AN ANALYSIS OF TWO PIANO WORKS BY ISANG YUN:  
SYMBIOSIS OF EASTERN AND WESTERN MUSICAL LANGUAGES 
 
 
 
 
 
 
 
 
by 
SOO JUNG LEE 
 
 
 
 
A LECTURE-DOCUMENT  
Presented to the School of Music and Dance  
of the University of Oregon 
in partial fulfillment of the requirements  
for the degree of 
Doctor of Musical Arts 
July 2022 
 
 
“An Analysis of Two Piano Works by Isang Yun: Symbiosis of Eastern and Western Musical 
Languages,” a lecture-document prepared by Soo Jung Lee in partial fulfillment of the 
requirements for the Doctor of Musical Arts degree in the School of Music and Dance. This 
lecture-document has been approved and accepted by:  
 
Alexandre Dossin, D.M.A., Chair of the Examining Committee  
Date: 07/27/2022  
Committee in Charge:        Dr. Alexandre Dossin, Chair  
                                            Dr. David Riley  
                                            Dr. Jack Boss  
 
Accepted by:  
Leslie Straka, D.M.A.  
Director of Graduate Studies, School of Music and Dance  
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ii 
 
 
 
 
 
 
 
 
 
© 2022 Soo Jung Lee 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
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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 and 
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). 
 
 
 
 
 
 
 
 
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ACKNOWLEDGEMENTS 
 
 
 
This study would not have been possible without the guidance and support of many people. 
First of all, I express my deepest appreciation to my adviser, Dr. Alexandre Dossin for invaluable 
guidance and assistance to complete this document and for inspiring and advising me to grow as a 
better musician. In addition, I would like to present my sincere gratitude to Dr. David Riley, whose 
inestimable teaching, advice, and support were a great contribution to my musical development. 
Also, special thanks are due to Dr. Jack Boss for assisting me in the elaboration of this document 
and especially for invaluable knowledge and expertise in the 20th century atonal music. I would 
also like to thank the Department of East Asian Language and Literatures at the University of 
Oregon for generously granting me a Graduate Fellowship. I am very grateful to Karen & Mike 
Lacey, Cecilia & Joseph Han, and St. Jude Catholic Church family for their immense support being 
with me from the beginning of my life in Eugene.  
Special gratitude goes to my family. I am truly blessed to have them in my life. In particular, 
I wish to express my most sincere love to my parents, sisters and brother (John &Julia, Elizabeth, 
Mark, and Klara), who always genuinely love me and my music. Their unconditional love and 
support have given me the strength to finish my doctoral study. There are no words to express my 
gratitude. 
 
 
 
 
 
 
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Dedicated to my God and my Parents, John and Julia. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
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All music from Isang Yun appearing in this document has been reproduced with permission from 
Boosey & Hawkes, Inc. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 vii 
 
TABLE OF CONTENTS 
 
                                                                                                                                                    Page 
 
Abstract …………………………………………………………………………………………iv 
Acknowledgements ...…………………………………………………………………………...v 
List of Example …………………………………………………………………………….…...x 
List of Figures …………………………………………………………………………….…… xiii 
List of Tables …………………………………………………………………………………... xv 
 
 
CHAPTER 1: INTRODUCTION ……………………………………………………………….1 
 
CHAPTER 2: ISANG YUN’S LIFE AND WORKS ……………………………………………2 
                           2.1 The Korean Period (1917-1955)………………………………………….....2 
                           2.2 The European Period (1956-1995) ……………………………..…………..4 
                                  2.2.1 The First Period (1956-1971) ………………………………………..4 
                                  2.2.2 The Second Period (1972-1982)…………………………………….. 7 
                                  2.2.3 The Third Period (1983-1995)………………………………………. 9 
CHAPTER 3: INFLUENCES ON YUN’S MUSIC …………………………………………....12 
                           3.1 Eastern Philosophy ……………………………………………………..... 12 
                                  3.1.1 Taoism …………………………………………………………….. 12 
                                  3.1.2 Yin and Yang Theory ……………………………………………… 16 
                                  3.1.3 Jung-Joong-Dong ………………………………………………..... 18     
                           3.2 Korean Traditional Music ………………………………………………... 19 
                                   3.2.1 Brushstroke shaping ……………………………………………..... 19 
                                   3.2.2 Sigimsae and Nonghyun …………………………………………... 21 
                            3.3 Western Technique (Twelve-Tone Technique) ………………………..... 25 
CHPAPTER 4 : YUN’S DISTINCT COMPOSITIONAL TECHNIQUE ……………………. 27 
                            4.1 Hauptton Technique …………………………………………………….. 27 
                            4.2 Hauptklang Technique ………………………………………………….. 31 
CHAPTER 5: AN ANALYSIS OF FÜNF STÜCKE FÜR KLAVIER (1958) …………………33 
                            5.1 Overview of Fünf Stücke für Klavier …………………………………….33 
                            5.2 Analysis ………………………………………………………………….34 
                                      5.2.1 First Piece …………………………………………………….....34 
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                                      5.2.2 Second Piece …………………………………………………….42 
                                      5.2.3 Third Piece ………………………………………………………49 
                                      5.2.4 Fourth Piece ……………………………………………………..57 
                                      5.2.5 Fifth Piece ……………………………………………………….62 
CHAPTER 6: AN ANALYSIS OF INTERLUDIUM A (1982) ………………………………...68 
                            6.1 Overview of Interludium A ………………………………………………68 
                            6.2 Analysis …………………………………………………………………. 69 
                                     6.2.1 Section I …………………………………………………………. 70 
                                     6.2.2 Section II ………………………………………………………… 76 
                                     6.2.3 Section III ………………………………………………………... 81 
                                     6.2.4 Coda ………………………………………………………………87 
CHATER 7 : CONCLUSION …………………………………………………………………...90 
 
 
Bibliography……………………………………………………………………………………..92 
 
Appendix A: List of Compositions by Isang Yun ……………………………………………....96 
Appendix B. Consent Letter from Boosey & Hawkes, Inc …………………………………….100 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
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LIST OF EXAMPLES 
 
                                                                                                                                                    Page 
 
Example 1. Violin Part in Yun’s Sonate für Violine und Klavier Nr. 1 (1991) ………………...20 
Example 2. Allegro in Yun’s Etude for Solo Flute (1974), mm.13-22…………………………...30 
Example 3. Haupklang technique in Yun’s Reak (1966) ……………………………………… 32 
Example 4. Rows in Section A, Piece I, Fünf Stücke für Klavier ………………………………37 
Example 5. Rows in Section B, Piece I,  Fünf Stücke für Klavier………………………………39 
Example 6. Schoenberg’s Piano Piece Op.33a ……….. ……………………………………….41 
Example 7. Yun’s Fünf Stücke für Klavier, Piece I, the beginning of Section B ……………….41 
Example 8. Use of Cells, Piece II (mm. 1-2) in Fünf Stücke für Klavier ……………………….43 
 
Example 9. Use of Cells, Piece II (m. 4) in Fünf Stücke für Klavier …………………………43 
Example 10. Use of Cells, Piece II (m. 11) in Fünf Stücke für Klavier ……………………....44 
Example 11. Pentatonic Scale, Piece II (mm. 1-2) in Fünf Stücke für Klavier …………………44 
Example 12. Measure 6, Piece II in Fünf Stücke für Klavier …………………………………...45 
Example 13. Rows in the first phrase (mm.1-5), Section A, Piece II, Fünf Stücke für Klavier .. 46 
Example 14. Rows in the second phrase (mm. 6-12), Section A, Piece II, Fünf Stücke für Klavier  47 
Example 15. Rows, Section B and A' (mm. 13-22) of Piece II in Fünf Stücke für Klavier …….48 
Example 16. Rows in Section A (mm. 1-4), Piece III, Fünf Stücke für Klavier ………………..51 
Example 17. Rows in Section B (mm. 5-12), Piece III, Fünf Stücke für Klavier ………………52 
Example 18. Rows in Section C (mm. 14-21), Piece III, Fünf Stücke für Klavier ……………..53 
Example 19. Chungmori ………………………………………………………………………..55 
Example 20. Similarity of Rhythm Between m. 1 of Piece III and Chungmori ……………...56 
Example 21. Similarity of Rhythm Between m. 3 of Piece III and Chungmori ……………...56 
 x 
 
Example 22. Rows in Section A (mm. 1-2), Piece IV, Fünf Stücke für Klavier ………………59 
Example 23. Rows in Section B (mm. 3-5), Piece IV, Fünf Stücke für Klavier ……………….59 
Example 24. Rows in Section A' (mm. 6-7), Piece IV, Fünf Stücke für Klavier ………………60 
Example 25. Rows in Section B' and A'' (mm. 8-20), Piece IV, Fünf Stücke für Klavier ……..61 
Example 26. Rows in Section A (mm. 1-9), Piece V, Fünf Stücke für Klavier ………………..64 
Example 27. Rows in Section B and A' (mm. 10-19), Piece V, Fünf Stücke für Klavier ……...66 
Example 28. First line in Page 1, Interludium A ……………………………………………….71 
Example 29.  Hauptton Technique, Second and Third lines in Page 1, Interludium A ………..72 
Example 30. First and Second lines in Page 2, Interludium A …………………………………73 
Example 31. Third and Fourth lines in Page 2, Interludium A …………………………………74 
Example 32. First and Second lines in Page 3, Interludium A …………………………………75 
Example 33. Third and Forth lines in Page 3, Interludium A …………………………………..76 
Example 34. Part A and B, Section II, Interludium A ………………………………………….78 
Example 35. Pentatonic Mode, Part C, Section II, Interludium A ……………………………...79 
Example 36. Pentatonic Mode, Part C, Section II, Interludium A ……………………………...80 
Example 37. Interval of Minor 2nd, Part C, Section II, Interludium A ………………………….80 
Example 38. Interval of Minor 2nd, Part C, Section II, Interludium A ………………………….80 
Example 39. Interval of Minor 2nd, Part C, Section II, Interludium A ………………………….81 
Example 40. Ending of Section II, Interludium A ……………………………………………...81 
Example 41. Part A, Section III, Interludium A ………………………………………………...82 
Example 42. Ascending and Descending Direction, mm. 10-11, Interludum A ………………. 84 
Example 43. Taoist Concept, m. 14, Interludium A …………………………………………. 84 
Example 44. Three Layers, mm. 16-17, Interludium A ……………………………………………. 85 
 xi 
 
Example 45. Central Pitch A with Trills, mm. 30-31, Interludium A ………………………….  86 
Example 46. Ascending Figures (Image of Emancipation), m. 34, Interludium A ………….87 
Example 47. Pentatonic Mode, m. 36, Interludium A ……………………………………….88 
Example 48. Pentatonic Mode, m. 40, Interludium A ……………………………………….89 
Example 49. Highest A and Lowest A, m. 44, Interludium A ………………………………89 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
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LIST OF FIGURES 
                                                                             Page 
 
Figure 1. Dynamic changes in Yun’s Concerto for Violoncello and Orchestra (1975-6)…….15 
Figure 2. Taijitu (Symbol of Yin and Yang) …………………………………………………..17 
Figure 3. Brushstroke of Calligraphy …………………………………………………………20 
Figure 4-1. Sigimsae (Traditional Notation), examples from Gagok  ………………………...23 
Figure 4-2. Sigimsae (Written above the 5-line Staff) ………………………………………...23 
Figure 5. Keomungo (거문고) ………………………………………………………………...24 
Figure 6: Sketch of Hauptton by Yun …………………………………………………………28 
Figure 7: Sketch of Hauptton by Schmidt ……………………………………………………. 29 
Figure 8-1. Prime Row I (Section A) of Piece I in Fünf Stücke für Klavier …………………..35 
Figure 8-2. Prime Row II (Section B) of Piece I in Fünf Stücke für Klavier ………………….35 
Figure 9. Mirroring Rhythmic Pattern (Centering of Decuplet) ………………………………36 
Figure 10. Prime Row of Piece II in Fünf Stücke für Klavier …………………………………42 
Figure 11. Prime Row I of Piece III in Fünf Stücke für Klavier ……………………………….49 
Figure 12. Prime Row II of Piece III in Fünf Stücke für Klavier ………………………………50 
Figure 13. Pak (박) …………………………………………………………………………… 54 
Figure 14. Janggo (장구) ………………………………………………………………………54 
Figure 15. Prime Row of Piece IV in Fünf Stücke für Klavier …………………………………57 
Figure 16. Hexachord Combinatoriality (P7 and Io) …………………………………………….58 
Figure 17. Prime Row of Piece V in Fünf Stücke für Klavier …………………………………..62 
Figure 18. Hexachord Combinatoriality (R4 and P4) ……………………………………………65 
Figure 19. Jing (징) …………………………………………………………………………….70 
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Figure 20. Piri (피리) …………………………………………………………………………..86 
Figure 21. The Bluebird ………………………………………………………………………..88 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
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LIST OF TABLES 
 
  Page 
 
Table.1 Yin and Yang influences in Yun’s music ……………………………………………….18 
Table 2. Sigimsae (Four Main Techniques) ……………………………………………………..22 
Table 3. Overview of Fünf Stücke für Klavier …………………………………………………..34 
Table 4. Matrix, Row I (Section A) of Piece I in Fünf Stücke für Klavier ……………………...36 
Table 5. Matrix, Row II (Section B) of Piece I in Fünf Stücke für Klavier ……………………. 38 
Table 6. Matrix, Row of Piece II in Fünf Stücke für Klavier …………………………………... 42 
Table 7. Matrix, Row I of Piece III in Fünf Stücke für Klavier …………………………...…… 50 
Table 8. Matrix, Row II of Piece III in Fünf Stücke für Klavier ………………………………...50 
Table 9. Matrix, Row of Piece IV in Fünf Stücke für Klavier …………………………………..57 
Table 10. Matrix, Row of Piece V in Fünf Stücke für Klavier ………………………………….62 
Table 11. Overview of Interludium A …………………………………………………………...70 
 
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CHAPTER 1: INTRODUCTION 
 
  
The purpose of this study is to introduce a great Korean-German composer, Isang Yun, 
and his two significant works for solo piano: Fünf Stücke für Klavier (1958) and Interludium A 
(1982). Isang Yun (1917-1995) has a strong reputation both in Germany and Korea. In order to 
commemorate his career and achievement, Tongyoung International Music Festival and Isang 
Yun International Music Competition are held each year in his hometown in Korea, with 
participants from all over the world. Yun is renowned for his unique musical style, which 
combines East-Asian philosophy and Korean traditional music with Western compositional 
technique (twelve-tone system).  
This study will examine these characteristic features along with Yun’s biography and two 
remarkable piano works, in an attempt to illuminate the interpretation of his music. This 
document will consist of seven chapters. Chapter 2 will provide a comprehensive study of Yun’s 
bi-cultural life in Korea (1919-56) and Europe (1956-95). Chapter 3 will exemplify significant 
influences on his music focusing on three aspects: Eastern philosophy, Korean traditional music, 
and Western compositional technique. In Chapter 4, Yun’s internationally acclaimed new 
compositional techniques, Hauptton and Haupklang technique, will be discussed. Chapter 5 and 
6 will offer thorough analysis of Fünf Stücke für Klavier and Interludium A including historical 
and cultural associations as well as structural analysis.   
 1 
 
CHAPTER 2: ISANG YUN’S LIFE AND WORKS 
 
Isang Yun (1917-95) spent the first half of his life in Korea and the second half in Europe 
as an exile. The Korean period established the cultural foundation of his interest in traditional 
East Asian elements. The European period provided the background and context to develop his 
Western compositional techniques.  
2.1 The Korean Period (1917-1955) 
Isang Yun was born on September 17, 1917, in Sancheong, a small town located in 
southern Korea near the coastal city of Tongyeong. When he was three years old, his family 
moved to Tongyeong, where the Tongyeong International Music Festival to commemorate the 
spirit of Isang Yun1 has been held as one of the most renowned international music festivals in 
Asia. Growing up in Tongyeong, which was a center of traditional culture in southern Korea, 
Yun naturally experienced the Korean traditional music such as A-ak2, Minsok-ak 3, Namdo-
Chang4 , Pansori5, and shaman’s singing while conducting rituals.6 These artistic experiences 
impacted his later compositions. At the age of five, Yun’s father, Ki-Hyun Yun, who was a poet 
and scholar in the aristocratic class of yangban, sent his son to a private Chinese school in 
Tongyeong, Hodang-Seojae (the Hodang village schoolhouse).7 The study of Chinese classics 
including Confucianism and Taoism during this period later became the most important 
 
