這個錯誤觀念的原因有二： 一、他們掏腰包買下產品，所以相信自己「擁 有」產品內容；二、他們以為只要不涉及商業 用途，任何行為都是合法的。複製歌曲給朋友 就是由此而生的其中一個常見行為。 在這個數碼年代，音樂已越來越難得到保障， 更遑論要遵守產品上的版權聲明。因為音樂在 網上世界看似「免費/無主」，往往可輕易地 被複製上千萬次而毫不著跡。因此，很多人會 肆意地把音樂結合其他媒體進行創作。 相比歌曲或音樂，歌詞的獨立版權更幾乎被完 全忽視。就以較早前的年宵市場為例，有攤 販因售賣印有歌詞的商品而引起不少爭議。其 中，印有歌詞的毛巾以零售價約一百港元出 售。事件惹來音樂人強烈反感，他們亦慨嘆音 樂創作的價值，音樂作品被擅自改製成其他商 品後所賺取的收入遠比製作音樂的多。此事反 映了現今樂壇的不景氣，以及作曲家、作詞人 等因為這些違法的活動所蒙受的損失。幸好， 事件經過多番溝通，並在灌輸音樂版權知識 後，最終以一筆小額版權費圓滿解決。 事件雖然已經平息，但正也顯露出公眾對音樂 版權的誤解：他們認為音樂版權問題並不切 身，又以為音樂版權費十分昂貴，動輒以數十 萬甚至百萬元計算。其實，音樂版權收費是因 應用途、商品售價及數量等而釐定的。 常有人問：「為甚麼別人就可以將歌詞大肆用 於一些宣傳活動或商品上？」一個記憶猶新的 例子是，多年前有商戶於戶外橫額和公共交通 工具的車身以歌詞作為廣告內容，其實這類型 的活動都是已經獲得授權的。同樣地，坊間很 多使用到音樂或歌詞的產品，例如音樂盒、音 樂播放的玩具或電子音樂書等，均已事先獲得 有關的音樂牌照才可使用的。儘管偶有違規的 情況，難道我們就要以身試法嗎？為甚麼我們 就不能擇善而行呢？

尊重創意以及重視版權乃關鍵所在。同樣地， 利用音樂作任何伸延的創作時，也需要尊重版 權。最簡單有禮的處理方法，是在使用別人的 作品前徵求原創人的同意，尤其是當創作帶有 商業成分時。緊記，先問才做！ （原文為英文版） From the era of vinyl discs and cassette tapes till CD nowadays, the concept of domestic use of musical products has typically been neglected. Usually, on musical products’ packing, there is a statement of copyright with words like “unauthorised copying, reproduction, hiring, lending, public performance and broadcasting of this sound recording prohibited” printed. However, not many people would pay attention to it. Some may even think that they can do whatever they want with the music based on two common misconceptions - they believe they “own” the music after paying for the product, and that they could use the music in whatever way as long as they are not for commercial purposes. “Dubbing” the music for others is one of the most common acts that usually occurs.

In this digital era, music has become even more vulnerable, not to mention the copyright statement on musical products. For music seems to be “free” in the digital domain, it can easily be copied thousands or millions of times without a trace. Many people use music freely in the creation of other media or mixand-match them with other materials.

Compared to music, the copyright of lyrics alone draws almost no attention at all.

Take the example of a case that happened in the Chinese New Year open bazaar earlier this year, there was controversy about unauthorised use of lyrics in some merchandised products. A towel printed with certain lyrics was sold at around HK$100. The incident offended musicians

and heightened their grievance about the discouraging value of producing music; they sighed with despair as they saw the sale of towel was making better revenue than selling a CD. This depicted how depressing the current situation of the music industry is and how much songwriters and lyricists have suffered from the unlawful use of music parts. Fortunately, after several rounds of communication including orientation of music copyright, the incident was settled at a minimal royalty payment.

Yet, the incident has demonstrated that many people regard music copyright as distant and expensive, costing hundreds of thousands or even millions of dollars for usage. In fact, copyright owners have different licensing rates with respect to the selling price and quantity of merchandise.

