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Park, Sam
Korean Heritage as a Foundation for Composition
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Park, Sam (2013) Korean Heritage as a Foundation for Composition. Doctoral thesis, University of Huddersfield.
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Korean Heritage as a Foundation for Composition
Sam Park
A portfolio of compositions and commentary submitted to the University of Huddersfield in partial fulfilment of the requirements for the degree of Doctor of Philosophy (PhD)
December 2013
LIST OF CONTENTS
Portfolio of compositions ...... 5 COPYRIGHT STATEMENT ...... 7 Abstract ...... 8 Introduction ...... 10 1. The Beauty of Korea ...... 12 1.1. Background ...... 12 1.2. Jogakbo and Korean philosophies: Yin-Yang, Ohang and Maek ...... 14 1.3. Musical language in a general sense ...... 17 1.3.1. Pitch Organisation ...... 18 1.3.2. Musical Colour ...... 27 1.3.3. The philosophy of Maek ...... 33 2. Commentary ...... 37 2.1. Water Song (2009) ...... 37 2.2. The Colour of Light (2010) ...... 40 2.3. Fan Dance (2011) ...... 46 2.4. Mesmerizing Jin-yi Hwang (2011) ...... 49 2.5. The Scent in the Wind (2011) ...... 51 2.6. The Journey of the Sun (2012) ...... 57 2.7. Clouds, Landscape, Human Being (2012) ...... 68 2.8. Four Seasons of Jogakbo (2012) ...... 71 2.9. Snow Baby in Graz (2013) ...... 83 3. Conclusion ...... 95 Bibliography ...... 97
2 LIST OF FIGURES
Figure 1 ‘Jogakbo’ ...... 14 Figure 2 “O-Bang Saek: O-Jung Saek and O-Gan Saek” ...... 15 Figure 3 “A typical bell spectrum” ...... 19 Figure 4 “Microtonal natural harmonics” ...... 21 Figure 5 Microtonal natural harmonics table in Violin ...... 22 Figure 6 The first section in The Colour of Light ...... 23 Figure 7 The different harmonics techniques in bar 17-24 ...... 24 Figure 8 “Orte von Flageolettes und Flageolettmehrklängen auf der vorderen Hälfte einer Klavier-Basssaite” ...... 25 Figure 9 Multiphonic sounds on the lowest pitches C, Db, and D ...... 26 Figure 10 The first section in The Scent in the Wind ...... 27 Figure 11 “Scriabin and Rimsky-Korsakov: mappings of musical keys to colour” ...... 29 Figure 12 Rests between pitches in Snow Baby in Graz ...... 35 Figure 13 Silence with fermatas between the fourth and the fifth section in Clouds, Landscape, Human Being ...... 36 Figure 14 The first section in Water Song ...... 38 Figure 15 The second section in Water Song ...... 38 Figure 16 The third section in Water Song ...... 39 Figure 17 The fourth section in Water Song ...... 39 Figure 18 The fifth section in Water Song ...... 40 Figure 19 The opening section in The Colour of Light ...... 41 Figure 20 The opening part of the second section in The Colour of Light ...... 41 Figure 21 The highlighted partials of the fundamental pitch E ...... 42 Figure 22 The third section in The Colour of Light ...... 43 Figure 23 ‘Distorted Spectral Pitch Scale’ ...... 43 Figure 24 ‘Distorted Spectral Pitch Scale’ in the fourth section ...... 44 Figure 25 The fifth section in The Colour of Light ...... 45 Figure 26 The glissando technique in the sixth section in The Colour of Light ...... 45 Figure 27 The last section in The Colour of Light ...... 46 Figure 28 Fan Dance ...... 47 Figure 29 The decreasing meter change ...... 48 Figure 30 The arch form of the linear pitch progression ...... 48 Figure 31 The repetition of the pitches in trumpet ...... 49 Figure 32 The phonetics of Korean and the meaning in English in each section ...... 50 Figure 33 The rhythmic change ...... 50 Figure 34 The different vocal techniques in bar 20 and in bar 23 ...... 51 Figure 35 The harmonic sound B generated on the pitch G ...... 52 Figure 36 The nested components ...... 53 Figure 37 ‘Distorted Spectral Pitch Scale’ ...... 54 Figure 38 ‘Distorted Spectral Pitch Scale’ in the second section ...... 54 Figure 39 The form of The Scent in the Wind ...... 54 Figure 40 The stitching technique 1 ...... 55 Figure 41 The stitching technique 2 ...... 56 Figure 42 The patching techniques in the second section and between the fourth and fifth section ...... 57 Figure 43 The partials of the low pitch A in the first section ...... 58 Figure 44 The second section in The Journey of the Sun ...... 58 Figure 45 The third section in The Journey of the Sun ...... 59 Figure 46 “PROGRESSION FROM HARMONICITY TO INHARMONICITY IN PARTIELS” . 60 Figure 47 Pitch components in The Journey of the Sun ...... 61 Figure 48 The progress of chords at bar 97-109 ...... 62 Figure 49 From bar 97 to bar 110 in the fourth section ...... 65 Figure 50 The last section of The Journey of the Sun ...... 67 Figure 51 The first section in Clouds, Landscape, Human Being ...... 68 Figure 52 The subtle change of timbre in the piano part in the fourth section ...... 69 Figure 53 The second section in Clouds, Landscape, Human Being ...... 69 Figure 54 The third section in Clouds, Landscape, Human Being ...... 70
3 Figure 55 The fifth section in Clouds, Landscape, Human Being ...... 70 Figure 56 The segments and the irregular division of the space in the first fragment Black Winter in Four Seasons of Jogakbo ...... 73 Figure 57 A variety of components of Ohang ...... 74 Figure 58 The fragments’ position of the stage ...... 75 Figure 59 The second fragment Green Spring in Four Seasons of Jogakbo ...... 76 Figure 60 The third fragment Red Summer in Four Seasons of Jogakbo ...... 77 Figure 61 The fourth fragment White Autumn in Four Seasons of Jogakbo ...... 78 Figure 62 The fifth fragment Yellow Four Seasons in Four Seasons of Jogakbo ...... 79 Figure 63 Stop Mute and Straight Mute ...... 84 Figure 64 Snow Baby in Graz in bar 1-4 ...... 85 Figure 65 “The source-filter model of sound production” ...... 86 Figure 66 “The sound color space. The dimension of OPENNESS varies roughly with the frequency of the first resonance; ACUTENESS, with the frequency of the second. The middle of the space (at the [ne] sound) is the maximally LAX sound; around the periphery are the least LAX sounds.” ...... 87 Figure 67 The use of different vowel sounds in bar 1 and in bar 8 ...... 88 Figure 68 “Figure 4. The dimensions of sound color. Loci of equal value for each of the dimensions of LAXNESS, OPENNESS and ACUTENESS are plotted in terms of the frequencies of the first two resonances. The approximate positions of some representative vowels are indicated. ” ...... 89 Figure 69 “OPENNESS TRANSPOSITION” in bar 9-10 in Snow Baby in Graz ...... 90 Figure 70 The transformation of “sound colour” in “ACUTENESS” in bar 17 and in bar 89-90 ...... 90 Figure 71 The order as related to the ten colours of Ohang ...... 92 Figure 72 The fifth section featuring the colour black in Snow Baby in Graz ...... 93 Figure 73 The second pink section in Snow Baby in Graz ...... 93
4 Portfolio of compositions
Water Song (2009) (revised 2013), for trombone and percussion Premiered March 15, 2010: Barrie Webb, Damien Harron, St. Paul’s Hall, Huddersfield, UK
The Colour of Light (2010), for string quartet Premiered September 27, 2011: Nouvel Ensemble Moderne, Lecture Hall, Shanghai, China, New Music Week
December 7, 2011: Nouvel Ensemble Moderne, Chapelle Historique, Montreal, Canada
Fan Dance (2011), for trumpet and string quartet Unperformed
Mesmerizing Jin-yi Hwang (2011), for solo mezzo soprano Unperformed
The Scent in the wind (2011) (revised 2012), for solo piano Premiered March 1, 2012: Ermis Theodorakis, St. Paul’s Hall, Huddersfield, UK
The Journey of the Sun (2012), for 16 instruments Unperformed
Clouds, Landscape, Human Being (2012), for flute, Bb clarinet, violin, violoncello, and piano Premiered July 7, 2013: Curious Chamber Players, Koulukeskus School Centre, Viitasaari, Finland, Time of Music 2013 Festival
Four seasons of Jogakbo (2012) (revised 2013), for solo baritone saxophone Premiered March 11, 2013: Ryan Muncy, St. Paul’s Hall, Huddersfield, UK
Snow Baby in Graz (2013), for solo horn in F Premiered June 18, 2013: Corey Klein, Orpheus Institute, Gent, Belgium
July 13, 2013: Corey Klein, Galleria Borgoarte, Borgomanero, Italy
July 15, 2013: Corey Klein, Pro Loco Trivero, Marconi, Italy
July 16 2013: Corey Klein, Conservatorio Statale di Musica "G. Cantelli", Navaro, Italy
July 31, 2013: Corey Klein, Natoliński Ośrodek Kultury, Warsaw, Poland
5 September 8, 2013: Corey Klein, Galerie Unterlechner, Schwatz, Austria “Rent a Musician” Klangspuren Internationale Ensemble Modern Akademie
CD contents (recordings):
1: The Colour of Light (performed by Nouvel Ensemble Moderne) 2: Clouds, Landscape, Human Being (performed by Curious Chamber Players) 3: Four Seasons of Jogakbo (2012 version, performed by Ryan Muncy) 4: Snow Baby in Graz (Studio Bijloke (studio recording), recorded by Corey Klein)
6 COPYRIGHT STATEMENT
i. The author of this thesis (including any appendices and/or schedules to this thesis) owns any copyright in it (the “Copyright”) and s/he has given The University of Huddersfield the right to use such Copyright for any administrative, promotional, educational and/or teaching purposes.
ii. Copies of this thesis, either in full or in extracts, may be made only in accordance with the regulations of the University Library. Details of these regulations may be obtained from the Librarian. This page must form part of any such copies made.
iii. The ownership of any patents, designs, trademarks and any and all other intellectual property rights except for the Copyright (the “Intellectual Property Rights”) and any reproductions of copyright works, for example graphs and tables (“Reproductions”), which may be described in this thesis, may not be owned by the author and may be owned by third parties. Such Intellectual Property Rights and Reproductions cannot and must not be made available for use without the prior written permission of the owner(s) of the relevant Intellectual Property Rights and/or Reproductions.
7 Abstract
This dissertation provides the conceptual and aesthetic background of the compositions composed throughout the course of my doctoral studies. I will introduce
Korean philosophies and aesthetics and then expand upon these elements to demonstrate how they have influenced my approach to music composition.
Furthermore, I will demonstrate how I intertwine the use of colour and Korean philosophies. Chapter 1 delineates the elements of Korean philosophies and aesthetics that have influenced my musical language. The chapter focuses on how the Korean handcraft art Jogakbo and the Korean philosophies of Yin-Yang, Ohang and Meak are related to each other. Additionally, I examine the origin and structure of
Jogakbo, with a particular focus upon the key variables of shape and colour. The examination of Jogakbo causes me to establish how form and structure are linked in
Jogakbo, and then how I apply this form and structure to my composition.
Furthermore, I will describe how the aesthetics of Yin-yang, Ohang and Jogakbo form the core of my musical language by examining the function and unplanned approach to the different coloured scraps of material in Jogakbo. Drawing upon this examination, I describe how I have taken the colours from these scraps to form the colours in my music. In relation to this, I investigate the musical techniques of spectral composers, with an emphasis on musical colour, looking at specific composers’ techniques and establishing how they have influenced my own compositional techniques. Finally, I will discuss the role of the philosophy of Maek generating linearity on the horizontal structure of music. Chapter 2 discusses individual portfolio pieces composed throughout the doctoral course chronologically. I will demonstrate how selected Korean philosophies, aesthetics, and the techniques of Jogakbo have gradually evolved to play a larger role in the composition of my pieces. In particular, the colours used in Jogakbo and the philosophy of Ohang play a more direct role in creating the structure and form of the pieces composed in late
8 course. In the conclusion, the research throughout my doctoral course has been summarised, and limitations and other challenges reached while applying the research to my compositional process are examined. Finally, the conclusion ends with a discussion of potential directions to further this research.
9 Introduction
In April 2009, Korean composer Chan-Hae Lee and Israeli composer Dan
Yuhas, his wife, and I visited the Korean traditional Royal Palace ChangDeokGoong.
While we were walking around the palace, the beauty of the landscape mesmerized us. Dan Yuhas noted that Korean architecture went well with nature. In particular, he and his wife expressed their appreciation for the decoration of the roof of the palace, impressed with how the decorations consisted of various shapes and colours. The shapes of the decorations were composed of geometric patterns: triangles, quadrangles, and circles; and of images from nature: the sun, the moon, and the clouds; and of flower patterns: roses and lotus. Additionally, the decoration was composed of a variety of different colours. When we looked at the decoration on the roof, the same pattern appeared to repeat itself over the course of the palace, however upon closer examination we noted subtle differences in the colours and shapes and carefully prepared transitions through these colours and shapes. Chan-
Hae Lee explained the complexities within the decorations by comparing them to a leaf. “Although the colour of the leaf is regarded as green, each leaf contains slightly different shades of green: pale green, yellow green and olive. And like the leaf,
Korean architecture is painted using a multitude of different colours and shades, however, some colours may share similar properties with regards to colour.” Chan-
Hae Lee continued to explain that “to the untrained eye these properties may look similar, but for those that spend more time and look beyond the surface level, there lies the rich beauty of Korea.” (Yuhas and Lee personal communication. 1 April 2009)
After the conversation with Dan Yuhas and Chan-Hae Lee, I reflected upon my compositional process and found myself considering the following line of questions: What is colour? What is colour in music? If I apply colour to music, can I express the multitude of different shades and colours in my music and by extension express these colours through the use of specific roles for each colour? On a more
10 personal level I also posed the question: What constitutes the beauty of Korea, specifically the art and the process behind the formation of its art? This questioning sparked further thought on how I, as a Korean composer, might draw from the beauty of Korea for the purposes of composition. However this also led me to consider whether the beauty of Korea is already reflected in my music, considering that my cultural background is a part of me. To perceive and comprehend the beauty of
Korea, I researched the heritage of Korea such as the Korean art form of Jogakbo and the Korean philosophies of Yin-Yang, Ohang, and Maek, and through this research, I discovered a potential process for their application in my composition.
11 1. The Beauty of Korea
1.1. Background
My interest and research into the functions of colours from a musical perspective began during my postgraduate studies at Yonsei University in South
Korea. At that time, I was focused on the relationship between colours and musical timbres as well as how musical timbres can express colours. I studied the work of
Helmut Lachenmann (1974), in particular, his solo clarinet piece Dal niente(Interieur
III), which enabled me to understand the notion of colour when it is generated by instrumental techniques. The piece introduces a relationship between instrumental technique and form, where each section features a primary instrumental technique and explores its own unique sound. For example, the first section of the piece features the combination of key noise sounds and standard clarinet pitches. The key noise sounds are transitioned into “toneless sounds of blowing with prescribed fingerings” (Lachenmann, 1974, performance instructions), which then in turn, form the basis of the second section. This timbre-based form of the piece encouraged me to research additional musical forms related to timbre for the purposes of developing my own musical language.
During the early stages of my doctoral studies, I focused on developing my understanding of how to compose with musical timbres through researching the music of Tristan Murail and Gérard Grisey, who both focused on investigating musical timbre and the “physical properties of sound”. Additionally, their approach to musical form derives from the transformation of sounds and sections. Finding this different concept for organising sections to be interesting, I decided that adding the concept of transformation-based form to my current process of timbre-based sections warranted further research.
12 It was around this time that I became interested in the Korean traditional handcraft art Jogakbo. This art form is created from worn-out scraps of different colours and shapes, and features sequences of scraps showing the inter-change of colour from one shade to another. Although there are many different types of
Jogakbo, ranging from multi-coloured to multi-shaped, for me, the most fascinating are the ones that present slightly different shades of colours to portray a rich array of colour spectrums. To elaborate, the real beauty lies not in the use of a multitude of different colours but in the use of slightly different shades of colours such as olive green, dark green, bright green, pale green to express a different dynamic and a rich texture. Through the different shades of colours of the scraps, I could feel a connection between the Jogakbo and my interpretation of the beauty of Korea. This, to me, is reminiscent of the intricate decoration on the roof of the Royal palace (see p.10) in Korea where the use of different shades of material helped create the decoration.
The subtle use of different shades amongst the scraps inspired me to use greater subtlety and nuance within my musical language. Furthermore, I could detect a similarity between the sequence of the scraps of Jogakbo and Murail and Grisey’s musical form in relation to their use of colour change. For instance, the scraps have their own identity with colour and shape, and these scraps are connected to each other without any development. Correspondingly, an aspect of the form of Murail and
Grisey’s music is that their music is composed of several sections where each section has its own sound, and the sections are connected without development from a previous section to the next. The similarities between the sequence of the scraps found in Jogakbo and the sequence of the sections used in the musical form of
Murail and Grisey fascinated me and this became a foundation for me to experiment further along these lines.
13 1.2. Jogakbo and Korean philosophies: Yin-Yang, Ohang and Maek
Jogakbo is a handcraft art that originated during the Joseon Dynasty (1392-
1910) in part as a means to collect remnants of cloth and find a practical use for them.
The ordering of colours and patterns of the recycled scraps while crafting Jogakbo is based upon the principle of Yin-Yang and Ohang, which is that the basic colours being used are perceived to feature qualities that are combined to form sequences of increasing and decreasing energies. What at first appears to be the free-form combination of irregular scraps from cast-off materials is actually the creation of art featuring a large-scale harmony derived from increasing and decreasing energies through the connection between meaningful colour schemes and formal patterning.
Figure 1 ‘Jogakbo’
(2012)
The colours of scraps are based upon the philosophy of Ohang, a philosophy that details the relationship between the five different elements that compose the universe: water, fire, wood, metal, and earth; the five directions and the two colour groups in the philosophy of Ohang; known as O-Jung Saek and O-Gan Saek. O-Jung
Saek consists of five active and positive colours: black, white, blue, red, and yellow.
These five colours are regarded as the colours that created the universe. On the
14 other hand, there are five passive and negative colours, which are called O-Gan
Saek. Gan means ‘between’, so O-Gan Saek consists of colours referred to as being between the positive colours due to the fact that they are generated through the combination of colours from O-Jung Saek. Specifically, the colour green is generated by combination of blue and yellow while the colour pink is generated by the combination of white and red, the colour purple by red and black, the colour sky by white and blue and the colour sulfurous yellow by yellow and black. In this manner,
O-Gan Saek is a combination of two different positive colours including green, pink, purple, sky, and sulfurous yellow. The combination of O-Jung Saek and O-Gan Saek is called O-Bang Saek. (Lee, 1997, p.76, cited in Kim and Lee, 2011, pp.117-118)
Figure 2 “O-Bang Saek: O-Jung Saek and O-Gan Saek”
(Han, 1987, pp.144-145 cited in Kim and Lee, 2011, p.118)
The scraps featuring these active and passive colours are sequenced throughout Jogakbo allowing for the transition of colours from positive to negative or from negative to positive to be perceived. The sequence also allows for the perception of increasing and decreasing energies, and these invisible increasing and
15 decreasing energies, which flow in Jogakbo, create not only a balance between the scraps but also a large-scale harmony. The invisible energy used in Jogakbo is understood as Maek in Korean philosophy.
Before discussing how the shapes of the scraps of Jogakbo relate to the philosophy of Yin-Yang, allow me to first briefly discuss Yin and Yang. The characters Yin(陰) and Yang(陽) are related to darkness and lightness respectively.
For example, the pictogram for Yin is created by the combination of the pictograms for the words hill(丘) and cloud (雲). This pictogram represents a cloud existing above a hill and bringing about a shade that generates darkness. On the other hand, the pictogram for Yang(陽) is created by the combination of the pictograms for the words hill(丘) and Sun (昜). This pictogram represents a sun existing above a hill and brings about a light that creates brightness. René Guénon in his book The Great
Triad further elaborates that Yin is “passive, negative or feminine” and that Yang is
“active, positive or masculine”(2001, p.26). In this regard, Yin signifies negative and decreasing energy and Yang stands for positive and increasing energy.
As already stated, the patterns of the scraps of Jogakbo are based on the
Yin-Yang philosophy. For instance, the scraps are composed of the shapes of circles, triangles, and rectangles. The circle is considered to be Heaven and the rectangle is regarded as the Earth in Korean philosophy. To continue, the circle corresponds to
Yang generating an increase in the level of energy and the rectangle corresponds to
Yin generating a decrease in the level of energy. In addition, the triangle is described as a human, connecting and controlling the force of the Heaven and the Earth.
Furthermore, the triangle regulates the circle as well as the rectangle’s increasing and decreasing energy.
The philosophies of Yin-Yang and Ohang fascinated me, as I realised that the principles of these philosophies may be applied to the composition of music. For example, each musical parameter and instrumental technique may contain its own
16 colouration such as light, dark, shimmery, warm, cold, soft, and harsh. These colours are comparable with the colours of Jogakbo. In addition, when the parameters are combined or connected to each other, relative colourful qualities may be realised, for example one parameter may be lighter or darker than the next. These relative qualities of musical parameters allow for the perception of increasing and decreasing energies. In this regard, I realised there is a parallel to the philosophy of Yin-Yang between musical parameters.
I pursued applying the character of Jogakbo as well as the philosophies of
Yin-Yang, Ohang and Maek to my musical language. First, in relation to the opposing principals of Yin-Yang I explored the opposite components found in musical materials and the role these components may play in music. Additionally, the philosophy of
Yin-Yang is further referenced to compose transitions of timbre from one sound to another sound between set musical parameters. For example, the transition of timbre can show the transformation from light to dark or from dark to light. Second, I related the qualities of the colours of Jogakbo to the musical colours in my music, while further investigating common properties between visual colour and musical colour.
Additionally, in order to explore my own musical structure and form, I applied the sequence of the different colours and shapes of the scraps in Jogakbo, to my musical structure and form. Finally, I employed the philosophy of Maek to explore the linear flow of sound in the horizontal structure.
1.3. Musical language in a general sense
The section ‘Musical language in a general sense’, will describe the integration of the character of Jogakbo as well as the integration of the philosophies of Yin-Yang, Ohang and Maek into the musical language of my compositions. This integration is seen throughout my compositional process both on a local level, through the use of pitch, and on a global level with regards to musical structure and
17 form. To begin with, the first chapter ‘Pitch Organisation’, will discuss the treatment of pitch material and my research of spectral composers, with the intention of applying aspects of their spectral compositional process to my Yin-Yang and Ohang based compositional process. Next, the second chapter ‘Musical Colour’, will display how the colours and shapes of the scraps found in Jogakbo are translated into my musical language and connected with musical structure and form. In this chapter, I especially focus on the common vocabulary between visual colour and musical colour. The third chapter ‘The philosophy of Maek’, will discuss how my compositional approach developed with a desire to integrate the law of Maek with regards to the flow of invisible energy being applied to the flow of sound. I will be referring to specific pieces within my portfolio to further explain this integration of the aforementioned concepts into my compositional process.
1.3.1. Pitch Organisation
My approach to pitch is influenced by the work of spectral composers focused mainly on the music of Gérard Grisey and Tristan Murail. Spectral composers concentrate on studying musical timbre and the “physical qualities of sound”.
Furthermore, they also explore the transformation and the transition of the properties of sound over time (Rose, 1996, pp.7-8). Among the research areas of spectral composers, the most promising area for me is the research of the harmonic spectrum.
The reason is that the practical and instrumental harmonic spectrum is composed of imperfect components that generate slightly distorted sounds. Theoretically, the mathematical law of frequency explains the harmonic spectrum. Joshua Fineberg states: “It is defined by an integer relation between a fundamental frequency and the other components of a sound” (2000a, pp.85-86). However, Fineberg points out the other property of the harmonic spectrum, which is “inharmonicity” of the practical or instrumental harmonic spectrum:
Western instruments have been developed for the most part, to have spectra which are very close to pure harmonic spectra, so as to
18 142 T. Murail (trans. Tod Machover) emphasizeof a low piano clarity spectrum of sound (boxed and zones pitch. in Figure However, 1) that because serve both of for the the physical tape and systemthe instrumental of sound writing. production In Figure that 2, the they aggregates use, the noted sounds ‘a’ come are from never the completspectrumely with harmonic. a virtual (Fineberg, fundamental 2000 of A#0,a, pp.86 aggregates-87) ‘b’ from fundamental C#2 (this relationship between fundamentals is characteristic of bell spectra, explained below).Fineberg’s The opinion small numbers about the correspond harmonic to the spectrum partial states numbers, that with the notes realistic approximated to the nearest 1/8 tone (a short parenthesis: these procedures for harmonicspectral spectrum construction is not alwaystheoretical produce and ‘non-tempered’ is made up frequencies,of irregular whichpartials, must which then are be approximated for instrumental performance. For electronic synthesis this problem generatedobviously by a “ doesphysical not exist system and theof sound exact frequencies production can”, and be used). thus the partials are non- In reality, the piano spectrum is not perfectly harmonic. It contains a slight tempereddistortion, or slightly which distorted. stretches Tristan the highest Murail frequencies. describes This a allows similar us toview move with smoothly regards to and naturally into the inharmonic domain, for which we have many instrumental the imperfectionmodels (notably of instrument most percussions’ harmonic instruments). spectra Take, and for specifically example, the the bell: distorted bell manufacturers try especially to obtain a characteristic spectrum that contains nature ofinharmonic the harm partials,onic spectrum in particular in the the piano minor, in third his overarticle the ‘Spectra fundamental and (Figure Sprites’. 3). Electronic music has tried to imitate such sonorities and has usually employed two Intechniques reality, the to achievepiano spectrum this: ring modulation is not perfectly (for analogue harmonic. synthesis) It contains and frequency a slight distortion,modulation which (for digital stretches synthesis). the highest In both cases,frequencies. the relationship This allows between us frequency to move smoothlyand partial and number naturally is linear, into as the with inharmonic the harmonic domain, series, butfor thewhich graph we of have the manyfunction instrumental is a straight models. line that (Murail, does not 2005a, pass through p.142) the origin. That is the major difference between this type of spectrum and a harmonic series. Figure 4 shows the graph of a typical frequency modulation, whose equation is: freq = c + (m x i) (m modulator,This idea c of carrier, inharmonicity i index). analysed by Murail (2005a, p.142) can also be If the value of ‘i’ is large enough, the frequencies of the equation C 7 (m x i) related eventuallyto the bell become sound negative., as the Since bell a negative spectrum frequency includes is identical the minor to a positive third over one the
fundamental note, and thus this spectrum contains the minor third and the major third
partials simultaneously. This combination of minor third and major third partials
Downloaded By: [Brown University] At: 03:53 3 November 2009 demonstrates that the actual sounding bell spectrum does not conform to the
theoretically understood harmonic spectrum.
Figure 2 Aggregates taken from the beginning of De´sinte´grations.
Figure 3 A typical bell spectrum. Figure 3 “A typical bell spectrum”
(Murail, 2005a, p.142)
I was fascinated by harmonic spectra composed of irregular and distorted
components, as even though the pitch might be the same, the harmonic spectrum of
the pitch is slightly different depending on the instrument. Thus, the shades in the
19 tone of the same pitches differ slightly based upon the different instruments producing the tone. Furthermore, even when the same pitch is generated in the same instrument, the shades in the tone may be different depending on the fundamental note. In addition, when the same pitches generated on different fundamental pitches are placed next each other, a change of timbre is produced as the pitches are played.
Furthermore, if the same pitches are played simultaneously, a relative colour in the tone will be generated through the combination of the pitches. One pitch might be lighter and clearer, and the other pitch might be darker and more vague. As the philosophy of Yin-Yang revolves greatly around the balance between lightness and darkness, the capacity for pitches to reflect this lightness or darkness based on their fundamentals allowed for an even greater integration of the philosophy into my compositional process. In this process, the lighter and clearer pitch would generate a more increasing and expanding energy while the darker and more vague pitch would generate a more decreasing and contracting energy. I was greatly interested in the individual tone colour of pitch in different harmonic spectrum and the relative tone colour between the pitches. I attempted to explore this different tone colours between the same pitches in The Colour of Light for string quartet.
In the first section of The Colour of Light for string quartet, I explored the different tone colours and relative tone qualities of the same natural harmonic pitches, when the two elements are combined simultaneously.
20
Figure 4 “Microtonal natural harmonics”
(Strange and Strange, 2001, p.118)
Figure 4 shows the natural harmonics on the G string on the violin. Following this principle, I made a table of natural harmonics on each of the strings on the violin.
21 Natural String Harmonics by Patricia Strange and Allen Strange
Violin 2 #œ #œ #œ #œ e e x x #e # # # # # n ne ne # x “” x e #e e #e e e #e e e #e n e #e e e e e nO#O x x x nO#O nO#O e e # e e e e # x e nO#O nO#O nO#O O O nO#O nO#O O e e 2 e 2 e O nO#O nO#O O nO#O O#O x2 2 2 2 e O nO#O nO#O nO#O 2 3 nO#O#O n3O nO nO#O O#O#O I(E) ° O nO nO #O #O nO nO#O#O &
2 #œ #œ n #e #œ #œ ne n e x e ” x x #e n #e #e #e n #e ne n e #e “ x x e e e e e e e e e e e e x e e nO#O x x nO#O nO#O e #e e #e #e bO nO nO#O nO#O O O nO#O nO#O O x e 2 O nO#O nO#O nO nO#O O#O 2 2 2 2 2 e O #O nO nO#O nO#O II(A) 2 n3O nO nO #O O#O#O & bO bO bO nO nO n3O nO #O #O nO #O #O
2 #œ nœ œ #œ b ne e x e # # # # # n e ne # x “” x x e ne e e e e e e e e e ne e x x e e e e e e e x e nO#O O bO nO x nO#O O bO nO nO#O x e #e e #e #e nO#O nObO nO nO#O nO#O O#O O nO#O 2 2 e 2 e 2 nO #O nO#O ObO nO III(D) 2 2 bO nO O #O #O O #O nO & bO bO 2bO nO nO n3O nO #O #O nO #O #O n3O nO
2 #œ œ œ #œ b n e x e ” x x e #e #e # e n e #e “ x x x x e e e e e e e e e e e e e e x e e e e O bO nO x O bO nO nO#O e e e e e nObO nObO nO nO#O O #O O bO nO nO#O IV(G) 2 e 2 e 2 bO nO nO #O O bO nO nO #O nO #O & 2 2 2 bO nO O #O #O O #O nO ¢ bO bO 2bO nO nO3bO bO nO nO nO#O#O n3O nO
Figure 5 Microtonal natural harmonics table in Violin
In Figure 5, the bottom (diamond) note is the finger position and top note is the sounding pitch. As we can see, there are different natural harmonics from the sounding pitch E6 on the first and second strings in violin and these different natural harmonics of the sounding pitch E6 are employed in bar 1-4 of The Colour of Light.
Although the natural harmonics create the same sounding pitch E6, their tone colours are subtly different. In order to explore this changeable tone quality, I employed natural harmonics on the second and first string in violins I and II respectively. In addition, the natural harmonics generated on the pitch E5 are used in the viola and on the pitch E6 in the cello.
