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A STUDY OF A MODERN CLARINET WORK, SONG IN THE DUSK I FOR SOLO CLARINET BY GEONYOUNG LEE: FOCUSED ON THE COMPARISON WITH SANGRYUNGSAN (KOREAN TRADITIONAL SOLO PIRI PIECE) THROUGH MUSICAL STYLE AND PERFORMANCE PRACTICELEE, HAISUN 19 July 2006 (has links)
No description available.
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THE MUSICAL STYLE AND COMPOSITIONAL TECHNIQUE OF YOUNG-JO LEE, AS REFLECTED IN HIS VIOLIN COMPOSITIONS “HONZA NORI” FOR SOLO VIOLIN AND “DOORI NORI” FOR VIOLIN AND PIANOKim, YeonJin January 2010 (has links)
The purpose of this study is to create a performance guide for Young-Jo Lee's violin works, Honza Nori for solo violin and Doori Nori for violin and piano, and to introduce his work to a wider audience. This study contains a biography of the composer and a compositional analysis that shows how Lee includes the concepts and techniques of Korean traditional music in his violin pieces. In this analysis, I will identify the composer's characteristic style, inspired by Korean compositional techniques, traditional Korean instruments and their characteristics. Additionally, the incorporation of Asian philosophy, and Taoism in particular, into Lee's music will be examined and cited throughout, demonstrating how Lee employs these ideas to create compositional techniques that differ from other twentieth century Asian composers. Lee is one of the most significant Korean composers living today and is known for combining Eastern and Western musical styles. He utilizes the core of Korean traditional music and performance practice and applies this to his compositions in a distinctive style that amalgamates both Western and Eastern (particularly Korean) musical traditions. Lee creates a balance between his native heritage and his knowledge of Western traditions, and he extracts his distinctive compositional ideas from various genres of Korean music, such as court royal music, traditional folk music, harvest music, Pansori, Samul nori, and Korean zither music. Lee is also interested in Western compositional techniques such as twelve-tone technique and chromaticism, which he combines with his knowledge of Korean traditional music and its techniques to create various works in a unique and distinctive fashion.
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Aspects of the Korean traditional vocal genre,kagok: female kagok and the call for a new integrative kagok notationLee, In-suk January 2007 (has links)
Kagok is a genre of highly refined, traditional, Korean, vocal music, which is now endangered and marginalized in contemporary Korean culture. Female kagok signers (kisaeng) have also been ignored in Korean music society. The aim of this study is to preserve and revitalize kagok, in order to conserve its true nature in a contemporary context, and for the future. This thesis is twofold. The first part shows how the aesthetics of the Chosŏn dynasty are fundamental to kagok's history, and female kagok singers' education. Furthermore, existing kagok scores, written in traditional chŏngganbo notation or in Western staff notation, are examined in this part, and they reveal the need for the creation of a new kagok notation. The second part of the thesis concerns the creation and testing of the New Integrative Kagok Notation (NIKN), which combines the essentials of chŏngganbo and Western staff notation, and provides a more effective vehicle for the transmission, transcription and recording of this art form, particularly for inexperienced, contemporary students.
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Symphony no. 1Oh, Seykyu 12 1900 (has links)
The Symphony has been composed using traditional Korean idioms and Western style four-movement arrangement. The Symphony requires Western instrumental forces. The discussions about Far Eastern music raised by Western and Eastern scholars, and about some Korean rhythmic aspects, articulations, and ornamentations help explain how the Symphony is constructed. The pitch materials, melodic styles, rhythm, form, and structural materials that are used in the composition are presented. Heterophony, embellishment, articulation, and mutation are also discussed.
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A Study of Selected Pedagogical Aspects of Two Intercultural Pieces for Late Intermediate and Early Advanced Students: "Variations sur un thème populaire coréen" by Sung-Ki Kim and "Six Pieces for Piano ‘Nori'" by Chung-Sock KimChoi, Yujin 12 1900 (has links)
I contend that young students should be introduced to intercultural contemporary music, as this exposure brings benefits to their artistic development and fosters appreciation of other cultures. Variations sur un thème populaire coréen by Sung-Ki Kim (b. 1954) and Six Pieces for Piano ‘Nori' by Chung-Sock Kim (b. 1940) are effective pedagogical works that fit perfectly into the intercultural mold mentioned above, and both are suitable for late intermediate or early advanced level students. A detailed comparison of these two works can help instructors understand the ways by which these composers incorporate Korean folk materials and blend them with Western contemporary techniques. An analysis of Sung-Ki Kim's Variations sur un theme populaire coréen and Chung-Sock Kim's Six Pieces for Piano ‘Nori' can be divided into three categories: harmony, rhythm, and performance-related aspects. By analyzing these two pieces, these study illustrates in greater depth their intercultural aspects, showing the way by which both composers merged traditional Korean folk idioms through the inclusion of traditional Korean rhythms, and the imitation of sounds of several traditional Korean instruments with Western contemporary technique such as non-traditional sounds and use of sostenuto pedal. Finally, this study provides some practicing suggestions and listing exercise on how to practice musical and technical challenges.
