UNIVERSITY OF CINCINNATI
Date:______
I, ______, hereby submit this work as part of the requirements for the degree of: in:
It is entitled:
This work and its defense approved by:
Chair: ______
A Study of a Modern Clarinet Work, Song in the Dusk I for Solo Clarinet by Geonyoung Lee: Focused on the Comparison with Sangryungsan (Korean Traditional Solo Piri Piece) through Musical Style and Performance Practice
A Document Submitted to the
Division of Graduate Studies and Research University of Cincinnati
In partial fulfillment of the Requirements for the degree of
DOCTOR OF MUSICAL ARTS
In the Performance Studies Division of the College-Conservatory of Music
2006
by
Haisun Lee
B.A., Korea University, 1994 B.M., Korean National University of Arts, 1998 M.M., Korean National University of Arts, 2000 A.D., University of Cincinnati, 2004
Committee Chair: Prof. Richie Hawley ABSTRACT
We are entering an age of globalization. All elements of the world are coming closer together, and this is no exception to the world of music. Traditional Eastern and
Western music are distinctive and different in characteristic and style. However, composers have started to crossover these differences by exploring Eastern and Western musical aspects in their compositions. This crossover is observed in Korea today. Many
Korean composers have incorporated the elements of Korean and Western tradition in their compositions through various methods. Today, this style of music is no longer perceived as a new musical trend. It is rather situating itself as a new genre of the twenty- first century in the history of Western music. The purpose of this document is to introduce a new clarinet work, Song in the Dusk I for solo clarinet, which incorporates the elements of Korean traditional music and Western music, and to demonstrate how the composer, Geonyoung Lee, have absorbed the musical elements of Sangryungsan
(Korean traditional woodwind instrumental solo piece) in his composition, Song in the
Dusk I, using his unique musical language.
This document is organized into three parts. The first part provides a biography of
Geonyoung Lee, brief background of the creation Song in the Dusk I, and influence of the
Korean traditional music. The second part analyzes Song in the Dusk I, focusing on the comparative study with Sangryungsan through the musical style, such as melody, rhythm, form, mode, in order to demonstrate the evidence that Song in the Dusk I is based on
Sangryungsan, and understand how Lee has attempted to make a his unique musical language in Song in the Dusk I from Sangryungsan. The third part compares with the piri
1 in Sangryungsan and the clarinet in Song in the Dusk I through performance practice via vibrato, registers ornamentation, tempi, and dynamics. The conclusion provides summarizing observation of this study and reviews how Geonyoung Lee approaches the fusion style of music of Korean and Western in Song in the Dusk I from Sangryungsan.
2
3 ACKNOWLEDGEMENTS
I wish to express my appreciation to University of Cincinnati professors, Richie
Hawley, Wonbin Yim, and Sandra Rivers for their assistance, and to Geonyoung Lee for allowing his Song in the Dusk I to be used in this study.
Special thanks go to my teachers Ronald de Kant and Kwangho Oh, who respectively reside in the United States and Korea, for without their encouragement and support; I would never have been able to pursue my dream to study music.
I would like to show my appreciation to my friend at the University of Cincinnati,
Dale Kim, who most importantly pointed out numerous errors in my writing. I would also like to thank the help of my best friend, Soonbok Kee, who has supported me while studying at the University of Cincinnati.
Lastly, I deeply appreciate and thank my family for their constant love and support throughout my graduate studies. Special thanks to my parents, Dr. Youngrok Lee and
Myungsuk Jo, and my oldest brother, Dr. Sanghyun Lee, for their endless support and encouragement in my life.
4 TABLE OF CONTENTS
1. INTRODUCTION ……………………………………………………………….7
2. SONG IN THE DUSK I …………………………………………………………10
Geonyoung Lee (b.1947) and his music …………………………………………12
Kwangho Oh (b.1947) ………………………………………………………...... 13
Sangryungsan ……………………………………………………………………15
Influence of Korean traditional music……………………………..…………….16
3. COMPARATIVE STUDY OF SANGRYUNGSAN AND SONG IN THE DUSK I
THROUGH MUSICAL STYLE
Melody …………………………………………………………………………..19
Rhythm………………………………………………………………………….. 25
Form ……………………………………………………………………………. 27
Mode …………………………………………………………………………….29
4. COMPARATIVE STUDY OF THE PIRI IN SANGRYUNGSAN AND THE
CLARINET IN SONG IN THE DUSK I THROUGH PERFORMANCE
PRACTICE
Vibrato ………………………………………………………………………....32
Register ………………………………………………………………………...34
Ornamentation …………………………………………………………………35
Tempo ………………………………………………………………………….37
Dynamics ………………………………………………………………………39
5 5. CONCLUSION……………………………………………………………….41
6. BIBLIOGRAPHY …………………………………………………………….44
APPENDIX A SCORE OF SONG IN THE DUSK I………………………….…...49
APPENDIX B SCORE OF SANGRYUNGSAN …………………………………..55
6 INTRODUCTION
Ever since several Western composers were inspired by Eastern traditional
cultures in the 1960s, many Korean composers began to write music in a new style which combined the elements of Korean traditional music and Western music. This new style of music has become the mainstream in the age of globalization. Today, this style of
composition is no longer perceived as a new musical trend. It is rather situating itself as
one of the significant musical genres of the twenty-first century in the history of Western
music.
When this new composition started to surface in Korea, it was mainly
incorporated and explored exclusively by composers while performers were more
concerned with imitating and modeling only Western music. However, the death of Isang
Yun (1917–95) in the mid 1990s, the first internationally renowned modern Korean
composer to express East-Asian philosophy and music through a Western musical idiom,
brought about interests of this genre to new composers and performers. As a direct result
of this interest, the Contemporary Musical Ensemble, Sori (sound), was founded in 2001.
In addition, the inclusion of a contemporary work by a modern Korean composer in
performers’ solo recitals became a major trend in Korean musical society. This shift of interest towards the genre has provided me with intellectual inspiration. Exploring the subject further, I have come across several intriguing modern clarinet works that merges traditional Korean and Western music. Among which, I am particularly interested in studying, Song in the Dusk I (1997) by Geonyoung Lee (b. 1947).