In some cases, people always ask, “Why could some promotional campaigns and products incorporate lyrics so freely?” A vivid example was the large-scale promotion campaign a few years ago displaying lyrics on outdoor banners and the body of public transportations. The campaign was, in fact, granted approval and licensed. Similarly, there are many products using music and lyrics such as music boxes, toys playing music or songbooks, and they are licensed properly. Even though there might be some usages that escaped from copyright owners’ notice, it does not mean that we have to learn from the wicked side. Instead, why shouldn’t we learn from the virtuous side?

Respect for creativity and copyright is the key, and it applies to any subsequent creation too. It is always a polite gesture to seek approval before using other people’s works, especially when your subsequent creation is for commercial activities. Remember - ask before you act!

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人物專訪

INTERVIEW

作曲家

Composer

撰文Text: 胡銘堯 Dennis Wu 攝影 Photography: www.trio-photo.com 場地 Location: 香港浸會大學 Hong Kong Baptist University 要形容梅廣釗博士的創作事業，並不能在三言 兩語之間完全涵蓋：他既活躍於中樂創作，也 為合唱、口琴編寫樂曲；他有多部跨媒體大 作，也常為大型活動籌劃音樂事宜。由於自小 喜歡音樂，所以他的專注範疇一直都是音樂。 其豐富的創作履歷，就是因着曾受過傳理系的 訓練致令視野廣闊。 「我在香港浸會大學傳理系接受教育，學到了 很多影響我整個藝術修養的東西，包括哲學、 美學、中國文化，當然還有電影與攝影。」梅 廣釗於傳理系主修電影，曾深入學習過電影知 識，也接觸過哲學、心理學、政治學等表面上 與音樂無關的學科。然而，他認為這些學問開 拓了他的思維。「詩、詞、音樂等等，其實都 是藝術家訴說感受的媒介；人的感受就是其內 容。所以，音樂家的文化修為非常重要，而這 些學問給了我豐富的養分。」 梅廣釗的大型作品，包括跨媒體中樂劇場《千 水情》及結合音樂、詩、書法的作品《山花 醉》，均以影像化的音樂讓人感受到「山花來 一醉，笑談滿春風」的意境。梅廣釗認為，作 曲家面對多變的現代社會，個人修養是更須強 調的一環。「作曲家當然要學習必要的音樂技 巧，如和聲、練耳、管弦樂法等，都是音樂家 先要具備的。隨後的就是內在的東西，這些東 西沒有必然的路向，要靠自己摸索。這樣出來 的作品，才會更有內涵和引人入勝。」

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It is not an easy task to summarise Dr. Mui Kwong Chiu’s career in a phrase or two. He has composed numerous works for Chinese orchestras and ensembles.

His musical output ranges from choir to harmonica. He has several cross-media works under his belt. He is also active in coordinating music activities for largescale events. From his early interest in music, Dr. Mui has been keen on the art of sound. His rich and diverse creative portfolio is indebted to his training in communication, a training that has broadened his horizons.

“I majored in Cinematography at the Department of Communication in the Hong Kong Baptist University. There I acquired knowledge, such as Philosophy, Aesthetics, Chinese Culture, and of course Cinematography and Photography, which has influenced my view of art deeply,” says Dr. Mui. Although learning about cinema — to which Dr. Mui devoted considerable energy to — and subjects like Philosophy, Psychology and Political Science seem irrelevant to music, the knowledge within

these areas has greatly enriched his thinking.

“Poem, prose and music are all media for artists to express their feelings – the content of expression. Therefore, the most important element for musicians is their cultural cultivation. The vast knowledge I acquired has all become nutrients of my creation.”

Dr. Mui’s large-scale works, for example, cross-media Chinese music theatre “Ode to Water” and transcendental work incorporating music, poetry and calligraphy “Intoxicating Nature”, are both song cycles with visual presentation that lead the audience into the atmosphere. For a composer in a rapidly changing modern society, cultural cultivation is of the utmost importance. “A composer shall, at least, acquire basic musical skills like harmony, aural and orchestration. Once past the technical pole, it is one’s inner quality that counts. There is no definitive way. It all relies upon the composer’s exploration and absorption. From there, a composer creates works of sufficient content and charm.”

