The Interaction of Korean and Western Practices in Isang Yun's "Piri" for oboe solo and Other Works
Item
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Title
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The Interaction of Korean and Western Practices in Isang Yun's "Piri" for oboe solo and Other Works
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Identifier
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d_2009_2013:f4716976b445:11055
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identifier
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11370
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Creator
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Lee, Jeong Seok,
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Contributor
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Mark Anson-Cartwright | Shaugn O'Donnell
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Date
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2011
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Language
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English
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Publisher
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City University of New York.
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Subject
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Music | Etudes for flute solo | Isang Yun | Konigliche thema for violin solo | Main-tone technique | Piri for oboe solo
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Abstract
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The Korean composer Isang Yun wrote for Western instruments using Western compositional techniques. Despite his overt dependence on resources developed outside his homeland, Yun took pains to invest his music with Korean emotion and thought. This dissertation explores the interaction of Korean and Western practices in Yun's Piri for oboe solo and other works, with particular attention to Yun's adaptation of twelve-tone technique for his own stylistic purposes. The music discussed in this study is personal in expression, yet at the same time general or universal in meaning: it embodies the ancient Eastern philosophical concept of Tao, that universal principle whereby opposites (yin and yang) may coexist.;Among the techniques that are specific to Yun's style, the most important is the main-tone technique, which Yun derived from sigimsae, the melodic ornamentation used in Korean traditional music. Main-tone technique governs the processes of Yun's music, even in those pieces that use serial techniques.;To gain a deeper insight into Yun's fusion of main-tone and serial techniques, I examine three of his works in detail: Etude for flute solo, Konigliches Thema for violin solo, and Piri for oboe solo. Of the three analyses presented here, that of Piri forms the core of this dissertation, while the other two serve to introduce issues that are relevant to Piri. Etude for flute solo uses main-tone technique but not twelve-tone technique, thus illuminating Yun's approach to main-tone technique independent of other constraints. Konigliches Thema for violin solo is serial, treating the 20-note 'royal theme' of Mach's Musical Offering as a row: this reveals Yun's personal modification of serial technique, through intense engagement with a pre-existing melody.;In Piri for oboe solo, main-tone and twelve-tone techniques are not merely combined, but thoroughly interwoven. A major claim of the analysis presented here is that listeners and performers must attend to tonal patterns and registral connections that are projected on three levels: the phrase, the individual movement, and the four-movement cycle. To understand the structure of Piri is not simply to follow its row structure; rather, one must observe how the melodic patterns formed by main tones and their decorations may project or conceal the row structure.
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Type
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dissertation
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Source
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2009_2013.csv
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degree
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D.M.A.
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Program
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Music
