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

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.

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.

Table of Contents

Abstract………………………………………………………………………………………..ii

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

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

Appendices…………………………………………………………………………………...97 A. Selected Compositions by Young Jo Lee…………………………………………97 B. Interview with Young Jo Lee…………………………………………………….101 C. Letter of Permission……………………………………………………………..103

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

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. Young Jo Lee, Honza Nori for Piano, mm. 77-78……………………………85

Example 3.52b. Young Jo Lee, Sesi Nori for Violin, Cello, and Piano, mm. 142-145………...85

List of Figures

Figure 2.1. Korean traditional ornamentations………………………………………………..26

Figure 3.1. Nongak group…………………………………………………………………….38

Figure 3.2. Samulnori group………………………………………………………………….38

List of Tables

Table 2.1. Korean traditional folk music……………………………………………………...17

Table 2.2. Korean traditional instruments…………………………………………………….21

Table 2.3. Notations for janggu……………………………………………………………….23

Table 2.4. Korean traditional rhythmic patterns……………………….……………………...24

Table 3.1. Formal structure in Honza Nori for Piano……………………………………….....30

Table 3.2. Korean traditional elements in Honza Nori for Piano…………………………...... 30

Table 3.3. Formal structure in Doori Nori for Violin and Piano……………………………….48

Table 3.4. Formal structure in Sesi Nori for Violin, Cello, and Piano…………………………65

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Introduction

Young Jo Lee is one of the most influential composers adapting characteristics of

Korean traditional music into contemporary musical languages. Although he studied Western music, he has always emphasized his national identity as a Korean composer. His synthesis of the two musical cultures is highly influential, encouraging Korean musicians to bring the

Korean spirit to the world through appreciating and performing Korean music.1 Most of his numerous works for keyboard have been commissioned by well-known Korean pianists; they are frequently performed in concert, and have been well received by audiences.

Purpose of the Study

This document will examine the stylistic features of Lee’s piano works written in the past two decades from a specifically pianistic perspective, bringing them to the attention of today’s performers; I will focus on Doori Nori for Violin and Piano (1995), Sesi Nori for

Violin, Cello, and Piano (2002), and Honza Nori for Piano (2010), as they exemplify Lee’s synthesis of Korean and Western musical styles.2 I will first identify the major elements of

Korean traditional music found in these pieces; I will then determine how Lee develops these materials through Western compositional techniques and instruments. Finally, I will discuss issues in performing these works.

Literature Review

A variety of books, articles, and theses have been published about Young Jo Lee,

1 Young Jo Lee, interviewed by Hyo Jung Song, Seoul: Korea, October 23, 2015.

2 Nori means “playing”; Honza, Doori, and Sesi are “alone,” “two,” and “three,” respectively. Unless otherwise noted, all translations are my own.

including many collections of essays by the composer himself. There also exists a large body of literature on aspects of traditional and contemporary music in Korea.

I draw on two books for the composer’s biographical background and musical characteristics. In his autobiography, Resume Written on a Music Sheet: Composer Young Jo

Lee, Lee goes into detail about his musical family; education and career in Korea, Germany, and the United States; and compositional style.3 Jung Soo Hong, the first president of the

Korean-German Musicology Society, and three of his students recently published The Music of Young Jo Lee. In this book, they consider Lee’s educational background and musical characteristics; they include a list of compositions and the composer’s discography as well.4

Detailed research on Korean percussion music, samulnori, can be found in books by two renowned ethnomusicologists: Keith Howard, a professor of music at the University of

London, and Nathan Hesselink, a professor of ethnomusicology at the University of British

Columbia.5 In addition to describing the historical background and traditional and contemporary elements of Korean music, their particular interest in samulnori contribute to a deep understanding about the genre; this is useful in the present study as the three Nori works discussed here share many characteristics with samulnori.6

3 Young Jo Lee, Resume Written on a Music Sheet: Composer Young Jo Lee (Seoul: Jakeunwoori, 2002).

4 Jung Soo Hong et al., The Music of Lee Young Jo (Seoul: Taesung, 2012).

5 Keith Howard, Creating Korean Music: Tradition, Innovation and the Discourse of Identity (Burlington, VT and Aldershot, England: Ashgate, 2006); Korean Musical Instruments (Hong Kong and New York: Oxford University Press, 1995); Preserving Korean Music: Intangible Cultural Properties as Icons of Identity (Burlington, VT and Aldershot, England: Ashgate, 2006); Nathan Hesselink, Contemporary Directions: Korean Folk Music Engaging the Twentieth Century and Beyond (Berkeley, CA: Institute of East Asian Studies, University of California, 2002).

6 Keith Howard, SamulNori: Korean Percussion for a Contemporary World (Burlington, VT and Aldershot, England: Ashgate, 2015); Nathan Hesselink, SamulNori: Contemporary Korean Drumming and the Rebirth of Itinerant Performance Culture (Chicago: University of Chicago Press, 2012).

Choon Mee Kim’s article, “A Study on the Structural Thinking in the Music of the

Composer: Young-Jo Lee,” offers a thorough background on Lee’s music, and specifically addresses detailed interpretations of his major works.7 Here, Kim notes how Lee utilizes traditional Korean elements in the compositions, and emphasizes how to compose, perform, and respect Korean music in a globalized world.8 The program notes to the listed recordings of the Nori works, written by the composer himself, present the overall ideas and distinctive characteristics of the compositions.9 A review of the recordings by Jack Sullivan contains further commentary on the main features of the pieces, notably regarding the blending of musical aspects from the East and West.10

A few documents have been written about Lee’s solo piano compositions; they mostly provide theoretical analyses and consider his stylistic features. Sung Bok Gu-Jang11 and Kunwoo Kim12 each provide general discussion of Lee’s borrowings from Korean traditional and Western classical music and his attempts to integrate them. Likewise, in

“Exploring Aspects of Korean Traditional Music in Young Jo Lee's Piano Honza Nori,” Jin

7 Choon Me Kim, “A Study on the Structural Thinking of Music of the Composer Young-Jo Lee,” The Journal of Musicology 14 (2007): 67-119; she is a professor of musicology at Korean National University of Arts.

8 “Young Jo Lee Website,” Young Jo Lee, accessed September 11, 2015, http://leeyoungjo.weebly.com.

9 Young Jo Lee, Honza Nori for Piano from Young-Jo Lee: Piano Music – II, Christopher Guzman (piano), ISMM Classics, 2012, compact disc; Sesi Nori for Violin, Cello, and Piano from Young Jo Lee: Four Songs for Death, Hee-Jung Huh (violin), Yun-Jung Huh (cello), and Seung-Yeun Huh (piano), ISMM Classics, 2012, compact disc.

10 Jack Sullivan, “Lee: Dance Suite; 5 Korean Legends; Schubert Variations; Variations 3B,” American Record Guide 64, no. 1 (January-February, 2001): 150.

11 Sung Bok Gu-Jang, “Young Jo Lee: An Analysis of Stylistic Features of the Variations for Piano on the Theme Baugoge” (DMA thesis, University of Kentucky, 2006).

12 Kunwoo Kim, “Korean Dance Suite for Piano by Young Jo Lee: An Analysis” (DMA thesis, Ball State University, 2008).

Kim chiefly considers how the composer incorporates Korean traditional elements with

Western musical ideas.13 While valuable for understanding Lee’s broad compositional principles, these studies do not provide practical suggestions for the pianist interested in performing this music.

YeonJin Kim’s document, “The Musical Style and Compositional Technique of

Young-Jo Lee, As Reflected in his Violin Compositions Honza Nori for Solo Violin and

Doori Nori for Violin and Piano,” involves more consideration of performance matters, particularly referring to Korean traditional stringed instruments and techniques, such as gayageum, geomungo, and haegeum, that are used in those works to create a unique Korean sound with glissando or pizzicato on the violin.14

Most of these studies are limited by their omission of the performance dimension.

Furthermore, no studies exist that consider Lee’s Sesi Nori for Violin, Cello, and Piano. By evaluating these three Nori works for piano, my study will help to provide a comprehensive understanding of Lee’s musical language in reference to piano performance practices.

Methodology

This document examines the stylistic features of Young Jo Lee’s Honza Nori for

Piano, Doori Nori for Violin and Piano, and Sesi Nori for Violin, Cello, and Piano. My methodology will blend a style study with discussion of performance practice. I will take a performance perspective on Lee’s use of traditional Korean musical materials through

13 Jin Kim, “Exploring Aspects of Korean Traditional Music in Young Jo Lee’s Piano Honza Nori” (DMA diss., University of North Texas, 2013).

14 YeonJin Kim, “The Musical Style and Compositional Technique of Young-Jo Lee, As Reflected in his Violin Compositions Honza Nori for Solo Violin and Doori Nori for Violin and Piano” (DMA thesis, University of Arizona, 2010).

Western compositional techniques and instruments, and indicate problems that pianists may face in performing these works.

This document will have four chapters. Chapter 1 will include a biographical sketch of Lee’s life, career, and overall compositional style. Chapter 2 will trace the development of traditional and contemporary Korean music from a historical perspective by considering the three generations of composers and the elements of Korean traditional music. Chapter 3 will be devoted to the background of Lee’s Nori compositions for piano and detailed stylistic examination of each piece, with interpretative suggestions for their performance. Chapter 4 will further consider how Lee infuses Korean traditional elements into Western compositional techniques to create his signature musical expressions. A list of Lee’s works, an interview with the composer, and the letter of copyright permissions will be included in the appendices.

Chapter 1

Young Jo Lee: Musical Influences and Journey

Young Jo Lee

Young Jo Lee was born in Seoul, Korea on April 17, 1943, into a musical family. His father, Heung Ryul Lee (1909-1980), is considered one of the best composers of art song in

Korea, writing over four hundred works for voice and piano.1 Lee’s brothers and sisters also studied music; his youngest brother, Young Soo Lee (b. 1951), whose musical talents he always admired, is currently a professor of composition at Yeungnam University.2 In his early years, Lee’s father encouraged him to enjoy music, teaching him piano and the history and theory of Western music. Lee then began to study composition and harmony with his father’s closest friend, Dong Jin Kim (1913-2009).3

Lee entered Yonsei University in Seoul, where he earned a B.M. in 1968 and a M.M. in 1970; he studied composition with Un-Yung La (1922-1993), whose incorporation of

Korean folk elements into twentieth-century Western harmonies raised possibilities of a new style; this approach had a decisive influence on Lee’s compositional language.4 During his college years, Lee also studied the piri (Korean double reed instrument) with Jae-guk Jeong

1 Lee, Resume Written on a Music Sheet, 27; later, Lee composed many pieces based on themes from his father’s art songs, such as Baugogae (Rock hill) Variations for Piano in the Composition Style of Bach, Beethoven, Chopin, Debussy, Bartok, Webern, Messiaen, and Young Jo Lee on a Theme by Heung Ryul Lee (1983); Mother’s Heart Variations for Piano on a Theme by Heung Ryul Lee (2011); and Sumjip Agie (Island Lullaby) Variations for Piano on a Theme by Heung Ryul Lee (2014). See Appendix A: Selected List of Compositions by Young Jo Lee.

2 Ibid., 283-290; in addition, Lee’s son, Charles Lee, is a composer, principal cellist of the Boulder Philharmonic Orchestra, and an instructor of cello at Metropolitan State University of Denver.

3 Ibid., 52; among the first generation of Korean composers, Kim is beloved by many Koreans for art songs expressing national sentiments, including his representative song, Gagopa (I wish to go).

4 Ibid., 63; Un-Yung La, a Korean composer, dedicated himself to the reformation of Korean musical language. He composed approximately 1,500 works, frequently lectured at universities, and published a series of textbooks on music theory in addition to collections of essays and criticism.

(b. 1942), inspiring his use of traditional Korean elements in his compositions.5 Lee had an opportunity to perform the piri with the Yonsei Concert Choir when they toured Japan in

1968.6 Based on his learning and performing experiences with the piri, he wrote Concerto for Piri and Orchestra, which was dedicated to Jeong.7 Lee also became deeply interested in choral music during his time with Yonsei Concert Choir, and composed the Kyung (Monk’s

Chorus) for the men’s chorus for his master’s degree recital in 1975. When Lee visited a

Buddhist temple in his childhood, he was captivated by the sound of reading Buddhist scriptures and the timbre of temple gongs and blocks.8 Lee tried to combine Korean Buddhist and Western music in the Kyung, employing traditional Korean rhythms and folk tunes, imitating the sound of traditional Buddhist percussion, and using Western twentieth-century compositional techniques such as tone clusters, twelve-tone serialism, and pointillism.9

Lee moved to Munich, Germany to study with Carl Orff (1895-1982) and Wilhelm

Killmayer (b. 1927) at the Hochschule für Musik und Theater from 1977 to 1980. Orff was impressed with Kyung, and its use of Korean traditional elements.10 However, Lee was able to study with Carl Orff just for a year due to Orff’s health issues; Lee then continued his

5 Ibid., 66; Jae-guk Jeong is a holder of important intangible cultural property for piri as well as a director of the Court Music Orchestra at the National Centre for the Traditional Korean Arts (National Gugak Center) in Korea.

6 Kim, “The Musical Style and Compositional Technique of Young-Jo Lee,” 23.

7 Lee, Resume Written on a Music Sheet, 74; the Concerto for Piri and Orchestra consisted of only a single movement in 1998; in 2000, Lee added two movements to complete the concerto.

8 Gu-Jang, “Young Jo Lee,” 15; the temple block, moktak, is a wooden percussion instrument with a large slit, used to accompany chanting by Buddhist monk. The sound of temple blocks is similar to that of wood blocks, though temple blocks have a much darker timbre.

9 Lee, Resume Written on a Music Sheet, 87-91.

10 Ibid., 116-119.

studies under Killmayer, the chair of the department of composition.11 For his graduate recital in 1979, Lee composed Sori No. 3 for Clarinet, which was published by Otto Heinrich

Noetzel Verlag in Wilhelmshaven, Germany in 1982.12 Kyung and Sori No. 3 for Clarinet are considered the most significant works leading up to his integrated compositional style.

