

音乐科技讲座第三期“嘉宾活动系列”特别邀请作曲家、声音艺术家、音乐学学者、来自北京大学的许瀚博士,为大家带来两场学术讲座与一场演出+讲座(与大学艺术中心合办,同时属于其第五届文艺季“古今对话”),分享他关于音乐实践中的中国性以及技术影响下的声音艺术与实验音乐的研究及实践。
For the third edition of the Music, Science and Technology Lecture Series (MST Lecture Series) Guest Event Series, we are honored to host Dr. Han Xu—a composer, sound artist, and musicologist from Peking University—for two academic lectures and one Performance + Lecture (Co-hosted with the University Arts Centre as part of its fifth Arts Festival, "Dialogues Across Time"). This edition will feature Dr. Xu's research and creative practice, focusing on the concept of "Chineseness" in musical practice, as well as the evolution of sound art and experimental music in the age of technology.
*请扫描底部二维码,报名参加意向活动场次。
*Please scan the QR code at the end of the article for the specific event you wish to attend.

许瀚
Han Xu
(滑动查看 Swipe for more information)
许瀚(北京,中国),从事作曲、音乐学、声音研究与声音艺术等工作。他是北京大学艺术学院博雅博士后与国家引进博士后,康奈尔大学(Cornell University)作曲与声音研究博士。
许瀚的作品曾由以下团体、机构、演奏家等演奏,它们包括:伦敦交响乐团(London Symphony Orchestra,英国)由指挥家François-Xavier Roth执棒、BBC合唱团(BBC Singers,英国)、湿墨室内乐团(Wet Ink Ensemble,美国)、以色列爱乐室内乐团(Israeli Chamber Project,美国)、Yarn/Wire室内乐团(美国)、Composers Conference Ensemble(美国)由指挥家 Vimbayi Kaziboni执棒以及Red Desert Ensemble(美国)等。
许瀚曾获得以下机构、基金、奖学金等支持,它们包括:北京大学博雅博士后基金(中国)、康奈尔大学全额博士奖学金(美国)、达姆施塔特夏季作曲课(Darmstadt Summer Course,德国)、哈佛大学佛洛姆基金会作曲家会议(Composers Conference – Fromm Foundation Composition Fellowship,美国)、伦敦交响乐团(London Symphony Orchestra Panufnik Composers Scheme,英国)、 阿诺德·库克作曲奖(the British Composer Arnold Cooke Award,英国)等。
受到北京大学艺术学院与北京大学基金会资助,近期带领北京大学AI音乐研究团队开发灵韵知音AI实时类人音乐大模型。近年音乐、声音装置等作品在上海音乐厅与北京声音艺术博物馆呈现并由《音乐周报》《艺术中国》等媒体报道。作品与研究成果在国际计算机音乐会议50周年(ICMC)、国际音乐交互前沿大会(NIME)以及将在日本先端艺术创作协会(Japanese Society for Sonic Arts, JSSA)呈现。他曾在中央音乐学院(作曲系)、中国音乐学院(作曲系)、香港科技大学(广州)、美国加州大学圣地亚哥分校(UCSD计算机音乐以及作曲专业)、中国音乐学院(作曲系)、北京大学艺术学院等院校讲座、授课,论文曾在黄钟(武汉音乐学院学报)杂志发表、近期论文在北京大学《中国艺术》期刊发表,英文文章在A&HCI期刊International Review of the Aesthetics and Sociology of Music发表。曾在《人民日报》海外版、环球时报发表文章。
Xu Han (Beijing, China) is a composer, scholar, sound artist, trombone and euphonium player, instrument hacker, coder, and improviser who draws inspiration from Buddhist philosophy and hands-on aesthetics. Han is currently a postdoctoral fellow at Peking University School of Arts. Han holds a Doctor of Musical Arts in Composition and Sound Studies from Cornell University, as well as master’s degrees in composition, with distinction, and performance from the Royal Northern College of Music (RNCM) in Manchester, UK. Han has studied with Benjamin D. Piekut, Trevor J. Pinch, Adam Gorb, Marianthi Papalexandri-Alexandri, Kevin Ernste, Emily Howard, Roberto Sierra, and Blake Stevens.
Han's works have been performed by the London Symphony Orchestra (UK), BBC Singers (UK), Wet Ink Ensemble (USA), Israeli Chamber Project (Israel), Composers Conference Ensemble (USA) with conductor Vimbayi Kaziboni, Red Desert Ensemble (USA), Yarn/Wire (USA), Greg Stuart (USA), Sara Zazo Romero (Spain), Orlando Contemporary Chamber Orchestra (USA), KOE Duo (USA), NOMON (USA), Manchester Camerata (UK), 19 SoundLab (China), Tacet(i) Ensemble (Thailand), Cornell Festival Chamber Orchestra (USA), and RNCM Symphony Orchestra (UK).