1 Inhye Cho, “Five Pieces for Piano by Isang Yun and Etude No.1 by Unsuk Chin: An Analysis” (DMA diss., 
University of South Carolina, 2020), 10. 
2 A-ak: Korean court music 
3 Minsok-ak: Korean folk music 
4 Namdo-Chang: Korean traditional vocal music in south-eastern coastal region 
5 Pansori: Korean traditional storytelling music performed by a singer accompanied by a drummer 
6 Youn Joo Lee, “East and West: Exploring the Sound World of Isang Yun through An Analysis of Piri for Solo 
Oboe” (DMA diss., University of Indiana, 2016), 1. 
7 Sinae Kim. “Isang Yun and Hauptton technique: An Analytical Study of the Second Movement from Duo fur 
Violoncello und Harfe (1984)” (MA diss., University of Ottawa, 2012), 4.  
 2 
 
inspiration for his music. At the age of eight, Yun attended an European-style elementary school, 
where he first encountered Western music, together with the fascinating sound of organ. Singing 
hymns at a Protestant church and taking violin and guitar lessons at nine-years old also provided 
the opportunities to be acquainted with Western music. 8  
At the age of thirteen, Yun started composing, teaching himself as he went along. Despite 
his father’s strong objection, Yun went to Seoul where he received his first formal compositional 
training for two years, then entered to the Osaka Conservatory in Japan to study composition, 
music theory and cello in 1935-36. 9 In 1938, Yun went to Tokyo to learn counterpoint from 
Tomijiro Ikenouchi. 10 However, the outbreak of the Pacific War in 1941 forced Yun to return to 
Korea. Korea was ruled by the Japanese government with strict cultural and political oppressions 
in 1910-45.11  Yun was participated in the independence movement against Japan and was 
imprisoned for two months in 1944 due to compositions that he wrote in Korean language. After 
being released from imprisonment, he worked as a director in an orphanage, formed the 
Tongyeong String Quartet (where he performed as a cellist), and taught music at a high school. 
On August 15, 1945, while Yun was hospitalized due to tuberculosis, the liberation of Korea 
took place. Along with the joy of the liberation, the nation faced the unfortunate event of the 
division of its territory into the south and north.12 In 1950, he married Su-ja Yi, who was a 
Korean literature teacher at the same high school.13 During this period, Yun wrote many vocal 
works including 70 songs for children and Gagok (Korean art song), and chamber works. In 
 
8 Ibid., 4. 
9 Kyung Ha Lee. “A Comparative Study of Selected Violin Works of Isang Yun: Gasa Für Violine Und Klavier 
(1963) and Sonate Für Violine Und Klavier Nr. 1 (1991)” (DMA diss., Ohio State University, 2009), 6. 
10 Lee, “East and West,” 3. 
11 Lee, “A Comparative Study of Selected Violin Works,” 6.  
12 Kim, “Isang Yun and Hauptton technique, “6.  
13 Ibid., 7.  
 3 
 
1955, Yun was awarded the 5th Seoul Cultural Prize for his String Quartet No.1 (1955) and 
Piano Trio. Because of financial support from this award, Yun was able to move to Europe to 
study in 1956.14  
 
2.2 The European Period (1956-1995) 
 
2.2.1 The First Period (1956-1971) 
Yun was inspired by reading the Japanese translation of the book, Composition with 
Twelve Tones: 1952 (Die Komposition mit zwölf Tönen), written by Joseph Rufer (1893-1985), 
who was a musicologist and student of Arnold Schoenberg (1874-1951). In this book, Rufer 
provides an introduction to Schoenberg’s twelve-tone technique. It stimulated Yun’s interest in 
twelve-tone music and motivated him to study abroad. 15 At the age of thirty-nine, he decided to 
go to Europe to study Western compositional techniques. He desired to go to Germany to learn 
the modern serialism technique of the Second Viennese School. However, because of the visa 
problem, he first moved to France in 1956 and enrolled at the Conservatoire Nationale de Paris	
for a year to study composition with Tony Aubin (1907-1981) and music theory with Pierre 
Revel (1901-1984).16 In 1957, Yun moved to Germany and attended the Hochschule für Musik 
Hanns Eisler Berlin for two years where he studied twelve-tone technique with Joseph Rufer 
(1893-1985), counterpoint and fugue with Reinhard Schwarz-Schilling (1904-1985), and 
 
14 Lee, “East and West,” 4. 
15 Young Hwan Kim, “The Study of Isang Yun” (1999), 27. 
16 Jikyung Moon, “Study of Isang Yun’s Examplum In Memorium Gwangju.” (DMA diss., University of Georgia, 
2011), 13. 
 4 
 
composition with Boris Blacher (1903-1975).17 According to Youn Joo Lee, Boris Blacher was 
the one that suggested Yun should compose music incorporating Asian elements and find his 
own musical style differed from his European contemporaries.18  
During his study in Berlin, Yun attended the Darmstadt International Summer Courses 
for New Music, providing him opportunities to encounter the avant-garde music by 
contemporary composers such as Karlheinz Stockhausen (1928-2007), John Cage (1912-92), 
Luigi Nono (1924-90), and Bruno Maderna (1920-73). Their music showed the fact that a variety 
of compositional approaches besides serialism were being explored by other composers.19 It was 
a surprise to Yun and made him struggle to establish his artistic identity as a composer.  
Yun’s two works, Fünf Klavierstück (1958) and Musik für Sieben Instrumente (1959), 
which integrate Asian aesthetics with Western twelve-tone techniques, were selected to be 
performed at two music festivals in 1959: the International Gaudeamus Music Week in 
Billthoven and the Darmstadt International Summer Courses for New Music. His two 
compositions introduced at these festivals were the first to make him recognized in Europe.20  
After his successful debut at two festivals, Yun decided to stay longer in Germany and 
spent several prolific years during the 1960s as a composer. Despite his productive output, 
including Bara for orchestra (1960), Symphonische Szene for orchestra (1960) Images for flute, 
oboe, violin, and violoncello (1960), Colloïdes sonores for string orchestra (1961), Loyang for 
chamber ensemble (1962), Gasa for piano and violin (1963), and Garak for piano and flute 
 
17 Ko Eun Lee, “Isang Yun’s Musical Bilingualism: Serial Technique and Korean Elements in Funf Stucke Fur 
Klavier (1958) and His Later Piano Works.” (DMA diss., University of North Carolina at Greensboro, 2012), 7. 
18 Lee, “East and West,” 5. 
19 Kim, “Isang Yun and Hauptton technique,” 9.  
20 Lee, “East and West,” 6.  
 5 
 
(1963), Yun experienced financial hardship. In 1964, Yun was awarded the Ford Foundation 
Grant, a scholarship that was awarded to the young artists who produced works promoting Berlin 
as a city of cultural center. It provided him financial supports, many performance opportunities, 
and his connection with the influential publishing company, Bote & Bock. 21 He settled down 
with his family (wife and two children from Korea) in Berlin in the same year. During this 
period, his oratorio, Om mani padme hum, 오 연꽃 속의 진주여 (1965), was premiered in 
Hannover and Reak for orchestra (1966) received its premier during the Donaueschingen Music 
Festival, and gain him international recognition. 22 
On June 17th in 1967, Yun experienced one of the most significant events that influenced 
the rest of his life. It was a part of the “East Berlin Spy Incident,” in which 190 South Korean 
intellectuals, artists and students in Berlin were kidnapped by the KCIA (Korean Central 
Intelligence Agency) during Jung Hee Park’s regime due to the suspicion that they were working 
as spies for North Korea. 23 Yun was secretly accused with his wife and other Koreans in Berlin, 
brought back to South Korea, and sentenced to death. This tragic event was happened because of 
Yun’s prior visit to North Korea. Yun and his wife visited North Korea in 1963 not for a political 
purpose, but to see a great Korean historical painting, Sashindo, in person, and meet an old 
friend. In addition, the South Korean government thought (wrongly) that Yun was receiving 
financial supports from North Korea, which was illegal. 24    
Yun’s imprisonment drew attention from numerous artists in Europe. Nearly 200 artists 
including Igor Stravinsky, Herbert von Karajan, Luigi Dallapiccola, György Ligeti (1923-2006), 
 
21 Ibid., 6. 
22 Moon, “Study of Isang Yun’s,” 14. 
23 Lee, “East and West,” 6. 
24 Ibid., 7. 
 6 
 
and Karlheinz Stockhausen (1928-2007) signed petitions aginst the Korean government to 
protest Yun’s imprisonment against Korean government and request Yun’s release.25 The intense 
pain made Yun try to commit suicide several times during imprisonment period. However, he 
received a permission to compose and wrote some incredible works including Riul for clarinet 
and piano (1968), Images for flute, oboe, violin, and cello (1968), and the opera Butterfly Widow 
(1968) while he was in prison. 26  With the international pressure, Yun was granted amnesty and 
released in March 1969 and immediately headed back to Germany. 27 After returning to West 
Germany, Yun was appointed in a teaching position of composition for a year at the Hanover 
Hochschule für Musik in 1970. He was awarded the Kiel Cultural Prize with his opera 
Geisterliebe (Ghost’s Love, 1970) in the same year.  
 
 2.2.2 The Second Period (1971-1982) 
After Yun moved back to Germany, he obtained German citizenship in 1971 and 
continued to develop his musical career and professional position in Europe. He had served as 
professor of composition at Hochschule der Künste Berlin from 1971 to 1985. In 1972, he was 
commissioned to compose a work for the opening ceremony of the Munich Olympics with the 
slogan “the unity of all cultures”.28 For the commission, Yun wrote his fourth opera, Sim Tjing, 
based on a Korean fairy tale and Pansori (Korean traditional vocal music). The opera was highly 
acclaimed and earned international attention. In addition, Yun was actively involved in the 
 
25 Lee, “Isang Yun’s Musical Bilingualism,” 9.  
26 Kim, “Isang Yun and Hauptton technique,” 13.  
27 Lee, “A Comparative Study of Selected Violin Works,” 8. 
28 Lee, “East and West,” 8.  
 7 
 
movement desiring the unity of South and North Korea. In August 1977, he became a president 
of the Korean Democratic United Nation of the European Union. Although his music was still 
banned in South Korea, North Korea appreciated the value of Yun’s music and Yun as an artist.  
Yun’s music in the mid-1970s shows a noticeable shifting of his compositional approach 
impacted by his life-changing experience of abduction and unresolved political conflicts in his 
country. In other words, Yun sought to deliver political and humanistic messages such as “peace 
in the world” and “love for others” through music. During his second European period, Yun’s 
output includes thirteen concertos, chamber works, orchestral works, and vocal works based on 
texts from other cultures (instead of previously using Asian heritage texts) written in English for 
the first time. Particularly, his Cello Concerto (1975-6) is considered to be the beginning of his 
approach incorporating political themes into his music.29 The use of texts from the Bible and 
Western literature shows the humanistic aspects of his compositions in this period.30 A large-
scale symphonic poem, Exemplum in Memoriam Kwangju (1981), 광주여 영원히, conveys a 
strong message about his political beliefs. In 1979-1980, South Korea underwent extreme 
political tension between the military dictatorship and the democratic resistance movement. 
General Doo Hwan Chun directed a massacre in Kwangju (a large southern city in South Korea), 
in which thousands of people were killed, on taking over the position of president. Yun 
completed Exemplum in Memoriam Kwangju in 1981 to commemorate the massacre in 
Kwangju, expressing his lamentation for the victims of massacre and “an admonition to fight for 
freedom.”31  The Köln Radio Broadcasting Symphony Orchestra of West Germany premiered 
 
29 Lee, “East and West,” 25. 
30 Ibid., 25. 
31 Sae Hee Kim, “The Life and Music of Isang Yun with an Analysis of His Piano Works,” 19. 
 8 
 
this work in May 1981. In 1984, this monumental work was selected by the German government 
to be performed at an International Contemporary Music Festival. 32 
In addition, according to Young Hwan Kim, in the mid-1970s, Yun began to focus on 
communicating with his audiences through a clearer musical language, a change of previous 
style (1958-75), when he composed with the goal to satisfy himself as an artist.33   
In an interview, Yun explained that: 
“In the mid-1970s, I started modifying the Hauptton technique, which I have 
developed from early 1960s, as an essential tool for helping listeners to understand 
my music more directly and easily”. 34 
 
2.2.3 The Third Period (1982-1995) 
During the third European period, Yun more actively engaged in political participation, 
although he maintained a neutral position preferring neither South nor North Korea. Despite his 
continuous attempts to develop better relationships with the South Korean government, it never 
happened and his return to South Korean was not permitted until his death. On the contrary, in 
the 1980s, Yun often visited North Korea to perform his works, attend the annual Isang Yun 
Festival, and build up close relationships with the North Korean government.35 Since 1982, after 
a performing Yun’s Exemplum in Memoriam Kwangju in North Korea, the North Korean 
government has sponsored and annually held the Isang Yun Festival in Pyongyang. The 
 
32 Lee, “A Comparative Study of Selected Violin Works,” 10.  
33 Kim, “The Study of Isang Yun,” 44. 
34 Walter-Wolfgang Sparrer, “The Music World of Isang Yun” (1991), 44. 
35 Moon, “Study of Isang Yun’s,” 16. 
 9 
 
Research Institute of Isang Yun’s Music was established in 1984 and the Isang Yun 
Philharmonic Orchestra was established in 1990 in North Korea.  
During his third period, Yun mainly composed five symphonies and chamber works 
presenting his strong desire for the unity of South and North Korea, freedom, world peace, and 
ending poverty and discrimination in the world. The five symphonies that Yun wrote every year 
from 1983 to 1987 are called “Symphonies of Peace”.36 According to Young Hwan Kim, Yun 
commented that these “five symphonies were the summit of my music including philosophy and 
ideology, and they signified the extension of my compositional approaches and aesthetics from 
only Asia to the whole world.”37 The five symphonies are thematically interconnected. As a 
cycle of five works, they produce the composer’s most powerful massage to the world.38  Yun 
wrote the themes about the concerns of nuclear threat in the first symphony, questions about 
what the composer’s identity is in the world in the second symphony, the balance of the 
contrasting ideas of yin and yang in the third symphony, the darkness and suffering of Asian 
women in the fourth symphony, and peace in the fifth symphony.39 His Symphony No. 5 was 
premiered in 1987 by the Berlin Philharmonic Orchestra with the baritone, Dietrich Fischer-
Dieskau to celebrate Berlin’s 750th Anniversary Commemoration and also for Yun’s 70th 
birthday. 40 On the contrary, chamber works such as Duo for Cello and Harp (1984), Quintet I 
for Clarinet and String Quartet (1984), and Distanzen for Wind Quintet and String Quintet 
 
36 Lee, “A Comparative Study of Selected Violin Works,” 11.  
37 Kim, The Study of Isang Yun, 45.  
38 Lee, “East and West,” 27.  
39 Ibid., 26.  
40 Ji Sun (Emily) Choi, “The Merging of Korean Traditional Music and Western Instrumentation as Exemplified in 
Four Chamber Works for Piano Composed by Isang Yun” (DMA diss., University of Miami, 2007), 17. 
 10 
 
(1988) employed a lighter texture, a lyrical and cantabile mood, and the use of consonant 
harmonies.   
In 1985, Yun received an honorary doctorate from the Hochschule der Tübingen. His 
long-desired production of a Unification Concert of South and North Korea finally was achieved. 
This concert was held in Pyoungyang, North Korea in October, 1990, and in December of the 
same year in Seoul, South Korea. Yun composed 120 works in various genres and styles. His 
great achievements were recognized by numerous awards and honors especially in his late years 
including the Distinguished Service Cross from the Federal German Republic (1988), Honorary 
Membership in the International Society for Contemporary Music (1991), the Medal of the 
Hamburg Academy (1992), Membership in the Freie Akademie der Künste, Hamburg (1993) and 
the European Academy of Arts and Sciences, Salzburg (1994), and the Goethe Medal of the 
Goethe Institute (1995). 41 
Yun’s last wish was to spend his last days in his home country, where his children would 
live, and his body would be buried. However, he died of pneumonia in Berlin on 3 November 
1995 and was buried at the public cemetery in Gatow-Berlin in a grave of honor by the Berlin 
City Senate.42 The International Isang Yun Society was established in Berlin in 1996. Since 
2002, the Tongyeong International Music Festival has been held annually in Yun’s beautiful 
hometown in South Korea to commemorate his music and spirit.  
 
 
 
41 Lee, “Isang Yun’s Musical Bilingualism,” 14.  
42 Kim, “Isang Yun and Hauptton technique,” 16.  
 11 
 
CHATER 3: INFLUENCES ON YUN’S MUSIC 
 
 
3.1 Eastern Influences (Eastern Philosophy) 
 
The music by Isang Yun is strongly grounded in Eastern heritage. Yun utilized 
components from Eastern philosophies and Korean traditional music as the main tool of his 
compositional methods. This chapter will discuss the ideology of Taoism, one of the most 
influential Eastern philosophies in Yun’s music, and the theories of Yin and Yang and Jung 
Joong Dong, both of which derived from East-Asian philosophy.         
                            