Lee continued his doctoral studies with Jack C. Goode (1921-2002), who was a student of Arnold Schoenberg, at the American Conservatory of Music in Chicago in 1986.13

During this time, he paved the way toward his mature style, developing a complex, stylistically varied musical language. His first opera, Tcheo Yong, was commissioned by the

Korea National Opera and premiered in 1987. Incorporating the Korean legend of the ancient god Tcheo Yong, traditional pentatonic modes, and unique Korean rhythmic patterns,14 this was the first successful opera to blend Korean tradition with the means of Western music. The opera was favorably reviewed in the United States and Korea.15

Career

Lee’s honors in composition include the Chicago New Music Award, Korean

Composers Association Award, Korean Association of Art Critics Awards, and most recently,

11 Ibid., 119.

12 “Young Jo Lee Website,” Young Jo Lee, accessed September 11, 2015, http://leeyoungjo.weebly.com.

13 Kim, “A Study on the Structural Thinking of Music of the Composer Young-Jo Lee,” 73-77.

14 Kim, “Korean Dance Suite for Piano by Young Jo Lee,” 6; it was revised in 2013, including his previous work, Kyung for men’s chorus in the act 2.

15 Gu-Jang, “Young Jo Lee,” 18; his opera Whangjinie was also very successful, premiering in Seoul 1999 and performed in Beijing, China (2000), Tokyo, Japan (2001), Los Angeles, United States (2002), Moscow, Russia (2003), Hanoi, Vietnam (2004), and Torre del Lago, Italy (2014).

the Nanpa Music Award in 2015.16 He has been invited to many international music festivals and concerts. Lee traveled to Budapest, Amsterdam, and Wurzburg to work for the New

Music Festival of the International Society of Contemporary Music (ISCM) as a guest composer. He also served as a composer in residence at the Maastricht New Music Festival in the Netherlands and the 26th International Contemporary Music Festival in Moscow.17

Lee’s large body of work is characterized by Korean traditional dance rhythms, instruments, folk tunes, and literary figures. Although Lee is best known for his choral works, he has written in many major genres, including orchestral works, concerti, chamber music, operas, art songs, unaccompanied work series for solo instruments, and numerous pieces for solo piano. Most of his works have been commissioned by well-known Korean choirs, ensembles, instrumentalists, singers, and orchestras. He himself has categorized his primary works within three periods: 1970s-80s, mainly vocal works including choral works; 1980s-

1990s, chamber music; 1990s-2000s, opera and orchestral music.18

Lee has greatly contributed to the contemporary keyboard literature in Korea. His works for piano are ideally suited for the concert repertoire, taking advantage of the expressive range of the modern piano. They are diverse in compositional style, rhythm, meter, texture, and dynamics. Lee regards rhythm as one of the most prominent elements; his rhythmic devices include not only Korean traditional dance rhythms but also asymmetrical and varying meters and shifting accents, creating percussive effects and a variety of moods: drama, excitement, and tension.19 His major compositions for piano can be assigned to three

16 Ibid., 3.

17 Kim, “Korean Dance Suite for Piano by Young Jo Lee,” 5.

18 Young Jo Lee, interviewed by Hyo Jung Song, Seoul: Korea, October 23, 2015.

19 Gu-Jang, “Young Jo Lee,” 19.

categories: variations—Baugogae Variations for Piano, 3B Variations for Piano, and

Schubert-Lee Variations for Piano; suites—Five Korean Legends, Korean Dance Suite, and

Six Asian Folk Songs for Piano; other—Fantasy for Piano, Honza Nori for Piano, and

Monologue for Piano.20

Lee has extensive teaching experience as a professor of composition at Yonsei

University (1980-86), American Conservatory of Music (1989-1994), and Korean National

University of Arts (1994-2008).21 He has translated several books on music theory into

Korean, including works by Max Reger (1873-1916), Zoltán Kodály (1882-1967), Leopold

Spinner (1906-1980), Leon Stein (1910-2002), and Kent Kennan (1913-2003), introducing

Western compositional styles and techniques to Korean students.22 Lee has served as the chairman of the board for the Korea Arts and Culture Education Service, a foundation dedicated to enhancing cultural literacy, creativity, and quality of education, since 2013.

Musical Identity (Syncretism): East meets West

Lee’s music is distinguished by its strong Korean roots mixed with German theoretical influences. While using Korean traditional melodies, rhythms, and instruments,

Lee also embraces tonal music and twentieth-century harmonies,23 in what he describes as

20 See Appendix A for further information.

21 “Young Jo Lee Website,” Young Jo Lee, accessed September 11, 2015, http://leeyoungjo.weebly.com.

22 Lee, Resume Written on a Music Sheet, 94; Max Reger, On the Theory of Modulation (Melville: Belwin Mills, 1903); Zoltán Kodály, 333 Elementary Exercises in Sight Singing (London: Boosey and Hawkes, 1963); Leopold Spinner, A Short Introduction to the Technique of Twelve-Tone Composition (London: Boosey and Hawkes, 1960); Leon Stein, Structure & Style: The Study and Analysis of Musical Forms (Evanston, IL: Summy-Birchard Music, 1962); Kent Kennan, The Technique of Orchestration (New York, Prentice-Hall, 1955); Counterpoint: Based on Eighteenth-Century Practice (New Jersey: Prentice-Hall, 1972).

23 Hong et al., The Music of Lee Young Jo, 12-15.

musical syncretism.24 Thus while Lee favors traditional pentatonic scales, he often develops melodies and harmonies chromatically. He frequently uses diminished sevenths with added seconds and augmented sixths, especially French sixths; their successive progressions without resolution create extreme tonal tension.25 Furthermore, Lee often juxtaposes two or more harmonic patterns, each tied to the character of a particular key, to create a unique blending of harmonies. Such techniques elevate the role of timbre in his music, rather than emphasizing the function of a given chord according to, for instance, a tonal center. In turn, his percussive use of tone clusters and fast repetitive rhythmic patterns suggest the sound of

Korean traditional percussion: buk (barrel drum), kkwaenggwari (small gong), jing (large gong), and janggu (hourglass-shaped drum). This inventive approach keeps Lee’s works popular among both the public and Korean performers.

24 Young Jo Lee, interviewed by Hyo Jung Song, Seoul: Korea, October 23, 2015.

25 Kim, “Korean Dance Suite for Piano by Young Jo Lee,” 140-141; Korean traditional music is primarily monophonic in texture rather than a homophonic or polyphonic.

Chapter 2

Korean Musical Heritage

Three Generations of Korean Composers

The Korean music community has passed through several periods of great changes, leading contemporary Korean composers to express their national identity through a number of musical experiments. Western music was introduced in Korea in the late nineteenth- century by two Western missionaries: Henry Gerhard Appenzeller (1858-1902), a Methodist, and Horace Grant Underwood (1859-1916), a Presbyterian. During that time, they built modern educational institutions such as Pai Chai Hakdang (‘School’) and Joseon Christian

College, and disseminated church music and Western tunes through worship services and music classes.1

The spread of Western music had a profound impact on Korean traditional music.

Moreover, as the nation experienced the turbulence of Japanese Colonial Rule (1910-1945),

Liberation, Division, and the Korean War (1950-1953), Korean music likewise changed, was adapted, and sometimes abandoned. Notably, a distinction was created between yangak, new

Western music, and gukak, Korean traditional music; emerging from this division, changga— a new type of song combining melodies from hymns, Western folksongs, and children’s songs with Korean texts—rapidly achieved popularity among the public.2 Korean composers began

1 Yoo-Sun Kang, “Toward the New Korean Musical Language: The Merging of Korean Traditional Music and Western Music in Piano Works by Contemporary Korean Composers” (DMA thesis, University of Cincinnati, 2002), 4-5; in 1885, Appenzeller founded Pai Chai Hakdang, the predecessor of Pai Chai University. It was officially established as a college in 1895, authorized as a four-year college in 1980, and obtained university status in 1992. In 1915, Underwood established Joseon Christian College, the predecessor of Yonhee College. Yonhee merged with Severance and became current Yonsei University in 1957.

2 Gyewon Byeon, “Contemporary Korean Music,” in Korean Musicology Series, 1, ed. Byong-Won Lee and Yong-Shik Lee (Seoul: The National Center for Korean Traditional Performing Arts, 2007), 171; chang literally means “to sing” and ga “a song.”

to meld Western and traditional composition techniques during the political and economic instability of the 1970s and the increasing socio-economic growth in the 1980s.

Along with transitioning social conditions, the development of twentieth-century

Korean art music can be traced through three generations of composers. The first generation, active during the first half of the 1900s, incorporated Western musical elements for the first time. They believed that Korean traditional music was primitive due to its monophonic texture and structure; thus, they strove to adopt the harmonized idioms of the West. The most prominent of these composers are Nanpa Hong (1898-1941), Dong Jin Kim (1913-2009), and

Un-Yung La (1922-1993).3 Called the generation of gagok composers, they were devoted to the development of this lyrical art song, which is similar to the German lied.4 In 1920, Hong composed the first gagok, Bongseonhwa (“Garden balsam”), using Western tonal harmonies and heptatonic scales, rather than traditional pentatonic scales.5 With the gagok firmly established in the following decades, Kim was committed to expressing the spirit of Korean in his classical songs, such as Bomiomyeon (“When spring comes,” 1931), Gagopa (“I wish to go,”1933), and Suseonhwa (“Daffodil,” 1941). Contemporary trends in Western music took root in Korea in the 1950s; La founded the Korean Contemporary Music Society in 1952,6 and Korea became a member of the International Society for Contemporary Music (ISCM) in

1956.7 These developments played a significant role to promote and disseminate Korean

3 Dae-Sung Kim and Ok-Bae Moon, “The Third Generation of Composers,” Romantic Music (Winter 1991): 65.

4 Bang-song Song, Korean Music: Historical and Other Aspects (Seoul: Jimoondang, 2000), 108.

5 In the language of flowers, Bongseonhwa means “touch me not.” This piece is considered one of the most valuable classic gagok, expressing love for the nation.

6 Joo Won Kim, “The Development of Contemporary Korean Music with Emphasis on Works of Isang Yun” (DMA thesis, Ohio State University, 2011), 6.

7 Keith Howard, Creating Korean Music: Tradition, Innovation and the Discourse of Identity 13

music worldwide.

Korean society was even more heavily influenced by Western cultures following the

Korean War, and composers became more interested in Western contemporary music. The second generation, during the 1960s and ‘70s, sought to overcome the limitations of their predecessors by focusing on instrumental music, rather than the gagok or other vocal works favored by the first-generation composers.8 Aspiring to internationalization, these young composers relied more on twentieth-century Western compositional techniques such as serialism, atonality, electronic idioms, and various avant-garde styles.9 This group is represented by Chung Gil Kim (1933-2012), Sukhi Kang (b. 1934), and Byung-Dong Paik (b.

1936), all of whom studied with the prominent Korean composer Isang Yun (1917-1995) at the Hochschule für Musik, Theater und Medien Hannover in Germany and returned to live and build their musical careers in Korea.10 Sukhi Kang established the Pan Music Festival in

1969 and became president of the Korean section of the ISCM in 1972.11 Both the Pan Music

(Burlington, VT and Aldershot, England: Ashgate, 2006), 105.

8 Song, Korean Music, 108-109.

9 Suk-Rahn Kwon, “Young-Jo Lee’s Variations on the Theme of Baugogae: In Search of His Own language, a Lecture Recital, together with Three Recitals of Selected Works by Haydn, Rachmaninoff, Liszt, Schumann, Messiaen, and Others” (DMA thesis, University of North Texas, 2000), 8.

10 Howard, introduction to Creating Korean Music, xv; Isang Yun is a Korean-born composer who spent most of his professional career in Germany. He is one of the most admired world-class composers of Korean decent, yet his musical expertise is more Western. Although he might be said to belong to the first generation of Korean composers in terms of chronology, his life and career in Germany and experiences in Korea set him apart. He studied in West Germany in the 1950s, and began his career there; he aimed to synthesize East and West by developing Korean musical features through Western instruments and avant-garde techniques, rather than merely quoting traditional tunes or using traditional instruments. However, the Korean government kidnapped and imprisoned him for visiting North Korea in the 1960s, leading to political uproar and ideological conflicts in Korean society. After his release, he went back to West Germany, obtained German citizenship, and never returned to Korea.

11 Mun Soo Kim, “Use of National Folk Music in a Style Utilizing Original and Modern Procedures: A Case Study of Korean Contemporary Art Music 16 Arirang Variations for Piano Solo by Bahk Jun Sang” (DMA thesis, University of North Carolina at Greensboro, 2013), 15.

Festival and the ISCM Korea have taken the lead in providing and presenting of contemporary music around the world.12

The third generation, active beginning in the 1980s, is most notable for their efforts to combine traditional Korean and Western musical elements, seeking out their musical identities from historical, nationalistic, and stylistic perspectives. On musical identity, Simon

Frith remarks:

Music constructs our sense of identity through the direct experiences it offers the body, time and sociability, experiences which enable us to place ourselves in imaginative cultural narratives.13

During 1980s, composers in this group led a movement to develop Korean identity in their music. They rejected the previous generation’s compositions as mere imitations of Western music which had little appeal for audiences as well. Writing in new styles based on Korean materials, they strove for a national expression while creatively blending traditional and

Western techniques.14 Young Jo Lee (b. 1943), Geonyong Lee (b. 1947), Kyu-Yung Chin (b.

1948), and Byung Eun Yoo (b. 1952) are the best-known of this era.15 These third-generation composers are still active and teach at universities, while their compositions are frequently performed in numerous concerts and festivals.