7 Numerous articles and publications regarding these types of compositions are easily
accessible today. Most of these findings examine violin, flute, and piano pieces, focusing
on the influence of Korean traditional music. Thus far however, there has been no
comparative study between Korean traditional music and a contemporary clarinet work
by a Korean composer. Also no approaches have been made to address the performance
practice issues of piri, and clarinet. Such comparison study is what I aim to accomplish
with Geonyoung Lee’s Song in the Dusk I and Sangryungsan (Korean traditional solo piri piece)
The purpose of this study is to introduce the new clarinet work, which combines the elements of Korean traditional music and Western music. I will examine how the composer, Geonyoung Lee, incorporated the materials of Korean and Western tradition and, attempted to make new Korean musical language, through the comparative study of
Song in the Dusk I and Sangryungsan.
This document will be organized into three parts. The brief background of the
creation of Song in the Dusk I will be discussed in the first part. I’ll provide the brief
biographies of Geonyoung Lee and his colleague, Kwangho Oh, and shortly mention
about Sangryungsan. Also, I’ll consider the general influence of Korean traditional music
into Song in the Dusk I. The second part will compare each piece’s musical style, such as
melody, rhythm, form, rhythm. The focus of the second part is to explore how
Geonyoung Lee recreated his unique style in Song the Dusk I, using traditional musical
elements of Sangryungsan. I’ll consider the aspect of philosophy and aesthetic of Korean
traditional Music. The third part will compare the piri in Sanryungsan and the clarinet in
8 Song in the Dusk I through the performance practices via vibrato, registers, ornamentation, tempi, and dynamics.
9 2. SONG IN THE DUSK I
Today, Western-trained Korean composers have written a number of the clarinet
works which combine the elements of Korean traditional and Western music. As the
clarinet is one of the most popular western woodwind instruments, its wide compass and
rich timbre provide broad expression to absorb Korean elements in the Western manner.
The tone quality in the clarinet’s low and high registers is a great way to fuse Korean and
Western music.
Some composers concern themselves with the sound of Korean music, thereby borrowing its characteristic features in their compositions. Some of them make such new sounds that they contain timbres of Korean traditional music in the clarinet through the application of some techniques like the glissando, flutter, wide vibrato, and multi-tones.
As a result, such creative and inventive sounds present a rich clarinet timbre, and imitate the vocal and instrumental nuances of Korean traditional music.
A composer, Youngjo Lee, discussed the significance of sori (sound) in Korean traditional music. He said “Sori (sound) is graded in many ways with traditional Korean melodic characteristics, such as long sustained notes with deep contemplative undertones, intricate ornamentations, and slow glissandi”.1
On the other hand, several composers feel that just quoting the elements of Korean
music is not enough. Geonyoung Lee searches for this answer from the emotions of the
Korean people. There are intimate relationships between the emotions and the music.
Man-young Han states:
1 Youngjo Lee, “Program Note,” The Korean National University of Arts School Music Faculty Works Vol. 4. (Seoul: Ismm Co. 2000) 5.
10 Music stems from the center of the emotions, and behavior stems from outside the center of the heart. When music comes from the center of the emotions, it is serene. Behavior that comes from outside the center of the heart results in variable and unreliable behavior. Great music should, therefore, be simple and great ceremony must be simple, too. When music reaches its height, no resentment can be fostered in men’s hearts. Similarly, when ceremony reaches its extremity, righteousness must prevail. Ruling with humility is surely reflected in this music and related behavior. 2
Lee pursues not only an emotional, sentimental, and philosophical music but also a creative Korean sound through the clarinet. Song in the Dusk I is penetrated with the emotions of Koreans, rather than just a practical Korean sound. This piece is clearly
Korean but he also abides by the characteristic sonorities of the clarinet.
Lee composed two versions of Song in the Dusk. One is for solo clarinet and the other is for solo cello. This piece incorporates the feeling of gloom and sorrow as a reflection of the spirit of the Korean race who had survived long and repetitive periods of war. The touching sentiment and emotion that those works contain can be compared to the emotion when Korean people say the word ‘mother’ or ‘mountain’. It seems the composer is a human being in the dusk thinking about life, time, and nature.3
2 Jasmine Jung-im Kim, “Western music in Korean: Focused on 20th Century Flute Compositions by Korean Composers.” (D.M.A. thesis, University of Illinois at Urbana- Champaign, 2002) 65, quoted in Man-young Han, “The Origin of Korean Music.” The World of Music 27/2 (1985): 24.
3 Geonyoung Lee, “Program Note” Song in the Dusk: Geonyoung Lee’s Chamber Musica, ed. Choonmee Kim (Seoul: Ismm Co. 2001) 11.
11 Geonyoung Lee (b.1947) and his music
Geonyong Lee is one of the most prolific and popular composers in Korea today.
Lee was born in Daedong-gun, Pyongannam province (a region in North Korea, 1947).
He grew up in Seoul since 1953 and began composing at the age of twelve. Lee was an
oboist in his school band. He studied composition with Dal-sung Kim (b. 1921) at Seoul
High School of Music and Arts and with Sung-Jae Lee (b. 1924) at the Seoul National
University. Geonyoung Lee continued his education in Frankfurt, Germany to study
composition with Heinz Werner Zimmermann at the Frankfurte Musik-höchschule. Lee
eventually started teaching composition in Hyosung Women’s University and Seoul
National University. Currently, he is the president of the Korean National University of
Arts where he has been teaching composition since 1993.
Choon-mee Kim, a Korean musicologist, described Geonyoung as one of the most
serious composers of our time. She states:
It is his dream to share and express the story of our lives and thoughts of the period through music. Geonyoung Lee does not want himself to be alienated from his own music by burying himself in contemporary trends. At the same time he does want to make his way into other minds without feeling distance as well. Such attitude toward music made him wander around literature and theatre in the 1960s and 70s. And in the 1980s it made him challenge the modernism, which dominated our musical environment. At this point, he began to devote himself to dismantle traditional forms and recreated something out of tradition. Then he became a leader of the composer’s group called “The Third Generation” Since then, up to this day, he has been working hard to create music and culture which are unique only in the third world and in our society.4
The organization, The Third Generation, is the representative group of today’s modern composers in Korea. It was founded under the direction of Geonyoung Lee and
4 Choon-mee Kim, “Program Note” Song in the Dusk: Geonyoung Lee’s Chamber Music, (Seoul: Issam Co. 2001) 1–6.
12 another famous Korean composer, Jun-il Kang (b.1943). They rejected the contemporary
music of the previous generation, which could not be understood by the masses.