22 The Colour of Light
Sam Park
S.T. S.P. S.T. N II S.V. flautando. q=52 3 3 ˙≤o ˙o w≥o ˙≤o ˙o Violin I ° ∑ Œ Œ Œ æ & pp 3 o o pp
S.T I S.T. S.P. S.T. S.V. ≤ ≥ ≤ ≤ wo wo ˙o œo wo Violin II Ó & 3 pp o pp o I S.T. S.P. S.T. S.V. 3 ≤ E ≥ ≤ Viola ∑ ∑ Œ O O O O Œ & 3 o pp o S.T. S.P. I S.V. 3 ≤ ≥ ˙o wo wo Violoncello & ∑ Ó Œ ¢ o pp
Figure 6 The first section in The Colour of Light
These four natural harmonics generate the same sounding pitch E6, however, S.P. molto S.P. S.P. S.T. 3 I 5 ≤ ≥ ≤ I created˙o slightly differentœo ˙o ™ sounds fromœo the ˙opitches. ˙Foro example,wo the harmonic pitch Vln. I ° æ Œ Ó & 3 p p mp pp f E of violin II is clearer and lighter than the one of Viola, because the harmonic of
N S.T. N S.P. S.T. S.P. S.T. S.T. #≥ Violin II is createdgliss. on a ≥real note, so the player can discovere the pitch easily and ˙≥o ˙≤o E O O O≤ ™ #O O O #O Vln. II æ & 3 p pp mp make the sound clearly. However,f the harmonicp in the violamf is generated fromp mfa pitch
flautando. III molto distort S.T. N S.T. that is one octave lower than the sounding pitch. In this regard, thereE ™ exist subtle Vla. ~ ~ O O & æ æ æ æ Œ Œ pppæ mpæ æpp æ 3 O™ differences of timbre between the natural harmonic sounds.o Additionally,f I integrated
S.T. N S.P. N S.T. III IV flautando molto distort S.T. gliss. the idea˙≤o of the increasing and decreasing energies of the philosophy of3 Yin-Yang in ≥o o o o ≤o o ≤ Vc. œ ˙ ˙ ˙ œ ˙ o o o o o & Œ ‰ œ œ œ ‰ 3 3 3 æ æ æ œ ˙ ¢ ppp p mf æpJ æ æ mp this section. When these different harmonicf soundso are mixed together,f some pitches might generate an increasing and explosive energy while other pitches might create a decreasing and contracting energy. To demonstrate this idea, I added bowing techniques and bowing positions to the pitches. For example, the part for violin I in bar 3 features the pitch E at the position of sul ponticello with a down bow, while the part for violin II features the same pitch at the position of sul tasto with an up bow.
For this reason, the sound from the part of the violin I is capable of being louder and generating more increasing energy than the sound from the part of violin II, whereas the part of violin II can sound quieter and produce decreasing energy. Accordingly,
23 2
I. N S.P. molto S.P. S.P. S.T. S.P. 3 ≤ #e e≤ gliss. 9 ≥ >≥ ˙™ #O O™ O BO O™ O≥™ BO. Vln. I °& J ‰ ‰ J ‰ 43 f mf f ff mf fff
N S.P. I. S.P S.T. N S.P. ≤ E ™ >≥ O #O™ O™ O™ O™ O≥™ O. Vln. II æ ‰ J ‰ Œ J ‰ 3 & 3 5 4 f pp ff f mf fff
N S.P. flautando S.T. S.P. S.P. S.T. 3 3 3 5 3 ≥ j ≥ j æ æ j Vla. j ‰ ‰ æ æ æ æ ‰ ‰ #O O™ O #Oæ Oæ™ #O ‰ 3 & O O Oæ™ Oæ Oæ Oæ # œ ˙™ œ # œ ˙™ # œ. 4 pp p mp f p mp fff>
N S.P. molto S.P. S.P. S.T. N S.P. o ≥o E ™ ≤ >≥ Vc. ? O O O O O O O. ? 3 & gliss. ™ ‰™ ™ ‰ 4 ˙™ œ R æ æ J ¢ mf f pp mpæ æ fff
q=64
III at the point. S.T. N 13 E ™ j ≤o ≥o thereVln. I exist3 contrasting4 æ qualities ofæ timbre˙™ and forces betweenw pitches. These subtle °& 4 O™ 4 ~æ Oæ ‰ æ p pppæ pp o IV differencesat the point. of timbre can be seen in violin II and I from bar half18 harmonics. to 22. I used the same Vln. II 3 æ 4 æ æ ≥ & 4 #Oæ™ 4 æ æ # # ˙™ w~ w~ ~ sequencesppp of sounding pitches,pp B5, F#6, B6, F#6 anod p B5 but the pitches are III IV III I. at the point. 3 3 3 e Vla. E ™ e O O generated3 by different4 æ harmonics ætechniques suchŒ as e“less standard harmonics”j and & 4 O™ 4 ~æ Oæ O O O æ O O pppæ pp ppp f IV “standardat the point.harmonics” techniques in violin II and I respectively. (see figure.7) In this E ™ Vc. ? 43 O™ 4 ~ ~ O Œ™ Ó ¢ æ æ æ æJ manner,ppp the sounding pitches canpp be slightly different betweeppp n violin II and I.
S.T half harmonics. o 17 #>œ ≤ œo Vln. I ˙o o œo ˙o ˙o œo °& E ~ 3 O ‰ æ 4 æ J ppp æ æJ 3 3 mp p o mp p f ff
3 III I IV 3 #e e III IV ≤ E O O Vln. II & 43 O O j j ‰ ~ ~ O O 3 O O O pp f ff p
III IV III I IV half harmonics. IV 3 3 ≥ > E Vla. O O æ æ 3 æ & O O ‰ #Oæ Oæ 4 Oæ™ Œ O O O mf f ff mf> pp mp pp
IV S.T 3 N S.P ≥ ≤ ≥ gliss. S.T œo œo wo ˙o ™ ˙o Vc. ? Ó ‰ 43 œ 3 ¢ o mp o
o o S.T. N S.P. 21 œ œ œo #œo œo o o ≥o o œ œ o o o ≤o j Vln. I °& J J œ œ œ œ ˙™ ˙ œ ‰ 3 3 #œ ˙™ ˙ œ f p mf
III o > >œ œo e ≤ ≥ o #e e ™ III E ™ œ e Vln. II O™ O O O O O O™ O O O O n3O &IV O™ O O O™ 3 3 J 3 p mf f ff mf f ff
half harmonics. 3 S.T. S.P. N ≤ ≥ 3 ≥ Vla. j j & j #O O O ‰ #œ #œ #˙ œ Œ #˙™ O œ œ ˙ œ p p p o
S.T. N S.T. N S.P. ≥ œ≤ Vc. ? ˙≤ ˙ ˙ œ Œ œ ™ ™ ™ J ™ ¢ p pp p mp pp
I N 25 III e Figure 7 The different harmonics3 techniques in bar 17-24 O O œ j j o o O O #œ Vln. I ° ‰ œ ˙ ˙ œ ‰ ‰ Œ œ œ J J & #œ ˙ ˙ œ 3 3 3 mp o f ff e The exploratione of the# qualities> of timbre and opposite#œ œ energiesœ™ between O e O #œ œ™ œ Vln. II O nO O #O #O œ œ œ œ & n3O O J J œ 3 3 3 3 pitches is f also carriedff out in thef soloff piano piece Theff Scent in the Windf. My
S.T. ≤ >œ œ Vla. J fundamental& ˙™ idea for thisœ pieceŒ wasœ to compareœ ˙ the different œ qualities‰ #œ of timbreœ™ of 3 J œ œ p pp mp f mf sounds: clear or nebulous, focused or unfocused, etc. I took inspiration from certain N S.P. IV e e ˙™ ˙ e e Vc. ? ˙ ˙ O ˙ ™ Œ Œ O bO O ™ ¢ p mf 24
29 œ œ œ œ œ œ >œ œ œ œ œ œ #œ Bœ œ™ œ œ œ œ œ œ Vln. I ° J œ œ #œ & 3 3 #œ 3 p mf 3 IV S.P
e N 3 e e e Vln. II œ œ #œ œ #œ ˙ & œ™ R J ‰ e ˙ œ ‰ ‰ J 5 #O O O nO #O J 5 pp p mf p pp
II S.P > #œ e # e œ œ œ œ œ e e Vla. œ ˙ #œ œ #œ #œ e & œ #œ R œ œ J J J ‰ O #O O #œ 5 3 3 nO #O p mf p mf 5 p
II S.P
N 3 e e e Vc. ? #œ œ j #e œ ‰ œ œ œ œ œ œ ‰ & Œ j ‰ J ™ 3 J J #O O O nO #O ˙ œ ¢ p p 5 pp mp p elements explored by Caspar Johannes Walter (2010) in his work Interferenzen. His work includes various sounds, such as multiphonics, harmonics, unprepared pitches, and pizzicato, which are generated on a single piano string. Four performers produce these sounds with multiple rhythmic patterns, such as triplets, quintuplets and septuplets, resulting in the formation of complex textures and layers in the sounds.
Additionally, the performers change the pressed positions on the strings and generate the transition of the sounds such as from multiphonic to harmonic sound. I was interested in the combination of these various sounds and attempted to apply these sounding materials to my compositional strategy. First, I chose the lowest pitches C, Db and D as central pitches of the composition The Scent in the Wind and experimented with the multiphonic sounds generated by these pitches.
Figure 8 “Orte von Flageolettes und Flageolettmehrklängen auf der vorderen
Hälfte einer Klavier-Basssaite”
(Walter, n.d.)
25 Figure 8 is a diagram by Caspar Johannes Walter to show the positions
generating mutiphonic sounds on a single piano string. If materials such as blue-tack
and clips are placed on a position a little lower than position 3/11 on the piano string
as specified by the diagram, partials [4,7,11,15] of the fundamental note are created.
Also, if those materials are placed on a position lower than position 2/9, then partials
[1,5,9,14] are produced. In line with this principle, I created partials [4,7,11,15] on the
pitch C, [1,5,9,14] on the pitch Db and [4,5,9,13] on the pitch D by preparing the
piano with blue-tack and clips and used these as principle multiphonic sounds in this
piece. [ Multiphonic sounds ] [ Multiphonic sounds ]
1/6 1/6 w I wbw w bw w & µw & µw BwI Bw 1/6 bw I bw 1/6 bw ? w I bww n#w ? w w n#w w bw nw C [4,7,11,15] Db [1,5,9,14] D [4,5,9,13] { w bw ! nw C [4,7,11,15] Db [1,5,9,14] D [4,5,9,13] ! Figure 9 Multiphonic{ sounds on the lowest pitches C, Db, and D [ Harmonics sound ]
& [ Harmonics∑ sound ] ∑ realIn sound the first section of The Scent in the Wind, two multiphonic sounds based on the ?pitches C %and Db are featured. First,∑ in order to emphasise ∑the timbre of each & ∑ ∑ multiphonic sound,~ the multiphonic sounds are repeated in bar 1-2. For example, the { G [5] real sound multiphonic sound generated? on the % pitch C is repeated in bar 1 ∑ and the other ∑ multiphonic sound produced on the pitch Db is repeated in bar 2. After the repetition G ~[5] of each multiphonic sound,{ the two sounds are combined! in bar 3. This combination ! of the sounds creates a new quality of sound different from each individual sound’s
! quality, thus sounding transition is generated between bar 2 and bar 3. After the playing of the multiphonic sounds, the unprepared high pitches of C and D are added ! based on the combination of multiphonic sounds in bar 6. In this way there exist ! opposite timbral sounds between multiphonic and unprepared pitches, because !
26 multiphonic sounds might generate a darker, fainter, less focused and more rounded sound than the unprepared pitches, which are a lighter, clearer, focused and more penetrating. According to this phenomenon, multiphonic sounds generate more decreasing and passive energy while unprepared pitch sounds produce more increasing and active energy. In this manner, the combination of multiphonic sounds and unprepared pitch creates The differences Scent in ofthe timbre Wind and different energies between for piano solo sounds.
q=56
(real sound) n˙ 1/6 ˙ I 1/6 n˙ 1/6 µ ˙ I b˙ 1/6 b µ˙˙ b˙ I b ˙ ? 25I ˙ 42 n˙ 23 n˙ 21 ∑ 23 b˙ b˙ ? 25 ∑ 42 Ú 23 ∑ 21 ∑ 23 Piano ? 25 42 23 21 23 ˙ ˙ ˙ ˙ ˙ b˙ b˙ b˙ b˙ b˙˙ b˙˙ b˙˙ b˙˙ { mp> > > > > f> > > > mf> > > sfz> °
> b œ- œ b œ bœ b œ- œ b >œ œ - 5 œ œ œ™ œ œ ™ œ ™ œ œ œ™ œ œ œ œ bœ œ bœ œ bœ b >œ œ ™ ™ > - - œ ™ œ ? 3 ∑ 5 ∑ Ó & 4 R R bœ™œœ œ œ™œ 1 2 2 2 5 5 4 p pp mp 5 5 5 p mp p mp pp
? 23 25 42 41 bœ ˙ œ b˙ bœ œ œ bœ bœ œ bœ œ bœ œ bœ œ bœ œ bœ œ bœ œ mf> > f> > > > > > > > > {
Figure 10 The first section in The Scent in the Wind
approx. 5 5 '' 8 œ bœ œ bœ œ 3 - U As discussed™ previously, thej -opposite qualities#˙ of colour betweennœ pitches and 1 bœ 2 n˙ œ bœ œ 3 ˙ bœ œ ˙ ? 4 &4 & 2 2 ∏∏∏∏∏∏ 2 # -˙ œ nœ œ nœ b-˙˙ sound mfcan be linked to thepp philosophyp of Yin-Yangmp, which containsp mp oppositepp qualities
- ∏∏∏∏ b˙- b˙ b˙- nœ bœ U- such? as1 lightness and2 darkness.˙ These˙ colourful3 effects˙ of musicalœ œ materials˙ are? 4also 4 2 2 ∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏ 2 bœœ related sfz>to the philosophy of Ohang and the character of Jogakbo. I will discuss these { ° ø colourful effects in more detail in the following chapter.
1.3.2. Musical Colour
My other interest is in the sequence of the scraps of Jogakbo. While each
27 scrap has a different pattern and colour, when the scraps are connected, a new colour spectrum is generated. Furthermore, balanced harmony is created between the scraps by a combination of positive and negative energy from the colours. I was fascinated by the unusual colour spectrum, as in some Jogakbo the colour spectrum is changed from one colour to another colour slowly, while in other Jogakbo the colour spectrum alternates the colours dramatically between scraps. Accordingly, there exist many different types of colour spectrums in Jogakbo and this variety of array of colours provides Jogakbo with delicate and complex textures. I wondered if there could be a way to apply the colour spectrum to my musical structure and form?
If so, how could I associate the colour spectrum of Jogakbo with musical structure and form? Moreover, what is the common vocabulary of visual colour and musical colour? In order to comprehend the correlation between visual colour and musical colour, I started to examine the perspectives of other composers on this correlation.
1.3.2.1. Visual Colour and Musical Colour
A variety of composers have investigated colour in relation to sound. In this example, the Russian composer Alexander Scriabin matched scales with colours by his synesthesia. Scriabin recognised the scales C, D and F# as the colours red, yellow, and blue respectively (Sabaneev, 1929, p.273 cited in Peacock, 1985, p.496). The other scales’ colours are presumed by the order of the colour spectrum, which is the nearest relationship between the colours and the scales associated with the ascending circle of fifths (Peacock, 1985, pp.496-497). For example, in the circle of fifths, the scale G comes after the scale C, which is associated with the colour red, and before the scale D, which is associated with the colour yellow, resulting in the scale G being associated with the colour orange. However, Scriabin’s colour system is different from that of the Russian composer Nikolai Rimsky-Korsakov.
Figure 11 shows both Scriabin and Rimsky-Korsakov’s view of each major key.
28 Key Alexander Scriabin Rimsky-Korsakov B major Mid-blue/pearl Dark blue Bb major Dull deep pink Darkish A major Green Rose/pink Ab major Lilac/light violet Grey/violet G major Orange Brown/gold F# major Bright blue/violet Grey/green F major Deep red Green E major Sky blue Sapphire blue Eb major Crimson Grey/blue D major Yellow/golden Golden/yellow Db majors Intense violet/purple Dusky C major Intense red White
Figure 11 “Scriabin and Rimsky-Korsakov: mappings of musical keys to colour”
(Adkin and Dickens, 2012, p.8)
As we can see from the table, Scriabin and Rimsky-Korsakov have different opinions regarding the colour of each scale suggesting that the reaction to colour and sound may differ depending on the perception of each individual composer.
Because of the subjective discrepancies between sound and the perceived colours,
I decided to research another unifying factor: the psychological effects of colour and sound. To examine the psychological effect of visual colour and sound, I investigated the research of scholars on colour. Korean Scholar Nury Im and
Inyoung Oh state about colour:
Colour might stimulate or cause people to feel peaceful, excited, and pacified. Additionally, colour transfers hot or cold, and sorrowful or joyful feelings to people. Also, colour may cause people to feel passion or to raise their mental strength. In addition, colour provides the opposite psychological effect, such as closeness and farness, masculinity and femininity, lightness and darkness, strength and weakness, and good and bad. In this regard, if colour is understood, a new dimension is opened in our perceptional system. (Im and Oh, 2010, p.22)
Im and Oh state that colour has the power to change people’s emotion and psychology as people may feel differently in response to visual colour and so in this regard, visual colour has an impact on people’s perception and psychological attributes. This comprehension of the psychological function of visual colour led me to the questions: is it possible to perceive the change of the psychological effect of
29 musical colour in music? How can colour be defined in music? Furthermore, what is the psychological effect of sound in relationship to visual colour? To examine these questions, I proceeded to research Georg Friedrich Haas’s approach to visual colour and sound, as he is also interested in the psychological effect of visual colour.
Georg Friedrich Haas (2006) utilises light as a musical parameter in Hyperion, his concerto for light and orchestra, in order to explore the musicians’ perceptions of sounds combined with different visual colours. Haas states the function of the light in the introduction to Hyperion:
Changing colours alter the perception of sounds. Temporally organised light functions like a silent percussion part... four orchestral groups are placed around the four walls of the room. A different light source is placed in front of each of them, clearly visible to the players. The musicians react to the light, in the same way that they react to the visual signals of a conductor. What this visual element actually looks like depends on the free decisions of the person responsible for the lighting. The score only prescribes when something has to happen. And it is necessary that these events should be clear enough for the performers to be able to perceive them. Sudden changes provide demarcation points in the stream of sound. (Georg Friedrich Haas, 2006)
Haas explores whether the appearance of visual colour can have an impact on a performer’s perception expecting that the appearance of the different coloured lights would create a division in the flow of sound. Haas’s approach to visual colour shared with me a new perspective on the function of visual colour in music with regards to the psychological and spiritual response. This psychological effect of visual colour allowed me to connect the interaction between visual colour and musical colour since both feature a psychological function.
Russian painter and art theorist Wassily Wassilyevich Kandinsky discusses the psychological effect of each visual colour descriptively in his book Concerning the spiritual in Art. In 1911, Kandinsky states that yellow is “warmth”, blue is “cold”, green is expressed as “restful colour”, and light warm red as giving “a feeling of strength, vigour, determination, triumph” (2010). Furthermore, Kandinsky describes the painter’s palette in two processes; one being the physical and optical interpretation of colour. He states:
30 In the first place one receives a PURELY PHYSICAL IMPRESSION, one of pleasure and contentment at the varied and beautiful colours. The eye is either warmed or else soothed and cooled. (2010, p.42)
The other one is a “psychic effect” of colour:
But to a more sensitive soul the effect of colours is deeper and intensely moving. And so we come to the second main result of looking at colours: THEIR PSYCHIC EFFECT. They produce a corresponding spiritual vibration, and it is only as a step towards this spiritual vibration that the elementary physical impression is of importance. (2010, pp.42-43)
I was interested in Kandinsky's two different phases of understanding colour, because there are similarities with the perception of sound. For example, first, people can understand sound physically with their ears such as loudness and quietness or fastness and slowness. Second, sound can be interpreted as a psychological phenomenon or sensation such as warmness or coldness and happiness or sadness.
This psychological effect of sound inspired me to investigate the psychological effect of sound and how to relate this to the visual colours of the scraps of Jogakbo.
1.3.2.2. Sound colour
There are a variety of terms to explain musical colour, such as musical timbre, tone colour, instrumental colour, and sound colour. Among these terms, I used the term “sound colour” to explain the psychological effect of sound. The term “sound colour” focuses more on the function of psychology and sensation than on sound itself. Wayne Slawson discusses the term “sound colour” in his article ‘The Color of
Sound: A Theoretical Study in Musical Timbre’:
Sound color as I am using the term is a psychoacoustic “attribute” or set of attributes of sound, joining such familiar attributes as pitch and loudness. Sound color does not necessarily refer to musical instruments; it is, rather, an abstract property of auditory sensation. By definition it has no temporal aspect. Sounds may vary in color over time, but the variation in a sound is not itself a color. Thus, for example, the “graininess” of a sound, its degree of vibrato, and the characteristics of its attack are not aspects of sound color. (Slawson, 1981, p.132)
In Slawson’s view, the term “sound colour” is related not to sound itself but to
“auditory sensation”. For example, when we hear a sound, we can feel the sound is
31 warm or cold, light or dark and focused or unfocused. I used Slawson’s interpretation of the term “sound colour” as a basis to experiment with the psychological function of sound in my music.
During the early stages of research, I focused on the colour of pitch in different registers and dynamics: how each pitch has a different colour, how the pitch can be made lighter or darker in musical colour based on changes in dynamics and registers. However, I shifted towards concentrating more on instrumental techniques due to the fact that the properties of each sound are affected by each instrumental technique. For example, in the strings, the sound created with light bow pressure is different from the sound created with extreme bow pressure, even while the pitch and register may remain unchanged (the former sound being light and weak and the latter being dark and strong). Additionally, string techniques which involve natural harmonics generate sounds that are more shimmering and resonant than techniques which involve half-harmonics. These techniques using half-harmonics produce sounds that can be abrasive as a result of the instrumental technique used to produce the sound. For these reasons, I wanted to further investigate instrumental techniques in order to explore the colour of sound and to classify the techniques with their relating perceived psychological properties.
My main concern regarding musical structure and form in relation to the colour sequence of the scraps of Jogakbo is the need to discover a common component between visual colour and musical colour. I decided to use the psychological effect between visual colour and musical colour as this common component. The method to connect the colour spectrum of the scraps of Jogakbo to my musical structure and form is as follows: First, I related the colour change of the scraps to each bar’s change of timbre with special emphasis on subtly changing the colour between bars. This relates to the beauty of Korea in the decoration on the roof of the Royal palace referred to at the start of my thesis (see p.10), which also has a character of slightly different shades in its components. Secondly, I associated
32 instrumental techniques with the positive and negative colours (O-jung Saek and O-
Gan Saek) composed of Jogakbo. Each visual colour of Jogakbo was matched to an instrumental technique, which has the same psychological effect (sound colour). For example, in my baritone saxophone piece Four Seasons of Jogakbo, I matched the colours of Jogakbo such as black, white, red, yellow, green with the saxophone techniques such as multiphonic sounds, air sounds, slap tongue, and key clicks through common psychological effects, such as seriousness, pureness, excitement, and warmness, between visual colour and instrumental technique. I applied these techniques to each section as a central element of the section and explored the changes of the sound colours between the sections. I will further discuss how visual colour is associated with instrumental technique in the pieces Four Seasons of
Jogakbo and Snow Baby in Graz in more detail.
1.3.3. The philosophy of Maek
After researching musical structure and form for the purposes of my compositional process, my focus shifted to the concept of the flow of sound and linearity on a horizontal structural level: How the differences in musical timbre and sound colour between notes, bars and sections could create linearity within the overall structure and how the music flows on a horizontal level despite the fact that the sections are placed side by side without any linkable materials. To discover the answer to these questions, I examined the Korean philosophy Maek.
To begin with, to explain the philosophy of Maek, it is necessary to discuss
Taoism from which Maek originates. Taoism derives from the word “Tao”, which means “way”, “path”, and “principle”. The scholar Gilbert Reid states about “Tao”:
This word is best understood if translated as “universal Law,” or the “Law of Nature,” such a law being the way or course in which nature operates, or in which God, the great First Cause, known in Chinese as the Great Extreme, has been operating through the phenomena of the universe. (Reid, 1917, p.79)
33 When considering Reid’s view that “Tao” is already the determinate law of nature operating the “phenomena of the universe”, one can surmise that all objects and beings have a destiny laid out and a course to follow. Within this law of nature, there is also an ‘invisible flowing energy’, Maek, which helps the components connect to each other or follow their path in accordance with the laws of nature. To further research the utilisation of Taoism in my compositional process, I studied the compositional approach of Isang Yun. The Korean composer Isang Yun describes his music in relation to Taoism, thus:
My composition is an expression of “Tao” in relation to pursuing the principle of “Tao”. What looks like the start of my music is just a continuation of what had already existed and resonated beyond hearing. Similarly, what looks like the end of my music is a sound, which continuously resonates beyond hearing. (Yun and Sparrer, 1994, p.51 cited in Lee, n.d. p.37)
From this point of view, Isang Yun describes his music as having no beginning or ending. Rather the music flows continuously following the principle of “Tao” in natural space: when the sound starts, it is not new but instead the combination of an existing un-hear-able sound driven by Maek. Additionally, when the sound stops,
Maek drives the un-hear-able resonation or energy of the sound to another point in natural space. Therefore, even though the last sound of the piece has already been sounded, the un-hear-able resonation or energy of the sound continues to flow constantly and linearly in natural space. This linear flow of un-hear-able resonation relates one sound to another sound.
My approach to composition with regards to Maek is similar to Isang Yun’s, however my compositional process is more departmentalised. For example, Isang
Yun’s music relates more to “Tao” and the global flow of sound from the music’s beginning to its end. However, my compositional approach focuses more on Maek between the pitches and sections, and on creating linearity in the flow of sound as opposed to the beginnings and ends of my pieces. To implement Maek into my compositions, I employed musical materials such as the rest and the fermata.
34 3
q=40-44
B(B-2) Bb(B-0) [u] [a] [a] [u] [a] [a] [a] 34 , + + , , 3:2x+ , + - &42 ® r r ≈ Œ ® r r ≈ ≈ r ‰ ≈ j r ≈ ® r œ ≈ œ™ œ œ™ œ œ œ œ œ™ R mp pp mp pp p. pp- mp mp p
Figure 12 Rests between pitches in Snow Babyrit. in Graz F(F-0) C(F-13) [a] [a] [a] [a] [a] [a] [a] [u] [a] [o] 37 ± + , + + 3:2x+ + + , 7:4e , , As we can see in figure 12, there are> rests between the U pitches and these & ® r r ≈ ‰ r ≈ ‰ ≈ œ ‰ 4 ® 42 œ™ œ œ œ œ œ R K˙ Kœ ™ Bœ rests interruptmp pp. the flowmf. of sound,mp. p. somf. the musicf seeminglyppp stopsœp™ betweenpp the ppitches.
However, when the written pitch C disappears in bar 34, the reverberant resonation q=50 from the sound remains in the duration of the rests. In accordance to the laws of
[a] 40 Maek, the passage is composed in a manner that allows for the written3:2x C in bar 34 to , U &42 r ‰™ ® ‰ ≈ ® ≈ ® ® ≈ ‰ ≈™ resonateœ. through-f the™ restsf until barf 35 wheref it is f replacedf with the nextf f. writtenf. C.f. In p mf mp> pp >p mp> mf> sfz> pp p this regard, Maek plays a role in linking the sounds of the pitches, even though the pitches are not directly connected to each other. F(F-0) 43 1/2 valve trill To demonstrate the philosophy of Maek, I also includedœ .fermatas between the & ≈ ≈ ≈ ‰ ® ≈ r ‰™ ® f f f f f f f f f -œ™™ œ. f sections.mp> In my music,> each> sectionpp hassfz> its own musicalmf characterppp in accordancep mf>with timbre while the sections are juxtaposed side by side and so after one section finishes,46 a new section starts with new musical material and gesture. In this process, the music≈ would seemingly≈ come to≈ a stop® between≈ ® sections,® ® ≈howev® er≈ the fermata≈ ‰ & f f f f f f f f f f f f f f f mp> > > pp mp> pp >p mp> pp> mp> sfz> between the sections generates a silence in the temporal space and flow, allowing for the existence of Maek. For example, in figure 13, I employed a fermata with a silence49 between the fourth and the fifth section in Clouds, Landscape, Human Being & ® ≈ ‰ ≈ ‰ ≈ ‰ ≈ ® ≈ ≈ ≈ ® 3. ™ 85 for five -instruments- . ------> > > . . > . > > > > p f sfz mf sfz mf f f mf sfz In this space of silence, there exists the connection of decreasing and increasing energies at the same time. For example, after finishing previous section, the performers generate decreasing and disappearing energy. However, the performers also have to prepare for next section, so as to generate increasing and appearing energy. Through the connection of these two energies, the flow of invisible energy can be generated in this space. Therefore, the sections are connected
35 invisibly, un-hear-ably and linearly by silence, which allows this flowing energy to exist. In this manner, the sections of my composition are connected to each other linearly in a horizontal structure. This process allows my music to flow without stopping and ceasing from beginning to end. 21
q=60
whistle-tones ~~~~~~~~ ~~~~~~~~~~~~~ air 103 [shi] [p] [t] [k] [t] ~~~~ ~~~~~~~ ~~~~~~ ~~~~~~~ 3 Fl. ° U √ & ∑ ∑ ‰ ‰ Ó 4 r ≈ #~ #)™ #6. #6. #6. #6. pp mf f
breathy tone rubato U breathy breathy >˙ #œ Cl. √ & ∑ Œ J ‰ Ó 4 Ó ‰ #œ™ œ #˙™ ¢ p o o p mp
I ord. S.P. #œfij S.T. rubato III ™ #e Vln. ° #œ √ 4 & Œ Œ ∑ 4 ∑ Œ Œ #O O #O mp pp 3 mp rubato ≤ j >. 5 #œfi ≥ #œ ˙ Vc. ≥ #>œ #œ #œ µœ √ ? ‰ & µœ #œ > æ ∑ 4 ∑ ∑ j #œ . >. j #œ j æ 4 ¢ #œ œ > > #œ fi fi ff f . >. nœ ff p > f> nœ sffz #œ ∏∏∏∏∏ #œ sfz sfz
*glissando on the string with a nail rit. #œ œ #œ œ œ U ∑ ∑ ‰ √Ó 4 ∑ ∑ & 5 4 p ppp Pno.
U √ ? ∑ ∑ ‰ ‰ Ó 4 ∑ ∑
{ Figure 13 Silence with fermatas between the fourth and the fifth section in
Clouds, Landscape, Human Being
So far, I have discussed how the Korean philosophies Yin-Yang, Ohang and
Maek as well as the colours and shapes of Jogakbo have been a source of influence for my musical language and how I have translated these components into musical components. These philosophies and the character of the handcraft art Jogakbo are used as musical materials at a local level such as pitch, and at a global level such as structure and form. In the next chapter, I will explain how these philosophies and the character of Jogakbo are intertwined in my music. To demonstrate this process, I will discuss my compositions throughout my doctoral studies in more detail.
36 2. Commentary
The commentary of this chapter will discuss the progression and development of the music in my portfolio in chronological order throughout my doctoral studies.
While examining the compositions of my portfolio, I will elaborate upon how my initial interest in exploring timbre, the relationship between the Korean philosophies and my music, and creating my structure based on the character of Jogakbo develop within each piece. Furthermore, my interest in the concept of “sound colour” is explained in greater detail in my composition Snow Baby in Graz for solo horn in F.
2.1. Water Song (2009)
In the composition Water Song for trombone and percussion, I attempted to compose a piece where the form was based on Jogakbo. My initial aim was to reflect the structure of Jogakbo, in which the shape and colour of the cloth scraps provide ideas for the form of a piece. In this regard, I composed with five sections featuring timbral differences with various gestures, rhythms and the use of different percussion instruments.
Luciano Berio’s (1968) Sequenza V inspired me to use the elements found within this piece. For example, the use of a metal plunger mute enables the creation of differences of timbre of the same note with the technique of opening (o) and closing (+) the bell. Additionally, Berio's request for the trombone player to sing while playing the trombone allows for multiple concurrent timbres in the sound. These elements to vary timbre are widely used in Water Song. For example, I also explored a subtle change in the shades of the pitches, which are generated on the different fundamental notes of the trombone. Furthermore, I used harmonic glissandi techniques to explore the different partials generated from the different fundamental pitches with regards to the theory of harmonic spectra. As the philosophy of Yin-Yang revolves around the change of colour from lightness to darkness or darkness to
37 lightness, the first section replicates this kind of change between lightness and darkness through subtle changes of timbre of the same pitches. For example, in bar
9, the first Eb is played in sixth position and the second Eb is played in third position, creating a delicate change of timbre. Thus, in this phrase, a slight transition of tone
2 colour can be perceived.
