Alice in Wonderland’ of Unsuk Chin

Home , Portamento, Unsuk Chin

THE STUDY OF ‘ALICE IN WONDERLAND’ OF UNSUK CHIN

D.M.A. DOCUMENT

Presented in Partial Fulfillment of the Requirements for the Degree Doctor of

Musical Arts in the Graduate School of The Ohio State University

Eun Seok Park, B.M., M.M., A.D.

Graduate Program in Music

The Ohio State University

2014

D.M.A. Document Committee:

Dr. Jan Radzynski, Advisor

Dr. David Clampitt

Dr. Thomas Wells

Eun Seok Park

2014

ABSTRACT

Composer Unsuk Chin (b. 1961) is the best-known South Korean, female composer of the twenty-first century. Previously, Korean-German composer Isang

Yun (1917-1995) attempted to combine Korean sound and Western sound, and many Korean composers followed the same way at that time. Unlike the previous generation, Chin excluded Korean elements from her music. She refused to belong to any specific Asian culture. Her teacher Ligeti emphasized the importance of originality to Chin; thus, Chin remained a proponent of Individualism.

Chin’s first opera, Alice in Wonderland (2004–2007), blends her unique musical language, use of musical quotations, effective vocal writing, and brilliant orchestral writing.

This document briefly addresses the history of Western music in Korea, and introduces important Korean composers through different generations. This document also introduces Alice in Wonderland, and includes an analytical summary of each scene.

Dedication

This document is dedicated to my family.

iii

ACKNOWLEDGMENTS

I would like to express my sincere gratitude to my advisor, Dr. Jan Radzynski, who gave me insightful guidance, advice, musical inspiration, and encouragement consistently. Without his tremendous support, completing this would not have been possible.

I also would like to express my appreciation to the member of my committee:

Dr. David Clampitt and Dr. Thomas Wells for their time, and for their thoughtful comments and encouragement.

I acknowledge my parent, Sungwoo Park and Jinhee Moon, and my sister,

Eungyeong Park for their encouragement and unconditional love. In addition, great thanks go to my parent-in-law, Yungsik Kang and Guemsun Yoo.

EunHye Kang, my wife has supported me every day since we formed this wonderful relationship.

Finally, I am heartily thankful for the love and guidance from God that has given me great strength and blessing allowing me to complete this study.

