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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

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.

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I dedicate this paper to my only God. And, For my parents: Gil-Ja Ban and Suk-Kyun Yun

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. Itâ&#x20AC;&#x2122;s through my parentâ&#x20AC;&#x2122;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 BoKyoung 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.

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

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 Example 5.10 Sori No.10, motives II, III and IV, mm.37-42…..…………………………......54 Example 5.11 Sori No.10, mm.46-56…………………………………………...…………….55 Example 5.12 Sori No.10, slap tonguing, m.46…………………………………………..…...57 Example 5.13 Sori No.10, circular breathing, mm.52-56………………………………...…...59 Example 5.14 Sori No.10, multiphonic, mm.47-51…………………….………………......…59 Example 5.15 Added fingering of multiphonic….…………………………..…………..…....60 Example 5.16 Sori No.10, mm.57-69……………………………………………………..…..60 Example 5.17 Sori No.10, mm.54-64…………….………………………………………..….61 Example 5.18 Sori No.10, mm.66-68…………….………..……………………………….....62 Example 5.19 Yukjabegi and Yukjabegi scale………………..…………………………….....64 Example 5.20 Parang saeya and three-note of namdo kyemyong jo mode…………………...65 Example 5.21 Sori No.10, m.70……………………………………………………………….66 Example 5.22 Sori No.10, mm.70-79………………………………………………………....67 Example 5.23 Sori No.10, mm.80-92………………………………………………………....69

LIST OF FIGURES Figure 3.1 Three different types of piri………………………………………………………….20 Figure 3.2 Hang-piri……………………………………...……………………………………...21 Figure 3.3 Tang-piri……………………………………………………………………………...22 Figure 3.4 Jae Kook Jung’s piri guuum jung ak bo…........……………………………………...25 Figure 5.1 The slap tonguing position…………………………………………………………...58

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LIST OF TABLES Table 3.1 Three categories of Korean music…………………………………………………….23 Table 3.2 Piri’s ornaments…………………………………………………...…………………..30 Table 3.3 A chart of vibration technique for the piri…………………………………………….31 Table 3.4 Special techniques for the piri………………………………...………………………32 Table 5.1 Overall structures and forms of Sori No.10…………………………………………...43 Table 5.2 Types of motives in Sori No.10……………………………………………………….49

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CHAPTER 1 INTRODUCTION

Young Jo Lee’s music is characterized by strong influences from Korean traditional rhythms and scales, while retaining the idioms of the Western music.1 Lee has created a number of musical pieces that make use of rhythms from Korean traditional dance music and performance practices of traditional Korean instruments. According to Yeon Jin Kim, Unlike many other composers, [Lee] is interested in Korean traditional instruments such as the piri, the jango, and the danso and he plays these instrument in concerts. Particularly in his later works, Lee applies his knowledge of Korean music and its instruments in a unique and distinctive fashion.2 The Sori series explicitly shows these musical characteristics. Sori literally means sound in Korean. Each Sori piece was created for a specific instrument, for organ, piano, clarinet, and so forth. All of the pieces in the Sori series combine traditional Korean musical elements with western musical techniques.3 Sori No.10, which the proposed document will examine, was composed in 1997. Sori No.10 is Young Jo Lee’s first saxophone composition. It is for solo alto saxophone and was commissioned for Jin Son, the first saxophone student of Korean National University of Arts. Sori No.10 has six sections. These sections show different style. In his piece, Lee utilizes a main tone technique which is prevalent in musical pieces by Korean composers

Michael Christopher Caputo, “Contemporary Korean Solo Clarinet Music: Analysis with performance Recommendations of Three Compositions” (Ph.D. diss., New York University, 1998), 46. 2

Yeon Jin Kim, “The Musical Style and Compositional Technique of Young-Jo Lee, As Reflected in his Yeon Jin 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. diss., University 2

of Arizona, 2010), 15. 3

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

132.

and piri performance practices. The piri is a traditional Korean oboe-type instrument. The piri consists of two parts: the body, made of a piece of bamboo, and a wide double reed made of Kaltae.4 The piri has eight open holes with seven holes in the front and one hole in the back. It is said that due to the natural materials used for the instrument’s body construction, the piri imitates the human voice. In piri techniques, ornamentation and vibrato are very important. Young Jo Lee incorporated those techniques into his Sori No.10 for alto saxophone.

Purpose The purpose of this document is to provide a performance guide to Young Jo Lee’s Sori No.10 for solo alto saxophone, drawn from the stylistic features of this piece. Young Jo Lee is a prominent composer who incorporates the performance techniques and concepts of traditional Korean music into his compositions. In particular, the techniques of the piri, a Korean oboe, play significant roles in Sori No. 10. I will note the ways in which piri techniques are integrated into this composition for the saxophone, offer specific performance suggestions and techniques, and provide a meticulous music theory analysis. Through a comparison of piri and saxophone techniques, the performer will naturally come to a more culturally informed interpretation of Lee’s works. This study will contribute not only to studies of Young Jo Lee’s music but also to scholarly work on musical pieces composed by Korean composers who incorporate the concepts and skills of traditional Korean music into Western-based music. This study is significant in that this document represents the first musical analysis of Sori No.10. 4

Keith Howard, Korean Musical Instruments: A Practical Guide. (Seoul: Sekwang Music Publishing Co., 1988), 49.

