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22195.Pdf (5.88 A Study and Performance Guide to Selected Nori Compositions for Piano by Young Jo Lee A document submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the Keyboard Studies Division of the College-Conservatory of Music by Hyo Jung Song B.M., Yeungnam University, 2002 M.M., Seoul National University, 2004 M.M., The Peabody Institute of The Johns Hopkins University, 2007 G.P.D., The Peabody Institute of The Johns Hopkins University, 2008 Committee Chair: Jonathan Kregor, Ph.D. Abstract Young Jo Lee (b. 1943) is considered one of the leading contemporary composers in Korea. Throughout his prolific career, he has imbued his music with a distinctive cultural identity, absorbing new techniques from the West while maintaining his indigenous roots. This document focuses on Lee’s Doori Nori for Violin and Piano (1995), Sesi Nori for Violin, Cello, and Piano (2002), and Honza Nori for Piano (2010). I approach these works from the perspective of an interpretive performer, discussing how Lee merges the idioms of traditional Korean music with contemporary Western musical language, and considering several musical and technical issues arising in performance. This study will give the performer a guide to appreciating Lee’s stylistically integrated compositions. ii Copyright © 2016 by Hyo Jung Song All rights reserved. iii Acknowledgements I would like to express my deep appreciation and gratitude for my lecture recital and document advisor, Dr. Jonathan Kregor. His thoughtful advice and guidance on these two projects taught me how to develop and organize my ideas. Without him, this final document would not have been written. I heartily appreciate Professor Michael Chertock, who served as one of two committee members of this document. He has encouraged and supported me throughout my graduate studies at CCM. I owe enormous gratitude to him for helping me to grow as a stronger, more mature musician. I also thank Professor James Tocco, another committee member, for his invaluable encouragement. His great artistry and musicianship has inspired me very much. I owe a profound debt of gratitude to the composer Dr. Young Jo Lee. He has always been willing to help and supported me. I am grateful for his considerate responses to my calls and emails. I would also like to express my thanks to all my friends, pastors, and teachers, especially Brian Ganz at the Peabody Institute of the Johns Hopkins University, and Eun Sook You and Gye Hwa Kim in Korea, who have shown constant faith in my ability to study music. I thank Rebekka Gold, who read this document for English grammar. Heartfelt thanks to my parents, Won Bai Song and Myung Ja Kim, can hardly be expressed in words. Their unconditional, unwavering love, support, and prayers for me have encouraged and cheered me at all times. I would like to express my love to my sister, Yun Jung Song, and brother, Keun Ho Song, who have been rooting for me during my study abroad over ten years. I would not be able to complete this achievement without my family. Lastly, I give deepest thanks to God for having disciplined and helped me through the joyful and otherwise times of my life thus far. iv Table of Contents Abstract………………………………………………………………………………………..ii Acknowledgments…………………………………………………………………………….iv Copyright Permissions…………………………………………………………………….....vii List of Musical Examples……………………………………………………………………viii List of Figures…………………………………………………………………………………xi List of Tables…………………………………………………………………………………xii Introduction……………………………………………………………………………………1 Purpose of the Study…………………………………………………………………..1 Literature Review……………………………………………………………………..1 Methodology………………………………………………………………………….4 Chapter 1. Young Jo Lee: Musical Influences and Journey…………………………………….6 Young Jo Lee…………………………………………………………………6 Career………………………………………………………………………...8 Musical Identity (Syncretism): East meets West……………………………10 2. Korean Musical Heritage………………………………………………………….12 Three Generations of Korean Composers…………………………………...12 Elements of Korean Traditional Music……………………………………...16 Genres………………………………………………………………………16 Modes………………………………………………………………………18 Instruments………………………………………………………………....20 Rhythmic Patterns…………………………………………………………..21 Ornamentation……………………………………………………………...24 3. Stylistic Features of Three Nori Compositions for Piano………………………….27 Background of Nori…………………………………………………………27 Honza Nori for Piano……………………………………………………….29 Doori Nori for Violin and Piano…………………………………………….47 Sesi Nori for Violin, Cello, and Piano……………………………………….65 Piano Performance Issues…………………………………………………..83 Conclusion……………………………………………………………………………………89 Bibliography………………………………………………………………………………….91 v Appendices…………………………………………………………………………………...97 A. Selected Compositions by Young Jo Lee…………………………………………97 B. Interview with Young Jo Lee…………………………………………………….101 C. Letter of Permission……………………………………………………………..103 vi