VITA

August 1, 1978………………………………….…….………….Born Daegu, South Korea

2004…………………………………………….……………………B.M. Music Composition,

Keimyung University, South Korea

2007………………………………………….………………………M.M. Music Composition,

University of Hartford, CT

2009………………………………………………………………….A.D. Music Composition

University of Hartford, CT

Fields of Study

Major Field: Music

Studies in Music Composition Dr. Jan Radzynski

Studies in Piano Performance Dr. Caroline Hong

TABLE OF CONTENTS

Abstract……………………………………………………………………………………………………ii

Dedication………………………………………………………………………………………………..iii

Acknowledgments…………………………………………………………………………………….iv

Vita…………………………………………………………………………………………………………..v

Table of Contents………………………………………………………………………………….…..vi

List of Figures………………………………………………………………………………………...viii

Chapters

1. Introduction………………………………………………………………………………………….1

1.1 Western Music in Korea…………………………………………………………….1

1.1.1 First generation…………………………………………………………...2

1.1.2 Second generation……………………………………………………….3

1.1.3 Third generation………………………………………………………….4

1.2 Unsuk Chin...... 5

2. Alice in Wonderland……………………………………………………………………………….7

2.1 Overview...... 7

2.2 The Framework of Scenes...... 8

3. An Analysis of Alice in Wonderland…………………………………………………..……11

vi 3.1 Scene I...... 11

3.2 Scene II…………………………………………………………………………………...16

3.3 Scene III………………………………………………………………………………….23

3.4 Interlude I……………………………………………………………………………….25

3.5 Scene IV…………………………………………………………………………….…….26

3.6 Scene V…………………………………………………………………………………...29

3.7 Scene VI………………………………………………………………………………….33

3.8 Interlude II……………………………………………………………………………...36

3.9 Scene VII…………………………………………………………………………………39

3.10 Scene VIII…………………………………………………………………………...…42

4. Conclusion…………………………………………………………………………………………...45

Bibliography……………………………………………………………………………………………47

Appendix A: Consent Letter from Boosey & Hawkes, Inc…………………………...49

vii

LIST OF FIGURES

Figure 2.1 Synopsis of Alice in Wonderland…………………….…………………………...9

Figure 3.1 Scene I, mm. 17-19………………………………………...……………...…………12

Figure 3.2 Scene I, m. 59………………………………...…………………………………….…..12

Figure 3.3 Scene I, mm. 34-35…………………………...…………………………………...…13

Figure 3.4 Scene I, mm. 36-39………………………...…………………………………...……14

Figure 3.5 Scene I, mm. 49-52……………………………...……………………………...……14

Figure 3.6 Scene I, mm. 76-79……………………………...…………………………….……..15

Figure 3.7 Scene I, mm. 67-69………………………………...………………………...………16

Figure 3.8 Scene II, mm. 130-133…………………………...………………………….……..17

Figure 3.9 Scene II, mm. 167-169………………...……………………………………..…….18

Figure 3.10 Scene II, mm. 143-154………………...……………………….…………..…….19

Figure 3.11 Scene II, mm. 138-149……………………………………………………………20

Figure 3.12 Scene II, mm.256-261………………………………………………….…………21

Figure 3.13 Scene II, mm. 892-894……………………………………….…………………..22

Figure 3.14 Scene III, mm. 977-982………………………………………….………..……..24

Figure 3.15 Interlude I, mm. 1-5………………………………………….…………..……….25

Figure 3.16 Interlude I, mm. 13-18……….……………………………….………..…..……26

viii Figure 3.17 Scene IV, mm. 126-130…………………..………………….………...………...27

Figure 3.18 Scene IV, mm. 175-177……………………..………………….………..………28

Figure 3.19 Scene IV, mm. 252-255……………………..…………….………………..……29

Figure 3.20 Five Sections of Scene V……………………………………….….……….…….30

Figure 3.21 Scene V, mm. 509-510………………………………...…...….…………………30

Figure 3.22 Scene V, mm. 571-572…………………………………..…….…………………31

Figure 3.23 Scene V, mm. 575-576…………………………………...…….……….………..32

Figure 3.24 Scene V, mm. 720-721……………………………………..….…………………33

Figure 3.25 Scene VI, mm. 872-891……………………………………..….…………..……34

Figure 3.26 Scene VI, mm. 955-959…………………………………..…….………………..35

Figure 3.27 Scene VI, mm. 1261-1262………………………………………………………36

Figure 3.28 Interlude II, m. 108…………………………………...………….………..………37

Figure 3.29 Interlude II, mm. 19-21………………………………...……….……….………38

Figure 3.30 Interlude II, mm. 113-119………………………………………………………39

Figure 3.31 Scene VII, mm. 177-180………………………………...….……...…………….40

Figure 3.32 Scene VII, mm. 538-540……………………………….…...……………………41

Figure 3.33 Scene VII, mm. 406-409……………………………….……...…………………42

Figure 3.34 Scene VIII, mm. 615-619………………………………………....……………..44

CHAPTER 1

INTRODUCTION

1.1 Western Music in Korea

Missionaries from the United States introduced Western tonal music and its harmony to Chosun (A.D. 1392 – A.D. 1910),1 the last dynasty in the history of Korea, at the end of the nineteenth. At that time, Koreans could learn Christian hymns, military band music and children’s songs.2 Western music in Korea began developing at a considerable pace.

When Western music was introduced to the Korean public, they compared it to their traditional music. Donna Lee Kwon (2012) stated, “some Koreans viewed traditional music as a nostalgic marker of Korean identity; others simply saw it as

1 Date from http://sillok.history.go.kr/main/main.jsp 2 Kwon D. L. 2012. “Music in Korea,” chapt. In Colonial Legacies in Korea. Oxford University Press, p. 129 1 backward.”3 Thus, in time, two remarkable movements emerged, based on two reactions.

1.1.1 First generation

The first movement supported writing art song with Korean lyric in the

Western format. Kwon (2012) explains that Korean composers can be organized into three generations.4 Composers in the first movement are classified as the first- generation composers. In the late nineteenth century, Western instruments were rare in Korea; most Koreans were not familiar with Western notation. Thus, Korean composers attempted to notate a melodic line for only voices; then pieces could be carried through aural practice to audiences. Most pieces did not include accompanied instrument, and performers could improvise and make small changes;5 therefore, each performance could vary. This kind of art song became the most popular musical form throughout Korea. Nanpa Hong (1898–1941), Jaemyung

Hyun (1902–1960), and Heungyeol Lee (1909–1980) represented the first- generation composers.

3 Kwon D. L. 2012. “Music in Korea,” chapt. In Colonial Legacies in Korea. Oxford University Press, p. 129 4 Ibid., p. 130 5 Ibid., p. 130 2 1.1.2 Second generation

The second movement attempted to include Korean elements or express

Korean traditional music in Western music. Composers who followed this manner are considered second-generation composers. Isang Yun (1917–1995) started the second generation and, was the first Korean composer introduced to European audiences. He showed an interest in post-Romantic compositional techniques early in life. After spending much time in Germany, he turned his interest to Korean music.