Han has received scholarships and funding from the Peking University Boya Postdoctoral Fellowship, Sage Fellowship of the Graduate School at Cornell University (USA), Otto R. Stahl Memorial Award (USA), Darmstadt Summer Course (Germany), Shanghai Concert Hall (China), Sound Art Museum (China), Composers Conference–Fromm Foundation Composition Fellowship (USA), England Council (UK), LSO Panufnik Composers Scheme (UK), Cornell Council for the Arts (USA), RNCM School of Composition (UK), and RNCM School of Wind, Brass and Percussion (UK). Han is also a recipient of the British Composer Arnold Cooke Award (UK) and the London Symphony Orchestra Bursary (UK).

讲座一 Lecture I
无根的声音实践?从作曲到声音艺术的实践
Rootless Sonic Practices? Artistic Practice: From Composition to Sound Art
日期&时间 Date&Time
2026/11/12 18:00-19:00
地点 Venue
香港中文大学(深圳)音乐学院
美音楼103阶梯教室
Lecture Theatre 103, Music Teaching Building, School of Music, CUHK-Shenzhen
摘要 Abstract
(滑动查看 Swipe for more information)
声音作为艺术在当今呈现诸多表现形式。越来越多的当代作曲家正在超越传统的记谱(音符),将声音录制、声音合成和声音装置的创作视为作曲材料与方法,这已经成为一种显著的艺术趋势。声音艺术从上世纪70年代末至今也形成了独立的声音艺术领域与声音艺术家这样的社群,但溯源“声音艺术”的起源我们可以看到其与现代音乐、先锋派音乐之间的诸多渊源。声音艺术的表达还与电子音乐的底层技术(留声机、磁带以及无线电)有着千丝万缕的连接。讲座探讨二十世纪中期现代主义音乐及相关作曲家作为“前声音艺术”在“声音艺术” 兴起过程中所起的关键作用,呈现从“现代音乐”到“声音艺术”有据可循的历史转变,并阐释技术对这段短暂历史变迁的影响。
Sound as an art form has manifested in diverse expressions today. An increasing number of contemporary composers are transcending traditional notation to treat recorded sound, sonic synthesis, and the creation of sound installations as compositional materials and methods—a practice that has evolved into a prominent artistic trend. Since the late 1970s, sound art has evolved into an independent field with its own community of sound artists. However, tracing the origins of "sound art" reveals deep connections with modernist music and avant-garde music. The expression of sound art is also intricately linked to the underlying technologies of electronic music—such as the phonograph, magnetic tape, and radio. This lecture examines the pivotal role played by mid-20th-century modernist music and associated composers, viewed as "pre-sound art," in the emergence of sound art. It presents a traceable historical transition through which "modern music" gave rise to "sound art," and explores the impact of technology on this relatively brief yet formative period.
讲座二 Lecture II
听起来中国还是中国现实?
Sounding Chinese or the Reality of China?
日期&时间 Date&Time
2026/11/16 18:00-19:00
地点 Venue
香港中文大学(深圳)音乐学院
美音楼103阶梯教室
Lecture Theatre 103, Music Teaching Building, School of Music, CUHK-Shenzhen
摘要 Abstract
(滑动查看 Swipe for more information)
活跃于全球舞台的中国作曲家经常面临关于其创作可信度的质疑,尤其是对其“中国性”真实性的怀疑,或指责其通过“自我东方化”的策略获得艺术上的认可。本讲座认为,这类批评本身存在问题,因为它们仍然嵌入一种向心式的叙事之中,持续凝视着非西方的“他者”。这些批评依然带有文化殖民主义的主体性:批评者通过批判所谓的“东方主义”,重新获得审视和判断非西方“他者”的“中国性”或其“自我东方化”是否真实的权力,从而在这一权力关系中重新确立自身的权威与中心地位。
本讲座从翻译研究的视角出发,考察谭盾与梁雷的音乐创作及其批评接受。二人分别代表了活跃于全球舞台的两代中国作曲家,同时也都曾面临上述质疑。本讲座将选取具体作品进行分析,将其视为多元文化语境中的翻译行为。这些作品承载着复杂的中国传统文化符号,而这些文化符号在进入当代多元文化语境之前,已经在历史过程中经历了多重的翻译与传递;进入当代多元文化语境之后,它们又不可避免地继续经历翻译,并在谭盾与梁雷的创作中被重新整合与诠释。
本讲座在符号学框架下,结合罗曼·雅各布森(Roman Jakobson)的相关理论、A. J. 格雷马斯(A. J. Greimas)的行动元传播模式(Actantial Model of Communication),以及布鲁诺·拉图尔(Bruno Latour)在行动者网络理论(Actor-Network Theory)中的延展,提出“跨感官—符号翻译”(Intersensory-semiotic Translation)这一分析范畴,以强调作曲家作为翻译者在多元文化网络中的功能性角色。
这一方法试图动摇殖民主义凝视所构建的中心叙事,使针对中国作曲家创作可信度的批评本身成为可以被重新审视和批判的对象;与此同时,也赋予这些作曲家在多元文化网络中平等的“翻译权”(Right to Translate)。
Chinese composers active on the global stage are often confronted with critiques concerning their credibility, particularly suspicions about the authenticity of their "Chineseness" or accusations of gaining artistic recognition through a strategy of "self-orientalization." This talk argues that such critiques are problematic, as they remain embedded in a centripetal narrative that continues to gaze upon the non-Western Other. These critiques still carry the subjectivity of cultural colonialism, whereby critics, through criticizing their own orientalism, acquire the renewed power to scrutinize and judge the authenticity of the non-Western Other's Chineseness or its self-orientalization, thereby reestablishing their own authority and centrality within this power dynamic.