3.1.1 Taoism  
 
If one wants to truly understand Yun’s works, it is necessary to comprehend the 
composer’s philosophical background derived from his East-Asian heritage. Being part of the 
aristocratic class of yangban in Korea, Yun grew up under the influences of Eastern philosophies 
including Taoism, Buddhism and Confucianism and naturally absorbed these thoughts from 
young age. Among these, Taoism was the greatest inspiration on Yun’s music. Yun frequently 
spoke about his keen interest in Taoism and how his compositions articulated the thoughts of 
Taoist philosophy.  
 
In a lecture at Mozarteum University (Salzburg), he explained;  
“Tao is not a religion, but pure philosophy. It is a spiritual attitude, which 
was established by Lao-Tzu ((B.C 604-531) and promoted by Chuang-Tzu 
 12 
 
(B.C. 365-290), and later, widely influenced the thoughts of Chinese 
philosophers.” 43  
As Yun mentioned, contrary to Buddhism and Confucianism, Taoism was considered as 
philosophical thought rather than a religion, not having a temple or religious ritual in Korea. 
Buddhism focuses on the concepts of Karma (the law of by which intentional action causes a 
consequence) and Saṃsāra (the endless cycle of rebirth), and Confucianism concentrates on 
morality, political ideology, and social ethics. In contrast, Taoism emphasizes the individual’s 
life of integrity (청렴결백한 삶) through “Simplicity”, “Non-possession”, and “Doing Nothing.”  
Tao Te Ching (도덕경) is a book that provides the principal thoughts of School of 
Taoism. It is a Chinese Classic written by Lao-Tzu containing 81 short chapters (poems) with 
5000 Chinese characters. According to Needham, Tao Te Ching is “without exception the most 
profound and beautiful work in Chinese history.”44 Tao is translated to English word, “way”, Te 
to “virtue”, and Ching to “classic” or “scripture.” The pivotal concept of Taoism is Tao. Thus, 
understanding Tao is the key in Taoist philosophy.  
In the first and twenty-fifth chapter of Tao Te Ching, Lao-Tzu illustrates the “ideology of 
Taoism” and “fundamental idea of Tao.”  
 
Chapter 1 
The Tao that can be talked about is not the true Tao. 
The name that can be named is not the eternal Name. 
Everything in the universe comes out of Nothing. 
… 
 
 
43 Yun and Sparrer, translated by Kyo-chul Chong and In-jung Yang, “My Way, My Idea, My Music”, 27-28 
44 Needham Joseph, 35. 
 13 
 
All mysteries are Tao, and Heaven is their mother: 
She is the gateway and the womb-door. 45 
 
 
 
Chapter 25 
 
… 
 
It has always been here, and it always will be. 
Everything comes from it, and then 
it is the Mother of Everything.  
I do not know its name. So I call it TAO. 
… 
 
Tao is great, 
Tao, the Great! 
It is greater than Heaven, 
Greater than the Earth – 
Greater than the king. 
 
These are the four great things, 
and the ruler is the least of them.  
 
Humanity is schooled by the Earth: 
Earth is taught by Heaven,  
And Heaven is guided by the Tao. 
And the Tao goes with what is absolutely natural. 46 
 
 
Based on these two chapters, Lao-Tzu teaches that Tao is an immense concept, which is 
hard to describe with words, along with humanity, earth, and heaven. Men follows the earth. The 
earth follows the heaven. Heaven follows the Tao. And Tao follows nature. It means that people 
live their lives as a part of nature going with the flow and then, return to nature after death. In 
 
45 The Illustrated Tao Te Ching, 27 
46 The Illustrated Tao Te Ching, 75 
 14 
 
other words, Lao-Tzu emphasizes the natural, humble, and tranquil life (무위자연) without 
artificial efforts, greed, pretenses, and hypocrisies: a life of naturalness, harmony, and peace.47   
Along with this central idea, Taoism embraces some important thoughts. The concept of 
“Microcosm within Macrocosm,” which means “the part is the whole, and the whole is the part” 
(Chapter 11 in Tao Te Ching), is the first significant thought. In Yun’s music, this idea is 
revealed through twelve-tone technique. That is, the entire twelve notes exist in a short section of 
the work and the whole work is made up of a series of twelve-tone rows. In addition, according 
to Junghyun Kim, this concept displays how Yun used dynamic changes in his compositions. For 
instance, Yun’s Concerto for Violoncello and Orchestra (1975-6) shows the frequently changing 
subtle dynamics, which create a long-term dynamic in a larger view, 48 as provided in Figure 1. 
PPP -=::: pP :::=---=:::p :::=---=::mp ::::=--=:::mf ::=:---=::::/::=--=:::: ff 
 
Figure 1. Dynamic changes in Yun’s Concerto for Violoncello and Orchestra (1975-6)49 
 
The theory of “Yin and Yang (coexistence of contrasting energies)”, “Jung Joong Dong 
(moving while seeming still)”, “Wu Wei (doing nothing)”, and “Pu (inherent quality or 
simplicity)” are also essential ideas in Taoist philosophy. Particularly, Yun applied the concepts 
of “Yin and Yang” and “Jung Joong Dong” in many his compositions as essential components. 
The next sections (3.1.2. and 3.1.2) will provide the detailed explanations of how he did this.  
 
47 Lee, “East and West,” 40 
48 Junghyun Kim, “Isang Yun’s Duo for Viola and Piano (1976): A Synthesis of Eastern Music Concepts with 
Western Music Techniques” (DMA diss., University of Arizona, 2007), 65. 
49 Ibid., 66. 
 15 
 
3.1.2. Yin and Yang Theory 
Yin and Yang theory has been considered as a fundamental principle to understand the 
universe in East Asian countries. It originated in ancient China (around the Shang dynasty) and 
was accepted by the Confucian and Taoist Schools. According to Flower, the Yin and Yang 
dualism is a “theory of inherent power in all phenomena” and a “philosophical perspective of 
cosmos based on the interplay of bipolarities.” 50 In other words, the world consists of two 
opposite energies: yin and yang. 51 The yin symbolizes the earthly, female, dark, weak, negative, 
passive, and receiving force, whereas yang indicates the heavenly, male, bright, strong, positive, 
active, and giving force.52  
Yin and yang are two opposed elements, but also complementary. One cannot exist 
without the other. Both elements, yin and yang, are necessary to coexist and to be completed. 
They can create balance and harmony only with an interdependent relationship. More 
importantly, the complimentary interaction of yin and yang is generate by transformations and 
changes, like a pendulum movement between two elements. In other words, when one reaches its 
peak, it concedes to the other, resulting in never-ending changes of an eternal cycle. For instance, 
day turns into night and night yields to day. The coldest and darkest Winter moves to light and 
bright Spring, to hot Summer, to falling Autumn, and comes back to Winter. The I-Ching (Book 
of Change), a Chinese classic of Confucianism, explains it as “one time yin and one time yang.” 
The Tao Te Ching, a Chinese classic of Taoism, describes in the forty-second chapter that “the 
one gives birth to the two; the two give birth to the three; the three give birth to every living 
 
50 Fowler, 65. 
51 Kim, “Isang Yun’s Duo,” 33. 
52 John Lynn, trans. “I Ching: The Classic of Changes” (1994), 53. 
 16 
 
thing. All things are held in yin and carry yang.” 53 A familiar diagram, Taijitu, in Figure 2 
represents the yin in the black portion and the yang in the white portion.  
 
                              
 
   Figure 2. Taijitu (symbol of Yin and Yang) 
Yin and yang dualism is a prevailing idea in Yun’s music. The tension and resolution 
created by the interaction of contrasting energies (yin and yang), play an important role in the 
process of the music. At the same time, the opposite characters of the two compensate and 
complement each other, as the yin and yang does.54 The idea of yin and yang is presented in 
various forms and diverse musical elements as shown in Table 1. 
 EASTERN PHILOSOPHY MUSIC by ISANG YUN 
Yin feminine pizzicato, legato, single line 
darkness flat notes, minor mode 
gentle relaxation 
negative dissonance 
passive quiescence, decrescendo, ritardando 
static sustain, straight-tone 
deep low register, thick bass 
calm piano, stillness 
Yang masculine percussive, huge chords 
brightness sharp notes, major mode, glissando, trills 
violent tension 
positive consonance 
active crescendo, fast running passages 
movement accelerando, vibrato 
 
53 Tao Te Ching, 110. 
54 Lee, “East and West,” 42. 
 17 
 
light high resister, high pitches 
powerful forte, energetic 
 
Table 1. Yin and Yang influences in Yun’s music 
 
3.1.2 Jung Joong Dong (정중동, Moving while Seeming Still)  
 
Jung Joong Dong (정중동), derived from Taoist thought, is another important concept in 
Yun’s music. In an interview with Musical Art (Japanese musical journal) Yun said: 
“There are plenty of constant moving notes in my music. If you look at them closely, 
like with a microscope, all of them are moving but if you take a wide view you can 
see a flow. In a further distant view, you can see everything is in standstill. This has 
something in common with the truth in oriental philosophy of cessation is moving 
and moving is cessation.” 55 
 
Jung Joong Dong, meaning “moving while seeming still,” is a dominant feature in 
Korean traditional music and dances. The idea can be described as like the nature of water. The 
calm water in a river seems not to be in motion, but in fact, it is constantly moving. Also, the 
universe does not seem to move, but it has internal motion; the stars move in rotation and 
periodically come back to their original places remaining in the sky. In Korean traditional music, 
it is said that a gagok56 is the highest form representing the aesthetic of Jung Joong Dong. The 
gagok is a beautiful and slow song sung by a vocalist who creates a soft, thin, and high tone. It 
seems to be comfortable and easy to sing a gagok (slow and soft song). However, the vocalists 
 
55 Sparrer, Walter-Wolfgang “The Music World of Isang Yun”, 152-153. 
56 Gagok: Korean traditional vocal genre accompanied by small ensemble. 
 18 
 
say that singing a gagok (slow and soft song) requires much energy to support the breath to 
produce the gentle, thin, and high voice color.  
                                    
3.2 Korean Traditional Music  
Yun’s music stemmed from Korean traditional music in terms of utilizing its melody, 
rhythm, and ornamentation, and imitating the performance techniques of traditional music. 
Whereas Western music is written in a harmonic texture (polyphony or homophony), Eastern 
music is predominantly written in a heterophonic texture concentrating on melodies like the 
Javanese Gamelan and Korean music.  
3.2.1 Brushstroke Shaping 
  In 1965, at a symposium, The Berlin Confrontation, sponsored by the Ford Foundation, 
Yun said:  
In European music, only a series of notes comes to life, so that the individual note 
can be relatively abstract, but with us, the single note is alive in its own right. Our 
notes can be compared to brush strokes as opposed to pencil lines. From beginning 
to end, each note is subject to transformations, it is decked out with embellishments, 
grace notes, fluctuations, glissandi, and dynamic changes; above all, the natural 
vibration of each note is consciously employed as a means of expression. This 
method of treating individual notes sets my music part from other contemporary 
works. It gives it an unmistakably Asiatic color, which is evident even to the 
untrained listener. 57  
In this speech, Yun explains that Eastern music can be described as similar to uneven brush 
strokes, contrasting with even pencil lines that resembles to Western music.  In other words, 
 
57 Francisco F. Feliciano, 46.  
 19 
 
unlike a pencil line, a brush stroke of calligraphy is not straight, but is made up of shapes of 
varied thickness adjusted by how heavy or light the pressure is. For instance, shown in Figure 3, 
a brush stroke begins with a thick shape, changes to thinner shape in the middle, and ends with 
returning thick shape.              
 
Figure 3. Brushstroke of Calligraphy  
 
An excerpt (Example 1) from Yun’s Sonate für Violine und Klavier (1991) shows a 
phrase that contains continuously changing subtle dynamics and rhythmic shapes, which 
resembles brush stroke shapes. The violin, in m.m.102-103, plays two long G-sharps at fff similar 
to the bold beginning of a brush stroke, followed by repeated short G-sharps in less volume (f 
and ff). Then, it increases the intensity with shorter moving notes and long trills, which produce a 
strong sound like a heavily pressed stroke. 
I 
 
Example 1. Violin Part in Yun’s Sonate für Violine und Klavier (1991), mm. 102-103 
 20 
 
3.2.2. Sigimsae and Nonghyun (시김새와 농현) 
Yun sought to reproduce the special performing techniques of Korean instruments on 
conventional Western instruments. As previously mentioned, Korean traditional music is based 
on melody instead of harmony. The technique of improvising the melody is the essence of 
Korean traditional music. Sigimsae and Nonghyun are the two most significant improvising 
techniques that are widely used for Korean instrumental and vocal music. These Sigimsae and 
Nonghyun, represented by ornamentations, are fundamental elements that enhance dramatic 
emotions, give the music vital energy, and add stylistic charm. Some ornamentations are notated 
on the score, but not all of them are indicated. Thus, determining where and which types of 
ornamentations to use is crucial for professional musicians to interpret the music more 
convincingly. It also demonstrates the degree of maturity and the measure of a musician’s 
technical abilities.58  
Sigimsae 
Sigimsae, which denotes “embellishment” or “decoration,” connects the primary pitches 
and give them a shape and direction. There are four main techniques: Yosung (요성), Jeonsung 
(전성), Toesung (퇴성), and Choosung (추성). 59 Yosung, known as Nonghyun in string 
instrumental music, is a technique of vibrating or shaking a note. It usually occurs in long notes. 
Jeonsung is a technique of “pressing the string sharply to raise the pitch and then quickly 
releasing it.” 60 It is similar to Yosung, but shorter. Toesung is a technique of sliding down to a 
 
58  introduction to korean music | sejong prize (sejongculturalsociety.org) Accessed on March 22, 2022 
59 Sigimsae can include more than four types of technique, depending on the instruments.  
60 Injung Song, “In-Depth Study of Isang Yun’s Glissées pour Violoncelle seul” (2008), 30.  
 21 
 
lower pitch. Choosung is the skill of pushing up the sound from a lower pitch, which is the 
opposite from Toesung. In Yun’s music, these performing (improvising) techniques are indicated 
by various types of embellishments such as grace notes, trills, turns, tremolos, glissandos, 
appoggiaturas, and rapid crescendos and decrescendos.  
 
 Korean Music Yun’s Music 
Yosung (요성), vibrating sound, vibrato/ trill/ tremolo/ flutter 
commonly appears in long notes tonguing 
Nonghyun (농현) 
Jeonsung (전성) short rolling sound before the pitch grace note/ turn/ mordent, 
appears before the note 
 
Toesung (퇴성) sliding to a lower pitch descending glissando/ 
short grace note in descending 
motion using microtones 
Choosung (추성) sliding to a higher pitch ascending glissando 
Table 2. Sigimsae (Four Main Techniques) 
 
 22 
 
,• •- · ,.a,, [E ⇒ J j 
-...; 
{El ~ ~llc:--{J I 
[i] , b I ~ :.> ~ -- J 
~•  ⇒ ;iJ ⇒ ,, jJ -=1 ~ ·~A~TI ~ 001 -~ -ti ---~ 
    ! ~ ~p~;~·  I  
62
Figure 4-1. Sigimsae (Traditional Notation), examples from Gagok 61  
 
 
Figure 4-2. Sigimsae (Written above the 5-line Staff) 63 
 
61 Gagok, one of the famous genres of Korean traditional music.  
62 Je-Chang Kim, “Study of Gagok fur Stimme, Gitarre und Schlagzeung”, 14-16.  
63 Tac-ryong Son. “An Introduction to Korean Music I, 한국 음악 개론 I”, (1996), 68. 
 23 
 
Nonghyun 
Nonghyun (a type of sigimsae), which literally means “to toy with strings,” is a distinctive 
performance technique derived from traditional Korean stringed instruments such as Gayakum64, 
Komungo65, and Haegum66. Kyungha Lee asserts in her dissertation that  
Nonghyun is a highly inevitable component in playing sustained notes, which 
prevents one from playing a straight line monotonously. Even a single pitch is 
supposed to produce its own distinctive sound with a help of Nonghyun. 
Furthermore, the primary notes decorated by Nonghyun are considered to be one 
note, instead of two or more different notes.67 
Nonghyun technique can be developed based on the physical structure of specific instruments. 
For instance, Keomungo (Figure 5) has a large gap between the strings and sound board linked 
by bridges. It provides great opportunities for players to produce diverse tone colors and qualities 
through the possibility of manipulating strings including shaking, plucking and pressing down. 
Yun utilized it as a major compositional idiom in his works.  
       Figure 5. Keomungo (거문고) 
 
64 The Kayagum is a traditional Korean zither-like stringed instrument, usually with twelve strings. The strings have 
recently been expanded to twenty-one strings or more. It is the best known traditional Korean musical instrument 
among the zither family.  
65 The Keomungo is a traditional Korean plucked instrument with a short bamboo stick called Suldae, which is held 
between the index and middle fingers of the right hand, while the left-hand presses on the strings to produces 
various pitches and vibratos.  
66 The Haegum is a traditional Korean fiddle instrument with two silk strings and is held vertically on the knee of 
the performer played with a bow.  
67 Lee, “A Comparative Study of Selected Violin Works,” 36. 
 24 
 