Yun’s music presented traditional Korean court music with avant-garde techniques.6 Robert Morgan (1991) stated, “the Korean Isang Yun (b. 1917) and the

Japanese Toshiro Mayuzumi (b. 1929) and Toru Takemitsu (b. 1930) have joined musical elements of their native musical cultures with those of Western music.”7

This fusion of East and West music is the main feature of second-generation composers; however, they also turned their attention to larger forms of chamber and orchestral music.

6 Born, Georgina and Hesmondhalgh, David. Western Music and Its Others. Corbett, John. Chap. In Experimental Oriental: New music and Other Others. California: University of California press, 2000, p.179 7 Morgan, Robert P. Twentieth-Century Music. New York: W. W. Norton & Company, 1991, p.422 3 1.1.3 Third generation

In 1967, the South Korean government kidnapped Isang Yun under suspicion of him being a North Korean spy. In 1969, he was released and returned to

Germany. After studying with Yun in jail, Sukhi Kang (b. 1934) moved to Germany to continue studying with Isang Yun. Kang not only continued Yun’s track and, but also attempted to expand their musical language through experimental and electronic music. Kang wanted to make his own musical language, however, free from Korean elements. Sukhi Kang returned to South Korea to teach music composition at Seoul

National University. Emphasizing individualism, Kang also introduced European experimental and electronic music to Korean students and audiences. In 1969, Kang established the Pan Music Festival, the first Korean new music festival ever.

Through the festival, many Western composers, such as Iannis Xenakis (1922–

2001) and Luigi Nono (1924–1990), were introduced to Koreans.8

Individualism and experimentalism took firm root in many young Korean composers, which may be the starting point for the third generation of composers.

Unsuk Chin (b. 1961) was a Sukhi Kang’s first pupil at Seoul National University.

Kwon (2012) states, “Chin has chosen not to distinguish herself by integrating

Korean concepts, but instead defines her compositional identity by working

8 interview with Sukhi Kang from http://navercast.naver.com/contents.nhn?rid=83&contents_id=19370 4 primarily within a contemporary Western musical language.”9 This statement clearly reflects the aesthetic beliefs of the third generation of composers.

1.2 UnSuk Chin

Composer Unsuk Chin (b. 1961) is the best-known South Korean, female composer of the twenty-first century. Her musical influences came from Béla Bartók,

Igor Stravinsky, Sukhi Kang and György Ligeti. Chin did not take formal musical training before entering the university. Her farther, a pastor, had taught Chin to read music. Chin studied herself from borrowing scores by such composers as Pyotr L.

Tchaikovsky (1877–1893) and Igor Stravinsky (1882–1971) and transcribing them in longhand.10

When Chin began studying music composition with Kang, she learned about the avant-garde techniques and post-war music trends in Europe. She then moved to Europe in 1985 to study with György Ligeti (1923 – 2006), who introduced her to the aesthetics of the post-war avant-garde techniques11 and emphasized the

9 Kwon D. L. 2012. “Music in Korea,” chapt. In Colonial Legacies in Korea. Oxford University Press, p. 135-136 10 interview with Unsuk Chin from http://www.sac.or.kr/magazine/s_m_view_a.jsp?mag_id=3635 11 Na, Yoo Sun. “The role of Alice in Unsuk Chin’s Alice in Wonderland: An exploration of performance requirements” D.M.A. diss., University of Illinois at Urbana-Champaign, 2012 5 originality. While her musical style is modern, and has traditional European sources, it does not belong to any specific compositional style.

Chin has won several international competitions including the Grawemeyer

Award for her Violin Concerto in 2004, the Arnold Schoenberg Prize in 2005, and the Music Composition Prize of the Prince Pierre Foundation for Gougalōn. Chin serves as resident composer at the Deutsches Symphonie-Orchester Berlin and the

Seoul Philharmonic, receives commissions around the world and has been invited to festivals in Manchester, Turin, Milan, and Strasbourg.12

12 Kwon D. L. 2012. “Music in Korea,” chapt. In Colonial Legacies in Korea. Oxford University Press, p. 134 6

CHAPTER 2

Alice in Wonderland

2.1 Overview

Unsuk Chin composed her first opera, Alice in Wonderland from 2004 to

2007. Ligeti, her teacher, was preoccupied with Lewis Carroll’s (1832 – 1898)

“Alice’s Adventures in Wonderland” in his later years. Chin was strongly influenced by her teacher in writing her opera, Alice in Wonderland,13 which was commissioned by the Los Angeles Opera. Alice in Wonderland was premiered at the Bayerische

Staatsoper in Munich on June 30, 2007. It was the opening performance of the

Munich Opera Festival.14 where two operas composed by Koreans were introduced.

