Thesis (M.A.)--Zhongguo wen hua xue yuan. / Cover title. Rectos of double leaves mostly blank. Reproduced from typescript. Bibliography: leaves 129-131. Also issued in print.

Thesis (Ph. D.)--Harvard University, 1962. / Description based on print version record. Includes bibliographical references.

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.

No description available.

Was ist an Isang Yuns Kompositionen fremd für uns geblieben? Und welche Musik war für ihn fremd, als er nach Europa kam? Mit welchen Schreibweisen machte er sich in dem neuen kulturellen Raum heimisch? Diesen Fragen wird mit einer Konzentration auf das späte Schaffen des Komponisten nachgegangen.

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.

Thesis (D. Mus. Arts)--University of Washington, 2003. / Vita. Includes bibliographical references (leaves 102-105).

No description available.

No description available.

Isang Yun's oratorio My Land My People is organized in four movements, and is scored for orchestra, solo voice and choir. Movements are titled as follows: Rjoksa (History), Hyon-Shil I (Presence I), Hyon-shil II (Presence II), and Mi-rae (Future). This document only covers from measures 1-38 of the first section of the first movement of this work. Even though this work is atonal, the composer emphasizes a harmonically moving, tonal sonority: interval class five includes perfect 4th and 5th, quintal-quartal harmony and authentic cadence moving dominant to tonic. Also, in this document, a comparison with Korean traditional music elements is included to support Isang Yun's musical features.