12 Kang, “Toward the New Korean Musical Language,” 16-17.

13 Simon Frith, “Music and Identity,” in Questions of Cultural Identity, ed. Stuart Hall and Paul du Gay (London: Sage, 1996), 124; Frith is a British sociomusicologist and serves as Tovey Chair of Music at University of Edinburgh.

14 Hyun-kyung Chae, “Newly-Composed Korean Music: Westernization, Modernization, or Koreanization,” Toyang Umak/Journal of Asian Music Research Institute 22 (2000): 149.

15 Kim and Moon, “The Third Generation of Composers,” 67; Geonyong Lee is a founder of the third generation.

Elements of Korean Traditional Music

Korea has developed its own musical culture through five thousand years of history, maintaining cultural exchange with its neighbors including China and Japan, and actively adopting Western civilization. From a historical perspective, Korean music can be categorized into seven distinct periods, based on its political changes: Proto-Three Kingdoms of Korea to Three Kingdoms Period, about 100 B.C.-660 A.D.; Unified Silla Period, 668-935;

Goryeo Dynasty, 935-1392; Early Joseon Dynasty, 1392-1592; Late Joseon Dynasty, 1592-

1894; Modern Period, 1894-1945; and Contemporary Period, 1945-present.16 An examination of the elements of Korean traditional music will help to understand how Lee manipulates them in the three Nori compositions for piano considered in this document.

Genres

Traditional Korean music is deeply related to religious cultures, such as Buddhism,

Confucianism, Shamanism, and Taoism. This close connection between music and religion has affected the history of Korean music. Though there are various ways to classify the genres of Korean traditional music, according to its origin, usage, or instrumentation, it usually falls into two main categories: court music and folk music.17

Current court music of Korea indicates the music which was performed in the court during the Joseon dynasty. It has been subdivided into three categories by origin: aak, dangak, and hyangak. Aak literally means “elegant music,” originally used by Confucius to

16 Bang-song Song, The World of Korean Music, (Seoul: Iljokak, 1998), 20-29.

17 Hye-Gu Lee, Essays on Korean Traditional Music, trans. and ed. Robert C. Provine (Seoul: Published for the Royal Asiatic Society, Korea Branch by Seoul Computer Press, 1981), 13.

distinguish good and beneficial music from bad and harmful.18 Dangak refers to the music which came from the Chinese Tang dynasty (618-907). Dangak is similar to aak in that both are barely played and have Chinese influences. On the contrary, hyangak, literally “local music,” is a native Korean court music, derived from Three Kingdoms Period. Like aak and dangak, hyangak combines the three elements of playing musical instruments, singing, and dancing for the ritual.19

While court music is defined as refined and serene for the ruling class, folk music belongs to the common people, reflecting full of vigor.20 Based on folk tunes and instrumental works in various forms, folk music can be sorted into two groups, as illustrated in Table 2.1.21

Table 2.1. Korean traditional folk music

Instrumental music Vocal music

Sanjo, virtuosic solo music accompanied by Minyo, folk song percussion Sinawi, improvisational ensemble music Pansori, musical storytelling by a singer and a drummer Nongak, farmer’s band music Japga, miscellaneous song

Pungmul/Samulnori, percussion ensemble Danga, short song before pansori music Muak, Shamanistic ritual music Muga, Shamanistic song

18 Inhwa So, “Court Music,” in Korean Musicology Series, 1, ed. Byong-Won Lee and Yong-Shik Lee (Seoul: The National Center for Korean Traditional Performing Arts, 2007), 13-14.

19 Ibid., 15.

20 Lee, Essays on Korean Traditional Music, 13.

21 Robert C. Provine, “Brief Introduction to Traditional Korean Folk Music,” Korean Journal 15, no. 1 (January 1975): 30.

Additionally, religious music can be characterized by two affiliations: Buddhism and

Shamanism. Buddhist music consists of the ritual dance (jakbeop), the outdoor band (chwita), the ritual chants (the sutra, yeombul and the solemn chant, beompae), and the dance accompaniment ensemble (samhyeon yukgak).22 Korean shamanic music can largely be assigned to five geographical areas: Northwestern, Midwestern, Southwestern, Eastern, and

Jeju shamanic music, including the gut (shaman ritual including songs and rhythmic movements) and sometimes the sinawi.23

Modes

Korean music involves two modes based on the pentatonic scale (G-A-C-D-E): pyeongjo (Eb-F-Ab-Bb-C), corresponding to the first, second, fourth, fifth and sixth degrees of the major scale in Western music, is characterized by peaceful and cheerful sounds; gyemyeonjo (Eb-Gb-Ab-Bb-Db), corresponds to the first, third, fourth, fifth, and seventh degrees of the minor scale, and thus is often used to convey a sad atmosphere.24

As Korean traditional music does not have harmonic structure, some notes within a melody are frequently emphasized to create unique meanings or tone colors in accordance with specific performance techniques: yosung, toesung, choosung, and jeonsung. Yosung means “typical vibrato;” toesung “descending glissando;” choosung “ascending glissando;”

22 Byong-Won Lee, “Religious Music: Buddhism,” in Korean Musicology Series, 1, ed. Byong-Won Lee and Yong-Shik Lee (Seoul: The National Center for Korean Traditional Performing Arts, 2007), 150-157.

23 Yong-Shik Lee, “Religious Music: Shamanism,” in Korean Musicology Series, 1, ed. Byong-Won Lee and Yong-Shik Lee (Seoul: The National Center for Korean Traditional Performing Arts, 2007), 163-169.

24 Song, The World of Korean Music, 307-310; The National Center for Korean Traditional Performing Arts, ed., Pansori (Seoul: The National Center for Korean Traditional Performing Arts, 2004), 33- 35; the term jo is related to elements comparable to “mode” or “key” in Western music.

and jeonsung “appoggiatura.”25 Pyeongjo and gyemyeonjo both vibrate the tonic (yosung).

However, pyeongjo bends the second and sixth degrees of the scale downwards (toesung) when they are in a descending motion, whereas gyemyeonjo does so only for the fifth degree.

As the gyemyeonjo was passed down through generations, it was altered by omitting one or two notes (the third or seventh degrees of the scale); the resulting gyemyeonjo has four (the first, fourth, fifth, and seventh scale degrees) or three notes (the first, fourth, and fifth).

Examples 2.1a-b show the modes.26

Example 2.1. Korean traditional modes

a. Pyeongjo

b. Gyemyeonjo

Five notes

Four notes

25 “National Gugak Center,” National Gugak Center, accessed October 30, 2015, http://www.gugak.go.kr/site/main/index001.

26 Seongcheon Lee et al., Easy Introduction to Korean Traditional Music (Seoul: Poong Nam Publishing Co., 1997), 76-81.

Three notes

Instruments

Traditional Korean instruments—almost sixty are in regular use—can be organized according to their materials, origins, and uses. Korean instruments are grouped by eight instrument materials—metal, stone, silk, bamboo, gourd, clay, leather, and wood—and by where they originated; some traditional instruments appear to be indigenous to Korea, and others have been introduced from China, Central Asia, and other places.27 They are often discussed according to their usage: Chinese classical music, Chinese secular music, and native Korean music.28 Nowadays, Korean traditional instruments can be categorized into three groups as in Western classical instruments: string, wind, and percussion. These are briefly summarized in Table 2.2.29

27 Hye-Gu Lee, Korean Musical Instruments, trans. Alan C. Heyman (Seoul: National Classical Music Institute of Korea, 1982), 9-48.

28 Kang, “Toward the New Korean Musical Language,” 26.

29 Byong-Won Lee and Yong-Shik Lee, Korean Musicology Series 1, (Seoul: The National Center for Korean Traditional Performing Arts, 2007).

Table 2.2. Korean traditional instruments

String Wind Percussion

Gayageum, 12-string Daegeum, large flute Janggu, hourglass-shaped plucked zither drum Geomungo, 6-string plucked Danso, medium-sized flute Buk, barrel drum zither Haegum, 2-string vertical Taepyeongso, conical oboe Sogo, small hand drum fiddle Ajaeng, bowed zither Piri, Korean oboe Jwago, large barrel-shaped double-headed drum Geum, 7-string plucked Jeok, small notched bamboo Kkwaenggwari, small gong zither oboe Daejaeng, 15-string plucked Tungso, large notched Jing, larger gong zither bamboo oboe Seul, 25-string plucked So, pan flute with 16 pipes Bak, wooden clapper with zither six slabs Bipa, pear shaped lute with Saenghwang, mouth organ Jegeum (Jabara),cymbals 4 or 5 strings with 17 bamboo pipes Gonghu, harp Nabal, long and straight Pyeonjong, bell chime with bronze trumpet sixteen bronze bells Yanggeum, Western Nagak, seashell trumpet Pyeongyeong, stone chime dulcimer with sixteen marbles

Rhythmic Patterns

The most important ingredient of Korean music is a rhythmic pattern, jangdan; jang means long, dan short. Most Korean musical genres are comprised of jangdan, including court music and folk music; court music utilizes much slower jangdan than folk music.30

Each rhythmic cycle begins on a strong downbeat, sometimes places an accent on a weak beat, and has its own tempo and time signature as in Western music. The regular pattern is

30 Kang, “Toward the New Korean Musical Language,” 32.

improvised or varied by the performer, and repeated throughout the composition to provide the overall framework; this will be illustrated in the discussion of Lee’s use of several traditional rhythms to portray the dance-like moods in the three Nori works for piano.

The most widely used instrument for jangdan is janggu. It is a double-headed hourglass drum; the higher-pitched right head is struck with a thin long stick, the lower- pitched left head played with a mallet or hand. The right head notes are notated with up- stems, the left head with down-stems.31 Several essential elements in playing janggu are described in Table 2.3 in terms of symbols, oral sounds, and notations.32 Played with janggu, jangdan has three or four compound beats and spans from jinyangjo (slow), gutgeori

(medium), jungmori, jungjungmori (medium-fast), semachi, jajinmori (fast), and hwimori

(very fast) in accordance with tempo. The basic forms are presented in Table 2.4.33

31 Nathan Hesselink, P’ungmul: South Korean Drumming and Dance (Chicago: University of Chicago Press, 2006), 51-54; buk is played for the jangdan of pansori or danga.

32 “National Gugak Center,” National Gugak Center, accessed October 30, 2015, http://www.gugak.go.kr/site/main/index001.

33 Ibid.; The National Center for Korean Traditional Performing Arts, ed., Pansori, 39-46; Lee et al., Easy Introduction to Korean Traditional Music, 97-99.

Table 2.3. Notations for janggu

Korean Symbol Oral notation Name Technique Western notation (Gueum) notation

Strike both left Deong Hapjangdan and right sides at the same time

Strike the left Kung Bukpyeon side with four fingers or a mallet

Deok Chaepyeon Strike the right side with a stick

Play like deok Gideok Gyeopchae with a grace note

Roll a stick on Deoreoreoreo Gullimchae the right side

Table 2.4. Korean traditional rhythmic patterns

Name Tempo Rhythm

Gutgeori

Jungmori

Jungjungmori

Semachi

Jajinmori

Hwimori

Ornamentation

Ornamentation, or sigimsae, is one of the most distinct features of Korean music.

Usually translated as “embellishment,” it consists of decorative notes before or after the

principal notes of the melody, and can be flexibly improvised in variant forms by performers.34 It must, however, be performed in the context of a melody; in doing so, it creates musical direction and structure. Sigimsae is an important mark of technical skill, and its subtlety gives expression to the performer’s feelings through the melody. Each performer’s discreet interpretation enhances the dramatic emotions in the music.35

As mentioned earlier when describing the modes, there are four major styles of sigimsae: yosung (vibrato), jeonsung (grace notes like appoggiatura), choosung (ascending glissando), and toesung (descending glissando or portamento). In regard to the vibrato technique, the term nonghyun is used for the stringed instruments, such as gayageum, geomungo, or ajaeng; yosung is commonly applied to vocalists and wind instruments. The vibrato of nonghyun is slower, wider, and deeper, and tends to produce a much warmer sound compared to the Western musical style.36 The various figurations of sigimsae are shown in

Figure 2.1.37

34 Hong et al., The Music of Lee Young Jo, 45-47.

35 Song, The World of Korean Music, 497; “National Gugak Center,” National Gugak Center, accessed October 30, 2015, http://www.gugak.go.kr/site/main/index001.

36 Sin Myung Min, “A Great Korean Music Pioneer Min-Chong Park: A Performance Guide of His Selected Violin Works” (DMA thesis, Louisiana State University, 2014), 14-15. Lee’s experiments with these ornamental techniques in Doori Nori for Violin and Piano and Sesi Nori for Violin, Cello, and Piano will be discussed in more detail in the next chapter. No sigimsae gestures appear in Lee’s Honza Nori for Piano.

37 Hye-Gu Lee, Essays on Korean Traditional Music, 163.

Figure 2.1. Korean traditional ornamentations

Korean society has changed greatly over the past century, and the musical community constitutes no exception. The cultural prosperity of today’s Korea could not be possible without its traditional culture and arts. Consequently, although the three generations of composers have explored ways to respond to international trends and influences, they have nonetheless maintained elements of traditional Korean music that have been preserved and promoted throughout the country’s long history. In the next chapter, I will use this context to thoroughly address the background and stylistic peculiarities of Lee’s three Nori compositions for piano.

Chapter 3

Stylistic Features of Three Nori Compositions for Piano

As Lee has searched for his own musical language, he has both maintained his

Korean traditional roots and absorbed modern Western techniques. Lee’s use of basic forms and Korean traditional and Western musical devices are demonstrated in several major features of the Nori compositions, where traditional Korean instruments, rhythms, and melodies and twentieth-century harmonies and compositional techniques are naturally combined.