The first opera, composed by Isang Yun, was Sim Tjong (1971-72), which premiered on August 1, 1972. The second opera at the festival was Chin’s Alice in Wonderland.

The Japanese-American conductor Kent Nagano conducted the opera, which was

13 Kim, Soo Kyung. “A study of Unsuk Chin’s piano etudes” D.M.A. diss., University of Georgia, 2012. 14 Ibid. 7 about two hours in duration. Chin collaborated on the libretto with the Los Angeles- based screenwriter, songwriter, and librettist David Henry Hwang (b. 1957), who has also collaborated with Phillip Glass, Bright Sheng and others.15

2.2 The Framework of Scenes

Alice of Wonderland contains eight scenes; the structure of each scene is episodic.16 (see Figure 2.1 for the synopsis.17) Additionally, this opera has no opening overture; rather, the opera begins without instrumental sound. Audiences can hear only noises resulting from the actors’ movements. The silence and noises make audience focus on the opera.

I will briefly describe each scene chronologically, and I will focus my inquiry on the form, and on the harmonic and melodic structure.

15 Program note from dvd booklet of Alice in Wonderland, EuroArts Music International GmbH, 2008. 16 Ibid. 17 Synopsis from http://www.boosey.com/pages/opera/moredetails.asp?musicid=30989 8 Alice opens a book in the library, which thereupon turns into a treasure chamber. She meets a boy who’s fate is to carry a Scene I Dream I mummified cat, and two old men whom she asks in vain to flee before the door to the treasure chamber closes.

Alice flows the White Rabbit down a hole in the ground, falls into the depths and finds herself in front of several locked doors. Alice opens one door with a key and sees a garden full of bright flowers, but the door is too small for her to get through into the garden. Alice drinks from a little bottle with a label on it, on which the words, ‘Drink Me’ are printed, shrinks and is now too small to open the door with the big key. The Pool of Alice eats a cake from a little box which has a label with ‘Eat Me’ Scene II Tears printed on it, grows again and is now too big to get through the doors. Alice startles the White Rabbit with her size, and he drops the kid gloves and the fan. Alice cries, and falls into a pool of her own tears and offends a mouse swimming in the pool by talking enthusiastically about her cat. Alice and other wet creatures dry off as they listen to the mouse telling them the driest story he knows. Alice again mentions her cat and all the animals flee. In the Alice has to look for the gloves and the fan and enters the house. Her House of Scene III body grows again while the White Rabbit sings a love song at the the White windows and the door. Rabbit Advice Alice hears words of wisdom from the caterpillar about the Interlude I from a advantages of change. Caterpillar Alice meets the Fish and the Frog, footmen in livery, as well as the Duchess with the Baby, the Cook and the Cheshire Cat. Alice is shocked by the ill-treatment of the Baby at the hands of the Pig and Scene IV Duchess and the Cook and sings a lullaby for the baby, which turns Pepper into a pig. Alice asks the Cheshire Cat, whose body is disappearing all the time, about the way to somewhere and is sent to see the March Hare.

Alice meets the March Hare, the Dormouse and the Mad Hatter, for A Mad Tea Scene V whom time has stood still and whom nobody has been able to help. Party Alice is excluded from the tea party. Continued

Figure 2.1 Synopsis of Alice in Wonderland

Figure 2.1 continued

Alice comes across three gardeners who are trying to turn white roses into red ones for the Queen of Hearts. The Alice is invited by the Queen of Hearts to a game of croquet with no Scene VI Croquet rules, which ends in chaos, and the Queen orders the bodyless cat to Ground be beheaded. The executioner fails to do this, as one cannot cut the head off a cat with no body.

Alice is rescued from the philosophizing Duchess by the Queen and Interlude II taken to eat Mock Turtle soup until soldiers call people to come to court for a trial.

Alice is called upon as the third witness, after the Mad Hatter and the The Trial or Cook, to testify about what happened to the tarts. Scene VII Who Stole Alice is not afraid as she realizes that the Court and the Queen of the Tarts? Hearts are ridiculous, nothing but a pack of playing cards.

At the request of an invisible man, Alice searches in vain for seeds in the infertile black soil of the garden, whereupon the invisible man Finale Dream II puts seeds in her hand. Alice saws flowers, which turn into shining light.

