this is brilliant.. such an array of sound. just wonderful

Sound and Music Design for FreeStep AR project
all sound samples used are recorded on my childhood piano back home with prepared material on the piano strings.

AR_FreeSteps_DancingOnPiano (2022)

Lou --- sounds played by me recorded at a Gong handcraft-making factory in Taiwan for my project's field research, and the sounds are reworked with effects.

I recorded playing on different spots of a 78cm Lou & a 242cm Lou in Yilan Taiwan. And by placing the microphone in different parts of Lou, it picks up different harmonic characteristics.

Music for Lou, Microphone, Effects (2022)

Dfam + Subharmonicon + Mother 32 + Darkworld

moog jam #1 - 20230127

Music by Jay Lin
Performed by Alarm Will Sound
Live at the Mizzou International Composers Festival, July 27, 2013


Half-Glimpsed

D-Musik für Sopran in der Dusche
D-Musik for soprano in the shower
Sopran: Anna Korsun

D-Musik (2015) für Sopran in der Dusche (Anna Korsun, Sopran)

Juliet Fraser, soprano

Ensemble Multilatérale:
Léo Warynski, conductor
Keiko Murakami, flute
Alain Billard, clarinet
Aurélie Saraf, harp
Lise Baudouin, piano
Nicolas Crosse, contrabass
Hélène Colombotti, percussion

Royaumont Abbey, 10 September 2017

Regulation | 10.09.2017 | Juliet Fraser and Ensemble Multilatérale, conducted by Léo Warynski

Zheng Tsung for prepared 21-string steel string Zheng(2018)
《錚鏦》給預置21絃鋼絃箏（2018）

2019三個人獨奏家系列－箏新視野II～郭岷勤箏獨奏會】
2019/01/04 19:45 
國家兩廳院演奏廳
策展/演出：郭岷勤 

演奏箏意味著什麼？更具體地提問，當演奏者將手放在樂器上，樂器與演奏者之間的關係是什麼？當然，箏充滿了無限的可能，而《錚鏦》是作曲家對「縮短演奏者與樂器之間的距離」這單一面向，所做的探索。把箏作為演奏者的延伸，而演奏者也成為箏的延伸，使演奏者的身體也成為箏共振的載體。雁柱左側的絃通常是作為亂奏區，在預置下改變了它的原聲，產出如鐘聲般的聲響；雁柱右側的絃則在定絃上做出呼應，產出另一種鐘聲。在這兩種不同聲音上的振動，使箏與演奏者成為一個無限共振的循環。

2019 3people Solo Concert Series - Zheng: New Horizon II - KUO Ming-chin solo Zheng Recital
2019/01/04 19:45 
Recital Hall at the National Theater and Concert Hall in Taiwan
Producer/Zheng: KUO Min-chin

What does it mean to play the Zheng? More specifically, when the performer puts hands on the instrument, what is the relationship between them? Of course, Zheng is full of infinite possibilities,
but in “Zheng Tsung” I am only interested in exploring the path of dissolving the distance between the performer and the instrument. The Zheng becomes an extension of the performer, the
performer also becomes an extension of the instrument, and further serves as the resonant body of the resonance. Normally the left side of the bridge is considered as an area of unspecified
pitches, however, under unique preparations, the sound is transformed into bell-like qualities; the strings on the right side are also tuned accordingly in order to echo similar bell-like
characteristics. The vibration of these two different sounds form a cycle of infinite resonance and reverberation with the body of the performer.

Zheng Tsung (2018) for prepared 21-string steel string Zheng

composed by Malika KISHINO・岸野 末利加, www.malika-kishino.com
Score : EDIZIONI SUVINI ZERBONI, www.esz.it/it/contatti
Performed by Makiko Goto・後藤　真起子 (koto and bass koto)
Recording : 18.02.2019 in Japanisches Kulturinstitut Köln

Monochromer Garten V for a koto player

Please, use headphones or good loudspeakers.

Eclipse Plumage (2019), for amplified ensemble and electronics
Commissioned by Daniel Walden, for Ensemble Oerknal
World Première: 4 September 2019, Gaudeamus Festival (Utrecht, The Netherlands).

Daniel Walden, prepared piano
Chris Swithinbank, objects
Christian Smith, percussions
Jellantsje de Vries, violin
Raphaella Engelsberg, viola,
René van Munster, cello,
Daniel Boeke, bass clarinet, objects
Susanne Peters, flute, objects

Eclipse Plumage (2019), for amplified ensemble and electronics

Born in Taichung, Taiwan, now lives around the world...
ibmlizard@gmail.com

Zheng Tsung (2018) for prepared 21-string steel string Zheng

Wei-Chieh Lin

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No Mates Ensemble

No Mates Ensemble

ℍ𝔸ℤ.

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