Background of Nori

According to Lee, he began the Nori series with a desire to create a much freer structure than possible in conventional Western forms such as sonata, rondo, or variations.1

Nori literally indicates “playing or performance.” Lee describes the term in a program note:

Nori is a musical piece that reveals the function of instruments and skill of a performer through its free and impromptu element, not constrained by any specific form and structure … This piece is characterized by elements of samulnori, an ensemble made by four Korean traditional percussions … ornamental notes, Korean folk tunes, and dance rhythms.2

Of the nine Nori compositions to date, four have been written for a solo instrument, and the rest for small chamber ensembles: Honza Nori for Violin (1994), Honza Nori for Percussion

(2007), Honza Nori for Piano (2010), Honza Nori for Double Bass (2015); Doori Nori for

1 Young Jo Lee, interviewed by Hyo Jung Song, Seoul: Korea, October 23, 2015. Lee has written another series as well: “Sori,” 13 works for unaccompanied solo instruments. Sori refers to “sound” in Korean. See Appendix A for a complete list of the Sori series.

2 “Young Jo Lee-Seoul International Music Competition,” Young Jo Lee, accessed October 22, 2015. http://www.seoulcompetition.com/re/2011/LEE_Young_Jo-Piano_Honza_Nori.pdf; samulnori basically means “playing with four instruments” and is performed by four traditional percussion instruments, such as kkwaengwari, jing, janggu, and buk.

Violin and Piano (1995); Sesi Nori for Violin, Cello, and Piano (2002), Sesi Nori for Violin,

Clarinet, and Piano (2009), Sesi Nori for Oboe, Cello and Piano (2010); and Nesi Nori for

Percussions (1998).3 In this document, these works will be discussed not in chronological order, but according to the numbers of players involved: Honza means “alone or solo,” Doori

“two or duet,” and Sesi “three or trio.” By using Korean titles instead of “solo,” “duo,” and

“trio,” Lee presents the works as his reflections on Korean sentiments within Western musical structure.

The three Nori compositions selected for this study were all commissioned: Doori

Nori for Violin and Piano, for Nam Yun Kim (violin) and Kyung-Sook Lee (piano); Sesi Nori for Violin, Cello, and Piano, for the Huh Trio; and Honza Nori for Piano, for the seventh

Seoul International Music Competition Semi-Final.4 They are all single-movement virtuosic works, sharing atonality and strong Korean traditional features in their dances, folk tunes, ornaments, rhythmic modes, and instrument imitations. Each piece is through-composed, but can be divided into several distinct parts according to tempi and other musical characteristics: a gentle A section; an exciting B section; a contemplative C section; and a final section that revisits the musical materials of the A and B sections. Both Honza Nori and Sesi Nori have introduction sections as well; Honza Nori also has a short codetta.

3 Nesi means “four” or “quartet.”

4 Lee also transcribed Sesi Nori for Violin, Clarinet, and Piano in 2009 and for Oboe, Cello, and Piano in 2010.

Honza Nori for Piano

Honza Nori for Piano was written for the seventh Seoul International Music

Competition Semi-Final round in November 2010. Conveying elements of traditional music in a Western fashion, it is the most recent and shortest—about five minutes duration—of the three Nori works for piano discussed in this document. As the title indicates, Lee attempts to encapsulate the wide-ranging expressiveness of the piano in a freer way in this work. As a competition piece, it requires the performer’s polished technique and a great depth of understanding of the music itself.5 Rhythmic energy is the most critical issue; other essential factors coloring Lee’s harmonic language include adding notes to chords, polytonality, chromaticism, pentatonic and octatonic scales, and frequent implications of a tonal center.6

Although not written in a specific conventional form, the work is sectionalized, with an introduction, the A and B sections presenting the main musical materials, a meditative C section, and a shortened recapitulation of the A section, plus a brief codetta (Table 3.1). Each contrasting section is very compact and has distinct characteristics.

5 Young Jo Lee, interviewed by Hyo Jung Song, Seoul: Korea, October 23, 2015.

6 Young Jo Lee-Seoul International Music Competition,” Young Jo Lee, accessed October 22, 2015. http://www.seoulcompetition.com/re/2011/LEE_Young_Jo-Piano_Honza_Nori.pdf.

Table 3.1. Formal structure in Honza Nori for Piano

Section Measure Tempo Meter

Introduction 1-13 4/6, 5/4, 4/4 A 14-23 3/4, 4/4 B 24-74 3/4, 6/8, 4/4 C 75-96 6/4, 5/4, 4/4, 3/4 A´ 97-103 3/4 Codetta 104-107 4/4

Lee indicates traditional instruments, dance rhythms, and tunes throughout the work; these help performers to better understand its characteristics and structure (Table 3.2).

Table 3.2. Korean traditional elements in Honza Nori for Piano

Instrumentation Source material

Gong Glass Bamboo Dance Folk Tune Farmer’s Drum Instruments Rhythm Festival Measure 1-8 15-23, 77-93 9-13 24-29, 30-54 98-103 99-102

Introduction (mm. 1-13)

The 13-measure introduction clearly and concisely states the musical materials that will dominate the work; these include imitations of Korean instruments, rhythms, and harmonic devices. The sound of jing is invoked three times at mm. 1-3 by spacious perfect fifth chords with added minor seconds ringing in the lower part of the piano; these become the fundamental chords in the left hand at mm. 4-11, establishing D as a tonal center and creating subtle tension with meter changes and ties. The added seconds are crucial to Lee’s general harmonic practices; he employs them obsessively to make unique tone colors throughout the piece (Example 3.1).

Example 3.1. Young Jo Lee, Honza Nori for Piano, mm. 1-8

The most significant Korean traditional music component involves the rhythmic mode, jangdan. Lee uses and frequently varies several rhythmic patterns including jajinmori, semachi, and hwimori to create musical vitality and excitement in the Nori works. In Honza

Nori for Piano, beginning at mm. 9-10, Lee employs the second type of jajinmori jangdan in the right hand; this is the most extensively used rhythmic pattern in the piece (Examples 3.2a and 3.2b).7

Example 3.2a. Three types of jajinmori jangdan

7 Kim, “Exploring Aspects of Korean Traditional Music in Young Jo Lee’s Piano Honza Nori,” 12.

Example 3.2b. Young Jo Lee, Honza Nori for Piano, mm. 9-11

Jajinmori jangdan

Section A (mm. 14-23)

The A section starts with chromatic ascending motion and imitates the sounds of traditional samulnori percussion instruments. Fast repetitive ostinato-like triplet figures in the right hand recall the frequently-used technique of deoreoreoreo, rolling a stick on the right side of janggu. The two-measure motivic melody presented in the right hand at mm. 4-7 is now in the left hand with a changed rhythm (Example 3.3).

Example 3.3. Young Jo Lee, Honza Nori for Piano, mm. 14-19

In m. 20, an ascending octatonic scale in the right hand is played over a resonant jing, a very gentle and lingering low tone based upon the open fifth chord with added second

(Examples 3.4a and 3.4b).

Example 3.4a. Young Jo Lee, Honza Nori for Piano, m. 20

Example 3.4b. Second-mode octatonic scale8

At mm. 22-23, descending right-hand chromatic figures in octaves and successive left-hand diminished chords build up dramatic tension, preparing for the beginning of section

B (Example 3.5).

Example 3.5. Young Jo Lee, Honza Nori for Piano, mm. 22-23

Section B (mm. 24-74)

The longest and the most exhilarating area in the Honza Nori for Piano, the B section, thoroughly explores cheerful new melodies and rhythmic excitement. This section features melodies from two Korean folk tunes, Miryang Arirang and Arirang, which Lee adapts according to the “setting technique of musical borrowing,” whereby a pre-existing melody is given a new accompaniment.9 The borrowed materials appeal directly to Korean

8 An octatonic scale is any eight-note musical scale in which the notes alternate intervals of a whole step and a half step. It has only two modes. Mode 1 begins with a whole step, Mode 2 with a half step.

9 J. Peter Burkholder, All Made of Tunes: Charles Ives and the Uses of Musical Borrowing (New Haven, CT: Yale University Press, 1995), 3-4; Burkholder identified the fourteen types of musical borrowing in the music of Charles Ives: modeling, variations, paraphrasing, setting, cantus firmus, medley, quodlibet, stylistic allusion, transcription, programmatic quotation, cumulative setting, collage, patchwork, and extended paraphrase. Ives is one of the most well-known users of borrowed material in his compositions, incorporating 34

performers and audiences (Example 3.6).

Example 3.6. Anonymous, Miryang Arirang, mm. 1-4

In the beginning of the section, the first two measures of Miryang Arirang are used, with the addition of major second notes to accentuated chords in the right hand and triplet- like accompaniments in the left hand (Example 3.7).

Example 3.7. Young Jo Lee, Honza Nori for Piano, mm. 24-25

At mm. 26-27, three interesting figures are succinctly presented: ascending and descending octatonic scales in the right hand; the second altered type of jajinmori jangdan and chromatic scales in the left hand (Example 3.8).

music by other composers or from his own earlier works.

Example 3.8. Young Jo Lee, Honza Nori for Piano, mm. 26-27

Jajinmori jangdan

There are three variant styles of semachi jangdan;10 Lee modifies the first two types in his quotation of Miryang Arirang (Examples 3.9a and 3.9b). At mm. 28-29, excitement increases as the chromatic line in the left hand begins to descend with accents and a crescendo. These chromatic motions and chords combined with perfect fifths and major seconds in Example 3.9b epitomize Lee’s melding of the traditional rhythms, folk melodies, and his contemporary harmonic techniques.

Example 3.9a. Three types of semachi jangdan

10 Kim, “Exploring Aspects of Korean Traditional Music in Young Jo Lee’s Piano Honza Nori,” 16.

Example 3.9b. Young Jo Lee, Honza Nori for Piano, mm. 28-29

Semachi jangdan

Lee also includes gestures that recall percussion band music played by Korean farmers, nongak; in the score, this is titled “Farmer’s Festival.” A celebration of community spirit through music, nongak, also called pungmul, is a form of traditional Korean farmers’ music and dance, combining a percussion ensemble and sometimes wind instruments, parading, dancing, drama, and acrobatic feats. The percussion bands are very common in

Korea, playing at many rituals, for fund-raising, and entertainment (Figure 3.1).11

11 Nathan Hesselink, “Folk Music: Instrumental,” in Korean Musicology Series, 1, ed. Byong-Won Lee and Yong-Shik Lee (Seoul: The National Center for Korean Traditional Performing Arts, 2007), 98-99.

Figure 3.1. Nongak group

In 1978, four percussionists—on jing, kkwaenggwari, janggu, and buk—adapted the sound and spirit of nongak for the concert-hall stage, performing what is now known as samulnori;12 in this form, it is performed solely for entertainment (Figure 3.2).13

Figure 3.2. Samulnori group

12 Samulnori was created from pungmul for an indoor performance in 1978 by Duk Soo Kim, the group’s leader and master of the janggu. The performers (formally members of namsadang, the wandering artist-entertainers) were Young Bae Kim (deceased 1985) who played the kkwaenggwari, Tae Hyun Choi on the jing, Duck Soo Kim on the janggu, and Jong Dae Lee (now teaching at a university) on the buk. Soon after, Jong Sil Choi took over on the kkwaenggwari, and Kwang Soo Lee on the buk. The group sparked a renaissance in Korean music, touring as a quartet and garnering worldwide acclaim.

13 Ibid., 100-101.

The addition of seconds to the perfect fifth chords at mm. 30-32 creates a timbre reminiscent of the buk, jing, and kkwaenggwari (Example 3.10).

Example 3.10. Young Jo Lee, Honza Nori for Piano, mm. 30-32

Simultaneous use of several scales is frequent in Lee’s music. At mm. 33-36, the whole-tone and chromatic scales appear in both hands. At the same time, percussive rhythmic patterns move into sequential passages, adding intensification (Example 3.11).

Example 3.11. Young Jo Lee, Honza Nori for Piano, mm. 33-36

At mm. 37-40, the ostinato-like patterns in the left hand exemplify the jajinmori jangdan; there is also polytonal writing between the hands (Example 3.12).

Example 3.12. Young Jo Lee, Honza Nori for Piano, mm. 37-40

Jajinmori jangdan

The third jangdan used in the piece, at mm. 41-42, is hwimori jangdan, the fastest traditional Korean rhythm. This suggest the gesture in which nongak players whirl their sangmo (Korean traditional ribbon-hat) while dancing, as shown in Figure 3.1 (Example

3.13).

Example 3.13. Young Jo Lee, Honza Nori for Piano, mm. 41-42

Hwimori jangdan

The long ascending sequences beginning at m. 37 are soon transformed into swirling sixteenth-note runs, through m. 54. A brilliant passage from mm. 55-63 is also dominated by driving sixteenth notes and rapidly moving accompaniments; the arpeggiated figures from three-note gyemyeonjo in the right hand continuously push forward (recall Example 2.1b), while dance-like rhythmic patterns—such as two or three eight notes in irregular groupings— in the left hand are shaped with accents and sforzando on the weak beat. Polytonality occurs again at a climactic point, mm. 62-63; a pentatonic scale appears for the first time, while

Stravinsky is referenced through the “Petrushka” chord with inverted triads of C major and

F# major (Example 3.14).14

14 Kim, “Korean Dance Suite for Piano by Young Jo Lee,” 75; the Petrushka chord is a recurring polytonal motif used in Stravinsky’s ballet Petrushka. It is famous not just because it is polytonal, but because it is maximally polytonal. The two major triads of C major and F# major are a tritone apart and as far away from each other as possible on the circle of fifths, creating the most dissonant tonal combination possible.

Example 3.14. Young Jo Lee, Honza Nori for Piano, mm. 53-63

Example 3.15 shows the transition from B to the C section, a recreation of the opening chords consisting of perfect fifths and minor seconds (see Example 3.1). Db and Ebb are added with a gradual diminuendo and ritardando over the obsessively repeating staccato

Gb; this then connects to another chord in the same pattern at m. 75 as C begins.