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人物專訪

INTERVIEW

有諸內形於外 雖然如此，梅廣釗認為如何豐潤自己的藝術， 是個人的選擇，未必要結合不同媒體來創作。 「首要的，是要自己喜歡，沒有一條路是應該 或是正確的。但是我覺得現今的作曲家，往往 容易受其他思想影響，而當作曲家發覺自己需 要借助某些媒體去幫助表達時，自然便會向外 求。」 梅廣釗的作品常牽上中國詩詞與書法，正是因 為他相當喜愛這些傳統的中國文化。「書法的 墨與落墨的氣勢，都相當講究並有感情。」在 筆墨之間，梅廣釗看出中國文化的優點。「一 點一線的構圖，有着豐富的美態。有時看着書 法，不其然令我想起一個樂句；又或是一段音 樂，讓我想透過書法去表達那情感。他們彼此

互動著，有時我也說不清是誰影響誰。」執着 於美，使他考究思量表達手法，而這種成就藝 術的過程，由不同元素相互牽動，極富生命 力。 文化和社會的關係向來密不可分，不過梅廣釗 坦言不會主動分析文化的洪流與影響，而是 靠他最愛的事物，隨意而行。「有些人會主動 過濾自己身處的文化，我自己卻從來沒有這樣 想過。對我而言，最重要的是隨心、隨意，做 最舒服、最開心的事。不同藝術家有不同的方 法，每個人也有不同的取捨，這樣藝術才會百 花齊放。」

意念，是聲音也是圖畫，是詩歌也是技術文 字。這些意念隨着蘊釀中的創作計劃，等待成 熟的一刻。「有些計劃我知道要花很長時間， 或許是三至五年，亦需要不少資料，也要慢慢 地捕捉材料中的思路。」他說他在家中多個角 落都放置了記事本和不同硬度的鉛筆，方便在 意念產生的瞬間把它捕捉下來。「我很重視 我的筆記本，並愛用鉛筆把思想記下來，可以 是音樂動機，可以是句子，可以是草圖或技術 指示。每當想寫的時候，我就拿附近的鉛筆寫 下來。」他的創作習慣，就是先讓靈感奔騰， 再慢慢把它們組織起來。「有時靈感會不斷湧 現，就像對位法般不同聲部間的聲音響起，不 過這些不單是音樂聲部，而是不同的媒體。」

在梅廣釗的腦海中，經常有着大大小小不同的

Reflection from Inside Dr. Mui does not think a musician must integrate with different media. How to enrich one’s artistry is purely a personal choice.

“There is no single way to follow. The rule of thumb is to do something you like. However, modern composers are rather liberal and more easily influenced, and when they have the needs to employ other media to express, they would seek the way.”

Because of his love and devotion to traditional Chinese culture, Dr. Mui’s works usually link with Chinese poetry and calligraphy. “The ink and strokes expressively reveal the flair and emotion,” he says, and from there, he sees the beauty of Chinese culture. “It is overwhelmingly beautiful appreciating a character’s structure and the spacing of lines and dots. Viewing calligraphic works, sometimes, may inspire a musical phrase.

Or vice versa, a piece of music may motivate me to express feelings through writing. The 22

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ideas interact with each other in a fascinating way; I cannot tell which gives birth to which.”

With the pursuit of aesthetics and through the process of discovery, he creates lively musical works with a vast variety of elements in a highly organic way.

Despite the fact that we live in a closely knitted society of mixed cultures, Dr. Mui tries not to be involved in any societal analysis actively but to be selective in doing what pleases him. “Some people may try to filter out what kind of culture can get close to them. I have never thought that way. To me, the most important thing is to follow my heart and mind, and do whatever I feel is comfortable and enjoyable. Artists are living in their own way and following their own choices. In that way art flourishes.”