Therefore, they pursued the kind of music which could only be reflected by the third
world. They insisted that their work not be the music of today’s Western society, rather
the music of Korea’s future. They espoused a cultural independence and liberation from
Western musical dominance.
Throughout the activities as a member of The Third Generation, Lee challenged the
modernism which dominated the Korean musical environment and devoted himself to the
dismantling of Western traditional forms and recreation of new styles out of traditional
elements.5 Sometimes he felt that just citing Korean musical materials was not enough.
He found his clue in the philosophy and aesthetics of Korean traditional music.
Kwangho Oh (b.1947)
Many important works in the clarinet repertory were created for individual
clarinetists. Wolfgang Amadeus Mozart (1756–1791) composed his Clarinet Quintet, K.
581 and Clarinet Concerto, K. 622, for the Viennese clarinetist Anton Stadler (1753–
1812). Carl Maria von Weber (1786–1826) wrote his Concertino, op. 26, Clarinet
Quintet, op. 34, and Concerti, op. 73 and 74, for clarinetist Heinrich Baermann (1784–
1847). Johannes Brahms (1833–97) composed four clarinet works: the Trio for Piano,
Clarinet, and Violoncello, in A Minor, Opus 114; the Quintet for Clarinet, 2 Violins,
Viola, and Violoncello, in B Minor, Opus 115; the Sonata for Clarinet and Piano, in F
Minor, Opus 120, No.1; and the Sonata for Clarinet and Piano in E-flat Major, Opus 120,
5 Ibid., 11.
13 No. 2, for clarinetist Richard Mühlfeld (1856–1907). These personal relationships that existed between composers and clarinetists helped to create the most significant portion of the clarinet repertory in the instrument’s history.
Geonyoung Lee composed song in the Dusk I for his colleague, Kwangho Oh
(b.1947). Oh was the principal clarinetist of the Braunschweig Symphony Orchestra in
Germany from 1976 to 1996. He was the first Korean woodwind musician who was
active in Europe since 1976. His advance into the music society in Europe was a big issue
in the 1970s for the society of Korean music as well as the society of German symphony
orchestra.
Western music was introduced in Korea only about one hundred years ago. Despite
this short history, the successful establishment of Western music has led to several
Korean-born musicians who have obtained international recognition, such as violinist,
Kyunghwa Jung, soprano, Sumi Jo, conductor, Myunghoon Jung, and Pianist Geonwoo
Back. However, compared with these departments of music, such as strings, piano, and voice, resources for excellent woodwind musicians are still deficient in Korea today.
When Oh was building his career in Germany and parts of Europe, Lee persuaded him to return to Korea in order to educate the younger generation. In 1996, Oh returned and began to teach the clarinet at The Korean National University of Arts. Lee was delighted with Oh’s return and one year later, his Song in the Dusk I for clarinet solo was dedicated to Oh in 1997. Oh’s musical activities still influence the society of Korean woodwind music, directly or indirectly. He and other clarinetists frequently perform Song
14 in the Dusk I and it is now being placed as one of the standard repertories of twentieth
century contemporary clarinet works.
Sangryunsan
Song in the Dusk I is based on the Chungsunggok and Sangryunsan, which are representative Korean traditional woodwind instrumental solo pieces.6 It is rare to find a
purely Korean traditional instrumental work before the nineteenth century. This is mainly
due to the oral method of transferring music. In the case of Sangryungsan, solo piri piece, it was composed after the twentieth century.7
Sangryungsan is the first movement of a greater aristocratic chamber work, which
is entitled Yongsan Hoesang. There are two versions of Youngsan Hoesang in the String and woodwind instruments. Youngsan Haesang was originally Buddhist music. However, as it has survived today, it is now a purely instrumental suite with nine movements listed as the following: 1. Sangryungsan, 2. Shungryungsan, 3. Chaeyoungsan, 4. Karak tori, 5.
Samhyun toduri, 6. Hahyon toduri, 7. Yumbul, 8. Taryung, 9. Kunak. Each movement has an explanation of a “program” for Youngsan Hoesan.8
Sangryungsan, the first piece of Youngsan Hoesang, depicted Buddha preaching on
the Youngchi’wi Mountain. The word mountain, implicates the emotions of the Korean
6 Ibid., 11.
7 Daeung Beck, Youngsanhyesangeo Eumakharkjuck Youngu (Musicological study of Youngsanhyesang), (Seoul: Minsock Won, 2005), 110–12.
8 Hye-Ku Lee, Essay on Traditional Korean music, ed. Robert C. Provine (Seoul: Royal Asiatic Society.1981). 103–5.
15 people, who had loved nature while surviving through deep sorrow and dark times from
the constant barrage of invasions and wars.
Byong-ki Hwang expresses that music comes from nature as “music’s birth is in
nothingness (this nothingness being that from which the universe finds origin) and it
forms within nature; because of this, it causes deep emotion in man’s mind, mutual understanding and sympathy in his spirit and emotional vitality in his life.”9
Influence of Korean traditional music
Most Korean traditional instrumental works are derived from original vocal music.
Chungsunggok, a solo piece for Daegum or Danso (Korean traditional woodwind instruments), was transferred from Taepung-ga (a Korean vocal song, or Gagok).
Therefore, the text of Korean traditional vocal songs was naturally reflected into the
Korean traditional instrumental piece. They are also related to give the emotional influence into Song in the Dusk I.
As Kagok are the representative Korean vocal song cycles, they contain the touching sentiments and emotions of the Korean people. Kagok is a song for both male and female solo voices accompanied by eight string, wind, and percussion instruments.
The origin of Kagok (literally “lyric song”) began five and a half centuries ago with literary rather than musical sources. When the first Kagok melodies were composed more than four hundred years ago, Sijo (three lines of poetry), which can also be sung to
9 Jasmine Jung-im Kim, quoted in Byung-gi Hwang, “Aesthetic Characteristics of Korean Music in Theory and Practice.” Asian Music 9/2 (1978):33.
