關於 instrument flying ，我們在網路上蒐集到這些相關的討論、資訊與評價

【創業大冒險】TAcc+大師講堂📣新創成功的關鍵六問 | 勇敢敲響投資人門前的自我修練

打造成功新創團隊如在迷霧中飛行🛫
僅憑直覺💡往往撞得一鼻子灰😵🤦🤦♂️
好的🤔決策模式猶如學會看懂儀表🎮
讓創業這場從0➝1的壯遊少繞彎路↩️

TAcc+ Master Series#8
請來🌐前甲骨文台灣區總經理 #李紹唐👨🏫
與新創團隊分享原只在 #AAMA台北搖籃計畫 及 #二代大學
獨享的六大關鍵診問法🔎和 #敲門哲學🚪
搭配海量案例📚讓您從🧍♂️巨人高度剖析自身定位📍
加碼完整90分鐘的黃金問答時段🎤🙋🙋♂️
讓您🕒第一時間運用關鍵提問法與大師交流💬

🕒活動時間: 10/7 (四) | 12:00 – 16:40
🏛活動地點: 林口新創園區B5棟17F(新北市林口區仁愛路二段490號)，若疫情變化則視相關政策另行通知調整為線上形式。
👉搶先報名: https://pse.is/MasterSeries8DavidLee

【Startup Adventure】TAcc+ Master Series #8📣 Six Key Questions for the Success of Startup | Self-Preparation Before Pitching in front of VC

Building a successful startup team is like flying a plane in fog🛫
It might end up with crash🤦🤦♂️if flying by intuition💡
A good decision-making model🤔 is like learning instrument flight🎮
Lessening detours↩️ on the entrepreneurial tour from 0➝1

TAcc+ Master Series#8, we invite David Lee👨🏫, the former general manager of Oracle Taiwan🌐 to share with startup teams. David brings exclusive content in #AAMA Taipei Cradle Project & #New Generation College originally. Six key consultation methods🔎, #knock door philosophy🚪 and numerous of cases📚 allows you to analyze your own positioning📍 on the shoulders of giants🧍♂️ Using the key questioning method at once to communicate with the master in a full 90-minute Q&A period 🎤🙋🙋♂️

🕒Date: Oct. 7, 2021 (Thu) | 12:00 – 16:40
🏛Venue: TAcc+ Startup Terrace B5 Building (No. 490, Sec. 2, Ren’ai Rd., Linkou Dist., New Taipei City)
🌐Register link: https://pse.is/MasterSeries8DavidLee

與Dr. Geoffrey Wright的一次主修課，曾經被巴爾的摩太陽日報報導，沒想到篇幅還蠻大，也挺詳盡的。有很多台灣學生曾經拿過他的大班課。老師昨天退休了，祝福老師身體健康萬事如意福如東海壽比南山，投資賺大錢。從此仙居涼爽，不被世事所煩擾。

It is just after 2 p.m. when Wright realizes he is late to a piano lesson. Wright's student, Wan-ching Li, is preparing for an important recital, and today's session will be used to polish her technique.

Wright swoops into the classroom, says a quick "hello," then stops short -- and plops onto the floor. From there, he cranes his neck, and peers up at the belly of a baby grand.

The piano is brand-new and has been equipped with a small box with ports for cables: a MIDI (Musical Instrument Digital Interface), standard equipment in the music profession, used to transfer sound data from musical instruments to computers. Wright grins like a boy with a new train: "This is cool."

Li is warming up, her fingers lightly touching the keys as she plays scales, then chords. As have most Peabody students, she has been involved with music nearly all her life: She began piano lessons at age 3, studied organ and composition in college, then worked as a production assistant at a recording company. Now 29, Li has come to Baltimore from Taipei, Taiwan, because she wants to create art that combines music and technology.

She begins playing "Caution to the Wind," a piece written in 1987 by James Mobberley for piano and tape-recorded accompaniment. The composition is delightful and raucous; at one point, Li karate chops the piano and, at another, she slams the keyboard cover.

The piece also demands machine-like precision.

Each stroke of Li's fingers must coincide perfectly with the music made by her inanimate partner, which plays on no matter what. "It is really hard to synchronize with the tape," she says later. "I have to put a stopwatch on top of the piano and watch it as I count seconds to make sure I am completely accurate. It doesn't allow me much freedom."