VI III (VI III VI III etc.) III (VI III VI III etc.) 3 9 ˙ bœ bœ bœ ˙ nœ µœ nœ Bœ nœ µœ n˙ ˙ œ Tbn. ? ‰ J ‰ Œ 3 mp p mp p mp pp p mp p mp p mp pp
Perc. / ∑ ∑ ∑ ∑
& ∑ ∑ ∑ ∑
b˙˙ bb˙ bb˙ b˙ b˙˙ b˙ bœœ bn˙˙ bn˙˙ bn˙˙ bn˙˙ n ˙ bn˙˙ bn˙˙ n ˙ bœ ? Œ Ó pp p pp p pp p pp { Figure 14 The first section in Water Song (V I V I etc.) V 13 In the second section, I wanted to further explore the instrument’sb>œ ˙ structure, Tbn. ? ∑ ∑ Œ ‰™ R mf mp so I used harmonic glissandi on different fundamental pitches. The pitches on the Perc. / ∑ ∑ ∑ trombone are determined by the harmonic spectrum featured in each trombone slide 5 5 3 gliss. bœ 5 bœ 6 bœ 5 bœ bœ bœnœbœnœbœnœ & nœ œ nœ œ œ bœnœ œ bœ nœ œ bœ nœ œ bœ œ bœnœ œ bœ œ bœ bœ bœ bœ ‰ position,œbœ allowingbœ bœ bœ nœforbœ tbœhe harmonicbœ bœ œbœ glissandibœ bœ bœ bœ tonœ bgenerateœ bœ bœ brapidœ bœ movebœbœbœ ment through6 the p > mf > p mp> p partials? of the fundamental∑ pitches. Thus, ∑ the colourful difference of∑ the different partials{ between the different fundamental pitches might be experienced. Additionally, I changed the percussion from Marimba to Vibraphone to underline the formal IV V I V II VI II VI V 16 > 4 œ nœ bœ bœ bœ b>œ. bœ œ µœ nœ Bœ bœ Tbn. ? < > < >
Perc. / ∑ harmonic glissando ∑ IV III II 31 œ #˙ nn˙ nb˙ ˙ bnw bœ Tbn. ?& Ó ∑ bb˙˙ j bb‰˙˙ Œ bbww œ J ‰ Œ b˙ œ 3 pp p pp p 3 mp pp mp pp p pp p ? ∑ ∑ ∑ Perc. / ∑ ∑ ∑
6 { 5 6 6 5 5 5 j & œ œ œ œ œ œ ‰ Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ > > > > > > > > > > mp p mp p mp pp
? ∑ ∑ ∑
{ Figure 15 The second section in Water Song
I IV I II I III 3 34 b˙ œ ˙ œ œ ˙ b˙ bœ bœ bœ œ bœ œ bœ b˙ Tbn. ? J ‰ Œ J ‰ 3 3 3 38 mp p mp p mp p pp mp p pp mp mp mf
Perc. / ∑ ∑ ∑ ∑
5
∑ bœæ æ bœ bœæ æ bœ bœæ æ bœ œ & œæ œæ œæ bœæ œæ bœæ æ æ æ æ pp p pp p pp p
? ∑ ∑ ∑ ∑ { ° ø
V 38 3 ˙ b˙ œ œ #˙ #œ #œ #œ™ Tbn. ? J ‰ Œ Œ #˙ 3 mp f pp p pp mp mf
Perc. / ∑ ∑ ∑ 5 6 6 æ æ æ bœ æ æ bœ & æ bœæ æ bœ œ æ bœæ æ bœæ bœ æ bœæ æ bœæ bœ œæ œ æ æ œæ bœæ æ æ œæ bœæ æ æ pp p æ æ pp p æ æ pp p æ æ pp ? ∑ ∑ ∑ { 6
wa-wa mute + 51 o >j > bœfi ...... > . fibœ j > Tbn. ? ∑ Œ nœ œ™ bœ nœ nœ œ œ œ œ œ œ œ œ œ™ œ œ nœ œfinœ bœ nœ 3 7 3 3 mf p mp mf p f mp ff
> Perc. / œ Œ Ó ∑ ∑
Bongo œfij > I atœ temptedœ ˙ ˙to createœ œ œ moreœ œ œexciting and dynamic gestures in the third section. / æ R ≈ ‰ Ó ∑ æ 3 f pp mf p f sfz For this reason, I used tongue rams and growl sounds on the trombone and un- ∑ ∑ ∑ pitched/ percussion such as tom tom, temple-block and bongo. The repetitive patterns of the{ un-pitched percussion enlarge the more energetic and lively effect of the sound. without mute 54 3 > > > ^ > Tbn. ? > > > > 1 > 1 > > > 1 œ œ ˙ œ j ‰ 1 1 1 1 1 1 1 1 ≈ J ‰ Œ æ æ ‰ 5 Yæ™ ¿æ ff ff p fff
Perc. / ∑ ∑ ∑
/ ∑ ∑ ∑ Tom Tom
5 3 > > > > j æ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ / ∑ œ œæ œ œ œ œ œ œ œ œ œ œ æ œ > > > > > æ 5 6 { fp mf p mf p mf p mf p mf p fp mf p mf p f Figure 16 The third section in Water Song
flz. 57 3 bœfijbœ œ œ n>œ œ > > > > > Tbn. ? As™ the fourthœ œ section™ is a variation of fij the first r section, slightly different ≈ æ æ æ œ œ J œbœ œ œ œ œ œ œ œ œ œ œ bœ ≈ ‰ Œ æ æJ æ æ . > > Yæ 9 fp 5 f mf p f ff p f changes of colour of the same pitch are presented on trombone again.
(V I V I etc.) without mute Perc. ∑ V IV V ∑ ∑ /81 œ bœ bœ bœ bœ œ œ™ bœ œ œ nœ bœ ˙ ˙ Bongo œ Tbn. ? > J ‰ Œ > ∑ 5 3 œ œ œ œ œ >œ œ / mf ∑ p mp Óp mp p Œ ≈ pp Ó f p f
5 Perc. j / œfi> ∑ > ∑ ∑ œ ∑ œ œ / œ ≈ ‰ Œ Œ œ ≈ ‰ ˙ Œ Ó œ œ R œ œ œ œ R ˙ >œ > œ > œ > œ ff p p mp ffVibraphone mp mf mf f f f p soft mallet 5 5 { æ æ æ æ œ æ æ & ∑ æ bœæ œæ bœ æ bœæ œæ bœ æ bœæ æ bœæ bœ œæ æ œæ æ æ œæ bœ æ pp p æ pp p æ æ pp p æ
? ∑ ∑ ∑ ∑ °
Figure 17 Theq=100 fourth section in Water Song { cup mute 85 ~~~~~~~~~~~~~~~~~~~~~ > Ÿ œ b>œ œ ˙ bœ œ œ-™ Tbn. ? j j >œ j > œ J Ó Œ ‰ œ œ œ ‰ œ œ™ œ œ bœ œ œ ‰ œ œ The fifth section> presents> the most dynamic and 3active gestures3 in the piece; fp f mf f mp p f ff p mf f p for example, the leaping gestures and lip trills Suswith cymb. glissando techniques can be seen Perc. ˙ œ œ / ∑ ∑ Œ æ æ æ ‰ ∑ æ 3 æ æJ in the trombone part. Additionally, suspended cymbal,pp tomp tom,pp bongo and temple
æ æ æ bœæ ∑ ∑ / ∑ & œæ bœ bœæ pp p pp Tom Tom ? ∑ ∑ ∑ / Ó Œ æ œ 39 { pp
89 > j > Ÿ~~~~~~ . > > >. bœ bœfi > b>œ bœbœnœ œ bœ™ œ œ Tbn. ? fij . œbœ . bœ R j bœ œ bœ bœ œ œ œ™ ‰ œbœ œ.bœ bœ ‰ ≈ ‰ bœ œ ‰ Œ œbœ œbœ bœ bœ™ Œ ≈ > . >. > > 5 bœ mp mf f ff mp f mf f ff mf
c e c > > Perc. œ™ œ œ œ œ œ œœ œœ œ / ∑ ≈ J Œ Œ J ‰ ∑ æ æ æ R ≈R R ≈R R ≈R ‰ æ æ3 æ 3 3 3 fp fp fp mp mf f p Bongo ˙ ˙ / ∑ ∑ Ó ∑ p mp
3 3 3 3 j j > > > > j > > > > æ j ‰ Œ œ œ æ æ œ œ œ œ œ œ ‰ œ œ Ó œ œ™ œ œ œ Ó ≈œ≈≈œ≈≈œ≈‰ / œæ œ œ œæ œæ œ œœ œ œ œ œ œ œ œ R R R 3 > 5 3 mp 5 p f f f { p pp p f mf 10
> flz. 93 > > b>œ b>œ œ b>œ #œ™ œ bœ > j j Tbn. ? > J r œ j æ æ æ J bœ bœ ‰ œ ≈ ‰ R ≈ ‰ œ bœæ œæ œæ œ ‰ Ó 3 >mp f fp> mf mp mf ff ff f mp mf ff
c e c e Perc. œ œ œ œ ˙ œ œ / Ó Œ ‰ æ æ æ æ æ æ æ ‰ Ó æJ æ æ3 æ æ æ æJ pp p mp p pp
>œ œ >œ >œ >œ >œ >œ ∑ ∑ Œ ‰ œ œ œ œ œ / 3 5 mf mp f j æ > blocks/ Ó are employed≈ œæ inœ ≈ the‰ percussion∑ part moving rapidly between∑ timbral >™ R fp f categories{ of skin, metal and wood in the percussion part. Lip trill
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ flz. 96 bœ 3 œ œ > œ œ > œ > œ ˙ Tbn. ? ∑ ‰ œ œ œ J ‰ #œ #œ #œ bœ œ bœ œ bœ bœ bœ 3 3 3 >#œ #œ > > æ f ff > > æ
Perc. œ œ œ œ œ >œ >œ >œ / Ó ™ J ‰ Œ Ó Œ ≈ R ‰ Ó æ mf mp æ p f ff
5 œ >œ >œ R R >œ / æJ ‰ ≈ ≈ ≈ Ó J ‰ Œ Ó ∑ mp ff 3 3 3 æ > > > œ œ æ j j æ / ‰ æ œæ œ ≈ œ ≈ œ Ó Ó œ œ œæ œ œ œ ‰ œfi œ œæ œ R R R >œ œ > œ > œ >œ œ > > 5 f fp f mp p mp f { Lip trill Lip trill Figure 18 The fifth section in Water Song >Ÿ~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~ 99 b>œ > >œ > œ bœ œ bœ n>œ b>œ Ÿ~~~~~~~~~~~~ œ #>œ n>œ > œ Tbn. b>œ > bœ >œ bœ ? œæ bœ j ‰ j ‰ bœ j ‰ 3 3 bœ œ 3 3 œ bœ > > > ff Water song is the first piece in which I sought toff composef ffa piece while 5 3 Perc. >œ >œ >œ >œ / ≈ R ‰ Œ R Ó Œ ‰ ≈ R Œ ≈ R ≈ ‰ ∑ exploringf formal mf articulation through sectionalmf changesf of instrumental timbre. The next piece The Colour of Light for string quartet also explored a similar form though >œ >œ œ >œ >œ >œ ∑ ∑ Œ J ‰ œ œ R ≈ R ≈ / 5 with more subtle changes, due to the relative homogeneity of timbref off the stringed
3 5 3 j 3 instruments.j >œ >œ æ æ œ œ œ j œ œ œ œ >œ r / œ ‰ œ œ ≈ œæ œæ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ≈ œ œ Œ ≈ R ≈ œ 5 > > > > > > > > > f mf f mp p f ff mf f ff 2.2{. The Colour of Light (2010)
In The Colour of Light for string quartet, I used the harmonic spectrum based on the pitch E as the basis for almost all of the musical material. As the pitch E is a common harmonic pitch on five strings (C,G,D,A,E) except the G string, I chose the pitch E as a central pitch. In the opening section, the same sounding pitches E are presented in harmonics on the instruments. This strategy of using the same pitches in different instruments is similar to Gyorgy Ligeti’s (1971) use of pitches in the second movement of his String Quartet No.2. Ligeti employs the same pitch G in each instrument in the opening section, and presents slightly different timbres between the pitches. Ligeti also exhibits the changes of timbre by asking the musicians to use their bows in different locations on the strings. Similarly, I utilised
40 the same sounding pitch E in each instrument available as natural harmonics. This is because I wanted to express a very faint and veiled sound of the ‘figure’ of light as well as to explore subtle differences of timbre. (see figure.6) After the fluctuating sound of the pitch E of the opening, the partials B, G#, and D from the harmonic spectrum of the pitch E appear slowly in each instrument and a fuller harmonic sound is gradually created. 2
I. N S.P. molto S.P. S.P. S.T. S.P. 3 ≤ #e e≤ gliss. 9 ≥ >≥ ˙™ #O O™ O BO O™ O≥™ BO. Vln. I °& J ‰ ‰ J ‰ 43 mf f ff f mf fff
N S.P. I. S.P S.T. N S.P. ≤ E ™ >≥ O #O™ O™ O™ O™ O≥™ O. Vln. II æ ‰ J ‰ Œ J ‰ 3 & 3 5 4 2 f pp ff f mf fff
N S.P. flautando S.T. S.P. S.P. I. S.T. N S.P. molto S.P.3 S.P. 3 S.T. S.P. 3 5 3 ≥ 3 j ≥ j æ æ j Vla. j ‰ ‰ æ #≤ æ æ æ ‰ ‰ #O O™ ≤ O #Oæ Oæ™ #O ‰ 3 & O O Oæ™ eOæ Oæ Oæ # œ ˙™ e œ # œ ˙™ # œ. 4 gliss. pp p mp f p mp > 9 ≥ fff>≥ ˙™ #O O™ O BO O™ O≥™ BO. Vln. I J ‰ ‰ J ‰ 3 °& N S.P. molto S.P. S.P. S.T. N S.P. 4 f mf≥ f E ™ ff mf fff≥ Vc. o o ? ≤ >. ? 3 gliss. O™ O O O ‰™ O O™ O ‰ & ˙™ œ N R æ æ S.P.J 4 ¢ I. æ æ S.Pmf S.T. Nf S.P. ≤ pp mp fff E ™ >≥ O #O™ O™ O™ O™ O≥™ O. Vln. II æ ‰ J ‰ Œ J ‰ 3 & 3 5 4 =64 q f Figurepp 19 The opening section inff The Colour fof Light mf fff III at the point. S.T.S.P. N S.T. N S.P. 13 flautando S.T. S.P. 3 3 TheE ™ 3 second 5section starts jwith3 the≤o≥ quartet playing four≥o partialsj of the pitch≥ E: Vln. I 3 4 æ æ ˙™ w j Vla. °& 4 O j 4 jæ Oæ ‰ #O O O #Oæ Oæ #O 3 & æ ™ ‰ ‰ æ~ æ æ æ ‰ ‰ # œ ˙™ œ # œ ˙™ # œ ‰ 4 O pppæ O O™ O O ppO p . pp p mp of p mp fff> IV E, G#, B,at the and point. D, at the same time. In this part, I was aiminghalf harmonics. to express the spectral N S.P. molto S.P. S.P. S.T. ≥ N S.P. Vln. II 3 æ 4 æ æ & o4 #Oæ™ 4 ~æ ≥o E ™ ~æ ≤ #~ >≥ Vc. # ˙™ w ? O w O O O O O O. ? 3 shape& of light, so I used thegliss. technique™ of tremolo at the point‰™ of the bow.™ Additionally,‰ 4 ˙™ ppp œ pp R p æ æ J ¢ mf f pp o mpæ æ fff III IV I. at the point. III 3 3 3 e theVla. viola Epart™ highlights the partials of the pitch E. e O O 3 4 æ æ Œ e j & 4 O™ 4 ~æ Oæ O O O q=64 æ O O pppæ pp ppp f III IV at theat thepoint. point. S.T. N 13 EE™ ™ j ≤o ≥o Vln.Vc. I ?33 O™ 44 æ~ æ~ ‰ ˙™ wO Œ™ Ó °& 44 Oæ™ 44 ~ææ Oææ æ ¢ ææ æ æ æJp pppæppp pppp o ppp IV at the point. half harmonics. ≥ Vln. II 3 æ 4 æ æ & 4 #Oæ™ 4 ~æ ~æ #~ # ˙™ w S.T half harmonics. w o 17 o #>œ ≤oppp o pp o o o p o o œ Vln. I III˙ 3 œIV ˙ ˙ œ ° E O ‰ III I. & at the point. ~ 4 J 3 æ æ 3 3 ppp æ æJ 3 3 e E ™ mp p mp e p f ff Vla. 3 4 æ æ Œ oe j O O & 4 O 4 æ Oæ O I O O ™ ~ 3 IIIO O æ IV 3 æ pp f ppp ppp #e e III IV IV≤ E O O Vln. II & at the point. 43 O O j j ‰ ~ ~ O O 3 O O O ppE ™ f ff p Vc. ? 3 O™ 4 ~ ~ O Œ™ Ó 4 æ 4 æ æ æ ¢ æ æ æ æJ IV ppp III IV III I IV pp half harmonics. ppp 3 3 ≥ > E Vla. O O æ æ 3 æ & O O ‰ #Oæ Oæ 4 Oæ™ Œ O O O Figure 20mf The openingf ff partmf> of thepp second section in Themp Colour ofpp Light S.T half harmonics. o 17 > IV o #œ ≤ S.T œ Vln. I ˙o o 3 œo ˙o ˙o œo °& E 3 ~ ON ‰ S.P æ 4 æ J ≥o o ppp æo æJ≤o 3 ≥o gliss. S.T 3 œ œ mpw p ˙™ o mp˙ p f ff Vc. ? Ó ‰ 3 œ 3 4 III I ¢ o IV 3 mp o #e e III IV ≤ E O O 41 Vln. II & 43 O O j j ‰ ~ ~ O O 3 O O O pp f ff p
III IV III I IV half harmonics. IV 3 3 ≥ > E Vla. O O æ æ 3 æ & O O ‰ #Oæ Oæ 4 Oæ™ Œ O O O mf f ff mf> pp mp pp
IV S.T 3 N S.P ≥ ≤ ≥ gliss. S.T œo œo wo ˙o ™ ˙o Vc. ? Ó ‰ 43 œ ¢ o mp o 2
I. N S.P. molto S.P. S.P. S.T. S.P. 3 ≤ #e e≤ gliss. 9 ≥ >≥ ˙™ #O O™ O BO O™ O≥™ BO. Vln. I J J °& ‰ ‰ ‰ 43 mf f ff f mf fff
N S.P. I. S.P S.T. N S.P. ≤ E ™ >≥ O #O™ O™ O™ O™ O≥™ O. Vln. II æ ‰ J ‰ Œ J ‰ 3 & 3 5 4 f pp ff f mf fff
N S.P. flautando S.T. S.P. S.P. S.T. 3 3 3 5 3 ≥ j ≥ j æ æ j Vla. j ‰ ‰ æ æ æ æ ‰ ‰ #O O™ O #Oæ Oæ™ #O ‰ 3 & O O Oæ™ Oæ Oæ Oæ # œ ˙™ œ # œ ˙™ # œ. 4 pp p mp f p mp fff>
N S.P. molto S.P. S.P. S.T. N S.P. o ≥o E ™ ≤ >≥ Vc. ? O O O O O O O. ? 3 & gliss. ™ ‰™ ™ ‰ 4 ˙™ œ R æ æ J ¢ mf f pp mpæ æ fff
q=64 IIIAs the piece progresses, more partials of the pitch E are gradually employed at the point. S.T. N 13 E ™ j ≤o ≥o Vln. I 3 4 æ æ ˙™ w °& 4 O™ 4 ~æ Oæ ‰ from baræ 20 and the partials generate a richer harmonic sound;p for example, the pitch pppæ pp o IV at the point. half harmonics. F# is presented as the highest note with accent and fortissimo dynamic in violin I in Vln. II 3 æ 4 æ æ ≥ & 4 #Oæ™ 4 æ æ # # ˙™ w~ w~ ~ ppp pp o p bar 20III and the pitch A is presented in bar 22 in violinIV II. Additionally, theI. sounding at the point. III 3 3 3 e Vla. E ™ e O O 3 4 æ æ Œ e j & 4 O™ 4 ~æ Oæ O O O pitches æC and D# are appeared in violin II in bar 24 andO in barO 26 respectively. In this pppæ pp ppp f IV at the point. manner,E ™ the harmonic spectrum of the pitch E is more and more emphasised in the Vc. ? 43 O™ 4 ~ ~ O Œ™ Ó ¢ æ æ æ æJ second pppsection. pp ppp
S.T half harmonics. o 17 #>œ ≤ œo Vln. I ˙o o œo ˙o ˙o œo °& E ~ 3 O ‰ æ 4 æ J ppp æ æJ 3 3 mp p o mp p f ff
3 III I IV 3 #e e III IV ≤ E O O Vln. II & 43 O O j j ‰ ~ ~ O O 3 O O O pp f ff p
III IV III I IV half harmonics. IV 3 3 ≥ > E Vla. O O æ æ 3 æ & O O ‰ #Oæ Oæ 4 Oæ™ Œ O O O mf f ff mf> pp mp pp
IV S.T 3 N S.P ≥ ≤ ≥ gliss. S.T œo œo wo ˙o ™ ˙o Vc. ? Ó ‰ 43 œ ¢ o mp o 3
o o S.T. N S.P. 21 o œ œ o o œ #œ œ o o ≥o o œ œ o o o ≤o j Vln. I °& J J œ œ œ œ ˙™ ˙ œ ‰ 3 3 #œ ˙™ ˙ œ f p mf
III o > >œ œo e ≤ ≥ o #e e ™ III E ™ œ e Vln. II O™ O O O O O O™ O O O O n3O &IV O™ O O O™ 3 3 J 3 p mf f ff mf f ff
half harmonics. 3 S.T. S.P. N ≤ ≥ 3 ≥ Vla. j j & j #O O O ‰ #œ #œ #˙ œ Œ #˙™ O œ œ ˙ œ p p p o
S.T. N S.T. N S.P. ≥ œ≤ Vc. ? ˙≤ ˙ ˙ œ œ ™ ™ ™ J Œ™ ¢ p pp p mp pp
I FigureN 21 The highlighted partials of the fundamental pitch E 25 III 3 e O O œ j j o o O O #œ Vln. I ° ‰ œ ˙ ˙ œ ‰ ‰ Œ œ œ J J & #œ ˙ ˙ œ 3 3 3 mp o f ff In the third section, I explored the combination of harmonic sound and normal e e # > #œ œ œ™ O e O #œ œ™ œ Vln. II O nO O #O #O œ œ œ œ & n3O O J J œ sound. For3 example, the cello 3generates3 the harmonic3 sound from the pitch G to the f ff f ff ff f
S.T. little bit≤ lower pitch F. At the same time,>œ theœ second violin plays the same pitches of Vla. J & ˙™ œ Œ œ œ ˙ œ ‰ #œ œ™ 3 J œ œ p pp mp f mf
N S.P. IV e e ˙™ ˙ e e Vc. ? ˙ ˙ O ˙ ™ Œ Œ O bO O ™ 42 ¢ p mf
29 œ œ œ œ œ œ >œ œ œ œ œ œ #œ Bœ œ™ œ œ œ œ œ œ Vln. I ° J œ œ #œ & 3 3 #œ 3 p mf 3 IV S.P
e N 3 e e e Vln. II œ œ #œ œ #œ ˙ & œ™ R J ‰ e ˙ œ ‰ ‰ J 5 #O O O nO #O J 5 pp p mf p pp
II S.P > #œ e # e œ œ œ œ œ e e Vla. #œ œ ˙ #œ œ #œ #œ J e & œ R œ œ J J ‰ O #O O #œ 5 3 3 nO #O p mf p mf 5 p
II S.P
N 3 e e e Vc. ? #œ œ j #e œ ‰ œ œ œ œ œ œ ‰ & Œ j ‰ J ™ 3 J J #O O O nO #O ˙ œ ¢ p p 5 pp mp p 4
I #e e 2 33 ˙ Bœ #œ œ œ #œ ˜œ ˙ œ #œ #‚ nO œ œ™ œ œ œ œ µœ Bœ Vln. I ° #œ œ J & 3 3 5 3 mf f ff fff III e N e #e #E #œ œ gliss. œ e e #œ œ #œ œ œ œ œ œ Vln. II & J ‰ O #O O O J œ œ œ J nO #O 3 3 3 J 3 p 5 mf f mp II N e e e œ œ e #e Vla. j œ œ J & O O ‰ œ œ™ ‰ #O nO #O nO n3O ˙™ mf
5 mf f II 5 N e gliss. Vc. e #e #œ œ j & Œ œ ‰ e œ œ œ ˙™ œ J e 3 ¢ œ œ™ nO #O O #O O mp mf f
q=68-72
e IV #e e 37 e ≥o o o o o #O O #O nO O œ œ ˙™ œ œ Vln. I °& J ‰ Œ ∑ f o
˙™ œ œ Vln. II J & ‰ Œ ∑ ∑ f o flautando theVla. celloœ by shiftingœ ‰to Œan octave higher∑ as normal notes∑ with BflautandoŒ Œ techniqueœ #œ in & J o pp bar 43. This flautando technique generates a soft and whispered sound, which helps S.T. S.P. N o o o3 3 Vc. œ œ o o & œ ‰ Œ Œ Ó œ œ œ J œ œ j J 3 œ œ œ œ œ the ¢harmonics sound of cello to be perceived clearly and strongly.mp o o
41 Vln. I °& ∑ ∑ ∑ ∑ 42
flautando 6 7 6 6 7 Vln. II ∑ ∑ Œ nœ 2 & n3œ nœ#œ œ#œ nœ n3œ nœ #œ œ#œ nœ n3œ nœ#œ™ nœµœ œ n3œ nœ µœ nœ µœ œ œ µœ nœ µœ nœ™ n3œnœ 4 ppp
œ œ >œ œ œ œ œ 3 6 6 Vla. B œ J #œ œ œ #œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ 2 3 3 J 3 3 J 3 #œ #œ #œ #œ œ œ œ œ œ nœ #œ nœ œ œ 4 3 3 µ µ µ p 3
5 3 o II 5 o o o o e 3 e Vc. œ œ œ œ #e e 2 & œ œ œ ˙ œ & e j 4 œ 3 J ¢ O #O nO n3O #O O O #O nO n3O #JO p f ff f ff
Figure 22 The third section in The Colour of Light
In the fourth section, I employed a ‘Distorted Spectral Pitch Scale’. This
‘Distorted Spectral Pitch Scale’ can be seen in my later pieces such as The Scent in the wind for solo piano and The Journey of the Sun for 16 instruments. My method of creating a ‘Distorted Spectral Pitch Scale’ is that I chose some partials from the harmonic spectrum of the fundamental pitch intuitively for considering the array of the pitches. In this manner, the figure 23 presents the ‘Distorted Spectral Pitch Scale’ of the pitch E.
Figure 23 ‘Distorted Spectral Pitch Scale’ EXAMPLE 10: THE SCALE OF THE OVERTONE SERIES BASED ON THE
PITCH EI used this scale as an ascending figure in violin 1 in bar 59 and gradually this scale is presented in other instruments in the fourth section. The altered When I made this scale, I was considering the performers, because it is very trajectory of the ‘Distorted Spectral Pitch Scale’ through the microtonally altered challenging to play 1/6 flat tone on the string. Therefore, I changed the 1/6 flat pitch of D and A into the 1/4 flat pitch. This new scale is played by the first violin in the beginning of fourth section. 43
EXAMPLE 11: IN THE BEGINNIING OF THE FOURTH SECTION
This scale creates a delicate timbre as through subtle use of microtones. In the fourth section, there are no more harmonics, and all instruments play real notes to create a more can vivid sound. Furthermore, each note of this scale is presented in each instrument in turn as a first note of an ascending figure. The appearance the notes of the scale presented as the first note of the ascending figure helps draw attention to the scale.