The proposed document is different from my lecture recital in that this research will not only explore the relationship of piri techniques to the saxophone, but will analyze the formal structures, dynamics, scales/modes, and rhythmic/melodic features of the composition. The document will provide a more comprehensive guide to contemporary saxophone techniques, including slap tonguing, multiphonics, and circular breathing, as applied to this composition. It also will examine the ways in which Lee intertwines contrasting aspects of Korean musical elements with Western musical elements.

Literature Review There are a few documents and theses on Young Jo Lee’s musical pieces, and most of them focus on his pieces for the piano, cello, violin, and clarinet. Some works examine his use of traditional Korean musical instruments such as the tagum (a Korean transverse flute), ajang (a Korean fiddle), and gayagum (a Korean twelve-stringed zither). However, it is very difficult to find any scholarly works on his pieces for the saxophone or his musical styles facilitating performance techniques and styles of the Korean piri oboe. This document fills the gap by examining his saxophone music and its stylistic connection to the Korean piri. The autobiography of Young Jo Lee, entitled Resume Written on a Music Sheet: Composer Young Jo Lee, describes his family, his educational background in Korea, Germany, and the States, his career in the States and Korea, and his musical pieces.5 Choon Mee Kim’s work, A Study on the Structural Thinking in the Music of the Composer: Young-Jo Lee, provides a general overview of Lee’s music, addressing his musical styles and providing detailed analysis

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

of his major works.6 The most recently published book on Lee’s work, Young Jo Lee’s Music, was written by JungSoo Hong and his three pupils. This book not only introduces Lee’s personal and educational backgrounds but also explores Lee’s musical characteristics by looking at his major six works.7All three titles, Lee’s autobiography, Kim’s book, and Hong and his pupils’ book, represent primary sources for taking a look at the composer Lee’s personal and educational backgrounds and his musical characteristics, which I will examine in Chapters 2 and 5. The remaining scholarly works on Lee’s musical pieces commonly provide musical analyses and stylistics features of Lee’s music, which incorporates the performance techniques of Korean musical instruments and those of the Western instruments. Kun Woo Kim’s “Korean Dance Suite for Piano by Young Jo Lee: An Analysis” analyzes the Lee’s piano work. Kim examines the ways in which Lee uses rhythmic patterns that recur in each movement of the piece. Moreover, Kim highlights the variety of ornamentations that are found in traditional Korean music for woodwind instruments, called sigimsae. He points out how Lee implemented these ornamentations in the piano works. Although sigimsae techniques embrace vibrato, Kim does not go further to explain Korean traditional vibrato techniques.8 However, I will describe how Lee used Korean traditional vibrato and ornamentation techniques in the saxophone work in various ways. One of the most important musical analyses of Lee's works is found in Sung Bok Gu-Jang’s study, “Young Jo Lee: An Analysis of Stylistic features of the Variations for Piano on the Theme Baugoge.” This study presents musical analysis and performance suggestions for each movement of one of Lee's piano works. As my proposed study will point out, Gu-Jang describes 6

Choon Mee Kim, “A Study on the Structural Thinking of Music of the Composer Young-Jo Lee.” The Musicology 12, no.2(2007): 67-118. 7 Hong, Jung Soo, Hyoung Joo Ji, Hey Ra Seo, and Ji Eun Kim, Eds, The Music of Lee YoungJo (Seoul:Tae Sung, 2012). 8 Kunwoo Kim, “Korean Dance Suite for Piano by Young Jo Lee: An analysis.” (D.A. diss., Ball State University, 2008).

how Lee employed motive figurations and scale patterns. In addition, Gu-Jang pays special attention to offering performance suggestions for Lee's works. Gu-Jang 's study is the only available resource to offer performance guides for Lee's piano works. Both Kim and Sung present close musical analysis and performance guides for Lee's other works.9 There are two significant documents about Lee’s use of traditional Korean instrument techniques for the solo instrumental works. In “Contemporary Korean Solo Clarinet Music: An Analysis with Performance Recommendations of Three Compositions, ” Michael C. Caputo examines the ways in which Lee’s composition styles combine the performance techniques of the Korean tagum flute with those of the solo clarinet in Lee’s Sori No. 3 for Solo Clarinet. Caputo’s document is the only available investigation of Lee’s woodwind works. Caputo’s study examines how Lee’s works use the techniques of Korean traditional woodwind instruments, including ornamentation, vibrato, and central tone technique. This study lays a foundation for subsequent scholarly works that describe the ways in which Lee adapted the performance techniques of Korean traditional instruments for Western woodwind instruments. Caputo also

illustrates how Lee applied multiphonics and free improvisations through Lee's unique graphic notations found in Sori No.3. Despite the very short demonstration of Lee's use of multiphonic sound for Sori No. 3, Caputo's work in the only available source to look at how Lee used multiphonics on the clarinet.10 Based on Caputo's work, this proposed study will provide detailed information about mutiphonics in Lee's Sori No.10, regarding finger positions and multiphonic sound on saxophone. The DMA document by Yeon Jin Kim explores Lee’s Honza Nori for solo violin. Kim 9

Sung Bok Gu-Jang, “Young Jo Lee: Ana Analysis of Stylistic Features of the Variations for Piano on the Theme Baugoge.” (D.M.A. diss., University of Kentucky, 2006). 10 Michael Christopher Caputo, “Contemporary Korean Solo Clarinet Music: Analysis with performance Recommendations of Three Compositions (Ph.D. diss., New York University, 1998).

focuses only on traditional Korean string instruments, such as the gayageum and the ajaeng, that are used in Lee’s works.11 In her document, Kim points out a few fundamental concepts of Korean music, such as rhythm and the five-note system. In addition, she describes performance techniques for traditional Korean string instruments12. Although Kim examines the performance techniques of traditional Korean string instruments, including nonghyun (vibrato), she does not go further to analyze how these traditional musical elements and performance techniques could be applied when actually playing Young Jo Lee’s violin compositions that feature elements of traditional Korean string instruments.