Copyright Permissions Young Jo Lee, Honza Nori for Piano (Seoul: 20 Trillion Production, 2010). Used by permission. Young Jo Lee, Doori Nori for Violin and Piano (Seoul: 20 Trillion Production, 1995). Used by permission. Young Jo Lee, Sesi Nori for Violin, Cello, and Piano (Seoul: 20 Trillion Production, 2002). Used by permission. vii List of Musical Examples Example 2.1. Korean traditional modes………………………………………………………19 Example 3.1. Young Jo Lee, Honza Nori for Piano, mm. 1-8………………………………....31 Example 3.2a. Three types of jajinmori jangdan…………………………………………......31 Example 3.2b. Young Jo Lee, Honza Nori for Piano, mm. 9-11………………………………32 Example 3.3. Young Jo Lee, Honza Nori for Piano, mm. 14-19………………………………33 Example 3.4a. Young Jo Lee, Honza Nori for Piano, m. 20…………………………………...33 Example 3.4b. Second-mode octatonic scale…………………………………………………34 Example 3.5. Young Jo Lee, Honza Nori for Piano, mm. 22-23………………………………34 Example 3.6. Anonymous, Miryang Arirang, mm. 1-4……………………………………….35 Example 3.7. Young Jo Lee, Honza Nori for Piano, mm. 24-25………………………………35 Example 3.8. Young Jo Lee, Honza Nori for Piano, mm. 26-27………………………………36 Example 3.9a. Three types of semachi jangdan………………………………………………36 Example 3.9b. Young Jo Lee, Honza Nori for Piano, mm. 28-29……………………………..37 Example 3.10. Young Jo Lee, Honza Nori for Piano, mm. 30-32……………………………..39 Example 3.11. Young Jo Lee, Honza Nori for Piano, mm. 33-36……………………………..39 Example 3.12. Young Jo Lee, Honza Nori for Piano, mm. 37-40……………………………..40 Example 3.13. Young Jo Lee, Honza Nori for Piano, mm. 41-42……………………………..40 Example 3.14. Young Jo Lee, Honza Nori for Piano, mm. 53-63……………………………..42 Example 3.15. Young Jo Lee, Honza Nori for Piano, mm. 64-76……………………………..43 Example 3.16a. Anonymous, Arirang, mm. 1-4……………………………………………...44 Example 3.16b. Young Jo Lee, Honza Nori for Piano, mm. 77-82……………………………44 Example 3.17. Young Jo Lee, Honza Nori for Piano, m. 94…………………………………...44 Example 3.18. Young Jo Lee, Honza Nori for Piano, mm. 99-102……………………………45 viii Example 3.19. Young Jo Lee, Honza Nori for Piano, mm. 103-107…………………………..46 Example 3.20. Young Jo Lee, Doori Nori for Violin and Piano, mm. 1-2……………………..49 Example 3.21. Young Jo Lee, Doori Nori for Violin and Piano, mm. 9-16……………………49 Example 3.22. Young Jo Lee, Doori Nori for Violin and Piano, mm. 38-41…………………50 Example 3.23. Young Jo Lee, Doori Nori for Violin and Piano, mm. 42-49…………………..51 Example 3.24. Young Jo Lee, Doori Nori for Violin and Piano, mm. 50-61…………………..52 Example 3.25a. Young Jo Lee, Doori Nori for Violin and Piano, mm. 70-71…………………53 Example 3.25b. Young Jo Lee, Doori Nori for Violin and Piano, mm. 76-77…………………53 Example 3.26. Young Jo Lee, Doori Nori for Violin and Piano, mm. 90-93…………………..54 Example 3.27. Young Jo Lee, Doori Nori for Violin and Piano, mm. 96-102…………………55 Example 3.28. Young Jo Lee, Doori Nori for Violin and Piano, mm. 115-118………………..56 Example 3.29. Young Jo Lee, Doori Nori for Violin and Piano, mm.126-132………………..57 Example 3.30. Young Jo Lee, Doori Nori for Violin and Piano, mm. 137-144………………..58 Example 3.31. Young Jo Lee, Doori Nori for Violin and Piano, mm. 145-156…….……….....59 Example 3.32. Young Jo Lee, Doori Nori for Violin and Piano, mm. 165-172………………..60 Example 3.33. Young Jo Lee, Doori Nori for Violin and Piano, mm. 173-180………………..61 Example 3.34. Young Jo Lee, Doori Nori for Violin and Piano, mm. 183-189………………..62 Example 3.35. Young Jo Lee, Doori Nori for Violin and Piano, mm. 214-224………………..63 Example 3.36. Young Jo Lee, Doori Nori for Violin and Piano, mm. 246-253………………..64 Example 3.37. Young Jo Lee, Sesi Nori for Violin, Cello, and Piano, mm. 1-5……………….66 Example 3.38. Young Jo Lee, Sesi Nori for Violin, Cello, and Piano, mm. 7-10……………...67 Example 3.39. Young Jo Lee, Sesi Nori for Violin, Cello, and Piano, mm. 16-27…………….68 Example 3.40. Young Jo Lee, Sesi Nori for Violin, Cello, and Piano, mm. 28-31…………….69 Example 3.41. Young Jo Lee, Sesi Nori for Violin, Cello, and Piano, mm. 32-43…………….70 ix Example 3.42. Young Jo Lee, Sesi Nori for Violin, Cello, and Piano, mm. 50-54…………….71 Example 3.43. Young Jo Lee, Sesi Nori for Violin, Cello, and Piano, mm. 83-84…………….72 Example 3.44. Young Jo Lee, Sesi Nori for Violin, Cello, and Piano, mm. 85-90…………….73 Example 3.45. Young Jo Lee, Sesi Nori for Violin, Cello, and Piano, mm. 91-94…………….74 Example 3.46. Young Jo Lee, Sesi Nori for Violin, Cello, and Piano, mm. 97-99…………….75 Example 3.47. Young Jo Lee, Sesi Nori for Violin, Cello, and Piano, mm. 100-104………….76 Example 3.48. Young Jo Lee, Sesi Nori for Violin, Cello, and Piano, mm. 120-136………….78 Example 3.49. Young Jo Lee, Sesi Nori for Violin, Cello, and Piano, mm. 203-208………….80 Example 3.50. Young Jo Lee, Sesi Nori for Violin, Cello, and Piano, mm. 209-210………….81 Example 3.51. Young Jo Lee, Sesi Nori for Violin, Cello, and Piano, mm. 221-226………….81 Example 3.52a.
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