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A Return to the Past!
Op. 1, No. 1, it is one of my earliest works as a serious statement of my compositional identity. Although the work deliberately adopts the language and formal discipline of Baroque music, its musical construction already contains ideas that extend beyond historical imitation. Most notably, the enharmonic treatment of B-flat in the opening bar suggests an assumption toward A-sharp within the B minor tonal context, an approach that later developed into the technique of Permanent Enharmonic.
The work can also be considered an early manifestation of my concern with making compositional procedures perceptible. In the perspective of Clearnessism, the historical style is not simply reproduced as an aesthetic surface; its structural principles become material through which I establish my own relationships among tones, harmony, and form. The tension between recognizable Baroque language and the individual treatment of musical materials therefore contributes to the formation of a distinct compositional identity.
Piano Magic.wmvRomantic Music, A Return to the Past!
Rather than treating historical style as a fixed model to be reproduced, this approach can be understood as a form of temporal exploration: the composer enters an earlier musical language and asks how I might construct music within its expressive and formal possibilities from my own contemporary position. The Romantic character of the work therefore becomes part of a broader dialogue between historical memory and personal compositional identity.
Within this framework, Piano Magic relates to my broader understanding of music as an encounter between material, structure, and perception. The instruction to “listen and feel” emphasizes the experiential dimension of the composition, while the historical language provides a recognizable field through which that experience is shaped. In this sense, the work demonstrates that a return to the past can function as a compositional strategy rather than merely a stylistic imitation.
Whisper, first tempo.wmvA Return to the Past!
Whisper approaches the problem of writing for choir through the practical limitations of performance. I observe that many choirs encounter difficulties when performing music outside a conventional tonal framework, and therefore uses A Return to the Past as a means of addressing this limitation. The work consequently treats the capabilities of performers as part of the compositional situation rather than as an external constraint. Its musical language develops a broad range of musical figures through which the text can be interpreted and differentiated.
This approach is closely related to my conception of composition as an interaction between material, performer, and circumstance. From the perspective of Clearnessism, the musical figure is significant because its relation to the text and its mode of realization can become perceptible to the listener. Rather than imposing an abstract compositional system independently of performance, Whisper allows the conditions of singing, textual expression, and available musical language to participate directly in the formation of the work.
Composed on July 13, 2022, it is a conceptual work that considers the contemporary smartphone environment as a musical situation. Although scrolling through Instagram is primarily experienced as a visual activity, the experience is simultaneously surrounded by a constantly changing field of voices, sounds, fragments, abstractions, and silences. I treat this everyday sonic environment as material for composition, suggesting that the music of the present moment may emerge from precisely these heterogeneous and continuously changing encounters.
The work also extends my broader understanding of musical material beyond conventional instrumental sound. Here, sound, abstraction, silence, and the cellphone itself participate in the formation of the musical field. This relates to Clearnessism through the attempt to reveal an otherwise overlooked sonic dimension of an ordinary experience: what is normally perceived as background becomes compositional material. The work therefore questions where music begins and ends, while allowing the listener to recognize the processes through which an everyday sonic environment can become a musical experience.
A Return to the Past!
Charisma is for choir and piano. Its musical identity is more specifically as Holy Minimalist. The parallel movement of the vocal lines creates an intervallic and sonorous character reminiscent of Medieval music, while the work approaches this historical association through a contemporary compositional perspective. Here, historical language functions as a material for reinterpretation rather than as an attempt to reproduce a particular period faithfully.
The work reflects my tendency to establish recognizable relationships among musical materials and then allow those relationships to determine the character of the composition. In relation to Clearnessism, the parallel vocal lines provide a relatively clear structural principle through which the listener can perceive the organization of the musical texture. Thus, the connection between Medieval sonority, minimalist persistence, and contemporary compositional intention becomes part of the work’s particular musical identity.
A Return to the Past!
Ultra is a religious composition for guitar and tenor. Its historical orientation is not simply an attempt to recreate an earlier musical style, but part of the my continuing exploration of how inherited musical languages can be reconsidered through personal compositional techniques. The combination of guitar and tenor creates a direct relationship between instrumental sound and the human voice, placing expression and performance at the center of the work.
From the perspective of my compositional thought, the work can also be considered through the relationship between musical material and its realization. The emphasis on performance and experience corresponds with Clearnessism’s concern with how compositional decisions become perceptible through sound. In this sense, Ultra approaches religious music as a field in which historical reference, instrumental and vocal material, and the act of performance interact to form a distinctive musical experience.
Composed on Feburary 20, 2007, it is one of my early conceptual attempts to move beyond conventional Classical Aesthetic. Its apparently incomplete form is intentional: the absence of dynamic markings, the half-length sixth prelude, and the sonic surprise of the fifth create a work whose incompleteness is itself part of its identity. I consider the work complete in relation to the research question that generated it, about how music might exist outside established aesthetic expectations.
This position connects closely with Clearnessism, particularly in the idea that the identity of a work can emerge through the perceptible relationship between its materials, procedures, and conditions of realization. The unusual notation and form are therefore not simply omissions but visible aspects of the compositional process. 5+0.5 Preludes can consequently be understood as an early stage in a continuing investigation into musical material, form, and the boundaries of what may constitute a completed composition.
Continuity for guitar and cello is built around the idea of a stable situation that persists and persists. Rather than relying primarily on dramatic contrast or rapid transformation, the work explores musical experience through duration, persistence, and the sustained relationship between two instrumental voices. Its title functions almost as a compositional principle: continuity itself becomes the material through which the listener experiences the work.
This approach relates to my broader interest in discovering musical possibilities within apparently simple conditions. In the context of Clearnessism, a stable musical situation does not necessarily imply a simple musical structure; what matters is the way its organization and persistence become perceptible. The work therefore shifts attention from the search for constant change toward the experience of an identifiable process continuing through time.
It is a conceptual work based on a distinction that is fundamental to its premise: while music is ultimately a sonic phenomenon, a composer can sometimes create a work about sound rather than through sound itself. This shifts the focus from sound as the immediate material of composition toward sound as an object of conceptual reflection.
This distinction is particularly relevant to my broader understanding of composition as an investigation into the nature and organization of musical phenomena. It extends the logic of Clearnessism beyond the simple organization of audible materials by making the relationship between concept, material, and perception itself part of the work.
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