CHAPTER 3

An Analysis of Alice in Wonderland

3.1 Scene I

As previously stated, Alice in Wonderland does not include an opening overture like traditional operas. Chin introduces Bb as a tonal center through the first scene. She uses two whole-tone scales as the main pitch materials: B flat and B natural. When she brings in the Bb whole-tone scale for the first time in m. 17, she omits D, F# and G#. (see Figure 3.1, mm.17-19)

Figure 3.1 Scene I, mm. 17-19 piano reduction

She also introduces the B-natural whole-tone scale (see Figure 3.2, m. 59).

Note that Chin stresses the note B-flat against the note on B-natural whole-tone scale.

Figure 3.2 Scene I, m. 59 piano reduction

12 Chin mixes two whole-tone scales frequently. When she uses the B-natural whole-tone scale, she adds Bb, which is the tonal center. The descending half-step chromatic movement is called a sigh motive. The Bb acts as a pivot note between the two scales; thus, she can easily bring in different whole-tone scales. Additionally, two combined whole-tone scales make the chromatic twelve-tone scale. (see Figure

3.3, mm. 34-35).

Figure 3.3 Scene I, mm. 34-35 piano reduction

Note that both the B-natural and B-flat comes from the sigh motive. Alice then appears first time in m. 36 (see Figure 3.4, mm. 36-39).

Figure 3.4 Scene I, mm. 36-39 piano reduction

The boy answers with the same sigh motive (see Figure 3.5, mm. 49-52).

These two notes can be heard throughout Scene I. Scene I ends with a low C note in

Contrabass, which continues into Scene II.

Figure 3.5 Scene I, mm. 49-52 piano reduction

14 Rhythmically, Alice in Wonderland begins in 4/4 meter played by non-pitch percussions, such as gran cassa and large tam-tam. When the whole-tone scale is introduced at m. 17, Chin continues to use 3/4+2/4 compound meter until the end of Scene I (see Figure 3.6, mm. 76-79).

Figure 3.6 Scene I, mm. 76-79 piano reduction

However, the orchestra part has two equal beats in a measure beginning in m. 17. 3+2/4 meter has five quarter-notes, which are equal to ten eighth-notes. Chin divides the ten eighth-notes into two groups (see Figure 3.7, mm. 67-69). Thus Chin has 3+2/4 meter for the singers and 5+5/8 meter for the orchestra at the same time.

Figure 3.7 Scene I, mm. 67-69 piano reduction

3.2 Scene II

The Scene II consists of two parts: “Pool of Tears, A Caucus-Race and a Long

Tale” and “The Tale-Tail of the Mouse.” The first part of Scene II resembles the cluster-like accompaniment in Stravinsky’s Rite of Spring, the step-wise pitch intervals in Ligeti’s Etude 4: Fanfares, and the ostinato in Bartók’s Six Dances in

Bulgarian Rhythm from Mikrokosmos Book 6.18

18 Na, Yoo Sun. “The role of Alice in Unsuk Chin’s Alice in Wonderland: An exploration of performance requirements” D.M.A. diss., University of Illinois at Urbana-Champaign, 2012, p. 8. 16 Chin uses the tritone as both a main pitch interval for the singers and for the orchestra in Scene II (see Figure 3.8, mm. 130-133). In every six-note whole-tone scale three tritones are present: for example, Bb and E, C and F#, and D and G#. Chin uses these three tritone intervals exclusively until m. 18.

Figure 3.8 Scene II, mm. 130-133 piano reduction

Another use of the tritone can be found in m. 167 (see Figure 3.9, mm. 167-

169). Note the left-hand part (a bassoon in orchestra): C and F-sharp, and G-sharp and D.

Figure 3.9 Scene II, mm. 167-169 piano reduction

In Figure 3.8, note that Chin indicates ‘x’ on note heads. This symbol means

Sprechgesang (spoken-singing), which is a vocal technique that was introduced by

Arnold Schoenberg (1874-1951) in his pieces, including Gurrelieder (1900-1911),

Die glückliche Hand (1910-1913), and Pierrot Lunaire (1912).19 Sprechgesang indicates approximate pitches; thus, the singers carry a speaking manner while singing.

Similarly, Chin uses Sprechstimme (spoken voice) technique, which is close to speaking itself. She indicates Sprechstimme without note heads. (see Figure 3.9, mm.

167-169).

Chin freely brings in modes such as Ionian, Locrian, and Aeolian, without gradual preparation or transition. (see Figure 3.10, mm. 143-154). For example, she

19 Oxford reference from http://www.oxfordreference.com/view/10.1093/oi/authority.2011080310052533 5. 18 brings in Ionian mode in m. 143; then, she adds B-flat in m. 150. This shows the smooth change from Ionian on C to Locrian on E.

