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Dissertations / Theses on the topic 'Korean composer'
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1
Lee, Jennifer. "A study of the Korean woman composer, Unsuk Chin, and her Piano Études." Thesis, City University London, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.654962.
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The Korean woman composer, Unsuk Chin (b.1961), who received the Grawemeyer Award in 2001, has become increasingly acknowledged as a major voice in Western music. This dissertation examines her six Piano Etudes (1993-2003), including their structure and perforn1ance, in the context of Chin's background. Her Korean upbringing and musical education, her gender and her diasporic life, as well as the remarkable depth of the musical influences upon her, are all considered. Via her Korean teacher, Sukhi Kang, she absorbed the techniques of electronic music and those of extended techniques in instrumental music, while via Ligeti, her later teacher, she absorbed many other influences, including that of Nancarrow's music. Some, like that of Korean music itself, she seems to have gained on her own initiative. However, she claims that the works of Lewis Carroll and Conlon Nancarrow fit into this category, too, despite the overwhelming preoccupation of Ligeti with both of these sources; she also disavows any concerns with being a woman composer, despite her reception's clearly being affected by this. These issues, often puzzling, all . prove worthy of close consideration. The two penultimate chapters are devoted to an analysis of each of the six Piano Etudes; an understanding of their design and achievement is dependent on knowledge of all these background materials. This is followed by a discussion of performance issues in the pieces, which were written, as Chin declares, away from the piano and published in her own script, and which offer immense practical challenges to the performer.
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Choe, Joanne. ""A Balloon Flower": A Study and Interpretive Guide to the Gagok of Jihoon Park." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505167/.
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Jihoon Park (b.1973), a South Korean composer with over 500 compositions spanning multiple genres, is treasured in his motherland as the most noteworthy composer of his generation. This study provides an in-depth introduction of the gagok (Korean art songs) of Park to Western teachers and students of singing, discussing his compositional techniques and their application to the interpretation of his selected songs. Moreover, the introduction to International Korean Phonetic Alphabet (IKPA) to supplement the traditionally used International Phonetics Alphabet (IPA) serves as the foundation and model for further exploration into Korean art song literature by Western scholars.
3
CHOI, YOUNG JU. "SURVEY OF CHORAL MUSIC BY SELECTED TWENTIETH-CENTURY KOREAN COMPOSERS." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1116369655.
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Shin, Eun Young. "A Study of Selected Compositional Techniques Found in Young Ja Lee's Variations Pour Piano "Umma ya, Nuna ya" (1996)." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1062878/.
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Young Ja Lee (b. 1931) is regarded as one of the most important living female composers in Korea. She leads and contributes to the Korean classical music society as a gifted composer and a dedicated educator. This study focuses on how she has combined Western compositional techniques with elements of Eastern traditional music in some of her compositions, in particular, her Variations pour piano "Umma ya, Nuna ya." An interpretation of her Variations pour piano "Umma ya, Nuna ya" reveals that the composition features many of the particular and sublime aspects of Western compositional techniques in conjunction with traditional Korean music style. This study is an investigation of the interaction and assimilation of these disparate elements. The results of this study may inspire further research into traditional Korean music and bring recognition to important Korean composers, as well as encourage music educators to teach Korean composers' compositions.
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KANG, YOO-SUN. "TOWARD THE NEW KOREAN MUSICAL LANGUAGE: THE MERGING OF KOREAN TRADITIONAL MUSIC AND WESTERN MUSIC IN PIANO WORKS BY CONTEMPORARY KOREAN COMPOSERS." University of Cincinnati / OhioLINK, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1021469270.
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Kim, Ji-Hyun. "An Annotated Bibliography of Piano Concertos Written by South Korean Composers in the Twentieth Century." Scholarly Repository, 2008. http://scholarlyrepository.miami.edu/oa_dissertations/27.
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The purpose of this study is to provide a systematic overview of piano concertos written by Korean composers in the Twentieth-Century, using the format of an annotated bibliography. This project is of vital significance for musicians who wish to further expand their knowledge of the repertoire in this genre. In particular, this research serves as an important vehicle for those with a special interest in contemporary works, music by Korean composers, and for those who are looking for a contemporary source outside the scope of the standard piano concerto literature. The study provides commentary on the compositional and performance aspects of each work to serve as guideline for the consideration of professional performers, teachers, and conductors. The essay contains the works of twenty-five piano concertos by twenty-two composers; however, due to the lack of information this study will cover only nineteen piano concertos with compositional features and additional information. Most of the works are unpublished, but were collected through correspondence with the composers, as well as additional information from the Korean National Library of Congress, and online sources. The results of this research are intended to contribute musicological and ethnomusicological documentation of unknown works, repertoire source material for performing musicians, and bibliographic assistance in Korea to document and organize its own cultural output. In Chapter 4, the bibliography is arranged alphabetically by the composer's last name, and each work provides the biography of the composer, date of composition, commission and/or dedication, premiere performance, number and title of movements, duration, publication information, recorded performances, published reviews, composer's comments, and compositional features.