Methodology and Structure In my document, I will examine the historical background of Young Jo Lee and the traditional Korean instrument the piri. Particularly, I will describe piri techniques and the ways in which those techniques apply to the saxophone piece. In order to analyze Sori No.10 in more detailed ways and show the ways in which Lee’s work incorporates piri techniques into saxophone performance practice, I studied the piri with piri player SeKyoung Kim at the KyoungGi Traditional Orchestra, from November, 2011 to April, 2012, from April, 2013 to June, 2013 and from October, 2013 to December, 2014. The experience of learning the piri extended my understanding of piri techniques, especially ornamentation, portamento, and vibrato. In addition, I have contacted the composer, Lee, and received his own audio files of his composition, Sori No.10.13 Sonic features from the audio file will reify and embody what the

Yeon Jin 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. diss., University of Arizona, 2010). 12 Ibid, 18. 13

Young Jo Lee, e-mail message to Author, April 5, 2012.

composer wanted to represent. Also, the acoustic representation of his score will add material for detailed analysis that I could miss when I only look at his scores. More importantly, I have interviewed the composer and was able to learn background information about him and the piece and his own compositional styles utilized in Sori No.10.14 This will enable me to fully understand the ways in which Lee intended to adapt piri techniques and Korean musical elements in the saxophone piece. In addition, I will analyze Lee’s saxophone work, Sori No.10, exploring the formal structure, harmonic language, dynamics, melody and rhythm of Lee’s work. The analysis will be based on terminology and definitions suggested by Kim, LaRue, and Ryan.15 Lastly, I will present performance suggestions for Lee’s contemporary saxophone techniques, including slap tonguing, multiphonics, and circular breathing, also found in works by Bunte, Heavener, Kientzy, Londeix, and Nabb.16 This document has five chapters including the introduction of this study. Chapter 1 is the Introduction. Chapter 2, tentatively titled “Young Jo Lee’s Life and Music World,” will look at his educational background and his compositional styles. In this chapter, I will describe how he has been strongly inspired by Korean musical elements throughout his musical pieces while he maintains idioms of Western classical music. I will suggest that his educational background, that he had studied in Europe and learned how to play the piri, could position his music to integrate spirit of Korean music into Western classical music. Chapter 3, “Piri in Korean Traditional 14

Young Jo Lee, interview with Author, Yong In, South Korea, May 20, 2013. Kun Woo Kim, “Korean Suite for Piano by Young Jo Lee: An Analysis.” (D.A. diss., Ball State University, 2008); Jan LaRue, Guidelines for Style Analysis, 2nd ed. (Warrnen, Mi: Harmonie Park Press, 1992); Francis J.Jr. Ryan, “The Performer’s Guide to Analysis: A Method for the Study of Music.” (Ph.D.diss., Florida State University, 1978). 16 James Bunte, “A Player’s Guide to the Music of Ryo Noda: Performance and Preparation of Improvisation I and Mai.” (D.M.A. diss., University of Cincinnati, 2010); Tracy Lee Heavener, Saxophone Secrets: 60 Performance Strategies for the Advanced Saxophone (Plymouth, United Kingdom: Scarecrow Press, Inc., 2013); Daniel Kientzy, Les Sons Multiples aux Saxophones (Paris: Editions Salabert, 2000); Nathan Nabb, “The Contemporary Saxophonist: A Pedagogical and Historical Perspective.” (D.M. diss., Northwestern University, 2008). 15

Music,” will provide background information on the piri. More importantly, in Chapter 4, “Performance Practice of Piri in Sori No.10,” I will describe piri performance techniques and skills that play significant roles in Sori No.10. This will be helpful for understanding the ways in which Lee applies piri practices to his saxophone piece at a glance. In Chapter 5, “Analysis of Sori No.10,” I will analyze his musical piece Sori No.10 carefully. I will divide this piece into six sections along with transitions and a cadenza and meticulously analyze each section by measure and phrases. I will not only describe the piri techniques and skills that are employed in Sori No.10 but also explore Korean musical elements. In addition, I will offer performance suggestions grounded on the detailed musical analysis. Accompanying tables and figures, all of which I have created, will provide grounds for the methods I use to scrutinize this musical piece.