Figure 3.10 Scene II, mm. 143-154 piano reduction

Chin changes musical atmospheres suddenly through exchanging the cluster- like accompaniment in tritone-based sonorities with the step-wise pitch intervals in modal scales (see Figure 3.11, mm. 138-149). She continues to use these two contrasting ideas throughout the opera.

Figure 3.11 Scene II, mm. 138-149 piano reduction

Chin uses an octatonic scale in Alice’s part, from mm. 257 to 273. She brings in the first triad-like sonority, F# minor, in m. 256. (see Figure 3.12, mm. 256-261).

Additionally, D-Major 7th chord can be found in m. 260.

Figure 3.12 Scene II, mm. 256-261 piano reduction

Chin employs the sigh motive (B-flat to B-natural) with the singers in the orchestral part at the end of Scene II. The English horn and B-flat clarinet hold B- natural and B-flat from m. 891 to m. 893 (see Figure 3.13, mm. 892-894).

Figure 3.13 Scene II, mm. 892-894 piano reduction

Scene II ends with the low C, like Scene I. This low C becomes a pedal tone until the beginning of Scene III.

22 3.3 Scene III

Scene III contains the episode, “The Rabbit Sends in Little Bill”, which starts with the lowest C in double bass, contra bassoon and timpani, with additional non- pitch percussion such as tam-tam and wind machine.

In this scene, Chin uses two whole-tone scales alternatively (see Figure 3.14, mm. 977-982). There is a C whole-tone scale (except A-sharp) in m. 978, and C- sharp whole-tone scale in the next measure, m. 979. Chin also brings in two whole- tone scales sequentially in the same measure, m 981. The first beat consists of C- sharp whole-tone scale, and the third beat consists of C whole-tone scale.

Figure 3.14 Scene III, mm. 977-982

24 3.4 Interlude I

Interlude I, “Advice from a Caterpillar”, is mainly a solo bass clarinet piece. A bass clarinet player sits on stage impersonating the Caterpillar. In the beginning of the interlude, the portamento of the bass clarinet is reminiscent of the beginning of

George Gershwin’s (1898 – 1937) Rhapsody in Blue (1924) (see Figure 3.15, mm. 1-

5). Chin elsewhere uses musical quotations from others, which will be addressed later in the document.

Figure 3.15 Interlude I, mm. 1-5 piano reduction

The interlude is a dialogue between Alice and the Caterpillar. However, only the bass clarinet produces sound. Chin includes a note in the interlude, that “By playing his Bass Clarinet, the Caterpillar will ‘speak’ his lines, which are projected as

25 text.”20 Thus, the pitches and rhythm in the bass clarinet imitate speaking (see

Figure 3.16, mm. 13-18).

Figure 3.16 Interlude I, mm. 13-18 piano reduction

3.5 Scene IV

Scene IV consists a one episode, “Pig and Pepper.” This scene presents the most grotesque story in the opera. The scene starts with non-European traditional

20 Chin, Unsuk. Alice in Wonderland (full score): Lodon: Boosey & Hawkes, 2007, p. 151 26 instruments such as swanee flute, known as a slide whistle, and Jew’s harp, which is pre-recorded in the sampler.

Duchess appears in this scene, and her grotesque lullaby begins with an ostinato consisting of a whole-tone scale (see Figure 3.17, mm. 126-130). Chin continues to use this ostinato texture until the end of the Duchess’s aria.

Figure 3.17 Scene IV, mm. 126-130 piano reduction

The Duchess’s part has E as its central tone. The Cook and Cat characters join the refrain sections with the lyric “wow” (see Figure 3.18, mm. 175-177). The refrain is in unison in pitch among the three characters. Sprechgesang and descending portamento with accents in unison make an interesting vocal effect.

Structurally, the refrain starts with G and ends with B. When recalling the central 27 tone of the Duchess’s part, three tones—E, G, and B—have priorities in the aria. The aria begins with E, and ends with B, which is reminiscent of the relationship between tonic and its dominant in tonal music.

Figure 3.18 Scene IV, mm. 175-177 piano reduction

After the Duchess’s aria, Alice’s aria begins based on a new texture. The new texture is organized tonally, around a C-major sonority. Chin brings in tonal harmonic progressions into play for the first time (see Figure 3.19, mm. 252-255).

Figure 3.19 Scene IV, mm. 252-255 piano reduction

Chin asks Alice to sing in a child-like voice.21 Ironically, the aria contains a ridiculous lyric about a grotesque baby pig: “Sleep tight, my beautiful pig, and dream of mud and play. Too young to become bacon, so breakfast is far, far away.”22

3.6 Scene V

Scene V contains the most varieties of musical styles in the opera. Figure 3.20 illustrates the five sections of this scene.