16 accompaniment, was used as the text.10 One of the most famous Sijo was written by
Chong-Mong Joo (1347-1392), canonized sage, whose poem is still conserved in the
Confucian temples of Korea today. In the following poem, the writer described his eternal loyalty to the last king of the weakened Koryo dynasty (918 - 1392).
Though this frame should die and die, though I die a hundred times, My bleached bones all turn to dust, my very soul exit or not……. What can change the undivided heart that glows with faith toward my lord?11
Although the word “Sijo” was not widely used until the 19th century in Korea, the classical Sijo was developed into a national poetic form under the patronage of royalty. Later, Sijo was naturally admired by all classes; patricians and plebeians alike.
So the meaning of Sijo’s text contains the unaffected sentiments and touching emotions of the Korean people.
When Lee searched for Korean sounds for a new style in his compositions, he borrowed the musical ideas from the aesthetics of Korean folk music by common people, rather than court music. The musical nuances and colors of Song in the Dusk I resemble the emotional tone qualities of Korean folk music. Byung-gi Hwang describes the concept of the Korean sound from common Korean people:
Among the common class of people, the musical ideal was one that expressed the mundane, earthly emotions of grief and pleasure, one that could stimulate the audience into a state of ecstasy and is bringing into their lives a feeling of joy and delight. Today, the music of common people is called “folk music”, but traditionally it was referred to as sori. And folk music itself may be regarded as the sori, or “sound” of the common people.
10 Coralie Rockwell, Kagok: A traditional Korean Vocal form, (Providence: Asian Music Publications.1972). 1.
11 Richard Rutt, An Introduction to the Sijo (Seoul: Royal Asiatic Society Korea Branch, 1958), 15–16.
17 Lee’s Song in the Dusk I incorporates the feeling of gloom and sorrow as a reflection of the spirit of the Korean race who had survived long and repetitive periods of war. In the case of instrumental music, despite the lack of text, this new approach in compositional style permeates in song in the Dusk I for solo clarinet.
18 COMPARATIVE STUDY OF SANGRYUNGSAN AND SONG IN THE DUSK I
THROUGH MUSICAL STYLE
Melody
The significant characteristic of Sangryunsan derives from the slow and non- pulsating rhythm of Korean traditional music. Hye-ku Lee described a slow melody of
Korean music, “Generally speaking, a slow melody is leisurely, like a flock of clouds floating in the sky; it is not always melismatic, and a long drawn-out melody is like a breeze seeping over fields.”12 He also observes:
Only with a slow tempo can one appreciate the distinctive subtle embellishments that characterize the melodic line. These embellishments can not be experienced if the tempo of the music is too fast nor can one appreciate the inflections called nong, or the various dynamic shading in the melodic line, if the tempo is not sufficiently slow.13
The ornamented long sustained notes are prominent in Sangryungsan. These single
notes are a typical melody in traditional oriental music. The concept of these single tones
is considered the central aspect of melody in Korean music. Francisco F. Feliciano
explains:
The concept of polyphony in Western music finds its antithesis in the idea found in many Asian music cultures in which each single tone or aggregate of tones is a musical entity in itself, each sound being a self-contained event conveying musical meaning. The importance attached by the Chinese musician to the value of a single tone has its philosophical background in one of the Confucianist classics, the Yueh Chi (Record of Music); “Tones are the image or substance of music; melody and
12 Hye-ku Lee, 13.
13 Hyun kyung Chae, “Ch’angjak Kugak: Making Korean music Korean” (Ph. diss., The University of Michigan, 1996), quoted in Hye-ku Lee, “Introduction to Korean Music, ”Korea Journal 16/12: 74.
19 rhythm are the ‘ornament’ or appearance of tones; therefore one must contemplate sound to know tone, and contemplate tones to know music.14
Isang Yun (1917-95), the first Korean-German composer to earn international
recognition, coined his term “Haupttöne (main tones)” from the concept of the sustained
single tones of Korean music. Yun’s term reflects the philosophy and aesthetic of Korean
music. Peter Revers quotes Yun regarding single tones pointing out that “In European
music, the life of the melodic line is given the advantage while the single tone can be
relatively abstract; with us (Asians) the single tone already lives for itself.”15
Most Korean traditional woodwind solo pieces begin with a grace note followed
by a long sustained note. For instance, Daegum Sanjo (Korean traditional flute solo
piece) and Chungsung-gok begin with this same idea and it is saturated all throughout the
work. Like many other Korean traditional woodwind solo pieces, Sangryungsan too
begins with a similar idea.
The long single tone ‘F’ is slowly observed with the grace notes ‘E-flat’ and ‘G’ in
the first line of Sangryungsan. Then, similar melodic gestures are provided in the
beginning of each phrase (Example 1).
14 Michael Christopher Caputo, “Contemporary Korean solo Clarinet Music: Analysis with performance Recommendations, of Three Compositions.” (Ph.D. diss., New York University, 1998).108-9, quoted in Francisco F. Feliciano. Four Asian Contemporary Composers: the influence of tradition in their works (Quezon City: New Day Publisher, 1983), 9.
15 Kerstetter, Kelvin Tod. “A Comparison of the Clarinet Concertos of Isang Yun and John Corigliano.” (diss. University of Georgia, 1995). 27, quoted in Peter Revers, “Die Gestaltung von Ton und Ton un Klan gals Dramatischer Prozess,” Österreichische Musikzeitschrift 37 (February 1982): 79–80.
20 Example 1, lines 1-2 of Sangryungsan
As mentioned and shown above, Sangryungsan’s long sustained notes mostly begin with grace notes. This merging of long and short notes could be related to Eastern
Philosophy. The philosophy and aesthetics of Korean music is best explained in terms of ki (energy), and the interacting principle of yin and yang (principle of Chinese philosophy).
Ki can be understood as a concept of harmony between two poles; the yin
(negative) and the yang (positive). Throughout the universe, examples are the sun and the moon, darkness and light, heaven and earth, male and female, and so on. This Eastern theory of yin and yang can be applied to music, making contrasting effects: slow and fast, long and short, soft and loud, smooth and sharp, etc. In this manner, the combination of the long sustained notes and the short grace notes in the melodic line of Sangryungsan is explained by the principles of ki, and its counterparts of yin and yang.
