Degree

Doctor of Music (DM)

Department

school of music

Document Type

Dissertation

Abstract

ABSTRACT

Since the time Western music has been known in present Korea, many contemporary Korean composers have considered how to integrate Eastern and Western music traditions including twentieth-century Korean composers Un-Young Na (1922-1993), Isang Yun (1917- 1995), Soon- Nam Kim ( 1917-1983), and Young- Jo Lee ( born April 17, 1943). Among them, Young- Jo Lee is currently one of the leading Korean composers who is combining aspects of Korean traditional music with Western compositional context. The purpose of this study is to provide a performance guide of Young- Jo Lee’s two cello works “Sanjo for Cello Solo” and “Dodri for Cello and Janggo,” to introduce and spread his works to a wider audience, and to explore the distinctive elements found in these two works. This document will consist of four chapters. Following the introduction (Chapter 1), Chapter 2 will include a brief biography of Young- Jo Lee, discussion of his background and education, and analysis of Lee’s personal musical style. His composition history can be divided into three main periods: Korea period (1960-1975), Germany period (1976- 1987), and America period (1988- present). Chapter 3 will deal specifically with Young- Jo Lee’s compositional style and those characteristics, influenced by traditional Korean instruments and musical elements. This chapter will also explore the concepts of oriental philosophy such as Taoism, yin-yang, and Jeong-jung-dong that influenced Lee’s compositional style. This is followed by explanations of Hauptton and Hauptklang, and nong-hyun, two compositional techniques that Lee enlists and employs in “Sanjo for Cello Solo” and “Dodri for Cello and Janggo.” Chapter 4 is an explanation of how Lee translates the sounds of Korean musical elements into Western playing techniques in the two cello works, “Sanjo” and “Dodri,” thus creating original and new techniques. It will also examine Korean traditional instruments such as the komunko, kayagum, and haegum, calling upon the sound of these instruments through the use of performance techniques: slides, grace notes, vibrato, and treatment of dynamics. New tone colors and characteristics of kayakem and janggo are revealed through these works for cello.

Date

4-5-2018

Committee Chair

Dennis Parker

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