![]() Entrances against another part are done freely, but entrances and exits must always be in the order shown. Numbers in empty spaces in the string parts show the duration of pauses in seconds. The notes are played for the number of seconds indicated except where gestures are presented. Gestures are used to provide a feeling of energy before or after indicated durations of the note. ![]() As the dynamics show, the gestures are to be expressed strongly, but freely, clearly, and without any rush. The gestures in this piece are central to the piece and are not to be played like ornaments. The interweaving of tone gestures in viola and cello parts enhance the timbral texture. Each note is alive, has its own shape, and the music exists largely in the transitory moment of each individual sound. The compositional concept of Living Tones is derived from the characteristic of sigimse (Korean tone quality). Calligraphic brush stroke-like gestures of pitch bending and subtle timbral changes of each note are part of the process of creating Living Tones that provide a richness to the piece. 기 Kee (energy) and 맥 Maek (pulse) can be defined as energy inherent in a shape. I created LIVING TONES with LIVING SOUNDS utilizing some parts of my existing composition, KEE MAEK (1986), that uses sound gestures for its impetus. TWO VERSIONS OF LIVING TONES WITH LIVING SOUNDS BY JIN HI KIM AND ZOË WALLACE Here, Zoë Wallace, a musician and USA Development Coordinator, discusses the score and shares her own version with Jin. In this new piece, which utilizes excerpts from an existing composition, KEE MAEK (1986), she integrates sounds from daily life - rice being poured into a bowl, a rustling plastic bag - to create new sonic possibilities and invites us to do the same.
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