Ch'angjak kugak : writing new music for Korean traditional instruments

변계원 SOAS, University of London 2001 해외박사

The advent of Western influence has brought about many changes to Korean music. The most significant were the division of Korean musical culture into kugak (traditional Korean music) and yangak (Western music) and the rise of a new genre, ch'angjak kugak, "new compositions for traditional music". Kim Kisu, who was trained as a traditional court music performer in the early 20th century, was the first modern composer of music for traditional instruments. His music was written in staff notation incorporating various Western elements, including harmony, diatonic scales, and playing techniques based on Western instrument practices. Though he was trained as a court musician, his works demonstrated a desire to embrace Western culture and music in his compositions. Since Kim Kisu's innovations, many composers have been influential in the development of the genre. I focus on two of the most representative, Yi Sung-Chun and Yi Haeshik. Yi Sung-Chun, who is also a highly respectable educator, has sacrificed his musical life to expand the quantity and the quality of this genre. In the 1980s, he designed the improved 21-string kayagum and has written significant and successful pieces for this instrument. His search for new sounds led him to break many of the old conventions surrounding traditional instruments, and to write more contemporary and modern music. Yi Haeshik, who is known for his use of the folk idiom in his works, has composed many pieces that borrow elements from traditional shamanistic music, sanjo, folksongs and more. His approach reflects a movement to find "Korean contemporary identity" within the folk tradition in Korea and other countries, and within the world of dance. The ch'angjak kugak genre has seen significant development in the years since its inception and the three composers I focus on - Kim Kisu, Yi Sung-Chun and Yi Haeshik - best demonstrate the progress of the genre.

Westren music in Korea : focused on 20th century flute compositions by Korean composers

김정임 University of Illinois at Urbana-Champaign 2002 해외박사

A Comparative Study of Claude Debussy's Piano Music Scores and His Own Piano Playing of Selections from His Welte-Mignon Piano Roll Recordings of 1912

Lee, Kyung Ae University of Texas 2001 해외박사

Despite Debussy's insistence that his compositions should be played exactly as written, not as the performer wants to play them, there are different performing interpretations of his piano music. It is the performer's duty to determine the right performance practice for the compositions. Debussy (1862-1918), through whom 20th-century music was truly launched, deserves significant attention. Two especially valuable sources-his autograph piano scores and his piano roll recordings-still remain to help us determine his intentions. Debussy's original manuscripts of his piano scores give genuine insight into his conception of piano playing. In addition, a compact disc reproduction of Debussy's Welte-Mignon piano roll recordings of 1912, recently produced by Mr. Kenneth K. Caswell of Austin, Texas, offers a priceless glimpse of Debussy's own performances. I was able to obtain photocopies of Debussy's piano manuscripts from the Music Department of the Bibliothe`que Nationale de France in Paris, study the composer's recordings transferred from the Welte-Mignon reproducing piano rolls, and meet Mr. Caswell, who transferred Debussy's piano-roll recordings to CD. It has been most crucial for me to verify the accuracy of the roll-transferred recording, in order to know how much I could rely on the recording in examining Debussy's actual playing. Interviewing Mr. Caswell, seeing the instrument he used, and researching the references about the piano roll mechanism have given me confidence to rely on this recording as an authentic source. The recording reveals some divergences from the manuscripts. My treatise will explain the piano roll mechanism, examine the musical differences between Debussy's writing and playing, and seek to establish his true musical intentions in La Soire′e dans Grenade and Children's Corner. The piano music on this compact disc includes: Selections from Pre′ludes, Book I (1910) La Plus que lente (1910) La Soire′e dans Grenade from Estampes (1903) Children's Corner (1908) D'un cahier d'esquisses (1903).

Humor in the Piano Sonatas of Wolfgang Amadeus Mozart

최윤숙 University of Washington 2000 해외박사

This study examines humor in the piano sonatas of Mozart and its sources in eighteen-century comic opera and dance. Chapter I, 'Humor in General and in Music,' defines several categories of humor and explores the musical conditions that arouse our sense of humor. Chapter II, 'The Classical Era and Style,' discusses the prevalence of humor in the music of the Classical period. This chapter examines the influence of the Enlightenment and dramatic changes in social circumstances on music, the evolution of Classical-period music from comic opera and dance, and the theory of high and low styles of humor. Chapter III examines Mozart's humorous personal character and his representative comical composition, Ein Musikalisher Spass (A Musical Joke), K.522. Chapter IV examines humorous instances in Mozart's piano sonatas in detail. Almost every movement possesses humorous elements, but Mozart's humor glitters especially in third movements. Representative passages are discussed as examples of the categories of mirth, wit, and the comic. Chapter V discusses whole movements in order to comprehend how various types of humor contribute to the character of a piece. The final movements of K.279 and K.311, representing relatively different types of humor, are examined. In Mozart's piano sonatas, the humor is subtle and not easy to recognize. This study shows that sophisticated witticism is more typical of the composer than obvious comical humor.