21 Chin, Unsuk. Alice in Wonderland (full score): Lodon: Boosey & Hawkes, 2007, p. 182 22 Ibid., 182-183 29 Section Measure Instruments or characters Section 1 mm. 482-562 orchestra Section 2 mm. 534-700 Alice, March Hare, Dormouse, Mad Hatter Section 3 mm. 701-776 Alice, March Hare, Dormouse, Mad Hatter

Section 4 mm. 777-828 Mad Hatter Section 5 mm. 829-871 Dormouse, Choir Figure 3.20. Five Sections of Scene V

Scene V begins with its own overture-like section by the orchestra. Chin brings in another quotation, from Ligeti’s Etude 4: Fanfares (see Figure 3.21, mm.

509-510). Ligeti’s Etude 4 begins with the following stepwise pitch intervals: C, D, E,

F, F-sharp, G-sharp, A-sharp and B. Chin then adds two more notes to the scale: C- sharp and D-sharp. Marimba also imitates the right-hand part of Ligeti’s Etude 4.

Figure 3.21 Scene V, mm. 509-510 piano reduction

After the first orchestral section, Chin presents a dialogue set as recitativo secco. Although she does not follow late-Baroque harmonic progressions, she 30 attempts to bring out the late-Baroque recitativo style with a harpsichord (see

Figure 3.22, mm. 571-572).

Figure 3.22 Scene V, mm. 571-572 piano reduction

The end of recitativo secco implies a tonal cadence in A minor (see Figure

3.23, mm. 575-576). In m. 575, E dominant seventh chord in the second beat moves to a German augmented sixth chord. Following A is a strong tonal center.

Figure 3.23 Scene V, mm. 575-576 piano reduction

Chin presents another musical quotation from a famous tune, Twinkle,

Twinkle, Little Star, in the third section. The tune is developed in an acrostic- wordplay manner (see Figure 3.24, mm. 720-721). The flowing section keeps the acrostic-wordplay manner as well.

Figure 3.24 Scene V, mm. 720-721 piano reduction

3.7 Scene VI

Scene VI begins with the highest B-flat of the celesta. That B-flat is the highest note to appear since the beginning of each scene (see Figure 3.25, mm. 872-891).

Figure 3.25 Scene VI, mm. 872-891 piano reduction

In m. 880, the minor second interval is introduced: A#, B. Then the minor second is inverted into the minor ninth, major fifteenth, or major seventh beginning in m. 882. Chin uses the second interval throughout this scene (see Figure 3.26, mm.

955-959)

Figure 3.26 Scene VI, mm. 955-959 piano reduction

Chin uses extreme portamento in the Cheshire Cat’s part. The portamento begins with G, and moves to C# in m. 1261 (see Figure 3.27, mm. 1261-1262). That tritone interval makes a siren effect.

Figure 3.27 Scene VI, mm. 1261-1262 piano reduction

3.8 Interlude 2

In Interlude 2, a new character, the Mock Turtle, appears with a model harmonica. The Mock Turtle hesitantly tries to speak, but chooses to play the

36 harmonicas to express its feeling. Harmonicas are played offstage (see Figure 3.28, m. 108).

Figure 3.28 Interlude 2, m. 108 piano reduction

Chin chooses to employ the whole-tone scale, and uses a tritone as a basic pitch material for the singers until the children’s choir appears (see Figure 3.29, mm. 19-21).

Figure 3.29 Interlude 2, mm. 19-21 piano reduction

Figure 3.29 shows the use of the following whole-tone scale for the Duchess:

B, C#, D#, F, G, (A). The triton occurs very prominently in Alice’s line: Bb, E.

At the end of Interlude 2, Chin presents a children’s choir with the harmonicas. The choir sings mostly major and minor triads (see Figure 3.30, mm.

113-119).

Figure 3.30 Interlude 2, mm. 113-119 piano reduction

3.9 Scene VII

In Scene VII, Chin mobilizes the greatest number of characters, including twelve jurors, with SATB choir. The tritone is represented as the most important

39 interval in this scene. The first chord combines two tritones: D, G# and A, Eb (see

Figure 3.31 Scene VII, mm. 177-180).

Figure 3.31 Scene VII, mm. 177-180 piano reduction

Chin notates recitativo without specific note durations and pitches for the twelve jurors and choir in many places (see Figure 3.32 Scene VII, mm. 538-540).

Figure 3.32 also illustrates the use of tritones by the orchestra and singers.