CHAPTER 2 YOUNG JO LEE’S LIFE AND MUSIC WORLD

Born in the ‘Sound of Music’ Family with Love Young Jo Lee was born in Seoul, the capital city of South Korea, on April 17, 1943. He was the third son of Heung-Yeol Lee. Young-Jo Lee’s father, Heung-Yeol Lee (1909-1980), was an influential composer in the early history of Western classical music in Korea and he is sometimes called as Schubert of Korea. In 1931, he studied piano and composition at Tokyo College of Music and then he taught at various middle and high schools in Korea from 1931 to 1957. In 1933, Heung-Yeol Lee married Ho Sun Im, who was a music teacher, organist, and Christian activist. She had graduated from a theological college in Pyongyang and taught at Bohye-Yeoja-Kwan (Wonsan Evangelistic Center), a school for women’s education. Although she didn’t graduate from a music school, she played hymns and liturgical music on the organ.17 Young Jo Lee notes about her Christian spirit of sacrifice, “My mother already made a promise that her body be donated to Kyeo Myoung University’s School of Medicine for medical research, and right after her death her body was immediately sent to the University.”18 Lee continues to describe her life and faith, “At first, my sisters and brothers were opposed to her decision, but we could not but following her belief, sacrifice and love which is basic to her faith and life.”19 Not only did she donate her body to a medical school, but also she sacrificed her time and career for her seven children and husband. Yong-Jo Lee has three brothers and three sisters. His first sister, Young Hee Lee, studied

17 18 19

Youngjo Lee, 27. Ibid, 256. Ibid, 256.

piano at the Ewha Women’s University. Lee notes that oldest sister was his first music teacher, “When I was young, I almost memorized all the notes of Schuman’s Carnaval, Kinderszene, and Grieg’s Piano Concerto because I had heard those pieces very often when my sister played the tunes on the piano …. To me, she was my first music teacher.”20 His second brother, Young Uk Lee, graduated from Seoul National University, where he studied composition. He went on to teach music at Seoul High School. After he retired, he immigrated to New Zealand. The third sister, Young Duk Lee, and sixth brother, Young Chul Lee did not study music at all, but they graduated from top universities in Seoul and Young Chul Lee served as Dean of the Department of Humanities at Seoul Women’s University. The fourth sister, Young Gum Lee, studied piano at Sook Myoung University and currently lives in Los Angeles. The youngest brother, Young Soo Lee, graduated from Seoul National University, where he studied a composition, and he currently serves as Dean of the School of Music at the Young Nam University in Da Gu, Korea. Young Jo Lee notes about his youngest brother, “I’ve always admired my youngest brother’s musical gifts and talents.”21 Lee’s brothers and sisters inherited their musical talents and gifts from their father, Hyeung Yeol Lee. Lee’s family was not common, compared to other families during the mid- 20th century in South Korea. They had a few musical instruments and equipment including a gramophone, Yamaha piano, original classic music scores, and RCA Victor’s SP.22 All the brothers and sisters received musical training from their father and became familiar with musical equipment. Also, thanks to Lee’s mother’s love and sacrifice, all seven children including Young-Jo Lee were able to study at prestigious schools and become influential scholars and musicians. Young Jo Lee said that his mother always attended morning

20 21 22

Ibid, 283-284. Ibid, 290. Ibid, 20.

prayer meetings at 5am and prayed for her family.23 He remarked that his mother’s devotion came from her mother who was a Methodist preacher.24 When Lee’s father did not have a piano while studying in Japan, Lee’s grandmother sent money to Lee’s father, so he could get Yamaha piano. This piano is the most important memory in Lee’s life. When the Korean War occurred and Lee’s family moved to Osan for safety, Lee’s father conducted a church choir at the U.S. Air Force church in Osan. Hyeung Yeol Lee asked Pastor Helms, a former member of Northwestern University Saxophone Quartet, to help to bring his piano to Osan. Thanks to Pastor Helms’s help, the U.S. Air Force in Osan sent a truck to his house in Seoul and brought the piano to Osan. Without this piano, Lee and Lee’s siblings would not have been able to learn and play music. All of the family members including Young-Jo Lee’s two children played this Yamaha piano.25 On November 17, 1997, Young Jo Lee’s entire family gathered for a tribute concert for his father’s 17th and mother’s 2nd memorial service. Lee’s youngest brother released a new piece, Variation on Mother’s Mind by Heung Yeol Lee for the clarinet and piano. Young Jo Lee’s son, Chul Ju Lee, composed a Variation on Baby in Island House by Heung Yeol Lee for the cello and piano and performed it with his sister Hyun Ju Lee, who played the cello. Young Jo Lee released a new piece named a Variation on Baugugae for piano. Also Young Jo Lee’s wife, Jung Hee Kim sang a Korean song composed by Heung Yeol Lee, the title of which is Mother’s Endless Love. This song is very famous in Korea. The lyrics are as follows: 낳실재 괴로움 다 잊으시고 기를제 밤 낮으로 애쓰는 마음 진 자리 마른 자리 갈아 뉘시며 손 발이 닳도록 고생하시네 하늘아래 그 무엇이 넓다 하리오 어머님의 희생은 가이 없어라 어려서 안고 업고 달래주시고 자라서 문기대어 기다리는 맘 23 24 25

Ibid, 254. Ibid, 291. Ibid, 30-39.

