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あ ぁ か が さ ざ た だ な は ば ぱ ま や ゃ ら わ ゎ ん い ぃ き ぎ し じ ち ぢ に ひ び ぴ み り う ぅ く ぐ す ず つ づ っ ぬ ふ ぶ ぷ む ゆ ゅ る え ぇ け げ せ ぜ て で ね へ べ ぺ め れ お ぉ こ ご そ ぞ と ど の ほ ぼ ぽ も よ ょ ろ を
ア ァ カ サ ザ タ ダ ナ ハ バ パ マ ヤ ャ ラ ワ ヮ ン イ ィ キ ギ シ ジ チ ヂ ニ ヒ ビ ピ ミ リ ウ ゥ ク グ ス ズ ツ ヅ ッ ヌ フ ブ プ ム ユ ュ ル エ ェ ケ ゲ セ ゼ テ デ ヘ ベ ペ メ レ オ ォ コ ゴ ソ ゾ ト ド ノ ホ ボ ポ モ ヨ ョ ロ ヲ ―

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ㅥ ㅦ ㅧ ㅨ ㅩ ㅪ ㅫ ㅬ ㅭ ㅮ ㅯ ㅰ ㅱ ㅲ ㅳ ㅴ ㅵ ㅶ ㅷ ㅸ ㅹ ㅺ ㅻ ㅼ ㅽ ㅾ ㅿ ㆀ ㆁ ㆂ ㆃ ㆄ ㆅ ㆆ ㆇ ㆈ ㆉ ㆊ ㆋ ㆌ ㆍ ㆎ
Α Β Γ Δ Ε Ζ Η Θ Ι Κ Λ Μ Ν Ξ Ο Π Ρ Σ Τ Υ Φ Χ Ψ Ω α β γ δ ε ζ η θ ι κ λ μ ν ξ ο π ρ σ τ υ φ χ ψ ω
á à Á À é è É È ç Ç ê
Ä Ö Ü ä ö ü ß
ְ ֳ ֲ ֱ ָ ַ ֵ ֶ ִ ֹ ּ ֻ ׂ ׁ ּ פ ם ן ו ט א ר ק ף ך ל ח י ע כ ג ד ש ץ ת צ מ נ ה ב
‘ ’ “ ” 〔 〕 〈 〉 「 」 『 』 【 】 ＂ （ ） ［ ］ ｛ ｝
± × ÷ ≠ ≤ ≥ ∞ ∴ ♂ ♀ ∠ ⊥ ⌒ ∂ ∇ ≡ ≒ ≪ ≫ √ ∽ ∝ ∵ ∫ ∬ ∈ ∋ ⊆ ⊇ ⊂ ⊃ ∪ ∩ ∧ ∨ ￢ ⇒ ⇔ ∀ ∃ ∮ ∑ ∏ ＋ － ＜ ＝ ＞
、 。 · ‥ … ¨ 〃 ― ∥ ＼ ∼ ´ ～ ˇ ˘ ˝ ˚ ˙ ¸ ˛ ¡ ¿ ː ！ ＇ ， ． ／ ： ； ？ ＾ ＿ ｀ ｜
½ ⅓ ⅔ ¼ ¾ ⅛ ⅜ ⅝ ⅞ ¹ ² ³ ⁴ ⁿ ₁ ₂ ₃ ₄
Æ Ð Ħ IJ Ł Ø Œ Þ Ŧ Ŋ æ đ ð ħ ı ij ĸ ŀ ł ø œ ß þ ŧ ŋ ʼn
А Б В Г Д Е Ё Ж З И Й К Л М Н О П Р С Т У Ф Х Ц Ч Ш Щ Ъ Ы Ь Э Ю Я а б в г д е ё ж з и й к л м н о п р с т у ф х ц ч ш щ ъ ы ь э ю я
′ ″ ℃ Å ￠ ￡ ￥ ¤ ℉ ‰ ＄ ％ Ｆ ￦ ㎕ ㎖ ㎗ ℓ ㎘ ㏄ ㎣ ㎤ ㎥ ㎦ ㎙ ㎚ ㎛ ㎜ ㎝ ㎞ ㎟ ㎠ ㎡ ㎢ ㏊ ㎍ ㎎ ㎏ ㏏ ㎈ ㎉ ㏈ ㎧ ㎨ ㎰ ㎱ ㎲ ㎳ ㎴ ㎵ ㎶ ㎷ ㎸ ㎹ ㎀ ㎁ ㎂ ㎃ ㎄ ㎺ ㎻ ㎽ ㎾ ㎿ ㎐ ㎑ ㎒ ㎓ ㎔ Ω ㏀ ㏁ ㎊ ㎋ ㎌ ㏖ ㏅ ㎭ ㎮ ㎯ ㏛ ㎩ ㎪ ㎫ ㎬ ㏝ ㏐ ㏓ ㏃ ㏉ ㏜ ㏆
§ ※ ☆ ★ ○ ● ◎ ◇ ◆ □ ■ △ ▽ → ← ↑ ↓ ↔ 〓 ◁ ◀ ▷ ▶ ♤ ♠ ♡ ♥ ♧ ♣ ⊙ ◈ ▣ ◐ ◑ ▒ ▤ ▥ ▨ ▧ ▦ ▩ ♨ ☏ ☎ ☜ ☞ † ‡ ↕ ↗ ↙ ↖ ↘ ♭ ♩ ♪ ♬ ㉿ ㈜ № ㏇ ™ ㏂ ㏘ ℡ ＃ ＆ ＊ ＠ ª º
ⅰ ⅱ ⅲ ⅳ ⅴ ⅵ ⅶ ⅷ ⅸ ⅹ Ⅰ Ⅱ Ⅲ Ⅳ Ⅴ Ⅵ Ⅶ Ⅷ Ⅸ Ⅹ
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      전자음악의 세부적인 경계와 미학을 고민하며: SICMF 2021 리뷰

