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    장르적 경계를 넘어선 시각예술: ELECTRONICA-IV 참관기

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    https://www.riss.kr/link?id=A107998372

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    다국어 초록 (Multilingual Abstract) kakao i 다국어 번역

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    ELECTRONICA-IV is the fourth project in a series that clarinetist Geonju Kim has presented every year, based on her researches with focus on the repertoire for clarinet and electroacoustic sound. This ELECTRONICA series has been persistently trying new attempts over the years; ELECTRONICA-I performed mainly audio-centered works, while the fourth showed a remarkably different stage. In the white-cube hall, video art works transforming in response to the player’s sound, digital scores generated in real time, countless cable lines exposed unreservedly, and composers programming live on the stage demonstrated that there were no longer limit to express and no distinction between things to reveal and things to cover. The recitals for solo instrument in Korea typically had a unified and conventional style, which seems to get more diversified and more flexible by the attempts such as this series. The author reviews some characteristic points with six artworks featured in the fourth concert.
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    ELECTRONICA-IV is the fourth project in a series that clarinetist Geonju Kim has presented every year, based on her researches with focus on the repertoire for clarinet and electroacoustic sound. This ELECTRONICA series has been persistently trying ne...

    ELECTRONICA-IV is the fourth project in a series that clarinetist Geonju Kim has presented every year, based on her researches with focus on the repertoire for clarinet and electroacoustic sound. This ELECTRONICA series has been persistently trying new attempts over the years; ELECTRONICA-I performed mainly audio-centered works, while the fourth showed a remarkably different stage. In the white-cube hall, video art works transforming in response to the player’s sound, digital scores generated in real time, countless cable lines exposed unreservedly, and composers programming live on the stage demonstrated that there were no longer limit to express and no distinction between things to reveal and things to cover. The recitals for solo instrument in Korea typically had a unified and conventional style, which seems to get more diversified and more flexible by the attempts such as this series. The author reviews some characteristic points with six artworks featured in the fourth concert.

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