Female Effects Spain tour

I’d like to share an awesome picture of my performance from the first Spain tour of Female Effects!

Jing

The performance in Cordoba, Spain.
Photo by Erin Mckinney

Female Effects is a project consisting of new pieces for acoustic instruments and electronics, composed by female composers and curated by the harpist/performer Angélica Vázquez.

The musicians involved are: Yamila Ríos, Lula Romero and Maria José Belenguer from Spain, Kate Moore (Australia), Barbara Ellison (Ireland), Marie Guilleray (France), Fani Konstantinidou (Greece), Ji Youn Kang (Korea), Meiyi Lee (Taiwan), Wen Chin (Taiwan) and Marisol Jimenez (Mexico).

We made the second concert as a group, and this happened in Spain at 23~24th of November, 2012.

It was quite cool that all those female composers/performers got together and made a new music performance in combination between Acoustics and Electronics together. We played in two cities: first in Cadiz, and the second in Cordoba. I brought ‘Jing – A traditional Korean gong-like instrument-‘ and I felt good as well that I brought this Korean instrument there. The piece is called ‘Jing’ for Jing and Computer. 

This was also my first trip to Spain so that I wanted to look around too as much as possible, but this tight schedule was quite crazy. We slept almost nothing for two days because we needed to move all the time. The time for the soundcheck takes very long due to the technical needs and the amount of the pieces. But we had lots of fun.

When we perform at Cadiz, it was a part of the contemporary music festival Festival de Música Española de Cádiz. This means that we can expect the kind of audience who is quite interested in listening to the new music. However, the second concert was completely local concert. We played at Iglesia de la Magdalena, in a medium size old church. We were a bit worried if people would like this. One of my friends from Spain commented on my Facebook advertisement of the concert : “You play an electronic music in Cordoba??? ”

This scared me a bit, because we wanted to have some audiences involved. We worked hard to make this happen.

Then wow. There were tons of audiences from Children to Seniors. They really filled the whole church. No one left in the middle of the concert, rather they came closer and closer toward the stage. This made us so excited. People liked it very much and we had a very nice performance.

Of course we didn’t forget to have a party after all. Everyone was quite tired but we had some drinks and even went to a club to celebrate.

Now our organizer Angelica is making the second plan to Spain again. This time in Sevilla, and probably happens in April. I wish all of us to go, but in this moment we are not sure.

It is quite hard to survive as a woman Electronic music composer. There sill are prejudices that woman cannot handle computer and cables, and they would make a pretty music. This female effects throw a rock into that pool. We are very active composers mostly involving electronics to their works, have a new, charming idea on their works,  have knowledge and ability to realize it. So yes. We are female, but we are NOT feminists. We are those kind of people who just do what we’d like to do, and we met together in one field.

Should male involve in this group? Maybe and Maybe not. Not because we hate guys around here, but women composers would need a bit more of  support and more stages and opportunities to perform, and we believe that this group add a small action into that.

More information on Female Effects

 

A Recent Piece performance “Hui-Mo-Ri” for a new instrument+Live Electronics

I haven’t taken care so much for few months of my blog, but I am happy to come back with this new video recording of my new piece, “Hui-Mo-Ri.”

The instrument was built by a friend of mine Wenchin. She’s a performer/artist, and this is the first instrument she has  ever built. Due to its complications that all the woods should have holes and metal strings/motors should be attached to them, and so on, it is quite fragile, but it worked at the performance. 🙂

The instrument itself should vibrate itself by the motor, but the connection was not strongly attached enough to do so. So the live electronics was quite essential. There are two microphones attached (a DPA and a Piezo) underneath the spinning wooden plates, and under the metal plate in the middles, there is a transducer that is supposed to create a feedback with the body.

I gave some additions to this: two sticks with the contact microphone attached. Those two sticks include metal pins and iron strings too that can interact well with the feedback.

Mainly you cannot hear the original ‘instrument’ sound there. I gave all additional processing with electronics. All are realtime processing programmed on SuperCollider(of course).

I was quite happy with the sound results and the structure. There is no very detailed score, but the entire structure that I composed.

In this première of the piece, I am playing with the percussionist MeiYi Lee, my dearest friend and we make a number of performance together as a duo.

Oh, and ‘Hui-Mo-Ri’ is one of the traditional Korean Rhythm structure, that is supposedly the fastest in tempo. It also means ‘blowing all together’ as a strong wind would possibly do.

I hope you enjoy.

**people who is around Utrecht in the Netherlands at 8th of Feb, This piece will be played by Sonolab Duo at RASA. Here’s the info.

Recording of ‘Jing’ for Jing and Computer

Here I would like to share one of my pieces called ‘Jing.’

This was composed in 2010, quite challenged piece, and I worked together with the percussionist ‘Mei-Yi Lee.’

Everything was written on score (sample below) and the live electronics was done with SuperCollider.

The recording was made with two microphones, (Thanks to Kassen and Rob) and it was very challenging due to the characteristics of the instruments and how the composition itself was aimed. More specifically, the range of the dynamic goes from Zero to .. I don’t know.. easily up to 120 db. I was having a hard time when I was right beside the instrument in order not to change my facial expression because it was just really really loud.

We needed to record several times because of this, avoiding clipping, and very small editing was involved because of the soft parts.

Of course live music should be heard in live for sure. But it was a happy moment when we finally managed to finish this recording, and now I can share with many more people.

Oh, by the way, Jing is a Korean percussion that is used in many other occasions especially in rituals. It has both a very gentle warm, embracing base sound to very hard crazy complex noise. So that I wanted to show all the character, and the percussionist is shown as he/she is communicating and triggering it. So in the piece, Jing is answering, expressing, angry, and so on. It has its own personality. Electronics is used for this conversation and also help to create what moods it is going to be.

I hope anyone who reads this can enjoy the piece. Thanks!