Miyeon (미연) is a South Korean pianist and one half of the free-improvisation duo Miyeon & Park, with the percussionist Park Je Chun (박재천), her husband. Her name is billed "Miyeon" on her own Korean releases and on the 2016 Noise Asia set, which also prints it in Chinese characters as 美妍. It appears as "Mi Yeon" on the Japanese release Loose Community and as the page title at Discogs, and a 1996 credit prints it in Hangul as 박미연. No source found gives her full name, her birth date or her birthplace. She is not the singer of the same name in the K-pop group (G)I-DLE.

The duo's own biography says both players studied classical and contemporary composition at Chung-Ang University and also studied Korean pansori, shaman music and samulnori. A Yonhap interview from 2012, reproduced on the duo's page, adds a household detail: while Park travelled to the southwestern Honam region after his military service to learn pansori and janggu from masters he met at shamanic rituals, she ran a piano academy to pay the living costs, and his recordings from those trips became the material she wrote pieces from. In the interview's opening scene she is at the piano playing a gayageum sanjo, the solo form of the Korean zither, while Park answers on a drum set with janggu rhythms.

Her earliest credit found is on Park's first album, Mol-e Mori (AD.forte, 1996), where Discogs lists the piano and synthesizer part under 박미연. The duo's biography says they have performed together since the mid 1990s, while a 2011 Pressian article dates the duo to 1999. In the 2012 interview Park says it began with the saxophonist Kang Tae Hwan: when Park was working as a percussionist in the United States in the early 1990s, Kang told him to come home because improvised music was what he should be playing, and Park says he then asked Miyeon to play with him.

With Kang she and Park formed a regular Korean trio. They recorded Improvised Memories live to two-track DSD at the KOCCA studios in Seoul on December 22, 2002 (issued in April 2003) and Isaiah, a single 49-minute performance recorded at Dolce Classical Hall in Ilsan on March 19, 2005 and issued by Audioguy Records in 2006 in a numbered edition of 500. On May 5, 2002 the pair recorded the Seoul sessions of Loose Community at Yeheum Studio, a trio album with Otomo Yoshihide on turntables and guitar. Otomo added recordings in Tokyo and mixed it there, and Sachiko M, Günter Müller and the shamisen player Yumiko Tanaka are credited as guests on individual pieces. Improvised Music From Japan issued it in 2003. Between these came Sound Skipping (Sori Numgi), five pieces with the soprano Yeo Ge-suk, recorded on August 20, 2003 and issued in a limited edition of 400.

The duo's own records are the center of her catalogue. Queen & King was recorded direct to master on March 28, 2005 at Dolce Classical Hall and issued by Audioguy in 2005; its five pieces are built on themes by Miyeon, Masahiko Satoh, Park, Masahiko Togashi and the Dutch composer Louis Andriessen. The duo's biography says Jazz People magazine placed it among the ten best Korean jazz albums of the 21st century, and "Iberian Sunset" from it went onto the 2006 Wire magazine sampler Atlantic Waves. Dreams From The Ancestor followed in 2008 with four long pieces, three composed by Miyeon and one by Park, and Discogs credits both players on piano on two of them. The Kyunghyang Shinmun reviewed it on November 20, 2008 as music closer to free jazz or contemporary classical than to sentimental fusion, built on four Korean rhythm cycles. English and Korean Wikipedia list it as the winner of the Best Jazz & Crossover (Crossover) album award at the 6th Korean Music Awards in 2009, billed to Miyeon and Park Je Chun. The duo's own biography, Pressian and the Noise Asia release note describe a second award that year, named Best Instrumental Album in one source and Best Performance in the others, which the Wikipedia tables do not show. Saeng (生), dated 2010 by the duo's biography and 2013 by Discogs, reworks the same material with solos and three further improvisations. In 2016 the Hong Kong label Noise Asia issued Queen & King and Dreams From The Ancestor together as a two-CD set, with essays by the critic Hyunjoon Kim, who writes that both albums were recorded live in one take without editing.

She has performed widely in Korea and abroad. On October 18, 2009 the duo played the JAZZ CUBE stage at the 6th Jarasum International Jazz Festival, and the 2010 documentary Bravo! Jazz Life lists them in its cast. A Yonhap caption of July 1, 2012 says they were to take part from July 3 in the National Theater of Korea festival "Here Is Our Music" (여기 우리 음악이 있다), performing on the theme "Dreams Left by the Ancestors" (조상이 남긴 꿈). On November 21, 2012 they played a concert at Flushing Town Hall in New York, announced by the Korean Cultural Center New York, and a Korean-language review of that visit appeared on November 5, 2012. Their own biography lists tours supported by the Korea Foundation and the Korea Arts Management Service in countries including the United States, Britain, Germany, France, Denmark, Russia, Japan, China, Turkey, Egypt and Ghana. Videos of live sets are posted from Vilnius Jazz in 2011 and from Saint Petersburg in May 2019, and the trio with Kang is documented in uploaded performances titled with the dates May 1, 2022 (Seoul Jazz Festa) and March 31, 2023.

No album under her name alone was found. An untitled piano track of hers appears on the 2004 compilation Improvised Music From Japan 2004, and the duo's biography and Google Arts and Culture credit her with composing and arranging as well as playing. Her birthplace and date, her full name, her teachers and whether she has taught are not published in any source found.

Her playing is documented in three kinds of sources: release notes, a review, and interviews.

The duo's biography describes her touch as sensuous and delicate, with a strong ability in composing and arranging, and calls the duo's music structured improvisation drawn from jazz, contemporary classical and Korean music. The Noise Asia release note adds free jazz, Korean traditional music, contemporary classical and rock, and says the music rests on clear melodic motifs. Hyunjoon Kim's liner essay points to the irregular rhythm cycles of Korean shamanic and folk music, of 49, 48, 40 and 36 beats, which the duo uses to build modern melodies. The 2008 Kyunghyang Shinmun review names the four cycles on Dreams From The Ancestor as ochaejil-gut, jajinmori, gutgeori and chilchae, and its listener is told to listen closely rather than use the record as background.

In the 2012 interview she describes improvised music as music that tests the player: it asks for answering or aligning with the partner and for staying faithful to the feeling of each moment, and a perfect fit is not the point. Park adds that improvisation is not a genre without preparation, because it needs many patterns and a study of the partner's habits. The same interview records the duo's practice of playing in a club for fifty minutes on gutgeori alone, which emptied the room, and the phrase on their rehearsal wall meaning "do not count success or failure". Her own themes appear on Queen & King ("And Let It Be") and on three of the four pieces of Dreams From The Ancestor. Her influences beyond what is stated above are not documented.