Location |
MUTED 들리지 않는 소리
*이 프로젝트는 New Music USA 창작기금의 지원을 받았습니다.
*MUTED was supported by New Music USA’s Creator Fund with support in part from the Howard Gilman Foundation, The Cheswatyr Foundation, The ASCAP Foundation Bart Howard Fund, and the BMI Foundation.
“동양인은 미국사회에 과연 존재하는가? 동양인은 소수 인종의 분류에도 들어가지 못한다. 인종이라고 하기에 민망할 정도로 동양인의 존재는 미미하다. 우리는 인간(인종)에도 들어가지 못하는 물질에 불과하다.” – Cathy Park Hong, Minor Feelings 중
“Asians lack presence. Asians take up apologetic space. We don’t even have enough presence to be considered real minorities. We’re not racial enough to be token. We’re so post-racial we’re silicon.” – Cathy Park Hong, from Minor Feelings
2020 년, 나에게 Cathy Park Hong 만큼 마음을 울리는 작가도 없었다. 나의 생물학적 정체성은 항상 나의 사회적 지위를 압도한다. 대학원을 졸업하고 나는 교육자이자 전문 연주자가 되었지만 동양 여성이라는 나의 정체성은 내가 얻은 지위를 무색게 한다. 미국 사회가 바라보는 나는 20 년 전에도 지금도 동양 여성일 뿐이다 – 조용하고 순종적이고 무색 무취한.
사람들은 피아노를 종종 오케스트라와 비교한다. 이 거대한 악기는 거대한 음향을 자랑한다. 피아니스트는 화려한 기량을 뽐내고 청중은 다양한 음색에 매료된다. 나는 이에 반하고 싶었다. 2023 년 작곡가 Chen-Hui Jen, Grace Ann Lee, Anruo Cheng 에게 작품을 위촉하면서 나는 현대음악 기법 (muting & harmonics)을 최대한 이용한 곡을 부탁했다. 결과적으로 피아노의 전통적인 소리에 반하는 세 개의 작품을 받았다. 어느 작품도 결코 조용하고 순종적이고 무색 무취하지 않았다. – 고은미
I moved to the United States in 2004. Since then, I have transitioned from a graduate student to a professional performer and faculty member at a university. Although I went through diZerent phases in life, I have always been seen as an Asian woman. What American society sees in me has not changed. I was a stereotypical Asian woman, and I am a stereotypical Asian woman – subdued and demure, in other words, “muted.” I am a muted person without vivid colors. Naturally, a muted person’s voice wouldn’t be heard. My voice is muted.
The muted piano sound is not a representation of traditional piano sound. Piano has been compared with an orchestra. Piano offers virtuosity, brilliance, sensitivity, seven-octave ranges, rich colors, thick and massive chords, and multiple voices. MuZled(muted) sound was not associated with the characteristics of a piano.
I want to explore the muted piano sound. I want to express myself as a performer and person through muted notes that are quiet, muffled, and unbrilliant. – Eunmi Ko
프로그램 PROGRAM
Approaching somber waves
Chen-Hui Jen
Me-ah-ri
Grace Ann Lee
Reflections
I. Dragon Lotus
II. Ni Hao
III. My Dear Absent Voice
Anruo Cheng
피아노 piano
고은미 Eunmi Ko http://eunmiko.com
작곡가 composers
Chen-Hui Jen https://hmcrecluse.net
Grace Ann Lee https://www.graceannlee.com
Anruo Cheng https://www.anruocheng.com
안무 자문 Sarah Walston Phillips https://www.atlasmodernballet.org/company
Special thanks to Sarah for helping me with the choreography
*MUTED was supported by New Music USA’s Creator Fund with support in part from the Howard Gilman Foundation, The Cheswatyr Foundation, The ASCAP Foundation Bart Howard Fund, and the BMI Foundation.