(An) amalgam of Chilean folk and art music : 12 Tonadas de caracter popular chileno by Pedro Humberto Allende

Lee, Yong-im UMI Dissertation Services 2008 국내박사

A Performer's Guide to Benjamin Lees's Six Ornamental Etudes for Piano

이선령 The Southern Baptist Theological Seminary 2004 해외박사

This dissertation analyzes Six Ornamental Etudes for piano by Benjamin Lees from a performer's perspective. Chapter I covers general procedures for this research, including basic assumptions and need for the study, purpose of the study, limitation of scope, review of related literature, procedure for collecting data, and an overview of the following chapters. Chapter 2 offers Lee's biographical and stylistic summary, in which are included a concise biography, awards and commissions he received in conjunction with his works, compositional philosophy, influences in formulating his style, and a general perspective of his music. Finally, a brief introduction to all of Lees's published piano works concludes this chapter. Chapter 3, as the core of this research, analyzes each etude, with respect to stylistic features and performance considerations. Salient traits found in these etudes include well-defined sectional division, motivic development, the establishment of tonal centers instead of conventional tonality, chromatic inflection, a variety of rhythmic elaborations, frequent changes of meter, a spectrum of tonal practice, ornamentation through figurations, textural, dynamic, and registral contrasts, meticulous articulation, and percussive treatment of the piano. Based on these features, practical performance suggestions are provided, covering aspects of musicality and technique, including voicing, phrasing, rubato, proper and effective expression of dynamics and articulation, practical solutions for technical difficulties, and pedaling. Chapter 4 summarizes the examination of the preceding chapters and provides recommendation for further study connected to this research. As Benjamin Lees's Six Ornamental Etudes presents both a variety of stylistic features integrating past and modern practices and several remarkable pianistic qualities at a moderate difficulty level, this set may be regarded as one of the most exemplary accessible twentieth-century American piano works.

Sanjo for orchestra

이주강 University of Missouri-Kansas City 2002 해외박사

Sanjo for Orchestra is a single movement orchestral work. The title of the work is from the name of a Korean traditional musical form that goes from very slow to extremely fast. Generally sanjo is for solo instruments with an hourglass drum (called Jang-goo) accompaniment. Thus, special characteristics of solo instruments can be featured well on the music. For more specific applications of sanjo in my orchestral work, I chose a famous Korean instrumentalist, Jook-pa Kim's Gayagum sanjo (sanjo for a twelve-string plucked instrument, Gayagum) as a primary source for my work. There are three indispensable rhythmic patterns (called jang-dan) in sanjo: JinYangJo, JoongMoRi and JaJinMoRi in order from slow to fast. Along with these three, I added one more jang-dan for the fastest movement, SeSanJoSi, which is one of the distinguished features in Jook-pa's Gayagum sanjo. Two basic ideas are incorporated in my music: accelerating tempi from JinYangJo to SeSanJoSi (from slow to fast), and interrupting the tempo procedure with a gesture of fanfare-like motion. This idea of the interruption is from the Korean traditional percussion instrument, called Bak, which was originally used at the beginning, the end and the change of tempi in music. These ideas are sometimes alternating like a competition, or sometimes coexisting in different layers. This accompanying essay describes the method of development with these two basic ideas on the work, by analyzing fundamental rhythmic patterns, use of the rhythmic patterns on a Gayagum sanjo, and finally the actual application of the rhythmic patterns and Gayagum sanjo into my work, Sanjo for Orchestra. This abstract of 258 words is approved as to form and content.

Preparation and performance of song cycles and an opera by Dominick Argento : a guide for the pianist

양기훈 University of Maryland at College Park 2001 해외박사

The pianist has been an especially intimate and integral musical partner of singers in the performance of song literature from the eighteenth century to the present. Therefore, the most careful and well-informed preparation of the piano accompaniment is crucial to the successful performance of art songs. As an important musical partner, the pianist's role in the performance of songs is very different from other interactive roles such playing the piano in a chamber group or in an opera orchestra. The main part of this dissertation project was performance-based. Postcard from Morocco, the Argento opera in which I performed as a pianist in the orchestra, was the first performance in the project. It was performed on October 8,10, 13, and 15, 1999 at the University of Maryland. The second performance part of my project was the recital of Argento works, including song cycles and Valention Dances, performed on September 20, 2001. Both of these performances were recorded on CD and are included with this abstract/dissertation. This study concentrates on the pianistic aspects of the song cycles of the Pulitzer prize-winning American composer Dominick Argento, including the song cycles Songs About Spring, Six Elizabethan Songs, and From the Diary of Virginia Woolf. The goal of this study is to provide a useful and specific guide for the pianist preparing for a performance of one of Argento's song cycles. Following an introduction to the dissertation, the first chapter of the paper presents a brief biography of the composer Argento. There follows in the next chapter a comparison of my experience performing these song cycles with my performance in Argento's opera, Postcard from Morocco. The song cycles are then individually presented in separate subsequent chapters. Each song is examined from the point of view of the pianist, including a presentation of the genesis of the work, the composer's comments, the performance challenges, and suggested approaches to the solutions of these difficulties gleaned from my personal performance experience. A conclusion to the thesis is found in the final chapter.