3.3 Western Technique (Twelve-Tone Technique) 
 
Twelve-tone technique, also known as dodecaphony, is a method in which all twelve 
notes in the chromatic scale have equal importance, preventing the priority of any one note. It 
uses a tone row, an ordering pitch of the twelve pitch classes.68 In the late nineteenth century, the 
harmonic vocabulary had extended the range of tonality. In response, Josef Matthias Hauer 
(1883-1959) and Arnold Schoenberg (1874–1951) invented the twelve-tone technique. In 1919 
Hauer published the “law of the twelve tones," explaining “all twelve notes play before any note 
is repeated.”69 After 1921, Schoenberg developed “classical” twelve-tone technique, and it was 
associated with the composers of the "Second Viennese School" including Schoenberg, Alban 
Berg (1885-1935) and Anton Webern (1883-1945). In Su-ja Yi’s memoir about Isang Yun, My 
Husband: Isang Yun, she states that;  
When Yun decided to study abroad in 1956, he was “all aflutter to learn Western 
music theory, especially atonal and twelve-tone technique as well as other 
contemporary music. Furthermore, he was so determined that he would learn all 
about the (Second) Viennese School, including the music of Arnold Schoenberg, 
Anton Webern, and Alban Berg.”70 
 
Yun used the twelve-tone technique as one of the main compositional methods in the beginning 
of his European career. It was because he believed that he would become more widely known by 
composing twelve-tone music.71 Yun’s first two published works, Five Pieces for Piano (1958) 
and Music for Seven Instruments (1959), followed the twelve-tone technique strictly. These 
works made a tremendously successful international debut, winning the Gaudeamus competition 
in the Netherlands and being performed at the Darmstadt Festival. Although these works are 
 
68 George Perle, “Serial Composition and Atonality: An Introduction to the Music of Schoenberg, Berg, and 
Webern” (1977), 2. 
69 Arnold Schoenberg, “Style and Idea” (1975), 213. 
70 Su-ja Lee, “My Husband: Isang Yun” (1998), 1:123. 
71 Choi, “The merging of Korean Traditional Music”, 36. 
 25 
 
formed by twelve-tone technique, Eastern elements rooted in Yun’s heritage, including Taoist 
philosophy and Korean musical gestures, differentiate the compositions from the other 
contemporary serialists in Europe.  
 Whereas Yun strictly followed the twelve-tone tradition in his early European period, his 
works written after 1959 reveal alternations to the twelve-tone system. Yun developed the 
twelve-tone technique with more freedom and moved beyond the restrictions of the strict 
boundary of twelve-tone system. Since the strict principle of a tone row limited his imagination 
and sonic landscape,72 he began to alter the rules. He switched the order of pitches, omitted, or 
repeated some pitches, or emphasized specific groups of sound by repetition. My study will 
illustrate how Yun’s use of twelve-tone technique changed between his early period and later 
period through the analysis of an early work (Five Pieces for Piano, 1958) and later work 
(Interludium A, 1982) in chapters 5 and 6.   
 
 
 
 
 
 
 
 
 
 
 
72 Francisco F. Feliciano, 34. 
 26 
 
CHAPTER 4: YUN’S DISTINCT COMPOSITIONAL TECHNIQUE 
                            
4.1 Hauptton Technique (주요음 기법) 
Yun created Hauptton Technique (Main Tone Technique) inspired by Taoist philosophy, 
Korean court music, and Western technique. Yun’s Hauptton Technique has been widely 
recognized not as a simple element for exoticism, but as a distinct innovative technique in 20th 
century music.73 In a lecture entitled “About My Music,” presented in 1993 at Mozarteum 
University, Yun described Hauptton Technique as follow: 
The fundamental element of my compositions is an Einzelton (individual tone). 
Numerous variant possibilities such as appoggiaturas, vibratos, accents, and other 
ornamentations inhere in an individual tone to establish the foundation of the 
composition. I call the individual tone a Hauptton (main tone).74 
He started exploring this new technique after attending the Darmstadt International 
Contemporary Festival, a hub of 20th century music, in 1959, which inspired him to change his 
compositional approach and find new timbres. The second and third movements of his Musik für 
sieben Instrumente (1959) show the earlier potential of the technique. 75  Around the early 1960s, 
he fully incorporated the technique into his compositions, and continuously refined it to be more 
comprehensible to the audience. It was more prominently presented in his compositions after the 
76
mid-1970s.  From the perspective of Taoist philosophy, Yun considered that a single note 
(Hauptton), which was “a minor universe within a greater universe, could be enlarged into a 
greater one.” 77 
 
73 Kim, “Isang Yun and Hauptton technique”, 47. 
74 Yun and Sparrer, “My Way, My Idea, My Music” (1991), 51.  
75 Ibid., 24.  
76 Ibid., 25. 
77 Lee, “Isang Yun’s Musical Bilingualism,” 17. 
 27 
 
The concept of tone in Europe and Asia is totally different. In the East, the tones 
carry the possibility of the flexible form. (…) In the West, the tone pitches must be 
tuned so that the harmony sounds pure. In Asia, there is no harmony in the Western 
sense, because the single tone itself is alive enough. It does not have the 
requirement to force harmonic structure or counterpoint form. If a tone itself has a 
flexible movement while it is sounding, and if the tone appears in complex texture, 
then this tone is a whole cosmos. The single tone is manipulated in various ways, 
perhaps through a vibrato or glissando. For this reason, a single tone in Asian music 
can generally sound twelve or even fifteen seconds long, while the length of a 
79
European tone is comparatively very short.78  
 
Hauptton technique consists of two elements: Hauptton (a main tone), and Umspielung 80 
(embellishments). The main tone, Hauptton, appears with decorative musical gestures, 
Umspielung, around it. The main tone cannot generate itself as a structural unit but requires other 
embellishments to generate musical vitality within the structural unit. The two opposite forces of 
yin (sustaining main tone) and yang (moving embellishments) constantly alternate and 
interchange their energies.81 Isang Yun and Christian Martin Schmidt82 created visual images 
demonstrating how Hauptton processes (Figures 6 and 7). 
Omame:nta Qmameotal Movement& Shaking 
~ ,l,, "' 
                 
           Figure 6. Sketch of Hauptton by Yun 83  
 
78 Yun and Sparrer, translated by H.Y. Park, “Uber meine Musik,” in Der Komponist Isang Yun (1997), 297.  
79  Lee, “Isang Yun’s Musical Bilingualism,” 18. 
80 Umspielung translates in English to “playing around”. 
81 Lee, “East and West,” 44. 
82 Christian Martin Schmidt (1942-) is a German music theorist and musicologist. He worked on the Arnold 
Schönberg’s Complete Edition with an analytical work on Schönberg's Moses und Aron.  
83  Songman Choi and Eunmi Hong, trans., “Musical World of Isang Yun” (1991), 157. 
 28 
 
Yun’s drawing image84 illustrates the Hauptton in three stages; introducing the main tone which 
begins with small ornamentations (Ornaments); the vitalization of the main tone with variations 
(Ornamental Movements); and the cadential formula with embellishing musical gesture of 
Umspielung (Shaking).85 
         
(1) .begin (2) develop (3) :fade away 
               
     Figure 7. Sketch of Hauptton by Schmidt 86 
 
Schmidt’s sketch exemplifies the Hauptton as a three-step process; (1) the Hauptton begins with 
an initial preparation with small decorative ornaments in ascending motion followed by a straight 
main tone; (2) develops with various embellishments; (3) and fades away at the end.  The basic 
pattern (by Yun or Schmidt) can be slightly altered as needed.  Example 2 represents how Yun 
combines Huaptton Technique with Western notation in his work.  
 
 
 
84 In her book, Music on the Border, the author points out that the Yun’s drawing image of Hauptton is similar to the 
shape of a white tiger that appears in Sa-Sin-Do, the murals of four ancient gods (p.175). 
85 Dae-sik Hur, “A Combination of Asian Language”, 27. 
86 Songman Choi and Eunmi Hong, trans., “Musical World of Isang Yun”, 243.  
 29 
 
 
:::----- PPP· --
1 Main Tone j I Main tone 
~r ;0 "'~-- "'~ .. - .." - V 'U;; 11:i~ ~ 
• • 
l =-m===- ppp: . -m-::::::,,..pppp ~I I 
I Main Tone with Variations 1j -- ---------
6 
~~P-======~-=-~ I 
1• ---, Umspielung 1(a .-----i1F ade away ~ -------.. 
            
Example 2. Allegro in Yun’s Etude for Solo Flute (1974), mm. 13-22  
 
 
 
 
 30 
 
 
4.2 Hauptklang Technique (주요음향기법) 
 
Hauptklang87 Technique is based on the same concept as that of Hauptton Technique, 
which consists of a main tone and surrounding ornamentations. Yun used the Hauptton 
Technique in solo or small ensemble music, and the Hauptklang Technique in orchestral or 
larger chamber music. In other words, in solo works, only one Hauptton plays at a time. In 
orchestral or large ensemble works, however, each part plays an individual Hauptton (individual 
main tone on different pitches) at the same time. As a result, the combination of multiple 
haupttonen played simultaneously by different parts creates a complex sound called Hauptklang. 
In an interview with Rinser, Yun described the Hauptklang phenomenon as producing “a bundle 
of single tones” connected to the Hauptton technique.88 Both techniques musically illustrate a 
principal of Taoism; “In a part is a whole; in a whole is a part.” 
 In terms of transition, there are different ways to move from the preceding “sound 
complex” (Hauptklang) to the next one. The most common manner is a sequence. After the first 
“sound complex” finishes, after a pause the second “sound complex” naturally appears. Another 
way is the overlapping between two sound complexes.89 Example 3 shows how Yun uses 
Hauptklang technique in Reak (1966). 
 
 
 
87 Hauptonklang translates English into “complex sound”.  
88 Francisco F. Feliciano, 48. 
89 Ibid., 48. 
 31 
 
 
.. 
I A "~ p· Q -
I., ~=-PP -
A t!'-.. ... • ,. 
Trp.2 
p=-pp 
'n  ~.----... 
~., p ==--'Pf ~ 
1-mp I 
 
Example 3. Hauptklang technique in Yun’s Reak (1966), mm. 116-126.  
 
 
 
 
 32 
 
CHAPTER 5: AN ANALYSIS OF FÜNF STÜCKE FÜR KLAVIER (1958) 
                            
5.1 Overview of Fünf Stücke für Klavier 
 
Isang Yun composed only two works for solo piano, Fünf Stücke für Klavier (1958) and 
Interludim A (1982), in the beginning and mature stage of his European period. These two works 
exemplify Yun’s development and maturity as a composer. Fünf Stücke für Klavier, along with 
Musik für Sieben Instrumente (1959), was the piece that made him first recognized in European 
musical world through a great success in its first performance. Fünf Stücke für Klavier was 
written in 1958 while Yun was studying composition at the Berlin Hochschule für Musik with 
Boris Blacher. It was premiered by Herman Kurpt at Gaudeamus - Musikfest at Bilthoven in 
1959. The work is based on twelve-tone technique, which was a prevalent characteristic of Yun’s 
compositions around 1958-60. In Yun’s words: 
When Fünf Stücke für Klavier was first performed at Gaudeamus - Musikfest at 
Bilthoven in 1959, it had prompted debates among the composers and audiences 
about if and where the East-Asian characters were hidden (…) All young 
composers at the time used “the uniform of twelve-tone technique” before 
discovering their own voice. However, linear progress of the first piece and lyrical 
sensibility of the second piece are not irrelevant to developing my distinct musical 
languages later.90 
 
 
As Yun mentioned, Fünf Stücke für Klavier reveals the juxtaposition of elements from 
East and West including Taoist philosophies, Korean musical elements, and twentieth-
century Western compositional technique. Unifying all these components occurs 
indiscernibly and they are borderless from each other. 91  The work consists of five short 
 
90 Songman Choi and Eunmi Hong, trans., “Musical World of Isang Yun” 473. 
91  Chaekyung Moon, 1. 
 33 
 
pieces that take about seven minutes to perform as a complete set. Each piece features a 
different style, form, tempo, and other musical elements shown in Table 3.   
 
Piece Tempo Form Meter Measures Style 
1st Adagio, grazioso A no no improvisatory 
 Andante B meter measure 
 
2nd Andantino, espressivo A 1 3 4 5	 21 lyrical 
Allegretto B 4, 4, 4, 4
 
Andantino A 
 
3rd Allegro Moderato A ' ) * + , ) * . 21 percussive 
Allegro Moderato (con B 	   	(, (, (, (, (, -., -., -.
anime) C 	
Andante/ Tempo I 
  
4th Allegro A 2 3 4 5 6 7	  19 rhythmic 
Moderato B 4, 4, 4, 4, 8 18
Allegro A¢ 
Moderato B¢ 
Allegro A¢¢ 
  
5th Allegretto A 3 4 5 6 7  19 synthesis of 
Andante B 8, 8, 8, 8 18 all preceding 
Allegretto A¢ pieces 
  
 Table 3. Overview of Fünf Stücke für Klavier 
5.2 Analysis  
5.2.1 First Piece 
The first piece shows a free improvisatory style with no bar lines or meters. It is divided 
into two sections (A-B) by tempo markings (Adagio, grazioso and Andante) and a double bar 
line. Overall, two or three voiced materials constantly move in ascending and descending 
 34 
 
directions drawing a curved line, which is a typical Korean aesthetic. The lines also produce the 
grazioso atmosphere as the composer marked. Each section presents a different tone-row 
(Figures 8-1 and 8-2).  
la, Po ,, 
' 0 ~o 
~o po ~o &o 0 qo ~o 
Figure 8-1. Prime Row I (Section A) of Piece I in Fünf Stücke für Klavier 
0 lo ' ~o ~o ijo !l<> 
~o #o ~() 
~-& ·u ~-& 
 
 Figure 8-2. Prime Row II (Section B) of Piece I in Fünf Stücke für Klavier 
Section A (Adagio, grazioso) 
Section A presents a symmetrical structure in terms of tone rows, rhythmic motives, and 
dynamic levels. Although it has no bar lines or meters, the fermatas indicate each phrase. The 
first phrase introduces the prime row (P4): E, Ab, F#, Bb, A, C, Eb, B, Db, G, F, D. It softly 
starts with bass E and moves down to A-flat, which is part of a dominant chord (V). It soon 
changes the direction to go up to D# with crescendos and rhythmic acceleration. The “rhythmic 
acceleration and deceleration” is one of the main features in Fünf Stücke für Klavier. It produces 
both inner and outer energies through exchanging tension and relaxation, reflecting Yin and Yang 
dualism.  
 35 
 
 I4           I3  
P4 E G# F# A# A C B C# G F D D# R4 
 C E D F# F G# G A D# C# A# B  
 D F# E G# G A# A B F D# C C#  
 A# D C E D# F# F G C# B G# A  
 B D# C# F E G F# G# D C A A#  
 G# C A# D C# E D# F B A F# G  
 A C# B D# D F E F# C A# G G#  
 G B A C# C D# D E A# G E E#  
 C# F D# G F# A G# A# E D B C  
 D# G F A G# B A# C F# E C# D  
 F# A# G# C B D C# D# A G E F  
P6 F A G B A# C# C D G# F# D# E R6 
 RI4           RI3  
  Table 4. Matrix, Row I (Section A) of Piece I in Fünf Stücke für Klavier 
After a fermata, the second phrase forms the retrograde of the prime row (R4), which is 
D#, D, F, G, C#, B, C, A, Bb, Gb, Ab, and E, followed by the prime row twice (P4), and a 
retrograde inversion (RI4) of the row. In order to emphasize the symmetrical feature, Yun utilizes 
the row alternating between the prime form and retrograde form. The intensity grows through 
dramatic gestures of rapidly ascending and descending figures and bold dynamics from mf to sfff 
emphasizing with repeated sff two-notes (E and A-flat) and bass G-flat, and sfff three notes (C, E 
and D). The tension decreases lower with a descending decuplet figure. The mirroring rhythmic 
pattern and melodic contour of this phrase (also, of the entire A section) exhibit symmetry. In 
other words, a decuplet figure, which is preceded by two sixteenth notes, a triplet, and a dotted-
eighth note, is followed by two sixteenth notes, a triplet, and a quarter note (Figure 9).  
:; J?J\J\J\J\J\ J.JJJJDJJJ~ J\J\J\J\J\ ~ 
L ___.J 
3 \C) 3  
   Figure 9. Mirroring Rhythmic Pattern (Centering of Decuplet) 
 36 
 
In addition, the melodic contour illustrates a symmetrical shape of starting with D# in the 
soprano, immediately going down to bass D in a large interval, playing rising fast sextuplet 
figure followed by a mirrored rhythmic pattern, and ending with a descending fast decuplet 
figure and D sharp in soprano by large leap from low E in the bass. After a fermata, the last 
phrase returns to a gentle mood, creating a palindromic form that represents the exact retrograde 
of the row (R4) including rhythmic inversion of the first phrase which reflects both Webern and 
Schoenberg. 
Red numbers: ordered pitches 
Adagio, 1razioso 
4 
'2. 
 