There is a similar single melodic gesture in Song in the Dusk I. The single sustained notes (E, G, and C) appear at the beginning of the piece (Example 2). In the case of Sangryungsan, most sustained notes are accompanied with grace notes. However, in the opening of Song in the Dusk I, Lee writes a ‘G’ eighth note with a tenuto and staccato for two measures. By the end of the line, he adds graces notes. Here, Lee
21 intentionally avoids using grace notes prior to the long notes. He rather embellishes the sustained tones with the eighth note along with tenuto and staccato indications.
Example 2, lines 1-2 of Song in the Dusk I.
Although both pieces contain similar melodic motion, there are also different musical nuances between the single tones of Sangryungsan and Song in the Dusk I.
Compared to the piri, the single tones of Song in the Dusk I in the clarinet are shorter than those in Sangryungsan.
A wide vibrated sound is a characteristic feature of the piri, but a clarinet does not normally use a real wide vibrato. Therefore, when the clarinet imitates the typically sustained Korean melodic line, the vibrated portions of the sustained tones of the piri have been eliminated and the clarinet’s single lines are shorter.
The extremely slow tempo of Sangryungsan also helps to produce the lengthy sustained notes. Although most of the main thematic material of Song in the Dusk I includes the sustained note as well, it is not quite as long as the other. Lee employs only half notes or dotted half notes in order to describe the extremely long single tones of
Sangryungsan. Over elongated single tones on the clarinet are not as effective and are not
22 necessary to compose modern clarinet works. So rather than length, Lee emphasizes that
the central aspect of the single tones among the thematic material in Song in the Dusk I is
repetition. For instance, the sustained note ‘E’ is repeated and spontaneously prominent
in line 1 (Example 2).
The repetition of the single tone is also a characteristic feature of Korean music. In
Sangryungsan, ‘B-flat’ is repeated in the first line (Example 1). This musical feature presents itself many times throughout Song in the Dusk I. For instance, the repeated single notes ‘G’ and ‘E’ appear in lines 17 and 41, respectively, thereby creating a
rhythmically accelerated atmosphere (Example 3, 4).
Example 3, Line 17 of Song in the Dusk I.
Example 4, Line 41 of Song in the Dusk I.
‘Ab’ is a prominent note through its repetition among the single sustained notes in line 6 of example 5. This feature continues as the notes ‘A-flat’ and ‘G’, and ‘G’ and ‘F-
sharp’ are repeated in the beginning of the third section of Tempo I, line 37 (Example 6).
Once again, Lee embellishes the single tones ‘A-flat’ and ‘G’ with the aid of repetition.
23 Example 5, line 6 of Song in the Dusk I.
Example 6, the beginning of the third section of Song in the Dusk I. Line 37.
A sliding vibrated tone quality is also another aspect among the significant
characteristics of Korean music. As a wide vibrato is already considered commonplace, a
strongly vibrated single note ending with a sliding motion at its end exists in
Sangryungsan. In the following example, the last ‘F’ note is strongly vibrated downwards to the next note. The final ‘C’ then abruptly slips down in pitch at the end of the line
(Example 7).
Example 7, line 5 of Sangryungsan
Rather than a real sliding movement, Lee employs a descending half-step in
Song in the Dusk I, in order to imitate the similar effect of a dropping vibrated tone in
Sangryungsan. The opening tri-chord (G, E, D-sharp) includes the half step and it appears
24 in succession through whole sections (Example 2). Also, the other tri-chords of the
thematic material usually contain a half step and make similar dropping motions.
There are different treatments of endings among the melodic lines between
Sangryungsan and Song in the Dusk I. The phrasings of Sangryungsan mostly end with
ascending steps. For instance, the ascending movements (F-G, E-flat-F) emerge at the
ending of the melodic fragments before the breath mark in line 1-2 (Example 1). The
cadential motion also appears as the ascending gestures (Example 8).
However, the melodic line of Song in the Dusk I ends with the descending half step. This descending sound of the clarinet provides similar but different musical nuances from the piri of Sangryungsan. In terms of melody, there is clear evidence that Song in the Dusk I is influenced by Sangryungsan. Although both pieces contain similar nuances in their musical lines, the melody of Song in the Dusk I is ornamented differently through
Lee’s unique musical language.
Rhythm
The rhythm of Korean music is based on triple time or groups of three beats. Duple time is rarely used in Korean traditional music. Sangryungsan is no exception. There is no time signature in the score. However, its metronome setting is indicated as the basis of the dotted quarter note as triplets are used more often than duples. In this manner, there are many triplets in Song in the Dusk I as well. For example, the rhythmic motion of the triplets in line 17 depicts the rhythmic feature of Sangryungsan (Example 3).
25 The various regularly recurring rhythmic patterns, or jangdan, exist in Korean
traditional music. This music is mostly performed with jangguor or buk (Korean traditional percussion instruments). Jangguor is used in almost every genre of Korean traditional music. Even in the case of a Korean traditional instrumental solo piece, such as the Piri Sanjo or the Daegum Sanjo, the recurring rhythmic cycles are accompanied by these percussive instruments. However, Chungsung-gok and Sangryungsan, which are the models of Song in the Dusk I, are played without jangguor or buk. These pieces are freer from the restrictions of the Korean jangdan. As Lee was impressed from chungsung-go and sangryungsan, he composed Song in the Dusk I expecting a freely rhythmic style.
Sangryungsan may have any regular pulsation. This feature is due to the characteristics of Youngsan Hoesang, the Korean traditional orchestral suite. As mentioned in section I, Sangryoungsan is derived from Youngsan Hoesang, and some
Korean musicologists have analyzed Sangryungsan from its originator.16 For the purpose
of this document however, it is not necessary to explore these rhythmic patterns. Instead,
it is important to understand that Sangryungsan is relieved of the limitations of the
Korean rhythmic patterns, jangdan, unlike most other Korean music.17 As it is performed
by the piri performer’s breathing, Sangryungsan is really in a free rhythmic style.
The score of Sangryungsan does not contain the signatures of measures or bar lines.
Rather, the piece is measured by breath marks in a very slow tempo (Example 1). As this
is a typical characteristic of Korean traditional music, Hye-Ku Lee mentioned: “The
16 Daeung Beck, Youngsan Hyesangeo Eumakharkjuck Youngu (Musicological study of Youngsanhyesang) (Seoul: Minsock Won, 2005), 110–14.