This talk adopts the perspective of translation studies to examine the music and critical reception of Tan Dun and Liang Lei, who represent two generations of Chinese composers active on the global stage who have been subject to the aforementioned critiques. It analyzes selected compositions as acts of translation within a multicultural context that carry complex traditional Chinese cultural signs. These cultural signs have already undergone multiple layers of translation and transmission throughout history before emerging within today's multicultural context, where they inevitably undergo continued translation as they are integrated and reinterpreted by Tan and Liang. The talk proposes the analytical category of "Intersensory-semiotic Translation" within a semiotic framework informed by the work of Roman Jakobson, A. J. Greimas' Actantial Model of Communication, and its extension in Bruno Latour's Actor-Network Theory, to emphasize the functionalized role of composers as translators within a multicultural network. This approach attempts to destabilize the central narrative of the colonialist gaze, opening up critiques of the credibility of Chinese composers to critical examination, while simultaneously affording these composers an equitable 'right to translate' within multicultural networks.

演出+讲座 Performance & Lecture
在传统与当下之间:音乐实践中的 “中国性 ”之问——许瀚作品分享与对谈
Across Tradition and the Present: The Quest for "Chineseness" in Musical Practice — Works and Conversation with Han Xu
日期&时间 Date&Time
2026/11/14 19:00-21:00
地点 Venue
香港中文大学(深圳)音乐学院
赏乐楼102现代音乐厅
Recital Hall 102, Academic Office Building, School of Music, CUHK-Shenzhen
摘要 Abstract
通过作曲家的自我成长路径,考察一位接受西方现代主义、当代主义作曲训练的中国作曲家,从对中国身份的寻找与焦虑,到逐渐寻求表达某种“真我”的心路历程。
Through the composer's own trajectory of artistic development, this talk traces the journey from a composer trained in Western modernist and contemporary composition, through the anxiety of searching for a Chinese identity, to the gradual pursuit of expressing a certain authentic self.
