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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.

Since the 1960s, several gifted Korean composers, including perhaps most notably Young Jo Lee (b. 1943), have been internationally acclaimed for their work. In Western countries, however, there has been a scarcity of academic studies examining the artistry of the music of these Korean composers. Nonetheless, as one of today's most recognized composers in Korea, Young Jo Lee has been invited to numerous international concerts, conferences, and festivals where his works have been played and discussed. A salient feature of his compositions is the fusion of Korean traditional music and the elements of Western compositions, such as in, for one distinctive example, his piano composition, Piano Honza Nori. This musical study describes and analyzes how Lee integrates Korean traditional elements with Western musical ideas in Piano Honza Nori. Results of this study will contribute to the limited literature on the analysis of contemporary piano composition that integrates Korean traditional elements.

The objective of the dissertation is to examine Young-Jo Lee's (b. 1943) musical language as exhibited in his piano composition, Variations on the theme of Baugogae. Subjects of discussion include Lee's use of direct and indirect musical borrowings from past European composers and traditional Korean folk idioms. Also included are a biographical sketch of the composer and historical overview of modern Korean composers. This dissertation investigates Lee's effort to synthesize traditional Korean music and Western music in one art form and ultimately, to create his own musical language.

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Korean composer Young Jo Lee (b.1943) is considered a precursor of Korean fusion music. In his works, he interlaces elements of traditional Korean music with compositional styles and performances techniques from western musical traditions. This dissertation provides an analysis of Lee's Dodri for Cello and Janggo (1995), one of his most representative works of fusion music. As indicated by the title Dodri (which in Korean means a "movement back and forth"), Lee intended to showcase a friendly interplay of the janggo and the cello, with each instrument playing a leading role that helps bring out the essence of traditional Korean traditional music. In this piece, Lee writes a number of melodies and uses traditional Korean performance techniques for the cello intended to imitate the sound and sentiments of traditional Korean instruments, all while preserving its inherent nature. This kind of fusion, where different musical elements are merged with each other but remain separate enough to maintain their own uniqueness, is significant to Lee's philosophy. This dissertation also describes Lee's efforts to preserve the integrity of traditional Korean music within fusion music and lend new insights regarding traditional Korean musical practice to musicologists, composers, and audiences. Furthermore, this study is intended to serve as a performer's guide for professional cellists new to Lee's music so they may approach Dodri with a greater understanding of the composer's original intentions when first learning the work.