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Music for Thirteen Instruments and Percussion

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Music for Thirteen Instruments and Percussion Eastern Illinois University The Keep Masters Theses Student Theses & Publications 1969 Music for Thirteen Instruments and Percussion Yong Jin Kim Eastern Illinois University This research is a product of the graduate program in Music at Eastern Illinois University. Find out more about the program. Recommended Citation Kim, Yong Jin, "Music for Thirteen Instruments and Percussion" (1969). Masters Theses. 4089. https://thekeep.eiu.edu/theses/4089 This is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Masters Theses by an authorized administrator of The Keep. For more information, please contact [email protected]. PAPER CERTIFICATE #]-,. To: Graduate Degree Candidates who have written formal theses. Subject: Permission to reproduce theses. The University Library is rece1v1ng a number of requests from other institutions asking permission to reproduce dissertations for inclusion in their library holdings. Although no copyright laws are involved, we feel that professional courtesy demands that permission be obtained from the author before we allow theses to be copied. Please sign one of the following statements. Booth Library of Eastern Illinois University has my permission to lend my thesis to a reputable college or university for the purpose of copying it for inclusion in that institution's library or research holdings. NAY 1969 Date ' I respectfully request Booth Library of Eastern Illinois University '•not allow my thesis be reproduced because ��- Date Author /LB1861.C57XK493>V1>C2/ MUSIC FOR THIRTEEN INSTRUMENTS AND P�RCUSSION (TITLE) BY YONG JIN KIM THESIS SUBMITIED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF OF MAS!'ER ARTS IN MUSIC IN THE GRADUATE SCHOOL, EASTERN ILLINOIS UNIVERSITY CHARLESTON, ILLINOIS YEAR I HEREBY RECOMMEND THIS THESIS BE ACCEPTED AS FULFILLING THIS PART OF THE GRADUATE DEGREE CITED ABOVE ADVISER 16; lfb I ( DA'fE 11 ACKNOWLEDGMENTS The author wishes to ackrlowledg e his indebtedness to all members of this Graduate Coumittaea Dr. Alan R. Aulabaugh, Dr. Robert w. weidner, Dr. James W. Krehbiel and especially to his advisor., Dr. David c. Ahlstrom, for his valuable su�gestions, critical comments and untirine zeal throughout th� preparation of this paper. A word of special thanks is due also to his friend and former t�acher Dr.. Hae Ku Lee, Chairman of the Korean Traoitional Music Department of Seoul National University, Korea, for suppol"'.tin�. r:he author with valuable information on Korean music durin� his undergraduate years. TABLE OF CONTENTS Page ACKNOWLEDGEMENTS • • • • • • • • • • • • • • • • • • • • • 11 IHTRODOCTION • • • • • • • • • • • • • • • • • • • • • • • 1 Chapter I. AN OUTLINE OF KOREAN MUSIC • • • • , • • • • • • , , 2 RhythmSoale and Meter Melody and Ornamentation Texture and Contrapuntal Dev1oea The Var1oue TJp•s and Their Instrument�t1onor Mus1o MUSIC FOR THIRTEEN INSTRUMENTS AND PERCUSSION. • • • II. 8 Instrumentation Ana)i7s1s CONCLUSION • • • • , • • • • • , • • • • , • • • • • • • • l) l INTROOOCTION While West er mus1o was oons1stently evolving toward n 1ts present theoretical system through the work of numerous theorists and musicians, Korean trl3.d1tional music, like the music of other Oriental countries, remained for centuries many essentially unchanged. Music for Thirteen Instruments and is designed as an attempted synthesis of some of PerOU$S1on these Oriental musical resources w1th some of the conventional Western musical idioms. It 1s scored for a small orchestra employing Western instruments and a number of Oriental percussion instruments. The oompos1t1on, in four �ovements, was composed during fall a�d winter quarters of The 1968-69. music uses the textures of Korean music, from one-line various melody through complex textures created by many accidental dissonances, arising f�om quasi-improvised lines, weaving 1n out of basically pentatonic tonal structures throughout, and "Je,·J. 1n the last movement, a serial technique utilizing a row of eight tones. The instrumentation is similar to the instrumen­ tation of Korean instrumental ens�ble music. The first, third, and last move�ents suggest the colors �nd textures of the Jong-a.k or " ight music". The second movement reflects the r oh�racter of a folk style farmer's dance. ( The former may be roughly de�cr1bed as "classic" 9nd the l3tter as more popular or " rustic" . ) 2 CHAPTER ONE AN OUTLINE OF KOREAN MUSIC t. Scale There �re four kinds of Korean scales• Pyons-oho -cho c,M I P:rong-9ho-kae-m19p-2ho I <if MI)I u -fial) <t-��w�� and U-cho-k ae-m n ch Cf'PJ��:iJ��). The fyong-chq and U·cho yo - q have the same scale-patterns major 2nd, mlnor )rd, major 2nd, major 2nd, and m1�or )rd. The only difference between the Pyo s cho and U-cho is 1n the starting note of the scale n - (fi al note 1n Western terminology), The final of the n Pyong-cho is B-fl.