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A compositional and stylistic analysis of selected works by Eak-Tai-Ahn / Two examination concertsSo, Hanna Na January 2017 (has links)
* / Dissertation (MMus)--University of Pretoria, 2017. / Music / MMus / Unrestricted
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Mit Inniger Empfindung : In-between stylistic pluralismMastovaara, Teemu January 2018 (has links)
No description available.
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North Korean music and its political role observed through popular songs : a critical evalution of four bandsCho, Kisoo January 2020 (has links)
North Korea, throughout its history, has had four representative pop music bands that
frequently appear on broadcast media to propagate Juche philosophy and represent the
political stance of the government: the Bochonbo electronic band, the Wangjaesan light music band,
the Moranbong band, and the Chongbong band. The first two were formed during the Il-Sung-Kim
regime and gained popularity during the Jung-Il-Kim regime; and the latter two are representative
of the Jung-Eun-Kim regime. These bands always appeared at special occasions of North
Korea and are used as mouthpieces for the government and the supreme leaders.
This study explores the characteristics of North Korean pop music in conjunction with
political implications by examining performances of these representative four bands. The
aims are to interrogate how pop music in that country has been presented under governmental
control, to ascertain what perception the North Korean governors have about pop music, and to
delineate specific features in the music that can be identified as political. Certain aspects of
the current Jung-Eun-Kim regime and its pop music are appearing for the first time in
an academic context and existing research on the earlier regimes of Il-Sung Kim and
Jung-Il Kim are posited in relation to this.
The genesis of the Wangjaesan light music band and the Bochonbo electronic music band is closely
connected to Jung-Il Kim’s directive that North Korean music had to be modernised. The Wangjaesan
band concentrated more on traditional music, while the Bochonbo band did on modern trends and life
songs. Their performances provide evidence of an un-detachable relationship with Jung-Il
Kim’s politics and his perspective on music, “artistry without ideology is worthless”. The
Moranbong band and the Chongbong band were formed by Jung Eun Kim himself and they can be
regarded as symbolic musical groups of his regime. Demonstrating the earlier Juche ideas
of the previous regimes by performing older songs from that era, the bands also
illustrate new ideologies of the current regime. It would seem that none of their music was
created purely for the artistic and cultural demand of the public. The political use of the bands
has been totally intentional since their formation. / Thesis (DMus)--University of Pretoria, 2020. / Music / DMus / Unrestricted
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Traditional Korean Music in Contemporary Context: A Performance Guide to Gideon Gee Bum Kim's KangkangsullaeLee, Hyejin 05 1900 (has links)
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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An Analytical Study of Isang Yun's "Oboe and Oboe D'amore Concerto": The Intercultural Adaptation of Sigimsae for the Korean Piri with Modern Western Compositional Techniques for the OboeOh, Eun Suk 08 1900 (has links)
Isang Yun (1917-1995), one of the most important avant-garde German-Korean composers, is perhaps best known for his success at integrating Korean musical elements into traditional Western styles. His Concerto for Oboe, Oboe d'amore, and Orchestra incorporates many traditional Korean elements, and uses techniques such as Hauptton, Hauptklang, and Umspielung to blend these elements into a Western musical style. This study explores the elements of traditional Korean music and instruments present in Yun's score, examines his compositional techniques, and makes practical performance suggestions that allow performers to properly convey his intentions. This dissertation includes six chapters. The first chapter discusses the purpose and importance of the study. The second chapter reviews Isang Yun's biography and works, based on a published interview with Yun and a biography written by his wife of many years. The third chapter introduces the characteristics of traditional Korean woodwind instruments relevant to the work. The fourth chapter examines Yun's compositional techniques of Hauptton, Hauptklang, and Umspielung in the work and their relationship with the main-tone and Sigimsae techniques. The fifth chapter introduces and explores different types of Sigimsae in the work, with suggestions for quarter-tone performance techniques. The sixth and last chapter is a conclusion.
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