Joo Won Park - SCI Profile

Contact Information


Joo Won Park (b. 1980) is a composer/researcher of music within several genres. His music and audio applications have been featured in several conferences such as the Society for Electro-Acoustic Music in the United States Conference, Seoul International Computer Music Festival, and International Computer Music Conference, as well as in print in Electronic Musician and The Csound Book. He received M.M and Ph.D. in composition at the University of Florida, where he studied with James Paul Sain, Paul Richards, and Paul Koonce. He graduated from Berklee College of Music majoring in Music Synthesis and Contemporary Writing/Production under the direction of Richard Boulanger. Dr. Park was an associate director of Florida Electroacoustic Music Festival, and currently serves as an assistant professor of music at the Community College of Philadelphia. His music is available on the ICMC 2004 DVD, Spectrum Press, and Computer Music Journal.


Compositions for Fixed Media
•Gainesville Soundscape for stereo tape (2008)
•Sound Mobile for stereo tape (2007)
•Palm Grove Pond for stereo tape (2007)
•An Interview With Crickets for stereo tape (2007)
•Reversible Jacket for stereo tape (2006)
•KutMalKut for stereo tape (2006)
•A Portrait of My Voices for 4 channel tape (2005)
•Binge for four channel tape (2004)
•Pianissimo for 4 channel tape (2004)
•Decrescendo for 4 channel tape (2003)
•Jiken for 4 channel tape (2003)
•Architexture for stereo tape (2002)
•Zoom for stereo tape (2002)
•Trauma for stereo tape (2001)
•Call Me for stereo tape (2001)
•Fragments of Forest for stereo tape (2000)
•Escala3 for stereo tape (2000)

Compositions for Instrument(s) and Computer / Fixed Media
•Toccata for computer, contact microphone, and objects (2009)
•Hwanseung for daegum (Korean bamboo flute) and tape (2008)
•TransDental for tooth brush and computer (2006)
•Snapshots for bass clarinet and computer (2005)
•Music for the Biceps for melodica and computer (2005)
•Flauta y Cinta for flute and tape (2004)
•Tak for janggo and computer (2003)
•Retrace for mbira and computer (2002)
•Adrenaline Rush for flute, clarinet, electric guitar, turn table, and MIDI instruments (2001)

Compositions for Ensemble or Solo
•Peter's Shadow for Marimba Duo (2006)
•Sul for String Orchestra (2005)
•Accelerando Poco a Pocofor flute, clarinet, alto sax, trumpet, and marimba (2005)
•B.B.B. for Soprano saxophone, vibraphone, and piano (2004)
•Tremolo for Bass Clarinet Solo (2004)

Collaborative Works, Installations, and Remixes
•Improvisation for Channel 53. Collaborative electronic music improvisation with Paul Geissinger (2009)
•The Fountain Remix (2006)
•This is Ether for Radio Baton and computer. Collaborative work with Luis Maurette (2002)
•Five Thoughts About the Drawers for sound installation (2001)
•Sound Blocks : Collections of Short Electronic Pieces (2001 - Present)


Retrace (2002) - for mbira and computer
Retrace uses technology to expose colors hidden inside the Mbira (thumb piano). The instrument used in this piece was found at a flea market. The Mbira is an instrument that holds many memories for the composer. In performance, a computer running SuperCollider is used to create different textural variations out of a simple motif.
Accelerando Poco A Poco (2005) - for flute, Bb clarinet, Bb trumpet, alto saxophone, and marimba
Accelerando Poco a Poco explores the musical possibilities of timbral integration between the five instruments. The instruments are crammed into a narrow register of pitches, and the ensemble thus becomes one ‘meta-instrument’ of evolving tone color. The title describes the general gesture that holds the piece together. However, accelerando gesture also organically disassembles the ensemble towards the end of piece, where the performers are asked to play a unison passage gradually faster, uncoordinated with each other.
Peter's Shadow (2006) - for marimba duo
In Peter’s Shadow, the two marimba players are asked to move in mirror image. They move in unison on two marimbas, as if they were a man and his shadow. However, like Peter Pan and his shadow, the two entities sometimes get separated, and move around in different directions. The sonic result of this physical relationship between the instrument and the performers is a variation and canon on symmetrical harmony.