17 Ibid., 117.
26 tempo of such slow music is indeed more easily grasped if measured by breaths rather
than strict pulsations.”18
Like Sangryungsan, Lee adheres to playing in a free style in an unspecified rhythm.
He divided the measures, but it does not confine the performer to a regular beat like 4/4 or 3/4 (Example 2). He simply uses the time signature to help distinguish thematic and musical phrases instead of using a regular pulse. He anticipated that Song in the Dusk I be performed in a really free rhythmic style like Sangryungsan.
Form
There are many interrelated aspects of Korean traditional musical form, and it is usually divided into structural forms and performing forms.19 Among these structural
forms, the form of Youngsan Hyoesan, a suite in which many independent movements
are strung together, is one of the most frequently used structural forms in Korean
traditional music.
Several sectional forms exist in Korean traditional music; such as two part (AA'),
three part (AA'A"), and four part (AA'A"A'''). However, these are different from the
Western musical sense. These forms do not contain the contrasting sections with different
thematic material or key changes. In other words, most Korean traditional music does not
have an official musical form in the Western musical sense.
Sangryungsan is generally divided into six sections distinguished by cadences
(Example 8). For each cadential point in this solo work, a section comes to an end as a
18 Hye-ku Lee, 13.
19 Byong-Won Lee, “Korea” New Grove Dictionary of Music and Musicians vol. 13, ed. Stanley Sadie and John Tyrrell (London: Macmillan, 2001), 810–11.
27 new section begins.20 In the orchestral suite, Youngsan Hyoesang, a cadence is simply a cadence without necessarily implying a division of sections. So, the musical material among the sections divided by cadences does not comprise of contrasting elements as in the sense of Western music. Each part provides resembling melodic lines, fluent curves, musical gestures, and nuances.
Example 8, Cadence of Sangryungsan
Song in the Dusk I is roughly divided into three sections by Lee’s tempo markings.
In Lee’s case, his tempo indication is “somewhat slow and somewhat fast.” Generally,
Korean traditional music is based on a very slow tempo. It is also very unusual to add fast passages in the view of Korean music. Yet he wrote something fast and virtuosic in the middle section (Example 9).
20 Daeung Beck, 118–20.
28 Example 9, lines 28-29 of Song in the Dusk I
The middle section of Song in the Dusk I is the contrasting part with new thematic material and a fast tempo. In terms of form, he closely wrote Song in the Dusk I in the
Western manner.
Mode
Mode is perhaps one of the most complicated subjects in Korean music, but it is very important in order to understand the essence of it. First of all, modal terminology of
Korean music is somewhat confusing. In Korea today, scholars and musicians have different opinions and interpretations of the terms of the Korean modes.21
Although the tonal system of Korean music is basically different from that of
Chinese music, according to the description in many documents of Korean music, the
features of the modal system are explained by means of Chinese music. These scales are
defined by using a set of five notes which are then applied to Korean music. However,
these Chinese terms are employed only in court and aristocratic music due to Confucian
tradition. In general, folk music is exempt from the use of these pentatonic scales.
21 Song Bang-Song, Source Readings in Korean Music. (Seoul: Korean National Commission for UNESCO, 1980), 33.
29 The dual modal system, pyong mode and kyemeon mode, is a more generalized method to describe the modes of Korean music (Example 10).
Example 10, Korean modes
pyong mode kyemeon mode
Each mode consists of five notes and its intervals are similar to major seconds and minor thirds. Pyong mode (E-flat, F, A-flat, B-flat, C) is considerably equivalent to the
Western major scale, which is often synonymous with happiness and delight. Kyemeon mode (vibrato on E-flat, G-flat, A-flat, B-flat, falling D-flat), the counterpart of pyong mode, is comparable of the Western minor scale which represents gloom and sorrow. The pitch of the sliding note ‘D-flat’ is what occasionally causes the arguments regarding modes in Korean music.22
As mentioned, the topic of modes is somewhat complicated in Korean music. Even though most musicians know that Sangryungsan is based on the kyemeon mode, there is a sensitive scholarly controversy among Korean traditional musicologists. 23 However, it is not necessary to explain these arguments in this document. Despite this academic chaos, a Korean traditional musicologist by the name of Hye-ku Lee has explained that
22 Daeung Beck, 120–27.
23 Ibid, 120–27.
30 Sangryungsan is based on the kyemeon mode in his Essays on Traditional Korean Music
and his theory has pervaded throughout Korea.
Although Song in the Dusk I may not be in the kyemeon mode, there are some traces of influence from that mode in Sangryungsan. One of the significant characteristics of the kyemeon mode is a wide vibrato on the note a fourth below or fifth above the tonic, and a slowly descending, dropping quality in the note a step above the tonic.24 A descending
half-step is replaced to use a real wide vibrato and sliding tones in Song in the Dusk I.
The principle thematic materials, the tri-chord (G, E, D-sharp) of the opening, contain a
descending half step and appear in succession through whole sections. The other melodic motions usually include a half step which is effective in making the sliding and vibrated timbres of Korean music.
24 Byong-Won Lee, “Korea”, 809.
31 COMPARATIVE STUDY OF THE PIRI (KOREAN TRADITIONAL WIND
NSTRUMENT) IN SANGRYUNGSAN AND THE CLARINET
IN SONG IN THE DUSK I THROUGH PERFORMANCE PRACTICE
Vibrato
A wide vibrato is an essential characteristic of Korean traditional music. There is a
symbol for a strong vibrato in the opening of Sangryungsan (Example 1). Almost all
Korean traditional instruments have a strong vibrato. Keith Howard states that the
technique of the daegum (a Korean traditional large transverse flute) vibrato “begins with
a lower pitch and brings it gradually up to pitch before increasing vibrato frequency”.25
Piri is the only one, which uses the reed among the Korean traditional woodwind instruments. Piri is known as a Korean double reeded woodwind instrument. Like the
Western oboe, the piri often leads orchestral ensembles in the announcement of the tune.
Piri has a great quality of vibrated tones and its wide vibrato is obtained by movement of the lips and control of the air in the cheeks.26 Both piri and clarinet contain the common elements to use reeds, yet the clarinet does not have a real vibrato.