14 pitches is intended to express the light deriving from the ‘rays’ of light from the sun, which lack clear or straight trajectories. 6
molto distort. q=64 <Ÿ>~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 57 ˙ œ œ >œ #œ ˜œ™ œ œ B ™ Vln. I ° J ‰ 2 œ µœ Bœ œ J & 4 œ™ ffff mf f
molto distort. pizz. <Ÿ>~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Vln. II ˙ œ œ ‰ 2 gliss. œ ‰ ∑ & J 4 œ J ffff mf
molto distort. pizz. Ÿ~~~~~~~~~~~~~~~~~~~~~~~ gliss. Vla. #œ #œ #œ œ 2 #œ B œ œ J ‰ 4 #œ J ‰ ∑ mf ffff
molto distort. pizz. vibr. Ÿ~~~~~~~~~~~~~~~~~~~~~~~ gliss. Vc. ? #œ #œ œ œ ? œ œ œ J ‰ 2 œ œ ∑ ¢ 4 œ ffff mf
Figure 24 ‘Distorted Spectral Pitch Scale’ in the fourth section
gliss. 61 > œ #œfij œ™ #>œ #˙ œ B #œ Bœ™ ˜œ œ Vln. I ° ‰ œ µœ Bœ œ J J ‰ ‰™ & 3 œ 3 #œ #œ mf ff mf The fifth section is compared with the opening section. In the opening section,
3 gliss. 3 gliss. Vln. II œ œ & #œ œ ≈ #œ J ∑ ∑ œ #œ ≈ #œ J music mf is started as the sound of harmonics and then is graduallymf changed to the
arco. gliss. pizz. gliss. gliss. 3 œ 3 3 œ Vla. œ #œ O O #O ™ œ #œ soundB of≈ normalœ œ pitch throughoutJ ‰ theœ secondœ section.œ ™ In a reverse‰ ≈ procedure,œ œ theJ fifth mf pæ æ mpæ mf vibr. vibr. section is 3 started gliss.as the sound of normal pitch and is gradually changed togliss. the sound œ 3 œ Vc. ? œ #œ œ #œ œ œ ‰ R œ J ∑ ∑ ‰ R œ J ¢ mf mf of harmonics. I wanted to explore this interchange of sound with a variety of string techniques; for example, I employed mutes on the strings to create soft and dense
> sound.65 Additionally, the combination#>œ of different bowing3 techniques such as sul #œ #œ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œfij œ œ #œ #œ™ #œ #œ œ ™ Ÿ #œ œ #œ µœ œ µ Vln. I ° µœ œ #œ œ œ µœ œ œ ‰ Bœ œ & œ œ #œ 3 ponticello, sul tasto, senza vibratoff mpand vibrato, help createmf complex timbral textures
arco. gliss. gliss. inVln. IIthe resulting sound.O O #O & Œ œ ˙ œ Œ ˙ æ æ mpæ æ mf mp
arco. 3 gliss. gliss. Vla. æ æ æ œ B ‰ Oæ Oæ Oæ™ ‰ ˙ œ ‰ &Bœ nœ #œ œ œ™ 3 mp mp mf mf mf
arco. gliss. #œ gliss. gliss. œ #œ œ #œ nœ œ œ œ ™ Vc. ? #œ œ #œ Œ ™ œ œ œ œ™ ¢ mf f mp mf
44 9
con sord. S.T. 93 S.V. 3 j Vln. I °& ∑ ∑ ∑ 43 Œ Œ œ œ o con sord. S.T. N
3 Vln. II ∑ Ó ‰ gliss. 3 gliss. ‰ & gliss. 4 œ nœ #œ µœ #œ œ ˙™ B ™ ™ o p con sord. S.T. S.V. Vib. S.V. Vib. 3 5 j gliss r j Vla. B Ó Œ Œ œ œ #œ œ µœ™ œ nœ w 3 ˙™ Ó Œ 4 ™ p mp p
N S.P. Vib. S.V. S.T. III j Vc. ? Œ ‰ œ ˙ w 3 ˙ 4 #˙™ ¢ w w w gliss. ™ pp pp p
Figure 25 TheN fifth section in The Colour of Light Vib. 97 3 Vln. I 4 Ó °& ˙ µœ 4 w w w µœ ˙ p
S.P. S.V.The next section isVib. composed of leaping notes and glissandi.N The interval of Vln. II & 4 ˙™ #w w œw ˙ ˙ the leapingmp note gets narrower and leads to a glissando technique 3generated on one N 12 S.V. Vib. Vib. 3 Vla. œ 4 note.B This˙™ glissando˙ œ technique4 w symbolisesw the shape of the intensity˙w of #shiningœ #˙ light. mp 3
S.P. N S.P. N N Vib. 129 S.V. ≥ ≥ 3 gliss. 3 #œœ œ™gliss.œ˜œ œ™ œ œœ œœ œœ œ œ œœ œœ œ œ œœ œ œ œœ #œ œ#œ œ#œ œ#œ œ#œ œ#œ œnœ œnœ œnœ œnœ œnœ œnœ œ Vln.Vc. I ≤ ™ œ ° ? œ ˙ 4 w ˙ Œ Ó Ó œ ˙ ¢& ˙™ #œ œ™ w #˙ œ œ w ff mp pp
S.P. N ≥ œ œ œ œ œ œ œ œ œ œ œ œ nœ œnœœ œœ≥ œ™ ≤ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Vln. II µœ µœ™ µœ µœ #œ #œ #œ #œ ˜œ ˜œ ˜œ ˜œ µ ™ ≤ #œ ≥ #œ #œ #œ #œ & œ™ œ 101 3 ff Vln. I ° w˙ #˙ ˙ Œ Ó ∑ ∑ & S.P. mp ≤ œ œ œ œ œ œ œ œ œ œ œ œ ≥ œ™ ≥ Vla. µœ µœ™ µœ µœ µœ ™µœ #œ ™#œ #œ #œ™ #IIIœ #œ #œ œ#œœ#œœ#œœ#œœ#œ œ˜œœ˜œœ˜œ œ˜œœ˜œ œ˜œœ ˜œ œ˜œ œ µœ #œ™ B œ™ f #e ff Vln. II & Œ w ˙ <#>œ #O œ O œ O œ O #œ O œ O ˙™ ˙™ mf ˙™ p
senza sord. Vc. ? œ œ œ œ œ œ œN œ bœ bœ bœ bœ œ œ œ œ œ œ œ œ œ œ™ œ œ œ ™ œ œ ™ œ œ œ™ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œœ œbœ œbœ œbœ œbœ œbœIIIœbœ œbœ œbœ œbœ œbœ œbœ œbœ ¢ j 3 gliss. Vla. B w f ˙ œ ‰ œœ œœ ww Ó œ µœ w #˙ #Jœ J p p mp III
Figure 26 The glissandogliss. technique in the sixth section in The Coloure of Light Vc. ? w ˙™ œ nw ˙ œ nO œ O œ O œ O ¢ w w B S.P. w w 132 ≥ #œ œ#œ œ#œ œ#œ œ#œ œ#œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ≥™ ≥ ≥ œ™ ≥ ˜ ˜ ˜ ˜ ˜ p˜ ≤ œ™ œ™ mf ≤ œ™ Vln. I œ ≤ #œ ≤ °& œ™ #œ™
In the last section, the sound becomesS.P. more distorted and noisy with vibrato ≤ ≥ ≤ œ™ #œ œ#œ œ#œ œ#œ œ#œ œ#œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ≥™ ≤ œ ≤ ≥ œ™ ≥ #œ≥ Vln. II ˜ ˜ ˜ ˜ ˜ ˜ œ œ™ ™ glissandi& and extreme bow pressure technique.#œ Descending glissandi#œ™ with vibrato
N S.P. and molto≤ distort. technique symbolises more intensive and darker shades≥ ofœ ™ light. Vla. œ #œ œ #œ œ #œ œ #œ œ #œ œ #œ œ #œ œ #œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ µœ œ µœ œ µœ œ µœ #œ™ ≤ ≥ B ™ œ ˜ ˜ ˜ ˜ ˜ ˜ ˜ ˜ œ™ œ™
This distortedS.P. sound is most dramatic in the piece and hints at the ending of the work. ≥ N S.P. ≤ #œ™ ≥ Vc. ? ≥ œ™ ≤ ≥ ≤ œ bœ œ bœ œ œ œ œ bœ œ bœ œ bœ œ bœ œ bœ œ bœ œ bœ œ bœ œ bœ œ bœ œ™ œ ¢ œ™ ™ ff
N 135 >œ >œ >œ >œ™ >œ >œ >œ >œ >œ >œ™ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ45 Vln. I ° œ œ œ œ™ œ œ œ œ œ œ™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & 3 3 3 3 3 3 3 3 6 fff ffff
N >œ™ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ Vln. II & œ™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3 6 6 3 6 6 3 6 6 ffff fff
N > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > Vla. #œ œ œ œ œ™ œ œ œ™ œ œ #œ œ œ œ œ™ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ B œ œ œ œ œ™ œ œ œ™ œ œ œ œ œ œ œ™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 6 3 3 6 3 3 3 3 6 ffff fff
N 3 3 3 3 3 3 3 6 6 Vc. ? œ œ œ œ™ œ œ œ œ œ œ œ™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ¢ œ œ œ œ™ œ œ œ œ œ œ œ™ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ > > > > > > > > > > > > > > > > > > > > ffff> > > > > > > > > > > > > > fff 13
gliss. 138 > > > > > gliss. > œ™ œ œ Bœ Bœ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ >œ >˙ µœ~~~~~~~~~~~~~~~~~~~~ Vln. I œ™ #œ B B ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~B œ B ˙ µ œ~~~~~~~~~~~~~~~~~~~~ °& æ æ æ æ B B æ æJ æ æ 5 æ fffff ffff ff fff ffff
> > > > > œ > > > > > > > > > > > œ™ œ œ™ œ œ œ œ > > > > > > > > > Vln. II #œ œ œ œ œ œ œ #œ œ œ œ œ #œ™ ˜œ œ™ µœ œ nœ œ œ œ œ œ™ œ œ œ™ œ œ & 6 æ æ æ æ æ æ 6 3 3 6 6 æ æ æ æ æ æ fffff fff
gliss. > >œ >œ >œ >œ >œ >œ 6 > > Vla. #œ > > > > > > > > > > > œ œ Bœ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ > B œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ B œ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~Bœ 6 6 6 œ œ œ œ æ æ B 6 æ æ 5 fffff > > > 6 fff ffff f
5 6 5 3 6 > > > > > æ æ æ æ Vc. ? œ œ œ œ œ œ œ™ œ œ œ œ™ œ œ™ œæ œæ œæ œ #œ œ œ œ œ œ œ œ œ œ™ œ œ œ œ œ œ œ œ œ™ œ œ œ ¢ > > > > > > > > > > > > > > > > > > > 6 æ > > fffff fff
molto distort. 141 gliss. gliss. >≥ gliss. ≥ gliss. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~>œ #>œ >œ œ~~~~~~~~~~~~~~~~~~~>œ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~> #>œ~~~~~~~~~~~~~~~~~~~~~~~~~~ > >≥ Vln. I ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~µœ # œ œ J œ~~~~~~~~~~~~~~~~~~~~~~~~ j #œ 2 °& µ ≈ œ ‰ #œ ‰ 4 3 æ æ J æ æR ffff f ffff ff ffff f ffff
3 gliss. > ≥ gliss. œ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~#œ >œ™~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ #˙≥ gliss. Vln. II œ ‰ ‰ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~# œ ‰ œ™~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~bbœ # ˙~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 2 & J J œ 4 ffff J œ ffff f f ffff f
molto distort. 3 3 gliss. gliss. gliss. gliss. >≥ > > > œ Vla. B Bœ™ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ j œ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ #œ™ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ j ‰ œ 2 B œ™~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ œ œ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~œ œ 4 æ > > ffff f ffff ffffæ f ffff f molto distort. gliss. 6 3 3 ≥ >≥ Vc. ? gliss. œ™ 2 œ j ‰ ‰ œ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ j ‰ œ 4 > œ œ œ œ™ œ œ œ™ œ œ œ >™ œ J ¢ > > > > > > > > > ffff fff f ffff f
Figure 27 Themolto last distort. section in The moltoColour distort. of Light molto distort. molto distort. 144 ≥ gliss. gliss. ≥ > ≥ gliss. >≥ > Vln. I 2 j ‰ #œ r ≈ j #œ j œ °& 4 œ œ #œ œ J f ffff > œ fff > ff> ffff ff> f fff Themolto distort. different string techniques play an importantmolto distort. role in molto each distort. section to gliss. ≥ gliss. ≥ >≥ gliss. ≥ gliss. Vln. II >œ > j œ j & 42 ™ j œ œ J #œ œ > fff > œ present the difference of timbre ffffbetween sections.f The use of œthesefff techniques> was f >f f molto distort. molto distort. molto distort. successful in creating a sectional-basedgliss. form, and this success encouraged >≥ me to >≥ > gliss. œ Vla. B 2 ‰ #œ œ gliss. J 4 œ j œ j œ fff > œ focus more on exploringf instrumental techniques to generate further articulationsf fff in molto distort. molto distort. molto distort. 3 3 gliss. gliss. gliss. ≥ >≥ >≥ >œ musicalVc. ? 2 ‰structures.œ j ‰ Bœ j ‰ 4 œ œ ¢ ffff f fff fff f
2.3. Fan Dance (2011)
My approach to Fan Dance for trumpet and string quartet was different from the previous two pieces. The previous pieces were quite highly pre-planned in relation to the timbral elements or the pitch materials of each section. However, Fan
Dance is far more intuitive in the choices of pitches and in the whole structure and form. In this piece, I focused on exploring the instrumental technique of the trumpet and the harmonised sound of trumpet and string quartet. I applied the performance aesthetic of the traditional Korean ‘Fan Dance’ into my thinking in the piece.
‘Fan Dance’ is a Korean traditional group dance. A few women dance together and make beautiful shapes such as flowers and clouds with fans. The fascination of the ‘Fan Dance’ is that when the fan is folded, unfolded, spun around, and sprinkled, the sounds of squeaks are generated, and these sounds are harmonised with the accompanied Korean traditional music, so the sound adds to the overall sensory pleasure of the dance. Furthermore, when the women dance, they
46 wear Korean traditional cloth. When the women stretch out their arms, their clothing generates lines, parabolas, and curves. Additionally, the spinning movement of fans creates the blooming shape of flowers. All of these effects result in the ‘Fan Dance’ being a beautiful and special performable art. I translated these ideas and shapes into my composition.
Figure 28 Fan Dance
(Reuters, 2013)
To begin with, in order to express the folding and unfolding shapes of fan, I worked with changing the meters for the length of quavers in each measure in the first and last sections. For example, to reflect the shaping of the folded fan, the meter is decreased for the length of quaver from bar 2 to bar 8. In contrast, the meter is increased from bar 9 to bar 14 to reflect the shape of the unfolded fan increasing its span.
47 Fan Dance
Score in C
q=52 Sam Park straight mute. 1/2 valve trill 1/2 valve trill 1/2 valve trill 3 Ÿ~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~ µ k Ÿ~~~~~ gliss Trumpet in C > - >. -. -. -. fij >. . . . >...... & 45 Œ ‰ bœ œ ‰ bœ œ ‰ bœ b˙ bœ ‰ Œ ‰ bœ bœ bœ 4 81 Œ bœ œ bœ ® bœ bœ bœ bœ 4 ‰ bœ™ nœ nœ nœ bœ bœ bœ bœ bœ nœ ≈ ‰ 43 J J 3 J J 3 J 3 7 fp pp p mp mp p mp mf p mf pp mp p f pp
Violin I ° & 45 ∑ ∑ 4 81 ∑ 4 ∑ 43
Violin II & 45 ∑ ∑ 4 81 ∑ 4 ∑ 43
Viola B 45 ∑ ∑ 4 81 ∑ 4 ∑ 43
Violoncello ? 5 ∑ ∑ 4 1 ∑ 4 ∑ 3 ¢ 4 4 8 4 4
without mute. flz. 5 gliss bend 3 Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ gliss >. >. . r C Tpt. 3 1 Œ bœ nœ œ œ bœ bœ. ‰ ® bœ bœ. bœ 3 bœ œ 2 1 bœ ≈ 2 ∑ &4 8 4 æ æ Bbœ µœ 4 8 b˙ B 4 J 3 æ æJ 3 p mp mf mp mf mp mf p f
ord. sul tasto ord. sul pont. gliss 3 gliss. Vln. I ° 3 1 j 3 2 1 bO 2 bO &4 8 bO™ O 4 bO™ 4 8 ˙ ‰ 4 bœO b œ bO b ppp˙™ œ b˙™ æ b œ pp æp f mp mf mp
sul tasto ord. sul pont. 3 ord. 3 gliss gliss Vln. II j æ &43 81 Œ bO O 43 bO nO bO bO 42 81 Oæ ‰ 42 bO bO gliss. b ˙ œ b œ n œ b œ b œ ˙ b œ œ bbœO ppp pp mp ppp pp p f mp mf mp
sul pont. sul tasto ord. ord. gliss gliss Vla. 3 1 bO O 3 bO 2 1 bO 2 bO bO B 4 8 b ˙™ œ 4 b œ™ bbœO™ 4 8 b ˙ ‰ 4b œ™ b œ J æ pp J ppp pp mp æp f mf IV ord. b˙o Vc. ? 3 1 ∑ 3 ∑ 2 1 ∑ 2 ¢ 4 8 4 4 8 4 o
4 Figure 29 The decreasing meter change breathy 27 ord. 6 > Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 3 3 >. #œ œ C Tpt. 5#œ œ#œ 4 j j nœ #œ 4 œ j œ 3 j & 4 nœbœ œ j ‰ 4nœfi#œ œ #œ#œfi Œ 4 J #œfi j R ‰™ J œ. œ œ™ 4 ‰ Œ Œ nœ œ J œ œ > ff œb-œ bœ bœ bœ mf . p - bœ - mp p mp mf f mf p sffz> ord. 3 6 5 3 5 3 5 5 3 ≥ Second, I employedŸ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ an arch form of linear lines ingliss theœ string parts to express>œ Vln. I ° 5 j 4 4 #œ 3 œ#œ & 4 O O O O 4 gliss ‰ 4 œ œ œ œ 4 ‰ œbœ nœ J #œ œ œ œ #œ bO œ#œ œ#œ œ #œ œ #œ œ œ œ#œ œ#œ b˙ œ œ #œ œ#œ 3 f > œ bœ œb˙ ˙ nœ mf f bœ bœ nœ mp p mp mf f
ord. the ‘Fan Dance’3 s lines of parabola5 and5 curve. For3 example,3 Ÿ~~~~~~~~~~~~~~~~~~~ violin I3 plays5 an Vln. II 5 4 gliss 4 j 3 œ #œ œ & 4 j j ‰ 4 r 4 nœ #œ #œ œ r ≈ 4 ‰ #œ œbœ œ µœ nœ Bœ œ ˙ œ œ œ #œ bœ nœ œ œ œ œb˙ œ œµœnœBœnœ ˙ œ œ mf > œ™ œ œ™ œ mp -p mp > mf ord. 5 5 3 5 3 Vla. #œ œ j j j œ œ#œ œ ascendingB 5bœnœ œ œ line bar 33 and4 a descending4 Œ line barbœ bœnœ 34bœ -35. Thisœ j combination3 Œ ‰ #œ œ œ of 4 œ™ #œ #œbœnœ#œ nœ œ 4 #˙ œ O œ O œ œ 4 œ œ . . ™ œ #œ œ œ œ .#œ#œ 4 5 5 - > > > - > . - 3 mp p mp mp mf > mf
Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 3 Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Vc. œ ascending? 5 Ó andnœ descending 4lines formŒ Œ archj shapes,4 andj ‰forœ me, arej ‰ associated3 ≈ œ #œ with 4 b˙™ 4 œ œ œ 4#˙™ œ #œ ˙™ œ 4 œ œ #œ ¢ p mp pp p p mp p the lines of parabola and curve of ‘Fan Dance’. =104 rit. q
wa-wa mute 32 + o 3 3 j C Tpt. & 4 ∑ 42 ∑ 4 ∑ 43 ∑ 4 ∑ ‰ œ #œ j j œ œ ‰ p bœ œ mf arco spiccato pizz > > - > 3 3 3 Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ . œ #œ- œ œ œ œ#œ œ bœ œ nœ bœ œ #œ nœ #œ œ #œ. nœ.#œ. nœ. . . . . Vln. I ° 4 bœ- œ 2 R ≈bœ œ #œ œbœnœ 4#œ œ #œ- ‰ 3 œbœ œ œ œ j 4 Œ « ‰ Œ ‰ œbœ œbœ œ. & 4 4 6 4 3 4 œ#œ - #œ œ j 4 j 3 J 3 3 3 œ 6 - bœ nœ œ ff J mf - - -œ#œ ˙ œ p mf f sfz pp mf arco spiccato 5 pizz 3 3 6 . . Vln. II œ #œ #œ nœ œ.bœ. . 4 2 bœ œ #œ œ 4 3 œ 4 Œ Ó « ‰ Œ ‰ œ#œ. nœ. œ.bœ. œ. & 4 j œ œ œ 4#œ œ 4 œ #œ œ 4#œ œ#œ œ œ 4 j 3 œ œ œ œ bœ nœ f œ œ œ bœ œ b˙ œ #œ p f p mf mf f mf mf mf arco spiccato pizz œ 3 5 3 bœ. œ.bœ. . . . . Vla. B 4 J ‰ 2 4 3 ‰ 4 ∑ «j ‰ Œ Œ œ#œ œbœnœ. 4 #œ bœ 4 #œ œ bœ œ 4 nœ ˙ 4 œ j 4 œ œ ˙ œ œ œ œ#œ œ œ œ œ mp f mf p mf f p pp mf arco tapping Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ pizz œ 3 3 Vc. ? 4 2 4 3 j j 4 j «j œbœ 4 ˙ O 4 œ Œ 4 #œ ˙ 4 œ ‰ bœ ˙ 4 œ œ ‰ Ó bœ ‰ Œ Œ . . œ.#œ. nœ. nœbœ œ ¢ ™ œ œ p ™ > mp . . mf. p pp mf
Figure 30 The arch form of the linear pitch progression
In order to express the spinning shape of fans, I used the repetition of several pitches featuring leaping gestures and the flutter tongue technique in the trumpet part
48 in the last section. To reflect the centrifugal force generated when the fan is spinning,
I employed repetition of leaping pitches. 13
97 flz. b>œ bœ n>œ nœ > n>œ b>œ bœ n>œ nœ > n>œ b>œ bœ n>œ n>œ b>œ C Tpt. œ œ #œ œ œ #œ #œ nœ #œ œ œ #œ #œ #œ bœ b>œ > #œ #œ #œ #œ œ æ œ œ #œ œ œ œ #œ œ bœ #œ #œ #œ œ nœ & œ æ æ æ æ æ æ œ œ bœ #œ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ f sffz p æ æ æ æ æ æ æ æ æ æ æ æ mf fff
ord. sul pont. Vln. I ° gliss. æ & w œæ œæ wæ ˙æ #˙æ™ bw> œ œ bw> ˙ ™ sffffz p f ffff
ord. sul pont. Vln. II & gliss. æ æ æ æ æ b˙æ >˙™ ˙ œ w> ˙ ™ sffffz p f ffff
ord. sul pont. gliss. Vla. B æ æ æ æ æ ˙ ˙æ™ œæ wæ ˙æ #˙æ™ >˙ ˙™ œ w> ˙ ˙™ sffffz p f ffff
sul pont. ord. Vc. ? æ æ æ æ ¢ w œ œæ wæ ˙æ ˙æ™ w> œ >œ w ˙ ˙™ sffffz p f ffff 1/2 valve trill 100 ord bœ n>œ n>œ >œ b>œ bœ n>œ b>œ œ >œ œ b>œ œ b>œ Ÿ~~~~~~~~~~~~~~~~~~~~~~~ C Tpt. #œ bœ b>œ > nœ #œ #œ #œ #œ #œ nœ #œ œ #œ œ œ œ #œ #œ > bœ #œ #œ #œ œ nœ œ œ œ bœ #œ œ nœ #œ œ ≈ bœ œ œ bœ ≈ ‰ Œ Œ Ó & bœ #œ æ æ æ æ æ æ æ æ J R æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ Figureæ æ æ æ æ æ 31æ æ æThe repetition of the pitches in trumpet mp p
ord. sul tasto Vln. I ° & ˙æ #˙æ wæ r ≈ ‰ Œ Œ Ó ˙ ˙™ w bœ w œ œ ff ppp Fan Dance is the first piece where I appliedord. my Korean cultural backgroundsul tasto to Vln. II ≈ ‰ Œ Œ Ó & æ æ æ r ˙æ™ b˙æ wæ œ w œ œ f ppp the music directly. This application of Korean culturalord. background can alsosul tasto be seen in Vla. B æ æ æ r ≈ ‰ Œ Œ Ó wæ #œæ wæ nœ w œ œ f ppp the next piece Mesmerizing Jin-yi Hwang. ord. sul tasto Vc. ? æ æ æ r ≈ ‰ Œ Œ Ó ˙æ™ ˙æ wæ œ w œ œ ¢ ˙™ ˙ w œ w œ œ ppp f 2.4. Mesmerizing Jin-yi Hwang (2011)
I used a Korean traditional poem, written by Jin-yi Hwang (Joseon Dynasty
(1392-1910)) in the piece Mesmerizing Jin-yi Hwang for solo mezzo soprano. My initial idea was to explore the difference between words and sounds, that is the difference between semantic meaning and the expressiveness of pure sonic material.
For this reason, I wondered whether for listeners who do not understand Korean, if the language as sound would lead to differences in how the music can be understood?
If this were so, how could I use the text of the poem to deliver the meaning of the
Korean words to the listeners? These initial questions served as a momentum to compose this piece.
First, I used the Korean words as a source of phonetic sounds; for example, I divided the word “cheing” (which means blue) to “ch” and “eing” and “jalang” (which means boast) to “ja” and “lang”. To create a form based on sections, I divided the
Korean text into five sections, with each section composed of phonetic fragments of
49 the Korean words. After arranging the phonetics derived from the Korean words, I looked at the English translation of each phrase.
Korean English
The first section Cheing san li byuk gay su ya Respectable Byuk Gay-Su
The second section Su I gam eul jalang ma ra Do not boast of leaving so
early
The third section Il do chang he ha mawn When you venture out to the
Dol a o gi eo law u ni sea, it will be difficult to return
The fourth section Mawng wour i man gong san ha ni The full bright moon above
the empty mountain
The fifth section Shi eo gan deul eo teo ha li How about staying here to
rest
Figure 32 The phonetics of Korean and the meaning in English in each
section
The other point for the composition of this piece was to employ the patching technique of Jogakbo. I used the patching technique to generate my own musical language by composing measures that have similar shapes juxtaposed side by side.
For example, the measures are juxtaposed from bar 1 to bar 3 with similar shapes in the use of speaking sounds. However, I changed the rhythms from four quaver notes
Mesmerizing Jin-yi Hwang from bar 1 to a quintuplet in bar 2 and then to a sextuplet in bar 3. This use of rhythmic change reflects the slightly different shapes of the scraps in Jogakbo. Sam Park
q=56
mf mp mf f mp mf f ff mp 5 6 breathy tone. > > > > > > gliss. r & 48 85 œ ≈ 48 ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ O ÍÍÍÍÍÍ [ch] [ch] [ch] [ch] [ch] [ch] [ch] [ch] [ch] [ch] [ch] [ch] [ch] [ch] [ch] [ch] [eing]
Figure 33 The rhythmic change
p f p p f mf f p mf p 5 > 3 3 > breathy tone breathy 3 fij 3 fij 6 ¿ - > - ¿ j j > > > > gliss. ≈ 4 Œ ¿ Œ ¿ Œ ¿ ¿ Œ ¿ ¿ 5 ¿ 4 j ‰ 5 & 8 fij 8 . . . . . 8 œ O 8 [sa][sa] [sa]¿ [sa] [sa] [sa] [sa] [sa] [sa] [san]O™ [li] ∑ ∑ ∑ ∑ ∑
throat tremolo air (tenderly) fp ff mp fff mp mf mf f 9 gliss. > - - - .r - 5 æ 4 U 5 j & 8 œ™ œ œ™ œæ 8 O Oæ ˜O ‰™ 8 ˙ #œ nœ™ œ 50 [Byuk] [Gay] [Su] [ra] [shi] [s/sh]™ [sha] Res - - pec ta In order to express the change of colours of the scraps in Jogakbo, changes of vocal techniques are utilised. For example, in bar 20 and in bar 23, similar rhythmic patterns are used. However, the speaking technique is used with
2 semiquaver triplets in bar 20, whereas the normal pitch changing to breathy sound
accel. tongue click mf p pp mp mf f f mp with15 glissando technique3 is used in bar 23.tone breathy > 5 - - fij > r - œzU > >¿ & œ nœ ≈ œ Bœ œ #˙ j j Œ 4 ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ œ B ™ #œ œ O 8 ¿ ble Byuk Gay Su ˜ ˜ [o] [su] [su] 6 ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
rit. a tempo. pp fff f pp f ppp f p f p f p breathy tone 20 3 3 3 3 3 3 > > > 3 > - > > > gliss. r #¿ n¿ b¿ ‰ r 5 bœ 4 j ‰ bœ bœ bœ j æ bœ ≈ & ...... œ 8 œ ÍÍÍÍÍÍÍÍÍÍÍœ œ 8 œ O O O O O Oæ™ ÍÍÍÍÍÍÍ [i] [i] [i] [gam] ™ [eul] [eul] [eul] [eul] [r/eul] ∑ ∑ ∑ ∑ ∑ ∑
Figure 34 The differentrit. vocal techniques in bar 20 anda tempo. in bar 23 throat fff ff _A _A _A tremolo L ffff 25 3 3 3 p > > > 3 U> œ œ bœ œ œ æ r √ r fij j r ≈ fij ≈ fij B ≈ fij ≈ j µ æ ≈ ≈ bœ & œ J µœ J #œ J nœfi J œ™ O j œ œ™ #œ µœ nœ™ œ 5 [ja] [lang] [ma] [ra] [ha] [ka] [sha] Doœ not boast of lea - ving Mesmerizing Jin-yi Hwang∑ ∑ ∑ ∑ presents∑ ∑ ∑ the different concepts of word as meaning and as soundffff as well as the character of airJogakbo + with slightly pitch, working with an p mf p L ord. nasal. f ff mf pp p pp 30 3 fff ff >x > 3 3 Ÿ~~~~~~~~~~~~~~~~~ j x x x > > > > gliss. irregularitybœ ofnœ formalbœ ‰ plan‰ akine e tobe #thex bscrapsx x ‰ and patching‰ techniquej ofO Jogakbo√. j √‰ 3 & œ ˙ œ ™ R e e e e x œ œ O O O O O O 8 so ear ly [hi] 5 e [hi] . . [ha] . . [a] [u] [wa] ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ 2.5. The Scent in the Wind (2011)
In The Scent in the Wind for solo piano I sought to find stronger musical analogues with the character of Jogakbo, where spontaneity within the law of irregularity is generated. I explored a variety of piano timbres, especially multiphonic sounds and use of harmonics by preparing the piano’s strings to create a complex hierarchy based on these timbres in the musical structure. I also explored how small structures can be nested in a formal canvas and landscapes. Therefore, this shape of nested fragments in large landscapes was something central to this composition's conception.
As discussed in the chapter 1.3.1. ‘Pitch Organisation’, the central pitches are
C, Db and D, and I explored multiphonic sounds, which are generated from the pitches C and Db, to compare the colours between the multiphonics and nomal pitches. Furthermore, I composed with the harmonic pitch B based on the low pitch G
51 [ Multiphonic sounds ]
[ Multiphonic sounds ] to use the medium between multiphonic sounds. This is because the pitch B is the 1/6 nearest tone of one of the components1/6 w of multiphonics such as the pitchbw B, 1/6 lower w w & bww wI Bw & µw I µ Bw tone of1/6 B, and a lower quarter1/6 tone of B. Furthermore, in order b tow explore the bw bbww ? I ? I w n#w w #w philosophy wof Yin-Yang, the harmonicw sound B is used with the multiphonic sounds at n w w bw nw the sameC [4,7,11,15] time and to present ofDb the [1,5,9,14] wdifferent timbre and colourD [4,5,9,13] from thebw multiphonic nw { ! C [4,7,11,15] Db [1,5,9,14] D [4,5,9,13] sounds. { ! [ Harmonics sound ]
[ Harmonic sound ] & ∑ ∑ real sound ? % & ∑ ∑ ∑ ∑ real sound G ~[5] { ? % ∑ ∑ ~ { G [5] ! ! Figure 35 The harmonic sound B generated on the pitch G
! In the first section of The Scent in the Wind, I used two different multiphonic ! sounds in order to cause tension. Two multiphonic sounds emerge in turn in bar 1-2 ! and they are performed simultaneously in bar 3 to give punctuation. In order to set up ! a complex hierarchy of musical sound, the unprepared pitches C and D are played in
bar 6. Therefore, normal sounds are nested into the multiphonic sound. This nested
component’s character can be seen with an interaction between meter and rhythm. In
figure 10, the meter of each measure is changed as a ratio 5-4-3-1-3-5-4 in the first
section. Similarly, the rhythmic pattern of the pitches C and Db in bar 6 is shown up
in the ratio 5-4-3-1-3-5-4 based on semiquaver (see figure. 10). Therefore, the
combination between meter and rhythm shows that small elements and large
elements build a variety of hierarchies in music.
This nested component is also explored from bar 41 to 61. In this section, I
52 combined multiphonic sounds, a harmonic sound and unprepared pitches. In figure
36, the pitches C and Db are performed in a high register and the multiphonic sound of the lowest pitch Db is performed at the same time. In bar 45 I added the harmonic pitch B allowing for the unprepared pitches and the harmonic sound to be nested into multiphonic. In this way, all timbral categories are brought together into a harmonised single relationship.
5 h=45
fibœ nœ > 41 œ œ#œ bœœ bœœ bœœbœœ bœœ bœœ bœœ bœœ bœœbœœ bœœ bœœ bœœ bœœ bœœ bœœ bœœ bœœ bœœ bœœ bœœ bœœ bœœ bœœ œ bœœ bœœ œ &42 bœœ bœœbœ bœ 5 5 5 5 5 5 p
? 42 b˙ b˙ b˙ b˙ b˙ b˙ b˙ b˙ b˙ b˙ b˙ b˙ { p ° ø ø
44 bœœ œbœœ œ bœœbœœ bœœ œ œbœœ bœœ œ bœœ bœœ bœœbœ bœœbœbœœ œbœœ œ bœœ bœœ bœbœœ œ bœœbœœ bœœ œbœ bœœ bœœbœ bœœ b œ bœ b œbœb œ bœb œ b œ b œ b œ bœ & œ œ œ œ œ œ œ 5 5 5 5 5 5 mf > ? %™ > >
b˙ b˙ b˙ b˙ b˙~™ b˙ b˙ b˙O b˙~ b˙ b˙~ b˙ mp { ° ø °
5 Figure 36b Theœb œ nestedb œ components b ˙ 47 œ œ œ œ™ ˙ œ œ bœœ bœœ bœ™ #œbœœbœœ™ œ œ bœœ bœœ œ bœœ œ œ œbœœ bœ b œ bœ b œ ™b œ bœ bœ #œbœ b œ b˙ bœ bœ & œ œ œ ™ œ œ & In this5 piece, I also employed5 a ‘Distorted Spectral6 Pitch Scale’.6 First, I used mf multiphonic? >notes from the lowest> pitches C and Db, >and then I added> the pitches G O ~ O O ~ O and bA.˙ Theb ˙pitch G isb˙ from the blowest˙ pitchb G,˙ which generatesb˙ b˙ the harmonicb˙ sound B { ø ø ø and the pitch A is added in order to connect between the pitch G and Bb for considering the5 natural flow of scale.5 This ‘Distorted5 Spectral Pitch Scale’5 is used in bœœ bœœ bœœ bœœ bœœ bœœ 49 b œ bœ bœ b œ b œ b œ b œ bœ bœ b œ b œ b œ the secondœ œ sectionœ œ and theœ œ fifthœ sectionœ œ œ asœ anœ ascendingœ œ œscale. œ œ œ œ œ œ œ & bœ bœ bœ bœbœbœ bœ bœ bœ bœ bœ bœbœbœ bœ bœ 6 6 6 6
? O O O O O O O O b>˙ b>˙ b>˙ b>˙ b>˙ b>˙ b>˙ b>˙ { ° ° 53 3
q=72 23 r j r r j 5 bœ ≈ ‰ ≈ œ œ #œ bnœ™ nœ ≈ ‰ 4 bœœ ≈ ‰ ≈ bœ™ œ nœ n #œ #œ™ 3 &4# œ nœ™ œ #œ™ b œ œ™ n œ 4# œ # œ™ œ n œ™ n œ b œ™ 4 >œ n œ™ œ b -œ™ > -™ nœ. >œ œ™ œ n-œ™ > - mp mf mp mf bœ ? nœ œ bœ n>œ œ #œ œbœ 45 bœ nœ bœ bœ ™ 4 bœ nœ bœbœ 43 #œ > > nœ #œ nœ 6 œ bœ ™ œ™ 5 pp> mp >p mf ° ø ° ø
{ rit.
