An Analysis of Two Piano Works by Isang Yun: Symbiosis of Eastern and Western Musical Languages
| dc.contributor.advisor | ||
| dc.contributor.author | Lee, Soo Jung | |
| dc.date.accessioned | 2022-08-10T22:57:18Z | |
| dc.date.available | 2022-08-10T22:57:18Z | |
| dc.date.issued | 2022-07 | |
| dc.description | 115 pages | en_US |
| dc.description.abstract | Isang Yun (1917-1995) is one of the most influential composers in the twentieth century. He received the title of Living Top 5 Composers in Europe and The Most Important 56 Composers in Twentieth Century in Germany. Although Yun’s music has been acclaimed in Germany and Korea, it is not well-known yet to American musicians and scholars. In Europe, he received the spotlight for achieving a satisfying synthesis of elements from multiple cultures. His focuses are Eastern philosophy (Taoism), Hauptton technique inspired by Oriental music, Korean traditional music, and Western technique (twelve-tone technique and serial music). The comprehensive understanding of all these dimensions elevated his sense of timbre, musical time, and musical space. In addition, Isang Yun had a unique and challenging life story. His long exile, caused by political conflicts with the South Korean government, brought him and his family much suffering, and clearly influenced his music. As a passionate nationalist, Yun frequently had political messages regarding to world peace and reconciliation between human through music. This document will examine Isang Yun’s life and representative musical features, and will provide thorough analysis of two piano solo works: Fünf Stücke für Klavier (1958) and Interludium A (1982). | en_US |
| dc.identifier.uri | https://hdl.handle.net/1794/27497 | |
| dc.language.iso | en | en_US |
| dc.publisher | University of Oregon | en_US |
| dc.rights | Creative Commons BY-NC-ND 4.0-US | en_US |
| dc.title | An Analysis of Two Piano Works by Isang Yun: Symbiosis of Eastern and Western Musical Languages | en_US |
| dc.type | Terminal Project | en_US |