Instead, the clarinet makes a number of descending half steps to describe the effect of a dropping vibrated tone. As mentioned, in Song in the Dusk I, most tri-chords of the main melodic motion usually contain a half step, and have a similar dropping motion.
25 Keith Howard. Korean Musical Instruments. (Oxford University Press: New York, 1995), 116.
26 Keith Pratt. Korean Music: Its History and Its Performance (Faber Music Ltd: London, 1987), 77–8.
32 This is one of the general ways to imitate the wide vibrated timbre of typical Korean
music on the clarinet.
Sometimes, the short glissandi and trills of the clarinet replace the strong vibrated sound of the piri. Lee uses glissandi between ‘D-flat’ and ‘C’ in line 7 (Example 11), and
apply the trills in line 27 in the middle section of Song in the Dusk I (Example 12).
Example 11, line 7 of Song in the Dusk I
Example 12, line 27 of Song in the Dusk I
Also, the clarinet’s trills on ‘G’ and ‘C’ in line 33 are considered the wide vibratos
of the long sustained notes of a piri in Korean music (Example13). He developed his
unique musical language using the elements of Korean music in a Western manner.
33 Example 13, line 33 of Song in the Dusk I
Register
Three kinds of piri are well known in Korea. Hyang-piri and se-piri are small cylindrical pipes, and tang-piri is a slightly conical pipe, typically constructed from a length of bamboo, with normative eight finger holes and an oversized bamboo double reed.27
In the case of Sangryungsan, the largest of the three (27cm long), Hyang-piri, is most commonly used. Keith Pratt explains that “tone may be warm and mellow or strident and piercing.”28 Like his description, the piri has a colorful and powerful sound
but its compass is to narrow to express modern music (A-flat –F). The limitation of its
compass is ascertained as the fact on the score of Sangryungsan. The notes of
Sangryungsan are just moved from ‘B-flat’ to ‘F’.
On the other hand, the clarinet covers almost three octaves as one of the
woodwind instruments that take on such a wide range of notes. Due to the clarinet’s
wider range, the sound of the clarinet seems more colorful and brilliant. In fact, the
27 Keith Howard, 49.
28 Ibid. , 77–8.
34 clarinet’s notes in Song in the Dusk I move up and down from a low E to a high G on
the score. For instance, its principle melody (G, E, E-flat) appears in lines 44 and 45 by
moving one octave higher in the third section of the piece (Example 14).
Example 14, lines 44-45 of Song in the Dusk I
However, despite the clarinet’s broad compass, there are no wide leaps in the
melody of Song in the Dusk I. Like the piri, the clarinet’s melodic line is simple and
smooth. Plus, Lee elaborately built the climax of the principle melody in line 33, using
the clarinet’s wide compass in brilliant ascending and descending arpeggio movement
(Example 13).
Ornamentation
Ornamentation is an essential building block of typical Korean music. Grace notes and various ornamentations are typical characteristics of the piri, daegum, and danso
(Korean traditional woodwind instruments). According to Korean Musical Instruments, A practical Guide by Keith Howard, diverse symbols of the ornamentation exist on the
Chongganbo, which is the Asian mensurable notation of the fifteenth-century. These
35 symbols demonstrate that ornamental gestures played a significant role in Korean
traditional music.
Example 15, Excerpt from Ghongganbo ornament symbols
There are a number of grace note variations for the piri and the clarinet. They
should be quick but with minute differences in actual pacing between those of the piri in
Sangryungsan and of the clarinet in Song in the Dusk I. The grace notes of the piri are somewhat leisurely and spread out when comparing to those of the clarinet. Although the quick notes are a major feature of playing the piri, the sound could be viewed as somewhat dull in comparison with today’s musical trends. This is not only due to its speed and timbre.
There are other ornamental gestures that apply to both instruments. For example, the manipulation of notes to create an upward slide in the piri emerges on notes ‘E’ and
‘F’ in line 6 of Sangryungsan (Example 16). In comparison, the similar motion of a descending glissando in the clarinet is written in line 7 of Song in the Dusk I. (Example
11).
36 Example 16, line 6 of Sangryungsan
This upward sliding ornamental gesture is more effective on the piri than the
clarinet. Although it is natural to play a glissando on a clarinet, there is however a
limitation of range. Nevertheless, the piri is a mechanically freer instrument than the clarinet and traces of these ornaments are present on the Chongganbo from the fifteenth
century.
Tempo
A very slow tempo is a typical feature of Korean traditional music. In general, traditional ancient court music was based on the slow beating of the human heart which is
the equivalent of 22-25 quarter-notes per minute.29 Hye-ku Lee mentions that:
The tempo of Sijo (a short lyric song) is very slow, and it is hardly an exaggeration to say that it has no recognizable rhythm; the melody is also extremely simple. The striking feature of the Sijo is that dynamics play a remarkably important role. The slow tempo and weak sense of rhythm give rise to a weighty and leisurely effect.30
The tempo of Sangryungsan is much slower than Song in the Dusk I. The original
Sangryungsan basically has a tempo of twenty five beats per minute.31 Its metronome
setting today is indicated as a quarter-note equals 30 on the score. This tempo is actually
29 Hye-ku Lee, 13–15.
30 Ibid, 162.
31 Ibid, 13.
37 slower than most metronomes can handle as they only go as low as 40 beats per minute.
Lee on the other hand, indicated “somewhat slow” in the first part of Song in the Dusk I.
Its metronome setting is 70-80. This tempo is over twice as fast as Sangryunsan’s
Lee’s indication, “somewhat slow and somewhat fast” provide clarinetists with a flexible tempo. In fact, the slow parts of Song in the Dusk I are actually generally performed even slower. This prolonged tempo produces long and sinuous melodic lines, thereby helping to create an appropriate atmosphere. In all, the slow melodies make Song in the Dusk I distinctively Korean. In contrast, Korean music also has fast musical portions as Hye-ku Lee explains:
Passionate Korean music is characteristically fast, like the rushing, dashing, thumping, bumping, swirling, whirling cataract…..For the most part, folksong comes in pairs, one slow and one fast; the slow one has a tempo around M.M. 80 and the fast one may be as fast as M.M. 200.32
Some parts of the middle section of Song in the Dusk I under the indication “somewhat
fast” may be explained through the above quoted manner. For example, the notes ‘B’, ‘C’,
‘G-flat’, and ‘F’ in lines 20-21 are rhythmically accelerated by the similar pattern, and
these rushing motions are one of the characteristics of fast Korean music (Example 17).
