郭元

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        郭元，东京艺术大学音乐（作曲）博士（Ph.D.）、教授，现任四川音乐学院作曲系主任。作品体裁丰富，包括交响乐、室内乐、合唱、民族器乐、独奏(唱)等并多次在国际、国内作曲比赛上获得奖项，2000年以来主要奖项如下：2004年波兰“维托尔德·鲁托斯瓦夫斯基奖” (Witold Lutoslawski Award International Composers’ Competition) 国际作曲比赛荣誉奖；第11、15届东京国际室内乐作曲比赛（Tokyo International Chamber Music Composition Competition）佳作奖；2014年波兰第二届克里斯多夫·潘德列斯基国际作曲比赛（2^nd Krzysztof Penderecki International Composers' Competition）决赛奖；2014年第九届中国音乐金钟奖优秀作品奖；2017年香港中乐团“中乐无疆界·国际作曲大赛” (Chinese Music Without Bounds International Composition Competition 2017)最佳配器奖等。作品入选国际当代音乐协会（International Society for Contemporary Music）ISCM 2013斯洛伐克· 维也纳、ISCM 2017加拿大温哥华、ISCM2020新西兰、ISCM2025葡萄牙“世界新音乐节” (World New Music Days) 等音乐节。作品由东京Kojima录音公司（ALM RECORDS）、东京mother-earth音乐出版社、人民音乐出版社出版发行。其音乐注重声音的运动，追求一个音响在产生前后及瞬间爆发与消失的状态，用线条与音色构建作品并在其中寻求更为简约的表达方式。

       GUO YUAN received a doctorate of composition from Tokyo University of the Arts and is a professor，Currently director of Composition Department at the Sichuan Conservatory of Music. He has composed solo pieces, chamber music, traditional Chinese instrumental music, symphonic music, and more. He has received prizes domestically and internationally including the following: “Best Orchestration” prize in the “Chinese Music Without Bounds” 2017 International Composition Competition held by Hongkong Chinese Orchestra; finalist in the 2^nd Krzysztof Penderecki International Composers’ Competition 2014, Poland; merit prize in the 11th and 15th Tokyo International Competitions for Chamber Music Composition, Japan; honorable mention in the “Witold Lutosławski Award 2004” International Composers’ Competition, Poland. His works have been selected for many musical festivals such as ISCM World New Music Days 2013 held in Slovakia and Vienna, ISCM World New Music Days 2017 held in Vancouver Canada, ISCM World New Music Days 2020 held in New Zealandand, ISCM World New Music Days 2025 held in Portugal. His works were published and distributed by Tokyo Kojima Recordings Inc., Tokyo Mother-Earth Music Publishing House and People's Music Publishing House. He attaches importance to the state of an acoustic event before and after it emerges as well as its instantaneous explosion and disappearance. He constantly seeks out and emphasizes the simplest way to express through lines and timbres.

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