Living with such enjoyment of life provides a plethora of ideas, sound and picture,

poetry and instructions all in different sizes and shapes. These ideas grow into creative projects through a long process of maturity. “Some of my projects take a long time to nurture, perhaps three to five years, for gathering information, analysis and contemplation.” Dr. Mui describes his home as having numerous notebooks in different corners, complete with pencils of different hardness and grading to capture ideas instantly at their birth. “I treasure my books of ideas. I write down all the ideas from musical motives to sentences, from rough graphics to technical instructions.

I jot them down using the nearest pencil I could reach.” His habit is to let his ideas flow freely anytime and organise them afterwards. “Sometimes ideas are abundant and diverse, in a way similar to a counterpoint weaving up different layers.

But it is a counterpoint of media, not music,” he says.

跨文化的對位 儘管梅廣釗多才多藝，音樂始終排第一。 「音樂是我的第一創作力量。的確，我 的作品跨越媒體，以往我曾受多方面的教 育，又有中西樂、電影、電視、詩詞書畫 等興趣，全都構成我的創作背景。但是最 終我希望表達的藝術還是音樂。」他認為 音樂家不須局限於某一種呈現方法。「哪 管是甚麼，其實都是讓『意』出來，讓觀 眾離開現實進入意境。音樂的意境可以穿 梭於不同媒介，為的就是要讓意念表現， 但最終的意念源頭還是音樂。」 梅廣釗認為，一個成功的藝術家，除了 涵養與表達力外，技術也極為重要。

「在跨媒體的層面，我必須要對每種媒體 都熟悉。例如：燈光如何調色、影像的 角度與構圖……這些細節都在幫助藝術 的表達。」作曲家必須對自己的技術有 要求，追求更高層次，但又不要氣餒。 「技術上一定要做得好，不能滿足於某個 程度。要有目標，要努力做，但如果現實 環境不容許你立即達到目標，你要給自己 時間去實現。」他形容作曲家要知道自己 的目標，才能一直向前，但是音樂的路途 並不容易，也充滿阻力。「那就要細心觀 察，把握時間。譬如：我想做錄音，但沒 有機會，於是就想辦法接近，哪怕只是拿 咪高峰、取電綫等，那都是與錄音有關

梅廣釗的跨媒體中樂劇場《千水情》由香港中樂團藝術總監閻惠昌(左)指揮。 Dr. Mui worked with Yan Huichang(L), the Artistic Director and Principal Conductor of the Hong Kong Chinese Orchestra, for his cross-media Chinese music theatre “Ode to Water”.

的。在這些小事上，學問總是不缺。最終 得益的、學習到新事物的還是自己。」梅 廣釗鼓勵年輕的藝術追求者，要有清晰的 目標，這樣就不容自己浪費時間在無關的 事情上。 梅廣釗深信，作為一個藝術家就是向自己 的涵養投資，每個人的選擇不同，但都要 有動力。「我時常鞭策自己，今天做過甚 麼，今年做過甚麼。要有不浪費任何一天 的心態才會成 功。」 ■

梅廣釗的書法作品 Calligraphic work of Dr. Mui

Counterpoint of Cultures Despite Dr. Mui immersing himself in various kinds of art, music definitely comes first. “My primary creative energy comes from music. It is true that many of my works are presented in multimedia, and I have learnt a lot from Chinese and Western music, cinema, television, poetry and more. These have formed the ambience of my creation. However the ultimate channel of expression for me is always music.”

In the eyes of Dr. Mui, a musician should not be bound by a particular form of expression. “Whichever form you use, it aims to express your soul, guiding the audience from the reality to your world of expressions. Music can traverse through different media. The goal is to present your ideas. However, after all, music is the original impulse of these ideas.”

In Dr. Mui’s terms, a successful artist

is cultured, expressive and technically competent. “Working on multimedia projects, I have to be familiar with every single medium. For instance, knowing how to work with stage lightings, how to frame an image and all kinds of technical details helps artistic expression.” Composers should acquire a high technical standard, but also never give up. “You have to be technically perfect and not compromise on a certain level. You have to have a clear goal and work hard to attain it. You may not attain this goal in one hop, so give yourself time to realise it.” Although stressing that setting a goal is essential to keep a musician going, Dr. Mui admits that in reality music is a rough path of hurdles and frustration. “Then what you can do is to observe closely and seize the days.

