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Edited Image 2013-6-29-17:21:28
Photy by Hsu, Ching-mine
攝影:徐欽敏

李婉菁:穿梭於理性科技與感性聲響的音樂探險家
 

        身為西拉雅族的實驗音樂作曲家與 AI 藝術研究者,李婉菁的音樂之路始於深厚的古典根基。她自幼隨父親李茂松教授習琴,先後畢業於東吳大學與台南應用科技大學音樂系,而後遠赴美國約翰霍普金斯大學皮博迪音樂院深造,取得電腦音樂碩士,其論文更獲國際電腦音樂協會大會 (ICMC) 肯定。目前,她於國立臺灣藝術大學攻讀博士,將研究視野投向 AI 藝術、文化政策與展演空間的公共性。
 

     她的創作光譜極為寬廣,從古典、實驗電子延伸至重金屬搖滾。她曾是知名金屬樂團「閃靈」與「衹」的鍵盤手,其音樂風格以冷冽的電子音色,折射出對人性的深層思考。這份獨特的藝術語彙,讓她成為跨域創作的寵兒,長期與身體氣象館、探索頻道等機構合作,並為多部劇場與影像作品擔任聲音設計與配樂。

自 2009 年的實驗音樂劇《黑暗巴洛克》起,李婉菁便不斷挑戰展演的邊界。近年,她更將熱情投入 AI 音樂的開拓與教育,不僅擔任大學教職,更在全台各地舉辦工作坊,引導無數青年創作者與藝術愛好者,運用生成式工具探索科技與藝術交融的無限可能。
 

  其作品在國際舞台上備受矚目,〈扮仙〉、〈River〉等作曾獲選於紐約電子音樂節、ICMC 等指標性平台。紐約樂評人 Jean Ballard Terepka 曾如此形容她的音樂:「一種舞者般的細膩與宇宙般的宏大感油然而生。」李婉菁的創作,不僅是聲音的實驗,更是對時代、科技與人性思辨的回響。
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李婉菁 | Wuan-Ching Lee

 

實驗音樂作曲家、AI 藝術研究者

西拉雅族音樂家,創作橫跨古典、實驗電子至重金屬搖滾,以冷冽電子音色折射深層人性。近年專注於 AI 生成式藝術的研究、創作與教學,探索科技與藝術的互證關係。

 

學術背景與研究

 

  • 博士生 | 國立臺灣藝術大學 藝術管理與文化政策研究所

    • 研究領域:AI 藝術與文化政策、展演空間公共性

  • 電腦音樂碩士 | 約翰霍普金斯大學 皮博迪音樂院 (Peabody Institute of The Johns Hopkins University)

    • 師事 Dr. Geoffrey Wright,畢業論文獲選於國際電腦音樂協會大會 (ICMC) 發表。

  • 音樂學士 | 東吳大學音樂系、台南應用科技大學音樂系

    • 曾師事李茂松、Charles Covington、宋允鵬、李潤愛、許明鐘、黃燕忠等教授。

 

教學與推廣

 

        長年致力於前衛音樂的推廣與教育,曾任教於國立清華大學及輔仁大學音樂系。近年聚焦 AI 藝術,於全台大專院校、文化機構及地方場館主持「電腦音樂」與「AI 音樂」系列工作坊,培育青年創作者,引導大眾運用生成式工具拓展創作邊界。

 

跨域合作與展演

 

      長期與國內外藝術家及機構合作,擔任音樂設計、配樂與聲音設計。重要合作夥伴包括身體氣象館、經維互動、探索頻道、星星戲樂,以及藝術家姚立群、盧盈良、吳俊輝、陳明秀、陳偉、劉守曜與區秀詒(馬來西亞)等。
 

代表性跨域展演:
 

  • 音樂總監 | 星星戲樂《唱吧!唱吧!》(2023–)

  • 音樂設計 | 《Oh! Baby!》首爾、台北演出 (2025)