But at the recital, Li will play a second piece that illustrates what she and others mean when they talk about increasingly responsive interactions between man and computer.

The composition is called "Duet for 1 Pianist," and was written by Jean-Claude Risset for piano -- and computer. Playing duets with a computer is different from being accompanied by a tape

recorder. Information about each piano key Li touches, and the force with which it is struck, is transmitted by the MIDI to a computer. Based upon how and what Li plays, the computer decides which notes to play and how and when to play them. "With a computer, I can play in real time. I don't need to follow a recording."

She plays: Her small hands flying up and down the keyboard, her notes by turns full and rich, light and clear. The computer plays: Its synthesizer producing crescendos and trills that complement her music.

https://www.baltimoresun.com/news/bs-xpm-1998-05-31-1998151109-story.html?fbclid=IwAR1OquRLjPpnitb69hluxk44CTojA6aHrvL9bEoK0uSJSbXPA5bG9hpu2bM

【Non-Confined Space 非/密閉空間】首張專輯《Flow, Gesture, and Spaces》Bandcamp已經上架，附上英文版的介紹。

Between the spheres of free improvisation, jazz, trap, and musique concrète, lies Non-Confined Space. The name of this Taipei-based duo – saxophone polyglot Minyen Hsieh and audiovisual electronica experimentalist Ge-Chun Cheng (aka Sonic Deadhorse) – aptly describes their approach to exploring the fertile space they find themselves in. Drawing inspiration from their differing musical approaches and worlds, plus energy from the lively Taiwanese music scene, Non-Confined Space is a bold and future-facing hybrid. Cheng deploys piles of samples alongside Hsieh’s versatile saxophone, resculpting the results into a sublime and boldly experimental debut album of beats and processed improvisations unlike anything you’ve heard before.

Taking its title from a philosophical textbook about free-jazz, Flow, Gesture, and Spaces is a revelatory introduction to the duo, mixing the utterly free improvisations of their live shows (exemplified with spontaneous straight-to-tape takes on two of the album’s ten tracks) with an approach to studio composition inspired by the philosophy of improvisation. Basic outlines – often borrowing chord movements from the likes of Coltrane and Wayne Shorter, or pulling beats from Cheng’s huge library – would be cut loose in studio sessions, later augmented by psychedelic post-production. Utilizing methodology from the eponymous book, Flow, Gesture, and Spaces is nonetheless based on “simple elements” as the duo put it, “rhythm, intervals, timbre, and energy.

As a pairing, Non-Confined Space seem to come from polar opposite ends of the spectrum, musically. Performing professionally since the age of 19, Minyen Hsieh first picked up the saxophone back in high school, going on to study with local jazz musicians, and eventually studying the instrument at Koninklijk Conservatorium in Brussels. He’s since made a vast array of music, from traditional swing to the loosened bop of his debut solo album Firry Path, and collaborations with pianist Shih-Yang Lee and legendary Japanese free-drummer Sabu Toyozumi. Non-Confined Space is Hsieh’s first deep foray into the art of electronic processing.

Ge-Chun Cheng’s primary solo project since 2007 has been Sonic Deadhorse. A sample-hungry outfit blending the “indulgence of the 70s, melancholy of the 80s, nihilism of the 90s, and isolation of the new century”, the project has produced a wide-range of sounds from post-Flying Lotus fusion beats to wild live performances of a club-influenced mix of post-rock, dubstep, and chiptune (documented on a 2016 live set for Boiler Room). Working as something of a one-man band has left autodidact Cheng well prepared to not only match the classically trained Hsieh, but to push his partner into wild new directions. “I can always get organic feedback and responses from Minyen,” explains Cheng. “It makes me want to put more elements and processing into the music, and to change style more often.”

