Liao, Lin-Ni

Dr. LIAO Lin-Ni

Honorable mention on the composition competition “The contemporary Guitar 2017” for her work for guitar ”p.53”

Composer, Musicologist, Permanent Researcher at the Institut de Recherche en Musicologie (Université Paris-Sorbonne, CNRS-UMR 8223). After graduating from the National Taiwan Normal University, Liao Lin-Ni continued contemporary composition studies with Yoshihisa Taïra, Allain Gaussin and Philippe Leroux. Her music is issue from synesthesia in light. Liao evokes the practice of the noble silence and the profound breathing.

Her works are focus on the musical and philosophical fusion between time and space, between the physical and musical gesture, between the visual and the auditory (ex. TTy for grand tam tam, Time of Trees for gestures of two pianist and shadow, To Light, and then return… for ensemble).

Her music has been performed by the ensembles including, Taipei Music Forum Percussion, Cairn, Proxima Centauri, Multilatérale, L’instant donné, Arsenal, Quatuor de Saxophone Osmose, Contemporary Chamber Orchestra Taipei and several percussionists of Ensemble Intercontemporain and Orchestre de l’Opéra de Paris at la Cité de la Musique, Pompidou Centre, Musée du Quai Branly and Extension, Why Note, ACL festivals.

Doctor in Musicology, Liao is currently a Associated Researcher at the Institut de Recherche en Musicologie (University Paris-Sorbonne CNRS) as well as artistic director of contemporary music concerts – TPMC (Tout Pour la Musique Contemporaine) in Paris. Her research focuses on the analysis of music, identity, and cultural heritage of contemporary Asian music as well as feminism in this field – 3 books published on La pensée musicale d’Edith Lejet (Ed. OMF, 2010), Fusion du temps: Passé-Présent, Extrême Orient – Extrême Occident (Co-Edit. Marc Battier, Ed. Delatour, 2014) and Héritages culturels et pensée moderne: Les compositeurs taiwanais de musique contemporaine formés à l’étranger (Ed. Delatour, 2014) and 15 articles.

p.53

In Taiwan, the guitar is first of all the instrument favored by the younger generation, being used to accompany popular songs on campuses since the ‘70s. It was not until the ‘90s that the classical guitar and its repertoire arrived on the scene, but the number of pedagogues and professional performers remains unknown to this day… The guitar often went unrecognized by Taiwanese composers and thus did not really give rise to many contemporary works.

This gap in Taiwanese understanding is compounded my own ignorance of the guitar and its real place in Western contemporary music. This lack of auditory memory allowed me to write p.53 with greater freedom. My research is oriented towards modes of play that offer new sounds rather than sounds from traditional technique. The work is divided into five little pieces where the left hand can play as the right hand. The goal is to create continuous sound and contrasts of two to three voices détimbring half the sound with different touches and making sounds with the objects like a plastic spiral bookbinding or the striated edge of a pen.

The work p.53 was premiered by Marie Langlet June 2008 in Paris and consequently presented by Christelle Sery in the Why Note Festival in Dijon (France) in 2009. p.53 is later selected by Radio France for the 8th Forum of Musical Creation ISCM in 2010.

Links:

 paris-sorbonne.academia.edu/LiaoLinNi