32 Ibid, 16.
38 Example 17, lines 20-21 of Song in theDusk I
However, its fast middle section is played even faster than his metronome setting.
This is due to the musical tastes in modern music today. Recent performances tend to be more energetic, flexible, and vigorously projected in a broad outline yet rhythmically informal in detail.33 This flexibility gives the clarinetist not only the elasticity to change
the musical tastes of today but also the chance to show their brilliant technique and
qualities of the clarinet. The fast and virtuosic middle section brings Song in the Dusk I
close to the Western ideals of modern composition.
Dynamics
Soft sounds are also another characteristic of Korean music. Even though the piri
has expressive dynamic range, most Korean traditional instruments do not project a big
sound by nature. This feature can be explained in terms of ki (energy). Hwang Byong-ki
stated that:
33 Robert Philip, Early musical and musical style (New York: Cambridge University Press, 1992). 229.
39 When we speak of energy here, we don’t mean exterior physical energy, but rather the source from which all things under the sun are created ….. Accordingly, Korean musicians feel that a soft volume is more exquisite than a loud one, because it is felt that it actually takes more energy to create a small sound than a large one.34
As mentioned, the piri has the most expressive dynamic range among Korean
traditional instruments. Yet, despite the lack of dynamic markings on the score of
Sangryungsan, the dynamics can be freely expressed by the performer. The expression of
dynamics solely depends on the piri player and his or her abilities as a performer.
However, there are no dynamically contrasting sections in Sangryungsan. In many cases
of Korean music, the dynamics are expressed in the long sustained tones, using ƒp and crescendo.
On the other hand, dynamically contrasting sections exist in lines 37 and 38 of Song
in the Dusk I (Examples 6 and 18), respectively. Not only does the clarinet have a wide
dynamic range, but also a wide range of notes. These parts are very effective towards
expressing the characteristic sonorities of the clarinet.
Example 18, line 38 of Song in the Dusk I
34 Byung-gi Hwang “Some Notes on Korean Music and Aspects of its Aesthetics.” The World of Music 27/2 (1985): 32–48.
40 CONCLUSION
A great deal of diverse and progressive music exists in the twentieth century.
In the mid 1960s, some Western composers were fascinated by Korean traditional music,
thereby leading to a number of composers who initiated the combination of Eastern and
Western traditional elements in various ways throughout their compositions. This style of music is perceived as one of today’s musical trends as it establishes itself as a new
independent genre of the early twenty-first century in the history of Western music.
Today, many Western-trained Korean composers frequently write contemporary
clarinet works, which integrate the elements of Korean and Western traditional cultures.
Because of the rich timbre of the clarinet’s low and high register, it is very effective
towards expressing the idioms of Korean traditional music in the Western manner. From
this style of modern clarinet works, I examined Song in the Dusk I for solo clarinet by
Geonyoung Lee, while focusing on the comparison with Sangryungsan for the piri
through musical style and performance practice.
First of all, Song in the Dusk I and Sangryungsan show similar melodic motions.
Both pieces contain the long sustained note but Lee embellished the single tones with
different ornamental nuances. In terms of rhythm, one of the significant characteristics of
Korean traditional music is its unrestricting quality. Lee anticipated Song in the Dusk I to have a free rhythmic style, which is similar to Sangryungsan. Lee applies time signatures but they do not confine the performers to regular 4/4 or 3/4 beat structures. The time signatures are simply there to help distinguish thematic and musical phrases.
Sangryungsan takes this characteristic further by liberating itself even from the traditional Korean rhythm while creating a distinct and strong timbre. Song in the dusk I
41 attempts to transfer these sentiments of Korean traditional timbre, which is achieved as it
is performed by a solo clarinet without accompaniment.
Song in the Dusk I is roughly divided into three sections by Lee’s tempo
markings. Korean traditional music is generally based on a very slow tempo, but Lee’s
tempo indication is “somewhat slow and somewhat fast.” As the middle section includes
the virtuosic and contrasting thematic materials from the first section, its form is close to
the Western style.
Another comparative study of the two pieces is observed through the modes. The
mode of Song in the Dusk I is not clear. However, since Sangryungsan is based on the
kyemeon mode, the work contains some of its characteristics. Therefore, Lee’s Song in the Dusk I presents feelings of gloom and sorrow that is driven from the spirits of
Koreans who have survived long and repetitive wars.
In terms of vibrato, Lee, instead of a wide vibrato, applies a descending half step to imitate the effect of a dropping vibrated tone. The tri-chords of the main melodic motion usually contain a half step and have a similar dropping motion. In terms of register, due to the clarinet’s wider range of notes spanning three octaves, its performance seems more colorful and brilliant than the piri’s.
Ornamentation is another essential component of Korean traditional music.
Although both pieces show various ornamentations, each instrument embellishes different ornamental gestures. Another characteristic of Korean traditional music is its melancholic melodies in extremely slow tempos. The slow part of Song in the Dusk I is a tempo over twice as fast as found in Sangryungsan. However, the slow part is generally performed even slower and its fast middle part is played even faster than his metronome
42 settings. The prolonged tempo produces long and sinuous melodic lines, creating a more
Korean atmosphere, and the fast tempo may be a result of the general public’s change in taste towards modern compositions. Also, the virtuosic passages give the clarinetists the chance to show their brilliant technique and qualities of the clarinet. When Sangryungsan is performed on the clarinet, it tends to be more virtuosic and colorful.
Although Song in the Dusk I was obviously influenced by Sangryungsan for piri, it maximizes the characteristics of a clarinet. It is not a mere imitation of Korean traditional music using a Western instrument. Lee achieved his unique musical language in Song in the Dusk I through the clarinet. This work possesses both elements of Korean tradition and Western music. Lastly, Lee maintains a traditional cultural identity while creating a new and inventive method of cultural expression for the future.
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Revers, Peter. “Die Gestaltung von Ton und Ton un Klan gals Dramatischer Prozess” Österreichische Musikzeitschrift 37 (February 1982): 79–80.
48 Appendix A, Score of Song in the Dusk I
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54 Appendix B, The Score of Sangryungsan
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