7
Baek, Da Mi. "Eak Tai Ahn's Korea Fantasy: His Life, Historical Context, and Compositional Style." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505250/.
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Eak Tai Ahn is not only the first generation of Korean musicians, composers and conductors to have studied Western music and given successful musical performances in Western countries, but also is among the first to introduce the music of Korea to the West utilizing the Western music system. Korea Fantasy is an important work that helped Ahn win international acclaim. Korea Fantasy is an orchestral piece that evolved along with Ahn's unique life experiences shaped by the state of his native country. The piece is programmatic, depicting the history of Korea, which utilizes musical devices, such as rhythms and quotation that are distinctive musical elements of Korea. This document discusses the political and social history of Korea during Ahn's life time, offers an overview of Ahn's education and musical footsteps, and describes the premiere and reception of Korea Fantasy. Moreover, a discussion of his compositional traits and a musical analysis of Korea Fantasy are presented.
8
Kim, Seongkyul. ""Mich dürstet" (I Thirst) by Younghi Pagh-Paan and the Jeju 4.3 Incident: Images and Piano Textures." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538662/.
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Younghi Pagh-Paan is a female Korean-German composer. Although being a prolific composer, she has only twice composed for piano solo. Pagh-Paan's Mich Drüstet (I Thirst) is a piano solo work and based on the tragedy in Korea, the Jeju 4.3 Incident in 1948. Even though the Jeju 4.3 incident triggered mora than 30,000 casualties, I Thirst is the only music to commemorate the incident, as commissioned by the pianist Kaya Han. This study of I Thirst highlights her musical textures for the piano and elements she employs to express her thoughts about the event; for instance, Korean musical element, 12-tone techniques, and counterpoint. In addition, it addresses the need for the pianist to have background information about Jeju Island and the Incident by matching images with musical sections in order to achieve a deeper interpretation of Pagh-Paan's piano composition.
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Choi, Ji Sun. "The Merging of Korean Traditional Music and Western Instrumentation as Exemplified in Four Chamber Works for Piano Composed by Isang Yun." Scholarly Repository, 2007. http://scholarlyrepository.miami.edu/oa_dissertations/8.
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The purpose of this study is to identify and elucidate the unique aspects of Isang Yun's compositional style through in-depth examination of his piano chamber works: Gasa for Violin and Piano, Garak for Flute and Piano, Nore for Cello and Piano and Riul for Clarinet and Piano. Isang Yun (1917-1995), a Korean-born composer, is renowned for having established a compositional language which expresses Eastern thought in music crafted from Western musical elements. He was a pioneer and leader who created new compositional techniques in his efforts to combine Western styles with Korean musical traditions. He achieved international acclaim for his highly developed compositional techniques such as Haupttontechnik (Main-tone Technique) and Hauptklangtechnik (Sound-complex Technique), which modernized and westernized ancient Korean performance practices and native Korean music traditions. Four chamber works for piano by Isang Yun are used to trace the development of his use of twelve-tone technique and Haupttontechnik and to identify the connection between his spiritual philosophies and his music. This essay provides these insights to give the reader a more complete understanding of the life and music of Isang Yun.
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Lee, Hyejin. "Traditional Korean Music in Contemporary Context: A Performance Guide to Gideon Gee Bum Kim's Kangkangsullae." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157533/.
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Gideon Gee Bum Kim is an internationally-acclaimed contemporary Korean-Canadian composer. Kim has utilized traditional Korean music with Western composition techniques in some of his works. Kim created his own style by incorporating traditional Korean musical elements such as the scale, rhythmic diversity, syncopation, variation, ornamentation, and the progression of melody into a body of music that is otherwise contemporary and Western. The purpose of this study is to develop a performance guide for Gideon Gee Bum Kim's Kangkangsullae for string trio. Kangkangsullae trio is based on Korean historical, cultural and musical influences. I give a detailed historical and cultural background for this work and demonstrate how Kim integrated Western compositional techniques with traditional Korean music. My emphasis is on defining specific characteristics of traditional Korean music which will provide several points toward understanding Kim's compositional style.
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Ryu, Hanpil. "A Conductor's Guide to Un-Yung La's Choral Music as Reflected in Easter Cantata." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862841/.