Example 4. Rows in Section A, Piece I, Fünf Stücke für Klavier 
 37 
 
One pitch that appears distinctly in this section is the D# presented at structural points. 
That is, the piece begins on E and soon descends to A-flat.  A sustaining D# comes at the end of 
each phrase, and the section finishes on E. Although the piece is based on atonality, it provides 
the sense that D# has a function of a leading tone which resolves to the tonic (E) at the end.  
Section B (Andante) 
 I4             
P4 E D# D G# F# F G A# A C# B C R4 
 F E D# A G F# G# B A# D C C#  
 F# F E G# A# G A C B D# C# D  
 C B A# E D C# D# F# F A G G#  
 D C# C F# E D# F G# G B A A#  
 D# D C# G F E F# A G# C A# B  
 C# C B F D# D E G F# A# G# A  
 A# A G# D C B C# E D# G F F#  
 B A# A D# C# C D F E G# F# G  
 G F# F B A G# A# C# C E D D#  
 A G# G C# B A# C D# D F# E F  
 G# G F# C A# A B D C# F D# E  
 RI4             
 
Table 5. Matrix, Row II (Section B) of Piece I in Fünf Stücke für Klavier 
 
    Section B flows in a slightly faster tempo than the A section. It has more rhythmic variety 
including polyrhythms of 2:6, 3:6, 3:4, and 3:7, accelerando, and ritardando, in thicker texture. 
The section begins with new material formed by the second prime row (P4): E, D#, D, Ab, F#, F, 
G, A#, A, Db, B, C. Its inversion (I4) occurs in the tenor voice and continues to the soprano voice 
creating an ascending melodic line. Then, the left hand takes the melody using the retrograde of 
the row (R4) accompanied by dissonant chords in the right hand, which consist of the fragments 
of P4. In this section, Yun explores the harmonic effect of combining R4 with P4. In other words, 
the first dissonant chord (D-flat, B, C) comprises the last three notes of P4. The second dissonant 
 38 
 
chord (D, E-flat, F) comprises the 2nd, 3rd, and 6th notes of P4. The next dissonant chord (B, C#, 
G) comprises the 7th, 10th, and 11th notes of P4. The following dissonant chord (F#, A, B-flat) 
comprises the 5th, 8th and 9th notes of P4. The left hand keeps the melodic line that consists of 
fragments from the retrograde of inversion of the row (RI4) combining with the inversion of the 
row (I4) in the right hand. By reducing dynamic levels from ff to p, extending note values and 
changing to a thinner texture, the tension is released. The piece concludes with a codetta-like 
little passage that includes a descending figure followed by an ascending gesture representing the 
retrograde inversion of the row (RI4). At the end, the highest E and lowest C, which are in an 
extreme register with ppp dynamic and fermatas, gradually fade away. This mysterious ending 
makes the audience look forward to what comes next.  
 
Example 5. Rows in Section B, Piece I, Fünf Stücke für Klavier 
 39 
 
The 5th and 7th (alternating with the 2nd) are the principal intervals in the first piece. 
These intervals present at the structurally important points such as the beginning and ending of 
each tone-row, phrase or section. For instance, the beginning and ending of the A section has two 
notes (E and A-flat) in an interval of augmented fifth. At the very ending of the first piece, the 
right-hand finishes with F and E (interval of 7th), and the left-hand ends with D and C (interval of 
2nd). Also, the ending gesture before entering the codetta includes a leaping D-sharp and C 
(interval of 7th).  
In addition, these intervals are significant components exhibiting the “palindromic idea,” 
which was strongly influenced by Arnold Schoenberg (1874-1951). Schoenberg’s Piano Pieces, 
Op.33a is a wonderful example of both vertical and horizontal symmetry. Many similarities 
between Schoenberg’s Piano Pieces, Op.33a (1928-31) and Yun’s Fünf Stücke für Klavier 
(1958) related to symmetrical structure can be observed. Example 6 illustrates a thorough 
analysis of the opening of Schoenberg’s Piano Piece Op.33a by Jack Boss in his book, 
Schoenberg’s Twelve-Tone Music. He asserts that the six chords in mm. 1-2 clearly present a 
“palindromic ideal”: the first vertical interval stack <5, 5, 1> changes to its inversion <1, 5, 5 > 
in the sixth one, <3, 2, 4> to <4, 2, 3>, and <3 ,2, 6> to <6, 2, 3> 92.  Similar to the Schoenberg’s 
work, in Yun’s Fünf Stücke für Klavier, the 5th, 6th, and 7th beats in the beginning of section B of 
the first piece exemplify vertical symmetry. It becomes obvious when comparing the unordered 
pitch-class intervals of the three chords. As seen in Example 7, the left hand’s chord (G-sharp, A, 
and G) < 2, 1 > inverts to < 1, 2 > in the following right hand’s chord (D-flat, B, C). It is re-
inverted to < 2, 1> in the next chord (D, E-flat, F).  
 
92 Jack Boss, “Schoenberg’s Twelve-Tone Music” (2014), 245. 
 40 
 
I I 
5 
 
Example 6. Schoenberg’s Piano Piece Op.33a, mm. 1-2 93 
Numbers in Circle: Pitch Classes 
2 3 1 
(!)) 2 
®® > 1 1 2 4  
Example 7. Yun’s Fünf Stücke für Klavier, Piece I, the beginning of Section B 
 
93 Ibid., 246. 
 41 
 
5.2.2. Second Piece 
  The second piece is in ternary form (A-B-A') with frequent meter changes including 1/4, 
3/4, 4/4, and 5/4. This is the most lyrical and expressive piece in the set. It is smoothly linked 
with the first piece: the ending notes of the first piece (E and C) are in the same harmony of C 
major as the first two notes of the second piece (G and E). Whereas two prime rows occur in the 
first piece, only one prime row appears in the second piece (Figure 10). According to Myeong 
Suk Park, in an interview with Isang Yun, he stated:  
In the second movement, I took a row of Schoenberg’s and used it for the movement. 
Schoenberg had this row in mind for many years, but never had a chance to use it  
in his composition.94 
Figure 10. Prime Row of Piece II in Fünf Stücke für Klavier 
 I7           I6  
P7 G E D# B C# D F G# A# C A F# R7 
 A# G F# D E F G# B C# D# C A  
 B G# G D# F F# A C D E C# A#  
 D# C B G A A# C E F# G# F D#  
 C# A# A F G G# B D E F# D# C#  
 C A G# E F# G A# C# D# F D C  
 A F# F C# D# E G A# C D B G#  
 F# D# D A# C C# E G A# G E E#  
 E C# C G# A# B D F G D B C  
 D B A# F# G# A C D# F G E D  
 F D C# A B C D# F# G# A# G F  
P8 G# F E C D D# F# A B C# A# G R8 
 RI7           RI6  
 
94 Myeong Suk Park, “An Analysis of Isang Yun’s Piano Works: a Meeting of Eastern and Western Traditions” 
(DMA diss., Arizona State University, 1990), 113. 
 42 
. . 0 . .  
- e - ~  
o g  
o #  
0  
I I  
u ~  
n i l  
1 1  
0 ~  
' ' ' I  
~  
 
Table 6. Matrix, Row of Piece II in Fünf Stücke für Klavier 
This piece exhibits how Yun utilized a different approach as well as using general rules 
of twelve-tone technique. Yun divided the twelve-tone row into four cells, each of which 
includes three notes, and utilized the cells independently, for exploring various harmonic effects: 
first cell (G-E-D#), second cell (B-C#-D), third cell (F-A♭-B♭), fourth cell (C-A-F#). The three 
notes in the first, second, and third cells show a pattern of “expanding and contraction.” That is, 
the interval between G and E in the first cell is a minor 3rd. The following E and D# is in a minor 
2nd. This process of “expanding and contraction” is associated with the concept of Yin and Yang. 
Some cells occur as a slurred group indicating a specific articulation (Example 8). Some cells 
appear as a rhythmic group (Example 9).  And others present as a harmonic group (Example 10).   
I
, ,,
  .~'!! I ., ..----:;;;; . 
 
Example 8. Use of Cells, Piece II (mm. 1-2) in Fünf Stücke für Klavier 
 
 
 
Example 9. Use of Cells, Piece II (mm. 4) in Fünf Stücke für Klavier 
 43 
 
 
Cell 4 
' /f / ' 
Cell 3 I \.. ,, ~ Cell 4 
 
Example 10. Use of Cells, Piece II (mm. 11) in Fünf Stücke für Klavier 
 
   
One distinct feature of the second piece is an East-Asian sound and atmosphere produced 
by the melodic progression. An ordered pitch set generates the phrases. Although the order of the 
prime row (P7) does not include an intact pentatonic scale, which is commonly made up of G, A, 
C, D, and E, the third cell (F, A-flat, B-flat)	of the prime row is a fragment of the pentatonic 
mode. Yun’s flexible placement of this cell (F, A-flat, B-flat)	allows it to suggest the pentatonic 
effect throughout the second piece. Thus, we can hear an Asian quality. Particularly, there are 
two places that present a complete pentatonic scale in mm. 1-2 (Example 11) and 17-18.  
Andantino. espreseivo 
' 
 
Example 11. Pentatonic Scale, Piece II (mm. 1-2) in Fünf Stücke für Klavier 
 44 
 
Section A (Andante, espressivo) 
This section alternates between a three-voice polyphonic texture and a melody with 
accompaniment texture. The soprano parts reflect a string instrument performing techniques, 
including slurred bowing and portato95. In many places, the soprano plays expressive melodies 
with counter melodies in the middle voice and bass. For instance, the piece starts with a 
descending three-note figure that gives a sense of weeping in soprano, overlapping with tenor 
voice including leaping notes. The left hand plays a slurred figure containing low B, D, leaping 
C#, and G. Their intervals (minor 3rd, minor 7th, and tritone) enhance the feeling of darkness and 
sadness with the weeping gesture in soprano. At measure 6, Yun maximizes the emotional 
intensity through diminished 7th harmony (D#, F#, A, and C) in the bass combining with the 
soprano’s weeping motive derived from m. 1 (Example 12). 
·--------/ 
 
Example 12. Measure 6, Piece II in Fünf Stücke für Klavier 
The section begins with a delicate duet of soprano and tenor. The first four beats 
introduce the prime row (P7) containing G, E, D#, B, C#, D, F, G#, A#, C, A, and F#, with four 
 
95 Portato: Each note under a slur is slightly emphasized.  
 45 
 
cell groups indicated by slurs. The row (P7) reappears in the next three and half beats in soprano 
with diminution of rhythm. At measure 4, the soprano plays three cells of the row (P7) with a 
tenor counter melody in contrary motion. The tension reaches to the peak at measure 5 
presenting poly rhythms fused by accented dissonant chords in the left hand with sixteenth-notes 
sextuplets in the right hand. The right hand plays the inversion of row (I7) containing G, A#, B, 
D#, C#, C, A, F#, D#, (D), F, and G# accompanied by cells from the retrograde inversion of the 
row (RI7) in the left hand.  
8 · · - · --------- - - --- -
rit. 
I Janggo Rhythm 
Example 13. Rows in the first phrase (mm.1-5), Section A, Piece II, Fünf Stücke für Klavier 
The unique triplet rhythm with accented chords in the left hand at measure 5 (Example 
13) imitates a Korean traditional rhythm often performed on a Janggo (Korean percussion 
instrument), which is commonly used for accompanying a solo vocalist in pansori (a Korean 
 46 
 
vocal genre).  The first phrase, which lasts until measure 5, constantly shows Yin and Yang 
concept through changes of interval between large (yang) and small (yin), spaciousness by 
contrary motion between the right hand and left hand between wide (yang) and narrow (yin), and 
rhythmic values between bigger (yang) and smaller (yin).   
The second phrase starts ambiguously; a new phrase starts on measure 6 starts a new 
phrase with ascending melodies made by retrograde of row (R7) and opening weeping motive, 
while the main thematic material appears in measure 7. It seems that measure 6 is the beginning 
of second phrase and at the same time works as the transition between two phrases. It reflects a 
principle of Taoism: “the part is the whole; and the whole is the part.” That is, it looks like two, 
but it eventually becomes one. In the second phrase (mm. 6-12), Yun ingeniously utilizes the 
prime row (P7) as melodic material, harmonic element, and rhythmic figure. This is more 
rhythmic than the first phrase preparing to enter the second section. It has rhythms of triplet, 
quintuplets in repeated pattern, and syncopation combined with percussive dissonant chords. 
r 
r,, 
I 
_, ____ . 
 
Example 14. Rows in the second phrase (mm. 6-12), Section A, Piece II, Fünf Stücke für Klavier 
 47 
 
Section B (Allegretto) 
 This middle section has a different character. While the Section A produces gloomy 
atmosphere, the Section B gives buoyant feeling with faster tempo, accented week beats, dotted 
rhythms, and syncopations. In this section, Yun utilizes different rows such as inversion (I7), 
retrograde inversion (RI7), and retrograde (R7) of row, whereas he primarily uses the prime row 
in A section. The soprano in measure 13 presents I7 followed by RI7 in measure 14 and the 
descending line at the end shows R7. With stretching the note value of three F# in the bass, the 
music enters to the last section.  
Allegretto . ___ _ _ . . - . . - - - - - · · : 
I 
· ------1__/ 
 
Example 15. Rows, Section B and A' (mm. 13-22) of Piece II in Fünf Stücke für Klavier 
 48 
 
Section A' (Andantino) 
The last returning Section A' in m. 17 repeats the enchanting main thematic material introduced 
in the beginning. The music concludes with the retrograde inversion of the row (RI7) and a warm 
C major sound (Example 15). 
 
5.2.3 Third Piece 
The third piece consists of three parts: A (mm. 1–4), B (mm. 5–13), and C (mm. 14–21).  
Contrary to the lyrical second piece, the third piece exhibits dramatic and percussive character 
inspired by Korean instruments and traditional rhythm.  It contains abundant meter changes (2/8, 
3/8, 4/8, 5/8, 7/8, 3/16, 4/16, and 6/16), extreme dynamic levels (crescendos from f to ff, fff and 
sfff), wide range of register, and highly dissonant chords.  Yun utilized two prime rows in this 
piece. The first prime row is the same tone row as the retrograde (R4) of the second section of 
first piece showing coherence of the cycle. The second prime row appears in the beginning of B 
section at m. 3. 
 
l) ~o 0 (1 ~o I,,, 0 
' li #o 0 #o 0  
Figure 11. Prime Row I of Piece III in Fünf Stücke für Klavier 
 
 49 
 
 I0           I4  
P0 C B C# A A# G F F# G# D D# E R0 
 C# C D A# B G# F# G A D# E F  
 B A# C G# A F# E F G C# D D#  
 D# D E C C# A# G# A B F F# G  
 D C# D# B C A G G# A# E F F#  
 F E F# D D# C A# B C# G G# A  
 G F# G# E F D C C# D# A A# B  
 F# F G D# E C# B C D G# A A#  
 E D# F C# D B A A# C F# G G#  
 A# A B G G# F D# E F# C C# D  
 A G# A# F# G E D D# F B C C#  
P8 G# G A F F# D# C# D E A# B C R8 
 RI0           RI4  
Table 7. Matrix, Row I of Piece III in Fünf Stücke für Klavier 
 
0 
Im o Im ~o ~o 90 b~_ ~o 
0 ~o 0 
 
F'igu re 12. Prime Row II of Piece III in Fünf Stücke für Klavier 
 
 I4           I5  
P4 E G# F# C A A# B C# G D# D F R4 
 C E D G# F F# A G# D# B A# C  
 D F# E A# G G# B A F C# C D#  
  G# C A# E C# D F D# B G F# A  
 B D# C# F E G F# G# D C A A#  
 A# D C F# D# E G F C# A G# B  
 A B A D# C C# E D A# F# F G#  
 G C# B F D D# F# E C G# G A#  
 C# F D# A F# G A# G# E C B D  
 F A G C# A# B D C G# E D# F#  
 F# A# G# D B C D# C# A F E G  
P3 D# G F B G# A C A# F# D D# E R3 
 IR4           IR5  
Table 8. Matrix, Row II of Piece III in Fünf Stücke für Klavier 
 50 
 
Section A (Allegro moderato) 
Whereas in the first piece, the second tone-row does not occur until the beginning of 
second section, the third piece introduces the second tone-row already in the third measure of the 
first section. Section A opens with powerful yang energy. It starts with a dramatic ascending 
gesture made up of the first tone-row (P0) containing C, B, C#, A, A#, G, F, F#, G#, D, D#, and 
E, followed by another ascending gesture of the prime row (P0). The third measure shows the 
second tone-row (P4) produced by bombastic fff dissonant chords. The intensity decreases with 
the inversion of the second tone-row (I4) in the left hand through diminuendo until p. The meter 
changes from 3/8 to 5/8, 5/16, and 3/8. One could argue that Yun uses the frequent meter 
changes for the purpose of emulating the varied rhythmic effect of percussion instrument. The 
characteristic rhythms feature a Korean percussion instrument, Janggo. 
 