앓을 사 그릇 될 사 자식 생각에 고우시던 이마 위에 주름이 가득 땅 위에 그 무엇이 높다 하리오 어머님의 정성은 그지 없어라 Forgetting the agony and pain of when I was born Heart loving me all day and night as she brings me up She changes my lying place from the wet to dry spots Mother’s always taking much trouble and pains with her hands and feet raised Nothing is wider than Mother’s Love, below the Heaven, in the World, Mother’s sacrifice is boundless and the biggest thing of all. Playing with me in her arms and on her back while I was a child Waiting for my arrival as she’s leaning on the door in my adulthood She’s afraid of her child’s sickness and thinking of wrongdoing Mother’s beautiful brow is filled with many wrinkles, Oh Alas! Nothing is higher than Mother’s Love, above the Earth, in the World, Mother’s tenderness is limitless and endless in abundant Love. Young Jo Lee states in the chapter My Mother in his essay, “My mother’s love was a great answer to and route for my life.”26

My Second Home, Suwon “My youngest brother was born in Suwon which is my second home” (Lee, p.40). When Young Jo Lee was eight years old, the Korean War (1950-53) began on June 25, 1950. The war moved his whole family to Suwon from 1951 to 1955. During the war, especially while his family was living in Suwon for five years, Lee was not able to study music but he had much time to experience nature, which provided good musical material for his composition later. As Lee noted “I thought that my family was going to a big family picnic and followed them cheerfully, but I didn’t know that we were on the way south for evacuation.”27 However, the evacuation was truly musical picnic for him. As mentioned above, his essay is full of references to growing up with nature in Suwon. He described in his own words, in 26 27

Ibid, 258. Ibid, 36.

The lake in Suwon, as my playground, I took baths and swam breaststroke, Jwibullori28on the first lunar month, kite flying, top-spinning, and sleigh riding in a severe cold winter … I experienced truly beautiful things during the Korean war, a time of great hardship … I was often surprised to see that the experiences and memories from childhood appeared in my compositions, opera Cheryong, Whanginee, and many pieces of chamber and choir music.29 Private Music Teachers Lee began to learn a piano from Lyu Kyoung Sun, a wife of Na Un Young. Later, Na became Lee’s professor in undergraduate and graduate school. Lee’s father, Heung Yeol Lee, was involved in teaching music theory to Lee when he entered middle school. During these days, Lee saw every day his father’s collections of lied and children’s songs which made him interested in composition. Moreover, Lee’s father taught him the history of western music through storytelling and music listening, such as the stories of Grieg’ Anitras Tanz, In der Halle des Bergoenigs’s, and Solveig’s lied. Lee couldn’t wait for his father’s storytelling after school concluded day after day. After listening to Grieg’s Ases Tod, Lee became interested in augmented French sixth chords and tried to find the French chord on piano. Lee states, “Since I was young, I have been sensitive to chord color which is linked to my compositions today and I look forward to finding harmony color in simple rhythms.”30 When Lee was in the second year of middle school, he started to learn the French horn from Jong Soon Kim, who was a principal in the Seoul Symphony Orchestra. Lee learned four horn concertos and performed Mozart’s Concert No.3 for Horn in a regular concert of the Baejea School. He continuously played the horn in the University Orchestra during his college years.

Jwibullori refers to burning the grass and weeds on the banks of dry fields on the 14th day of the first lunar month as children play. 29 Ibid, 40. 30 Ibid, 34.

Moreover, he earned a doctoral degree double majoring in composition and horn from America Conservatory. His horn teachers in the U.S. included Mrs. Edwin Hellen Hirsh who was the first female horn player in the Chicago Symphony Orchestra.31 His father was no longer teaching Lee music and eventually Lee began to study music with his father’s friend, Dong Jin Kim. Lee recollects about his father and Dong Jin Kim, “When I learned a composition with father, my melody was vivid and dynamic. Studying composition with Dong Jin Kim, it was flexible and flowing.”32 Lee had great learning experiences with both his father and Don Jin Kim. When Lee was in his second year of high school, he participated in a composition competition hosted by Yeon Sei University. Lee composed 24 measures of trioform piano music to fit within the stated time limit of three hours. He won second prize, with no first prize awarded at that competition. Later, Lee found out why he received the second prize. The chair of the jury told him, “You are Korean. However, your composition does not have Korean identity.” When Lee asked him, “What is Korean identity?” the chair answered him, “study hard, and go to Yeon Sei University.” The chair was professor Na Un Young who taught Young Jo Lee at the Yeon Sei University.

College Years Lee entered Seoraval University, where his father and Dong Jin Kim were professors, but he soon left because the institution had financial difficulties. In first year at Seoraval University, Lee won a competition hosted by the Park Chung Hee regime. However, he attributes his success to Professor Dong Jin Kim.33 However, Lee soon switched universities and enrolled

31 32 33

Ibid, 44. Ibid, 52. Ibid, 54.