Since first meeting at a jam session in Taipei City, Non-Confined Spaces have evolved into an improv outfit for the 21st century, as indebted to Aphex Twin and Squarepusher as they are to Archie Shepp and Sun Ra. The road to Flow, Gesture, and Spaces has seen the duo play for dance performances, visual exhibitions, and even live-painting. Their own live shows also include various interactive and audiovisual elements, consistently focusing in on those three core elements checked in the album’s title. Non-Confined Spaces is a project far from tied down, flirting with bass-heavy tropicalia on ‘Serotonin Cell’, psychedelic post-Madlib hip-hop on ‘Melodic Gesture’, and noisy electrified free jazz on ‘Entropy’. The latter is one of two live takes featuring drummer Weichung Lin and keyboardist YuYing Hsu – allies from the Taiwan scene – capturing the explosive spontaneity and uncannily wonky sounds of this unique duo reconstructing samples live on the spot. Flow, Gesture, and Spaces is a true journey into the heart of the unknown.

Tristan Bath

Cicada 最新專輯《邊境消逝》博客來連結：http://goo.gl/oG8Whg
Cicada "Coastland" on Bandcamp: http://goo.gl/kgG73F
itunes: http://goo.gl/OT5m9E

Cicada's FB: http://www.facebook.com/cicadataiwan
http://www.cicada-tw.com
cicadatw@gmail.com

Cicada's "Coastland"

Jesy Chiang has always dreamt of dedicating an album to Taiwan's graceful landscapes, composer and leading member of Cicada. To this end, she visited many coastal wetland areas in western Taiwan, immersing herself in its poetic landscape. These visits became the inspiration behind the group's new release "Coastland". The opening track "Flying Sands" begins with a coarse and grainy bass line, later joined by violas and violins. The upbeat "Flapping Wings" features the crystalline notes of a piano and the high soaring sounds of string instruments mimicking a flock of birds flying through scattered clouds. The continuous and tender sound of the string instruments in "Close to the Wetland" brings to life the softness of Cheng Long Wetland Park in Yunlin County. In "Withered Reflection", Taiwan's western coast is musically depicted with a gentle touch, while the next song "Blooms in Dark" is suffused with despair and sadness, creating an image of Mailiao, Yunlin County, allowing listeners to capture a moment of hope as the song proceeds. Despite the melancholy composition in D minor, the last song "Into the Ocean" crescendos with an uplifting energy with its strong, pulsing rhythm. The bonus track "Over the Sea/Under the Water" was the first song of Cicada released three years ago as part of their first EP. Inspired by Taiwanese environmental issues, it was the starting point for "Coastland". After the new violist joined the band, this track was re-arranged and re-recorded for the new album, as a reminder as to where it all started.

The concept behind the music and the performance in "Coastland" are exquisite, profound, and grand──fans of classical music, chamber music and independent music will all relate. A truly extraordinary conceptual album that will be on repeat by those of who devote their love to Taiwan.

為臺灣這片瑰土譜寫一張專輯是Cicada創作首腦江致潔醞釀多年的夢想，此張《邊境消逝》正是她走遍臺灣西部沿海，取其詩意，拾景為曲的土地概念專輯。

開場曲＜沿著風與沙＞以風吹沙似粗礪質地的大提琴破題，輔以中提琴、小提琴幽緩聲線，頗得信步沙洲之意境。＜當羣鳥掠過天邊＞以清澈透明的鋼琴琴音，撥雲見日，海天一色，絃樂群勾勒羣鳥齊飛翱翔的姿態，振翼的意象，煞是動人。在以綿密絃樂群描繪雲林成龍溼地柔軟質地的＜在海與土地之間＞，還有用冷靜筆觸觀照沿海景致的＜那些逝者彎曲的倒影＞之後，＜當叢花毅然綻放＞改採絕望哀傷的情緒，層層交疊出雲林麥寮的現狀，隨著演奏力度不斷增長，一股渴望絕處逢生的韌性，終於綻放希望枝枒。終曲＜匯流向海＞雖為內心憂鬱的D小調，卻以強烈的節奏流轉營造鼓舞人心的生命熱力。特別收錄的＜浮游在海上的島嶼／潛沈於水下的人們＞為三年前那張驚為天人的EP同名歌曲，這是Cicada以土地議題為創作發想的初衷，也是《邊境消逝》的起點，在新加入中提琴編制後重錄此曲，既是回顧，更是創作者念茲在茲的自覺。

綜觀臺灣古典樂、室內樂、獨立音樂圈，這張《邊境消逝》的創作與演奏，既細膩、深沉且大器、完整，確實是張難得的概念專輯，值得所有熱愛臺灣這片土地的耳朵聆聽再三。