左右滑动查看特邀嘉宾
Swipe to meet Guest Performers

何枢聪
Shucong He
(滑动查看 Swipe for more information)
何枢聪,中国青年小提琴家,现任香港中文大学(深圳)音乐学院助理教授(教学)、硕士生导师。他是美杰音乐艺术家、美杰新青年乐团首席、荷风艺术基金艺术家。中央电视台第三届CCTV小提琴大赛专业成年组金奖、第十届中国音乐金钟奖和第十届文华奖获得者。曾荣获包括奥地利勃拉姆斯国际小提琴比赛、首届特列齐亚科夫国际小提琴比赛等十余项国际、国内的重要奖项。
“你真诚的音乐使我回忆起了与大卫·奥伊斯特拉赫在一起的时光。”(伊夫利·吉特里斯Ivry Gitlis);“我被你的演奏深深打动了,你的未来一片光明!”(柴可夫斯基国际小提琴比赛主席维克多·特列恰科夫Viktor Tretyakov)
何枢聪作为中国新一代最活跃的小提琴家之一,先后与指挥家吴灵芬、何占豪、余隆、胡咏言、黄屹、张亮、范焘、朱其元、景焕、John Nelson、Vladimir Lande、Jochem Hochstenbach等领衔的英国皇家爱乐乐团、中国爱乐乐团、广州交响乐团、深圳交响乐团、北京交响乐团、杭州爱乐乐团、厦门爱乐乐团、上海爱乐乐团、武汉爱乐乐团、长沙交响乐团、长影乐团、哈尔滨交响乐团、中国青年交响乐团、俄罗斯西伯利亚州交响乐团等众多国内外乐团在重要演出上成功合作。何枢聪持续活跃在世界各地的重要音乐舞台,演出足迹遍布二十余个国家和中国众多城市的重要音乐厅,近年来他的成功巡回演出包括《孤岛与挚爱》《爱的晨晓时分》《全套勃拉姆斯奏鸣曲》《四季·梁祝》等。2025年,他的新专辑《孤岛与挚爱》由环球音像全球发行。
何枢聪2024年的高光时刻包括:4月,与厦门爱乐乐团合作贝多芬小提琴协奏曲并在中国首演了Jörg Widmann创作的华彩乐段;6月,成功完成港中大(深圳)音乐学院的欧洲中国当代室内乐作品巡演,受邀与著名作曲家、指挥家何占豪先生和长影乐团合作在梁祝诞生65周年纪念音乐会上重现经典;7月,玉溪聂耳广场纪念聂耳诞辰112周年文艺展演开幕音乐会;10月,北京先农坛祈年殿北京古建音乐季闭幕式“声声不息”举办独奏会;11月,国家大剧院台湖剧场举办全套舒伯特钢琴三重奏专场音乐会;12月,作为独奏嘉宾参演央视总台《扬帆远航大湾区2025新年音乐会》开场先导片《祝福·湾区》。
何枢聪有着巨大的曲目量,独奏之外他非常热衷于室内乐与现当代音乐,2024年他作为美杰新青年乐团首席,参与策划并出演了乐团首个乐季系列音乐会。他是中央音乐学院名家室内乐团和北京埃克森特独奏家室内乐团的成员,曾参与录制了国家探月工程曲《向月》。他受邀作为嘉宾曾参与中央电视台《春之声音乐会》《国家宝藏》《我的艺术清单》、江苏卫视《一站到底》等节目的录制。
何枢聪先后师从陈继续教授、柴亮教授、于兵教授、皮尔·阿莫耶(Pierre Amoyal)教授、钱舟教授和小提琴大师什洛莫·敏茨(Shlomo Mintz)等。他毕业于中央音乐学院,由于其突出表现入选中央音乐学院拔尖创新人才计划,并获得漫步者音乐家基金会和娃哈哈音乐基金会赞助。他是新加坡国立大学建校有史以来首位也是唯一一位艺术家文凭获得者,并获得全额奖学金。他在音乐道路上曾接受过伊夫利·吉特里斯(Ivry Gitlis)、平克斯·祖克曼(Pinchas Zukerman)、维克多·特列恰科夫(Viktor Tretyakov)、瓦汀·列宾(Vadim Repin)、宓多里(Midori Goto)、金南允(Nam Yun Kim)等众多著名大师的悉心指导与赞赏。
何枢聪先后任教于中央音乐学院鼎石实验学校、哈尔滨音乐学院和青岛耶胡迪梅纽因学校,受邀担任新加坡国际小提琴音乐节、北京国际大师班音乐节、珠海国际弦乐大师班等音乐活动的导师和比赛评委,他的学生已在数十项国际国内比赛中获奖。
何枢聪目前使用的名贵意大利小提琴由香港中华基金会慷慨提供。
HE Shucong, a young Chinese violinist, currently serves as Assistant Professor (Teaching) and Master's Supervisor at the School of Music, The Chinese University of Hong Kong, Shenzhen. He is an MJ Music Artist, Concertmaster of the MJ New Youth Orchestra, and artist of the Hefeng Art Foundation. He is also the Winner of the Gold Award in the Professional Adult Group of the 3rd CCTV Violin Competition, the 10th China Music Golden Bell Award, and the 10th National Culture and Arts Award. He has received over ten international and domestic awards, including the International Brahms Violin Competition in Austria and the first Tretyakov International Violin Competition.