Example 3.15. Young Jo Lee, Honza Nori for Piano, mm. 64-76

Section C (mm. 75-96)

The C section starts with the sound of a gong played three times in a row, as in the introduction. Lee maps out this perfect fifth and minor second chord throughout the C section and also hints at a tonic center of E. In contrast to the A and B sections, it has very calm and dreamy quality, entirely within mp or pp. Mm. 77-82 invoke the sound of Korean wind instruments through ornamented melodies while quoting the most well-known Korean folk tune, Arirang in the middle voice (Examples 3.16a and 3.16b).

Example 3.16a. Anonymous, Arirang, mm. 1-4

Example 3.16b. Young Jo Lee, Honza Nori for Piano, mm. 77-82

Lee ends section C very quietly and mysteriously at m. 94, with the Petrushka chord

(Example 3.17).

Example 3.17. Young Jo Lee, Honza Nori for Piano, m. 94

Section A´ (mm. 97-103)

The condensed A section returns in the same structure, but includes the tune of

Arirang in the left hand at mm. 99-102 (Example 3.18).

Example 3.18. Young Jo Lee, Honza Nori for Piano, mm. 99-102

Codetta (mm. 104-107)

A short four-bar codetta exhibits features similar to the final part of the B section;

Lee exactly quotes mm. 60-61 (compare to Example 3.16), reuses the Petrushka chord, and concludes with authentic cadence gesture incorporating the triads of C major (V) to F major

(I) but still with added minor seconds (Example 3.19).

Example 3.19. Young Jo Lee, Honza Nori for Piano, mm. 103-107

The variety of Korean traditional elements and Western harmonic techniques presented in Honza Nori for Piano exemplify Lee’s interest in blending both musical cultures.

The sounds of traditional Korean instruments, dance rhythms, and folk melodies combine well with contemporary atonal features—such as the perfect fifth and added second chords, augmented sixths, polytonal writings, and chromaticism—to create Lee’s distinctive character. In addition, Lee’s writing for the piano is highly idiomatic, ably exploiting the extended range of the instrument. These characteristics have secured Honza Nori’s place in the performance repertoire.

Doori Nori for Violin and Piano

Doori Nori for Violin and Piano was written for two globally renowned performers in 1995. The violinist, Nam Yun Kim (b. 1949), was a professor of violin at Korea National

University of Arts and now serves as a director at Korea National Institute for the Gifted in

Arts; the pianist, Kyung-Sook Lee (b. 1944,) is an emeritus professor of piano at Yonsei

University. This is the only work that Lee composed for two (Doori) instruments in the Nori series, and is regarded as one of the most virtuosic of his compositions due to its technical difficulties.15 Lee was inspired by the sound of Korean traditional stringed instruments, which he sought to reproduce on the modern violin.16

Honza Nori for Piano and Doori Nori for Violin and Piano share many atonal characteristics and avoid establishing functional harmony in terms of key, although Lee still tends to suggest tonal implications by repeating specific notes or chords, and suggesting pitch centers usually in the bass.17 Lee also employs several contrapuntal techniques in this work, such as canon, augmentation, diminution, and stretto. The overall form is outlined below in

Table 3.3.

15 Lee, Resume Written on a Music Sheet, 183.

16 Young Jo Lee, interviewed by Hyo Jung Song, Seoul: Korea, October 23, 2015.

17 Hong et al., The Music of Lee Young Jo, 12-15.

Table 3.3. Formal structure in Doori Nori for Violin and Piano

Section Measure Tempo Meter

A 1-41 4/4, 5/4, 3/4, 2/4 B 42-95 Allegro 3/4, 4/4 C 96-133 Lento 2/4, 3/4 B´ 134-224 2/4, 1/4, 3/4, 4/4, 5/4, 6/8 A´ 225-253 Tempo I 4/4, 5/4, 3/4, 2/4

Section A (mm. 1-41)

The first section opens with the melody in the piano part at a moderate tempo; the melodic figure at mm. 1-2 dominates the entire piece, often with rhythmic variations. I will call this two-bar main subject “motive A” as a matter of convenience. The intervals between notes are the primary musical material, alternating thirds and seconds; this melodic line reverses the five notes of gyemyeonjo.

Gyemyeonjo

The importance of motive A in Doori Nori cannot be emphasized enough; while Lee designates several melodies for each section in Honza Nori for Piano, motive A is manipulated almost like monothematic transformation, excepting in the C section. The thematic unity imparted to the work dominates its development (Example 3.20).

Example 3.20. Young Jo Lee, Doori Nori for Violin and Piano, mm. 1-2

At mm. 9-16, motive A appears in the violin part, with each note value doubled in the manner of the fugal augmentation; the piano part arouses a meditative mood with lots of ornaments and adds diverse harmonic colors to the violin. In the same passage, E is suggested as a tonic center underneath the motive, bringing a sense of traditional tonality; the perfect fifth chords that contain E in the bass occur every two or four measures, while the melodic line in the right hand also hovers around an E tonal center.

Example 3.21. Young Jo Lee, Doori Nori for Violin and Piano, mm. 9-16

Similarly, while the harmonic progressions from mm. 20-38 are governed by chromatic motion and consecutive French augmented sixth chords, reiterated syncopated E notes in the bass at mm. 39-41 return to the established tonal center (Example 3.22).

Example 3.22. Young Jo Lee, Doori Nori for Violin and Piano, mm. 38-41

Section B (mm. 42-95)

Motive A is repeatedly subjected to changes in the B section. Lee adopts the minor thirds from motive A obsessively for the violin, and involves an arpeggiated motive A in the piano line. Consistent sixteenth-note figures in parallel motion between both hands create a more energetic mood and a polytonal texture as well, with the simultaneous occurrence of A major and G major at mm. 42-45; B minor and A major, Eb major and Db major, and B minor and A major at mm. 46-48. These dual tonalities are all established in a supertonic relationship, a major or minor second apart. The major second then joins the perfect fifth chords at m. 49 (Example 3.23).

Example 3.23. Young Jo Lee, Doori Nori for Violin and Piano, mm. 42-49

Lee maintains a similar structure at mm. 50-61, but makes a variety of rhythmic changes to motive A. At mm. 52-55, the motive appears in the violin not as a single melody but with spacious perfect fifths; simultaneously, in the piano part the motive is presented in the left hand with the rolled chords, while a broken D minor chord is repeated in the right hand.

From mm. 56-59, the perfect fifth material is given to the piano, and motive A to the violin with sixteenth notes. Motive A is syncopated and accentuated in the violin over the rolled chords in the piano, mm. 60-61. These motivic variations highlight the rhythmic diversity and vitality of the piece (Example 3.24).

Example 3.24. Young Jo Lee, Doori Nori for Violin and Piano, mm. 50-61

In addition to the rhythmic matters, the B section involves much chromatic motion, alternating the chromatic scales between the two instruments. A variant of gutgeori jangdan in the piano is made up of perfect fifths and major seconds, and also creates greater rhythmic excitement (Examples 3.25a and 3.25b).

Example 3.25a. Young Jo Lee, Doori Nori for Violin and Piano, mm. 70-71

Example 3.25b. Young Jo Lee, Doori Nori for Violin and Piano, mm. 76-77

Gutgeori jangdan18

The end of the B section is exuberantly energetic; three ascending octatonic scales, a long high D# in the violin, chromatic scales, augmented thirds, major sevenths, and perpetual sixteenth-note motions in the piano lead to the climactic point with an extremely atonal sound and maximum dramatic effect (Example 3.26).

18 Kim, “Korean Dance Suite for Piano by Young Jo Lee,” 51.

Example 3.26. Young Jo Lee, Doori Nori for Violin and Piano, mm. 90-93

Section C (mm. 96-133)

The C section is tranquil and slow. A great stillness is achieved through the unhurried flow of music; Lee prefers to hold the long notes or chords, often with ties and rests, and avoids ornamental notes. Harmonically, there is continued refinement and exploration: Lee’s favorite French sixths in the piano provide a mystical touch and subtle tension (Example

3.27).

Example 3.27. Young Jo Lee, Doori Nori for Violin and Piano, mm. 96-102

Lee applies the nonghyun technique for Korean stringed instruments to the violin.

Nonghyun, a left-hand technique for Korean zither instruments that literally means “play with strings,” embellishes melodic lines by shaking, pushing down, and plucking strings.19

Meanwhile, the ascending glissandi (choosung technique) with minor seconds in the violin capture the tone color of the gayageum. The entirety of the Lento section is built on the two variant types of semachi jangdan, moving slowly in three beats (Example 3.28).

19 Kim, “The Musical Style and Compositional Technique of Young-Jo Lee,” 45-47.

Example 3.28. Young Jo Lee, Doori Nori for Violin and Piano, mm. 115-118

Semachi jangdan

Lee’s expansive use of chromatic scales is apparent in Example 3.29. Both the violin and piano parts are involved in contrary motion; the two different textures, which remain single melodic lines in the violin and chains of open fourths and fifths in the piano, create heavy chromaticism and a fluid, misty tone quality. This extended chromatic motion leads to

French sixth chords again, quietly closing the C section.

Example 3.29. Young Jo Lee, Doori Nori for Violin and Piano, mm.126-132

Section B´ (mm. 134-224)

The B´ section is the most intense and demanding technically. Although not an exact return of the B section—it is nearly doubled in length—B´ shares many of the earlier section’s features: sixteenth-note figural writings, dance-like rhythms, accents, and chromaticism. The pizzicati in the violin, mm. 135-158, provide exceedingly dynamic motion and high cheerfulness. From mm. 134-144, motive A reappears in the piano in many guises, including accentuated notes and syncopation. Lee also introduces another contrapuntal device in the B´ section, treating motive A to diminution of rhythmic values at mm. 134-156; eventually, each overlapping motive A between the violin and piano combines in a compact stretto, at various pitch and time intervals, mm. 138-144. These fugal techniques based on the motive provide structural solidity and unity (Example 3.30).

Example 3.30. Young Jo Lee, Doori Nori for Violin and Piano, mm. 137-144

Mm. 145-156 contain many ongoing lines; a number of canonic imitations occurs between both instruments, accompanied by two octatonic scales in the piano. Motive A returns in a new rhythmic figure, creating a more dynamic and vibrant atmosphere with many rests at mm. 151-156 (Example 3.31).

Example 3.31. Young Jo Lee, Doori Nori for Violin and Piano, mm. 145-156

Motive A continuously reappears in the piano with alterations to the rhythm at mm.

165-168 and 170-172; in the violin, the syncopated motive enters over the pentatonic scale

(G-A-C-D-E) in the right hand of the piano part at mm. 168-172 (Example 3.32).

Example 3.32. Young Jo Lee, Doori Nori for Violin and Piano, mm. 165-172

Mm. 173-180 is extraordinarily passionate, and heavily atonal. Double and quadruple stops on the violin produce a variety of colors, textures, and harmonies. These stops are exclusively based on fifths and sevenths, and Lee also combines those chords; for instance, quintal harmonies are constructed from the two fifths chords at m. 174, and mixtures of the fifth and seventh follow at m. 180. In addition, two parallel sixteenth figurations in the piano form consecutive tritones between both hands, creating profound dissonance. Motive A appears at mm. 175-177 and m. 180. The structure of this passage is itself compelling, as each bar has a different time signature, establishing an arch:

1/4→2/4→3/4→4/4→3/4→2/4→1/4. This ultimately results in an extremely tense, irregular rhythmic pulse (Example 3.33).

Example 3.33. Young Jo Lee, Doori Nori for Violin and Piano, mm. 173-180

A new Allegro section starts in 6/8, leading to the climax (Example 3.34); it is extensively dependent on open fifths in the violin, and perfect fifths with added major seconds and dance rhythms derived from the third variant type of jajinmori jangdan in the piano (recall Example 3.2a). The repetitive patterns of chords and rhythms in both instruments reflect the sound of traditional percussion (kkwaenggwari and buk) and the rollicking mood of nongak or samulnori.

Example 3.34. Young Jo Lee, Doori Nori for Violin and Piano, mm. 183-189

Jajinmori jangdan

The climax at the conclusion of this fast section is a summation of the motivic, harmonic, and rhythmic vocabularies used in the piece: the repetitive minor third material from motive A in the violin, tone clusters from two open fifths in the piano, and syncopated rhythms at mm. 214-216, and descending chromatic movements and octatonic scales between the instruments at mm. 217-221; a parallel motion with two octatonic scales a tritone apart in the piano, mm. 222-224, raises a dissonant clash again (Example 3.35).

Example 3.35. Young Jo Lee, Doori Nori for Violin and Piano, mm. 214-224

Section A´ (mm. 225-253)

The A´ section is an abbreviated recapitulation of the A section; it finishes with a short codetta-like passage, which lingers around the suggested tonal center G (Example 3.36).

Example 3.36. Young Jo Lee, Doori Nori for Violin and Piano, mm. 246-253

The most significant aspect of Doori Nori for Violin and Piano is Lee’s treatment of motive A throughout the work. The motive itself is distinctly made of Korean traditional elements, based on the five notes of the traditional gyemyeonjo; yet its development spans frequent and varied rhythmic changes based on Korean modes to multiple fugal devices including augmentations, diminutions, canons, and stretti. The forms of the motive exploit the capabilities of the instruments and atonal chordal techniques; it is described not only with a single melodic line but with intervals such as open fifths, added seconds, and tritones. Lee’s skillful use of the motive thus incorporates diverse Korean and Western musical elements in holding the music together and endowing it with organic unity.

Sesi Nori for Violin, Cello, and Piano

Sesi Nori for Violin, Cello, and Piano was written in 2002 and first performed a year later by the Huh Trio, consisting of Hee-Jung Huh (violin), Yun-Jung Huh (cello), and Seung-

Yeun Huh (piano).20 This work has also been arranged for two other ensembles: for Violin,

Clarinet, and Piano (2009), commissioned by the well-known clarinetist, Rok-Hyun Kwon; and for Oboe, Cello, and Piano (2010), commissioned by the oboist, Suho Ha.21 All three

Sesi Nori arrangements are based on the same theme and structure; they have a few differences due to the instrumentation and instrument registers.