�t below middle c. The final of the U-cho is E-fl�t. perfect 4th higher than the Pyons-oh2 final. The Pyorg-cho-kae-mron-aho and U-chq kae myon obo also - - - h1ve the same scale-pattern consisting of a minor Jrd, major 2nd, major 2nd, �1nor Jrd, Rnd major 2nd. The f 1nal of the Prons-cho-kae-m1on-cho is the same �.is the f 1nal for the Pyong-gho (B-flat). The final of the U-cho-kae- on-cho ls the same as the m,y final of the U-9ho (E-fl�t) (Ex. 1). In comparison w1th the West$rn modal system, which consists of th� major and minor modes, the PYons-cho and U-cho are s1m11�r in ch�r�oter to the mejor modes; the Pyona-cho-kae-myon-cbo and u-ohq•kae-mzon-cho being s1m1lar 1n character to minor mode. Example 1. Bb Bp Eb - - - - - - -- - - - E-b - - - - - - - - - -- - - - - - - - - - - I ob Cf c Ab - - - - - - - - - - -- - - - - --- - - - - - - - - - - . - - F Bb F Bb - - - - - - - - - - - - - - - - - - - - - - - - Eb Ab Eb Al> - - - - -- - - - ... - ... - - - - - - - - - - - - - - - - - - - - Db Gb - - - - c F -- - - - - - - --- - - - -- . - . - - - - -� - - - - Eb Bb Eb Pyong-cho u -oho �Yong-cho­ u-oho­ ka.e-myon-cho kae-myon-cho Rh7thll and Meter 2, There are number of d1fterent rh7thm1o patterns 1n a Korean music. Some of the rh7thm1o patterns frequently used on the Chan-ko, a percus�1on instrument meaning "hour-glass drum.• are shown 1n Ex. 2. Example 2. .. fi','ehfHa d +� ._ I I I - • .. a !It _1(7ff-� P:6 ;;;. ... � #� l J i> - ,._ . , t� " --- ... , � � 1 � • F /0t I l I I I I Ujf Ha.-.1 -! " ' .. .:J, � ii-- �� l l � I I I • « ; d •" d -- iY -.d I n. • s � 2 .... • , " //) " 1 i i . r I I I , 2 4 t- I i I I ri I I I r=T 6 � � � , � � --4 6 .. II. "'•.. , r " ' # 4- �t � � 3. � i 9. I i 3 � -t- � � I 4 I I ! II J .. tl' " i t 12 " I 10. • - tl , # .I l 1P, ' 1 �@! l "f r IDl 8 I 8 I I 4 I t I :( I 4. -b.- y I I ! � � I y "T B !i .� � � it� tJ '�- t� i , - " " � � q� � ., 5. 4 r r llo I .,r y t-- 1 ..... a 1-t l i I � r � r-=t� I � t 3 I !'> leJI� � � � ·� ���J�1J�J • , . ,, "'. f 120 4 - - 1 6. -ti�1r .. � 1jt1rl1, )f 7• � � I I 4 The Chan-ko 1s played with both hands1 the r1ght h�nd slde requires the use of a long bamboo st1ok played with the right hand alone; the left hand s1de uses the hand alone. These rh7thm1c p�tterns are the most typical ot r hythmic patterns ln Korean muslo. They are not only repeated throughout iece a p 'by a ChAn-ko (long) drum but they arP emphasized at times by one or two hQnd-beaten d.rums. In Korean music there are a numb3r of d1ff erent meters such 10/2. 6/4. 12/8, 8/4, 8/12. and J/4. There exist also as several types of ornamental rhythmic patterns as shown 1n the above example. ). Melody and. Orn�mentat1on r\orean mu.s1o cc:ns1sts oh1iefly of a one-line melod.y with 1ts ornarr:entat1on. The principal s truct re of a melody u 1g most oftnn found w1th1n '."\ frMlework of ascending and descending fourths based on a pentatonic scale. But the intervals between the note� are ou1te. often ambi�ous- and frequently �re altered 1n d fferent ways. Ornamental notes i are not precis e y spec1f 1ed as are those of west rn mu ic . l e s For example, slnce the system employed 1s not that of equal temperament, 1t 1s d1ff1oult to speak 1n terms of whole and half steps. The following ex.��ple shows an orn1.1mented melod1o 11ne togetheT �t1th its auxiliary notes. The pr1nc1pal melody 1s uRually played by a st:r11\g in&· t::i'UlJ)ent suen the Komunko qs s (a a1z·•tr1nged z1,her) and th• K1l1.40 (a tw•l•••etr1nged s�ther). Th• ornamented aelodlo line 1 ueallJ pla1-4 by s ood i d such as the f1r1 (two oyl1ndr1oal oboe), w w n instruments t•l-1'!\111 (transverae flute), &nd the Rt1-kf\!! (a two atr1nged instrument)• Example ). Yong•aan proper '1'ranaor1bed by K1au Kia Tanso P1r1 Chan-ko . ... - ___,.__ ____ _ ___,_____ jj �_J).· - 1-- --��� > > Komunko > Kayako Texture and Contra untal 4. p Oev1cea mus1o 1s harmon7. It has, however, Korean without dissonances created bJ olaahea between the melody and 1ts ornamental whether these are exeouted vocally or note• 1natrumentall7. As has been pointed out before, these d1sson­ anoes cannot be desor1bed 1n the terse of W s t rn mus1o and once e e more 1t must be s essed that the total absence r1 1d tr or the g 6 and f1xed p1tohea of 'Western mus1o and Western temperaments pr�v1d.e � field, of poss1b111t1es for a virtually oonstant dissonant texture.
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