For example, if I want to do recording but given no chance, I must think about how I can get close to it. Be it only a mic boy, or

do wiring. These jobs may seem marginal but as long as they are recording-related, they will add to your knowledge, and it is you who will eventually benefit from it.” He encourages aspiring artists to have a clear goal and not to waste time on things that are not essential to their goals.

Dr. Mui believes an artist keeps investing on himself. Although each portfolio may be different from artist to artist, one should have sufficient energy to invest well. “I always ask myself what I have done today, and later what I have done this year. To succeed, one should never waste a single day,” he concludes. ■

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協會動態

CASH NEWS

CASH開放舞台會員派對 Open Jam Members’ Party KOLOR

C君@FAMA

Yellow!

SIS樂印姊妹

一年一度的會員活動「CASH開放舞台 會員派對」於Hard Rock Cafe舉行， 今年有一百位會員及嘉賓參加，更喜 見不少新面孔參與，新知舊友聚首一 堂作音樂交流切磋。活動上，不少會 員和朋友輪流上台大展身手，既有演 繹自己的作品，亦有改編歌曲重新演 繹，當中更有部份會員與即場結識的 新朋友一同獻技。此外，我們邀得唱 作歌手C君@農夫、樂隊KOLOR、SIS 樂印姊妹及Yellow!為表演嘉賓，他們 的演出各具風格，讓台下眾人情緒高 漲。活動在熱鬧的歌樂聲中結束。謹 此感謝柏斯琴行贊助部份器材。

The annual member gathering “CASH Open Jam Members’ Party” was held at Hard Rock Cafe and was well-attended by a hundred members and guests; among them were some new faces first seen on this occasion.

They seized the platform to meet new and old acquaintances, and had some music exchanges with other music lovers. During the party, some members jammed their own works on the stage with their friends, while others rearranged their favourite

tunes and performed. Some of them even took the opportunity to jam with new friends met at the party. Guests of the party – C Kwan@Fama, the bands KOLOR, SIS and Yellow! delivered wonderful performances with different music genres which brought high spirit to the floor. All participants were bathed in the lively music atmosphere and the party ended with cheers. Special thanks to Parsons Music for giving us support of some musical instruments.

組合Fantaz

李俊文（右）與友人 Jimmy Li (R) and his friend

郭蕙漩（中）與友人 Vansie Kwok (M) and her friends

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1-5-2015

19-4-2015

CASH義工活動 音樂小跳豆農莊體驗日

CASH Volunteer Activity Little Music Bean Farm Tour 約三十位CASH義工隊成員及員工陪同 「協康會」逾百位會員及家長前往西 貢園藝農場，歡度了一個別具意義的 周日。

黃景康 Philip Wong

吳秀明 Tabitha Ng

當日，我們為參加者準備了豐富節 目，包括有機農場參觀、麵包及手工 皂製作，眾人在義工協助下投入參 與各項活動；而壓軸的非洲鼓唱遊活 動更掀起了當天的高潮，在導師帶領 下，參加者與義工們以非洲鼓及不同 敲擊樂器進行大合奏、唱歌跳舞，家 長們亦在輕鬆氣氛下與小朋友開懷玩 樂，掌聲笑聲此起彼落，氣氛熱鬧。 在活動尾聲，義工們為每個家庭送上 即印家庭照及豐富紀念品，人人掛著 笑 臉 盡 興 而 歸 。

About 30 CASH Volunteer Team members and staff accompanied over a hundred members of the Heep Hong Society and their families in a visit to the Garden Farm in Sai Kung for a meaningful, fun-filled Sunday.

For the day, we prepared an organic farm visit, bakery and soap DIY sessions. The participants enjoyed the programme a lot with the assistance from volunteers. The climax of the day was African drumming. Led by tutors, the participants played drums and different percussion instruments, sang and danced with the volunteers. There were rounds of applause and cheers and everyone had a great time. The day was filled with joy while all the families left with happy memories and souvenirs from CASH.

