When executive producer Jin-Theng Craven completed the complex task of creating music and soundscapes for the film. from
Become and become Chua Ek Kay from
', her idea is, "A sharp, dominant, string solo evokes the sound of traditional Chinese stringed instruments, er-hu, with Western elements." Her musical profile achieves a seamless vibration behind the film The story is an artist's emotional journey that combines traditional and modern values with the influence of China and the West.
Jin-Theng began to depict the life story of artist Chua Ek Kay and the special story of his unique struggle in the editorial and musical senses as accurately as possible. In order to best reveal the visual journey, as well as the emotional conflicts in this sensible record of human narratives, it is important to examine what the auditory concept evokes and to choose a musical background to reflect the fine details of the story. To complete such a flawless music game, only by stepping into the story, life and breathing can be achieved.
The purpose of film soundscape is not only the space of character life, it highlights and emphasizes the atmosphere and events. It's a bit of a three-dimensional depiction of the character's feel and depth, and it's crucial that it's a precise fit. The idea behind the filming was to produce a documentary documentary to reflect the artist's role, while emphasizing a strong emotional texture in the film, as Chua Ek Kay's role showed a quiet conservatism to most parts of the world. But his indoor world is very rich and vibrant. For movies that work on all levels, visual images must be visually "drawn" as much as possible so that viewers can fully experience the rich sounds and attractions.
Music composer Joe Giddey and music creator Finn Curry from
' Become and become Chua Ek Kay' from
, was commissioned to create a background for the film. The members of the duo are from Western classical music backgrounds, have been known for fifteen years, play classic quartets together, and modern electronic style bands. "Working together on things we don't know well [Chinese music] is fascinating because it allows us to explore some new areas of music."
In the documentary, Dr. Ian Woo, an artist and scholar at the LaSalle School of Art, talks about a special Ek Kay painting. When it first appeared, it represented a completely new starting point for Chinese ink painting. Ian recalled that he was "blowed away" by watching the "Song of the Skull". He believes that the first time related to poetry and essence is related to the material world, the concentration of white space in this work matches the quietness of Ek Kay himself, but in parallel, there is a ' Dazzling intensity & #39; About this picture. In order to emphasize this "humming", from the outside, Jin-Theng is keen to integrate into the sounds of nature, such as rain and rustling. In the same scene, the camera switches to the stylized lens of contemporary dancers on campus, and their movements in the surrounding space symbolize the natural patterns on the strokes and blank pages. For this particular scene, Joe and Finn created a work inspired by listening to a variety of different music. "Traditional Chinese, solo strings from all kinds of classical and modern music, helped us create a musical mood board. With this in mind, we made some improvisations, suggesting traditional Chinese music, such as erhu, but using cellos and violins. On behalf of this. "Our aim is to reflect Chua Ek Kay's own creative freedom and cross-cultural influence, while at the same time suggesting his love for Western classical music.
As an important part of Jin-Theng's original briefing, er-hu has become a key factor in the integration of soundscapes and music, helping viewers to feel and experience the harmony and tone of the story. This historical instrument, sometimes called the Chinese violin, consists of two strings - it has incredible versatility in both traditional and modern music arrangements, and even in today's music world, it has been refurbished. Ways to become mainstream, such as from
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In their program ' O'. As early as the Tang Dynasty [618-907], the erhu appeared in an era of innovation, and the development of woodblock printing will spread and enhance the knowledge of literature, art and music through the Northern Song Dynasty. [906-1279], social life is full of energy, music and art are a very important part of life. Following the ancient traditions and the artistic practice of the past, Ek Kay trained under the guidance of ink master Fan Changtian, who trained him with traditional techniques, including classical poetry, painting, seals, and its core, calligraphy. In one of the scenes, the opening ceremony is Ms. Cai's mapping with beautiful calligraphy strokes in her work. In the background, the erhu in the sound of the film depicts the artist's beautiful and sad memories. As a whole feeling ' from
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It is a reflection and melancholy, er-hu, its unforgettable and outstanding voice, is the perfect way to best reflect this. Joe and Finn chose a small key to make a sound similar to er-hu, but "we try not to make it too sad, because there is hope in the movie."
Ek Kay's Singapore is a sensory feast. He intends to capture the world, not in a representative way, but by capturing his own ideas in his work. In the film, the local hawker center has a scene where the artist's good friend Kwok Kian Chow recalls how he shared such dining and moments with Ek Kay, and how it can feel the community and ease in Singapore. Based on the nature of the scene music montage set by the Hawker Center, Joe and Finn convey a unique pulse and life rhythm in the loop, which makes Joe and Finn very fond of writing. "Continuous music cycles can represent the constant cycle of life and continuous movement of human beings in today's world - a never-ending feeling similar to Steve Reich, a pioneer of minimalist music." Joe and Fen En has chosen different instruments for the hawker booth scene. These instruments can be used to create the taste of the scene, just like watching people, buildings, food, "Our goal is to finally get a good feeling of sorrow."
Chua Ek Kay began to play classical music in the background when he painted. With this in mind, Joe and Finn were impressed with Joe recording some Bach Solo cello suites. The common theme of the cello is the perfect way to maintain the entire film style. For Ek Kay, music and nature are such an important part of his life and work, and sometimes he is influenced by the fact that these elements mean peace and tranquility to his art.
Chua Ek Kay's training in Chinese classical philosophy and calligraphy has opened up a world for him. Chinese cultural influence and music are part of his daily life and art. Under all these influences, Ek Kay's artistic direction should be traditional, but he dares to challenge aesthetic and cultural patterns by being willing to change and follow his artistic instinct. With its cross-cultural influence, "become and become Chua Ek Kay" music soundscape. It reflects the artist's life and struggle, as well as his dreams, encouraging other artists and musicians in Singapore to become more free in their own artistic expression.
Orignal From: ' Become and become Chua Ek Kay' - Music tour behind artists and movies
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