Example 16. Rows in Section A (mm. 1-4), Piece III, Fünf Stücke für Klavier 
 
 51 
 
Section B (con anima) 
 Section B opens with thinner texture and progressively gets thicker, more complex, and 
louder. It starts with the second prime row followed by the inversion of second tone-row (I4) at 
m. 6 and the prime row (P0) of first tone-row at m. 7. Then, the prime row (P4) of second tone-
row recurs at mm. 8,9,10,12, and 13. The retrograde of second tone-row (R4) presents in the right 
hand at the second half of mm. 10 and 11. Yun not only uses the complete tone-rows but also 
explores using hexachords and fragments of the row, while also omitting notes from the row. 
Various attempts of transforming or varying rows create diverse harmonic and coloristic effects 
in the piece.  
Lf 
 
Example 17. Rows in Section B (mm. 5-12), Piece III, Fünf Stücke für Klavier 
 52 
 
Yun finishes the middle section with the overlapping of different dynamics that fuse the 
sustaining sfff dissonant chord with contrasting mp of D in the tenor and p of two notes (B and F) 
in the bass. It creates colorful palette of sound (Example 18. mm. 13).  
Section C (poco Andante) 
 Section C exhibits calm yin energy in the beginning with the use of first prime row 
omitting G in both mm. 14 and 15. At mm. 17, the tempo and character come back to the A and 
B section.  
- - .. . 
'1 -..--..· · ·· . 
# 
 
Example 18. Rows in Section C (mm. 14-21), Piece III, Fünf Stücke für Klavier 
 53 
 
The piece concludes with percussive and bold dissonant chords showing the return to 
powerful yang energy. The last two measures evoke the timbre of a Korean percussive 
instrument, Pak. Pak, consisting of six loosely tied wooden sticks, producing a clapping sound. 
Conductors or ensemble leaders use a Pak to signal important musical changes in the middle or 
in the beginning and ending of the Korean court music or ritual music.  
 
                   Figure 13. Pak (박) 
As mentioned above, one significant character of this piece is the imitation of a Korean 
percussion instrument, Janggo including its rhythmic traits and specific timbre. Distinct rhythms 
in this piece recalls jangdan, Korean traditional rhythmic cycle. In Korean traditional music, 
percussion instruments play the essential rhythmic structure leading the ensemble of music.  
           Figure 14. Janggo (장구) 
 54 
 
Janggo is a double-headed drum in hourglass shape used for accompanying vocalists, 
chamber music, or traditional dances. It produces unique sound with effect resonance. Janggo 
consists of two leathered heads rapped onto metal hoops. The left head is made up of thick skin 
and produces thick and low tone, and is played with an open hand. The right head, made up of 
thin skin, produces a high tone and is played with a bamboo stick. The different sounds made by 
the different mechanisms between the left and right side allow a Janggo to play a variety of 
rhythmic patterns, creating different combinations of strong and weak strokes. In general, 
Janggo plays recurring rhythmic patterns throughout the music called jangdan. Jangdan has 
several main types of patterns that express certain moods and musical effects in relation to the 
style and genre of music. Particularly, Yun utilizes Chungmori jangdan in this piece. Chungmori 
is a type of Korean traditional rhythmic cycle, which contains twelve beats in each unit 
emphasizing on the ninth beat in medium tempo.  
(b) ChUrt(}'"CVI 
--Y_J,1 i t -t,--,JJ.JP+-f t- ~ i t-1 
 
Example 19. Chungmori  
The beginning four measures evoke the timbre of Janggo and Chungmori jangdan. 
Although they do not include typical twelve-beats but instead present contracted and transformed 
form of original structure, the rhythmic quality recalls the original pattern. For instance, in 
measure 1, the first, fourth, and seventh beats resemble to the fourth, seventh, and tenth beats of 
Chungmori that produces thick tone from the left side of Janggo (Example 20). The third, sixth, 
and nineth beats in measure four is similar to the weak stroke of right side of Janggo. In addition, 
 55 
 
fast repeated notes, constant succession of triplets or sextuplets, alternation of high and low 
pitches are reminiscent of the timbre of Janggo.  
 
Example 20. Similarity of Rhythm Between m. 1 of Piece III and Chungmori 
 
 
Example 21. Similarity of Rhythm Between m. 3 of Piece III and Chungmori 
 56 
 
5.2.4 Fourth Piece 
The fourth piece consists of five contrasting sections in rondo form: A (mm. 1– 2), B 
(mm. 3– 5), A´ (mm. 6–7), B´ (mm. 8–12), A´´ (mm. 13–19). The sections are divided by tempo 
marking and rhythmic structure. The piece is characterized by polyphonic texture, successive 
alternation between two opposite ideas, recurring dotted motives, and other rhythmic elements. 
The prime tone-row and matrix are shown in Figure 15 and Table 9.   
() 
Im Pe Pe ~e lJ qn ~n ? Pe () ' 0 Figur e 15. Prime Row of Piece IV in Fünf Stücke für Klavier 
 I7        I0     
P7 G G# D D# F# A# B E C A C# F R7 
 F# G C# D F A A# D# B G# C D  
 C C# G G# B D# E A F D F# A#  
 B C F# G A# D D# G# E C# F A  
 G# A D# E G B C F C# A# D F#  
 E F B C D# G G# C# A F# A# D  
 D# G C# B D F# G C# G# F A C#  
 A# B F F# A C# D G D# C E G#  
 D D# A A# C# F F# B G E G# C  
 F F# C C# E G# A D A# G B D#  
 C# D G# A C E F A# F# D# G B  
P9 A A# E F G# C C# F# D B D# G R9 
 RI7        RI0     
Table 9. Matrix, Row of Piece IV in Fünf Stücke für Klavier 
First of all, Yun uses polyphonic texture, which is a main character of Eastern music. Not 
only does each voice present different motivic, rhythmic, and harmonic ideas, but also each hand 
 57 
 
has different tone-row throughout. This piece shows the most apparent tone-rows among five 
pieces including the use of hexachord combinatoriality.96 
 
Section A (Allegro) 
 The measures 1 and 2 introduce the hexachord combinatoriality that is a main 
compositional technique throughout the piece. The pair of P7 and Io occurs with fast sixteenth 
notes in the upper part and syncopated dotted rhythmic figures in the lower part. The measure 1 
shows the aggregate formed by the first hexachords of P7 and Io. The measure 2 presents the 
aggregate of the second hexachords of each row (Figure 16). Also, in the lower part, Yun uses 
the syncopated rhythmic material derived from the second piece, unifying the cycle as a whole.  
Aggregate of First Hexachord P1 G G# D D# F# A# 
m.ml Io C B F E C# A 
Aggregate of Second Hexachord P1 B E C A C# F 
m.m2 Io D# G# G A# F# D 
 
Figure 16. Hexachord Combinatoriality (P7 and Io) 
 
 
96 Hexachord combinatoriality:  A form created by some twelve-tone, of which the row combines with one of its 
transformations to make a pair of aggregates. 
 58 
 
 
Example 22. Rows in Section A (mm. 1-2), Piece IV, Fünf Stücke für Klavier 
Section B (Moderato) 
 In Section B, the hexachord combinatoriality of P7 and Io is presented in contrapuntal 
style. The soprano plays the first hexachord of P7, and the middle voice and bass play the first 
hexachord of Io in measure 3. The measure 4 and 5 show the pair of second hexachord of P7 and 
Io. Contrary to the Allegro section, the B section has lyrical quality expanding on rhythmic ideas 
using 6/8 meter, quadruplets, and duplets with legato articulations.   
lI!L. 1 • 
·-=- ' I.- .... 
15 =-Z-. .__ . . jI " 
Pi~:.-
111 
-· ... - --
,-- ·- :::::-r,.
. . . -- . ~i  ·-
----·-,-_ 
=-:,-: ·:: ---. .. ,,. . 
--. I • 
1o Lf-> , --  
Example 23. Rows in Section B (mm. 3-5), Piece IV, Fünf Stücke für Klavier 
 59 
 
Section A' (Allegro) 
 The dotted rhythm pattern and fast sixteenth note figures return with slightly different 
combination of rows that integrates the retrograde of row (R7) in the upper part with retrograde 
inversion of row (RI0) in the lower part at mm. 6-7.    
 
Example 24. Rows in Section A' (mm. 6-7), Piece IV, Fünf Stücke für Klavier 
Section B' (Moderato) 
The aggregate of R7 and RI7 appears in mm. 8-9. The next four measures (mm. 10-13) 
employ the combination of P7 and Io. This section shows polyphonic texture.  
Section A'' (Allegro) 
 Yun utilizes I7 containing G, F#, C, B, G#, E, D#, A#, D, A, C#, and A, in the upper 
voice at mm. 14,16, and 17. The aggregate of R7 and RI0 reoccurs at mm. 19. The piece 
 60 
 
concludes with the pair of second hexachords of P7 and Io, in the same way as it began. As seen 
above, the fourth piece reflects the Yin and Yang dualism through constant alternation between 
two contrasting sections, Allegro and Moderato. They exchange different energies repeating the 
tension and relaxation.  
 
p'l pIo co 2n.l :3 _'f. _ . . . . .• _ • - - - . • • · · · • · 
 
Example 25. Rows in Section B' and A'' (mm. 8-20), Piece IV, Fünf Stücke für Klavier 
 61 
 
5.2.5 Fifth Piece 
The fifth piece has a ternary form: A (mm. 1–9), B (mm. 10–14), A’ (mm. 15–19). This 
piece is the integration of four preceding pieces in terms of sharing motivic, rhythmic, technical, 
and stylistic ideas. It uses a wide range of dynamics, rhythmic variety, and diverse articulations 
in different textures and registers, including some features of Korean music. Diverse characters, 
styles, colors, and timbres produced by blending varied musical elements create a sense of 
freedom.  Figure 17 and Table 10 show the prime form of the row and matrix. 
'j ffo po ~o ffu ~(1 0 qo II 111) ljo ~o '  
Figure 17. Prime Row of Piece V in Fünf Stücke für Klavier 
 
 I4             
P4 E D# A# G F# D C# F A G# C B R4 
 F E B G# G D# D F# A# A C# C  
 A# A E C# C G# G B D# D F# F  
 C# C G E D# B A# D F# F A G#  
 D C# G# F E C B D# G F# A# A  
 F# F C A G# E D# G# C B D# D  
 G F# C# A# A F E C# G# A C B  
 D# D A F# F C# C E G# G B A#  
 B A# F D C# A G# C E D# G F#  
 C B F# D# D A# A C# F E G# G  
 G# G D B A# F# F A C# C E D#  
P A G# D# C B G F# A# D C# F E R 
 RI4             
Table 10. Matrix, Row of Piece V in Fünf Stücke für Klavier 
 62 
 
Section A (Allegretto) 
The piece begins with a gentle single voice in curve line that states the prime tone row 
(P4). The next measure repeats the prime row (P4) twice but in contrasting character with 
diminution of rhythm in thicker texture, three-voice polyphony. The measures 3 and 4 show 
considerable symmetry with the first two measures. In mm. 3-4, Yun uses the retrograde of the 
prime row (R4) in low register with f dynamic level. The melodic contour of each voice between 
mm. 1-2 and mm. 3-4 is the complete opposite. In terms of articulation, whereas the top voice 
has slurred legato accompanied by percussive chords, including staccatos in the bass at m. 2, the 
bass plays legato with short dissonant chords in soprano at m. 4. Additionally, m. 2 exhibits 
horizontal symmetry between the upper and lower voices, showing the influence by Schoenberg: 
the 4th (B and E) in the first beat of upper voice is palindromic with the 4th (F and B) of the first 
chord in the bass. The 6th (E and C) in the fourth beat of upper voice is symmetric with the 6th 
(D# and B-flat) of the 2nd chord in the bass. The 7th (A and A-flat) in the seventh beat of upper 
voice is palindromic with the 7th (C and B) of the 3rd chord in the bass. The first three slurred 
notes in m. 1 come from the main motive of second piece - slurred three notes comprising with a 
wider interval and narrow interval. The dotted figure in soprano at m. 2 is also reminiscent from 
the second piece. In measure 5, Yun does not use an assigned row, instead employing repetitive 
notes, evoking the timbre of Janggo as heard in the third piece. It produces coloristic effects and 
functions as a transition. Yun further explores the prime row (P4) using hexachords at m. 6 and 
dividing into four cells at mm. 8-9 (Figure 12).    
 63 
 
1' 
> --.. . ~ 
-r ~ b, . I -~~  A.. . 
1
7 
- --- ----=-l·l-_ -_·_:__t_-_-J _--_t-_~ §§~~~" ~ ,_- --· · ~~ - ·-:=.\ -~ -.. 
............. _. 
 
8 
 
Example 26. Rows in Section A (mm. 1-9), Piece V, Fünf Stücke für Klavier 
 64 
 
Section B (Andante) 
Measures 10 and 11 show the hexachord combinatoriality of R4 and P4 (Figure 18). In 
m.10, the first two beats present the first hexachord of R4 in the right hand combining with the 
first hexachord of P4 in the left hand. The last two beats of m. 10 show the aggregate of the 
second hexachord of R4 in the right hand and the second hexachord of P4 in the left hand. 
However, in m. 11, Yun uses the aggregate of the hexachord only in the first two beats. Thus, 
this creates interesting harmonic colors between m. 10 and m. 11 (Example 27).   
Aggregate of Hexachord R4 B C G# A F C# 
P4 E D# G F# A# D 
1st ,2 nd , 3rd beats in m 10 
Aggregate of Hexachord R4 D F# G A# D# E 
P4 C# A G# F C B 
4th and 5th beats in m 10 
 
Figure 18. Hexachord Combinatoriality (R4 and P4) 
 
Section A' (Allegretto) 
 Yun uses a series of hexachords in this final section. Measure 15 presents the first 
hexachord of I4 in the first three beats and the second hexachord of I4 in the last three beats. 
Measure 16 uses the second hexachord of R4 in the upper part and the first hexachord of R4 in 
the lower part. Measure 18 has the first hexachord of P4 in the first two beats and the second 
hexachord of P4 in the lower part of the 3rd, 4th, and 5th comprising with R4 in the right hand. 
 65 
 
The beginning of returning A section recalls the rhythmic idea of A section. The written-out 
accelerando from six sixteenth notes to sixteenth note triplets, twelve thirty-second notes, and 
thirty-second note sextuplets with a crescendo from f to sfff progressively increases the tension 
until the end of the piece. Abundant accents, staccatos, and syncopated rhythms add to the 
intensity.  
 
Example 27. Rows in Section B and A' (mm. 10-19), Piece V, Fünf Stücke für Klavier 
 66 
 
The very last measure consists of an ascending sextuplet including the first hexachord of P4 and 
two fff dramatic chords including the second hexachord of P4. The last four chords imitate the 
clapping sound of Pak, which is commonly used at the end in Korean court music or ritual 
music.  
 
 
 
 
 
 
 
 
 
 
 
 
 
 67 
 
CHAPTER 6: AN ANALYSIS OF INTERLUDIUM A (1982) 
                             
 
6.1 Overview of Interludium A  
 
Interludium A, Yun’s second and last work for solo piano, was written in 1982 while he 
was teaching at the Musik Hochschule in Berlin. It was dedicated to his friend, the Japanese 
pianist Aki Takahashi, who premiered the work in Tokyo in May 1982. Whereas Five Pieces for 
Piano shows strong influence of Schoenberg with prominent use of twelve-tone technique, 
Interludium A does not present the standard feature of twelve-tone technique, instead exhibits 
Yun’s artistic maturity achieved by highly developed compositional skills using innovative 
Haupttone technique. Haupttone technique inspired by Eastern concepts including Eastern 
philosophy and Korean traditional musical elements, pervades throughout the work comprising 
with Western compositional technique. At a first glance, it is difficult to perceive all these 
features interwoven in the composition, but it is the reason that this work is highly valued and 
respected. Interludium A is not performed very frequently, due to the high demands regarding 
pianistic skills and musical challenges. I hope this study will guide pianists in their 
understanding and interpretation of this important piano work.  
The “A” in the title is derived from the pianist’s first name, Aki. The central tone is “A,” 
which symbolizes the peace and reconciliation between humans.97 In Interludium A, Yun 
represents the world peace and freedom through the note “A”. The central tone “A” refers to 
"inactivity" representing yin as a unifying element in the piece. The ornaments, melisma, and 
dynamic changes consider as the elements of “motion,” representing yang. 
 
