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The Sound of Saxophone from South Korea: a Performer's Guide To The Sound of Saxophone from South Korea: A Performer’s Guide to Young Jo Lee’s Sori No.10 for alto saxophone 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 Performance Studies Division of the College-Conservatory of Music Oct 12, 2014 by Yeomin Yun B.M., Korean National University of Arts, 2002 M.M., Korean National University of Arts, 2005 G.C.P, University of Southern California. 2007 Committee Chair: James Bunte, DMA Readers: Rick VanMatre, MM Won-Bin Yim, DMA i ABSTRACT The purpose of this document is to examine Young Jo Lee’s saxophone work, Sori No.10 for alto saxophone, and to create a performer’s guide. This meticulous analysis of Lee’s Sori No.10 will help performers fully understand his work, which combines various musical elements from Korea and the West. I will focus on how Lee uses the musical techniques and elements of the traditional Korean piri oboe in his saxophone work, and how to adapt these piri techniques for the saxophone. I will also examine the various modes and scales in the work which explicitly demonstrate that Lee intentionally combined musical sources from the East, particularly Korea, and the West. The performer’s guide will also explain how to perform the extended techniques on the saxophone, including multiphonics, circular breathing, and slap tonguing. This proposed study is significant in that it is the first analysis of Lee’s Sori No.10. Through close analysis and comparison to piri techniques as well as traditional Korean modes, scales, vibrato and portamento, this study will provide a basis for a culturally informed interpretation of Lee’s music. ii iii I dedicate this paper to my only God. And, For my parents: Gil-Ja Ban and Suk-Kyun Yun iv ACKNOWLEDEMENTS Completion of my study would not have been possible without the support and help of mentors, friends, fellows, and family. First of all, I thank my committee members Dr. James Bunte, Prof. Rick VanMatre, and Dr. Won-Bin Yim for their advice and comments. I am especially grateful to my advisor, Dr. James Bunte. I am truly honored that I was his first saxophone student from Korea. His knowledge and insight continually amaze me. I am forever thankful for his patience while guiding me through this learning process. Prof. Rick VanMatre and Mrs. VanMatre made learning pleasurable, with their insight and feedback on my performance, and critique of my paper. I will never forget our time together in Korea. Again, many thanks to Dr. Won-Bin Yim for his invaluable encouragement and advice. In addition, Sekyoung Kim my piri teacher must be thanked for her patience and commitment to teaching me the Piri. Her guidance and corrections will never be forgotten. Composer Dr. Young Jo Lee, I thank him for his willingness to always answer my questions and speak with me multiple times. He unsparingly gave me music materials on his own accord, and I continue to treasure these items. Thank you to Frederick Dunn for editing the draft of my proposal, and for a very warm friendship that brought me joy in both Seoul and Champaign. YongJae Bae, my high school music teacher, for exposing me to the beauty and pleasure found from playing the saxophone. You were the initial force that set me in motion, to begin my pursuit of the saxophone. I truly appreciate the generosity of the Central Baptist Church in Suwon, Korea for providing me with a BK scholarship. I thank the Power Baptist Church in Cincinnati, especially to Dr. Chong Ahn and KyoungSuk Ahn for their support and prayers. Additionally, I express my v gratitude to the College-Conservatory of Music, University of Cincinnati for providing me with a UC Graduate Scholarship, CCM- Dean travel fund award, GSGA conference travel award, and GSGA research award for supporting my study at UC. Finally, without my family this would never have been possible. I thank my parents, Suk-Kyun and Gil-Ja. It’s through my parent’s continual guidance from not only childhood, but still today, that I was able to complete this accomplishment. They have always been a constant and steady support in my life. My in-laws, Yang-sun and Hong-Sun who were patient during my times of study, and always offered me their full support. I thank my sisters, Ja-Kyoung and Bo- Kyoung for caring for my daughter while I was in Korea, learning and researching about the piri. I thank my wife; Dr. Soojin Kim, you never lost faith in my ability, and continually kept me positive throughout this entire process. I was and still am amazed by the strength and devotion you displayed, especially during my first year at UC, which was the same year our daughter was born. Last but not least, my daughter, Eliana, a continual source of happiness and motivation. You are my love and hope. I love you both Soojin and Eliana forever. vi LIST OF CONTENTS ABSTRACT…………………………..