A Korean-German composer Isang Yun.s life was evenly distributed between two different countries, and his music contains both elements of performance practices of Eastern Asian and Western music. This dissertation presents his ethnic and aesthetic musical roots by an analytic examination of his solo violin piece, K♠nigliches Thema (1976). The dissertation is divided into four chapters. The first chapter contains Isang Yuns biography and his works of the four periods. The second chapter studies his philosophy in music and compositional techniques such as twelve-tone technique, Taoism, Hauptton, Hauptklang and the Korean instrumental technique in Western instruments. The third chapter presents a detailed analysis of Knigliches Thema with his Taoist philosophy. The fourth chapter is solely dedicated to the performance perspectives of Königliches Thema in tempo, dynamic and various violin techniques.