"Your sincere music reminded me of the time with David Oistrakh." (Ivry Gitlis) "I was deeply moved by your performance. Your future is bright!" (Viktor Tretyakov, Chairman of the Tchaikovsky International Violin Competition)
As one of the most active new-generation violinists in China, HE Shucong has successfully collaborated with numerous domestic and international orchestras including the Royal Philharmonic Orchestra, China Philharmonic Orchestra, Guangzhou Symphony Orchestra, Shenzhen Symphony Orchestra, Beijing Symphony Orchestra, Hangzhou Philharmonic Orchestra, Xiamen Philharmonic Orchestra, Shanghai Philharmonic Orchestra, Wuhan Philharmonic Orchestra, Changsha Symphony Orchestra, Changchun Film Orchestra, Harbin Symphony Orchestra, China Youth Symphony Orchestra, and Russian Siberian State Symphony Orchestra under conductors such as Wu Lingfen, He Zhanhao, Yu Long, Yong-yan HU, Huang Yi, Zhang Liang, Fan Tao, Zhu Qiyuan, Jing Huan, John Nelson, Vladimir Lande, and Jochem Hochstenbach. Continuously active on important musical stages worldwide, his performances have spanned over 20 countries and major concert halls across China. In recent years, he has successfully toured with programs including "Lonely Island and Beloved," "Dawn of Love," "Complete Brahms Sonatas," and "Four Seasons·Butterfly Lovers." His album "Lonely Island and Beloved" was globally released by Universal Music in 2025.
He Shucong's highlights from 2024 include: collaboration with Xiamen Philharmonic Orchestra performing Beethoven's Violin Concerto with Chinese premiere of Jörg Widmann's cadenza (April); completion of CUHK-Shenzhen School of Music's European tour of contemporary Chinese chamber works and recreation of classic repertoire with composer/conductor He Zhanhao and Changchun Film Orchestra at the 65th anniversary concert of "Butterfly Lovers"(June); opening concert for Nie Er's 112th Birthday Commemoration at Yuxi Nie Er Square (July); solo recital at Beijing Ancient Architecture Music Festival's closing ceremony "Endless Echoes" in Qinian Hall of Xiannongtan (October); complete Schubert Piano Trios concert at National Centre for the Performing Arts (NCPA) Taihu Theater (November); featured soloist in CCTV's "Sailing the Greater Bay Area 2025 New Year Concert" opening segment "Blessings·Bay Area" (December).
With an extensive repertoire, HE Shucong shows particular enthusiasm for chamber music and contemporary works. In 2024, as concertmaster of MJ New Youth Orchestra, he planned and performed in the orchestra's debut season series. He is a member of the Central Conservatory of Music Masters Chamber Ensemble and Beijing Accent Soloists Chamber Orchestra, having participated in recording "To the Moon" for China's lunar exploration program. He has been invited as a guest artist for CCTV programs, including "Spring Voice Concert," "National Treasure," "My Art List," and Jiangsu TV's "Battle of Minds."
HE Shucong studied under professors Chen Jixu, Chai Liang, Yu Bing, Pierre Amoyal, Qian Zhou, and violin master Shlomo Mintz. Graduating from the Central Conservatory of Music, he was selected for the Elite Innovative Talents Program with sponsorship from Edifier Music Foundation and Wahaha Music Foundation. He is the first and only recipient of an Artist Diploma with a full scholarship from the National University of Singapore. He received guidance from masters, including Ivry Gitlis, Pinchas Zukerman, Viktor Tretyakov, Vadim Repin, Midori Goto, and Nam Yun Kim.
He has taught at the Central Conservatory Preparatory School, Harbin Conservatory of Music, and Qingdao Yehudi Menuhin School. He was also invited as faculty for the Singapore International Violin Festival, Beijing International Masterclass Festival, and Zhuhai International String Masterclass. His students have won numerous international and domestic awards.
HE Shucong currently performs on a precious Italian violin generously provided by the Hong Kong China Foundation.

