Unclipped Asymmetrical Cycling [2019]
for Four Guitars with Live Electronics
Commissioned for Interstring Project by Crossroads International Music Festival
Instrumentations: One Electronic guitar, Two prepared Acoustic guitars, One Electronic Bass and One Midi-controller
World Premiere: November 2019 || Crossroads International Music Festival, Salzburg, Austria
Interstring project
Duration: 10 minutes
Concerts history
Interstring Project, October 2019, Trossingen, Germany Interstring Project, November 2019 for Crossroads International Music Festival, Salzburg, Austria
Interstring Project, May 2021, Trossingen, Germany
Interstring Project, January 2022 for Festivals Klub Katarakt, Hamburg, Germany
Interstring Project, April 2022 for IGNM, Basel, Switzerland
Interstring Project, April 2022 for INTER/FACE, Paris, France
Interstring Project, April 2022 for Radio SRF Basel, Switzerland
Interstring Project, June 2022 for Radio SRF Basel, Switzerland
Interstring Project, December 2022 Villingen-Schwenningen, Germany
This piece is composed for four guitarists, midi controllers, and live electronics. In terms of computational process, the electronic part consists of a sound playback system (tape), real time audio processing for four guitars, and a computer generated sound system that is manipulated with an on stage midi controller. These systems combine or independently interlock each other. This piece is the practice/representation of the Morton Feldman’s notion of a ‘crippled symmetry’ with noisy objects and texture based on the conceptual sensibility of gestalt psychology.
For this piece, there are cells, which are the smallest musical unions in the whole structure of the work. In the first section of the piece, the cells are united and used as a developmental motif (thematic context). In the second section, the motivic cells from the first section are degraded and reinstated, independent of their previous context. This transformation turns them into are called generative cells. Each of these generative cells has its own weight , which then take on a different meanings from the first section due to the use of new temporal and sonic spaces created in each successive moment. Through this process, the composer allows the audience to ruminate on how the processional temporal unfolding generative cells relate to the preceding moments, so that the audience can get into new space with the memories (created by the use of the cells earlier in the work). However, the audience will perceive confusion and illusion from the memories. In the third section, these cells are reunited and transformed via a real time audio process. These transformations allow the audience to once again get into new spaces with a new perceptional sound even if the cells are cycling. In the last section, each of cells are totally changed into a dense noise progression towards the end.
Hunjoo Jung 