25 3 > #>œ > œ œ > 3bn œœ ≈ ‰ bnœ #œ nœ bœ™ nnœ 2 bœœ bœœ bœœ 3 &4 # œ nœ b œ œ # œ™ #œ 4 4 R - - b -œ -œ™ > 3 mf f ff ° ø 6 5 > bœ b˙ ? 3 bœ bœ #œ œ œ 2 n˙ 3 4 œ œ bœ nœ œ ™ 4 ∏∏∏∏∏∏∏∏∏ ˙ 4 œ bœ nœ #œ 7 ‰ mp> f œ œ bœ 3 J 3 p ° ø ø ° { =84 q I used this scale many times in the piece. Therefore, the seven partials of two 27 > > nœ bœ œ - . . nbœœ bœœ > # œ n œ #œ nœ™ œb œ bœ-™ œ b œ bœ nœ-™ . multphonic3 œ bœ n œ bsoundsœ™ are#œb nmoreœ bœ™ highlighted1 .b œ œ 3#œ bnœ bœ œ™ b bœnbœ bœ 1 &4 3 ™ 4 4 nœ™ b œ œ nbœ 4 3 3 - . mf mf 6 > 5 bœnœ bnœ 5 ? 3 nœ #œ œ œ 1 nœ 3 bœnœ#œ œ œ 1 4 œ œbœ nœ œ œ 4 4 œ œbœ œ 4 œ bœ œ #œ 7 nœ œ bœ bœ œ #œ 6 Example&&&&&mpII.&&&&&&&&&& 23Intersection:&: ‘DistortedPatching& Spectraland&Stitching&Technique Pitchf Scale’ inp Thes& &Scent in the Wind. f 2 Figure° 37 ø‘Distortedø Spectralø Pitch Scale° ’ ° ø ø { My interest in patching and stitching techniques has remained strong since This30 scale appears- in the second section5 (at bar 11-26) and in the fifth section my first> #appreciationnœœ œœ for it. These techniquesbœ form a natural bconnectionœ nœ #œ nœ nœ bœ nœ 1 #nœœ 4 œ bœ œ nœ n œ œ bœ nœ œ bœ 5 &q4=90 4 #œ bœ œ #nœ nœ œ 7 4 (at bar 67-88) as ascendingœ scales. 6 p f betweenmf elements or sections. Therefore, musical structure and form can be 7 3 intertwined11 nœ delicately by5 these techniques. bœ nœ nœ bœ bœ ? 1 # œ r 4 > b>œr nœ #œ nœ rœ j nœ ? 5 4 5#œ j4 #œ nœ bœ 4 œ & nœ #œ œ #œ #bœœ nœ 3 4 &4>bœ ≈ ‰ ≈ œ œ #œ nœ œ #bœœ™ nnœ ≈5 ‰ 4 bœ ≈ ‰ 6 ≈ bœ™ œ nœ œ œ™ 4 # œ nbœœnœ™ œœœ n œbœ™ b œ œ™ nœ # œ b œ™ œ>œ™> œ b -œ™ n œ™ œ b -œ™p -™ . ™ n-œ™ > f mf> œ > > mp mf mp mf ° ø ø ø The Scent in the wind is made upœ of fivebœ different sections and each section is ? nœ bœ n>œ œ #œ œbœ { 45 bœ nœ bœ bœ R 4 bœ nœ bœbœ 43 #œ > > 5 nœ #œ nœ 6 œ bœ ™ œ™ 5 associatedppFigure> 38with ‘Distorted the following Spectral section Pitch by Scalemp stitching>p’ in the and second patching section technique smf.
Thus, stitching and patching techniques are used as therit. linking parts. The {13 My interest in the character of Jogakbo is also reflected into this piece, for 3 > > nœ œ #>œ > preceding3bn œœ ≈three‰ linkingnœ part#œ s, ofnœ the four linking npartnœ s,2 arebœœ composedœœ of œœ 3 &4 # œ nœ œ n œ # #œ™ #œ 4 4 example R the patching and- stitching#-œ b -œ techniques# -œ™ of >Jogakbo 3are used to connect stitchingmf technique. f ff between measures or sections.6 The use of these techniques provides a method of 5 b˙ > œ œ bœ ? 3 œ bœ bœ™ #œ 2 n˙ 3 4 œ œ bœ nœ 4 ∏∏∏∏∏∏∏∏∏ 4 creating anœ intertwinedbœ nœ #œ structure. For example,7 The Scent in‰ the wind is made up of mp> f œ œ bœ 3 J 3 five Multiphonic+ sections Stitching+ and + eachSpectral+Scale section+++++++++Stitching+ is associated+ Multiphonic+ Stitching with + theExtended following+ Patching+p section+ Spectral+Scale by stitching+ sounds+of+ techniqu ++ techniqu Sound+ techniqu Stitching+ Technique+ ++ { the+pitches+ e+ Chords+ e+ ++ e+ technique+ + Multiphonic+ =90 C+and+Dq b+ based+on+ Harmonic+ (rested+ Sounds+ andExample +patching+ 24 techniques.: ‘DistortedSpectral+scale For Spectral+ this reason,Sound Pitch+ the Scale stitching’ at bar and 11 patching-14measure) in The+ techniques++ Scent in are 15unprepared> + ++ > > Harmonics++ nœ bœ œ œ-™ œ. . - nbœœ œœ œ b œ - . pitches3# œ+ nbœ n#œ bnœ™ #œ #œ #œ™ unprepared+1 bœœ 3#œ nœ bœ nœ™ bœ bœ Sound+bœ 1 employedthe& Wind4 as. the linking parts.n œb œ œ™ pitches+4 4 œ b œ bœ nœ™ bb œ œ n œ 4 3 3 - bœ + 3 . ! ! mf mf 6 > ! Example5 26: The musical formb œofnœ Thebnœ Scent in the Wind5 Multiphonic? 3 Stitching Distorted nœStitching#œ œ œ Multiphonic1 nœ Stitching3 Extended Patching nœ#œDistortedœ œ 1 4 œbœ nœ œ œ 4 4 œbœ œ bœ 4 Sounds bœtechniqueœ #œ œ Spectral technique7 Sounds techqnique bœ sœtitching#œ œ technique 6 Spectral + œ Pitch Scale + nœ œ bœ technique (rest) Pitch Scale mp f p f Unprepared Harmonic + Pitches Sound Multiphonic + Sounds The primary way of stitching techniqueUnprepared I used in this piece is chords and + { Pitches Harmonic 18 - 5 Sound arpeg>gios#n.œ œThe pitchesœœ generated from the multiphonic soundnœs,# œbasednœ nœ bonœ n œthe 1 #nœœ 4 œ bœ bœ nœ nbœ œ bœ nœ œ bœ bœ 5 &4 4 #œ bœ œ #nœ nœ œ 7 4 œ 6 pitches C and Db arep played as chords and arpeggios. The chords and f mf Figure 39 The form of The Scent in the Wind 7 3 nœ 5 bœ nœ nœ bœ bœ Example? 1 # œ 25: ‘Distorted4 Spectral> b >œPitchnœ #œ Snœcaleœ ’ at bar 69-70 in The Scentnœ 5in 4 #œ 4 bœ & nœ #œ œ œ bœ nœ 4 ! > nbœœ œœ bœ nœ #œ 5 41! 6 > > The primary methodp of stitching technique that I employed in this piecef is a the Windmf œ rather{ literal imitation of the shape of the stitches in Jogakbo with chords and
! 40! 54 4
32 3 > > n œ- œ > > > 5 b#œ b#œ nnœ™ n>œ œ nbœ œnœbœ œ œ #œnœbœ n nœ n œ # œ™ n>œ œj 5n œ ‰ n œ œ™ b œ œ bœ 4 b œ ‰ bœ n#œ™ n œ œ #œ œ œ 3 &4 b œ œ J 5 4 nœ œ # œ œ nœ#œnœ 4 J 3 J 3 J 3 J n-œ œ ff f p f p
5 3 œbœnœ œ bœnœ œ ? 45 ‰ bœ nœ œ bœ bœ nœ#œ 4 ‰ bœ œ bœ nœ#œ 43 nœ#œ œ œ 5 nœ#œ œ œ 5 œ bœbœ bœ 3 { ° ø ø ø ° ø ø 34 3 3 3 j 3 œ- 3 j ‰ j nœ 2nœ. nœ. . 3 j ‰ j ?n#œ 4 &4n#œ #œ œ™ #œ œ b œ 4 œ œ bœ #œ. bœ. 4 bœ bœ bbœ™ #œ œ J 4 nœ nœ bœ™ # œ œ - œ œ œ œ nœ™ # œ œ > > > œ œ 9 nœ œ > nœ œ mf > p p> > >
3 5 #>œ œ n>œ œ >œ ? bœ œ œ ? ? 43 ‰ n œ œ#nœ œ #œ™ 42 œ. bœ œ bœ 43 ‰ r #œ™ 4 R n œ™ . . œ. bœ œ bbœ œ œ™ 3 5 œ œ nœ œ > >œ œ > ° ø ø ° ø ø
{ accel. arpeggios. The chords and arpeggios are played either synchronously or 37 - >œ j bœ œ # œ...... ? 4 # œ bœ nbœ™ nœ œ bnœ 5#œ bbœ œ n#œ bnœ #œ. nœ nœ 3 asynchronously.4< >œ ‰ œ nœ™ These#œ œ elemeJ nts of the4n œ stitchingnœ nœ technique#œ nœ œ areb œ sometimesœ #œ bn œcombined#œ & 4 J nœ ™ œ œ 3 #œ nœ nœ nœ 3 > > > #œ nœ mp with the multiphonic sounds. For example, the multiphonic sounds of the9 pitches C 3 5 œ ? 4 ‰ r #œ™ œ nœ 5 3 4 bœ œ œ™ #œ # œ 4 #bœ nœ #œ n œ #œ œ 4 and Db bcanœ beœ bseenœ œin >the secondn œ. linkingœ. part.nœ œ n œ bœ œ bœ nnœ #œ nbœ œ œ n>œ œ . . #œ. n œ. #œ. œ œ nœ b œ > fff ° ø mf approx. 5'' { =60 q >
nœ ∏∏∏∏∏∏∏ 39 n œ √œ U b œ n Uœ œ œ 3 nœ œ J #œ 2 œ bœ œ 4
n œ œ ‰ ∏∏∏∏∏∏∏∏ œ œ œ œ &4 nœ œ 4 J nœ œ 2 mp J 3 sfz 3 f mf p p approx.
∏∏∏∏∏∏∏ 3 U U 5'' bœ œ bœ ? 3 b˙ nœ 2 œ j √ 4
∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏ b œ œ ≈ 4 ˙ 4 ‰ œ œ r 2 ‰ #œ œ bœ œ b œ J Jœ œ™ mfœ > 3 > u > 3 sfz sffz { ° ø ø ø ° *
Figure 40 The stitching technique 1
The stitching techniques of small concepts are also used as a mediator of musical elements; for example, the first five ornament notes in bar 41 play a role not only in linking notes between the second section and the third section but also in including notes of the third section. The shape of these ornament notes is extended as a normal rhythm in the last notes of the third section and is used the first bar of the fourth section. Therefore, these ornament notes are used as a linking factor between notes, and demonstrate the nested component in this piece.
5 h=45
fibœ nœ > 41 œ œ#œ bœœ bœœ bœœbœœ bœœ bœœ bœœ bœœ bœœbœœ bœœ bœœ bœœ bœœ bœœ bœœ bœœ bœœ bœœ bœœ bœœ bœœ bœœ bœœ œ bœœ bœœ œ b œ b œbœ bœ &42 œ œ 5 5 5 5 5 5 p
? 42 b˙ b˙ b˙ b˙ b˙ b˙ b˙ b˙ b˙ b˙ b˙ b˙ { p ° ø ø
44 bœœ œbœœ œ bœœbœœ bœœ œ œbœœ bœœ œ bœœ bœœ bœœbœ bœœbœbœœ œbœœ œ bœœ bœœ bœbœœ œ bœœbœœ bœœ œbœ bœœ bœœbœ bœœ b œ bœ b œbœb œ bœb œ b œ b œ b œ bœ & œ œ œ œ œ œ œ 5 5 5 5 5 5 mf > ? %™ > > 55 b˙ b˙ b˙ b˙ b˙~™ b˙ b˙ b˙O b˙~ b˙ b˙~ b˙ mp { ° ø °
5 b œb œ b œ b ˙ 47 œ œ œ œ™ ˙ œ œ bœœ bœœ bœ™ #œbœœbœœ™ œ œ bœœ bœœ œ bœœ œ œ œbœœ bœ b œ bœ b œ ™b œ bœ bœ #œbœ b œ b˙ bœ bœ & œ œ œ ™ œ œ & 5 5 6 6 mf ? > > > > b˙O b˙~ b˙ b˙O b˙O b˙~ b˙ b˙O { ø ø ø
5 5 5 5
49 bœœ bœœ bœœ bœœ bœœ bœœ bœœ œbœ œ œbœ œ œbœœ bœœ œ œbœœ bœœ œbœ œ œbœ œ œbœœ bœœ œ œbœœ bœ bœ bœ bœbœbœ bœ bœ bœ bœ bœ bœbœbœ bœ bœ & 6 6 6 6
? O O O O O O O O b>˙ b>˙ b>˙ b>˙ b>˙ b>˙ b>˙ b>˙ { ° ° 7
58 5 5 œ 4 & nœ œ œœ 2 œ bœœ bœœ œœ bœœ™ œœ bœœ™ bœ bœœ bbœœ bbœœ bbœœ bbœœ bbœœ bœœ bbœœ bbœœ bbœœ > œ œ œ ™ œ œ ™ > > > >œ œœ >œ > > > > > f - - > > fff
5 5 ? 4 bœœ bœœ bbœœ bbœœ bbœœ bbœœb bœœ bbœœ œ ˙ bœœ bbœœ bbœœ bbœœ 2 œ bœœ > > > > > > n >œ >œ bbœœ ˙˙ > > > >œ bb#œœ > > > ff f fff { ° ° 59 3 5 4 j & 2 b b œœ b œ b œ œ b œ b œ b œ bbœœ bbœœ bbœœ bbœœ bbœœ b œ < >< >œ œœ œœ œœ œ œ >œ >œ >œ >œ >œ >œ >œ >œ -f - - - ff ffff
5 5 nœ ? 4 bœœ bœœ bœœ bœœ bœœ bbœœ bœœ b œœ bœœ bœœ œ œ œ œ 2 b œœ b œœ b œœ b œ #œ œ #œ ™ > > > > > > > > > > b-œ b œœ œœ b œœ™ nœ ™ > > ™ b œœ™ ffff ff b>œ ™ ° °
{ rit. bœ>œ œbœœ œ bœ>œ œœ 60 > œ œ œbœ œ œ œ œ œ œ œœ œ œ bœ bœ b˙˙ œbœœbbœœbbœœbbœœbbœœbbœœbœœ œbœbœ œœœ œœ œœ œœ œœ bœ>œ 3 & 5 5 4 œ 5 5 > 5 ff f ff f mf f mf
3 3 nœnœœ œœ œœ œœ œœ œœ œœ œ œ œ - - ? œ œœ œ œœœbœœbbœœbbœœb œ Œ Œ 3 nœ œ œ œ œ œ œ œ œ ˙ œ ˙ ˙ œ 4 b œœ 5 5 b˙ n˙ b˙ nœ > pp b˙ nœ ° ° ø
{ q=60 q=68 5 U 62 nU˙ fi ˙ nœbœbœ #œ bœ- œ œ - n˙ ™ bœ™ œ œ œ œ bœ œ œ nœ œ™ œ ∏∏∏∏ #œ œnœ œ™ œ &43 ≈ 4 J ∏∏∏∏∏∏∏∏ nœ™ J #œ bœ nœœ 5 3 # -œ mp mf mp mf 3 3 5 - ∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏∏ U U j > bœ œ fi nœbœ bœ œ bœ bœ bœ b˙ nœ œ œ ? œ nœ ? 3 ˙ n œ 4nœ œ œbœ œ œ œ & bœœnœ #œ 4 #œ œ 4 ‰ bœ #œœ bœ ‰ J 3 n#œn œ #œ nœ œ œ bœ œ ™ 3 J ™ u 3 mf { ° ø ø ø ø ø ø ø Figure 41 The stitching technique 2
The patching technique is used throughout music. For example, in the second section, each measure emerges in a reductive shape and in the third section; the measures having similar shapes are juxtaposed side by side. Furthermore, the patching technique can also be seen as the bridge between the fourth section and the fifth section. There is an empty measure featuring a long fermata between the two sections and, in this empty measure, there exists a silence connecting the two sections. I explore the invisible flowing energy from the philosophy of Maek in this space. For example, the previous sound of the fourth section decays, and suggests a decreasing energy. At the same time, an increasing energy is generated by the performer preparing to play the fifth section in this space, which for me is a way of imagining an invisible energy flowing across the sections.
3
q=72 23 r j r r j 5 bœ ≈ ‰ ≈ #œ nœ™ nœ ≈ ‰ 4 bœœ ≈ ‰ ≈ bœ™ œ n #œ #œ™ 3 &4# œ nœ™ œ #œ™ b œ b œ™ n œ 4# œ # œ™ œ nnœ™ n œ b œ™ 4 >œ n œ™ œ b -œ™ > -™ nœ. >œ œ™ œ n-œ™ > - mp mf mp mf bœ ? nœ œ bœ n>œ œ #œ œbœ 45 bœ nœ bœ bœ ™ 4 bœ nœ bœbœ 43 #œ > > nœ #œ nœ 6 œ bœ ™ œ™ 5 pp> mp >p mf ° ø ° ø
{ rit. 25 3 œ >œ #>œ > > 3bn œœ ≈ ‰ bnœ #œ nœ bœ™ nnœ 2 bœœ bœœ bœœ 3 &4 # œ nœ b œ œ # œ™ #œ 4 4 R - - b -œ -œ™ > 3 mf f ff ° ø 6 5 > œ bœ b˙ ? 3 bœ bœ #œ œ 2 n˙ 3 4 œ œ bœ nœ œ ™ 4 ∏∏∏∏∏∏∏∏∏ ˙ 564 œ bœ nœ #œ 7 ‰ mp> f œ œ bœ 3 J 3 ° ø ø p ° { =84 q
27 > > nœ bœ œ - . . nbœœ bœœ > # œ nbœ #œ nœ™ œb œ bœ-™ œ b œ bœ nœ-™ bœ. bœ 3 n œ b œ™ #œbnœ bœ™ 1 bœœ 3#œ bnœ bœ œ™ b œn œ bœ 1 &4 3 ™ 4 4 nœ™ b œ œ nbœ 4 3 3 - . mf mf
6 > 5 bœnœ bnœ 5 ? 3 nœ #œ œ œ 1 nœ 3 bœnœ#œ œ œ 1 4 œ œbœ nœ œ œ 4 4 œ œbœ œ 4 œ bœ œ #œ 7 nœ œ bœ bœ œ #œ 6 mp f p f { ° ø ø ø ° ° ø ø 30 - 5 > #nœœ œœ bœ bœ nœ #œ nœ nœ bœ nœ 1 #nœœ 4 œ bœ œ nœ n œ œ bœ nœ œ bœ 5 &4 4 #œ bœ œ #nœ nœ œ 7 4 œ 6 p f mf 7 3 5 nœ bœ bœ ? 1 #nœ 4 > b>œ nœ #œ nœ œ bœ nœ nœ ? 5 4 #œ 4 bœ & nœ #œ œ œ bœ nœ 4 > nbœœ œœ bœ nœ #œ 5 6 > > p f mf œ { ° ø ø ø 8 3 > 65 b œ œ bœ - j b œ œ nœ - ˙™ œ #œ™ œ œ #œ œ #œbnœ œ bœ- œ bb˙˙™ & # œ œ œ œ J œ œ #œ œ Œ ™ < > J 3 3 J ‰ 3 mp f mp p 3 j > 3 nœ #œ nœ bœœ œœ 3 œ bœ j ? bœ œ#œnœ nœ œ bœ ? #œ nœ œ e e <#>œ & bœ b œ œ 5 œ œ#œ nbœ œ 3 -œ œ 3 n-œ - œ #œ œ - p O O mp sfz> { ø ø ø ø ° ø 68 - - œ b˙™ bœ ˙-™ œ n˙ œœ ‰ b˙˙™ bœœ ‰ b˙˙™ œœ ‰ Œ bn˙˙ & J J ™ J mp p mp
3 3 nœ bœ™ j nœ bœ j ? #œbnœ œ e e œ #œbnœ œ e e 3 œ œ 3 œ œ mp f bœ œ >O O >O O nœ bœ œ œ sfz sfz > . ° ° > { ø ø ° ø 71 > œbœœ bœ œ. œ bœœ œœ- œœ œœ bœ- - - œ- œ- œ- bœ œ œ œ #œ- nœ- bœ- bœ- - bœ œ bœ & œ bœ œ bœ bœ b œ b œb œb œbœœ ‰ J J nœbœnœœ œœ 3 5 J 3 3 3 3 mf f
------œ bœnœ œbœ œbœ - ? œ œ œ œ œbœœnœœ œ œ bœ œ- œ- œ- œ- ? ™ bœ œ & bœœœ œœ œœ bœ bœ œ bœ œ œ œ œ œœbœœ 3 3 œ™ œ 5 5 œ™ œ pp p 5 ° ø ø ø { ° ° rit. approx. - 5'' 74 nœbœ œ#œ nœ bœ œ #œ™ œ- œ- œ- bœ- œ- bœ- œ- bœ- œ œ œ œ œ œ™ œ œ œ b œ œ b œ œ b œ œ √ & œ bœ œ J J ‰ R ≈ 41 ∑ 45 3 J 3 3 5 5 5 ff p mp p
3 3 œ- œ- œ- œ- j e √ ? nbœœ œ œœ œ œ- œ j 41 ∑ 45 bœ œ bœœ œœ œ œ 5 - - - O b-œ œ b-œœ œ. sfz- mf { ° * Figure 42 The patching techniques in the second section and between the fourth and fifth section
In The Scent in the Wind, I explored a variety of piano timbres through the usage of multiphonic sounds, harmonic sound and unprepared pitch sound to reflect the tactility experienced from the different layers of blowing wind. Additionally, the structure of The Scent in the Wind reflects the visual shape and techniques of
Jogakbo, through the means of reflecting patching and stitching, more directly than the previous pieces. I further explored this character of Jogakbo and harmonic spectrum in the next piece The Journey of the Sun for 16 instruments.
2.6. The Journey of the Sun (2012)
In The Journey of the Sun for 16 instruments, I focused on the patching technique of Jogakbo to compose a form based on several sections. I also explored harmonic spectrum of the pitch A in the piece. For example, the combination of partials based on the low pitch A can be seen in the first section.
In the first section, I combined the partials vertically and horizontally. I chose six partials of the low pitch A intuitively in bar 1-6. These chosen partials migrate into other instruments and are combined with new partials in bar 7-12. Additionally, in order to generate a progression, I created an ascending linear line with the specific partials in violin I, II, and viola.
57
Bar: 1-6 7-12 13-18 19-22 23-30
w bw nw w #w Violin 1 ° & w bw Violin 2 µw Bw #w & w
Viola w w nw #w µw & Fl. Bn. Ob. Fl. nœ w ˙ b ˙ œ b œ #n˙ œ b œ #nœ œ µ µ Bn˙ µ Bnœ #˙ µ Bnœ #œ µœ & w w ˙ Trp. œ œ Horn. Horn. Horn. Horn. Trb. ˙ #˙ #˙ ˙ #˙ B ? w ˙ ˙ ˙ ˙ ˙ ¢ Trb. w ˙ ˙ ˙ ˙ w ˙ ˙ ˙ ˙ D.B (add new partial)
12 Figure 43 The partials of the low pitch A in the first section
- flz. 51 . œ. œ œ >œ. œ- œ. œ. œ. œ ˜œ œ µœ µœ Picc. ° 2 In the second. œ. section, I attempted to explore the differencesJ æ of timbre3 Fl. &4 Œ œ Œ Œ ‰ 3 ‰ æ 4 mf f mf mf 7 f mp flz. > > > - - >. - betweenœ. œ#œ brass>œ œ. œ . instruments.œ. >œ œ Forœ example,œ I used the œstraightÆ #œÆ œÆ µœÆ #œÆ ˜ andœÆ œ wa-waœ mutes in Ob. 2 µ J ‰ J Œ Œ µ J ‰ æ 3 &4 3 3 3 æ 4 f mp f mf 7 mp gliss. > flz. - - . . . . - œ- œ. eachCl. brass instrument (Iœ usedœ œ bassœ -tromboneœ œ. nœ. waœ. nœ-nwaœ. #œ œ µmuteœ #œ on horn) to #œexplore the 2 ∑ œ œ œ œ. . µ µJ µ µ µ J ‰ 3 &4 . . . 3 3 J 6 3 æ 4 œ œ mp p mf mfæ mf. . f 3 3 3 Bsn.different? 2 tone colour of each instrumentj r j 3 4 ∑ Œ Œ œ œ œ ≈ ‰ ∑ œ œ œ œ œ œ 4 ¢ pp µmp p...... o + 7 3 Hn. ° 2 j j ∑ 3 &4 ≈bœ™ nœ . .bœ . . . nœ œ œ™ œ œ. ‰ Œ ∑ 4 f > p mf wa-wa + mute + . . . - #œ œ. œ œ. œ #>œ. œ µœ #œ ˜œ œ œ œ Tpt. 2 Œ ∑ µœ œ™ µœ #œµœ J J ‰ 3 &4 œ œ œ 7 3 3 3 4 . mf f straight mute 3 3 Tbn. ? j 42 ∑ ∑ ∑ ∑ œ œ œ œ œ œ 43 ¢ p......
Perc. I 2 ∑ ∑ ∑ ∑ ∑ 3 / 4 Figure 44 The second section in The Journey of the Sun 4
&42 ∑ ∑ ∑ ∑ ∑ 43 Perc. I In the third section, I used ‘Distorted Spectral Pitch Scale’ in the woodwind ? 42 ∑ ∑ ∑ ∑ ∑ 43 and string parts. Having multiple instruments playing the 'Distorted Spectral Pitch {&42 ∑ ∑ ∑ ∑ ∑ 43 Perc . II ? 2 ∑ ∑ ∑ ∑ ∑ 3 Scale'4 simultaneously allowsl.v. for a better observationl.v. of the different timbres created4 > > œ œ œ œ œ™ >#œ >#>œ >#>œ > œœ œœ œ œ œ œ#>œ { 2 ∑ œ œ œ œ œ ‰ Œ ∑ Œ 3 &4 p 4 byHp. each of the instruments.œ J 7 p ? 2 œ 3 ∑ œ 7 ∑ ∑ ∑ 4 G F# 4 C n , Fn f ff n œ œ - œ #œ œ œ { œ œ œ œ œ™ œ œ œ œ œ œ œ nœ #œ 2 ∑ ∑ Œ Œ œ 3 &4 p 7 4 Pno. mf f ? 2 j ‰ Œ 3 4 ˙ ˙ œ 4 ˙˙ ˙˙ œœ ˙˙ ˙˙ 58 { mf> °col legno 7 > . . . . . œ. œ. Vln. I j r r . . œ . #œ œµœ #œ ° 2 ≈bœ nœ ≈ œ œ œ œ œ œ œ ≈ ‰ ∑ œ µœ nœ J ‰ Œ 3 &4 ™ . . . . . 6 3 4 pp o mf f col legno ord. N 7 7 Ÿ~~~~~~~~~~~~~~~~~ 7 nœ œ œ œ Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Vln. II 2 ≈ j r≈ œ œ œ œ œ œ#œ. œ œ µœ ≈ ‰ Œ Œ ≈nœ œ œ œ œ œ œ œ œ™ ≈ 3 &4 #œ™ œ . . . . . #œµœ. œ . > µ R ...... J 4 p ™ . . mf mp
col ord. Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ legno œ œ œ . . . Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Vla. 2 œ œ . . œ œ #œ . nœ j 3 B 4 ∑ ∑ Œ ‰ J #œ ≈nœ µœ œ œ œ™ ≈ 4 7 p mp
col ord. legno 7 o o Vc. ? 2 ∑ ∑ ∑ Œ ≈ ‰ j 3 4 œ. œ. œ. œ. œ. œ. œ œ 4 mp œo œo œo œo œ Cb. ? 42 R ≈ J R ≈ ‰ Œ ∑ ∑ Œ ‰ J 43 ¢ o o 19 Ÿ~~~~~~~~~~~~~~~~~ . flz. Bœ > 81 Bœ gliss. . œ #œ œ#œ œ œ #œ œ œ > > n>œ. . œ. Bœ#œ µ µ #œ#œ œ Picc. >. ˜œ™ nœ œ œ™ œ œ œ Fl. ° R ‰™ #œ æ R ≈µJ 5 R ≈ ‰ J µ Bœ œ™ ≈ ≈ 3 & æ 6 5 8 6 4 f f 5 mf mf mf f p
flz. 5 #œ œ > . #œ.#œ œ . . Ob. œ œ œ œ nœ. ‰ Œ Œ ‰ µœ 5 œ œ ≈ .#œ ™ J ‰ œBœ œ 3 & R ™ J 8 R œ . œ. œ 4 5 æ 6 f µ. nœ mf æ f mp f flz. 6 œ. #œ œ > Cl. R nœ. #œ 5 œ œ 3 & ‰™ Œ œ œ œ œ ‰™ 8 R ≈ Œ Œ œ œ œ. nœ 4 5 æ R J . œ œ mf mf æ f mp mf . . œ . . Bsn. ? µœ œ œ #œ nœ œ œ 5 œ œ œ œ 3 ‰ J #œBœµ gliss. R ‰™ Œ µ 8µ œ.µ œ.µ R ≈ Œ Œ ‰ œ 4 ¢ 7 mp mf mp 5 mp
Hn. ° ? œ™ ˙ œ & ∑ ∑ 85 Œ R ≈ 43 Figure 45 The third section in The Journey of thepp Sun p pp gliss. > Bœ. œ nœ. Tpt. µœ ˜œ™ & R ‰™ #œ R ‰™ Œ Œ 85 ∑ ∑ 43 mfIn the mf fourth section, f I specifically explored the philosophy of Yin-Yang. To . . Tbn. ? ∑ Œ Œ µœ 5µœ .µœ .µœ œ ≈ ‰ j r ≈ 3 ¢ 8 œ œ R œ ˙ œ 4 apply the philosophy of Yin-Yang to themp transition 5of sounds pin a vertical manner,pp I
Perc. I ∑ ∑ 5 ∑ ∑ 3 researched/ the concept of “Harmonicity-Inharmonicity”8 , which is associated with4 Marimba 5 #œ œ™ œ œ#œ & ‰ J œ œ #œ æ 85 ∑ ∑ 43 spectral composers6 such asœ#œ Gérard#œæ æ Grisey. Perc. I mf f œæ ? ∑ #œ 5 j Œ Œ ∑ 3 æ 8 œ 4 In the article ‘Introduction to the Pæ itch Organizationmp of French Spectral Music’, l.v. œ { #œ Œ Œ ∑ 5 ∑ ∑ 3 & œ 8 4 PercRose . II discussesœ the technique of “Harmonicity-Inharmonicity”, which Grisey (1975) ? ∑ ∑ 85 ∑ ∑ 43 used{ at the beginning of Partiels. The first harmonic structure of Partiels is composed & ∑ ∑ 85 ∑ ∑ 43 ofHp. an overtone derived from the low pitch E.5 While this harmonic spectrum is termed #œ ? #œ œ™ œ #œ #œ ∑ ‰ #œ œ 85 j Œ Œ ∑ 43 5 œ #œ D#, C#, F# œ “harmonic”, if any elements aremp not included inpp. the harmonic spectrum, then this <“> Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ { #œ™ œ œ œ œ œ œ R 5 #œ #œ œ#œ 3 organisation& is termed ‰™ “inharmonicity”.∑ The 8 firstŒ chord featuresœ#œ the harmonic4 pp 5 œnœ mp 3 nœ Pno. 6 <Ÿ>~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ <#>˙™ #œ spectrum of the low pitch E. During the eleventh5 repetition ? of this#œ sonority, the3 & ∑ 8 œ œ œ 4 p™
components#˙ move to a lower register,6 through “octave shifting”. Therefore, the sound œ œ ≥ œ #œ œ gliss. Vln. I {° æ Œ ‰ j œ œ Bœ #œ µ 5 nœ œ ‰™ ∑ 3 & µœ œ™ 5 8 J R 4 mf f p changes to becomeord. more and more inharmonic, and noise elements are combined to œ#œ œ . . Vln. II Œ æ ‰ 5 Œ j œ #œµ R ‰™ œnœ œ. . j 3 & #œæ œæ æ j 8 µœ œ œ µœ. nœ 4 µ œæ mf 6 ff mp 5 . the orchestration.p Consequently, few#ppœ partialsœ of the low pitch E remain in the sonority. S.T N S.P Vla. 5 æ æ œ 3 B #˙æ Œ ∑ 8 Œ œæ™ œæ™ 4 (Rose, 1996,p pp.8-10) o p 3 gliss. Vc. ? 5 æ 3 nœ œ œ ‰ Œ Œ ∑ 8 ∑ œæ™ œ 4 p mp p S.T Cb. ? Œ µœ œ j ‰ Œ 5 ∑ Œ 3 ¢ µ œ œ 8 #œ™ 4 p o o
59
Figure 46 “PROGRESSION FROM HARMONICITY TO INHARMONICITY IN PARTIELS”
(Rose, 1996, p.10)
The formal approach demonstrated by Grisey with his “Harmonicity-
Inharmonicity” technique where the transformation of sound based on these two opposite sounds occurs provided an idea for me. I thought that “Harmonicity” could be considered as a light and positive sonority while “Inharmonicity” could be considered as a dark and negative sonority. Therefore, enabling the transition of the sonority from “Harmonicity” to “Inharmonicity” to reflect a flowing sound or energy from positive to negative. In this context, I wanted to follow up on Grisey’s
“Harmonicity-Inharmonicity” technique in the fourth section.