黄胤铭
Alvin Wong
(滑动查看 Swipe for more information)
黄胤铭博士(Dr. Alvin Wong),现任香港中文大学(深圳)音乐学院副教授,是⼀位享誉国际的大提琴演奏家,其艺术造诣获权威乐评盛赞,以其“温暖充盈的殿堂级音响、卓尔不凡的技巧、富有诗意的表达能力”而闻名。他在演奏、教学与艺术管理领域均享有广泛的国际影响力。
黄博士的独奏及室内乐演出足迹遍及五大洲,曾登台卡内基音乐厅、香港文化中心等世界著名艺术殿堂。作为当代音乐的坚定倡导者,他首演了多部由当今最受尊敬的作曲家创作的大提琴协奏曲及独奏作品,合作作曲家包括亚伦·杰·科尼斯、盛宗亮、周龙、陈怡、纳荣·普兰查伦及奥古斯塔·里德·托马斯等格莱美奖、普利策奖及麦克阿瑟“天才奖”得主与国际级大师等。他频繁亮相于澳大利亚、巴西、中国、意大利、新西兰、泰国和美国等地的重要当代音乐节,在新音乐领域有着重要的贡献。
作为充满热忱的室内乐演奏家,黄博士是美国获奖的诺布尔钢琴三重奏的创始成员,并联合创立了墨尔本大学驻校乐团——奥蒙德弦乐四重奏。他的室内乐合作曲目广泛,尤其侧重于当代作品。他已合作发行多张新音乐专辑,包括高罂粟唱片出品的《丛林火之梦》。在交响乐领域,他曾担任美国东康涅狄格交响乐团首席大提琴,并作为客座首席与德国、澳大利亚、美国的⼀流乐团合作。
黄博士的学术研究聚焦于当代音乐中的艺术实践、教学法及跨文化融合。他曾在澳大利亚弦乐教师协会全国大会及香港中国作曲家音乐节等会议上发表研究成果,并多次获得竞争性研究资助,包括墨尔本大学汉森-戴尔研究基金,用于支持其国际演出与研究项目。他的博士论文深入探讨了中西音乐语汇在当代大提琴曲目中的融合。
在艺术管理方面,黄博士曾担任领导职务,统筹制定文化战略与教育项目。在担任德国奥斯特菲尔登市音乐学校(Städtische Musikschule Ostfildern)副校长期间,他主导机构发展战略制定、数字化转型及为区域合作拓展提供咨询。同时兼任弦乐系主任,负责统筹师资管理、活动策划及青少年音乐英才的培养。他还是墨尔本大提琴音乐节(Melbourne Cello Festival)的创办人兼艺术总监,该音乐节被澳大利亚弦乐教师协会期刊《Stringendo》誉为“组织完善、启迪思维的卓越盛事,鼓舞人心的巨大成功”,吸引了国际艺术家与观众,并获得了政府及慈善机构的重大支持。
黄博士以其融合技术精度与艺术叙事的整体教学法而备受推崇。在加入香港中文大学(深圳)之前,他曾先后在德国汉诺威音乐戏剧传媒学院(Hochschule für Musik, Theater und Medien Hannover)、澳大利亚墨尔本音乐学院(Melbourne Conservatorium of Music)及美国康涅狄格学院(Connecticut College)担任教职。任职期间,他主导了弦乐及室内乐学科体系的重构,督导研究生学术研究,并推行了以国际标准与学生成功为导向的课程改革。在他的指导下,学生屡获国际比赛奖项、获得教职、加入各大洲顶尖乐团,以及被德、澳、英、美等地的顶尖学府录取继续深造。黄博士定期在亚洲、大洋洲、欧洲及北美洲举办大师班,将专业知识传授给新⼀代大提琴家。
黄胤铭出生于中国香港,早年才华即获认可,摘得《南华早报》1999年度“杰出学生音乐家”称号。后获全额奖学金赴美接受专业训练,先后毕业于伊斯曼音乐学院、印第安纳大学和耶鲁大学,并获耶鲁大学音乐艺术博士学位。他的主要导师包括传奇大提琴家及教育家亚诺什·斯塔克(János Starker)与阿尔多·帕里索特(Aldo Parisot)。此外,他还拥有罗切斯特大学生物学学士学位。
Dr. Alvin WONG is currently an Associate Professor at the School of Music, The Chinese University of Hong Kong, Shenzhen. He is an internationally acclaimed cellist hailed by the press for his "warm, hall-filling sound," "remarkable technique," and "ability to convey poetry expressively," with a global presence across performance, teaching, and arts leadership.
Alvin has performed as a soloist, recitalist, and chamber musician across five continents in prominent venues such as Carnegie Hall and Hong Kong Cultural Centre. A dedicated advocate for contemporary music, he has premiered numerous concertos and solo cello works by some of today's most esteemed composers, including Grammy, Pulitzer, and MacArthur-winning artists like Aaron Jay Kernis, Bright Sheng, Zhou Long, Chen Yi, Narong Prangcharoen, and Augusta Read Thomas. Alvin's influence in new music extends internationally through regular appearances at major contemporary music festivals in Australia, Brazil, China, Italy, New Zealand, Thailand, and the United States.
As a passionate chamber musician, Alvin was a founding member of the award-winning Noble Piano Trio in the U.S. and co-founded the Ormond String Quartet, the faculty-resident ensemble at the University of Melbourne. His chamber music collaborations span a broad repertoire, with a special emphasis on contemporary works. He has released collaboratively several new music albums, including Bushfire Dreams on Tall Poppies Records. As an orchestral musician, Alvin has served as the principal cellist of the Eastern Connecticut Symphony Orchestra and performed as a guest principal with leading orchestras in Germany, Australia, and the United States.
