These days, composers of electronic music utilize digital audio workstations featuring quick production times and a large selection of effects. Such work has influenced my creation of four original compositions that present a rich, delicate, and versatile vision of electronic music. As a musical genre originating in the 20th century and classified by its technological orientation, electronic music has depended on sound preservation and playback technologies, as well as changes in how we conceptualize sound. The many electronic music genres that exist today, both fixed and interactive, have created their own unique meanings and values.

Along with the rise of three-dimensional audio techniques, spatialization provides composers with the ability to design software-based multi-channel audio systems. In my musical notation, I apply Aural Sonology, a symbol system developed by Lasse Thoresen, who adopted Pierre Schaeffer's concept of sound objects. In these four original works, “Measuring in Piano” utilizes timbre as the main development and applies a multi-channel panning system to enhance sound propulsion and convergence. “Collision” programmatically applies the twelve-tone technique to rhythmic models. “Golden Light” utilizes Buddhist passages to create a sacred, imaginative space that fosters listening with intent. Finally, “Evocation” is an interactive piece utilizing a Wacom tablet and based on the concept of data-driven instruments, to evoke the audience's imagination in cultural memory.