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.

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