Alvin's research explores artistic practice, pedagogy, and cross-cultural hybridity in contemporary music. He has presented at conferences, including the AUSTA National Conference and the Chinese Composers' Festival in Hong Kong, China, and received multiple competitive grants, including the Hanson-Dyer Research Grant from the University of Melbourne for international performances and research. His doctoral thesis examined the fusion of Chinese and Western idioms in contemporary cello repertoire.
In arts administration, Alvin has held leadership roles shaping cultural strategy and education. As Deputy Director of the Ostfildern City Music School in Germany, he advised on institutional development, digital transformation, and regional partnership expansion. As Head of Strings, he oversaw faculty leadership, event organisation, and musical development for young talents. He is also the founder and artistic director of the Melbourne Cello Festival—praised by Stringendo (AUSTA) as "a huge success…well run and inspiring"—which drew international artists and audiences, and secured major government and philanthropic support.
Alvin is highly respected for his holistic pedagogical approach, blending technical precision with expressive storytelling. Prior to CUHK-Shenzhen, he held academic appointments at the Hochschule für Musik, Theater und Medien Hannover (Germany), Melbourne Conservatorium of Music (Australia), and Connecticut College (USA), where he led restructuring of programs in strings and chamber music, supervised postgraduate research, and drove curriculum reforms grounded in global standards and student success. Students under his mentorship have gone on to win competitions, secure teaching positions, and join leading orchestras across multiple continents, and have been admitted to leading institutions in Australia, Germany, the U.K., and the U.S. for advanced studies. Alvin regularly conducts masterclasses throughout Asia, Oceania, Europe, and North America, sharing his expertise with the next generation of cellists.
Born in Hong Kong, China, Alvin's early talent was recognised when he won the "Student Musician of the Year 1999" award from the South China Morning Post. He pursued professional training in the U.S. on full scholarships, earning degrees from the Eastman School of Music, Indiana University, and Yale University, where he was awarded a Doctor of Musical Arts degree. His principal teachers include legendary cellists and pedagogues János Starker and Aldo Parisot. He also holds a Bachelor's degree in Biology from the University of Rochester.

韩茉
Mo Han
(滑动查看 Swipe for more information)
韩茉,现任香港中文大学(深圳)音乐学院讲师、艺术指导,旅俄青年钢琴演奏家,国家公派莫斯科国立师范大学钢琴演奏教育学副博士(等同于博士学位),莫斯科国立柴科夫斯基音乐学院钢琴演奏硕士、室内乐演奏硕士、声乐艺术指导硕士、教育学硕士。
韩茉十二岁前往俄罗斯新西伯利亚中央音乐附中专业学习钢琴,在校期间被作曲系教授发现其创作天赋,开始学习作曲。十四岁在第四届国际开放式阿斯科尔德·穆洛夫青年作曲家比赛中获奖。2006年以优异成绩考入莫斯科国立柴科夫斯基音乐学院附中钢琴系与管风琴系。附中学习期间,她展示出对室内乐演奏的极大热情,2009年在首届Merzlyakov室内乐国际邀请赛中获奖。
2010年,考取世界顶尖音乐学府莫斯科国立柴科夫斯基音乐学院,师从前苏联Goldenweiser学派与Sofronitsky学派传承人、俄罗斯功勋艺术家、演奏家 O.M.Zhukova教授。于2015年取得钢琴演奏、室内乐演奏、声乐艺术指导、教育学四个专业的硕士学位文凭。同年荣获中国国家教育部基金委员会颁发的全额奖学金,公派赴莫斯科国立师范大学攻读钢琴演奏教育学副博士学位(等同于博士学位)。读博期间,韩茉荣获第二届日内瓦国际钢琴比赛第一名,并作为获奖者受邀在罗马Santa Cecilia音乐厅举办个人独奏音乐会。在学术研究方面,她曾在俄罗斯高等鉴定委员会以及国家期刊公开发表多篇学术文章。
韩茉曾以独奏家、室内乐团成员的身份在多个著名剧院和音乐厅演出,足迹遍布全球各地。韩茉是首位在中国驻俄罗斯大使馆举办个人独奏音乐会的中国人,驻俄大使李辉到场并表示热烈祝贺;她还曾作为华人代表参加“一带一路”国际音乐会;曾是Semper Music 国际音乐节开幕式受邀嘉宾及指导教师。此外,她曾担任第二届东京国际钢琴比赛、第三届布鲁塞尔国际音乐大赛等多项国际赛事评委,同时,她还是Melos APS意大利文化协会的终身会员。
HAN Mo, a young pianist, is currently serving as a Collaborative Piano faculty at the School of Music, The Chinese University of Hong Kong, Shenzhen. She is an Associate Doctor (Equivalent to a Ph.D.) in Piano Performance Education from Moscow State Pedagogical University, Master of Piano Performance, Chamber Music Performance, Vocal Art Direction and Education from the Moscow State Tchaikovsky Conservatory.