莫肇恒 Edmund Mok 陳港俊 Charles Chan

王啟翎 Kirin Wong

黃永楠 William Wong

林立基（右）與友人 Ricky Lam (R) and his friend

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協會動態

CASH NEWS

音樂版權講座系列

二月至五月 Feb – May

A Series of Copyright Talks 我們一向重視向學界傳遞尊重音樂版 權的訊息，並不時為大專院校舉行講 座。在二月至五月期間，副行政總裁 李肇斌分別為香港城市大學及香港演 藝學院之舞台及製作藝術學院舉行講 座，說明有關音樂版權的概念及管理 情況，有助大專生為畢業後投身社會 作好準備。 此外，李先生亦應香港藝術發展局 邀請，再度主講「鮮浪潮本地短片競 賽」音樂版權講座，向參賽者介紹 在短片製作中正確使用音樂作品的程 序、權利及義務。由於講座內容切合 實際需要，參賽者都踴躍發問，獲益 良 多 。 Dedicated to promoting respect for music copyright, we often host copyright talks for tertiary institutions. From February to May, Deputy CEO Spencer Lee delivered talks to students from the City University of Hong Kong and School of Theatre and Entertainment Arts of The Hong Kong Academy for Performing Arts. The talks focused on the concept and

administration for music copyright. Such relevant knowledge would help students prepare for their future careers after graduation.

Lee was also invited for the second year by the Hong Kong Arts Development Council to present a copyright seminar that was

tailored for the contestants of the “Fresh Wave Local Short Film Competition”. The proper procedures, rights and responsibilities of using musical works in short film productions were introduced in the seminar. Since the content matched their actual needs, the contestants showed great enthusiasm, asking questions and learning from the opportunity.

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同行有愛步行籌款 Big Red Walk 我們組隊參與「聖公會聖基道兒童 院」於大埔舉行的「聖基道80周年步 行籌款」活動，支持對有需要兒童的 關注。活動當日有70位CASH會員、 員工及親友熱心參與，是次活動籌得 善款連同協會捐款合共逾港幣二萬四 千元。完成步行後，大隊前往燒烤場 聯誼同歡。我們感謝步行隊及各贊助 人的支持，期望日後一起繼續參與公 益活動，服務社群。

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We supported the S.K.H. St. Christopher’s Home and formed a walking team in its Big Red Walk held in Tai Po to raise funds for the Home which aimed to arouse the awareness about children who are in need. Seventy CASH members, staff and friends were in the team and over HK$24,000 was donated to the Home. After the walk, the walking team took the opportunity to enjoy a barbecue gathering.

We would like to thank the walking team and

all donors for their support. We will continue to participate in various kinds of activities to serve the community.

CASH會員及員工贊助人 List of CASH Member and Staff Donors Adele Chan Bergan Yam Bronson Cheung Candy Tung Chan Suk Yan Betty Chloe Chan Dick Hung Eleanor Yu Elton Yeung Fanny Mak Gimmy Ng Goldi Chan Grace Wong Ideology Productions Ivy Yu James Hui Jane Yung Jimmy Li

Josephine Chu June Li Kent Lai Kitty Ma Mimi Chan Natalie Lau Peggy Poon Ridgely Wei Serena Tong Shan Fong Terence Ng Wilson Kwok Winnie Chan Winnie Leung 王家勇 印玉文 林蘭芝 羅偉駿

會員專區

MEMBER CORNER

2015年4月14日舉行的理事會，通過下 列作家成為本協會之普通會員。 The following writers have been elected as Associate Members at the Council Meeting on 14 April 2015.

新加入作家會員 New Writer Members 1.

2.

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Chan Sheung Man Winnie 陳尚汶 Ko Yun Hung 高潤鴻 Kwok Vansie 郭蕙漩

[2]

4.

5.

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Lee Man Chung Leung Chun Yat Joshua Leung Sze-wah Joshua Li Kin Yat Ma Po Yuet Shirley

李文聰 梁雋逸 梁思樺 李健一 馬寶月

[13]

9.

