The Sealman (2004)
music for animationpremiered at NTU Hall Cafe in Taiwan, April 4(Children's Day), 2004
PaleFire II (2004)
for clarinet and tape
PaleFireII, inspired by Vladimir Nabokov’s 1962 novel Pale Fire, gives an attempt to explore a postmodern syntax in music. As the novel gradually unfolds the obscurity and ridiculousness of the seeming reality-“What is real? Which is real?”- the two performing entities gradually transform their shared elements into a labyrinth of dazzling complexity. By placing the clarinet and the tape on equal grounds, the two do not state a contrapuntal relationship, but rather a parallel presentation of respective statements. The tape begins with mimicking what the “real” clarinet plays. Later they diverge, but periodically coincide. This “push-and-pull” continuously takes place, and also affects on the variety of speed. The piece was dedicated to Wei-Leng Chen, a fine musician and one of the most significant mentors in my musical life.
Soundstates (1998/2001--1st revision)
for precussion and tape
Soundstates explores the 3 states of matter (gas, liquid and solid) and their transformations into one another. This flowing from one sound state to the other forms the basis of the structure of the piece, to reflect a similar process in the spontaneous changes in nature. The piece begins with solid, block-like sounds which gradually disintegrate; it ends with a succession of rising, more atmospheric sounds, with a return to elements of the original material. The source sounds were mostly drawn from the marimba and were digitally processed in the CLM (Common Lisp Music) environment. Many thanks to Juan Pampin who helped me in employing CLM instruments.
The 1st revision of "Soundstates" was premiered by Miho Takekawa in May 15, 2001,in CARTAH, Univ. of Washington.
The Captured Shadow (2001)
for soprano trombone, delay, and pre-recorded tape
The Captured Shadow pursues a theatrical aspect of live electronic music. Inspired by novels of Fitzgerald's, the piece experiments with the representation of literal meanings in music, such as "betrayal" and "emptiness." The work utilizes speech-like materials and the pitch flexibility of the soprano trombone to present a vague story-telling voice. This narrator, though often obscure, creates a context for the musical representation of literary ideas. I am indebted to Chris Burns for his help in every aspect of this work.
The Captured Shadow was premiered by Chris Burns on April 27, 2001.
Elegy is the third in a series of works dedicated to the memory of my father. Each work in the series utilizes the pitches C and G# as points of departure and/or arrival (these two pitches come from my father's initials).
This piece for Chris Chafe's special instrument, the celetto, is concerned with the purification of tone. C and G# are highlighted, but they are treated as anchors in a larger pitch world that expands around them. Elegy could be viewed as a complement to my third study for two pianos, which is another work in this series.
Elegy was premiered by Chris Chafe with his celleto in the CCRMA-CNMAT exchange concert in April 2000, and recently presented in the Seoul Electronic Music Festival in Korea in Nov 2000.
for clarinet and delay
Delay lines, as "Counterattack," begin by echoing only the strong notes played by the clarinet (processed through an amplitude follower) but gradually take over the performance from the clarinet during the course of 5 stages. The delay lines utilize various controls of delay time, feedback amount, detectable values and pitch shifts. The clarinet sound is processed in real-time in the Max/MSP environment.
Counterattack was premiered by Matt Ingalls in the fall CCRMA concert in 1999.
for percussion and tape
Soundstates presents and explores the 3 states of matter (gas, liquid and solid) and their transformations into one another. This flowing from one sound state to the other forms the basis of the structure of the piece, to reflect a similar process in the spontaneous changes in nature. The piece begins with solid, block-like sounds which gradually disintegrate; it ends with a succession of rising, more atmospheric sounds, with a return to elements of the original material. The coda carries residual traces of preceding elements. The source sounds were mostly drawn from the marimba, played by Randal Leistikow. They were digitally processed in the CLM (Common Lisp Music) environment. Many thanks to Juan Pampin who helped me in employing CLM equipment, and to Randal's performance.
"Soundstates" was premiere by Randal Leistikow in the fall 98' CCRMA concert, performed by Pei-Ching Wu at the National Concert Hall in Taipei in December, and performed at the ICMC (International Computer Music Conference) in Octobor 1999. Recenly it was presented at the New Music Symposium 2000 in New Mexico.