Transformation of Rumanian folk sources into abstract pitch formations in Bartok's violin rhapsodies

황해정 Univ. of Texas at Austin 1995 해외박사

바이올린과 피아노를 위한 두 개의 랍소디는 민속음악의 직접적인 영향을 두가지 면에서 보여준다. 첫째는 루마니아어를 쓰는 지역(당시는 헝가리 영 토)에서 바르톡이 채집한 민속 춤곡을 그대로 인용한 점이고, 둘째는 1904년 에 정통민속음악의 발견이후 사용하지 않던 verbunkos 스타일을 다시 사용하 는 전환점이 되는 작품이라는 점이다. 랍소디의 첫부분인 "Lassu"는 느린 속도의 흐느끼는 가락으로 장식음이 많은 게 특징이며, 둘째 부분인 "Friss" 는 2/4 박자의 빠른 춤곡들이 연달아 이어진 체인 같은 구조이다. 이 논문은 민속음악과 가락과 반주와의 관계에 중점을 두어 화성과 형식의 구조에 관한 연구이다. 제 일장은 역사적 배경과 곡이 쓰인 경위에 관한 조사이며, 제이장은 민속음악의 특징에 관한 연구로 구조, 선법, 리듬, 인접 한 타민족의 영향과 이 모든 특성이 나타나는 농부 바이올린 음악에 대한 설 명이다. 제삼장은 곡의 형식구조외에 전음계나 비전음계 가락과 다선법 반주 의 화성에 관한 분석이다. 다선법 반음계는 민요가락에서 대립되는 둘째, 셋째, 여섯째, 일곱째 음정 을 수직적으로 배열한 결과로 생긴 것이다. 즉, 두개의 선법을 나란히 겹쳐 놓으면 부분적인 반음계가 생기는 것과 같은 이치이다. 이 외에도 바르톡은 오도권을 통하여 부분적이거나 완전한 십이음의 반음계를 사용할 수 있었다. 라디안선법에 일곱번째음을 반음 내린 루마니아 민속음계(D-E-F#-G#-A-B-C)인 비전음계와 이의 여러가지 순열은 민요가락에 나타나는 외에도, 반주에서의 전음계, 팔음음계, 온음음계를 연결하는 매우 중요한 중간 매개역할을 한다. 대부분의 경우 반주는 사도화성으로 시작하는데, 이는 민요가락에 자주 나타 나는 사도음정에서 유래하였으며 중간부분은 반음계 음정으로 축소되었다가 다시 곡의 끝부분에서 사도화성으로 확대된다. 이렇게 다선법을 이용한 확대와 축소는 곡의 유기적 발전의 기본이 되며, 또한 곡전체의 구조를 결정 하는 역할도 한다. 두개의 랍소디는 민요가락 그 자체보다도 이를 둘러싼 주변의 반주(setting)가 훨씬 더 중요하다는 바르톡 자신의 말을 입증하는 훌륭한 보기이다. The two Rhapsodies for violin and piano reveal the direct influence of folk material in work in two ways. First, they are literal transcriptions of Rumanian folk dance tunes co!lected by Bart6k from Rumanian speaking territories that formerly belonged to Hungary. Second, with the exception of the Second Violin Sonata of 1922 in two movements, and the Rhapsodies mark the return to the use of verbunkos style which he had essentially abandoned after the discovery of authentic folk tunes in 1904. In the Rhapsodies the first part, employs several wailing type tunes, and is characterized by its rich ornamentation. The second part,is built on a chain of fast dance tunes in 2J4 meter. This treatise focuses on the tonal and formal structures of these works in view of the relationship between folk tunes and their accompaniment. Chapter one provides historical background and genesis of the Rhapsodies. Chapter two explores the characteristics of folk tunes: their structure, mode, rhythm, and influence of neighboring peoples and their features in peasant violin music. Chapter three presents a formal outline and examines the tonal structure of the diatonic or non-diatonic tunes and polymodal accompaniments. Polymodal chromaticism results from the vertical projection of the conflicting second, third, sixth and seventh degrees of the tune; the superimposition of more than two modes produces local chromaticism. In addition, Bart6k was able to achieve partial or complete twelve-tone chromaticism in part through the cycle of fifths. The non-diatonic Rumanian folk mode, a kind of Lydian mode with a flat seventh (D-E-F&G&A-B-C), and its various permutations, not only appear in tunes, but also serve as an intermediary stage between diatonic and octatonic or whole-tone modes in the accompaniment. On the structural level, quite often the accompaniment begins with fourth chords derived from their prominent linear role in the folk tunes, which are often compressed to chromatic intervals that will re- expand to the fourth chord toward the end of the tune or section. This process of expansions and contractions by means of polymodal combinations and _ transformations is basic to the organic development of the work and contributes to the overall forma1 shape. The Rhapsodies are excellent examples of statement that composition (arrangement) around a folk tune is more important than the folk tune itself.

Darl Czerny's Schule des Fugensiels, Op.400

Son Eun Soo Juilliard School 1993 국내석사