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Mok Siu Hang Edmund Ng Wang Tat Tong Ming Fai Tse Choi Yan Tse Hue Ying Wan Yuk Bun Wong Ho Man Wong Lok Kei Ricky Wong Ming Lok

莫肇恒 吳宏達 唐銘輝 謝彩茵 謝曉瑩 尹鈺斌 黃浩雯 黃樂其 黃明樂

新加入承繼人會員 New Successor Member 1.

Chu Siu Fong

朱少芳

向世界展示作品的好機會 International Opportunity to Showcase Your Works 第二屆策藝靈感 / Mivos全球華人作曲雙年賽 2015

The 2nd Biennial I Creation / Mivos Quartet Prize for Chinese Composers 2015 如果你熱衷於創作弦樂四重奏的話，是 時候把握機會向世界展示你的音樂才華 了。由策藝靈感及美國新音樂四重奏 Mivos Quartet攜手舉辦的「第二屆策藝 靈感 / Mivos全球華人作曲雙年賽2015」 現正接受報名，徵集以兩把小提琴、一把 中提琴和一把大提琴組成的弦樂四重奏 作品，大會只接受首二百份作品。優勝 者除可獲得現金獎一千美元外，其得獎 作品亦將由Mivos Quartet分別在香港頒 獎音樂會上及2015/16樂季期間於紐約演 出。參加資格及詳情請參考策藝靈感網站 icreation.com.hk。

截止日期：2015年8月30日

If you are passionate about writing quartets, here comes an international stage for you to shine your talents! Co-organised by I Creation and America’s new music ensemble Mivos Quartet, the “2nd Biennial I Creation / Mivos Quartet Prize for Chinese Composers 2015” is now open for applications. All entries should be written for two violins, one viola and one cello. Only the first 200 pieces of works will be accepted. The winner will be awarded a cash prize of US$1,000, and the winning piece will be performed

by Mivos Quartet in New York City during the 2015/16 season as well as at the prizewinning concert in Hong Kong. Please visit

I Creation’s website (icreation.com.hk) for application requirements and further details.

Deadline for submission: 30 August 2015

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會員專區

MEMBER CORNER

黃俊諱、吳冠青 新作入圍「港樂－香港作曲家巡禮2015」 New Works by Wong Chun Wai & Wu Guanqing selected for HK Phil’s Hong Kong Composer Showcase 2015 愛創作管弦樂的黃俊諱及吳冠青，於 去 年 底 由 香 港 管 弦 樂 團 主 辦 的 「 香 港 作曲家巡禮2015」徵集管弦樂作品活 動中脫穎而出，分別憑作品《Clouds

吳冠青 Wu Guanqing

in Twilight》和《Das Parfum》成功 獲甄選。兩首作品於今年5月9日港樂 的「香港作曲家巡禮」音樂會上作首 演，贏得現場不少熱烈的掌聲。

Passionate orchestral composers, Wong Chun Wai and Wu Guanqing, submitted scores for the “Hong Kong Composer Showcase 2015” organised by the Hong Kong Philharmonic Orchestra (HK Phil) last year and have successfully made their way to the final with their new works “Clouds in Twilight” and “Das Parfum” respectively. The two compositions made their premiere at HK Phil’s “Hong Kong Composer Showcase” on 9 May 2015 and received rounds of applause from the audience.

黃俊諱 Wong Chun Wai

王廣宇、邵麗棠作品入選香港中樂團「心樂集」

Works by Wong Kong Yu & Shao Li Tang Shortlisted in HKCO’s Music from the Heart 王廣宇及邵麗棠分別憑笛、二胡、琵 琶、箏四重奏作品《明月引》（2012 年由竹韻小集委約及CASH音樂基金贊 助），以及笛、高音笙、琵琶、揚琴 及 二 胡 合 奏 作 品 《 論 書 四 則 》 （ 2 0 1 4 年「第七屆中國ConTempo新室內樂 作曲比賽」獲三等獎），成功入選去 年由香港中樂團舉辦的「心樂集」徵 曲活動。兩首作品於本年1月31日香港 中樂團的「心樂集」專場音樂會中獲 發表演出，兩位未來更有機會接受該 團的委託編曲或創作。 Wong Kong Yu and Shao Li Tang took part in the score submission of “Music from the Heart” organised by the Hong Kong Chinese Orchestra (HKCO) last year and were shortlisted with their Chinese ensemble works “Prelude to Moonrise” for dizi, erhu, pipa and zheng quartet (commissioned by Windpipe Chinese Music Ensemble in 2012 with sponsorship from CASH Music Fund), and “Four Pieces of Chinese Calligraphy”