In this section, I also took inspiration from elements explored by Unsuk Chin
(2009) in her work Su for sheng and orchestra. Her work explores the slow change of long notes with different techniques and dynamics, and this gradual change shows the transformation of the density of sound. I was interested in the slow change of
60 sound, so I combined the transformation of long notes and the “Harmonicity-
Inharmonicity” technique of Grisey in this section. For example, sound is translated from a more dissonant and complex state to a consonant and clarified state. All the components used at bar 97-109 can be seen in figure 47. I have expanded on
Grisey’s techniques and created my own interpretation. Grisey moves some partials downward by octave shifting in the harmonic spectra, thus he achieves an inharmonic sound. I, on the other hand, added inharmonic pitches directly into harmonic spectra to produce a dissonant sound. These inharmonic pitches are positioned in a narrow register, therefore allowing for a dense and dissonant sound to be generated.
O ? O & œ nO œ O œ nœ œ #œ Bœ nO µœ nœ µœ #œ BO nœ µœ #œ B µ O nœ µœ #O B µ œ nœ O #œ œ nO œ nœ µO #œ BO nœ µœ & #œ Bœ nO µœ nœ µœ #O B µ B µ O nœ O #œ O nO O nœ µO #O Bœ nO µœ #O Bœ nO µœ nO µœ #O B µ B µ &
Figure 47 Pitch components in The Journey of the Sun
Figure 47 demonstrates the pitches used in the fourth section. The pitches are arranged by 1/4 tone from middle C. The reason for this is 1/6 or 1/8 microtone lower or higher pitches are difficult not only to be perceived clearly but also to be played accurately. I chose this degree of pitch ‘Justification'. The pitches with diamond note heads are components of a harmonic spectrum derived from the low pitch A, while the pitches with black note are not related to the harmonic spectrum and in this manner, the black note head pitches can be defined as ‘Inharmonic’. The pitch zones are then combined to create a transition from inharmonic sound to harmonic sound.
61 97
Fl. Ob. ° Cl. & nœ #œ n µœœ #nBœœ µ#µœœ µœ bµ#œœ Bµ œœ #µ œœ # œ Bsn. œ œ µœ #O #O Hn. ? O O O O O Tbn. ¢ O O O
vibraphone #O tubular bells b#OO harp. & ∑ ∑ ∑ ∑ ∑ ∑ n#O piano { #O
Trp. Vn 1. ° nœ Vn 2. & ∑ Bœ µœ µœ O Va. œ œ B œ µ œ #nœ nœ BBœ µbœ nœ µœ Vc. O O OO D.B. ? ∑ O O O O ¢ O O O
104 Fl. # œ O Ob. ° œ œ #œœ #µOOœ # OO n BOO Cl. & bnµœO µnBOœ µ O µ µ µ
Bsn. Hn. #O Tbn. ? O & O O BO BO BOO ¢ #O #O # O # O
vibraphone. nO tubular bells. # O harp. n O piano. & ∑ ∑ ∑ ∑ ∑ #O { #O
Trp. O Vn 1. ° œ œ #œ nœ #O µO Vn 2. n B O µO n# O nµnOO nnOO #nOO Va. & n#œ #nœO BO
Vc. D.B. ? O O O O O OO O O O O O ¢
Figure 48 The progress of chords at bar 97-109
62 23 q=90
97 flz. j Picc. ° 4 j 6 æ æ Fl. & Œ ‰ nw #˙ Œ ˙æ œæ ‰ Ó™ Ó Bœ ˙™ 4 ˙™ #˙™ #œ ™ 4 µ æ æ o p pp mp p æp æ
Ob. r &4 j ‰ ≈ j j ‰ Œ 46n˙ œ ≈ ‰ Œ Œ Ó™ #˙ µ˙™ œ b˙™ µœ™ ˙ œ #w ™ ™ o p mp p o flz. r Cl. 4 ∑ Œ r≈ ‰ Œ 6 Œ™ æ æ æ≈ ‰ Œ æ æ &4 ˙ œ B˙™ µ˙™ 4 #œæ™ ˙æ™ œæ nœ ˙™ µ ™ µ mp p mp p o p Bsn. ? 4 n˙ œ 6 r r ˙ ˙ 4 ∑ ∑ ∑ Œ R ‰™ 4 ‰™ œ ˙ œ ‰™ Œ Œ Œ ™ ¢ p pp o o p n˙ œ ˙™ œ #˙™ Hn. ° ˙ œ µ ? 4 ∑ ∑ Ó R ‰™ 46 Œ Œ Ó Œ mp o p mp o
Tpt. &4 ∑ ∑ ∑ ∑ 46 ∑ ∑
Tbn. ? 4 œ™ ˙ œ ˙ œ 6 4 ∑ ‰ R ≈ ‰ ∑ 4 ∑ Œ ˙ ˙ ¢ p pp ™ o o p
Perc. I / 4 ∑ ∑ ∑ ∑ 46 ∑ ∑
&4 ∑ ∑ ∑ ∑ 46 ∑ ∑ Perc. I ? 4 ∑ ∑ ∑ ∑ 6 ∑ ∑ { 4 4 &4 ∑ ∑ ∑ ∑ 46 ∑ ∑ Perc . II ? 4 ∑ ∑ ∑ ∑ 6 ∑ ∑ { 4 4 &4 ∑ ∑ ∑ ∑ 46 ∑ ∑ Hp. ? 4 ∑ ∑ ∑ ∑ 6 ∑ ∑ { 4 4 &4 ∑ ∑ ∑ ∑ 46 ∑ ∑ Pno. ? 4 ∑ ∑ ∑ ∑ 46 ∑ ∑
{ q=90 gliss. gliss. Vln. I ° œ &4 ∑ ∑ ∑ Œ b˙™ 46 µœ Œ µw µ˙ œ ≈ ‰ Œ Œ p mp R p mp p pp
gliss. gliss. Vln. II &4 ∑ ∑ Œ 46 Œ Œ gliss. Œ™ B˙™ µœ µ˙™ bœ b˙™ µœ™ µ˙™ pp p mp p mp p
gliss. Vla. 4 gliss. 6 B 4 ∑ Œ ˙ œ ˙™ œ b˙™ 4 œ Œ Œ n˙™ µ˙ Œ µ˙™ ™ B p B pp mp p mp p
Vc. ? 4 ∑ ∑ w w 46 œ Œ Œ ˙™ œ Œ Œ Ó™ p p mp mp p
œ ˙ ˙ ˙ Cb. ? 4 ∑ Ó 6 Œ Œ ™ ™ ™ ¢ 4 ˙ w w 4 o p o o mp
63 24
103 Picc. Fl. ° œ ≈ ‰ Œ Œ ˙ œ ≈ ‰ Œ œ ˙ œ ‰ Œ B˙ ˙ œ ≈ ‰ Œ #˙ ˙ œ ‰ & µ ™ µ ™ æ æ æ æ æ æ ™ æ æ æ æ æ æR æ æ æR æ æ æR mpæR mpæ æpR p mp mp p p mp r Ob. Œ ‰™ Œ™ bœ™ ˙™ œ ‰ Œ œ ˙™ œ ≈ ‰ µ˙ ˙™ & <#>œ µœ ˙ œ J µ R p mp mp p p mp r Cl. æ æ & œæ ≈ ‰ Œ Œ #˙æ™ n˙™ œ Œ Œ Ó™ n˙™ œ ‰ ˙ ˙ Œ p J mp mp mp p
˙ œ #œ ˙™ œ #˙™ Bsn. ? ˙™ œ™ Œ™ Ó™ ™ Œ Œ Œ ¢ p o o p p o o
<#>˙™ ˙ œ Hn. °? R ‰ Ó Œ Œ r ≈ ‰ ™ ™ & ˙™ œ ˙ ˙™ p #˙™ œ o p mp mp p p
Tpt. r #œ ˙ œ & Œ™ œ™ ˙™ ˙ œ ≈ ‰ Œ Œ œ ˙™ œ Œ R ‰™ Ó™ o p o o p o
Tbn. ? r w ˙ ˙™ ˙ œ ‰™ Ó Ó w œ Œ Œ ¢ ™ pp pp p pp p pp
Perc. I / ∑ ∑ ∑ ∑
Tubular Bells l.v. & Ó ∑ ∑ ∑ Perc. I #w ? ∑ ∑ ∑ ∑
{ Vibraphone l.v. & w Ó ∑ ∑ ∑ Perc . II ? ∑ ∑ ∑ ∑ { ° #œ o & Ó œ j ‰ Œ Œ ∑ ∑ ∑ Hp. #œ ? ∑ ∑ ∑ ∑
#œ { nœ nœ #œ & nœ Œ Ó™ ∑ ∑ ∑ Pno. p ? ∑ ∑ ∑ ∑ { ° gliss. gliss. gliss. Vln. I ° ˙ œ ˙™ Bœ œ B˙™ µœ µ˙ ˙™ #œ #œ ˙™ & R ≈ ‰ R ≈ ‰ Œ R ≈ ‰ Œ p mp p p mp mp p
Vln. II Œ gliss. ‰ j ‰ ‰ r ≈ ‰ & #˙™ œ #œ nœ nœ™ ˙™ œ #œ™ ˙™ œ ˙ ˙™ mp p mp o p mp pp p gliss. ˙ Vla. B ˙™ ˙™ œ ‰™ Ó #˙™ #œ Œ Œ ˙™ ˙ Œ B ™ R p o p o p mp o p
nw œ Vc. ? Œ ‰ r ‰™ Ó ˙™ ˙ Œ ˙™ nœ™ w œ o p p mp p œ Cb. ? J ‰ Œ Œ Ó™ Ó™ Œ Œ Œ ¢ ˙™ w™ œ ˙ o o p o p
64 25
107 Picc. > nO ™ ° µœ™ ˙™ œ #œ #˙™ Bw œ Fl. & Œ™ æ æ æ ‰ Œ æ æ R ‰™ Œ Ó™ mpæ æ æJ æ æ mf n˙ p ™
> œ Ob. œ ‰ Œ µœ ˙™ œ ‰ µœ œ ˙™ œ ≈ ‰ nœ w ˙™ Ó ‰ µ & <µ>J J R ™ R mp p p p mp mf o
> Cl. #w Œ ‰ #œ ˙ ˙ Œ µw Œ ‰ µœ µ˙™ µœ ‰ Ó & J ™ J R ™ mp mf o p o > B˙™ ˙™ œ <#>˙ ˙™ ˙™ ˙ Bsn. ? Œ Œ Ó Ó™ ¢ p o mp mf p
Hn. ° j r & œ ‰ Œ Bœ B˙™ ˙™ ˙ Œ ˙™ œ ‰™ Ó ∑ p mp > mf > Tpt. ˙ ˙ ˙ ˙ µw & Œ µ µ ™ Œ ™ Œ Œ Ó™ ˙™ p mp p mf B p > #˙™ œ #œ ˙™ ˙ ˙™ œ Tbn. ? R ≈ ‰ Œ Œ Œ Œ ∑ ¢ p pp o p o mf
Perc. I / ∑ ∑ ∑ ∑
Tubrlar Bells l.v. & ∑ ∑ Ó ∑ #w Perc. I mf> ? ∑ ∑ ∑ ∑ { Vibraphone l.v. & ∑ ∑ w Ó ∑ Perc . II >f ? ∑ ∑ ∑ ∑ ° >œ { #œ œ J œ œ > & ∑ ∑ Ó œ ‰ œ#œ ∑ Hp. mf p ? ∑ ∑ ∑ ∑
n>œ. { . nœ. nœ >. & ∑ ∑ . #œ Œ Ó™ ∑ Pno. nœ f ? ∑ ∑ ∑ ∑ { ° gliss. ˙™ ˙ gliss. Vln. I ° <#>œ n˙ ˙™ œ #˙ ˙™ ˙ & R ≈ ‰ J ‰ Œ Ó™ µ ™ mp mf æ mp o æp gliss. Vln. II j ‰ ‰ nœ ˙ ˙ œ Œ nœ #˙ œ ‰ Œ #œ ˙ Œ #˙ & œ ™ ™ ™ gliss. ™ J ™ mp mf p mp p pp p w œ Vla. ˙™ œ ˙™ ˙ w B Œ Œ Œ R ‰™ Œ Ó mp p mp mf p
#˙™ ˙™ œ Vc. ? ˙™ Œ ˙ œ Œ Œ ˙™ ˙™ Œ Œ æ p o p mp mpæ mf
˙ w≤ gliss. b˙ Cb. ? Œ Œ æ Œ ™ ¢ œ w ˙ ˙æ™ ˙ mp p mp mf mp p
Figure 49 From bar 97 to bar 110 in the fourth section
65 The harmonic pitches are added more frequently while inharmonic pitches are removed gradually. For example, the inharmonic pitches such as the pitches F and D
¼ sharp in the flute and oboe parts are positioned in bar 97 whereas a harmonic pitch is added continuously in different instruments after bar 98. Also, the pitch A in the double bass part is added in bar 98, the pitch E in the cello part in bar 99 and the pitch A in the bassoon part in bar 100 sequentially. In this manner, I decided to translate the vertical sound increasingly from a dissonant and dark state to a more consonant and light state. This process of the transformation of sound in a vertical structure can be seen to reflect the colour change from darkness (Yin) to lightness
(Yang) and the alteration of opposite energy from negative to positive energy of the philosophy of Yin-Yang.
To expand the concept of the philosophy of Yin-Yang in the piece, I also explored distorted and inharmonic sounds in the last section. For example, the inharmonic multiphonic sounds in the woodwind part and a strong plucking technique in the harp are used. In this manner, the music begins from the harmonic spectrum derived from the low pitch A in the first section and ends with inharmonic sounds showing a structural trajectory from clarity to distortion and noise throughout the whole structure of the piece.
66 s s s G# s G# \ 38 \ \ B \ B s s D#, D#, > 159 ˙™ √˙™ #˙™ 3#˙™ Picc. ° 3#˙ #˙ Fl. & ™ ™ ffff , , ss ss ,, ,, C#, C#, œ œ B>œ œ B√˙™ Ob. æ R ≈ œ œ ˙™ & J ffff ss ss ,s ,s F ss F ss > > > > 2 > 2 √ œ œ œ œ œ 2 n˙ 2n˙™ Cl. & ≈ n˙ 3n˙™ B˙ B˙™ ffff > > > > Bsn. ? ˙ œ œ œ œ √˙™ æ 3 æ ¢ æ ffffæ
3 Hn. ° √ & #˙æ #œ #œ #œ #œ #˙æ > > > > ffff™ ˙ >œ >œ >œ >œ √˙™ Tpt. æ æ & æ 3 æ ffff
3 Tbn. ? √ æ æ ¢ Y >œ >œ >œ >œ Y™ ffff 3 > > > Perc. I æ æ √æ / ˙æ œæ œ œ œ ˙æ™ ffff
& ∑ ∑ Perc . II 3 √ ? æ œ œ œ œ æ æ œæ œ œ œ œ œæ œ œ œ ˙æ™ > > > ffff l.v. l.v. l.v. > > √> { ˙ œ ˙™ ˙ œ ˙™ & Hp. l.v. l.v. l.v. Z ? Z √Z ˙ œ ˙™ ˙ œ ffff˙™ { #œ>œ #œ>œ #œ>œ #œ>œ œ>œ #œ>œ #œ>œ #œ>œ √ # œœ # œœ # œœ # œœ œœ # œœ # œœ # œœ > > > > & œ œ œ œ œ œ œ œ #œœ #œœ #œœ #œœ #˙˙ # œœ # œœ # œœ # œœ # ˙˙™ Pno. œ œ œ œ >˙ ™ ? √ #œœ #œœ #œœ #œœ #œœ #œœ #œœ #œœ #œœ #œœ #œœ #œœ #˙˙™ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ™ > > > > > > > > > > > > ffff> { distort ˙ √˙ #˙™ #˙™ Vln. I ° æ æ & ffff distort ˙™ √˙™ Vln. II #˙™ #˙™ & æ æ æ æffff
N distort œ >œ >œ >œ >œ >œ >œ √˙™ Vla. µœ µœ µœ µœ µœ µœ µœ µ˙™ B æ æ æ æ æ æ æ ffffæ N distort 3 æ √ Vc. ? ˙æ œæ œ œ œ ˙æ ˙ œ œ œ œ ˙™ > > > > ffff™ distort S.P N s 3 Cb. ? √ æ æ æ ¢ ˙ >œ >œ >œ >œ ˙™ ffff
Figure 50 The last section of The Journey of the Sun
67 2.7. Clouds, Landscape, Human Being (2012)
Colouds, Landscape, Human Being for flute, clarinet, violin, cello and piano symbolises the life of a cloud, the landscape and human being under the cloud; for example to form a big cloud, small clouds are combined, and then the big cloud gradually separates into smaller clouds again with a delicate pattern in the sky. The process of the formation of the clouds is a constant series of clusters and separation, which I express through various means in the piece.
In the first section, this process of the formation of the clouds is expressed with the central pitch C# and many instrumental techniques such as use of breathy sound and lip glissandi in the woodwind part as well as col legno and circular bowing techniques in the string part. The combination of many different techniques allows for a palette of subtle changes of timbre focussed on the pitch of C# in the different instruments. Clouds, Landscape, Human Being Score in C Sam Park
e=90
ord. air ~~~~~~~~~ [t] [k] [t] [shi] ~~~~~~~ ~~~~~ [shi] ord. ~~~~~~ ~~~~~~~ ~~~~~~ flz. [shi] [shi][shi] ~~~~~ ~~~~~ ~~~~~~ ~~~~~ Flute ° 3 7 3 4 3 7 4 &8 ‰ ‰ j 8 ® 8 r ≈ 8 ‰ 8 8 ‰ æ ≈ 8 #œ #˙ #6 #6 #6 #6 #6 #œ œ™ #O™ O #œæ #6 #6 #6 pp. >. >. >. >. - > > - o mf mp f pp mf mf mp mp mp mf
breathy tone ord. vib. vib. n.v. flz. ord. Clarinet in Bb &83 ‰ ‰ j 87 Œ j 83 j 48 ‰ 83 87 ‰ æ ≈ 48 ¢ œ #œ ˙ œ #œ œ™ #œ™ œ #œæ #œ #œ #œ µ . - >. . - pp o p mp p mf p mp mp mf
IV III III ord. ne # S.T. ord. S.P. n.v. vib. molto vib. ne e n #e e Violin ° 3 7 3 j 4 3 7 #e 4 &8 ‰ ‰ j 8 æ 8 æ 8 8 8 ‰ ‰ #O nO µO #O O bO 8 ˜œ. #˙ #œæ™ #œ #œæ #˙ œ™ œ pp mp p mf mf f pp o pp p 1/2 c.l.t. c.l.b. flautando ord. S.T. ord. S.P. #œ. #˙ œ #œ. #œ. #œ. #œ. #˙ #œ™ œ™ #œ #œ Violoncello ? 3 ‰ ‰ J 7 Œ ‰ æ 3 æ ® J 4 æ 3 7 æ æ 4 ¢ 8 8 æ 8 æJ 8 æ 8 8 æ æ 8 pp o p mp pp mp p mf mp p mp
. . . &83 ∑ 87 ∑ 83 48 ∑ 83 ∑ 87 Œ™ Œ ≈ #œ #œ #œ 48 p Piano - #œ. #˙- œ. #œ. #œ. #œ- #œ- #œ- #>œ™ #œ. #œ. #œ. #œ- #œ. #œ™ ˙ ? 3 ‰ ‰ J 7 R ≈ ≈ 3 J ‰ J 4 3 J ‰ ≈ R 7 #˙ 4 8 8 8 8 3 8 8 Œ 8 pp p ppp pp p mp pp mp pp p ™ mf p mp-
{ Figure 51 The first section in Clouds, Landscape, Human Being
The subtle change of timbre can be also seen in the piano part in the fourth section. I used three different sounds of the high pitch G: one is a muted sound with maximum pressure applied; another one is a mute sound with half pressure, and the
68 13
flz. rit. e=138 lip gliss. >. >. > ord. #œfi . 57 >. #œ >. >. œ fi #œ #œ ˙ #œ œ #œ Fl. ° ∑ ∑ Œ Œ #œ œ 5 ˜J ‰ ‰ 3 ∑ 3 Œ Œ ‰ J 2 & æ æ 8 8 4 4 p sfz mf f mf
lip gliss. breathy tone œ™ ˙ #œ Cl. ∑ ∑ ∑ ‰ Œ 5 J 3 R ≈ ‰ ‰ 3 ∑ 2 ¢& 8 8 4 4 o mf f
rit. arco. pizz. > . #œ. œ #œ. last one is a sound without mute.œ œ The alteration of these three œsounds generates#˙ œ the Vln. ° ∑ Œ Œ ‰ J ‰ Œ Œ ∑ 5 Œ ‰ 3 ™ 3 J ‰ 2 & 8 8 æ 4 4 p f o f slight change of timbre based on thepizz. high pitch G. > ##œO Vc. ? j ‰ Œ Œ J ‰ Œ Œ ∑ 5 ∑ 3 ∑ 3 ‰ Œ Œ 2 # ˙ ≈ œ 8 8 4 j 4 ¢ < > ™ #œ œ œ œ #œ #œ p Œ ‰ ‰ ‰ #>¿ J J J sffz >+ +> +> >+ >+ + >+ sfz sfzsfz sfz sfz sfz
#>œ. #œ. #œ. #>œ. # >œ. bœœ bœœbœœbœœ n# œœ #>œ #œ #œ #œ #œ #œ #>œ #œ #œ #œ #œ #œ #>œ #œ #œ #>œ #œ #>œ œ #œ #>œ #œ #>œ #œ #>œ #œ J J J & ‰ ‰™ ‰ ‰ Œ Œ R R R R R G R R R R G R 85 R R R R G 83 R R R 43 R G R G R R 42 pp mf f Pno.
? ∑ ∑ ∑ ∑ 85 ∑ 83 ∑ 43 ∑ 42
{ Figure 52 The subtle change of timbre in the piano part in the fourth section
The second section reflects the formation process of the small clouds, which are split from the big cloud. To express this formation, I utilised whistle-tones in the flute part, harmonics in the string, and the notes of the high register in the piano part.
6
~~~~~~ ~~~~~~~~~~~~~~~~ ~~~~~~~~~~~~~ ~~~~~~~~ ~~~~~~~~~ ~~~~~~~~~~~~ ~~~~~~~~~~~ ~~~~~~~~~~ ~~~~~~~~~~~~ ~~~~~~~~ ~~~~~~~~ ~~~~~~~~~ ~~~~~~~~~ ~~~~~~~~~ ~~~~~~~~~ ~~~~~~~~~ ~~~~~~~~~ ~~~~~~~~~~~ ~~~~~~~~~ ~~~~~ ~~~~~~~~ ~~~~~~~~~ 27 ~~~~~~~~~~~ ~~~~~~~~~~ ~~~~~~~~~~~~~~ ~~~~ ~~~~ ~~~~~~~~~ ~~~~~~~~~ ~~~~ ~~~~~~~~~~~ ~~~~~~ ~~~~~~ ~~~~~~~ ~~~~ #O O™ O O #O Fl. ° #O O O#O™ #O 2 O 3 J J & ) R6 ≈ ‰ Œ 4 4 ≈ ≈ R f f mp mf f mp mf f mp
tone tone breathy tone #œ #>œ œ >œ #œ œ œ ˙ ˜œ #œ œ œ œ ˜ ˜ µœ Cl. & R ≈ ‰ ∑ ∑ 42 Œ ‰ ® 43 #œ J R ≈ ¢ p pp mp mf p mf
#>O O O #O- #O > œO O œO œO # œ™ œ œ™ O O- # œ # œ #O > n >O #O Vln. #œ™ #O ™ O ™ ™ #œ #œ # œ #O r #O #œ # œ ° æ æ ‰™ ≈# œ™ œ™ ≈ ≈ æJ æ ® æ ‰ ≈ J 2 æ ‰ 3 œO # œ ≈ ≈# œ ≈ ≈ R ≈ & æ æ æ æ æÔR æJ æ R mp 4 æ æJ 4 O R æ æ R æ æ mp æJ p mpæ R œ R 6 æ æJ æJ p mp mp > pp p pp p pp mf
æ æ #O Vc. æ æ Oæ O #O >O O #O ™ O O O #O # œ O- O r r r #O & Ó Oæ O™ œ œ # œ œ œ ®# œ™ O ™ œ œ œ 2# œ æ ≈ œ 3 œ ‰ #O ≈ O ≈# œ ¢ #œ œ™ æ æ æ #œ™ æ æ 4 æ æR æ 4 R ##œO # œ œ æ æ æ mpæ æJ æR æ æ æ mpæ p æJ - - - æ p æ æ æ æ pp mp mp o p æ p
<“> Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ > œ n>œ > œ œ œ œ > #>œ > > > œ > œ #œ œ œ œ #œ #œ #œ #œ #>œ #œ #œ #œ#œ œ #œ#œ > #œ #>œ #œnœ #œ > #œ#œ œ #œ #œ#œ #>œ œ#œ œ #œ #œ nœ#œ #œ #œ œ œ#œ œ œ œ J R ‰™ ≈ R ≈ œ 2 R ‰™ 3 ‰ & 6 4 4 5 6 mp p p p mf mf mp Pno. > nœ- œ >œ œ œ- œ œ œ #œ - #œ œ ™ & ≈ ‰ Œ Œ #œ™™ œ #œ ≈ #œ œ #œ œ œ ≈ #œ 42 œ™ #œ#œ œ 43 #œ nœ R #œ™ #œ™ R #œ > œ { p mp mp Figure 53 The second section in Clouds, Landscape, Human Being
The third section and the fourth section reflect the landscape and Human
Being under the clouds and many varied dynamic gestures, rhythms, and instrumental techniques such as pizzicato and key clicks in the woodwind part are employed.
69 11
flz. flz. > 49 Æ Æ > œ > > > #œ Æ #œÆ #œ ˜œ #œ > >. >. µœ. #>œ #œ > >. nœ. nœÆ Æ #œ Æ œÆ Æ Æ #œ œ µœ #œ#œ µœ Æ #œ . œ > #œ œ #œ Æ Æ nœ Æ Æ Fl. ° œÆ #œ µœ#œ Æ #œ #œ #œ µœ nœ œ #œ µœ #œ #œ #œ Æ œÆ #œÆ #œ Æ nœ #œ &4 ‰ µ #œÆ #œ œÆ µœ #œ µœ ≈ œÆ ≈ œÆ #œÆ ≈ µ #œ 4 #œ œ ≈ #œ ≈ µ ‰ œ 3 6 æ æ æ æ æ æ µ 6 6 6 æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ æ ff f 6 æ æ æ æ æ æ æ æ æ 6æ æ æ ff fff f p ff 6 f ff fff p fff
flz. 6 > > >. flz. > > #œ #œ > #œ Æ Æ µœ #œ #œ lip gliss. #œÆ #œ #œ œ#œ œ œ µœ œ #œ#œ >. Æ µœ #œ . œ Cl. 4 #œÆ #œ #œÆ ˜ œ œ µ #œ nœ nœ >. µœ µœ #œ 4 &4 ‰ #œ ' œ ' #œÆ µ µ ≈ ≈ #œµœÆ ≈ #œ 4 ¢ #œÆ ' ' œÆ 6 æ æ æ æ æ æ #w #œ æ æ æ 6 æ æ æ æ æ æ æ æ æ 3 #œ 6 æ æ æ6 æ æ æ f ff ' ' f p ff p f fff fff
> distort Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~#œ > Æ > œ > > > n>œ #œ #œ 7 > µœ #œ #œ #œ nœ #œ™ #œ#œ™ Æ > > >n>œ nœ > > >œ > > #œ nœ™ >. œ Vln. ° #œ ® #œ >µœ#œ > nœ#œ µœ J #œ #œ #œ #œ #œ #œ #œ™ #œ &4 ÔR j ‰ #œ #œ ‰ #œµœ#œ#œ œ#œ˜œ.≈ nœ œ #œ œÆ 4 œ æ #œ nœ 6 B æ ' 6 7 6 3 æJ ff æ mf f p ff fff
6 7 7 6 ord. distort #œÆ > œ #œ #œ œ > 5 6 Vc. ? ® r >nœ#>œ >œ >#>œ nœ #œ µ #œ Bœ ˜ œ#œ œ #œ > #œ #œ #œ µœ ? j 4 ÔR #œ ‰ #œ µ #œ >nœ œnœ #œ œ œ œ ≈ #œ nœ ' 4 œæ æ œ œ #œnœ µ Bœ ˜. 7 ˜ #œ #œ nœ nœ #œ #œ #œ ™ nœæ œ #œ nœ Bœ #œ nœ œ #œ Bœ œ ¢ ' 6 µ > > nœ#œ #œ #œ # œ #µœ# œ# œ#œ# œ# œ#µœ# œ#œ#œ#µœ > > > 7 > > > ' ™ ...... ff mf > > > > > > > > > > > p ff
>. #>œ. # nœœ #œ#œ œ # œ >œ. >. 4 # œ #œ #œ r nœ œ >. #œ > #œ 4 r &4 J ‰ #œ œ #œ œ œ#œ #œ #œ #œ ≈ ‰ ##œ# œ #œ. ##œ 4 #œœ≈ ‰ Ó nœ œ 6 n œ nœ n œ #œ p œ œ œ . 6 6 6 f > Pno. 3 mf fff 5 sfz r >. #œ 6 f #œ >. <#>œ #œ n#œ #œ >. # œ #œ ? œ ≈ #œ #œ #œ #œ#œ r œ œ ##œ >##œ 4 œ œ#œ #œ #œ nœ ≈ ‰ œ R ≈ ‰ 4 œ œ. r ≈ ‰ r ≈ ‰ Œ <#>œ #œ #œ #œ # œ #œ #œ #œ # œ #œ #œ # œ # œ ##œ #œœ < > >. #œ >. sfz sfz { ° Figure 54 The third section in Clouds, Landscape, Human Being
Finally, the fifth section symbolise the shape of the unified cloud again and here, veiled and diluted timbres such as air sounds in the flute and a fluctuation between the sounds of ordinary notes with half-depressed- and full-harmonics in the 24 violin part.
rit.
