Bevis Ng

Research Assistant

About

Bevis Ng is currently completing a Master’s degree in Percussion Performance at the University of Toronto. His teachers include Prof. Aiyun Huang, and Prof. Beverley Johnston. His research in the TaPIR lab centers on the collaborative process in creating new works that incorporate interactive technology. He is interested in analyzing the role of the performer, composer and technician in each piece, locating the creative outputs of a performer, and documenting the performance practices of these new pieces. He is currently collaborating closely with composer/technician Fish Tsz Long Yu, working on two pieces that incorporate live signal processing electronic: a solo for Tam-tam with 8-channel diffusion speakers, and a duo for two Cantonese-speaking percussionists.

Projects

Frolic

by Fish Yu

Fish Yu and KöNG Duo (Bevis and Hoi Tong) collaborated to create Frolic, a multimedia four-movement work exploring games in Hong Kong through percussion, spoken Cantonese, theatre, projections, and electronics. One of the challenges of creating this work is the interaction between the marimba and malletSTATION (MIDI controller with a percussion keyboard layout). We premiered the work at Bevis’ recital on April 11, 2023. We will perform excerpts of the work at New Music Gathering this June.

Cave

This collaborative work is for solo tam-tam with live processing electronics and immersive audio. Our collaboration aims to create a piece that utilize the infinite sonic possibilities in tam-tam. While existing repertoire for Tam-tam and electronics such as Mikrophonie I by Karl Stockhausen explores ways to make the instrument sound like “other”, our shared artistic vision is to explore the augmentation function in live processing electronics and the wide spectrum of pitch produced by the Tam-tam. In addition, the ever-ringing Tam-tam sound echoes the title of the piece, which resembles the infinite reverb acoustic quality inside a cave. Moreover, Our shared identity of being Hongkongers motivates us to create works that can bring a sign of hope in this post-2019 Hong Kong Protest era. The title Cave is a metaphor for the socio-political environment in Hong Kong now, where people are suffering and being trapped in this dark place. Composition-wise, the use of chanting symbolizes the mourning of Hongkongers. While the situation seems to be in despair, the transition from mourning to howling towards the end of the piece reminds us that we are resilient. The unyielding spirit will guide us to the light coming from the exit of the cave.