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 traditional Korean music, how the western culture is displayed in the Korean music, what is its influence on the Korean music and their inosculation into each other. The following chapter has an aim to introduce the biggest inspirational element in Yun´s life - the philospophy of Taoism. The fourth chapter describes a compositional style of Isang Yun in which elements of both different cultures combine in a unique way. In this chapter one fractional subchapter is also introduced where an insight into a few compositional techniques of the composer and an approach of audience to Yun´s music can be found. Final chapter contains analysis of eight compositions, which Isang Yun wrote for oboe Piri, Doppelkonzert for oboe and harp, Inventionen, Rondell, Images, Quartett for oboe and strings, Bläserquintett and Bläseroktett.

Isang Yun (1917-1995), one of the most important avant-garde German-Korean composers, is perhaps best known for his success at integrating Korean musical elements into traditional Western styles. His Concerto for Oboe, Oboe d'amore, and Orchestra incorporates many traditional Korean elements, and uses techniques such as Hauptton, Hauptklang, and Umspielung to blend these elements into a Western musical style. This study explores the elements of traditional Korean music and instruments present in Yun's score, examines his compositional techniques, and makes practical performance suggestions that allow performers to properly convey his intentions. This dissertation includes six chapters. The first chapter discusses the purpose and importance of the study. The second chapter reviews Isang Yun's biography and works, based on a published interview with Yun and a biography written by his wife of many years. The third chapter introduces the characteristics of traditional Korean woodwind instruments relevant to the work. The fourth chapter examines Yun's compositional techniques of Hauptton, Hauptklang, and Umspielung in the work and their relationship with the main-tone and Sigimsae techniques. The fifth chapter introduces and explores different types of Sigimsae in the work, with suggestions for quarter-tone performance techniques. The sixth and last chapter is a conclusion.