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.

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Composer Isang Yun developed an idiosyncratic musical language that blends Eastern-Asian and Western-European art traditions. Exiled from Korea due to political conflict, he continued his compositional career in Germany, where his music is renowned for its use of the Hauptton (“main-tone”) technique. Yun was the first to discuss this technique, which he interprets as a process rooted in East-Asian musical traditions, including Taoism philosophy. His music is remarkable in that it fuses this process within the context of Western formal structures. I combine Straus’s associational model with Yun’s Hauptton theory to analyse the second movement of Duo für Violoncello und Harfe (1984) in order to show the inclusion of Eastern-Asian and Western-European musical elements in Yun’s music. I begin by analysing several Haupttöne at the surface level through associational relationships, followed by a large-scale analysis of the entire movement with one fundamental Hauptton.

Composer Isang Yun developed an idiosyncratic musical language that blends Eastern-Asian and Western-European art traditions. Exiled from Korea due to political conflict, he continued his compositional career in Germany, where his music is renowned for its use of the Hauptton (“main-tone”) technique. Yun was the first to discuss this technique, which he interprets as a process rooted in East-Asian musical traditions, including Taoism philosophy. His music is remarkable in that it fuses this process within the context of Western formal structures. I combine Straus’s associational model with Yun’s Hauptton theory to analyse the second movement of Duo für Violoncello und Harfe (1984) in order to show the inclusion of Eastern-Asian and Western-European musical elements in Yun’s music. I begin by analysing several Haupttöne at the surface level through associational relationships, followed by a large-scale analysis of the entire movement with one fundamental Hauptton.

Composer Isang Yun developed an idiosyncratic musical language that blends Eastern-Asian and Western-European art traditions. Exiled from Korea due to political conflict, he continued his compositional career in Germany, where his music is renowned for its use of the Hauptton (“main-tone”) technique. Yun was the first to discuss this technique, which he interprets as a process rooted in East-Asian musical traditions, including Taoism philosophy. His music is remarkable in that it fuses this process within the context of Western formal structures. I combine Straus’s associational model with Yun’s Hauptton theory to analyse the second movement of Duo für Violoncello und Harfe (1984) in order to show the inclusion of Eastern-Asian and Western-European musical elements in Yun’s music. I begin by analysing several Haupttöne at the surface level through associational relationships, followed by a large-scale analysis of the entire movement with one fundamental Hauptton.