[shi] 124 #˙o wo œo Fl. ° #O #~ #O & Œ Œ Ó p #) mf #) #) #6 p f mp o
rit. breathy
#œ ˜˙ #œ œ µ˙ #œ #œ ˜˙ #œ œ #˙ #w œ Cl. Œ Œ Ó & pp ¢ ppp pp ppp p o
rit. II ord half harmonics harmonics ord half harmonics harmonics #E Vln. ° nœ O O O O O œ O O O O O - & #œœ #œ #œnO#OnO #O #OnO#OnO #O #OnO#OnO #O #OnO #O O#O #OnO#OnO#O #OnO#œnœ#œ #œnO#OnO#O #OnO #O O#O #OnO#OnO#O #OnO#OnO#O #OnO#OnO#O #OnO #O Œ O #~ O Œ Ó 6 6 6 6 6 6 6 6 6 6 6 6 pp ppp pp ppp pp p o
rit. S.T. Vc. #˙ w œ & r ≈ ‰ Œ #Oæ Oæ #Oæ Oæ nOæ Oæ #Oæ Oæ #Oæ Oæ #Oæ Œ Œ Ó ¢ ˜O # œ ˜˜œ # œ µµœ n O µµœ # O ˜˜O # O µµœ # œ pp p ppp pp ppp o
#4 #4 #4 & ∑ ∑ ∑ ∑ Ó Œ Ó p Pno. rit. o o o o ? E # #E Ó Ó #E Ó E Ó ∑ ∑ #O #O #O #O { Figure 55 The fifth section in Clouds, Landscape, Human Being
70 Clouds, Landscape, Human Being is similar to other pieces in regard to being composed of several sections, which have different characters. However, the next piece Four Seasons of Jogakbo for solo baritone saxophone is different. Four
Seasons of Jogakbo will present how directly the shape of the scraps in Jogakbo and the Korean philosophies are applied into the piece as central concepts of the piece.
2.8. Four Seasons of Jogakbo (2012)
In my composition The Four Seasons of Jogakbo for solo baritone saxophone,
I pursued musical analogies directly for the philosophies of Yin-Yang, Ohang and
Maek as well as the colour of the scraps in Jogakbo. The fundamental concept for this piece, to explore the invisible flowing energy of Maek and the achievable synergy between musical elements and fragments, is accomplished through the composing of the piece with five fragments and colours; each fragment reflecting the correlating quality of its season and each colour representing its role in accordance with the philosophy of Ohang. To express different qualities of seasons and colours, the saxophonist performs each fragment featuring techniques unique to the saxophone in designated areas of the stage. The resulting movement between areas on the stage allows for Maek to be introduced to the piece, as having the performer move around the stage represents the invisible energy flow of Maek between each of the seasons.
First, to produce the character of Jogakbo, I translated the shapes and colours of the scraps used for Jogakbo, as well as the process used for creating
Jogakbo, into the musical materials used for the piece and also as the basis for forming the piece’s structure. For example, the scraps of Jogakbo are from worn-out fabric and quilts, which are then cut in an irregular fashion allowing for an abundant variety of shapes and colours for the scraps. The seamstress positions these different types of scraps on the fabric and although she does not have an exact mathematical or analytical plan for placing the scraps, she uses guidelines based on
71 tradition for placing the scraps on the fabric and also for dividing the space of the fabric. In this manner, the skill of the seamstress for creating the Jogakbo allows for the handcraft art to be provided with an irregular division of the space featuring different colours of the scraps. To apply this character of Jogakbo to the piece, I created forty segments for the first four fragments (note that the fifth fragment Yellow
Four Seasons does not feature these specific segments), and then placed ten segments in each of the fragments. To reflect the different shapes featured by the scraps of Jogakbo, I generated different meters and gestures for the segments including: ascending and descending lines, leaping gestures, and multiphonics.
Additionally, I used specific timbres derived from saxophone techniques to show the different colours in the sound. In this manner, each segment has its own shape and timbre resulting in every segment having its own unique character. After composing the segments, I positioned these segments on the score so that an irregular division of the space on the score would be created, and this irregular division allows for the shape of Jogakbo to be experienced visually in the score.
72 q=56-64 1. Black Winter 1 2 1-1 3 4 5 7 1-6 >. flz. œ Bœ œ j & ‰ Œ & œæ #œ KJœ ™ . fff f sffz
1-2 1-7
>. flz. œ > œ 3 j B œfi œ & ≈ ‰ & æ æ æ Kœ ˙ #˙ n˙ R f ff f sffz
1-3 >. >- 1-8 œ œ flz. œ > >Bœ Bœ - - œ œ œfiœ œ ˙ ˙ b˙ & ≈ ‰ ‰ & æ æ æ Kœ Kœ æ æ3 æ R J f fff f sffz sffz 1-9
> flz. 1-4 ˙ œ ˙ Bœ æ œ œ B æ æ >j æ æ j œ ˙ œ æ æ æ œ æ æ æ & ‰ & æ œæ œ #œ œæ ‰ K˙ Kœ œ™™ #œ œ™™ ™™ J fff f fff p 1-5 œ- œ 1-10 flz. œ œ B > j œ œ æ æ æ j æ æ & œæ œæ œ æ æ #œæ œæ ‰ & >œ œ K œ œ œ™™ ™™ œæ œ™™ f fff f fff
x2 x2 x1
Figure 56 The segments and the irregular division of the space in the first
fragment Black Winter in Four Seasons of Jogakbo
Second, the philosophies of Ohang and Maek are explored in the piece.
Ohang is composed of the five elements that form the universe: water, fire, wood, metal, and earth. In-Chan Park, in his article ‘The Approach of Human Sensibility
Measurement based on The Cosmic Dual Forces and The Five Elements’, describes the interaction between the five elements: the Producing Cycle: wood fuels fire, fire leaves behind ashes that become earth, earth protects metal found within the earth, metal allows for condensation and the production of water, and water nourishes wood (1998, p.36). In order to maintain a harmonious balance of the universe, these components not only influence each other but also, following the aforementioned cycle, self-regulate each other. In other words, the universe has a creative and sustainable system that is maintained through the circulation of these five elements.
Therefore, the concept of Ohang is not just that the basic five different elements
73 compose the universe but also that the circulation of elements described in Ohang enables the universe to exist with a harmonious balance.
I applied the system of cycles featured in Ohang to the development of my musical form. In the piece Four Seasons of Jogakbo, I devised the performer’s movement through reproducing the cycle of the five elements. For example, the designated north area of the stage symbolises the element of water, and the designated east area represents wood while the designated south area of the stage symbolises the element of fire. In this regard, the performer moves from the designated north area on the stage to the designated east area and also from the designated east area to the designated south area. In this manner, the performer’s journey between fragments symbolises the system of cycles of Ohang. Additionally, to identify the character of each fragment, I utilised additional components of the philosophy of Ohang; for example, I used not only the five colours and elements composing the universe but also the four seasons and five directions. Ohang includes the following: the four seasons: winter, spring, summer, and autumn; the five colours: black, green (or sometimes blue), red, white, and yellow; and includes the five directions: north, east, south, west, and centre. Figure 57 shows the different components of Ohang.
Elements of Water Wood Fire Metal Earth the Universe Colour Black Green(Blue) Red White Yellow Season Winter Spring Summer Autumn Four seasons Direction North East South West Centre
Figure 57 A variety of components of Ohang
74 Performance Notes
1.##Black# #Winter#
4.#White# 5.#Yellow# 2.#Green# Autumn# four#seasons# Spring#
3.#Red# Summer#
Figure 58 The fragments’ position of the stage
The saxophonist performs the piece from the first movement to the last movement (5th). So, the performer will take the audience on a journey by moving from north, east, south, west and to the center part of the stage. There are 10 segments in each movement and from the first to fourth movement the player can decide the order of the segments. Firstly, the performer can randomly select the order that they play the first 5 segments within each movement. They will play each of the first 5 segmentsFour seasons twice in their of Jogakbo desired order. reflects For example, these components the performer of can Ohang: make the the order first such as 1-3-4-2-3-2-1-5-5-4. After playing from the first to the fifth segments, the performer can choose the order from the sixth to tenth segments. The performer can also play these 6-10 twice, in the order of their choice. fragment is performed at the designated north part of the stage, and expresses the And then, the performer randomly plays from the first to tenth segments once. After playing through the segments in this structure, one movement is finished.
After playing the qualities4th movement of the, the colour player black moves and to the the center season of the winter. stage. For example, the colour black is
explained as: “something burnt out, like the ashes of funeral pyre, something
motionless like a corpse” (Kandinsky, 2010, p.61). Moreover, winter, the most frigid
season of the year, may feature an abundance of snow and many animals choose
this season to hibernate and preserve their energy resulting in life forms that are
immovable or sleeping in one place. In this regard, the first fragment expresses the
coldness, stillness, and the seriousness and darkness or otherwise stark nature
symbolised by the colour black and season of winter. As can be seen in figure 56, I
utilised multiphonic sounds and the flutter tonguing technique combined with forte
dynamics. The reason being that this combination of the technique and dynamics
generates a dense sound with a high level of amplitude, which may be perceived in a
sense very much akin to Kandinsky’s description of the colour black. Furthermore, to
follow the limitations of the immobility and motionlessness of winter, I limited the
intervals within the segments to semi-tones, half-steps, and thirds.
75 The second fragment is performed at the designated east part of the stage, and reflects the qualities of the colour green and the season spring. The colour green is considered: “… restful, soothing, cheerful and health-giving. Green is thought to relieve stress and help heal… Green has long been a symbol of fertility” (Wagner,
2009, pp.5-7, cited in O’Connor, 2011, p.231). Furthermore, spring, the season of fertility and warm weather, when plants begin to sprout or bloom and many animals give birth, only further reinforces the perception of vitality and fertility emitted from the colour green. For these reasons, I decided to compose sounds that may be representative of this vitality and fertility through the usage of multiphonics that are softer in amplitude and more palatable in contrast to the multiphonics previously heard in winter, and also by evolving the limited intervallic gestures from the fragment of winter to more playful leaping gestures with intervals of 7ths and 9ths featuring staccatos.
2. Green Spring q=56-64
2-1 2-6 œ- ~~~~~~~~~~~~~~~~~~~ œ œ™ Ÿ œ B ™ . . . œ œ™ œ œ™ œ œ . œ œ J & ‰ & R ≈ œ ‰ œ™ 3 K p mf pp pp mp p f 2-2
œ- 2-7 Bœ œ™ œ œ œ œ > œ. œ œ nœ œ µœ #œ j #œ nœ & Œ & nœ KJœ mp pp pp mf p
2-3 œ œ-™ œ 2-8 Bœ™ 5 J œ™ J r & ‰ & œ ≈ œ œ >j œ œ Kœ™ nœ™ . œ œ #œ œ #œ nœ p mp p p mf f
2-4 2-9 œ. œ- œ. > Bœ Bœ Bœ bœj œ œ œ œ œ ‰ ‰ ‰ œ œ™™ ™™ - j ‰ & œ œ Jœ & œ #œ œ KJ KJ KJ . ™™ p p mp p >f mf p pp
2-5 2-10 œ- œ- œ œ œ œ > B B œj J œ J œ œ™™ œ œ #œ œ nœ œ & & ™™ ™™ ‰ Kœ Kœ J p mp p mp f pp
x2 x2 x1
Figure 59 The second fragment Green Spring in Four Seasons of Jogakbo
76 The third fragment is played at the designated south part of the stage and reflects the properties of the colour red and the season summer: ‘‘Red . . . is stimulating and energising... Red is energising and excites the emotions” (Logan-
Clark and Appleby, 2009, p.10, cited in O’connor, 2011, p.231). Moreover, summer, the hottest season of the year, is an exciting and active season that is full of motion.
For example, many people go to the beach or go on a picnic and people enjoy active sports such as swimming and water-skiing during the summer. In this regard, I decided to compose sounds that may reflect the excitement and motion represented by the concept of the colour red and the season of summer through accented staccato material utilising percussive effects on the saxophone such as the slap tongue and key clicks.
3. Red Summer
q=56-64
3-1 3-6 Ÿ~~~~~~~~~~~~~~~~~~~ > œ œ œ œ > . . œ. ™ 1 1 1 1 ≈ œ J & ‰ & 1 1 R œ. ‰ J 3 sfz p mf f mf
3-2 > œ-. 3-7 >. œ œ B >. >. > œ >1 1 œ j >. & ‰ ‰ Œ & ≈ œ œ œ J KJœ >.1 >. 1 sfz sffz f pp mf ff
3-3 3-8 > > > > œ . œj 1 œ™ 1 5 > > B ™ U> œj 1 œ™ œ r & J ‰ & J ≈ ¿ ¿ ¿ ¿ ¿ ¿ ¿ Kœ™ > ¿ ¿ ¿ ¿ ¿ ¿ ¿ f ff sffz sfz sfz f ff
3-4 3-9 >. >œ œ > >. Bœ Bœ 5 5 > 1. 1 1 œ ‰ œ ≈ ‰ >¿ ≈ ¿ ¿ ¿ ≈ & œ œ & ¿ ¿ ¿ ¿ KJ KR .1™™ sffz ¿ ¿ ¿ ¿ sfz f ff sffz >f fff .1 sfz> 3-10 3-5 - U- 1> œ 1> œ B B ¿ ¿ œ œ ¿ ¿ ¿ ¿ ¿ J J & > ¿ ¿ ¿ ¿ J ‰ & œ œ ¿ ¿ ¿ 6 K K ¿ p sfz f p >1 5 sfz ff p ffff
x2 x2
x1
Figure 60 The third fragment Red Summer in Four Seasons of Jogakbo
77 The fourth fragment is performed at the designated west part of the stage, and describes the qualities of the colour white and the season autumn. According to
Richard Colyer in ‘Thoreau's Color Symbols’, American Philosopher Henry David
Thoreau used white "to symbolize purity and spirituality" (1971, p.1001). Also, white is expressed as a light colour and has the “harmony of silence” (Kandinsky, 2010, p.61). Autumn features the transitional period from warm to cold weather and is commonly identified as the season of the harvest. Additionally, I think of autumn as a period in which the plants and the landscape may appear bare. I reflect these qualities with sounds that are less dense and segments featuring the techniques of air sounds and phonetics.
4. White Autumn q=56-64
4-1 air 4-6 - [shu] [ta] [sha] [sha] [sha] [shi] [shi] œ™ . B ™ 6 6 œ™ r 6 6 J & ‰ & ≈ 6 ‰ œ™ ) 6 3 K p mf. pp pp mp p 4-2
4-7 [shu] [sha] [shu] [sha] [ta] [ka] [ta] [ka] œ-™ [shi] Bœ™ œ™ ≈ 6 6 6 ≈ & œ™ J R & 6 -6 6 -6 6 6. 6 6. KJ pp- - . . p mp p pp mf mp
4-3 4-8 [ta] [ka] . . œ- [shi] [shu] [sha] 6 6 B œ œ J ‰ J ‰ ‰ 3 & œ & 4 6 6 6 K J p pp p mp p f
4-4 4-9 [shi] [sha] œ- [sha] [shi] [shu] œ - . œ 6™ 6 & ‰ J & Jœ p f -6 6 -6™™ 6 6™ 6 p mf mp ppp
4-5 [sha] [shi] 4-10 . . œ- [shi] [shu] [ti] [ka] [ti] 6 6 Bœ 6 6 - J ‰ J ‰ œ 6™™ 6™™ ‰ ® 6 6™ ≈ & œ & ™ K p mp p mp pp mf pp
x2 x2 x1
Figure 61 The fourth fragment White Autumn in Four Seasons of Jogakbo
78 The fifth fragment is performed at the designated centre of the stage. In this fragment, I chose to focus more on the direction of “centre” as opposed to the colour of yellow given that according to the philosophy of Ohang, the centre features the combined sum of qualities from all four of the directions. This combined sum of qualities is very significant from a composition viewpoint as it lends an organic conclusion to the structure of the piece. Thus, I used all forty segments and all the saxophone techniques of the previous four fragments in the fifth fragment, in an attempt to reflect the combined sum of the musical material featured in the first four fragments.
5. Yellow Four Seasons
q=56-64 1 2 3 4 5 7 >. [shu] [ta] [sha][sha][sha][shi] ~~~~~~~~~~~~~~ œ Ÿ œ 5 œ . > œ œ œ 5 B 6 . . œ. ™ 4 ¿ ¿ 2 œ 4 r 6 6 J 1 1 1 ≈ œ J &4 > ≈ ¿ ¿ ¿ ¿ ≈ 4 ‰ Œ 4 ≈ 6 ‰ 1 1 . ‰ sffz ¿ ¿ ¿ œ ) 6. 3 R œ .1™™ ¿ ¿ ¿ KJ p mf p mf 3 >f fff .1 pp f mf sfz> sffz
flz. Ÿ~~~~~~~~~~~~~~~~~~~~~œ œ. . œ. œ œ™ œ 5 3 œ . œ J r 3 & R ≈ œ ‰ œ ≈ œ œ >j œ œ æ æ æ 4 3 nœ . œ œ #œ œ #œ nœ ˙ #˙ n˙ p mf ™ p f pp f ff f p mf f
flz. flz. œ œ œ œ > œ. œ ˙ b˙ 3nœ œ µœ #œ j #œ nœ 4 ˙ 2 j 3 &4 nœ 4 æ æ æ 4 æ 4 æ æ3 æ œ™ #œ. f fff f fff f pp mf p
. - . > [shi] - - [shi] œ œ œ œj œ™ œ™ œ œ œ U 5 >j œ™ œ™ B B B >œ œ B ™ B ™ 3 œ œ œ 4 J r 3 6 œ™ œ™ 6 6 6 &4 ‰ ‰ J ‰ 4 ≈ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ 4 ‰ ≈ J R ≈ KJœ KJœ KJœ > Kœ™ KJœ™ p mp p mp mp p pp sfz sfz f ff pp p
Figure 62 The fifth fragment Yellow Four Seasons in Four Seasons of
Jogakbo
79 To summarise with regard to how the philosophy of Ohang influenced the form of this piece, each of the piece’s five fragments is played in a different area of the stage and has its own sound quality. Furthermore, although each fragment has its own character, the fragments are related to each other through the use of common musical materials including multiphonics and rhythms. To best follow the law of Maek, and to help symbolise its invisible energy flow, the performer is asked to move between the areas of the fragments resulting in a visualisation of Maek.
Accordingly, we can witness Maek in both temporal and spatial aspects between the fragments.
After determining each of the perceived psychological effects for the saxophone’s techniques as well as the perceived psychological effects for each season and for each colour with the purpose of composing the five fragments, I needed to decide the order to perform the segments in each fragment. To determine this order, I applied the philosophy of Yin-Yang to the structure of the piece. To explore the philosophy of Yin-Yang, I considered how musical materials used for my composition might best feature the relationship of Yin-Yang. As I mentioned previously in section 1.2, I applied the philosophy of Yin-Yang to my compositional process with the idea that while opposing musical materials (consonance and dissonance, sound and silence, etc.) may exist without their counterparts, they may however be best defined when placed together. In this regard, I attempted to implement this philosophical approach into my musical language and to apply the philosophy to the musical parameters of the piece Four Seasons of Jogakbo.
First, in my compositional process, I matched musical materials with the Yin-
Yang philosophy by featuring segments that are both horizontal and vertical. The first four fragments of the piece consist of ten different segments categorised into two groups; one group featuring sounds of a vertical nature and the other group featuring sounds of a horizontal nature. Each group is composed of five segments, each with its own structure of notes and timbres. To generate sounds of a vertical nature in the
80 piece, I composed a multiphonic sound with different rhythms, dynamics, and articulations. For example, the multiphonic sound is played with a quaver rhythm, staccato, accent, and sforzando, so that the multiphonic sound generates a strong impact and a loud sound. Another multiphonic sound is played with a minim rhythm and decrescendo, so that the multiphonic sound changes slowly from loud to quiet throughout the duration of the minim. In this manner, each multiphonic sound has a different character. These five segments are positioned on the left side of the score.
The segments, which feature sounds of a horizontal nature, such as ascending and descending lines of pitches and a repetition of notes, are placed on the right side of the score. This placement of the segments on the score shows the opposite functions of the vertical and horizontal sounds in a visual manner that is symmetrical with the visualising of the opposing nature of Yin-Yang. To further reinforce the vertical and horizontal natures of the sounds, I first isolated the vertical multiphonic sounds to enable the piece to truly feel and sound vertical before introducing the segments with the sounds of a horizontal nature. For example, in Figure 56, the segments with the number from 1-1 to 1-5 generate a vertical sound. These components are performed twice regardless of any order. After this performance, the horizontal materials, which are from 1-6 to 1-10, are performed twice in the same way. Accordingly these performances demonstrate the opposing qualities of vertical sound and horizontal sound.
It is also important to note that while the order of the segments allows for the representation of the opposing nature in the philosophy of Yin-Yang, I also desired to reflect the complementary nature of the philosophy. To best accomplish this feat, I categorised the sounds of a vertical nature with sounds that feature an increasing energy and conversely I categorised the sounds of a horizontal nature with sounds that feature a decreasing energy. The categorisation of vertical sounds with increasing energy is accomplished by using sounds that feature a strong pulse for the sounds of a vertical nature, so the sounds are more focused and heavier and for
81 this reason, the sounds of a vertical nature generate increasing and expanding energy. Conversely, the sounds of a horizontal nature are lighter and softer and feature a very weak pulse or no pulse and result in weak and decreasing energies.
And so after the performance of the two groups of segments, a balanced and harmonious approach to the materials of the two groups is enabled by asking the performer to play each segment once with the idea that the interweaving of the segments, both horizontal and vertical, would cancel each other’s energy flow and allow for a neutral energy flow to be created, one with a more harmonious feeling.
Thus, the segments are performed each once from 1-1 to 1-10 without any specific order. This balanced approach to the performance of the materials from the two groups reflects the complementary function of the philosophy Yin-Yang because harmony, in the context of Yin-Yang, is symbolised by the reading of both the vertical and horizontal segments in a manner where their energies are neutralised. In this regard, the performing order of materials follows the philosophy of Yin-Yang.
The second method I used to explore the philosophy of Yin-Yang, also inspired by Jogakbo, is the interaction between the performer and composer, specifically with the intention of giving the performer a more equal role in the control of the order of the pieces segments and with regards to the process of how Jogakbo is created, relying specifically on the performer’s intuition for the explicit purposes of controlling the order of the piece’s segments. When a seamstress creates Jogakbo, using guidelines derived from the tradition of Jogakbo, the seamstress relies in large part on her intuition for positioning the scraps. I applied a similar approach to the creative process in this piece and ask the performer to fulfil the role of the seamstress and rely on his or her own intuition in choosing the order of the segments.
From the first to the fourth fragment, the performer should choose the order of segments to play. However, as the composer, I also share in the role of the seamstress for the last fragment and choose the order of the fragment’s forty segments. In this manner, the music allows for an almost equal responsibility to be
82 placed on the intuition of both the performer and composer in effect reflecting the very balance represented in the philosophy of Yin-Yang.
The last method I used to experiment with the philosophy of Yin-Yang was the combination of sound and silence. After completing the performance of each of the first four fragments, there is a silence as the performer moves to another designated area before playing the next fragment. This ‘choreography’ of both sound and silence allows for the audience to experience the opposite properties of sound and silence. The philosophy of Yin-Yang becomes part of the theatre of the piece.
To summarise the composition of Four Seasons of Jogakbo, this piece was a challenge for me because it called for a deeper philosophical and aesthetic approach to the process of composition. I applied not only musical materials inspired by the craft of Jogakbo but also the components derived from Ohang into the piece.
Additionally, the philosophies of Yin-Yang and Maek are reflected in various ways in the piece. In the next chapter ‘Snow Baby in Graz’, I will discuss how my use of the different colours of Ohang is further developed and how the concept of “sound colour” is used in the piece.
2.9. Snow Baby in Graz (2013)
In the piece, Snow Baby in Graz, I focused on exploring musical structure and form in relation to the patching technique of Jogakbo, with regard to the relationship between the colours of the scraps of Jogakbo and the colours of the horn’s various techniques. First, I juxtaposed the bars so that each bar has its own different musical timbre and character allowing for the connection of bars to produce a sequence of different sounds or musical timbres like the colour spectrums of Jogakbo. Moving on, I connected sections that have different musical timbres and characters side by side and, through this process, I expected that the change of section by musical timbre and “sound colour” could be perceived. Next, I explored the common language between the colours of the scraps of Jogakbo and the colours of the horn techniques.
83 In order to connect the visual colours of the scraps of Jogakbo and the colours of the horn technique, I explored the “sound colour” perceived by a range of horn techniques, with special focus on percussive sounds and stopped horn sounds. The techniques may generate a variety of “sound colours”.
To create delicate changes of timbre in my musical structure, I utilised different horn techniques; for example, the stop mute is applied in the first section. John
Ericson discusses the function of stop mutes: “Transposing brass stopping mutes are also manufactured to be used as a substitute for hand stopping. These do produce the correct tonal color and also allow for the production of more volume than hand stopping” (Ericson, 2010). There is a hole at the bell of stop mute, so opening and covering the bell’s opening generates the timbral differences of notes. (see figure.63)
Applying the stop mute, as opposed to allowing the horn player to use their hand to stop the horn, allows for the generation of a weak, faded, and light sound.
Figure 63 Stop Mute and Straight Mute
(Ericson, 2010)
84 Snow Baby in Graz for Corey Klein
Sam Park q=40-44
F(F-0) [u] [u] [u] [u] , + + , +, + + + + + 3:2x 3:2x Horn in F &42 ® r r ≈ Œ ∑ ® r r ≈ Œ ≈ j ‰ ≈ j ‰ œ™ œ œ™ œ œ œ mp pp mp pp -p pp-
[u] Figure 64 Snow[shi] Baby in Graz in bar 1-4 [sha] [a] + , , + 5 + + + + 3:2x 3:2x 5:4x & ≈ j Inr Figure≈ ≈64, thej writtenj 43pitch C, which is a sounding42 j F, ‰is employedr Œ with a -œ œ O O O™ -O œ. stoppp mutemp and the ‘u’mp vowelpp sound.p The ppsymbol ‘+---+’f meansp ff ‘with stop ppmute’, and ‘o’
and ‘+’ symbolise ‘opening and covering[u] of [a] the bell’s opening[o] on the stop mute’. [a] [a] + , 8 , + + , + + Therefore,+ + ‘oㅡ >+’+ describes+ the transition3:2x from the opening of the stop5:4x mute bell to 3 2 & ® r r ≈ ® r r ≈ 4 ≈ j j 4 r ‰ ‰ Œ & œ™ œ œ™ œ œ œ œ œ œ mpthe coveringpp of thepp stopmp mute bell. Inp bar 1, themp changep of the techniquepp from open to
covered changes the shade of the sound from a light andF(F-0) loud sound to a dark and [u] 8 7 [a] soft[a] sound, and so[a] generates the subtle+ change of “sound colour” I sought. This 11 + , , + + , + + + + 3:2x + change of timbre seems to me like the slight change of4 visual colour from white to3 & ® r r ≈ ® r r ≈ ≈ j ‰ Œ 4 w J˙ 4 œ™ œ œ™ œ -œ 3 creammp pp or from whitepp tomp ivory in the pJogakbo. Additionally,p by changingmp pp the vowel
formed by the horn player’s embouchure, a further subtle change of “sound colour” is F(B-23) [o] [u] [a] 14 produced. I use, several+ vowels such as ‘u’, ‘a’, ‘o’ and ‘ich’+ to explore, changes of +j , + 3:2x+ + bœ + + & 3b˙“sound colour”.œ TheB ‰ change2 ® of ther vowelr ≈fromŒ ‘u’, ’a’, ‘o’,2 ≈ to ‘ich’j distortsr ≈ theŒ sound to3 4 J 4 œ œ 4 œ œ 4 mf pp ™ - become higher and lighter. Thesemp vowelpp sounds amplify throughpp themp horn’s tubing, so
withoutthe mute change of vowel sound can be perceived clearly. To further explain this process, I [o] [ich][o][ich][o][shi] [sha] [o] [shu] (,) 17 breathy tone will introduce “Source-Filter”:3:2x a theory of 3Wayne Slawson. 3 &43 Œ j j r ≈ j j r j j r ≈ ‰ 42 œ œ œ œ œ O O O O O O O O O O O O p f pp mp o ppp ff pp Wayne Slawson discusses the “sound colour” of vowel sounds by using the
“source-filter” theory, which states that if the sources are the same but the filter is
different, the resultant sound will be different.