“동양인은 미국사회에 과연 존재하는가? 동양인은 소수 인종의 분류에도 들어가지 못한다. 인종이라고 하기에 민망할 정도로 동양인의 존재는 미미하다. 우리는 인간(인종)에도 들어가지 못하는 물질에 불과하다.” – Cathy Park Hong, Minor Feelings 중
“Asians lack presence. Asians take up apologetic space. We don’t even have enough presence to be considered real minorities. We’re not racial enough to be token. We’re so post-racial we’re silicon.” – Cathy Park Hong, from Minor Feelings
2020 년, 나에게 Cathy Park Hong 만큼 마음을 울리는 작가도 없었다. 나의 생물학적 정체성은 항상 나의 사회적 지위를 압도한다. 대학원을 졸업하고 나는 교육자이자 전문 연주자가 되었지만 동양 여성이라는 나의 정체성은 내가 얻은 지위를 무색게 한다. 미국 사회가 바라보는 나는 20 년 전에도 지금도 동양 여성일 뿐이다 – 조용하고 순종적이고 무색 무취한.
사람들은 피아노를 종종 오케스트라와 비교한다. 이 거대한 악기는 거대한 음향을 자랑한다. 피아니스트는 화려한 기량을 뽐내고 청중은 다양한 음색에 매료된다. 나는 이에 반하고 싶었다. 2023 년 작곡가 Chen-Hui Jen, Grace Ann Lee, Anruo Cheng 에게 작품을 위촉하면서 나는 현대음악 기법 (muting & harmonics)을 최대한 이용한 곡을 부탁했다. 결과적으로 피아노의 전통적인 소리에 반하는 세 개의 작품을 받았다. 어느 작품도 결코 조용하고 순종적이고 무색 무취하지 않았다. – 고은미
I moved to the United States in 2004. Since then, I have transitioned from a graduate student to a professional performer and faculty member at a university. Although I went through diZerent phases in life, I have always been seen as an Asian woman. What American society sees in me has not changed. I was a stereotypical Asian woman, and I am a stereotypical Asian woman – subdued and demure, in other words, “muted.” I am a muted person without vivid colors. Naturally, a muted person’s voice wouldn’t be heard. My voice is muted.
The muted piano sound is not a representation of traditional piano sound. Piano has been compared with an orchestra. Piano offers virtuosity, brilliance, sensitivity, seven-octave ranges, rich colors, thick and massive chords, and multiple voices. MuZled(muted) sound was not associated with the characteristics of a piano.
I want to explore the muted piano sound. I want to express myself as a performer and person through muted notes that are quiet, muffled, and unbrilliant. – Eunmi Ko
프로그램 PROGRAM
Approaching somber waves
Chen-Hui Jen
Me-ah-ri
Grace Ann Lee
Reflections
I. Dragon Lotus
II. Ni Hao
III. My Dear Absent Voice
Anruo Cheng
피아노 piano
고은미 Eunmi Ko http://eunmiko.com
작곡가 composers
Chen-Hui Jen https://hmcrecluse.net
Grace Ann Lee https://www.graceannlee.com
Anruo Cheng https://www.anruocheng.com
안무 자문 Sarah Walston Phillips https://www.atlasmodernballet.org/company
Special thanks to Sarah for helping me with the choreography
Intermission
Water Dust for indeterminate performers and video (2024)
Water Dust is a piece by composer Patrick Chin Ting CHAN that explores the symbolic and aesthetic aspects of water and dust. Inspired by the contrast and connection between these elements, the piece embodies dualities such as purity and impurity, change and stagnation, emotion and reason. It pushes the boundaries between art and science, nature and culture, order and chaos, inviting the audience to immerse themselves in a fluid and organic world of sound and vision.
The work consists of 17 short videos. The graphics and sounds conjure up imagery of water droplets, dust particles, and other microscopic phenomena, featuring abstract and distorted geometric patterns or waves in motion, and employing two primary color groups: blue and brown. Accompanying the videos, a group of performers improvises during or between the segments, responding to and reflecting on the audiovisuals to interpret the duality of these contrasts.
The work consists of 17 short videos. The graphics and sounds conjure up imagery of water droplets, dust particles, and other microscopic phenomena, featuring abstract and distorted geometric patterns or waves in motion, and employing two primary color groups: blue and brown. Accompanying the videos, a group of performers improvises during or between the segments, responding to and reflecting on the audiovisuals to interpret the duality of these contrasts.