…………………………………………………………..ii ACKNOWLEGEMENTS………………………………………………………..……………….v LIST OF MUSICAL EXAMPLES………….………………………….………..……...…...........x LIST OF FIGURES………...……..……………………………………...………………...……xii LIST OF TABLES………..…………………………………………………………….………xiii CHAPTER 1. INTRODUCTION……….…………………………………………………..……….1 Purpose…………………………..……………………………………...……….2 Literature Review………………………………………………………..………3 Methodology and Structure………..…………………………………………….6 2. YOUNG JO LEE’S LIFE AND MUSIC WORLD……………………………..……9 Born in the ‘Sound of Music’ Family with Love……………………..…….…...9 My Second Home, Suwon………………………………………...……………12 Private Music Teachers……………………………………………….………..13 College Years…………………………………………………………………..14 Study Aboard in Germany and the United States…………………...…………17 Working for Korean National University of Arts…………………...…………18 3. HISTROY OF PIRI…………………………………………………………………19 Three Different Types of Piri……………………………………….………….20 Piri for Court and Folk Music………………………..……………...…………22 Notations for Piri: Western Notation or Traditional Notation?..........................23 Piri’s Techniques: Sigimsae……………….………………………...…………30 vii 4. THE PIRI TECHNIQUES IN SORI NO.10 FOR ALTO SAXOPHONE…………32 Yosung................……………………..……………………………...…………32 Toesung and Chusung.........……….………………………………..………….35 Nira.....................................................................................................................37 Nire..................…………………………………………………….….………..38 Ro…………………………………………………………………....................38 Ni……….………..……………………………………………….…………….39 Sire………………..……………………………………………………………39 5. SORI NO.10 FOR ALTO SAXOPHONE: BACKGROUND AND ANALYSIS.........41 Background of Sori No.10…………………..…………………….……………42 Overview of Formal Structure and Phrase ……....……………….……………43 Sectional Analysis and Performance Suggestions…………..…………………45 The A Section………..…….…….…………….………….………………45 The B Section………..……..….………….…………….…………………48 The C Section………..….….……..……….………………………………52 Cadenza……………………………………………………..…………..…54 The D Section……….…….………………………………………………60 The E Section…………………………………………….……………..…64 The F Section…………………………………………….……………..…69 6. CONCLUSIONS.…………..……………………………………………………….70 Lee’s Young Jo in Korean Contemporary Music……………..…….….………70 Hope for Various Saxophone Works Composed by Koreans…….…..……..…71 Recommended Areas of Future Study…….……………………….…..………71 viii BIBLIOGRAPHY………………………………………………………………………………..75 APPENDICES……………………..…………………………………………………………….84 Appendix A: List of Musical Works by Young Jo Lee……………….……...…….…...84 Appendix B: Interview with Composer, Young Jo Lee………………..………….……89 Appendix C: Letter of Permission…………………….…………………..……….……93 ix LIST OF MUSICAL EXAMPLES Example 3.1 Jae Kook Jung’s Piri Sanjo: an Excerpt of Jin Yang in Junggan Bo…………...27 Example 3.2 Jae Kook Jung’s Piri Sanjo: an Excerpt of Jin Yang in Western Notation…......27 Example 3.3 Kwon’s Western Notation with Guum: an excerpt of Gum Jun Wha……...…...28 Example 4.1 Sori No.10, yosung, mm. 1-12…………………………………………………..33 Example 4.2 Sori No.10, yosung, mm. 21…………………………………………………….34 Example 4.3 Sori No.10, yosung, mm. 80-92……………………………………..…………..35 Example 4.4 Sori No.10, triple chusung, mm. 18-19……………………………..…………...35 Example 4.5 Sori No.10, toesung, mm. 40-41…………….…………………….……..……...35 Example 4.6 Sori No.10, double chusung, mm. 37-38……………………………………..…36 Example 4.7 Double chusung in yeominlak, showing upward glissando with whole step……36 Example 4.8 Triple chusung, showing the end of the measure in excerpt from yomillak….....36 Example 4.9 Sori No.10, Nira, m.16……….……...………………………………………….37 Example 4.10 Sori No.10, Nira, m.23……………......……………………………………….37 Example 4.11 Sori No.10, Nire, m.41..……………..……...……...………………...………...38 Example 4.12 Sori No.10, Ro, m.62…………….………………..…………………………...39 Example 4.13 Sori No.10, Ro, m.63…….………………………..…………………………...39 Example 4.14 Sori No.10, Ni, m.25……….……………………...…………………………...39 Example 4.15 Do Hee Kwon’s guum bo…………………………...………………………....40 Example 4.16 Sori No.10, Sire, m.40……………………………..………………………..…40 Example 5.1 Sori No.10, central tone, mm.1-13…………………...……………………….…45 Example 5.2 Neapolitan scale, mm.10-12…………………………………………………….46 Example 5.3 Sori No.10, mm.14-15…………………………..………………………………47 x Example 5.4 Neapolitan scales in Ab………………..……...………………………………...47 Example 5.5 Sori No.10, two phrases, mm. 16-31……………………………………………48 Example 5.6 Sori No.10, four motives of the first phrase in the B section, mm 16-21…….....50 Example 5.7 Sori No.10, motives II and IV, mm.24-31……………………………..……......50 Example 5.8 Sori No.10, transition II, mm.32-34…………………………………………..…51 Example 5.9 Sori No.10, mm.35-45……………………………...………………………...…53
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