at Yeon Sei University. He studied composition with Un Young Na, who played an important role in Lee’s life. Na inspired him to be expressive and compose the melodies of Korean identity and the new music of Korea. As he began to study with Professor Na, Lee asked himself, “What is Korea’s own sound?” and “Is this really needed?” Left with this question in his second year of college, he joined the army as an adjutant English private solider and he began working in the Office of the Adjutant General, Eighth U.S Army in Korea. Little by little, Lee found the answer to his unsolved question during his army service. One day, Lee introduced his father to the General of the Eighth, Charles Hartwell Bonesteel, Jr. (1885 -1964) and the three had dinner together before they attended a concert of the Seoul Symphony Orchestra. Lee also wanted to show a performance of the Korean Orchestra to Bonesteel as a way of introducing Korea to him. After the concert, General Bonesteel said to him, “What I want is not this music, but I want to know and see Korean traditional music.” Lee recalls, “I was worried. Even though I am a Korean, I did not know anything about Korean traditional music.” Soon as after this conversation, Lee asked his father to introduce him to his colleagues at the National Center for Korean Traditional Performing Arts (NCKTPA). When Lee escorted General Bonesteel to the NCKTPA, General Bonsteel seemed able to figure out which instruments were original from their effect on China or India in the collection of Korean Traditional Instrument. Even with all of his musical training, Lee did not know anything about Korean Traditional Music. Lee was amazed by the sound of Korean music at the NCKTPA. It was a short visit, but he first began to seek his ‘own sound’ as a result. In his book, he notes, “Today, though I am composing western music, this experience paved for me my first route to looking for a musical idea in our own sounds….That’s how (thus) the first person I met was a master of 15

hyang piri, a Master Jeakuk Jung.”34 After he finished his military service, he returned to Yeon Sei University and immediately began to study Piri with Master Jeakuk Jung, who has been deemed a ‘national treasure’35 by the Korean Government. He gradually built up the Piri’s repertory, such as Taryung and Sooleanjang, with Master Jung and later he composed Piri and Orchestra for his teacher Jung. While pursuing his bachelor’s degree, he had a chance to perform the piri when the Yonsei Concert Choir gave a performance tour in Japan in 1968.36 His experiences of learning and performing the piri encouraged and developed his employment of the traditional Korean musical techniques of the piri as well as other Korean traditional elements in his musical pieces.37 Lee was a member of the Yeonsei concert choir and learned about choral music from Sansoo Kwak. He became interested composing in choral music during graduate school. He composed Kyoung for percussion and men’s choir for his graduation recital. He eventually integrated all Korean rhythms, gestures, melodies into his Kyoung and created his own Korean sound. His Kyoung was officially performed by the Korean National Choir at the Korean National Theater in Seoul in November 12, 1977. His Kyoung won him admission to study with Carl Orff at the University of Munich.

Study Abroad in Germany and the United States After Lee graduated from Yonsei University, he entered the Hochschuled for Music in Munich, Germany, where he studied modern German music with Carl Orff (1895-1982) and 34

Ibid, 66.

Bruno Nettl, The Study of Ethnomusicology: Twenty-nine Issues and Concepts (Champaign: University of Illinois), 351. 36 Young Jo Lee, 74. 37 Yeon Jin Kim, 23.

Wilhelm Killmayer (1927-). When Lee sent his twenty compositions to Carl Orff to apply to enter and study at the University of Munich, Carl Orff was interested in only one composition: Lee’s Kyoung. As mentioned above, Lee created his own sound that developed a Korean musical idea through choral and percussion sounds. Carl Orff said of the piece, in the “Kyoung, I truly feel your spirit and culture.” Lee studied with Carl Orff for only one year because of Orff’s poor health. For his continuing study of composition, Orff sent to Lee to Wilhelm Killmayer, chair of the department of composition. Lee was happy to study a composition at the University of Munich. In 1979, he composed Sori No.3 for solo clarinet for his graduate recital at the University of Munich. Lee used Korean traditional woodwind technique in his Sori No.3.38 Lee was interested not only in music but in Germany’s music education system, which involves an apprenticeship program for music students. Later he published a book, A Study on Creative Education in West-Germany: the Field of Music Composition.39 His experience of German music education inspired his teaching and administration when he went on to hold positions such as Department Chair at the American Conservatory (1986-1993), a professor and ean of School of Music at Korean National University of the Arts (1994-2008), and a director of the Korea National Institute for the Gifted in Arts. He also studied in the United States where he began his doctorate in composition at the American Conservatory of Music in Chicago in 1986.40 Lee’s educational background of studying in Germany and the U.S. as well as in Korea enabled him to develop his own compositional style, which creates a new contemporary sound by incorporating Korean traditional music elements and instruments into Western music idioms. 38

Choon Mee Kim, 77. Young Jo Lee, A Study on Creative Education in West-Germany: the Field of Music Composition (Seoul; Yonsei Graduate School, 1982) 235-262. 40 Choon Mee Kim, 73. 39

Working for Korean National University of the Arts In 1994, Lee eventually returned to South Korea as a professor of composition at the Korean National University of the Arts (K’arts). Also, he served as the dean of the school from 1997 to 2001, returning to his position as professor until retiring in 2008 after 14 years. K’arts was established by the Korean Government in 1994. In 1994, K’arts opened the department of music for the first time. Finally, in 1998, K’arts began operating six schools: music, drama, dance, fine arts, traditional Korean music and film. Lee was the first dean of the school of music, and developed the music program at K’arts. When he served as dean, K’arts became an elite music program in South Korea. One of his many contributions to K’arts was the wind ensemble performance at the World Association for Symphonic Bands and Ensembles (WASBE) in Austria (1997) and in San Obispo, USA (1999). His students were the first university wind ensemble from South Korea at the WASBE. Another contribution was his commissioning of a composition called Sori for wind ensemble for the K’arts Wind Ensemble. Moreover, Lee composed Sori No. 10 for alto saxophone, which was commissioned for Jin Son, the first saxophone student at the Korea National University of the Arts (K’arts). From 2008 to 2009, He worked as the director of the Korean National Institute for the Gifted in Arts. From 2013, he has served as Chairman for the Korea Arts and Culture Education Service for the Korean Ministry of Culture.