Personnel
Patrick Chin Ting CHAN, eurorack modular synthesizer/live visuals
Joshua Gerowitz, guitar/electronics
Eunmi Ko, melodica/piano
Sangbin Lee, computer/electronics
Soobin Lee, melodica/ukulele
Louis Lopez, trumpet/electronics
Joshua Gerowitz, guitar/electronics
Eunmi Ko, melodica/piano
Sangbin Lee, computer/electronics
Soobin Lee, melodica/ukulele
Louis Lopez, trumpet/electronics
Biographies

Composer Patrick Chin Ting CHAN grew up in Hong Kong and came to the United States in 2003. He has been featured in festivals including Ars Electronica, IRCAM's ManiFeste, ISCM World Music Days, and UNESCO International Rostrum of Composers, among others. He has worked with ensembles such as City Chamber Orchestra of Hong Kong, Ensemble intercontemporain (France), Ensemble Metamorphosis (Serbia), eighth blackbird (U.S.), Hong Kong New Music Ensemble, Mivos Quartet (U.S.), and New York New Music Ensemble, with performances in more than thirty countries. His scores are published through BabelScores and Universal Edition. He is also an active performer and improviser of accordion, guqin, as well as live electronics using a Eurorack modular system and other custom interfaces on the computer. He is currently an Associate Professor of Music Composition at Ball State University.

Joshua Gerowitz is a composer, performer, improviser, and guitarist who resides in Los Angeles. His work is concerned with live human interaction, the juxtaposition of premeditation and spontaneity, as well as the fickle nature of our perceptual senses. He has written and performed music that involves everything from traditional instruments to bottom-shelf beer tastings, knife sharpening, ping pong, and surfing. Gerowitz has performed in many different settings and locations including but not limited to Teatro Manzoni, Walt Disney Concert Hall, Paradise Rock Club, REDCAT, Bowtie Project, Clockshop, Firehouse 12, and Los Angeles Contemporary Exhibitions. His recordings have been referred to as “eccentric and original work of multidimensional and captivating music” (Vital Weekly), and he has been called “a creative soul with hugely impressive chops, as his keen vision is assertively concentrated on blazing newer trails” (All About Jazz). Gerowitz is a cofounder (along with Georgia Bell) of SatanNotSatan (a community based multi-disciplinary artistic salon founded in 2014). He holds a B.M. in guitar performance from Berklee College of Music and an M.F.A. from CalArts in Performance/Composition.

Hailed as “exceedingly interesting” (New York Concert Review) and “kaleidoscopic”(San Francisco Classical Voice), pianist Eunmi Ko concertizes as a recitalist and chamber musician throughout Asia, Europe, and the Americas.
As a sought-after collaborator and champion of new music, she works with contemporary composers, ensembles, and performers from around the world.
Ko is the Founder and President of the Contemporary Art Music Project (CAMP). She teaches at the University of South Florida as Associate Professor of Piano. Her past positions include co-advisor of USF New Music Consortium (2016-2021), artist faculty on the Rebecca Penneys Piano Festival (2013-2018), and the assistant director of the Women in Music Festival at Eastman (2011).
Ko holds graduate degrees (MM and DMA) from the Eastman School of Music. She may also be heard on the recently published CD release of solo and chamber music. Follow her on YouTube and iTunes.
As a sought-after collaborator and champion of new music, she works with contemporary composers, ensembles, and performers from around the world.
Ko is the Founder and President of the Contemporary Art Music Project (CAMP). She teaches at the University of South Florida as Associate Professor of Piano. Her past positions include co-advisor of USF New Music Consortium (2016-2021), artist faculty on the Rebecca Penneys Piano Festival (2013-2018), and the assistant director of the Women in Music Festival at Eastman (2011).
Ko holds graduate degrees (MM and DMA) from the Eastman School of Music. She may also be heard on the recently published CD release of solo and chamber music. Follow her on YouTube and iTunes.
Now making musical stuff and studying Computer Music Theory in Korea National University of Arts located in South Korea, Seoul (also studied Computer Engineering in Konkuk University). My (Patrick Rhie) music is "rarely" being performed among South Korea and USA nowadays. Recently, I'm interested in various sound material's characteristics, aura, quality and trying to integrate them inside new systems and rules which I make (idea of System making usually derives from events or phenomenon happening around us).