  • 創作 | 實驗電子音樂劇《五月》,獲國家文化藝術基金會補助 (2022)

  • 策劃 | 「手作:巴爾的摩-首爾-台北」三城連線音樂會 (2014)

  • 現場演出 | 實驗電影《狂喜洗澡狂》,與韓國藝術家李幸俊合作 (2012)

  • 創作 | 實驗音樂劇《黑暗巴洛克》,牯嶺街國際小劇場藝術節 (2009)
     

樂團經歷:
 

  • 曾任跨界美聲樂團 Indulge、金屬樂團**「閃靈」及「衹」**鍵盤手。

  • 參與盤古樂團 2008 年台灣巡迴演出。

 

重要作品與國際發表 (擇選)

 

  • 〈扮仙〉: 獲選於 ISMIR (台灣, 2014)、SMC (愛爾蘭, 2015)、klingt gut! (德國, 2016)、NYCEMF (紐約, 2017)、桃園科技藝術節 (2018) 及 ICMC (韓國, 2018) 等多個國際會議與藝術節發表。

    • 紐約樂評人 Jean Ballard Terepka 讚譽其作品:「An impression of combined dancerly delicacy and cosmic largeness emerges…」

  • 〈Zhi Zhi〉: ICMC (韓國, 2023)

  • 〈秋日二重奏〉: NYCEMF (紐約, 2018)

  • 〈風舞竹〉: 攜手聲景藝術家范欽慧,融合苗栗竹林聲景、實驗電聲與現場鋼琴 (2017)。

  • 〈The Wind Bloweth Where It Listeth〉: WOCMAT–IRCAM (台灣, 2016)

  • 〈River〉: ISMIR (西班牙, 2015);紐約電子音樂節 × 紐約愛樂雙年展 (2016)

  • 〈Dirge〉: ICMC (美國, 2015)




 

Wuan-Ching Li: A Musical Explorer Weaving Between Rational Technology and Sensual Sound


As an experimental music composer, AI art researcher, and a member of the Siraya indigenous people of Taiwan, Wuan-Ching Lee's musical journey began with a deep-rooted classical foundation. Taught by her father, Professor Mao-Sung Lee, from a young age, she graduated from Soochow University and Tainan University of Technology’s music departments. She then furthered her studies at the prestigious Peabody Institute of The Johns Hopkins University in the United States, earning a Master's degree in Computer Music, where her thesis was recognized and selected for presentation at the International Computer Music Conference (ICMC). Currently, she is a doctoral candidate at National Taiwan University of Arts, focusing her research on AI art, cultural policy, and the public nature of performance venues.
 

Her creative spectrum is exceptionally broad, spanning classical, experimental electronic, and even heavy metal. She was the keyboardist for the renowned metal bands Chthonic and Zhi, and her musical style is characterized by cool, sharp electronic timbres that reflect deep contemplation on the human condition. This unique artistic language has made her a sought-after collaborator for interdisciplinary projects, leading to long-term partnerships with institutions like Body Phase Studio and Discovery Channel, and serving as the sound designer and composer for numerous theatre and film productions.
 

Since her 2009 experimental musical Dark Baroque, Lee has relentlessly pushed the boundaries of performance. In recent years, she has dedicated her passion to the pioneering and education of AI music. Beyond her university teaching positions, she has led workshops across Taiwan, guiding countless young creators and art enthusiasts to explore the infinite possibilities where technology and art intersect using generative tools.
 

Her works have gained significant attention on the international stage, with pieces like "Ban-Sin" and "River" being featured at prestigious platforms such as the New York City Electroacoustic Music Festival (NYCEMF) and ICMC. New York critic Jean Ballard Terepka once described her music as follows: "An impression of combined dancerly delicacy and cosmic largeness emerges…" Wuan-Ching Lee's creations are more than sonic experiments; they are resonant reflections on our times, technology, and the human psyche.