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      https://www.riss.kr/link?id=A108143805

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      다국어 초록 (Multilingual Abstract) kakao i 다국어 번역

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      From October 15th to 17th in 2021, Seoul International Computer Music Festival was held at Seoul FLATFORM-L Contemporary Art Center and total thirty works were released. This review classified the works that were played at the relevant festival as total four categories according to media, and it considered the musical characteristics and aesthetics of works belonging to each category. More specifically, first of all, audiovisual media art relatively had less amount of musical information compared to Tape music, and the entire nature of work was regulated according to the form of image. Among various works, the work that created the sense going back and forth between virtuality and reality by using the glitch technique was impressive. Secondly, in case of Tape music, there were many works to make a long flow with short sample and also many works to compose the whole works by utilizing unique sound material such as human voice. In particular, even though a lot of composers splendidly manipulated samples and showed the high level technique, there were many cases in which they created works with similar flow as a result. Rather, the case in which they limited the deformation mode of sample based on single tone was more impressive. Thirdly, musical instruments and Electro-acoustic music with instruments showed various structures beyond the fact that musical instrument and electronic sound simply had duet structure on equal terms and electronic sound was used as an assistant to live performance. In particular, works in which the electronic sound expanded the realm and limitation of acoustic instrument, or human player performed the technologies that were not yet realized were notable. Fourthly, in the category of Live electro-acoustic music, various aesthetic discussion about ‘performance’ could be deliberated. In particular, the work that spread the fragmented materials in the arena of ‘performance,’ and the work that showed liveness of spot by utilizing reproduction and regeneration technology remained in memory. As a result, through 2021 SICMF, I could contemplate the detailed boundary and aesthetics of electronic music, and in particular, I could identify the contemporary aspect of the 22nd century and the classical attribute of inherent media.
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      From October 15th to 17th in 2021, Seoul International Computer Music Festival was held at Seoul FLATFORM-L Contemporary Art Center and total thirty works were released. This review classified the works that were played at the relevant festival as tot...

      From October 15th to 17th in 2021, Seoul International Computer Music Festival was held at Seoul FLATFORM-L Contemporary Art Center and total thirty works were released. This review classified the works that were played at the relevant festival as total four categories according to media, and it considered the musical characteristics and aesthetics of works belonging to each category. More specifically, first of all, audiovisual media art relatively had less amount of musical information compared to Tape music, and the entire nature of work was regulated according to the form of image. Among various works, the work that created the sense going back and forth between virtuality and reality by using the glitch technique was impressive. Secondly, in case of Tape music, there were many works to make a long flow with short sample and also many works to compose the whole works by utilizing unique sound material such as human voice. In particular, even though a lot of composers splendidly manipulated samples and showed the high level technique, there were many cases in which they created works with similar flow as a result. Rather, the case in which they limited the deformation mode of sample based on single tone was more impressive. Thirdly, musical instruments and Electro-acoustic music with instruments showed various structures beyond the fact that musical instrument and electronic sound simply had duet structure on equal terms and electronic sound was used as an assistant to live performance. In particular, works in which the electronic sound expanded the realm and limitation of acoustic instrument, or human player performed the technologies that were not yet realized were notable. Fourthly, in the category of Live electro-acoustic music, various aesthetic discussion about ‘performance’ could be deliberated. In particular, the work that spread the fragmented materials in the arena of ‘performance,’ and the work that showed liveness of spot by utilizing reproduction and regeneration technology remained in memory. As a result, through 2021 SICMF, I could contemplate the detailed boundary and aesthetics of electronic music, and in particular, I could identify the contemporary aspect of the 22nd century and the classical attribute of inherent media.

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