85 The Colorof Sound 133
The Source-Filter Model of Sound Production There are many examples of such sounds. The main require- ment is simply that the excitationbe independentof the sound- Accordingto this model, soundis producedwhen mechanical ing object. Naturalsounds in our environmentoften meet this or acoustic energy excites vibration in an object or cavity requirementquite well. The model is particularlygood at de- (Huggins, 1952; Fant, 1960). The excitationis the "source" in scribing the productionof speech. In vowels the excitation is the model and it is affected only negligibly by the object or the vocal folds in the larynx;the filter is the throat that it excites the generatedby cavity (see Figure 1). Typically temporal and mouth. The tension of the vocal folds and the volume of air featuresof the sound-the time of its occurrence,its envelope, we force through them control the pitch and intensity of the and its and overall intensity-can be attributedto frequencies vowel. The shape of the vocal tractcontrols the vowel or the source. The of the source be as illustratedin quality spectrum might color. As we all know, the excitationand the "filter" in vowels Figure 1. The influence of the object or cavity on the sound is are independent.We can uttera soft, low-pitched [a] or a loud, by the spectrum envelope-a characteristicshape represented high-pitched [a] or we can utter an [a] and an [e] at the same (like the dotted curve in Figure 1) that is imposed on the moderateintensity and pitch. The source-filtermodel also fits a spectrumof the excitation, modifying the intensitiesbut not the very common means of sound production in the electronic frequenciesof the components of the excitation. The spectrum studio: the "treatment" of a complex sound by an independ- envelope is the "filter" in the source-filtermodel. Withinbroad ently controlledfilter. Seldom indeeddo we encountera piece of limits, the excitation can be of almost any form-noise, a electronicmusic thatmakes no significantuse of this technique. low-pitched sound, a higher pitched sound, a series of Musical instruments, by and large, are not very well de- impulses-in each case the spectrum envelope "colors" the scribedby the model, because in most of themthe excitationand source spectrum. the filter are "strongly coupled." The resonances in the air column or string-the "filter" -react back on the buzzing lips, the vibratingreed, or the moving bow hairs-the source. This "strong coupling" causes the source to be driven at one of the Figure1. The source-filtermodel of soundproduction resonance frequencies of the filter. In these cases the filter controls the pitch and indirectlythe loudness of the sound. The situation is complex, however, for there are additional reso- nances in musical instrumentsthat act much like those in the SOURCEH FILTER -SOUND humanvocal tractand in the electronicstudio. In fact, although the source-filter model is not intended to apply to musical instruments,it is consistent with certainof the ideas of scholars AmpPLI like Cogan and Escot (1976) who theorize about the color of instrumentalcombinations. 1 r-RLT r-- Keeping in mind these ratherelaborate fair warnings about FREQ what sound color is and is not about, let us turn to the central SOURCE SPECTRUM REU LTANT SPECTRUM that a of sound color must address. are SPECTRUM E NVELOPE questions theory They concernedwith invariances. In orderfrom the simple and gen- Figure 65 “The source-filter model of sound production”
(Slawson, 1981, p.133)
This content downloaded from 161.112.232.102 on Tue, 28 May 2013 17:51:46 PM Figure 65 shows the process of “soundAll use subject production”. to JSTOR Terms Slawson and Conditions describes
“source” and “filter” in relation to the production of speech:
In vowels the excitation is generated by the vocal folds in the larynx; the filter is the throat and mouth. The tension of the vocal folds and the volume of air we force through them control the pitch and intensity of the vowel. The shape of the vocal tract controls the vowel quality or color. As we all know, the excitation and the “filter” in vowels are independent. We can utter a soft, low-pitched [a] or a loud, high-pitched [a] or we can utter an [a] and an [e] at the same moderate intensity and pitch. (Slawson, 1981, p.133)
Through Slawson’s research, the process of the production of vowel sound can be understood. Slawson also discusses “several dimensions of sound color” of vowel sound to explain “sound colour”: “Of the several dimensions of sound color, I shall discuss three that seem to be the most salient and musically useful. They are called
LAXNESS, OPENNESS, and ACUTENESS” (1981, p.135).
86 The Colorof Sound 135
The Dimensions of Sound Color Figure 3. The sound color space. The dimension of OPENNESSvaries roughly with the frequency of the first resonance;ACUTENESS, with the rule" can a With the "fixed spectrumenvelope we preserve frequencyof thesecond. The middle of thespace (at the [ne]sound) is particularsound color, but can we say somethingmore aboutthe themaximally LAX sound; around the periphery are the least LAX sounds. color itself? In what ways does it differ from othercolors? What kind of world does it reside in? These questionslead, of course, to the second of the central questions I have posed concerning the dimensions of sound color. Of the several dimensionsof soundcolor, I shall discuss three that seem to be the most salient and musically useful. They are -j 2.5-- l I2. and ACUTENESS. In order to what called LAXNESS,OPENNESS, explain 4, e these dimensionsare I shall have to interjecta brief tutorialhere about the acoustics of vowels. > 0 - As illustratedin Figure 3, vowel sounds can be associated bit* bet with certain combinations of frequencies of the lowest two resonancesin theirspectrum envelopes. The "long" vowels are located aroundthe peripheryof the space. Moving toward the L:L Ly 1.5'- oem center of the space we encounter the "short" vowels, which occur in words like "bit," "bet," and "but." In the center is Lii Ji.-) it: the neutralvowel, the color to which most vowels deteriorate,in /. Oe, a~ a English and many other languages, when they are in unstressed syllables. The dimensions of color are defined in terms of these spec- trumenvelope peaks as well. As a first approximation,OPENNESS varies with the frequency of the first resonance; ACUTENESS with the frequencyof the second. Thus when bothresonances are low LU i 0- S in frequency, we have the non-ACUTE,non-OPEN vowel, [u]. A high second resonance and a low first resonance produces an ACUTE,non-OPEN sound. A high first resonance with a [i]-like, LT) 0O low second resonances produces [aw] as in "maudlin"-OPEN and non-AcuTE.When both resonancesare high, we get the OPEN andACUTE [ae] as in "bad."'I shouldpoint out herethat the name of the OPENNESSdimension is derived from the of tubes shapes 0.2 0.4 o.6 0.8 /.O that produceOPEN sounds. These tubes have no significant nar- rowing; they are relatively "open." Tubes associated with FIRST RESONANCEFREQUENCY (KHZ) non-oPENsounds, on the other hand, all have at least one region
Figure 66 “The sound color space. The dimension of OPENNESS varies roughly with the frequency of the first resonance; ACUTENESS, with the frequency of the second. The middle of the space (at the [ne] sound) is the maximally LAX This content downloaded from 161.112.232.102 on Tue, 28 May 2013 17:51:46 PM All use subject to JSTOR Termssound and Conditions; around the periphery are the least LAX sounds.”
(Slawson, 1981, p.135)
Figure 66 is a graph to show the “LAXNESS, OPENNESS, and
ACUTENESS” of vowel sounds. Slawson interprets about the graph:
As a first approximation, OPENNESS varies with the frequency of the first resonance; ACUTENESS with the frequency of the second. Thus when both resonances are low in frequency, we have the non-ACUTE, non-OPEN vowel, [u]. A high second resonance and a low first resonance produces an [i]-like, ACUTE, non-OPEN sound. A high first resonance with a low second resonances produces [aw] as in “maudlin”- OPEN and non-ACUTE. When both resonances are high, we get the OPEN and ACUTE [ae] as in “bad”. (Slawson, 1981, p.135)
In Slawson’s view, there are different sound colours between vowels. These
different sound colours allow for one vowel sound to be distinguished from other
vowels. I used this approach to sound colours in the composition Snow Baby in Graz.
87 The Colorof Sound 135
The Dimensions of Sound Color Figure 3. The sound color space. The dimension of OPENNESSvaries roughly with the frequency of the first resonance;ACUTENESS, with the rule" can a With the "fixed spectrumenvelope we preserve frequencyof thesecond. The middle of thespace (at the [ne]sound) is particularsound color, but can we say somethingmore aboutthe themaximally LAX sound; around the periphery are the least LAX sounds. color itself? In what ways does it differ from othercolors? What kind of world does it reside in? These questionslead, of course, to the second of the central questions I have posed concerning the dimensions of sound color. Of the several dimensionsof soundcolor, I shall discuss three that seem to be the most salient and musically useful. They are -j 2.5-- l I2. and ACUTENESS. In order to what called LAXNESS,OPENNESS, explain 4, e these dimensionsare I shall have to interjecta brief tutorialhere about the acoustics of vowels. > 0 - As illustratedin Figure 3, vowel sounds can be associated bit* bet with certain combinations of frequencies of the lowest two resonancesin theirspectrum envelopes. The "long" vowels are located aroundthe peripheryof the space. Moving toward the L:L Ly 1.5'- oem center of the space we encounter the "short" vowels, which occur in words like "bit," "bet," and "but." In the center is Lii Ji.-) it: the neutralvowel, the color to which most vowels deteriorate,in /. Oe, a~ a English and many other languages, when they are in unstressed syllables. The dimensions of color are defined in terms of these spec- trumenvelope peaks as well. As a first approximation,OPENNESS varies with the frequency of the first resonance; ACUTENESS with Snow Baby in Graz the frequencyof the second. Thus when bothresonances are low LU i 0- S in frequency, we have the non-ACUTE,non-OPEN vowel, [u]. A for Corey Klein high second resonance and a low first resonance produces an ACUTE,non-OPEN sound. A high first resonance with a [i]-like, LT) 0O Sam Park low second resonances produces [aw] as in "maudlin"-OPEN and non-AcuTE.When both resonancesare high, we get the OPEN q=40-44 andACUTE [ae] as in "bad."'I shouldpoint out herethat the name of the OPENNESSdimension is derived from the of tubes shapes 0.2 0.4 o.6 F(F-0) 0.8[u] /.O [u] [u] [u] that produceOPEN sounds. These tubes have no significant nar- are Tubes associated with , + + , , + rowing; they relatively "open." FIRST RESONANCEFREQUENCY + + (KHZ) + + + + non-oPENsounds, on the other hand, all have at least one 3:2x 3:2x region Horn in F &42 ® r r ≈ Œ ∑ ® r r ≈ Œ ≈ j ‰ ≈ j ‰ œ™ œ œ™ œ œ œ -“As a first approximation, openness varies with themp frequencypp of the first resonance; Acuteness mp pp -p pp- with the frequency of the second. Thus when both resonances are low in frequency, we have the non-Acute, non-OPEN vowel, [u]. A high [u]second resonance and a low[shi] fist resonance produces an [sha] [a] This content downloaded from 161.112.232.102[i] –like, Acute, on Tue, non28 May-open 2013 sound. 17:51:46Snow A PMhigh Baby first+ resonance in, Graz with a low second, resonances produces + All use subject to JSTOR Terms and Conditions 5 + + [aw] as in “maudlin”-OPEN and non-ACUTE.3:2x+ When+ both resonances3:2x are high, we get the OPEN 5:4x and ACUTE [ae] as in “bad.” (p.134)for Corey Klein 3 2 & ≈ j r ≈ ≈ j j 4 4 j ‰ r Œ œ œ O O O™ Sam Park O œ
F(F-0) [u] [u] [u] [u] [u] [a] [o] [a] [a] + , , + 8 , + + , + , +, + + + + + + + + + + + 3:2x 3:2x 3:2x 5:4x 3 2 Horn in F &42 ® r r ≈ Œ & ®∑ r ®r ≈r ®r ≈r Œ r ≈ ≈ 4 j≈ ‰ j ≈ j j ‰ 4 r ‰ ‰ Œ & œ™ œ œ™ œ œ™ œ œ™ œ œ œ œ œ œ œ œ mp pp mp pp mp pp pp mp -p p pp- mp p pp
[u] [shi] [sha] [a] F(F-0) Figure+ 67 The, use of different, vowel sounds in bar 1 and in bar 8 [u]+ 8 7 5 + + [a] [a] + [a] 3:2x + 3:2x 5:4x + 11 + , , + + , 3 + 2+ 3:2x + & ≈ j r ≈ ≈ j j + + j ‰ r Œ œ œ O O 4 O 4 O œ 4 w 3 As! we- can see in figure 67, the shapes& ® of rbar™ 1 rand≈ bar ®8 lookr similar,r - but≈ I ≈ .j 11!‰ Œ 4 J˙ 4 pp mp mp pp pœ™ œpp fœ™ pœ ff œpp 3 mp pp pp mp -p used the different vowel sounds [u] and [a] in bar 1 and in bar 8 respectively. p mp pp [u] [a] [o] Therefore, [a] the resulting sounds[a] are slightly different and the “sound colour” is also F(B-23) + , 8 , + + , + + [o] different between+ + the two bars.+ For example,+ the[u] “sound3:2x colour” of bar 1 is less open[a] 5:4x 14 + , ® r r ≈ ® r r ≈ 3 ≈ j j + 2 r , ‰ ‰ Œ & + + & 4 j 4 + + 3:2x than that ofœ bar™ 8œ which in turnœ is™ moreœ open 3b˙ œ œ œœ Bbœ œ 2 œ 2 3 mp pp pp mp &4 p mpJ ‰ p 4 ® pp r r ≈ Œ 4 ≈ j r ≈ Œ 4 Slawson discussed further the concept of “equal value contours”pp for each ofœ ™ œ œ œ mf mp pp pp- mp F(F-0) vowels: [u] 8 7 [a] [a] [a] without mute + 11 I can be more, specific about, the+ dimensions+[o] by drawing[ich][o][ich] equal[o][shi] value, [sha] [o] [shu] + 3:2x + contours+ for+ each of them.+ All configurations+ 17 ofbreathy the first twotone resonances 4 w3:2x 3 3 3 & that® fallr on r a single≈ ® contourr haver ≈ the3 same≈ valuej ‰ with respectŒ to4 the J˙ 4 2 dimensionœ™ œ in question. Toœ ™ locateœ the contoursŒ œ exactly would demandj j a r 3 ≈ j j r j j r ≈ ‰ mp pp pp &4 -p 4 good deal of psychoacoustic research,mp but I canœ atœ leastœ œ suggestœ O whatOp O Omp ppO O O O O O O O their approximate shapes will be. In Figure 4p are plotted hypotheticalf pp mp o ppp ff pp equal-LAXNESS, equal-OPENNESS, and equal-ACUTENESS contours. F(B-23) Notice that the contours tell us how to hold one aspect of sound color [o] constant[u] while varying other aspects. Suppose[a] for example, we want to 14 hold LAXNESS invariant in the face of changes in OPENNESS and + , +j , + 3:2x+ + ACUTENESS. We would select one of the equal+ -LAXNESS+ contours and then 3b˙ œ Bbœ 2 2 3 &4move along it withJ the proper‰ variations4 ® r in ther resonance≈ Œ frequencies.4 ≈ j r ≈ Œ 4 Similarly we can movepp along an equalœ-OPENNESS™ œ contour by changing œ œ mf mp pp pp- mp mostly the frequency of the second resonance while holding the first almost constant. In general this kind of transformation produces changes withoutin ACUTENESS mute and LAXNESS but not in OPENNESS (Slawson, 1981, p.136) [o] [ich][o][ich][o][shi] [sha] [o] [shu] 17 breathy tone 3:2x 3 3
& 3 Œ j j r ≈ j j r j j r ≈ ‰ 2 4 œ œ œ œ œ O O O O O O O O O O O O 4 p f pp mp o ppp ff pp
88 The Color of Sound 137
Figure 4. The dimensions of sound color. Loci of equal value for each of the dimensions of LAXNESS,OPENNESS and ACUTENESSare plotted in terms of the frequencies of the first two resonances. The approximate posi- tions of some representative vowels are indicated. EQUALLAXNESS CONTOURS
w ZS. L uJ
2.0- 0 u,
us I z0 , - 2L O~I,(I /
2'0 / 5
o,6- Li 0.2 FRE>UEI RE S EQUALOPENNESS EQUALACUTENESS CONTOURS CONTOURS
Figure 68 “Figure 4. The dimensions of sound color. Loci of equal value
This content downloaded from 161.112.232.102 on Tue, 28 May 2013 17:51:46 PM for each of theAll usedimensions subject to JSTOR of TermsLAXNESS and Conditions, OPENNESS and ACUTENESS are
plotted in terms of the frequencies of the first two resonances. The
approximate positions of some representative vowels are indicated. ”
(Slawson, 1981, p.137)
From Slawson’s view, there exists an “equal value contour” between the vowel sounds in the frequency of the first two resonances and this “equal value contour” produces the transformation of “sound colour”.
This transformation of “sound colour” can be seen in Snow Baby in Graz. For example, in bar 9-10, it can be seen that the transition of the vowel sound from [u] to
[a] and [a] to [o] along with the covering and opening of the stop mute allows for a
89 Snow Baby in Graz for Corey Klein
Sam Park q=40-44 Snow Baby in Graz for Corey KleinF(F-0) [u] [u] [u] [u] , + + , +, + + + Sam+ Park + 3:2x 3:2x Horn in F 2 q=40-44 &4 ® r r ≈ Œ ∑ ® r r ≈ Œ ≈ j ‰ ≈ j ‰ œ™ œ œ™ œ -œ -œ 6 mp pp mp pp p pp F(F-0) [u] [u] [u] [u] , + + , , + + + [u] + + [shi] + + [sha] [a] +B(F-123) , , 3:2x 3:2x + Horn in F 2 5 + + 16 + + &4 ® r r ≈ Œ 80∑ 3:2x® r r ≈ Œ 3:2x ≈ j ‰ ≈ j 5:4q‰ 5:4x4:3q œ™ œ œ™ œ œ œ mp pp ≈ r mp pp≈ #œ- ≈ œ -p æ3 pp- æ æ 2 æ ‰æ Œ æ ?&5 j r ™ j ‰ ?j 4n æ4 æ n æ Œ n æ 43 bjæ n æ ræ æ 2 4 æ œ œ & J JO O 4 6 O#™ 6 6 6 4O6 6 #œ.6 6 4 # 6 #pp-)™ mp p mpppp pp p pp f p -ff pp [u] [shi] [sha] nœ [a] nœ nœ bœ nœ œ #œ #>˙™ #œ #œ + , , sffz ffff + fff fff ff fff f 5 + + 3:2x+ + 3:2x 5:4x [u] [a] [o] 3 [a] [a] 2 + , & ≈ j r ≈ ≈ j transformationj 8 4 of , “sound+ colour” to occur+ 4 fr,omj closed‰ to openr +Œ in OPENNESS. + œ œ O O O™ + + rit. + -O+ œ. 3:2x 5:4x pp- mp mp pp p pp f p ff 3 pp 2 & ® r r ≈ Db(F-23)® r r ≈ 4 ≈ j j 4 r ‰ ‰ Œ & œ™ œ œ™ œ œ4 œ5 œ7 6 œ 9 œ 11 mp pp pp mp p mp p pp ( 3'' ) [u] [a] [o] 3:2q [a] [a] j U 8 + , >- > √ , , + 5 æ F(F-0) 3 4 + + 3:2x+ 5:4x‰ æ æ b B6 Œ + + + + 4 æ J6 æ ) 8 4 6 7 4 æ[u] K æ b6 æ æ æ ® r r ≈ ® ≈ 3 ≈ [a] [a] 2 ‰ ‰b6 Œ 6 æ [a] æ & r r 4 j 3:2qj 4 r + & œ™ œ œ™ œ 11 œ œ , œ œ , +œ + , mp pp pp + 3:2x + mp ? 2 æp + æ +æmp 2 p + +pp 5 3 U √ 4 n6æ # æ n6æ ≈ j 4 w Œ & 3 &4® r6 r ≈4 ® r r ≈4 ≈ j ‰ Œ 4 4 æJ˙ 44 œ œ œ œ œ 3 æ Figuren œ69 “OPENNESS™ nœ TRANSPOSITIONbœ™ ™F(F-0)œ œ ” inb wbar 9--10 in Snow Baby in Grazbœ œ bœ mp#œ pp sub. pp mp p p mp >pp [u] 8 7 fff ppp [a] ff fff ffff [a] [a] + 11 + , , + + , + + + + I (rubato) alsoF(B-23) 3:2x changed the vowel sounds+ between [o] and [ich] ” in bar 17 and 4 3 [o] & ® r r ≈ ® r r ≈ ≈ [u] j ‰ Œ 4 w [a] J˙ 4 14 , + , œ™ œ œ™ betweenœ [ich] andœ [u] in bar 89-90. The change3 of the vowels allows forG(B-12) a + - + , + 3:2x+ + mp pp pp mp p j p mp + pp+ 19 3b˙11 15 16 18œ 13Bbœ 14 2 2 3 transformation87& of “sound colour” to‰ occur from® r“non-ACUTE”r U≈ Œ to “ACUTE”≈ ( in5'' ) j r ≈ Œ 4 J 4 œ œ >- 4 œ œ 4 mf œ bœ bœ pp œ œ œ ™ nœ™ œ - F(B-23) ACUTENESS.4 œ ™ K Bœ J K J mpBœ pp J ? 4 √ pp mp √ 3 &4B [o] ≈ 4 Œ & 4 [u] [a] 11:8x 14 , + + , + , without mute + + j pp+ p 3:2x pp sfz p npp˙™ bœ + + [o] [ich][o][ich][o][shi] [sha] [o] [shu] o 3b˙ œ B 2 2 (,) 3 &4 ‰ 4 ® 17r r breathy≈ Œ tone4 ≈ j r ≈ Œ 4 J œ œ œ 3:2xœ 3 3 mf pp ™ - mp&43 Œpp j pp j mpr ≈ j j r j j r ≈ ‰ 42 q=56 œ œ œ œ œ O O O O O O O O O O O O without mute p f pp mp ppp ff pp [o] [ich][o][ich][o][shi] [sha] [o] [shu] o (,) 17 breathy tone 3:2x 3 3 [u] [ich] [u] [ich] [ich] [u] [o] & 3 Œ j j r 89 ≈ j j r j j r ≈ ‰ 2 4 œ œ œ œ œ O O O O O O O O O O O O 4 3 O O O 4 O >O -O O O O O 5 O O O 4 p f pp mp &4 ppp™ 4 ≈ ff pp 4 ‰ 4 7:4eo R J sfz p p pp mp p f f p fp ff
Figure 70 The transformation of “sound colour” in “ACUTENESS” in bar 17
[ich][u] [ich][u] [ich][u] [u] [ich] [u] and92 in bar 89-90 4 >O -O O >O -O O >O -O O O 3 O O O 2 O O √ 6 In& this4 manner, ‰ I explored slightly‰ different ™ changes≈™ of‰ timbre4 and “sound™ 4 ‰™ 4 ÔR 7:4e R sfz p sfz p sfz pp pp mp ff p colour” in each bar or between bars structurally in Snow Baby in Graz. I applied
these changes of timbre and “sound colour” to musical form with greater depth in
Snow Baby in Graz. For example, I explored changes in the timbre and “sound colour”
between sections. This transition of sections is similar to Grisey’s approach to the
90 musical form. Grisey states:
What we see is not the musical entity as such but instead its evolution. We are unable to measure the pitch, the duration or the intensity of a given sound, however we immediately sense the difference in between one sound and the previous one. I no longer seek to compose an entity, but instead the transition from one to another, or of one structure to another; this is what I call the degree of change. (Grisey, 1974c, p.224 cited in Féron, 2011, p.351)
Grisey describes the flow of sound as “the transition from one to another, or of one structure to another” and this transition can generate “the degree of change”.
Therefore, in Grisey’s music, it is not necessary to develop a motive for all pitch materials. I was influenced by Grisey’s musical form and by Jogakbo’s form, because of their shared approach to the concept of non-developmental form. With this approach in mind, I developed the musical form in Snow Baby in Graz.
First, I examined the horn’s techniques by focusing on investigating its percussive sounds and stopped horn techniques to seek a variety of colourful effects.
I classified the techniques by psychological effect based on my own unique perceptions of the colour of each sound. After examining the horn techniques, I catalogued them into ten groups by their perceived psychological effect (“sound colour”). The ten groups I used, which are in turn related to the ten colours of Ohang are as listed: white, black, red, blue, yellow, pink, purple, sulfurous yellow, green, and sky. For example, the technique of opening and covering of the stop mute is associated with the colour white, as I perceive the “sound colour” as being pure and light. Additionally, the percussive effects offered by techniques such as the hitting of the mouthpiece with one’s palm or kissing the mouthpiece when it is placed in the horn provided an exciting and lively feeling, which I then associated with the colour red. After categorising the horn techniques in this way, the next phase was to create the order of sections using the ten colours and the horn’s technique.
I decided the order of ten colours for forming the sections in the piece through the placement of a negative colour between each of the positive colours, according to the philosophy of Ohang. For example pink, a negative colour, is generated by a
91 combination of white and red, so the colour pink is placed between white and red, both of which are positive colours. While purple, another negative colour, is placed between red and black. In this manner, the outcome of the colours’ order was the following: white, pink, red, purple, black, sulfurous yellow, yellow, green, blue, and sky.
White Pink Red Purple Black Sulfurous Yellow Green Blue Sky
Yellow
Figure 71 The order as related to the ten colours of Ohang
The order of sections of the piece being determined by this order of colours, has thus allowed for the composition to feature ten different sections. I focused on the positive colour sections more than negative colour sections, because the positive colours have more increasing and active energy than the negative colours in relation to the philosophy of Yin-Yang. To express these increasing, active and progressive energies, I decided to increase the length of each of the positive sections.
As discussed earlier, the first section employs the stop mute to allow for the lightness of the colour white to be perceived. The second positive colour, red, is the focus of the third section using the percussive effects of the horn to express the exciting and lively feeling and nature of the colour red. The fifth section, in turn, is related to the colour black, which for me emits a perceivable energy that is serious and dark. To achieve this energy, I associated it with the colour black, which I produced using the sound of the horn’s multiphonics created by the horn player’s buzzing the lower pitch while singing the higher partials. (see figure 72) In this manner, the positive colour sections are associated with the psychological property of visual colour and sound colour of the horn’s technique.
92 5
q=52-56
E(F-2) 4 7 6 5 68 [o] 3:2q ° 5 4 j 2 &4 ‰ K6 # 4 Œ K 6 # 4 6™ ) L6 6™ 6 ? 5 4 ‰ 2 ¢ 4 4 j 4 w œ œ ˙™ f p ff f p f mf
9 10 3:2q 70 ° 2 5 - 3 &4# #-6 6 ‰ 4 ‰ K6 # L6 Œ & 4 E(F-2) -6 J 6 L 6 (rubato) 6 >6 12 8 15 17 14 13 10 9 . œ œ œ >œ . ? 2 5 3#œ™ L K µœ#œ œ K #œ U? 4 4 ‰ 4 j ‰ & 4 nœ L #œ nœ 4 ¢ œ w œ 11:8x ™ pp mf pp sfz pp ff f p fff
C(F-13) 4 9 8 5 7 3 (throat) [a] flz. 73 , ° 4 Œ j 4 Œ j 3 Œ 2 &4 6 6 j K 6 4 6 6 j æ 4 6 6 6 4 K6 K6 æ K6 K 6 6™ 6 6 ? 4 ‰ 4 ‰ 3 ‰ 2 ¢ 4 j 4 j 4 j 4 nœ ˙™ nœ ˙ nœ ˙ >ff p ff >ff p ff >ff p
q=48
76 + , ° 2 j ‰ Œ &4# Db(F-23) B(F-123) 6 (sung) C(F-13)
3:2q 4:3q 5:4q ? 2 3 4 5 4 j ‰ 4 4 Œ æ b æ æ 4 ¢ æ æ æ æ æ æ æ æ æ 6 6 6 œ nœ nœ bœ œ nœ bœ œ #œ œ œ bœ œ fff ff fff ff fff ffff ff
Figure 72 The fifth section featuring the colour black in Snow Baby in Graz
On the other hand, sections formed from the derivation of negative colours, pink, purple, sulfurous yellow, green and sky section are composed of a mixture of the “sound colours” from their adjacent sections. For example, the second section consists of ½ valve trills and glissando techniques. The ½ valve trill technique produces2 a soft and light sound reflecting the colour white, while the trill also makes the notes shift quickly into other registers. This fast shift of registers creates a
[u] [a] [o] perceivable20 energy that is exciting and vital and also identified with the colour red. In + + + , 2 3 5 this& manner,4 ® r ther ½≈ valveŒ ® trillr techniquer ≈ Œshows 4the® characters of both rthe≈ white‰ and4 œ™ œ œ™ œ œ™ œ œ œ mp pp mp pp pp mp red colours simultaneously resulting in a creation of the colour pink. (see figure 73)
1/2 valve trill (shift between vowel sounds)
23 &45 ® r j 43 œ™ œ w ppp p pp mp pp mf ppp
Figure 73 The second pink section in Snow Baby in Graz [a] [o] [u] [ich] 24 1/2 valve trill 3:2e ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Ÿ √ &43 ® r j j 42 r ≈ ‰ 83 œ™ œ œ œ œ œ œ 93 mp pp p pp mf ppp
e=112 E(F-2) E(F-2) F(F-0) D(F-12) D(F-12) [u] [u] [a] [u] [u]± 26 , ± , ± , , ± , - . - - - . &83 ≈ nœ Bœ ® 42 ‰ nœ™ Bœ ≈ 83 ® r r ≈ ‰ 85 ≈ nœ™ Bœ ≈ Bœ nœ 4 ÔR R œ œ J R 3:2e J p pp 5:4e -™ mp p p pp mf p p mf
F(F-0) 8 9 B(F-123) air tone [a] tone 30 + ± , , , 5:4e 4 œ ™ œ 2 j j 3 &4 ˙ nœ B ® 4#œ O™ #œ™ 8 3:2q mp f p pp mp pp
Bb(B-0) F(F-0) 10 9 8 7 6 5 [a] [o] [u] [ich] 32 breathy (rubato) U> > 3 j œ œ 3 œ µœ œ nœ œ √ 2 &8 œ ≈ J J 8 ≈ Jœ. œ ® 4 µ 5:4x 6:4x . Kœ. p fp mp p sfz mf p pp
In this manner, each section of this piece has its specific horn technique matched with one of the ten colours. However, the techniques representing a section may also be found in different places and in this respect the shape of Jogakbo influences the musical form of this piece. The scraps sharing the same colour or similar shades in Jogakbo are positioned not just in one place but also in different places, and so, when we look at Jogakbo, we can follow a colour visually in many different directions. Similarly, in this piece, the horn’s techniques illustrating its colourful characters are not only in one section, but also in other sections. Thus, allowing for the music to be not a journey with a singularly straight path but instead a journey that may be experienced as multidimensional, with the flow of music going back and forth between the various horn techniques.
The exploration of musical structure and form in relation to the character of
Jogakbo and Kandinsky’s ‘Colour Theory’ in my piece Snow Baby in Graz, provided the opportunity to match visual colours with horn techniques by their psychologically perceived effect. This exploration plays a significant role in the development of my own musical language.
94 3. Conclusion
In this commentary, I have outlined the influences and research behind the development of my musical philosophy and compositional language. During my doctoral studies my compositional process evolved through research into the relationship between colour and sound, as well as my research into Korean philosophy and art, in part due to my desire to further explore my cultural background and heritage. In this regard, I researched the art and craft of Jogakbo and the Korean philosophies of Yin-Yang, Ohang, and Maek, which are reflected in Jogakbo. To elaborate further, within the philosophy of Yin-Yang there is an understanding of the relationship between lightness and darkness and this understanding is reflected in my use of musical materials with regards to colour. In this manner, when I compose a change from one pitch to another pitch, I explore the Yin-Yang concept by focusing on transformations between seemingly opposing states and showing how they can come into relation. Additionally, when creating my musical structure and forms, I used the character of Jogakbo and the philosophy of Ohang. For example, I applied my observations of the colour spectra found within the scraps of Jogakbo and spatial relationships to the way I dealt with transitions of colour and shape in musical structure and form. My compositions are based on a vocabulary made up of subtle changes of musical timbre using different instrumental techniques. This colour-based placement of the sections and the transitions between the sections are akin to the colour-based placement of the scraps and the transitions between the scraps found in Jogakbo. Furthermore, to match the colours of scraps in Jogakbo and instrument techniques, I researched the psychologically perceived effects of the colours found in the philosophy of Ohang matching these to the “sound colour” of instrument techniques. In this manner, I could more directly apply the shape of Jogakbo into my musical structure and form. Additionally the Korean philosophy of Maek allowed me to develop a compositional system where creating the flow of sound both in a local
95 horizontal structure such as between pitches, and in a global horizontal structure such as between sections, would be viable. In this way, the Korean philosophies and the character of Jogakbo played a significant role in the development of my musical language.
However, my research into “sound colour” as the primary way of articulating musical structure and form poses further questions and challenges. The techniques and extended techniques of an individual instrument can define ‘colours’ that I could relate to certain psychological effects of ‘warmth’, ‘coolness’, ‘calm’, ‘excitement’ etc.
But in this manner, it may be difficult to define colour and qualities when a sound is a result of a mixture created simultaneously by many instrumental techniques. I propose to further research how I might define sound by colour when working with sounds created by the simultaneous combinations of instrumental techniques. I wish to further research how I may apply a compositional language based on ‘patching techniques’ and ideas from Jogakbo to formal principles at a larger scale in compositions for large ensembles and orchestras.
I plan to continue my research of extended techniques for the purposes of developing my capacity to compose with subtly different musical colours with the hope that this research will provide me a larger palette of differentiated timbres and subtle colour transitions for my compositional process. This larger palette will enable my musical language and compositional style to continue developing in a manner that I regard as more sophisticated, vibrant and delicate. While the research up until now has been primarily for the purposes of developing a means through which I could develop my own compositional language and structure, researching how to enable listeners of my music to be able to also perceived these philosophies and further perceive the sound-colours could also prove fruitful. The research will also further enable me to see if this compositional technique in relation to Korean cultural thought has the potential to establish my musical form not only in solo instrumental music or small ensemble music but also for larger musical forces.
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