Many features of Sesi Nori for Violin, Cello, and Piano are analogous to those in

Doori Nori for Violin and Piano; in addition to overall atonal qualities, both are cast in the arch form, develop monothematic material, often combine those with contrapuntal gestures, and contain persistent sixteenth-note figures in the second section. Table 3.4 outlines the form.

Table 3.4. Formal structure in Sesi Nori for Violin, Cello, and Piano

Section Measure Tempo Meter Introduction 1-16 4/4, 3/4, 5/4, 6/4 A 17-50 4/4, 3/4 B 51-99 Allegro 4/4 C 100-155 Slow tempo, Korean 6/8, 2/4 traditional style B´ 156-210 Allegro 4/4 A´ 211-226 4/4

20 Young Jo Lee, Sesi Nori for Violin, Cello, and Piano from Young Jo Lee: Four Songs for Death, Hee-Jung Huh (violin), Yun-Jung Huh (cello), and Seung-Yeun Huh (piano), ISMM Classics, 2012, compact disc.

21 Lee often arranges his own and others’ works; he has transcribed Arirang, the most famous Korean traditional song, for orchestra, string ensembles, solo piano, two pianos, singers, and choirs; Young Jo Lee, interviewed by Hyo Jung Song, Seoul: Korea, October 23, 2015.

The structure of Sesi Nori for Violin, Cello, and Piano is clearly symmetrical: A and A´ gently develop the main idea among the three instruments; B and B´ have exciting movement; C is meditative and central to the work. The sections are not repeated verbatim, but share thematic material.

Introduction (mm. 1-16)

Sesi Nori for Violin, Cello, and Piano begins with a five-bar introduction; it is mainly built on chromatic lines in the right hand of the piano and successive diminished seventh chords in the left hand. As in Doori Nori for Violin and Piano, development of this chromatic idea, which I call motive A, dominates the sections (Example 3.37).

Example 3.37. Young Jo Lee, Sesi Nori for Violin, Cello, and Piano, mm. 1-5

Lee’s obsessive chromaticism is evident at mm. 6-10. The violin and cello move apart chromatically, with the piano lines doubling them—the soprano line in the piano doubles the violin, the bass line the cello. These chromatic lines in the outer voices and

French sixth and tritone harmonies create highly post-tonal sounds (Example 3.38).

Example 3.38. Young Jo Lee, Sesi Nori for Violin, Cello, and Piano, mm. 7-10

Section A (mm. 17-50)

In contrast, the first part of the A section tends towards the tonal. At mm. 17-25, each broken chord in the left hand of the piano implies noticeably tonal harmonies—G major, D minor, E minor, Eb major, D major, C major, F major, Bb major, and Ab major—over the repetition of B in the right hand. An overlapping of motive A between the violin and cello makes a short stretto at mm. 18-22; the violin doubles the original motive, while the cello slightly alters it (Example 3.39).

Example 3.39. Young Jo Lee, Sesi Nori for Violin, Cello, and Piano, mm. 16-27

As the chromatic line begins ascending in the violin, motive A appears in the piano and cello in unison, mm. 28-29; these chromatic motions are accompanied by diminished seventh chords in the piano, bringing back the sense of atonality (Example 3.40).

Example 3.40. Young Jo Lee, Sesi Nori for Violin, Cello, and Piano, mm. 28-31

Lee employs motive A at different times among the three instruments, forming the first long stretto at mm. 32-43 (Example 3.41). Chains of open fourths and fifths— sometimes containing thirds—appear in the piano, relying on extremely chromatic progressions (mm. 34-40); this is reminiscent of a similar passage in Doori Nori for Violin and Piano (Example 3. 29). The heavy chromaticism based on tritones and diminished sevenths establishes a subtle tension and dark atmosphere throughout the stretto.

Example 3.41. Young Jo Lee, Sesi Nori for Violin, Cello, and Piano, mm. 32-43

By combining tonal, atonal, and chromatic gestures at a moderate tempo, the A section exudes a restrained ambience.

Section B (mm. 51-99)

The lively and energetic B section has several similarities to that of Doori Nori for

Violin and Piano, including the use of contrapuntal devices such as imitations and stretti, alternating motive A among the instruments, and sixteenth-note patterns in the piano which induce a polytonal relationship between both hands. For instance, the beginning of the B section in Sesi Nori, mm. 51-54, is very much akin to the same area in Doori Nori (compare to Example 3.23), presenting the motive in the violin and fast sixteenths and polytonalities in the piano (Example 3.42).

Example 3.42. Young Jo Lee, Sesi Nori for Violin, Cello, and Piano, mm. 50-54

While motive A continues to appear in the cello, numerous seconds, open fifths, syncopated rhythms, and chromatic scales in the violin and piano build up dramatic tension at mm. 59-77. In the piano, mm. 83-84, motive A in octaves with major seconds enters in the right hand, producing a tone cluster-like sound effect, while chromatic and whole tone scales rise and fall in the left hand (Example 3.43).

Example 3.43. Young Jo Lee, Sesi Nori for Violin, Cello, and Piano, mm. 83-84

Eventually, the persistent sixteenth-note figurations produce a four-voice stretto at mm. 85-91, in the cello, piano right hand, violin, and piano left hand. The musical material in the stretto is derived from the sixteenths in the violin, mm. 57-63; Lee alternates this seven- bar passage among the three instruments at mm. 57-77 and creates a two-voice stretto between the cello and violin at mm. 78-84, which is then connected to the stretto for four voices from m. 85. The gradual crescendo throughout the stretto, starting from an already loud dynamic, increases the contrapuntal intensity and pushes towards a climactic point; meanwhile, motive A occurs in octaves in the violin, mm. 89-90 (Example 3.44).

Example 3.44. Young Jo Lee, Sesi Nori for Violin, Cello, and Piano, mm. 85-90

From mm. 92-93, open fifths are linked to the octatonic scale in the violin, while three parallel chromatic lines are created between the cello and piano; the two ascending chromatic scales between both hands of the piano create intense tritones (Example 3.45).

Example 3.45. Young Jo Lee, Sesi Nori for Violin, Cello, and Piano, mm. 91-94

After these chromatic progressions, long notes in the violin (D#) and cello (B) in their high registers and repetitive sixteenth-note patterns in the piano lead to an exceedingly atonal climax at mm. 94-98. This highest point is analogous to the end of the B section in Doori

Nori for Violin and Piano (Examples 3.23 and 3.42); Lee exploits the same D# in the violin, while chromatic scales and perpetual sixteenth-note motions in the piano create severe dissonance (recall Example 3.26). The high D# in the violin is smoothly connected to the last statement of motive A, and the B section concludes with ritardando at mm. 97-100 (Example

3.46). The fast sixteenths with stacatti, fugal devices, and syncopated rhythms all make the B section the most brilliant and virtuosic part of Sesi Nori.

Example 3.46. Young Jo Lee, Sesi Nori for Violin, Cello, and Piano, mm. 97-99

Section C (mm. 100-155)

The C section of Sesi Nori, as in Doori Nori, is characterized by a wave of ornamental notes recreating the sound of Korean wind instruments made of bamboo, such as danso, daegeum, and piri. The improvisatory melodies in the piano and pizzicati in the violin and cello amplify the meditative sound quality. The piano writing is polytonal: G major and

Db major, and Eb major and A major at m. 102; B major and F major, and C major and F# major at m. 103; while the last two chords at m. 103 are Stravinsky’s Petrushka chord. As in his other compositions, Lee adopts Korean traditional rhythmic patterns, but here alters it rather than using the basic form of a given jangdan;22 the beginning of the C section suggests a variant of the gutgeori jangdan at a slow tempo (Example 3.47).

22 Kim, “Korean Dance Suite for Piano by Young Jo Lee,” 141.

Example 3.47. Young Jo Lee, Sesi Nori for Violin, Cello, and Piano, mm. 100-104

Gutgeori jangdan

A new theme appears in the piano at mm. 104-152; this is an exact quotation from the A section of Doori Nori for Violin at mm. 9-24 (compare to Example 3.21). This sixteen- bar melody is repeated three times throughout the C section. The sixteen measures can be divided into two eight-bar phrases (e.g. mm.121-128 and mm. 129-136 in Example 3.48); the first four-bar melodies of each phrase (e.g. mm. 121-124 and mm. 129-132) are based on the

five-note gyemyeonjo.

Gyemyeonjo

The quoted melody remains in the piano over pedal point-like chords, implying the tonal center E; the violin and cello alternate playing motive A. This passage uses nonghyun techniques: choosung (ascending glissandi) and jeonsung (grace notes like appoggiatura) in the piano embellishments. Nonghyun is central to Korean traditional music, bringing the monophonic melodies alive and adding various color effects; the melodic lines can be elaborated according to the performer’s spirit and technique.23 The piano quietly plays the recurring open fifths to close the C section (Example 3.48).

While the outer sections are weighted towards Western compositional devices including atonality, chromaticism, and contrapuntal techniques, the central C section is focused on more traditional aspects—woodwind-like sound, pentatonic scale, traditional rhythmic patterns, and many embellished notes. The result is a contemplative atmosphere as the turning point in a journey from the restraint of section A through the exuberance of section B.

23 Kim, “The Musical Style and Compositional Technique of Young-Jo Lee,” 46-47.

Example 3.48. Young Jo Lee, Sesi Nori for Violin, Cello, and Piano, mm. 120-136

Section B´ (mm. 156-210)

Section B´ recapitulates section B from mm. 156-202, and continues with new material from mm. 203-210. The reiterated portion comes to a climax at mm. 199-203; the three instruments then descend together at mm. 204-208. Motive A appears in the violin and cello in unison for the last time in the B´ section, descending an octave. Chromatic scales in the piano, with hands also in unison, descend even further by three octaves (Example 3.49).

Example 3.49. Young Jo Lee, Sesi Nori for Violin, Cello, and Piano, mm. 203-208

The dynamic, vigorous B´ section finishes with repetitive B notes at mm. 208-210, foreshadowing the tonic center B of the following A´ section (Example 3.50).

Example 3.50. Young Jo Lee, Sesi Nori for Violin, Cello, and Piano, mm. 209-210

Section A´ (mm. 211-226)

Like the other Nori works, the A´ section of Sesi Nori is a shortened repeat of the A section; here, Lee omits the second half of the A section (corresponding to mm. 28-50). B is finally reaffirmed as a tonal center through pp repetition of the pitch B in all three instruments (Example 3.51).

Example 3.51. Young Jo Lee, Sesi Nori for Violin, Cello, and Piano, mm. 221-226

In Sesi Nori for Violin, Cello, and Piano, Lee continues to display his enthusiasm for musical syncretism; Korean traditional elements and Western compositional techniques are well balanced in the work. As in Doori Nori, Lee utilizes monothematicism (motive A) throughout Sesi Nori, bringing compositional unity. The motive is both combined with traditional Korean ornamentations and instrumental sounds, and developed through contrapuntal devices (augmentations, canons, and stretti), tonal and atonal qualities (pedal points, tritones, diminished sevenths, French sixths, and excessive chromaticism), and various rhythmic alterations. Additionally, Lee adeptly captures a unique timbre of each instrument and at the same time creates a harmonious balance between them. These features have made Sesi Nori warmly welcomed by numerous chamber music players and audiences.

Piano Performance Issues

In performing these works, it is necessary to understand how Lee’s idiomatic pianism integrates Korean and contemporary Western musical language. In the three Nori works,

Korean traditional instruments, jangdan, rapidly shifting meters, added seconds to the perfect fifth chords, augmented sixths, diminished sevenths, chromaticism, polytonal writing, and some tonal allusions are prominent; the performer must therefore be intimately familiar with these elements.

The most critical matter is a solid awareness of the traditional instruments, required to accurately reproduce each distinct sound on the piano. For percussive effects, strong and detached finger touch as well as drier pedaling are essential. In Honza Nori for Piano, mm.

15-19, the repeated B in the right hand must emulate the sound of janggu, but it is difficult to play these notes evenly and delicately; I suggest that the performer articulate each B with a light touch (recall Example 3.3). At mm. 30-32, the buk, jing, and kkwaenggwari are evoked in the open sonority created by accentuated fifths with added notes in both hands; the performer needs to listen to the resonance of the chords carefully, mimic a percussive quality by playing with the tips of the firm fingers, and establish an exciting, dancelike mood. Here, the cross hand technique requires controlling both the constant rhythmic figures in the right hand and the wide leap in the left hand in a fast tempo; the performer should prepare for the leaps while keeping the pulse throughout (Example 3.10).

The structure of Doori Nori for Violin and Piano, mm. 184-189 (Example 3.34) is similar to Honza Nori for Piano (Example 3.10): incessant open fifths in the violin and dance- like rhythmic patterns based on the perfect fifth chords with added seconds in the piano evoke the sound of traditional Korean percussion. In addition to presenting this percussiveness, rhythmic control between the violin and piano is required; both players

should keep the steady pulse during the fast 6/8. In particular, when they have accentuations at different beats, both performers have to be very careful not to disturb each other’s part.

Before playing at the original tempo, they must practice slowly together to feel the two-beat rhythmic base and enjoy the irregular accents on weak beats; this will allow them to facilitate greater coordination between the instruments and convey the cheerful and percussive characteristics.

Example 3.16b shows the middle section of Honza Nori for Piano, mm. 77-82. This sections depicts the sound of Korean wind instruments, such as danso, daegeum, or piri, through ornamented melodies. It is written on three staves, quoting the most well-known

Korean folk tune, Arirang in the middle voice. To balance the multi-layered voices, each part should be practiced separately, to perfect hearing and phrasing of the individual voices; the performer should then practice the voices together but without the ornamental notes, and in time can add them freely. This approach will help to clarify the main melodic structure.