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for dizi, soprano sheng, pipa, yangqin and erhu ensemble (winning the Third Prize in the “7th ConTempo Composition Competition of New Chamber Music, China” in 2014) respectively. The two compositions

were performed by HKCO in the concert “Music from the Heart” on 31 January 2015. Both composers may continue to be commissioned by HKCO for arranging or writing new works in the future.

王廣宇 Wong Kong Yu

邵麗棠 Shao Li Tang

第三十四屆香港電影金像獎

The 34th Hong Kong Film Awards 恭賀多名會員於頒獎禮上大放異彩。 其中，由黃耀明和蔡德才作曲、黃偉 文填詞的電影主題曲《目的地》獲頒 「最佳原創電影歌曲」；而盧凱彤及 李端嫻則憑電影《那夜凌晨，我坐上 了 旺 角 開 往 大 埔 的 紅 V A N 》 奪 得 「 最 佳原創電影音樂」。 在此感謝應大會邀請參與投選這兩個 獎項的會員的支持。

最佳原創電影歌曲 Best Original Film Song 《目的地》一一電影《香港仔》之主題曲 “Destination” – theme song of the film Aberdeen 作曲 Composer：黃耀明 Anthony Wong & 蔡德才Jason Choi 作詞 Lyricist：黃偉文 Wyman Wong 主唱 Performer：黃耀明 Anthony Wong

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Congratulations to the CASH members, who shone in the award ceremony this year. Among the awardees, Anthony Wong, Jason Choi and Wyman Wong received the “Best Original Film Song” award for “Destination” (theme song of the film Aberdeen). Ellen Loo and Veronica Lee received the “Best Original Film Score” award for the film The Midnight After.

Special thanks to those members who have casted their votes to these two awards as invited by the organiser.

香港藝術發展獎2014

Hong Kong Arts Development Awards 2014 24-4-2015 恭賀會員徐克及高潤鴻分別在頒 獎禮上獲頒「傑出藝術貢獻獎」及 「年度藝術家獎（戲曲）」。 Congratulations to members Tsui Hak, who received the “Award for Outstanding Contribution in Arts”; and member Ko Yun Hung who won the title of “Artist of the Year (Xiqu)” at the award presentation ceremony.

最佳原創電影音樂 Best Original Film Score 電影 Film：《那夜凌晨，我坐上了旺角開往大 埔的紅VAN》The Midnight After 作曲 Composers：盧凱彤 Ellen Loo & 李端嫻 Veronica Lee 相片由香港電影金像獎協會提供 Photos provided by the Hong Kong Film Awards Association

第二十四屆香港舞台劇獎

The 24th Hong Kong Drama Awards

29-4-2015

徐克 Tsui Hak

恭賀會員鍾志榮（左）及孔奕佳（右） 在「第二十四屆香港舞台劇獎頒獎典 禮」憑《沒有人造衛星相撞的夜空》獲 頒「最佳原創曲詞」。 Congratulations to members Chung Chi Wing (L) and Edgar Hung (R), who received the “Best Music Composition & Lyric” Award for their work in A Bright Dark Night at the 24th Hong Kong Drama Awards Presentation Ceremony. 最佳原創曲詞 Best Music Composition & Lyric 藝堅峰《沒有人造衛星相撞的夜空》 Art Peak A Bright Dark Night 作曲 Composer：孔奕佳 Edgar Hung 作詞 Lyricist：鍾志榮 Chung Chi Wing

高潤鴻 Ko Yun Hung

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