 

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Wuan-Ching Lee

 

Experimental Music Composer, AI Art Researcher

A musician of the Siraya indigenous people of Taiwan, her compositions span from classical and experimental electronic to heavy metal, using cool electronic timbres to reflect the depths of the human condition. In recent years, she has focused on the research, creation, and teaching of generative AI art, exploring the symbiotic relationship between technology and art.

 

Education and Research

 

  • PhD Student | Graduate Institute of Arts Management and Cultural Policy, National Taiwan University of Arts

    • Research Areas: AI Art and Cultural Policy, The Publicness of Performance Venues

  • Master of Music, Computer Music | Peabody Institute of The Johns Hopkins University

    • Studied under Dr. Geoffrey Wright. Thesis was selected for presentation at the International Computer Music Conference (ICMC).

  • Bachelor of Music | Soochow University; Tainan University of Technology

    • Studied with professors including Mao-Sung Lee, Charles Covington, Yun-Peng Sung, Run-Ai Lee, Ming-Chung Hsu, and Yen-Chung Huang.
       

 

Teaching and Outreach

 

Long dedicated to the promotion and education of avant-garde music, she has held teaching positions at National Tsing Hua University and Fu Jen Catholic University. Her recent focus is on AI art, leading a series of "Computer Music" and "AI Music" workshops at universities, cultural centers, and local venues across Taiwan to cultivate young creators and empower the public to expand their creative boundaries with generative tools.

 

Interdisciplinary Collaborations and Performances

 

She has extensive experience collaborating with local and international artists and institutions as a music designer, composer, and sound designer. Key partners include Body Phase Studio, GIS Group, Discovery Channel, and Star Theater, as well as artists such as Li-Chun Yao, Ying-Liang Lu, Chun-Hui Wu, Ming-Hsiu Chen, Wei Chen, Shou-Yao Liu, and Sau-Yi Au (Malaysia).
 

Selected Interdisciplinary Productions:
 

  • Music Director | Sing it! Sing it!, Star Theater (2023–Present)

  • Music Design | Oh! Baby!, Seoul & Taipei (2025)

  • Composer | Experimental e-musical May, recipient of a grant from the National Culture and Arts Foundation (2022)

  • Curator | "Handmade: Baltimore-Seoul-Taipei" Tri-City Concert (2014)

  • Live Performance | Experimental film Orgasm Bath Madness, with Korean artist Haeng-Jun Lee (2012)

  • Composer | Experimental musical Dark Baroque, Guling Street Avant-Garde Theatre Festival (2009)

Band Experience:

  • Former keyboardist for the crossover vocal group Indulge and metal bands Chthonic and Zhi.

  • Toured with the band Pangu in Taiwan (2008).
     

 

Selected Works and International Presentations

 

  • 〈Ban-Sin〉: Presented at numerous international conferences and festivals, including ISMIR (Taiwan, 2014), SMC (Ireland, 2015), klingt gut! (Germany, 2016), NYCEMF (USA, 2017), Taoyuan Arts and Tech Festival (2018), and ICMC (S. Korea, 2018).

    • Praised by New York critic Jean Ballard Terepka: “An impression of combined dancerly delicacy and cosmic largeness emerges…”

  • 〈Zhi Zhi〉: ICMC (S. Korea, 2023)

  • 〈Autumn Duo〉: NYCEMF (USA, 2018)

  • 〈Bamboo Dancing in the Wind〉: A 2017 collaboration with soundscape artist Chin-Hui Fan, blending the sound of Miaoli’s bamboo forests with experimental electronics and live piano.

  • 〈The Wind Bloweth Where It Listeth〉: WOCMAT–IRCAM (Taiwan, 2016)

  • 〈River〉: ISMIR (Spain, 2015); New York City Electroacoustic Music Festival × New York Philharmonic Biennial (2016)

  • 〈Dirge〉: ICMC (USA, 2015)

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