As discussed in the previous chapter, sigimsae is played according to each performer’s emotions and expressions.24 In spite of a strong improvisatory tendency, it should be performed in the context of a melodic progression. Several ornamentations

(jeonsung) from Figure 2.1 are presented in Examples 3.52a and 3.52b. It is valuable to identify these embellishments in advance of practicing, and thereafter apply them properly to the music with the performer’s inner emotions. Lee utilizes the original or variant ornaments not only to imitate the sound of traditional wind instruments but also to emphasize the main melodic notes; these ornamental notes often gravitate toward the central tones, intimating a certain tonality. For instance, in the piano part of Sesi Nori for Violin, Cello, and Piano, mm.

24 Song, The World of Korean Music, 492.

142-145, most of the tunes with appoggiaturas revolve around “E,” indicating a tonal center; practicing without the decorative notes will be necessary to be aware of these pivotal tones and structural functions (Example 3.52b).

Example 3.52a. Young Jo Lee, Honza Nori for Piano, mm. 77-78

Sigimsae

Example 3.52b. Young Jo Lee, Sesi Nori for Violin, Cello, and Piano, mm. 142-145

Sigimsae

The performer needs to understand the types of jangdan and execute them recognizably; maintaining rhythmic clarity allows for the full expression of a variety of moods, such as excitement and emotional intensity.25 To better understand Lee’s use of traditional instruments or performance techniques (i.e. Korean ornamentation and improvisation), I suggest listening to Korean traditional music repeatedly to develop a feeling for its characteristics: vocal music—minyo (folk songs) and pansori (musical storytelling by a singer and a drummer); instrumental music—sanjo (virtuosic solo instrumental music accompanied by percussion) and samulnori. A comprehensive study of the genre’s features should come prior to any practicing.

Lee gives detailed metronome markings in the three Nori compositions. The basic problem for each is to keep the metric pulse without either rushing the fast section or losing momentum in the slow section.

In addition, the frequent meter changes require practice with a metronome to establish the basic tempo for each section. Example 3.33 in Doori Nori for Violin and Piano, mm. 173-180, is a cascade of shifting meters. Lee alters the time signatures every measure over twelve bars, leading to a more energetic mood. Characterized by syncopated rhythms in the violin and continuous sixteenth-note runs in the piano, this section is very challenging for both performers due to the driving but differing rhythmic patterns. They should practice separately first to become accustomed to their own parts. To play the sixteenths clearly and evenly, the pianist must be conscious of the repetitive and parallel motions, feel the tritone

25 Lee manipulates the four types of jangdan in the three Nori compositions: jajinmori, semachi, hwimori, and gutgeori jangdan. For further information, recall several examples for each rhythmic pattern: jajinmori jangdan—Examples 3.2b, 3.8, 3.12, and 3.34; semachi jangdan—Examples 3.9b and 3.28; hwimori jangdan—Example 3.13; gutgeori jangdan—Examples 3.25b and 3.47.

dissonance generated between both hands, and group them differently according to the kaleidoscopic meters. On the other hand, the violin player should prepare for the double and quadruple stops in time to maintain rhythmic intensity and enjoy syncopation that often emphasizes the off-beat. Practice with subdivided beats will be helpful for both performers to appreciate each other’s rhythmic pulse; they then can bring together the huge energy to create much more dramatic tension.

Aside from the increased use of added seconds to the perfect fifth chords, Lee’s preeminent harmonic interest lies in the frequent adoption of augmented sixths (especially

French sixths), diminished sevenths, polychords, and chromaticism, presenting diverse colors and atonal sound qualities. For exuberant harmonic practices, the performer needs to know each chord’s function in the context of musical structure. Example 3.29 in Doori Nori for

Violin and Piano relates to the colors of chromaticism and French sixths; a contemplative ambience can be established by rich, sensitive, and sometimes flutter pedaling; since the final decision in pedaling comes from the pianist’s ear, careful listening is essential. The polytonal passages should first be played separately to hear each harmonic color and then can be presented simultaneously as tone clusters, which are mostly heard as dissonant (recall

Examples 3. 17, 3.19, 3.23, and 3.42). In terms of tonal aspects, Lee employs pedal point-like chords in the bass and constantly repeats a specific note; the performer needs to play and listen to the central note or pedal tone, and secure each tonal implication (Examples 3.1,

3.16b, 3.21, 3.36, and 3.48).

As Lee highlights the equal relationships between the instruments, carefully balancing them will prove most demanding both in Doori Nori for Violin and Piano and Sesi

Nori for Violin, Cello, and Piano; performers especially need to be very sensitive when playing all together f to ff, often with sfz. In Sesi Nori for Violin, Cello, and Piano, energetic

stretto provides counterpoint in fast sixteenth-note melodic motives with staccati, steadily building a dramatic intensity toward a climax. Performers are expected to produce rich orchestral sonorities through these thick polyphonic textures. Each of the themes in the three instruments not only should be presented independently within f, but must also have a crisp sound with the same articulation (Example 3.44).

Lee has managed to crystallize how he tries to combine the musical features from the

East and West in the three Nori compositions for piano. He has always worked on writing music idiomatically for the piano, evidencing both a thorough knowledge of technique and a deep understanding of the sonority of the piano and exploiting the instrument to its greatest expressive qualities. Hence, the performer has to be fully aware of Lee’s distinct musical language first, practice meticulously, and make the utmost use of the instrument itself.

Conclusion

Lee aspires to musically assert his identity as a part of the third generation of Korean composers. While previous generations paid close attention to absorbing and imitating

Western classical music, he has been looking for an ideal Korean music at all times. His constant efforts to combine the East and the West have borne fruit in diverse genres of music.

Lee’s contributions to twentieth-century keyboard literature have received much recognition from numerous performers; as the harmony of traditional Korean and Western musical features is highly impressive and understandable, his works are mostly well received by audiences. Therefore, most of his compositions for piano have understandably been commissioned by prominent Korean pianists. These have allowed Lee’s keyboard works to appear frequently on the recital programs and the recording lists.

By detailing how Lee integrates Korean traditional music into Western formats through the three Nori works for piano, this document has sought to help both performers and listeners to better appreciate his piano music. Honza Nori for Piano, Doori Nori for Violin and Piano, and Sesi Nori for Violin, Cello, and Piano share a variety of traditional musical elements: folk music—samulnori and farmer’s dance, nongak; modes—pentatonic scale (G-

A-C-D-E) and three- or five-note gyemyeonjo (alternating thirds and seconds); instruments— percussion (buk, kkwaenggwari, jing, and janggu), woodwinds (danso, daegeum, piri), and strings (gayageum, geomungo); rhythmic patterns (often modified)—jajinmori, semachi, hwimori, and gutgeori jangdan; ornamentations—choosung technique for the violin and cello and jeonsung for the piano. However, Lee aims not just to mimic Korean traditional music, but to experiment and discover a new timbre of the sound by incorporating Western musical components. Lee’s abundant use of Western compositional techniques used in the three Nori works can be summarized as follows: through-composed forms; atonal qualities—added

second to the perfect fifths, unresolved augmented sixths (French sixths) and diminished sevenths, quartal or quintal harmonies, polytonal writing (including references to Stravinsky’s

Petrushka chord), tone clusters, and chromatic, whole-tone, and octatonic scales; tonal allusion—repeating specific central tones and chords (pedal points); setting technique of musical borrowing—Miryang Arirang and Arirang; monothematic/motivic development; contrapuntal devices—stretti, canonic imitations, augmentations, and diminutions; and shifting meters.

From the perspective of an interpretive performer, this study has illuminated not only

Lee’s stylistic uniqueness but also the musical and technical issues of these three compositions. The percussive, meditative effects, rhythmic liveliness and steadiness, multifarious harmonic colors, and balancing between the instruments can be accomplished through performers’ refined techniques and musicianship; deliberate articulation, touch, pedaling, phrasing, and voicing, and a wide range of dynamics should be decided and executed by performers’ incisive ears and fingers and emotional depth. Performers of these pieces will benefit from this study’s exploration of stylistic features, enhancing their performative interpretations and practices, and better positioning the pieces to gain wider attention beyond Korea.

Bibliography

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______. SamulNori: Contemporary Korean Drumming and the Rebirth of Itinerant Performance Culture. Chicago: University of Chicago Press, 2012.

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______. SamulNori: Korean Percussion for a Contemporary World. Burlington, VT and Aldershot, England: Ashgate, 2015.

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Lee, Byong-Won. “Religious Music: Buddhism.” In Korean Musicology Series, 1, edited by Byong-Won Lee and Yong-Shik Lee, 145-157. Seoul: The National Center for Korean Traditional Performing Arts, 2007.

______. Styles and Esthetics in Korean Traditional Music. Seoul: The National Center for Korean Traditional Performing Arts, 2006.

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______. Korean Musical Instruments. Translated by Alan C. Heyman. Seoul: National Classical Music Institute of Korea, 1982.

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Lee, Yong-Shik. “Religious Music: Shamanism.” In Korean Musicology Series, 1, edited by Byong-Won Lee and Yong-Shik Lee, 159-169. Seoul: The National Center for Korean Traditional Performing Arts, 2007.

Lee, Young Jo. Resume Written on a Music Sheet: Composer Young Jo Lee. Seoul: Jakeunwoori, 2002.

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Rockwell, Coralie. Kagok: A Traditional Korean Vocal Form. Providence, RI: Asian Music Publications, 1972.

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______. Theoretical Perspectives on Korean Traditional Music: An Introduction. Seoul: The National Center for Korean Traditional Performing Arts, Ministry of Culture and Tourism, 2002.

Song, Bang-song. An annotated bibliography of Korean music. Providence, RI: Asian Music Publications, Brown University, 1971.

______. Hankuk Eumak Tongsa (The World of Korean Music). Seoul: Iljokak, 1998.

______. Korean Music: Historical and Other Aspects. Seoul: Jimoondang, 2000.

______. Source Readings in Korean Music. Seoul: Korean National Commission for UNESCO, 1980.

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Articles

Babcock, David. “Korean Composers in Profile.” Tempo 192 (April 1995):15-21.

Burkholder, James Peter. “The Uses of Existing Music: Musical Borrowing as a Field.” Notes: Quarterly Journal of the Music Library Association 50 (1994): 851–870.

Chae, Hyun-kyung. “Newly-Composed Korean Music: Westernization, Modernization, or Koreanization.” Toyang Umak/Journal of Asian Music Research Institute 22 (2000): 141-151.

Howard, Keith. “Book Review: SamulNori: Contemporary Korean Drumming and the Rebirth of Itinerant Performance Culture, by Nathan Hesselink.” The Journal of Asian Studies 72.1 (Feburuary 2013): 213-215.

______. “Different Spheres: Perceptions of Traditional Music and Western Music in Korea.” The World of Music 39 (1997): 61-65.

______. “Why Do It That Way? Rhythmic Models and Motifs in Korean Percussion Bands.” Asian Music 23, no. 1 (Fall 1991-Winter 1992): 1-59.

Kim, Choon Mee. “A Study on the Structural Thinking of Music of the Composer Young-Jo Lee.” The Journal of Musicology 14 (2007): 67-119.

Kim, Dae-Sung and Ok-Bae Moon. “The Third Generation of Composers.” Romantic Music (Winter 1991): 59-125.

Lace, Ian. “Pianist My Kim: A Passion to Promote Korean Music” Fanfare 24:2 (2000):108- 110.

Lee, Young Jo. “A Study on Creative Education in West-Germany: the Field of Music Composition.” Yonsei Journal 19, no. 1 (1982):235-262.

______. “What we can learn from BBC Symphony Orchestra.” The Music Education News, October 16, 2013. Accessed October 25, 2015. http://www.musiced.co.kr/bbs/board.php?bo_table=total&wr_id=810.

Provine, Robert C. “Korean Music: Percussion, Power, History, and Youth.” East European Meetings in Ethnomusicology 5 (1998): 61-71.

______. “Korean Music in Historical Perspective.” The World of Music 27, no. 2 (1985): 3-15.

______. “Brief Introduction to Traditional Korean Folk Music” Korean Journal 15, no. 1 (January 1975): 29-31.

Sullivan, Jack. “Lee: Dance Suite; 5 Korean Legends; Schubert Variations; Variations 3B.” American Record Guide 64, no. 1 (January-February, 2001): 150.

Sutton, R. Anderson. “Fusion and Questions of Korean Cultural Identity in Music.” Korean Studies 35, no.1 (2011), 4-24.

______. “What’s That Sound? Korean Fusion Music and the Ascendancy of the Haegŭm.” Asian Music 39, no. 2 (Summer-Fall, 2008): 1-27.

Yi, Sung-chun. “The Identity of Traditional Korean Music.” Korea Journal 37, no. 3 (1997): 110-122.

Theses and Dissertations

Gu-Jang, Sung Bok. “Young Jo Lee: An Analysis of Stylistic Features of the Variations for Piano on the Theme Baugoge.” DMA thesis, University of Kentucky, 2006.

Kang, Yoo-Sun. “Toward the New Korean Musical Language: The Merging of Korean Traditional Music and Western Music in Piano Works by Contemporary Korean Composers.” DMA thesis, University of Cincinnati, 2002.

Kim, Jin. “Exploring Aspects of Korean Traditional Music in Young Jo Lee's Piano Honza Nori.” DMA thesis, University of North Texas, 2013.

Kim, Joo Won. “The Development of Contemporary Korea Music with Emphasis on Works of Isang Yun.” DMA thesis, Ohio State University, 2011.

Kim, Kunwoo. “Korean Dance Suite for Piano by Young Jo Lee: An Analysis.” DMA thesis, Ball State University, 2008.

Kim, Mun Soo. “Use of National Folk Music in a Style Utilizing Original and Modern Procedures: A Case Study of Korean Contemporary Art Music 16 Arirang Variations for Piano Solo by Bahk Jun Sang.” DMA thesis, University of North Carolina at Greensboro, 2013.

Kim, Tae Hyun. “The Korean Traditional Elements in Young-Jo Lee’s Choral Works.” DMA thesis, Northern Colorado University, 2013.