I'm also interested in electric instruments such as electric guitar or self-made synths. Another big interest of mine is DSP with pre-recorded audio samples. I sometimes try to make ambient sounds or pay attention to other well-known composer's music in order to quote their musical fragments. I think composing music and performing music is a real, social activity and tend to concentrate on social aspect of sonic events and try to highlight the social, cultural, political significance of music and sometimes twist them to make humorous situation deriving from musical material's extra-musical aura. I sometimes work as an audio programmer and use pure data and supercollider mainly (w/ MAX 8 as an assistant). I also write articles about computer music theory. My article's theme includes "new ways of distortion effects", "finding frequency components of non-linear waveshaped signal", "physically modeling Gayageum (Korean traditional instrument) sound", "Interpreting Xenakis' Dynamic Stochastic Synthesis on frequency domain"...etc.
I'm also interested in electric instruments such as electric guitar or self-made synths. Another big interest of mine is DSP with pre-recorded audio samples. I sometimes try to make ambient sounds or pay attention to other well-known composer's music in order to quote their musical fragments. I think composing music and performing music is a real, social activity and tend to concentrate on social aspect of sonic events and try to highlight the social, cultural, political significance of music and sometimes twist them to make humorous situation deriving from musical material's extra-musical aura. I sometimes work as an audio programmer and use pure data and supercollider mainly (w/ MAX 8 as an assistant). I also write articles about computer music theory. My article's theme includes "new ways of distortion effects", "finding frequency components of non-linear waveshaped signal", "physically modeling Gayageum (Korean traditional instrument) sound", "Interpreting Xenakis' Dynamic Stochastic Synthesis on frequency domain"...etc.

Lee Soobin (B. 1991) is working as a composer for film scores and new music in Seoul, South Korea. In 2012, he debuted with the documentary <Run, Run, as Fast as You Can>, and has participated in many films, including both short and long films since 2012. His representative works are <The Summer> and <The Rain Comes Soon>. Most of the films that he has participated in were selected and screened at various film festivals in South Korea and abroad, including Animation is Film Festival(LA), LA Shorts International Film Festival, BFI London Film Festival, Yubari International Fantastic Film Festival, The Rochester International Film Festival, JEONJU International Film Festival, Bucheon International Fantastic Film Festival, Busan International Short Film Festival, and DMZ International Documentary Film Festival.
As a new music composer, he is interested in how to link contemporary and traditional sound. His works have been performed at various new music festivals and conferences such as Festival Présences 2023(Paris, France), the University of South Florida, and the University of North Georgia. He also planned <Project Gut> and <Project 1.5ºC & 34.7ºF> with CAMP, and they were performed in Tampa, Florida and Seoul, South Korea for two years. He has worked with various new-music ensembles and soloists such as Ensemble Modern, TIMF Ensemble, CAMP, and Odelya Trio. Currently, he is working as a lecturer at Korea National Institute for the Gifted in Arts. Since 2020, his works have been published and managed by BabelScores. Besides, he is performing as a pianist as a member of <Duo Petervin>, which is a four-hands piano group. Duo Petervin has performed in various cities including Seoul and Jeju in South Korea.
As a new music composer, he is interested in how to link contemporary and traditional sound. His works have been performed at various new music festivals and conferences such as Festival Présences 2023(Paris, France), the University of South Florida, and the University of North Georgia. He also planned <Project Gut> and <Project 1.5ºC & 34.7ºF> with CAMP, and they were performed in Tampa, Florida and Seoul, South Korea for two years. He has worked with various new-music ensembles and soloists such as Ensemble Modern, TIMF Ensemble, CAMP, and Odelya Trio. Currently, he is working as a lecturer at Korea National Institute for the Gifted in Arts. Since 2020, his works have been published and managed by BabelScores. Besides, he is performing as a pianist as a member of <Duo Petervin>, which is a four-hands piano group. Duo Petervin has performed in various cities including Seoul and Jeju in South Korea.

Louis Lopez is a performer/composer/engineer working in Los Angeles. His live performances incorporate trumpet, electronics, and custom software that he builds. As a trumpet player, he has performed and recorded with artists Wadada Leo Smith, Mike Keneally, Todd Hannigan, and Twin Temple. He has done sound design for film and television including Patagonia’s films Fish People, Finding Fontinalis, and Takayna. His work as a commercial brass arranger/performer can be heard on ads for Patagonia, Yeti, and podcasts such as LeVar Burton Reads and DC Comics’ Batman Unburied. Louis is a full-time faculty member at Pasadena City College leading the Music Production Program.