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Un-Yung La was one of the first Korean composers of Western style choral music who used Korean folk elements in his composers. According to Un-Yung La's musical theory, which he demonstrated in Easter Cantata. Korean-style melody and rhythm were created based on Korean traditional scales and he also used Western-style harmonization. He attempted a new Korean style of expression through Sikimsae technique in Korean traditional vocal music genres: Pansori and Sijo. The purpose of this paepr is to discuss traditional Korean performance elements related to melody, harmony, and rhythm as employed in La's Easter Cantata. The study will increase the knowledge of western conductors who wish to understand Korean folk music in preparation for performance of choral works such as La's Easter Cantata.
12
Cho, Eun. "Geonyong Lee's Violin Works, Rhapsody for Violin and Piano and Heoten Garak: A Study of Compositional Style and Stylistic Influences." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157559/.
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The purpose of this study is to research the music of Geonyong Lee (이건용), one of the most recognized active Korean composers, while determining Lee's intent to compose with influences from both Western and traditional Korean music. This paper analyses Lee's violin works Rhapsody for Piano and Violin and Heoten Garak, and explains the cultural and historical significance surrounding both works in terms of traditional Korean music. Lee asserts that his primary influence Rhapsody for Piano and Violin was Nongac (농악), a traditional form of Korean farming music. Similarly, Heoten Garak displays a distinct influence of traditional Korean music genres, Heoten Garak and Pansori. By analyzing Geonyong Lee's compositional style and approach to the violin, one learns how his musical philosophies combine Western and traditional Korean music practices into a unique compositional approach. The study concludes by summarizing not only Western and traditional Korean style as evident in his music, but also the conceptual approach by which the composer attempts to bring a unique combination of these influences to his audience.
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Jung, Hyejin. "Korean Cultural and Musical Influences in Younghi Pagh-Paan's Man-Nam I." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862815/.
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Younghi Pagh-Paan is an internationally renowned contemporary Korean-German composer. While her music has been strongly influenced by German contemporary musical aesthetics, her compositions also possess Korean musical and cultural influences. In her works, Pagh-Paan employs Western instruments and musical languages that incorporate contemporary techniques such as vibratos, flatter tonguing, pitch bends, and legato glissandi. These effects are thought to imitate the sounds created by traditional Korean instruments. Man-Nam I, for clarinet and string trio, was the second work that Pagh-Paan composed following her move from Korea to Germany. The piece includes many sounds representative of traditional Korean instruments, along with significant symbolism of the sociological background, culture and history of Korean people. The study of Man-Nam I focuses on unraveling hidden elements of Korean traditional music and culture, and addresses the need for the performers to understand its rich Korean influences in order to reach a deeper interpretation of Pagh-Paan's work.
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Lee, Jeong-Suk. "A Performance Guide for Young Jo Lee's Dodri for Cello and Janggo (1995): Bulgogi Burger on the Stage." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157589/.
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Korean composer Young Jo Lee (b.1943) is considered a precursor of Korean fusion music. In his works, he interlaces elements of traditional Korean music with compositional styles and performances techniques from western musical traditions. This dissertation provides an analysis of Lee's Dodri for Cello and Janggo (1995), one of his most representative works of fusion music. As indicated by the title Dodri (which in Korean means a "movement back and forth"), Lee intended to showcase a friendly interplay of the janggo and the cello, with each instrument playing a leading role that helps bring out the essence of traditional Korean traditional music. In this piece, Lee writes a number of melodies and uses traditional Korean performance techniques for the cello intended to imitate the sound and sentiments of traditional Korean instruments, all while preserving its inherent nature. This kind of fusion, where different musical elements are merged with each other but remain separate enough to maintain their own uniqueness, is significant to Lee's philosophy. This dissertation also describes Lee's efforts to preserve the integrity of traditional Korean music within fusion music and lend new insights regarding traditional Korean musical practice to musicologists, composers, and audiences. Furthermore, this study is intended to serve as a performer's guide for professional cellists new to Lee's music so they may approach Dodri with a greater understanding of the composer's original intentions when first learning the work.
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Yoo, Hae Young. "Western music in modern Korea: A study of two women composers." Thesis, 2005. http://hdl.handle.net/1911/18850.
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The modernization and globalization of Korea during the fifty years since the end of the Korean War have brought a remarkable development in every sphere of Korean society. The emergence of female composers is one of the most interesting of these. This dissertation will discuss the music of two internationally recognized composers, Unsuk Chin and Jiesun Lim. It will do this through an analysis of one piano piece by each, 12 Piano Etudes by Unsuk Chin and Spiritual Dance by Jiesun Lim. In order to understand these pieces and these women, Korean traditional music, the one hundred year history of Western music in Korea, and the changing role of women in the society will be discussed. Part of the analysis includes the performer's perspective and suggestions on how to approach these pieces.