97 Jin Huh (producer), Isang Yun: Over the Border, (DVD) KBS TV, Seoul, 2003. 
 68 
 
Interludium A was composed in the late period when Yun’s musical approach had 
significantly changed after being kidnapped and imprisoned by the South Korean government 
and imprisonment (1967-1969).  Similarly to his other compositions written in the 70s and 80s, 
in Interludium A, Yun attempted to transcend the world problems through music, which is 
inspired by his personal struggles. South Korea was under a military dictatorship from 60s to 
80s. In May 1980, the popular uprising known as Gwangju Massacre was crushed in the city of 
Gwangju, in opposition to the oppression of human rights by the government. The brutal uprising 
caused countless deaths after the bloody fighting between armed citizens and the government. 
This tragic incident was a matter of concern to Isang Yun, who was a victim of political tyranny 
of authorities in the late 1960s. Yun’s Interludium A, written two years later from Gwangju 
Massacre, reflects the tragic events, his emotions, and hope for the future.   
 
6.2 Analysis  
 
Interludium A is a single-movement work in fantasy style. It consists of three sections. 
The first section displays the outbreak of uprising. The second section illustrates the emptiness 
after the uprising. The third section expresses his personal pains and thoughts followed by the 
coda portraying the desire for peace.  
 Character Tempo Meter Measure 
Section I Outbreak of uprising ♩ = ca. 60 No meter No measure 
Section II Emptiness ♩ = ca. 78 No meter No measure 
Section III Personal pains ♩ = ca. 78, 5/4, 4/4, 6/4 33 measures 
and thoughts ♩ = ca. 86, 
♩ = ca. 52, 
♩ = ca. 60 
 69 
 
Coda Hope for peace ♩ = ca. 52 5/4 13 measures 
 
 
Table 11. Overview of Interludium A 
 
 
 
6.2.1. Section I 
 
 
♩ = ca. 60 (Introduction) 
 
In section I, the complex three staves were used for producing a wide range of timbre and 
colors, and for expanding the musical gesture. The piece opens with the explosion of two clusters 
formed by A, C#, D# and A, D, F#, G#. The central tone, A, is first presented as the bass note in 
both hands of the opening chord. The chord is repeated emphasizing with grace notes (F# and 
D#), which is similar to Jeonsung (Sigimsae), a Korean ornamentation technique. The opening 
chords’ big sound and roaring effect mimic the sound of Jing.98  
        Figure 19. Jing (징) 
The force of yang in the opening abruptly alters to the opposite force of yin. The repeated 
pitch A in bass register softly plays unique syncopated rhythm derived from Korean jangdan. 
 
98 Jing: Korean percussion instrument similar to a large gong.  
 70 
 
The ascending melismatic figure in thirty-second notes moves towards the fff dissonant chord 
with rapid crescendo. The dissonant chord contains the same notes as the ones of the opening 
chord with additional E and F (Example 28). Then, the F# diminished harmony comes with 
tremolo accompaniment, plus the added neighboring tone (B-flat and D) in octave displacement 
(Example 28).  
 
J C.l.60 
Neighboring tone 
> 
m 
r-, 
r., = e tw-1s langer als t:"I 
F# diminished 7th  
Example 28. First line in Page 1, Interludium A 
 
As in Example 28, the first line is centered on pitch A surrounded by grace notes, melisma, and 
embellishing gestures. From the perspective of Eastern music, each single note is a vibrant 
entity. However, the individual note demands supplementary materials to become alive. It is as if 
the main note receives the vital energy from surrounding ornamentations.  
The second and third lines present a typical form of Hauptton technique. Based on 
discussion in Chapter 4, the Hauptton A begins with an initial preparation with little decorative 
ornaments in ascending motion followed by a straight main tone. It develops with various 
embellishments and then fades away at the end (Example 29). 
 71 
 
Development 
Ascending Ornamentations 
p 
'-9.,___. 
__ ,. __ _ 
I 
I 
Development Fading away  
Example 29.  Hauptton Technique, Second and Third lines in Page 1, Interludium A 
 
♩ = ca. 78 
 
After the introduction (three lines in the first page), the main section starts at the top of 
second page. This section creates two layers of sound. In the right hand, the rapidly moving 
thirty-second notes in waves display yang. The second layer that plays thematic materials with 
sustaining chords in the left hand represents yin (Example 30). For pianists, bringing out the 
thematic lines in the left hand maintaining well-articulated sound for the running thirty-second 
notes in the right hand will be crucial. The right hand uses a wide range of soprano register from 
G# to G# in two octaves higher from middle G#. The section starts with G# and increases 
intensity with tremolos of B♭ and E, and F# and C#. The rapidly ascending decuplets of thirty-
 72 
 
second note soon reach to the climax of highly dissonant chords in fff emphasizing the pitch A on 
the top (Example 30). 
1Jr L 
Jc~. 78 
h.i - - - - - - - - - . - - - - - - - . ' 
~ -it€ . I :' 
 
Example 30. First and Second lines in Page 2, Interludium A 
  
The G#, B♭, and C# are structurally important notes in this section and entire work. These 
pitches have a quality that leads to the pitch A. G# is the leading tone of pitch A. B♭ (a half step 
higher pitch from A) commonly resolves to the note A. C# is the third in the A-rooted harmony 
(Example 30). In the second page, the notes are constantly moving around structural notes, G#, 
B♭, and C#. It is associated with a Taoist principle, of which “the universe does not seem to 
move, but it has internal motion.” 
 73 
 
 
Example 31. Third and Fourth lines in Page 2, Interludium A 
 
Starting with the third line, both hands play the same rhythmic movement creating 
unifying power (Example 31). The chords of an eighth note triplet and sixteenth notes produce 
highly dissonant sound made up of a group of seven or eight different notes in each beat. The 
eighth note and sixteenth note chords ascend toward the quarter note’s fff clusters containing C# 
on the top. The enormous tension, which is emphasized by grace notes and glissando, is 
sustained for the next four beats. The ornamentations preceding or following each chord evoke 
Sigimsae, 99an essential Korean ornamentation technique, which gives the chord vital energy and 
increases the dramatic emotion. The tremendous intensity suddenly gets lower with a descending 
grace note and diminuendo. The notes go down to mp chords in the bass register playing Korean 
traditional rhythm.  
 
99 Sigimsae was discussed in Chapter 3.2.1. 
 74 
 
 
 
Example 32. First and Second lines in Page 3, Interludium A 
 
After a little moment of mezzo piano, the music successively develops the harmonic and 
rhythmic intensity towards the climax at the end of section I. It features complex rhythms, 
harmonic density, and use of the wide range of keyboard. As this happens, the boundary between 
main notes and embellishments disappears. Starting in the low register, the principal thematic 
material rises to the high register until the high A and finishes the section with the loudest ffff 
cluster chord (Example 33). For pianists, I suggest that practicing the main chords without 
ornaments at first to establish the strong sense of the core rhythm and later add embellishments 
(Example 32). Additionally, we should pay attention to the use of refined pedaling, avoiding 
blurring the main theme with complicated ornamental elements.  
 75 
 
&ra - - - - - ... -
era ... - - - ... -
 
 
Example 33. Third and Forth lines in Page 3, Interludium A 
 
 
6.2.2. Section II 
 
Section II is divided into three parts: A (2 lines), B (3 lines), C (7 lines) 
  
 
♩ = ca. 60 
 
 Section II is the emotional center of Interludium A that employs the concept of Jung-
Joong-Dong 100 derived from East-Asian philosophy. The central pitch A moves while seeming 
still. In other words, the pitch As in ppp, pp, and p are in stasis (yin) with surrounding other 
pitches (minor 2nd and more distant pitches) in motion (yang). At the same time, the pitch A 
becomes a vibrant entity by itself through the transformation of rhythm, dynamic, and register. 
Although Yun does not mark pedaling on the score, he indicates dynamics and articulations 
nearly in every single note in this section. It tells what kind of color and tone each note should 
 
100 Jung -Joong- Dong was investigated in Chapter 3.1.3. 
 76 
 
sound like. Thus, pianists must pay careful attention to study the composer’s indications on the 
score in order to deliver the proper meaning.  
 
Part A  
 In the beginning of Part A, the pitch As appear with fermatas. The fermatas allow to 
vibrate the resonance of a single note creating a sense of emptiness as well as expanding the note 
value. The first note, A, in the middle register calmly rings in ppp. It is followed by neighbor 
notes, G# and B♭, in low register with pppp dynamic, which reflects a reverberation of pitch A. 
After the same pattern is repeated, the low G# and B♭ in an interval of 10th switches to B♭ and 
G# in an interval of 6th. Then, the A goes down to low register releasing the tension. The A 
restarts to ring with B♭ and G# in the bass. The next A abruptly occurs in mf. The bass notes 
return to G# and B♭ in an interval of 10th. At this point, the As in the right hand increase their 
activity with varied registers, dynamics, and rhythmic structures.  
 
Part B  
In Part B, the central tone A extends to C#. The G# in the bass extends to F#. While the 
Part A uses limited range of register, the second section exploits a much wider range of keyboard 
with more freedom. The pitch As are emphasized by grace notes and embellishing notes. 
Although prevailing dynamics are ppp and pppp retaining a soft and tender sound, the rhythmic 
and harmonic quality lead to build up in the emotional intensity.  
 
 77 
 
PPP 
s 
1 
/ A 
, w 
j 
i 
A 
A 
,, 
A w 
IM --
I 
A. 
 
Example 34. Part A and B, Section II, Interludium A 
 
 78 
 
Part C 
In Part C, fascinating melodic materials not explored in the parts A and B are presented. 
Yun utilizes the minor 2nd (chromatic) and pentatonic scale as a main component of melodic 
figure. For instance, in the second line of page 5, the right hand plays a segment of pentatonic 
mode that consists of A, C♯, D, F-♯, and G (Example 35). The 32nd note quintuplet and the 32nd 
note decuplet in the right hand of 4th line in page 5 contain the fragments of pentatonic scale: G♯-
A-C♯-D♯-F♯, D-F♯-A-C-C♯, D-F♯-G♯-A-C♯ (Example 36). In other words, although these 
examples do not contain the complete form of pentatonic scale, they include a segment of 
pentatonic mode creating East-Asian mood. In Example 35, the figure of A, C♯, D, F♯, and G 
has a fragment of minor 2nd and major 3rd (C#, D, F#), which derived from a Japanese pentatonic 
scale (E, F, A, B, C). In Example 36, the figure of G♯-A-C♯-D♯-F♯ includes a fragment of minor 
2nd and major 3rd (G#, A, C#); D-F♯-A-C-C♯ has a fragment of minor 2nd and major 3rd (C#, D, 
F#); D-F♯-G♯-A-C♯ presents a fragment of minor 2nd and major 3rd (G♯-A-C♯).  
 
 
Example 35. Pentatonic Mode, Part C, Section II, Interludium A 
 79 
 
 
 Example 36. Pentatonic Mode, Part C, Section II, Interludium A 
 
In addition, a chromatic interval (minor 2nd) is observed in melodic motives. For example, there 
is a slurred two-notes figure including the G# and A in the fourth line of page 4, the A♭ and A in 
the third line of page 5, and the B♭ and A in the fifth line of page 5 (Example 37-39).  In these 
places, the G#, A♭ and B♭ highlight the central pitch A. The interval of minor 2nd appears 
throughout the piece as a unifying element.  
 
Example 37. Interval of Minor 2nd, Part C, Section II, Interludium A 
••.PP 1'fPPr 
#a~ 
PPP  
Example 38. Interval of Minor 2nd, Part C, Section II, Interludium A 
 
 80 
 
 
Example 39. Interval of Minor 2nd, Part C, Section II, Interludium A 
 
The section ends with the central tone A surrounded by echoing pitches of F#, B♭, and B 
(Example 40). 
 
Example 40. Ending of Section II, Interludium A 
 
 
 
6.2.3. Section III 
 
Section III is the longest, fastest, and technically most challenging. Unlike the previous 
two sections, it has thirty-three measures and contains four parts: A (mm. 1-6), B (mm. 7-15), C 
(mm. 16-26), D (mm. 26-33).  Part A (♩ = ca. 78) functions as an introduction. Part B (♩ = ca. 86) 
reflects Yun’s personal pain, while Part C (♩ = ca. 52) and D (♩ = ca. 60) express Yun’s various 
emotions and thoughts through diverse colors, timbres, and other musical elements.  
 
  
 81 
 
♩ = ca. 78 (Part A) 
  An expressive melody creating a beautiful curve line displays in Part A, applying a 
Hauptton technique. It starts with an ascending figure of minor 2nd (D# and E), which is an 
essential motive, shows the main tone A in m. 3 followed by a descending figure of minor 2nd (E-
flat, D) in m. 4, one hears the highest pitch (F) among the section and another descending figure 
of minor 2nd (G-sharp, G) in m. 5, and finishes with the ff dissonant chord intensified by tremolo-
like figures in the left hand. 
 
Jc~. 78 ,.--._. _____ 
.----=--
 
Example 41. Part A, Section III, Interludium A 
 
 
 
♩ = ca. 86 (Part B) 
 
 Part B also starts with an ascending gesture, which is a distinct feature of Yun’s music 
and frequently occurs in this work. According to a book, Music World of Isang Yun, Yun 
explained that an ascending figure symbolized “emancipation.” 101 At measure 8, the character of 
 
101 Choi and Hong, “Music World of Isang Yun,” 72. 
 82 
 
music completely changes. It is featured by fusion of rapidly running 32nd notes in the upper 
voice with thematic materials and chord progression in the lower voice. In the beginning (mm. 8-
9), the rapid figuration in the upper voice has a written-out accelerando from a 16th note sextuplet 
to 16th note septuplet, a group of eight 32nd notes, and a group of eleven 32nd notes. Then, it 
becomes stable with the repetition of 32nd note decuplets except for the first beat of m. 10. For 
pianists, it will be vital to maintain a steady tempo in the right hand. By keeping a steady rhythm 
in the 32nd note decuplets in the right hand, one allows the left hand more freedom to express 
rubato, as well as show clear rhythms and articulations of the left hand. Distinctively, the right -
hand figurations move with a direction. It ascends from the third beat of m. 8 to the first beat of 
m. 9 and descends to the last beat of m. 9. It then goes up at m. 10 and down at m. 11 (Example 
42). Finally, it rises towards the first beat of m. 13, which consists of three accented powerful 
chords in the highest level of dynamic. The violent force restrains at m.14 with harsh chords that 
reveal an essential concept of Taoism, “the one gives birth to the two; the two give birth to the 
three; the three give birth to every living thing” (Example 43). The enormous intensity releases at 
the last beat of m. 15 with a rapid diminuendo from sffff to p. 
 83 
 
Ascending 
Descending 
- - - - - .. .. . 
 
