Thesis (Ph. D.)--University of Missouri-Columbia, 2001. / Typescript. Vita. Includes bibliographical references (leaves 225-232). Also available on the Internet.

Thesis (Ph. D.)--University of Missouri-Columbia, 2001. / Typescript. Vita. Includes bibliographical references (leaves 225-232). Also available on the Internet.

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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Even though Western music appeared only about one hundred years ago in Korea, it was rapidly popularized in the country. Since the Korean War (1950-1953), South Korea embarked on a path of remarkable economic growth and political stability. The appreciation of Western music, too, grew quickly. Since the 1960s, many talented Korean composers have been recognized around the world. However, scholarly studies discussing their artistry and music are scarce in Western countries. Young Jo Lee, one of the leading composers in Korea today, has a growing reputation. Lee has been invited to many festivals, concerts, and conferences where his works have been staged internationally. A primary compositional feature of his music is the combination of Korean traditional musical gestures with Western compositional elements. The Korean Dance Suite, one of Young Jo Lee’s most important piano works, reveals Lee’s uniqueness as a national Korean composer. The study examines the Korean Dance Suite (“Heaven Dance,” “Children’s Dance,” “Lovers Dance,” “Buddhist Dance,” and “Peasant Dance”) for the features of Young Jo Lee’s innovative and dramatic sound elements. The purpose of this study is to analyze the pieces and to trace Lee’s borrowings from Korean traditional music as well as the ways in which he adapts them to Western musical ideas. This study helps performers create an accurate interpretation when presenting these pieces. In addition, these little-known works will benefit teachers and students in creating an expanded repertoire. / School of Music

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Thesis (M.A.)--Eastern Illinois University, 2008. / Includes bibliographical references (leaves 97-101).

Thesis (Ph.D.)--University of Alberta, 1997. / In partial fulfilment of the requirements of the degree of Doctor of Philosophy. Department of Secondary Education. Also available online.

Thesis (Ph. D.)--University of Texas at Austin, 1999. / Vita. Includes bibliographical references (leaves 533-578). Available also in a digital version from Dissertation Abstracts.