Finishing a composition means the beginning of other work. Posting the audio files on the web is the first step in sharing my music, but it is not the only way to showcase the piece’s best aspects. Music for human performers is meant to be experienced in live concerts. Some generative music’s value is in creating and hearing multiple versions. As an electronic music researcher and teacher, presenting the algorithms, codes, and other relevant findings may be as important as sharing the music.
I do the above to present my work to reach a wider audience. In the Presenting section of Computer Music Practice, I provide more concrete examples of my efforts to do so. Electroacoustic performers interested in promoting their works, as well as curators interested in adding electronic music to their events, may benefit from reading the articles in this section.
- Solo Performance: Solo performances account for the largest portion of my stage appearances. Performing solo electronic music needs specific preparations. The practice of preparing and presenting electroacoustic solo works changes over time, and I share a record of these changes spanning more than a decade.
- Electronic Ensemble: Practice and presentation methods for electronic ensembles vary widely, and there are few records about them. Proper documentation of the creative process helps the evaluation of the genre. I share my approach to running an electronic ensemble so that those interested can use it as a reference.
- Tools: Some of my pieces are written as a demo of computer music techniques. Those compositions feature research that could be applied to other people’s works. The articles in this section introduce tools and technologies that can be used and modified. Please credit the creator if sounds and codes made with the tools provided here are applied to a piece.
- Workshops: I enjoy providing opportunities to learn about tips and techniques of electronic music production and performance. I share teaching materials for in-person or virtual workshops on electronic ensemble and SuperCollider.
Live electroacoustic music, the genre of music in which I excel, is not well-known. It has relatively little historical context and resources for evaluation, or I am asking people I don’t know to attend a concert where they may not see the relationship between the performer’s actions and the sound. One way to mitigate this inherent challenge is to provide as many opportunities as possible to listen, create, and play electronic music. It requires more effort, such as running workshops and sharing tools. The entries in the Presenting section are my version of such efforts.
Computer Music Practice (CMP) is an interactive and personal example of computer musicianship. Click each entry in the chart to read and listen to Joo Won Park’s computer music research.