Kim, YeonJin. “The Musical Style and Compositional Technique of Young-Jo Lee, As Reflected in his Violin Compositions Honza Nori for Solo Violin and Doori Nori for Violin and Piano.” DMA thesis, University of Arizona, 2010.

Kwon, Oh Hyang. “Cultural Identity through Music: A Socio-Aesthetic Analysis of Contemporary Music in South Korea.” PhD diss., University of California, Los Angeles, 1992.

Kwon, Suk-Rahn. “Young-Jo Lee’s Variations on the Theme of Baugogae: In Search of His Own language, a Lecture Recital, together with Three Recitals of Selected Works by Haydn, Rachmaninoff, Liszt, Schumann, Messiaen, and Others.” DMA thesis, University of North Texas, 2000.

Lee, Seunghee. “A brief analysis of Young Jo Lee's Korean Dance Suite.” DMA thesis, University of Kentucky, 2012.

Lee, Soon Jung. “Nationalistic Traits in Solo Piano Works of Contemporary Korean Composers.” DMA thesis, University of Kansas, 2005.

Min, Sin Myung. “A Great Korean Music Pioneer Min-Chong Park: A Performance Guide of His Selected Violin Works.” DMA thesis, Louisiana State University, 2014.

Sung, Hyun-Ju. “Contemporary Piano Solo Works Adapted from Korean Traditional Musical Elements.” DMA thesis, Arizona State University, 2009.

Online Sources

Lee, Young Jo. “Young Jo Lee Website.” Accessed September 11, 2015. http://leeyoungjo.weebly.com.

______. “Young Jo Lee-Seoul International Music Competition.” Accessed October 22, 2015. http://www.seoulcompetition.com/re/2011/LEE_Young_Jo- Piano_Honza_Nori.pdf.

National Gugak Center. “National Gugak Center.” Accessed October 30, 2015, http://www.gugak.go.kr/site/main/index001.

Scores

Lee, Young Jo. Doori Nori for Violin and Piano. Seoul: 20 Trillion Production, 1995.

______. Honza Nori for Piano. Seoul: 20 Trillion Production, 2010.

______. Sesi Nori for Violin, Cello and Piano. Seoul: 20 Trillion Production, 2003.

Recordings

Kang, Clara-Jumi. Young Jo Lee’s Honza Nori for Violin from Modern Solo: Virtuoso Music for Solo Violin. Universal Music DD 8108, 2011, compact disc.

Lee, Young Jo. Honza Nori for Piano from Young-Jo Lee: Piano Music – II. Christopher Guzman (piano). ISMM Classics, 2012, compact disc.

______. Sesi Nori for Violin, Cello, and Piano from Young Jo Lee: Four Songs for Death. Hee-Jung Huh (violin), Yun-Jung Huh (cello), and Seung-Yeun Huh (piano). ISMM Classics, 2012, compact disc.

______. Young Jo Lee: Korean Piano Music (Piano Music – I). My Kim (piano). ASV Ltd. CD DCA 1088, 2000, compact disc.

Interview

Lee, Young Jo. Interviewed by Hyo Jung Song. Seoul: Korea, October 23, 2015.

Appendix A Selected Compositions by Young Jo Lee (as of May 2016)

Orchestral Music

Symphony 1979 Jeokbyuk [Red Cliff] for Orchestra 1996 Goblin Dance for Orchestra from Tcheo Yong 1997 Sori [Sound] for Symphonic Band 2002 Lover’s Dance from Whangjinie 2007 Sumjip Agie [Island Lullaby] Fantasy for Orchestra 2011 Buddhist Dance for Orchestra 2012 Arirang Fantasy for Orchestra 2013 Yeomyeong [Dawning] for Orchestra

Concerto 1982 Oriental Meditation for Flute, Daegeum [Korean large flute], and Orchestra 1998 Love Song for Pansori [traditional ensemble of singer and percussion] and Orchestra 1998 Barcarolle for Cello and Orchestra 1998 Concerto for Piri [Korean oboe] and Orchestra 2006 Winter Tree for Chamber Orchestra

Vocal Music

Opera 1987 Tcheo Yong [son of the dragon king of the Eastern Sea] 1999 Whangjinie [a famous geisha of the Joseon Dynasty] 2003 Mokwha [Cotton Flower] 2005 Sontag Hotel 2014 Isabu [a general and politician of Silla]

Choral Mixed Chorus 1966 Credo 1980 Buddhist Dance 1985 Peasant Dance 1994 Dear Mother and Sister 2001 Three Love Songs 2002 Song of Four Seasons 2004 Four Songs for Death 2013 Arirang Collage for Chorus 2014 Magyar-Arirang, Bartok-Young Jo Lee

Men’s Chorus 1975 Kyung [Monk's Chorus] 1983 Full Moon 2013 Four Arirangs 2014 Sumjip Agie

Women’s Chorus 1983 Soyoyu 1995 Stabat Mater 2012 Three Psalms for Female Chorus 2014 Four Children's Song

Cantata 1985 Cross on Desert 1985 Jerusalem for Baritone Solo and Chorus 1997 From Bethlehem to Calvary 2001 Credo 2004 Song of Prophet - Isaiah 2007 Songs of the Tea Ceremony

Song 1962 Dear Mother and Sister 1985 Four Songs Based on Dong Joo Yoon’s Poems 1989 Three Psalms for Mezzo Soprano and Horn 1998 Agnus Dei 1999 Six Songs Based on Whang-Jinie’s Poems 2013 Three Arirangs for Soprano 2015 Two Songs for Dokdo [Liancourt Rocks]

Chamber Music

1975 Seorabeol [Capital of Silla, one of the Three Kingdoms of Korea] for Three Flutes, Piccolo, and Percussion 1987 Monologue and Dialogue for Cello and Piano 1993 Etude for Two Vibraphones 1995 Eroica for Horn Ensemble 1995 Dodri [Return of the theme] for Cello and Janggu 1995 Doori Nori for Violin and Piano 1996 Agah [Song of Songs] for Viola and Piano 1996 Dear Mother and Sister for Cello and Piano 1998 Sumjip Agie for Violin, Viola, Cello, and Piano 1998 Nesi Nori for Percussion 2002 Duo for Cello and Daegeum 2003 Sesi Nori for Violin, Cello, and Piano 2007 Winter Tree for Viola Ensemble 2007 Sound Design for Violin, Viola, Cello, and Piano

2009 Arirang Fantasy for Viola Ensemble 2013 Sumjip Agie for Viola and Piano 2014 Mosaic for Violin, Cello, and Piano 2014 Mannam [Encounter] for Gayageum [Korean 12-string zither], Haegeum [2-string vertical fiddle], Violin, Cello, and Janggu [hourglass-shaped drum] 2016 Sumjip Agie for Flute, Clarinet, Cello, and Piano 2016 Sinawi for Flute, Oboe, and Strings

Piano Music

1971 Three pieces for Piano, Prologue-Episode-Epilogue 1983 Baugogae [Rock Hill] Variations for Piano in the Composition Style of Bach, Beethoven, Chopin, Debussy, Bartok, Webern, Messiaen, and Young Jo Lee on a Theme by Heung Ryul Lee 1983 3B Variations for Piano, Bach-Beethoven-Brahms 1984 Schubert-Lee Variations for Piano 1984 Tchum [Dance] for Piano 1998 Five Korean Legends 1. Dream 2. Once Upon a Time 3. Children Playing 4. Memories 5. Hide and Seek 1998 Korean Dance Suite 1. Heaven 2. Children 3. Lover 4. Buddhist 5. Peasant 2005 Fantasy for Piano 2006 Six Asian Folk Songs for Piano 1. China 2. Thailand 3. Indonesia 4. Macedonia 5. Japan 6. Korea 2010 Honza Nori for Piano 2011 Mother’s Heart Variations for Piano on a Theme by Heung Ryul Lee 2013 Arirang Collage for Two Pianos 2014 Sumjip Agie Variations for Piano on a Theme by Heung Ryul Lee 2014 Reunion of Korea Variations for Piano 2014 Monologue for Piano 2014 Arirang Fantasy for Piano 2014 Dreaming Fantasy for Piano

Organ Music

1983 Cosmos for Organ 1997 Zen-I for Organ 2006 Credo for Organ 2008 Crucifix for Organ 2011 Zen-II for Organ

Unaccompanied Sori Series

1979 Sori No. 1 for Flute

1979 Sori No. 2 for Marimba 1979 Sori No. 3 for Clarinet 1981 Sori No. 4 for Timpani 1981 Sori No. 5 for Voice 1981 Sori No. 6 for Horn 1982 Sori No. 7 for Oboe 1983 Sori No. 8 for Organ 1981 Sori No. 9 for Cello 1999 Sori No. 10 for Alto Saxophone 2000 Sori No. 11 for Double Bass 2007 Sori No. 12 for Trombone 2011 Sori No. 13 for Trumpet

Unaccompanied Solo Instrumental Music

1994 Honza Nori for Violin 1996 Sungbulsa [Korean Buddhist temple] Variations for Cello on a Theme by Nanpa Hong 1998 Bongseonhwa [Garden Balsam] Variations for Violin on a Theme by Nanpa Hong 1998 Ryu-II for Geomungo [Korean 6-string plucked zither] 2007 Honza Nori for Percussion

Electronic Music

1982 Cosmos-II for Tape and Percussion 1997 To Calvary 1997 The Torn Curtain

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Appendix B Interview with Young Jo Lee October 23, 2015, Seoul, Korea

Hyo Jung Song: Can you tell me what motivated you to compose the Nori series? Young Jo Lee: I have been commissioned by many chamber groups, and wrote in the forms of Western style. However, to be free from this conventional structure of writing, I decided to create a new music which became the Nori series. I was inspired by the way children were playing. They have no set rule or form. Like that, the Nori works are in a free style. Nori means “playing.” The title Honza (alone), Doori (two), and Sesi (three) are another name for solo, duet, and trio. I like these Korean titles to show the beauty of Korean language. Song: Do the elements of the Nori come from the samulnori? Lee: Somehow, you can say that. The Nori works are characterized by the elements of samulnori. I wanted to imitate the sound for percussions from samulnori: kkwaenggwari, jing, janggu, and buk. Nesi Nori was composed for percussion but it is different from samulnori in that Nesi Nori has a lot more instruments, not just four. I divided the percussions into four groups, based on the materials: first, leather—timpani, snare drum, janggu, and buk; second, wood—wood block, temple block, sticks, and bak; third, iron—cymbals and chime; last, keyboard instrument—xylophone, vibraphone, and marimba. These instruments give more different sonorities. Song: How did you present Korean traditional elements through a Western instrument, piano, in the Nori pieces? Lee: I tried to highlight the traditional features and express them through contemporary instruments such as piano, violin, and cello. I reinvented the traditional string techniques in the gayageum, geomungo, and haegeum as pizzicato and glissando, etc., on the violin or cello. To better understand them, you should listen to diverse Korean traditional music including vocal music: pansori and Korean art songs. Song: You transcribed the Sesi Nori for Violin, Cello, and Piano for other instrumentations. What are they and is there special reason for [the transcription]? Lee: There are two more versions for Sesi Nori for now: for violin, clarinet, and piano and for oboe, cello, and piano. It was so spontaneous. The Sesi Nori for violin, cello, and piano was written for the Huh Trio in 2002. Then, a well-known clarinetist asked me to transcribe it for his ensemble after listening to the recording of Huh Trio. So I made that in 2009. And then the same for the other transcription, for the oboe, cello, and piano; I transcribed it again in 2010. All three [versions of] Sesi Nori are based on the same theme and structure, but have a bit different parts due to the instrumentation and registers of each instrument. Interestingly, I have been transcribing much music for different instrumentations. For Arirang, which is the most famous Korean traditional song, I transcribed it for orchestra, string ensembles, solo 101

piano, two pianos, [solo] singers, and choirs. It is always my pleasure to transcribe or write music for different genres and people. Song: Is there any relationship between the Nori series and the Sori series? Lee: Not really, but both of them have the titles in Korean. Sori means “sound.” I attempted to present the distinctive sound of each instrument and specific techniques in them: the multi- sound of the clarinet, overtones created with the mouthpiece in the brass instruments etc. Overall, I can say that the Nori and Sori series are all virtuosic works. Song: You learned to play the clarinet, French horn, and piri besides the piano. How did they help you in composing? How did you decide to learn the piri? Lee: Learning many instruments was absolutely helpful to compose the orchestral works. As you know, the composers are commissioned by so many performers from different genres at all times. The composer needs to know (or even play) as many instruments as possible so that he is able to produce the pieces that suit well each instrument with its particular techniques. I have a long story about how fond I am of Korean traditional music. That story can be found in my autobiography. Back to the question, I began to learn the piri with Jae-guk Jeong and took some classes about Korean traditional music when I went to Yonsei University. That experience had a strong influence on me to put traditional elements in my music. Song: Can your musical style be divided into specific periods? For example, before studying abroad, in Germany and the United States, and after returning to Korea? Lee: Sorry but no. I went to Germany at the age of thirty-four. Before I went abroad, I already had my own ideas and languages about musical style. I learned how to modernize my compositional techniques when I studied in Germany and America. I have been very interested in Korean traditional music since I was little, just as I like kimchi and some other Korean foods. I pursued anti-Western musical style when I lived abroad. You will realize how much I prefer using Korean titles if you look at my list of compositions. Song: What would you like to give your audience through your music? Is there any specific goal or philosophy? Lee: It is not easy to say in few words what the music means to me. Hmm, for me, composing is a free artistic way to express myself. It is so fundamental and the best means of communication between me and the outside world. I have grown up and developed through music as a person as well as a composer every day. In terms of my own musical styles and aims, I would like to integrate our Korean traditional elements into Western musical language naturally. I do wish that Korean musicians continue to perform, respect, and write (as composers) our Korean music in many different forms, so that we can present Korean spirit and identity to the world through music.

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Appendix C Letter of Permission

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