CHAPTER 3 HISTORY OF PIRI

“‘The word p’iri is not found in the early source material, but p’illyul is; It can therefore be suggested that p’iri is merely the contemporary pronunciation of the Sino-Korean lexigraphs for p’ilyul.”(Howard, p.50) In 15th century, the piri appeared on ceiling and wall paintings of tombs in Koguryo41, the northernmost part of the Three Kingdoms. Bang Song, a Korean traditional music scholar, investigated the piri painting that was found in Koguryo.42 The Piri was one of the instruments depicted in the paintings in Tomb No.1 at Chagn-ch’uan, Manchuria. Song concluded that “the Ch’ang-ch’uan Tomb paintings are extraordinary and unique in their presentation the new Koguryo instruments in the fifth century were the five-string luth, the transverse flute, the double reed piri (p’iri or p’iiyul), and the five stringed zither.”43 HyeGu Lee, in his book, Essay of Korean Traditional Music, described Koguryeo’s cylindrical oboe (p’iri) as originating from central Asia. He also claimed the piri was prevalent in north China before the Sui Dynasty(AD. 622).44 Later on, the piri was found in Koryosa, a history book of the Koryo Dynasty, ranging from 918 to 1392. Korysa describes three styles of music: Hyang-ak, Tang-ak, and A-ak of the Koryo Dynasty. In Korysa, the piri was imported for playing hyang ak (indigenous music).45Akhak Kwebŏm (1493), one of the most important musical treatises from the Early Choson Dynasty (1392-1592),

41 42

Koguryo(37 BCE-668CE) is one of the Three Kingdoms in Korean history. Song Bang Song, Korean Music: Historical and Other Aspects (Seoul: Jimmoondang Publishing Co.,

2000), 139. 43

Ibid, 158. Hye-Ku Lee, Essays on Traditional Korean Music. Trans. Robert C. Provine(Seoul, Korea: The Royal Asiatic Society Korea Branch, 1981), 3. 44

Song, 16.

included the piri.46

Three different types of piri Three different types of piri are used in present day Korea: hyang piri, tang piri and se piri. The hyang piri is also referred to simply as piri in Korea (see Figure 3.1).

Figure 3.1 Three different types of piri: 1) hyang piri; 2) tang piri; 3) se piri

The piri is a traditional Korean oboe-type instrument. The piri consists of two parts: the body, made of a piece of bamboo, and a second part which has a wide double reed made of Kaltae.47 The piri has eight open holes with seven holes in the front and one hole in the back. It

46 47

Ibid, 161. Keith Howard, Korean Musical Instruments: A Practical Guide (Seoul: Sekwang Music Publishing Co.,

1988), 49.

is said that due to the natural materials used for the instrumentâ&#x20AC;&#x2122;s body construction, the piri imitates the human voice. The hyang piri can be customized for minyo-gwan or jungak-gwan.48 The minyo-gwan piri is about 25.4 cm in length and 1.2cm in diameter, and it ranges from Ab to F`.49 The jungak-gwan piri has the same diameter as the minyo-gwan, but is one centimeter longer than the minyo-gwan piri, and it ranges from Bb to F` (see Figure 3.2).50

Figure 3.2 Hang-piri: 1) jungak- gwan (front and back); 2) minyo-Gwan; 3) seo (double reed)

The se piri is very similar to the hyang piri; it is only slightly shorter and thinner than the hyang piri. The se piri is about 0.9cm in diameter and 25.4cm in length, and it ranges from Bb to F` 48

Min yo means Korean folk songs. Jung Ak means Korean court and noble music Gwan means the body of a wind instrumental in Korean. 49 50

Jong Dae Lee, A Piri Method (Seoul, Korea: Eun Ha Publishing Co., 1998), 7. Ibid, 8.

(see Figure 3.1).51 The tang piri is shorter but has a larger diameter than the other piri and is about 23.3cm in length and 1.8cm in diameter. The range of the tang piri is C to A`, but at the high range of F` to A` a technique known as bi chung or yok chi (using a key of overtone) must be used. Another unique quality about the tang piri is the back thumb hole, located between the first and second front open hole (see Figure 3.3).

Figure 3.3 Tang piri: front and back

Piri for Court Music, Folk Music and Religious Music Korean traditional music can be divided into three categories: court music, folk music and religious music (see Table 3.1).52

51 52

Ibid, 9. Song, 40.

