Thesis (M.A.)--University of Hawaii at Manoa, 2005. / Includes bibliographical references (leaves 196-202). / vi, 202 leaves, bound music 29 cm

Thesis (M.A.)--York University, 2006. Graduate Programme in Music. / Typescript. Includes bibliographical references (leaves 171-183). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://proquest.umi.com/pqdweb?index=0&did=1240700171&SrchMode=1&sid=7&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1194980377&clientId=5220

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Isang Yun (1917-1995) embraced a masterful combination of two elements derived from his life: his Korean cultural upbringing and Western musical traditions. This dissertation explores Yun's distinctive style through an analysis of his Kontraste: Zwei Stücke für Violine Solo. Following the introduction (Chapter 1), Chapter 2 contains a brief biography of Isang Yun, and explores the compositions of his Korean period (1917-1955) and his European period (1956-1995). It also discusses how Yun's musical styles changed during these two periods as a result of important life events and due to cultural and political influences. Chapter 3 examines Korean instruments such as Kayakem, Hae-Kem, and Pak; discusses Nonghyun (traditional string techniques of ornamentation in Korean music); and introduces Korean performance techniques. This chapter also provides explanations of these concepts, illustrated through various examples. A subsequent discussion illuminates Yin-Yang theory and Jeong-Jung-Dong, both elements of Taoist philosophy that influenced Yun's compositional style. This is followed by explanations of Hauptton and Umspielung, two compositional techniques that Yun developed and employed in Kontraste. Yun created the idea of Hauptton to reflect the Korean traditional concept of a single note. He used the term Umspielung ("playing around" in German) to describe his interpretation of the four traditional techniques of Nonghyun within a Western notational framework. In Chapter 5, analysis of Kontraste reveals how the piece's contrasting elements represent the concepts of Yin-Yang and Jeong-Jung-Dong, and shows how the violin imitates the sounds of Korean traditional instruments and instrumental technique. Yun's adaption of Korean traditional performance techniques to the violin in Kontraste is aimed at combining East and West and producing a new aesthetic.

Heejo Kim (1920-2001) is one of the most prominent Korean composers of the twentieth century. He is primarily known for his works that incorporate aspects of traditional Korean music. However, at the same time, his efforts in choral arrangements, especially of Korean folk tunes are highly acclaimed by professional choirs and conductors. The purpose of this study is to provide performance guidance on Heejo Kim's choral work, Bat-no-rae, by presenting his biographical background, discussing the use of traditional Korean rhythmic patterns (Jangdan) and modes, and the appropriate application of traditional ornamentations.

The choral music of Hyo-won Woo, the composer of Oh! KOREA, is being widely performed by universities and professional choruses in Korea, as well as throughout the world. The work exhibits Woo's remarkable compositional style, which displays traditional Korean musical influences. Hyo-Won Woo's Oh! KOREA consisting of four movements, is for chorus, two pianos, and both Eastern and Western percussion instruments. Woo's Oh! KOREA employs an excellent introduction to the Korean choral repertoire for Western audiences, rooted in traditional Korean folk tunes. As today's choral conductors, singers, and audience cannot fully appreciate the value of this traditional Korean work and will likely not understand its intended context, it is therefore necessary to provide an in-depth investigation of this work for any conductor considering a performance of this piece. This study includes influences of traditional Korean elements within Oh! KOREA and rehearsal and performance consideration for Western choir directors.

This thesis examines Yoon-Seong Cho's critically acclaimed recording Jazz Korea, in which Cho unites Korean folk music and American jazz into a single form of expression. By reinterpreting Korean folk music through jazz, Cho stimulated interest in the Korean jazz scene and a renewed interest in Korean traditional folk songs. The goal of the thesis, the first musicological essay about Yoon-Seong Cho, is to understand how Cho's diasporic experiences affected his music by leading to a process of self-discovery that allowed Cho to interpret his own identity. Through musical analysis, the study proposes a cultural interpretation of two of Cho's pieces that have achieved popularity not only among Koreans but also internationally: "Arirang" and Han-O-Baek-Nyun.

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.