Thesis (D. M. A.)--Ohio State University, 2009. / Title from first page of PDF file. Includes vita. Includes bibliographical references (p. 98-102).

Thesis (M.M.)--University of North Texas, 2006. / System requirements: Adobe Acrobat Reader. Includes bibliographical references (p. 80-81).

Thesis (D.M.A.)--University of North Texas, 2005. / System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Apr. 17, 2000, Mar. 26, 2001, June 17, 2002, and Mar. 21, 2005. Includes bibliographical references (p. 58-60).

Thesis (A.Mus.D.)--University of Illinois at Urbana-Champaign, 2009. / Source: Dissertation Abstracts International, Volume: 70-06, Section: A. Adviser: John Dee. Miscellaneous chamber works for small and large ensembles also included. Includes bibliographical references (leaves 131-134) and discography (leaves 126-130). Available on microfilm from Pro Quest Information and Learning.

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

This dissertation introduces a Korean composer, Isang Yun (1917-1995), who embraced European traditions but retained Asian characteristics in his compositions. Attending the 1958 summer course in Darmstadt in Germany, Yun was strongly influenced by the avant-garde style of Boulez, Stockhausen, Nono, and Cage. In addition to his work as a composer, Yun distinguished himself, as one of the most important Asian composers to blend Eastern and Western music; and although his musical training focused on Western music, he continued the pursuit of Eastern sounds and philosophies throughout his musical life. Imprisoned in 1967 by the South Korean government, Isang Yun's music, particularly in later life, incorporates his beliefs on social and political issues together with musical ideas. Although his love of country was deep, Isang Yun was not allowed to return to South Korea, and he lived in Germany for the remainder of his professional life. In this study, my purpose is to investigate the development of Yun's musical ideas from his acceptance of Taoism four structures in the world: the Tao, heaven, earth, and man. The presence of both Western and Eastern influences in Yun's music provides the basic of his musical style, and analysis of Salomo für Altoflöte oder Flöte is included in this dissertation.

Isang Yun and his works for oboe is a title of this master thesis. It introduces a personality of a Korean composer Isang Yun and it focuses on his works for oboe. The first chapter contains resumé of principal moments of the composer´s life. The next chapter briefly touches characteristics of a traditional Korean music, how the western culture is displayed in the Korean music, what is her influence on the Korean music and their inosculation into each other. The following chapter describes a compositional style of Isang Yun in which elements of both different cultures combine in a unique way. Yun´s work is devided here into five stylistic periods and in this chapter one fractional subchapter is also introduced where an insight into a few compositional techniques of the composer, can be found. Final chapter contains analysis of five compositions, which Isang Yun wrote for oboe "Piri, Doppelkonzert for oboe and harp, Rondell, Quartett for oboe and strings and Bläserquintett.

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.

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.

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.