recordings
Shadow for Amplified Bassoon and Electronics (2018)
Shadow is a piece for amplified bassoon and electronics. Max/MSP acts as the primary source for live signal processing in conjunction with Ableton Live. Particularly, this piece investigates in pitch and tempo tracking. The main goal of this piece is to execute a great degree of computer programming for a creation of an electro-acoustic composition that incorporates high degree of freedom for a performer to interact with electronic manipulations. A performer does not follow strictly timed cues and notations. Rather, a performer triggers changes in music whenever he/she feels appropriate. To do this, a MIDI foot switch is provided to cue and trigger pre-mapped commands in order to sequence through sections, each containing a unique set of commands for the signal processing, hence creating different textures in sound over the course of the piece.
Lush for Amplified Flute and Piano (2018)
This electroacoustic piece was born out of a collaborative project between NYU graduate composers and RighteousGIRLS. Lush utilizes computer technology that supplements the traditional acoustic performance practice. Particularly, an amplified flute interacts with a live signal processing system that produces semi-determined effects without distracting the improvisatory nature of the piece. The click track is given to the pianist, who then regulates the pulse with the digital track.
Audile's Dream (2018)
Consider what it would be to dream in sound—sound sculpting a world and navigating you through its environment; words narrating your bodily presence and surrounding stimuli. Through the fusion of an electro-acoustic sound environment and abstract poem, this composition provides a gateway into this surreal world. Sound attempts to liberate words from their seemingly definitive nature, not only by their sheer presence within music, but also through sound’s ability to explore words’ undertones. The bridge between the linguistic world and musical world tightens as chosen words take on the timbre of their sound environments, creating a more vibrant, sensual experience. It is your imagination that will then dictate the final shape of this dream.
Lunar River (2018)
Lunar River is a musical narrative for string quartet. It evokes an imaginary atmosphere where music informs the world of its state of existence. As music proceeds chapter by chapter, it recites a fascination of the moon, one founded deep within me as a child looking upon the night sky through a telescope. Though mono-tonal with its all gray surface, multiplex shapes and shades unfold as curiosity takes over to turn the unknown world known.The simple facade now retains storyful depth to paint my imagination with colors, or in this case, with the four colliding voices of strings. Music is there to capture and celebrate this
memory.
Prototype I [There Is a World] (2016)
The music and text are designed to express my commitment of establishing a new form of human expression and entertainment. The focal intent of this composition is to depart from the comforting familiarity of today’s music and to discover further possibilities of 21st century music. As an actualization of what future music could be, this composition requires a profound level of interactive association between the performers and digital processing. [Click here to read in full]
Prototype III Mov.1 [Matter of Mind] (2017)
This piece is designed to bridge the gap between live acoustic instruments and digital music technology. The acoustic piano, for example, is manipulated digitally—not to disregard the conventional sonority of the acoustic piano, but to further expand its expressiveness. In this case, it is meant to symbolize the idea of stars being threaded onto the sky. In addition, voice is digitally manipulated in specific lines of the poem in order to vividly express the world of the story to the audience. [Click here to read in full]
Remember the Blue (2017)
For this project, I have reconfigured a moment from the past to tell a story—a story that is not innate in the moment itself but comes to life through my reinterpretation of the perceived world. Though the awareness of environmental issues is commonplace, the degree of urgency to act upon a solution present within each individual is miniscule. This lack of urgency finds its comfort in the gap between the world we perceive and the reality that earth endures; yes, there was a 0.8 degrees Celsius rise in the earth’s temperature over the past century, but who really senses that change in his or her daily life? Since the cultivation of modern society, we have become so remote from nature that this gap, though ever-growing, has become nearly invisible. [Click here to read in full]
At Sea (2016)
Composed for my band Bear Village, this song has been one of many tunes that made its way around NYC venues in the past years. In terms of compositional ideas, it is a hybrid of jazz and pop; the immediacy borrowed from pop and the depth of craftsmanship borrowed from jazz has been fused together in order to innovate popular music of the future. Utilizing uncommon voicings on guitar, harmonies aim to fabricate the emotion of the story. [Click here to read in full]
Unanswered Question (2017)
This project is an attempt to actualize one conceivable way in which digital technology can penetrate our musical expressions, not simply as a supplement, but as an integral component that fabricates the music itself. We hope that this project will portray a new potential for the sound of future music. The extent to which musical idioms achieve in the pursuit for higher human expression has long been exploited by numerous musicians, and to stand at the frontier of this exploration upholds as a dominant task for contemporary musicians. In the search for something new, or rather, something further refined and matured, we seek to welcome (and to take the accompanying risks of) digital technology into the process of crafting and actualizing music. [Click here to read in full]