Figure 3.32 Scene VII, mm. 538-540 piano reduction 41 Rhythmically, Chin starts to change the meter consistently from m. 407 to m.

475. She uses 3/4 + 3/8 meter in m. 407. The first three quarter-notes in 3/4 meter become three eighth-notes in 3/8 meter, which is two times faster (see Figure 3.33

Scene VII, mm. 406-409).

Figure 3.33 Scene VII, mm. 406-409 piano reduction

3.10 Scene VIII

Scene VIII has a similar beginning to Scene I. Their titles, “Dream I” and

“Dream II,” provide a hint of the connection between the two. However, in Scene

VIII, Chin introduces static, suspended sonorities using mostly strings. Strings have the longest note duration throughout the opera (see Figure 3.34, mm. 615-619).

42 Chin controls the strings carefully, going back and forth between sul tasto, sul ponticello and flautando throughout the scene.

In m.611, Chin uses high D-sharp, the highest note in Alice’s part. This D- sharp is restated as E-flat later in the opera. In this quiet atmosphere, the high note creates a powerful effect. Chin uses a broad dynamic range of crescendo from ppp to ffffff to close the opera in the last fourteen measures.

Figure 3.34 Scene VIII, mm. 615-619 44

CHAPTER 4

CONCLUSION

This document has examined Unsuk Chin’s opera Alice in Wonderland. The study focused on the opera’s motivic materials, pitch structure and rhythm generally.

We have seen that Chin uses whole-tone scales mostly throughout the opera.

She produces various sounds from using whole-tone scales. Whole-tone scales are used separately, or simultaneously. When two whole-tone scales are combined, the composer gets a chromatic scale that consists of twelve tones. Each whole-tone scale includes three tritone intervals; thus, six tritones exist in two whole-tone scales.

Chin uses the tritone as a basic pitch interval and on melodic part horizontally. She also builds chords by combining tritones vertically. Each pitch material is logically controlled.

Chin uses, in addition to whole-tone scales, diatonic modes, and she introduces several quotations from various periods. The stepwise pitch intervals in

Ligeti’s Etude 4: Fanfares is a clear example. Another example is the cluster-like accompaniment similar to one used in Stravinsky’s Rite of Spring is found in many

45 places in Alice in Wonderland. Elsewhere, Chin employs Baroque-style cadences and recitativo secco in the opera.

The singer’s parts in the opera are effectually articulated with Sprechgesang,

Sprechstimme, glissando, and portamento. These articulations produce dream-like, fantastic, and grotesque sounds.

The opera has a broad pitch range from the orchestra. Chin utilizes very low instruments such as tam-tam, contra bassoon, double bass, and cluster sounds from the piano. She also employs very high instruments such as the celesta, piccolo, etc.

In conclusion, Chin combined these materials into a unique opera. This document has briefly explained some of the compositional devices that Chin uses in each scene chronologically.

BIBLIOGRAPHY

Books

Born, Georgina and Hesmondhalgh, David. Western Music and Its Others. California:

University of California press, 2000

Hanning, Barbara R. Concise history of Western music. Second edition. New York:

W. W. Norton & Company, 2002

Kwon, Donna Lee. Music in Korea. New York: Oxford University Press, 2012

Morgan, Robert P. Twentieth-century music. New York: W. W. Norton & Company,

1991

Dissertations

Kim, Soo Kyung. “A study of Unsuk Chin’s piano etudes” D.M.A. diss., University of

Georgia, 2012

Na, Yoo Sun. “The role of Alice in Unsuk Chin’s Alice in Wonderland: An exploration

of performance requirements” D.M.A. diss., University of Illinois at Urbana-

Champaign, 2012

Websites

http://sillok.history.go.kr/main/main.jsp http://navercast.naver.com/contents.nhn?rid=83&contents_id=19370 http://www.sac.or.kr/magazine/s_m_view_a.jsp?mag_id=3635 http://www.boosey.com/pages/opera/moredetails.asp?musicid=30989 http://www.oxfordreference.com/view/10.1093/oi/authority.2011080310052533 5

Scores

Chin, Unsuk. Alice in Wonderland (Vocal score): London: Boosey & Hawkes, 2007.

Chin, Unsuk. Alice in Wonderland (full score): London: Boosey & Hawkes, 2007.

APPENDIX A

Consent Letter from Boosey & Hawkes, Inc

July 8, 2014

Eun Seok Park The Ohio State University 4354 Carnegie Hall Blvd. Dublin, OH 43016 USA

RE: Alice in Wonderland by Unsuk Chin and David Henry Hwang

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We hereby grant you gratis permission to include excerpts from the above referenced work in your dissertation for the Ohio State University.

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