HAN Mo went to Russia to study piano at the Central Music School in Novosibirsk, Russia at the age of 12. During her time at school, a professor from the composition department discovered her creative talent and she began to study composition. At the age of 14, she won the prize in the 4th International Open Askold Murov Competition for Young Composers. In 2006, she was admitted to the Piano and Organ Departments of the Academic Music School at the Moscow State Tchaikovsky Conservatory with excellent results. While studying at the Academic Music School, she also showed great enthusiasm for chamber music performance. In 2009, she won the award at the first Merzlyakov Chamber Music International Invitational Competition.
At the age of 17, she was admitted to the Moscow State Tchaikovsky Conservatory of Music, the world's top music school, and studied under Professor O.M. Zhukova, a distinguished Russian artist, inheritor of the Goldenweiser School and Sofronitsky School of the former Soviet Union. In 2015, she obtained master's degree diplomas in four majors: piano performance, chamber music performance, vocal art direction, and education. In the same year, she was awarded a full scholarship by the Fund Committee of the Ministry of Education of China and was sent to Moscow State Pedagogical University to study for an associate doctorate (equivalent to a Ph.D.) in piano performance education. During her studies, Han Mo won first prize in the Second Geneva International Piano Competition. As a winner, she was invited to give a solo concert at the Santa Cecilia Concert Hall in Rome. In terms of academic research, she has published many academic articles in the Russian Higher Attestation Commission and national journals.
HAN Mo has performed in many famous theaters and concert halls around the world as a soloist and chamber orchestra member. HAN Mo was invited to become the first Chinese to hold a solo concert at the Chinese Embassy in Russia. Ambassador to Russia Li Hui attended the event and expressed warm congratulations; participated in the "Belt and Road" international concert as a Chinese representative; Invited guest and instructor at the opening ceremony of Semper Music International Music Festival; in addition, she served as a judge for many international competitions such as the 2nd Tokyo International Piano Competition and the 3rd Brussels International Music Competition; and is a lifelong member of the Melos APS Italian Cultural Association.
【活动报名 Registration】
讲座一 Lecture I

请扫描二维码,报名参加该场活动
Please scan the QR code for the specific event you wish to attend.
讲座二 Lecture II

请扫描二维码,报名参加该场活动
Please scan the QR code for the specific event you wish to attend.
演出+讲座 Performance & Lecture

请扫描二维码,报名参加该场活动
Please scan the QR code for the specific event you wish to attend.
*活动将不提供私家车位,建议绿色出行。
*On-site parking is not available for external audience members.
*座位数量有限,报满即止。若扫描二维码后无法填写表单,即表示座位已全部约满。
*The number of seats is limited, and registration will close once fully booked.
【温馨提示 Reminder】
*1.2米以下儿童谢绝入场
*Children under 1.2m are not admitted
讲座系列介绍
About the Lecture Series
香港中文大学(深圳)音乐学院音乐科技中心现已推出音乐科技系列讲座。该系列讲座立足音乐、计算机科学、音乐感知与认知科学、人工智能、声学、人机交互、科技伦理、批判研究等多个交叉学科与方向,旨在通过多元的系列学术活动,探索前沿科技如何拓宽音乐的边界,及其对艺术创作与体验、演艺生态及社会伦理的影响。同时,本系列致力于为不同学科背景的师生提供跨界探索的契机,进而培养兼具科学探索精神与人文艺术底蕴的复合型创新人才,共同推动未来音乐与科技的深度交融。
The Music Technology Center at the School of Music, CUHK-Shenzhen, has launched the Music, Science and Technology Lecture Series (MST Lecture Series). Drawing on a range of interdisciplinary fields—including music, computer science, music perception and cognitive science, artificial intelligence, acoustics, human–computer interaction, ethics of technology, and critical studies—the series, which contains a diverse program of academic activities, will explore how emerging technologies are expanding the boundaries of music and examine their impact on artistic creation and experience, the performing arts ecosystem, and social ethics. At the same time, this series is dedicated to providing faculty and students from diverse backgrounds with opportunities for cross-disciplinary exploration, thereby cultivating well-rounded, innovative talents who possess both a spirit of scientific inquiry and a foundation in the humanities and arts, and who will jointly drive the deep integration of music and technology in the future.
供稿:音乐科技中心
编审:宣传办公室
如需转载,请注明以上内容
推 荐 阅 读


点击下方图片 ▼ 探索音乐之旅