Example 42. Ascending and Descending Direction, mm. 10-11, Interludum A 
 
Example 43. Taoist Concept, m. 14, Interludium A 
 
 
♩ = ca. 52 (Part C) 
 Contrary to the aggressive Part B, Part C displays a sense of sweetness and purity. It 
seems to portray shining starts in a dark night. It shows a similar texture to Part B: rapid 
figurations in the upper voice with chord progressions in the lower voice. However, it 
differentiates by having two layers in the lower part (Example 44). It features three staves 
including drone-like basses in the lowest staff. Pianists will need to present the two layers of 
lower part with separate colors and tones. The fast 32nd note figures in the right hand should be 
 84 
 
played with crystal clarity, articulating every note for great shimmering sound clarity. Part C 
quietly ends with 8th note triplets in octave displacement in the left hand and descending 32nd 
note nonuplets in the right hand.  
rail. - - - - - Jc~. 52 (T,mpo u.Oynamikim Ottailt1was 11. .i btl gost~ll•n) 
4n - - •;_;:_.:......::c......;;._;;_~_;.------------
 
Example 44. Three layers, mm. 16-17, Interludium A 
 
 
 
♩ = ca. 60 (Part D) 
Part D evokes the sound of a Korean instrument, Piri. Piri is a woodwind instrument 
made of bamboo including eight finger holes. It frequently plays the main melody in court 
music, ritual music, and folk music. The abundant trills appearing in Part D emulate an essential 
performance technique of Piri. A variety of grace notes, ornaments, and accents in front of a 
main note are reminiscent of the timbre and ornamental technique of a Korean woodwind 
instrument.  
 85 
 
       Figure 20. Piri (피리) 
In terms of texture, it begins with a polyphonic texture as if two different instruments 
were playing in different register. Each voice progresses in a linear manner. The initial two 
layers expand to a three-layers texture. In the last two measures (mm. 33-34), it becomes 
increasingly more vertical and chordal in style. In Part A, B, and C, the pitch A does not 
prominently present as a principal note, but rather appears as an element of rapid figuration, 
chord or melodic line. However, in Part D, the pitch A emerges as an important note highlighting 
with trills, tremolos, grace notes, and accents (Example 45). 
14 
--== 
"V • 
t.r-<---
--------
f 
f 
I)' -----  
Example 45. Central Pitch A with Trills, mm. 30-31, Interludium A 
 86 
 
Section III has considerable continuity, as Yun mentioned that “the linear element 
established the root of my music has subtle persistence, and this nature has infinite possibilities 
of continuity.” 102 Starting with a slow lyrical melody, Section III progresses through alternating 
of tension and relaxation with one long breath until the end, where the outpouring of chords is 
sweeping the entire keyboard in the highest level of dynamic, ffff.  
6.2.4. Coda 
 
♩ = ca. 52  
 
  The Coda speaks of hope for peace and transcendence of suffering. After the 
overwhelming emotion of Section III, the music becomes calm when the coda begins. The first 
note, low A, smoothly rises to B♭ in high register, representing the image of “emancipation” 
(Example 46). Ascending gestures that are predominantly observed in all voices reflect Yun’s 
strong desire for transcendence of suffering. The upper voice playing in three octaves higher 
from the middle register produces the angelic and heavenly sound. Moreover, there are numerous 
high notes vibrating with trills. These quivering high notes create the sound of a birdsong. As we 
known that a bluebird is a symbol of hope and joy, the high notes embellishing with trills in mm. 
36-39 seem to symbolize the sound of hope.  
Jc~. 52 
 
Example 46. Ascending Figures (Image of Emancipation), mm. 34, Interludium A 
 
102 Songman Choi and Eunmi Hong, trans., “Musical World of Isang Yun” 150. 
 87 
 
      Figure 21. The Bluebird 
One main feature of coda is the coexistence of characteristic melodic motives and 
complex rhythmic figures. Playing rapidly moving melodic motives without ruining complex 
rhythms in the other hand demands technical dexterity. There are many fascinating moments that 
display a charming melodic figure. Particularly, Yun utilizes a segment of pentatonic mode 
signifying the East-Asian character. For instance, the D, F#, A, B, and C# in m. 36 (fragment of 
major pentatonic) and the B♭, C, E♭, A, and C in m. 40 (fragment of major pentatonic) employ a 
pentatonic mode. (Example 47-48) 
 
Example 47. Pentatonic Mode, m. 36, Interludium A 
 
 88 
 
 
Example 48. Pentatonic Mode, m. 40, Interludium A 
The Coda shows the process of how the low A in the opening (m. 34) reaches to the A 
(six octave higher from the opening note) in the very last measure. Three core pitches of 
Interludium A (the central tone A and two surrounding notes, G# and B♭) play a major role in 
this section. The first two measures (m. 34-35) inform these three pitches. The vibrating low A 
goes up to B♭ and the trembling G# ascends to A. At measure 38, the trilling A gradually rises to 
high G# passing through C# and E. The pitch A is further developed by embellishments, trills, 
successive rapid figures, and complex rhythms. It eventually arrives to the highest A along with 
the lowest A in the keyboard. Reflecting the transcendence of suffering to peace and the 
reconciliation of human symbolized by pitch A, the work quietly concludes. The sustaining notes 
(A) gradually fade away.   
mol'Pfldo 
I':', 
u • lassa - .! 
PPP  
 
Example 49. Highest A and lowest A, m. 44, Interludium A 
 
 
 89 
 
 
CHATER 7: CONCLUSION  
 
This document investigated Isang Yun’s biography, characteristic style, and two 
representative piano works. Yun occupied a significant position for achieving a satisfying 
integration of multi-cultural elements. This research concentrated on influences of Taoism, 
Korean traditional music, and twelve-tone technique. Among more than 120 compositions, he 
created only two works for solo piano. These pieces were written twenty-four years apart and 
reflect the development of his style.  
Fünf Stücke für Klavier (1958) is based on the twelve-tone technique influenced by 
Schoenberg. Although Yun followed the stylistic and theoretical principles of Schoenberg, he 
developed his own style fused with East-Asian concepts. The first and third movements present 
the same tone row. The row of second movement was the one that Schoenberg wrote but never 
used in his work. Yun skillfully utilized the variation of row, alternation by omitting or adding 
notes of row, and combination of fragments of different rows.  Interludium A (1982) shows 
technical and stylistic maturity prevailed by innovative Hauppton technique. Hauptton (a central 
tone) is presented throughout the piece in order to achieve the greater coherence. The pitch A 
represents the stability (yin), while other pitches and embellishments surrounding central tone A 
display the mobility (yang). This oriental dualism exhibits in dynamics, rhythmic and harmonic 
intensity, and diverse figurations in both Fünf Stücke für Klavier and Interludium A.  
Most Yun’s works including Fünf Stücke für Klavier (1958) and Interludium A (1982) are 
very difficult to grasp at a first hearing. However, after fully understanding his compositional 
 90 
 
language, the works seem to take on a new life. It is expected that research on Yun’s output will 
become more developed, helping performers and audiences experience the fascinating works of 
this outstanding composer. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 91 
 
BIBLIOGRAPHY 
 
 
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Cambridge University Press, 2014.  
Chang, Sa-Hun. Introduction to Korean Traditional Music. Seoul: Hanguk Gugak Hakhoe, 1975.  
Chen, Ellen M. The Tao Te Ching: A New Translation With Commentary. Paragon House: New 
York, 1989. 
Cho, Inhye. “Five Pieces for Piano by Isang Yun and Etude No.1 by Unsuk Chin: An Analysis.” 
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Choi, Ji Sun. “The Merging Korean Traditional Music and Western Instrumentations as 
Exemplified in Four Chamber Works for Piano Composed by Isang Yun.” D.M.A. diss., 
University of Miami, 2007.  
Forte, Allen. The Structure of Atonal Music. New Haven, CT: Yale University Press, 1973.  
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Fowler, Jeaneane. An Introduction to the Philosophy and Religion of Taoism: Pathway to 
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Griffiths, Paul. Modern Music: The Avant-Garde since 1945. New York: George Braziller, Inc., 
1981.  
Hesselink, Nathan, ed. Contemporary Directions: Korean Folk Music Engaging the Twentieth 
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Hur, Dae-Sik. “A Combination of Asian Language with Foundations of Western Music: An 
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North Texas, 2005.  
Isang Yun, “Uber meine Musik,” in Der Komponist Isang Yun. Edited by Hanns-Werner Heister 
and Walter-Wolfgang Sparrer, 2nd ed. Translated by. H.Y. Park. Munich: Kritik, 1997. 
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Kim, Je-Chang. “Study of Gagok fur Stimme, Gitarre und Schlagzeung 1972: Comparison with 
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Kim, Junghyun. “Isang Yun’s Duo for Viola and Piano (1976): A Synthesis of Eastern Music 
Concepts with Western Music Techniques.” DMA diss., University of Arizona, 2007.  
Kim, Sae Hee. “The Life and Music of Isang Yun with an Analysis of His Piano Works.” DMA 
diss., University of Hartford, 2004.  
Kim, Younghwan. The Study of Isang Yun. Seoul: Si-Gong-Sa, 2001.  
Ko Eun Lee, “Isang Yun’s Musical Bilingualism: Serial Technique and Korean Elements in Funf 
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Carolina at Greensboro, 2012. 
Kwon, Oh-Sung. Korean Music Theory. Seoul: Hakmoonsa, 1999.  
Kunz, H. “Yun, Isang.” In Grove Music Online. Oxford Music Online.  
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Lee, Kyung Ha. “A Comparative Study of Selected Violin Works of Isang Yun: Gasa Für 
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State University, 2009.  
Lee, Soo-Ja. My husband Isang Yun. 2 vols. Seoul: Changchak kwa Bipyong, 1998.  
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Moon, Jikyung. “Study of Isang Yun’s Examplum in Memorium Gwangju.” DMA diss., 
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Park, Myeong Suk. “An Analysis of Isang Yun‟s Piano Works: a Meeting of Eastern and 
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Hall, 2005.  
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translated by Sungnam Choi and Eunmi Hong. Seoul: Hangil Sa, 1991.  
Sparrer, Walter-Wolfgang. My Path, My Dream, My Music. Translated by Kyo-chul Jung and 
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 94 
 
MUSIC SCORES 
 
Yun, Isang. Fünf Stücke für Klavier (1958). Berlin: Boosey& Hawkes/Bote & Bock, 1958.  
________. Réak (1966). Berlin: Boosey& Hawkes/Bote & Bock, 1966.  
________. Etüden für Flöte(n) (1974). Berlin: Boosey& Hawkes/Bote & Bock, 1974 
________. Interludium A (1982). Berlin: Boosey& Hawkes /Bote & Bock, 1982.  
________. Sonate für Violine und Klavier (1991). Berlin: Boosey& Hawkes/Bote & Bock, 1991. 
 
 
 
 
 
 
 
 
 
 
 
 
 95 
 
APPENDIX A 
 
LIST OF COMPOSITIONS BY ISANG YUN 
 
1958              Fünf Stücke für Klavier   
1959              Musik für sieben Instrumente   
1960              Orchesterstück Bara 
1961              Colloïdes sonores für Streichorchester  
1962              Loyang für Kammerensemble  
1963              Gasa für Violine und Klavier  
                      Garak für Flöte und Klavier  
1964              Fluktuationen für Orchester  
                      Om mani padme bum  
                      Nore für Violoncello und Klavier  
1965              Der Traum des Liu-Tung  
1966              Réak für großes Orchester  
                      Shao Yang Yin für Cembalo  
1967              Tuyaux sonores für Orgel  
1967/68         Die Witwe des Schmetterlings  
1968              Ein Schmetterlingstraum für gem. Chor und Schlagzeug  
                      Riul für Klarinette und Klavier  
                      Images für Flöte, Oboe, Violine und Violoncello  
1969/70         Geisterliebe  
                      Schamanengesänge aus der Oper Geisterliebe nash Texten von Harald Kunz  
1970              Glissées für Violoncello solo  
1971              Namo für 3 Soprane und Orchester  
                      Dimensionen für großes Orchester mit Orgel  
                      Piri für Oboe solo  
1971/72         Sim Tjong  
 96 
 
1972              Konzertante Figuren für Kleines Orchester  
                      Gagok für Gitarre, Schlagzeug und Stimme  
1972/73         Trio für Flöte (Altflöte), Oboe und Violine  
1972/75         Trio für Violoncello und Klavier  
1972/82         Vom Tao  
1973              Ouverture für großes Orchester  
1974              Memory für 3 Stimmen und Schlaginstrumente  
                      Etüden für Flöte(n) solo  
                      Harmonia für Bläser, Harfe und Schlangzeug  
1975              An der Schwelle  
                      Fragment für Orgel  
                      Rondell für Oboe, Klarinette und Fagott  
1975/76         Konzert für Violoncello und Orchester  
1976              Pièce concertante für Kammerensemble oder Klenines Orchester  
                      Duo für Viola und Klavier  
                      Königliches Thema für Violine solo  
1977              Konzert für Flöte und Kleines Orchster  
1977              Doppelkonzert für Oboe und Harfe mit Kleinen Orchester  
                      Der weise Mann  
1977/78         Salomo für Altflöte oder Flöte (nach Der weise Mann)  
1978              Oktett (Klar., B. Kl., Fag., Hrn., Str. quintett)  
                      Muak  
1979              Sonata für Oboe, Harfe und Viola oder Violoncello  
                      Fanfare & Memorial für Orchester mit Harfe  
1980              Novellette für Flöte (Altflöte) und Harfe  
                      Teile dich Nacht  
1981              Exemplum in memoriam Kwangju  
                      O Licht  
                      Konzert für Klarinette und Kleines Orchester  
                      Konzert für Violine und Orchester Nr. 1  
                      Der Herr ist mein Hirte  
 97 
 
1982              Interludium A für Klavier  
1982/83         Symphonie Nr. 1 für großes Orchester  
1983              Monolog für Baßklarinette  
                      Concertino für Akkorden und Streichquartett  
                      Sonatina für 2 Violinen  
                      Inventionen für 2 Oboen  
1983/84         Monolog für Fagott  
1983/86         Konzert für Violine und Orchester Nr. 2  
1984              Duo für Violoncello und Harfe  
                      Quintett für Klarinette und Streichquartett  
                      Symphonie Nr. 2 für Orchester  
                      Gong-Hu für Harfe und Streicher  
1985              Symphonie Nr. 3 für Orchester  
                      Li-Na im Garten  
1986              Mugung-Dong  
                      Rencontre für Klarinette, Harfe und Violoncello  
                      Symphonie Nr. 4 (Im Dunkeln singen)  
                      Quartett für Flöten  
                      Quintett für Flöte und Streichquartett  
                      Impression für Kleines Orchester  
1987              In Balance für Harfe solo  
                      Kontraste 2 Stücke für Violine solo  
                      Symphonie Nr. 5 für Orchester und Bariton solo  
                      Kammersinfonie I  
                      Duetto concertante für Oboe/Englishhorn, Violoncello und Streicher  
                      Tapis pour Cordes  
1988              Distanzen für Bläser- und Streichquintett  
                      Contemplation für zwei Violen  
                      Festlicher Tanz für Bläserquintett  
                      Intermezzo für Violoncello und Akkordeon  
                      Pezzo fantasioso per due strumenti conbasso ad libitum  
 98 
 
                      Quartett für Flöte, Violine, Violoncello und Klavier  
                      Streichquartett IV in zwei Sätzen  
                      Sori für Flöte solo  
1989              Kammersinfonie II “Den Opfern der Freiheit”  
                      Konturen für großes Orchester  
                      Rufe für Oboe und Harfe  
                      Together für Violine und Kontrabaß  
1990              Konzert für Oboe/Oboe d’amore und Orchster  
                      Kammerkonzert II  
                      Streichquartett V in einem Satz  
1991              Bläserquintett in zwei Sätzen  
                      Sonate für Violine und Klavier  
1992              Silla. Legende für Orchester  
                      Konzert für Violin emit Kleinem Orchster Nr. 3  
                      Espace I für Violoncello und Klavier  
                      Quartett für Horn, Trompete, Posaune und Klavier  
                      Streichquartett VI in vier Sätzen  
                      Trio für Klarinette, Fagott und Horn  
1993              Espace II für Violoncello, Harfe und Oboe ad lib.  
                      Bläseroktett mit Kontrabaß ad libitum  
                      Chinesische Bilder für Blockflöte  
                      Sieben Etüden für Violoncello solo  
1994              Engel in Flammen Memento für Orchester  
                      OstWest-Miniaturen für oboe und Violoncello  
                      Quartett für Oboe, Violine, Viola und Violoncello  
                      Quintett II für Klarinette und Streichquartett  
 
 
 
 99 
 
APPENDIX B 
Consent Letter from Boosey & Hawkes, Inc. 
 
BOOS EY & HAWKES 
July 15, 2022 
Soo Jung Lee 
The University of Oregon 
RE: Etuden No. 5 Fur Flote by !sang Yun 
Funf Stucke Fur Klavier by !sang Yun 
Interludium A by !sang Yun 
Reak Fur Grosses Orchester by !sang Yun 
Sonate Fur Violine und Klavier by !sang Yun 
Dear Soo: 
We hereby grant you gratis permission to include excerpts from the above referenced work in your dissertation for 
the University of Oregon. 
We do require that you include the following copyright notice immediately following the excerpts for which it 
pertains: 
Etuden No. 5 Fur Flote by !sang Yun 
© 1974 By Bole & Bock Musik- UND Buhnenverlag GMBH & Co. Administered By Boosey & Hawkes. 
All Rights Reserved. For The Sole Use Of Soo Lee, The University of Oregon. 
FunfStucke Fur Klavier by !sang Yun 
© 1958 By Bote & Bock Musik- UNO Buhnenverlag GMBH & Co. Administered By Boosey & Hawkes. 
All Rights Reserved. For The Sole Use Of Soo Lee, The University of Oregon . 
Interludium A by !sang Yun 
© 1982 By Bole & Bock Musik- UNO Buhnenverlag GMBH & Co. Administered By Boosey & Hawkes. 
All Rights Reserved. For The Sole Use OfSoo Lee, The University of Oregon. 
Reak Fur Grosses Orchester by !sang Yun 
© 1966 By Bote & Bock GMBH & Co., Berlin. Administered By Boosey & Hawkes. 
All Rights Reserved. For The Sole Use Of Soo Lee, The University of Oregon. 
Sonate Fur Violine und Klavier by !sang Yun 
© 1991 By Bole & Bock Musik- UND Buhnenverlag GMBH & Co. Administered By Boosey & Hawkes. 
All Rights Reserved. For The Sole Use OfSoo Lee, The University of Oregon. 
Permission is also granted for you to deposit one copy of your paper with ProQuest, and one copy with the 
University of Oregon' s Scholar Bank. Should you wish to place your paper elsewhere, beyond that which is required 
for the degree, you will have to contact us in advance as a royalty may be payable. 
Thank you, 
BY:_ ___________  
Allison Rau 
Permissions Coordinator 
Concord Music Group, LLC.  
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