Table 3.1 Three categories of Korean music Three Categories of Korean Music Ritual Music Court Music

Banquet and Military Music Instrumental music

Folk Music Vocal Music Religious Music

Munmyo Cheryeak (Consucian Temple Music), Chongmyo Cheryeak (Ancestral Shrine Music, includes a Tang piri) Hyangak (Korean Music, includes a Hyang piri), Tangak (the music of Tâ&#x20AC;&#x2122;ang China), Muryongjigok (royal military music) Chongak (right music), Sanjo (scattered melodies), Nongak (farmers music) Kagok (long lyric songs), Shijo (short lyric songs), Kasa (narrative songs), Pansori (sing alone with drama), Minyo (folk songs)

Buddhist Music

Pompae and Yombul (praying to Buddha)

Shamanistic

Kut (a Shaman sings), Shinawi (Shamanistic Dance Music)

The hyang piri can be found in all three categories of Korean music. In Sujechâ&#x20AC;&#x2122;on, a court orchestral piece, the hyang piri has a main melodic line with the taegum (a large transverse flute). The se piri, having the smallest diameter among the other piri, has a gentler tone and a softer sound. Therefore, it is used to accompany folk vocal music such as Kagok, Sijo and Kasa.53 The tang piri is associated with royal shrine music, known as Jongmyo Jerye-ak. This music is performed for the honor of the Choson Dynasty Kings annually in May in South Korea. It uses various instruments such as Tang (instruments from China) and Hyang (Korean indigenous instrument) in a traditional orchestra setting. Two orchestras, one band on the terrace and the other band on the ground, perform the music with the accompaniment of ritual dances. The tang piri is featured in both orchestras for Court Music.54

53 54

Song, 45-46. Song, 41.

Notations for Piri: Western Notation or Traditional Notation? A variety of piri method books or piri scores can be easily found in bookstores in South Korea. In particular, some piri method books are used for non-major students or beginners for teaching and learning piri. Seung Ryol Park’s Piri Method shows the basics of fingering, scales, vibrato techniques, and etudes of piri music scores and this book follows the Western notation system.55 The Piri Method book by Jong Dae Lee features basic of piri techniques and various etudes for beginners and intermediate students.56 Lee’s book also follows the Western notation system. Ethnomusicologist Bruno Nettl remarks in The Western Impact on World Music: Change, Adaptation, and Survival: Some Asian notation systems involve indications of tones in liturgical chanting with the notes tied to the verbal text, and tablatures which give finger, fret, string, or fingerhole to be used in the production of a particular tone. These Asian notations seem rarely to have been used during actual performance or even as teaching devices, but rather to have served more as archival sources for preservation and occasional reference.57 Moreover, Nettl shows positive and negative aspects of using Western notation systems for nonWestern music. He notes, “The coming of Western notation is the best thing that could have happened for the preservation of our traditional music,” though “with the coming of notation, some of the essence of our music has disappeared.”58 His argument is valid. I found this tension to be true when I first learned piri myself. When I first met my piri teacher, Se Kyoung Kim, who is a piri player at the Kyoung Gi Korean Traditional Orchestra, she taught me piri with Korean traditional music notation scores in preparation for my first visit to Korea for my field research from November, 2011 to April, 2012. During my second visit to Korea for my research, from April, 2013 to June, 2013, she used 55

Seung Ryol Park, Piri Method (Seoul: Minsokwon, 2007). Jong Dae Lee, A Piri Method (Seoul, Korea: Eun Ha Publishing Co., 1998). 57 Bruno Nettl, The Western Impact on World Music: Change, Adaptation, and Survival(New York: Schirmer Books, 1985), 65. 58 Ibid, 65. 56

two versions of piri scores. One follows the Korean traditional notation system and another for the Western system. I found using different versions and following both the Korean and Western systems made it much easier for me to learn the instrument. Before I visited Korea once again from October, 2013 to December, 2014, I asked her if I could work on mastering one full-length piri piece. She gave me one of the pieces following the Western notation system during my third field research trip. This time, I felt that learning the pieces only with the Western style score was not sufficient to learn how to play and master the piece. As Nettl notes, “There are many things in the music that cannot really be expressed in notation.”59 For my first visit, I learned the instrument with the book by Jae Kook Jung’s Piri Guum Jung Ak Bo (Piri Oral Sound Court Music Score). This book is often used for professional students and players. Jung’s piri book uses Korean style notation systems that use Junggan Bo with Guum Bo (see Figure 3.4).

Figure 3.4 Jae Kook Jung’s piri guum jung ak bo: an excerpt of Geum Jun ak60

Ibid, 65.

Jae Kook Jung and Tae Sub Kim, Piri Guum Jung Ak Bo (Seoul, Korea: Eun Ha Publishing Co., 2010), 164.

Jungganbo is equivalent to the traditional mensual notation. Jungganbo, which has the same size of squares, is read from the right to left and top to bottom. Keith Howard states about junggan bo, “Chŏngganbo notations comprise a series of Sino-Korean characters and other symbols in a set of squares. These should be read as vertical columns running from right to left according to the comments on musical orthography given in the introduction to this volume.”61 The pitch of the letter is determined by the Chinese characters. Jungganbo also indicates the duration and pitch of notes and the performance technique through letters and symbols in each square. Soojin Kim states, “Unlike Western music, which includes time signatures and different length of notes and bars, length of notes in chŏngganbo are given by the number of squares.”62 A column of squares is called haeng in Korean. The performers read music followed by haeng by row, top to bottom. Howard detailed the piri’s notations in three areas: traditional mensural notation (junggan bo), verbal notation (guum), and Western staff transcriptions.63 Verbal notation (Guum) uses imitative mnemonic oral sounds of the musical instrumental sounds. According to Jung’s book, the notation of Junggan bo originated from the Chosun Dynasty, but the guum that he follows does not. Jung annotated the guum that he learned from his teacher. Jung notes in his book, “In the 1920s, when people started to learn and teach, it is no doubt that they learned how to hold the instrument first, how to open and close holes, and then how to sing verbal sounds of the instrument sounds. This was the way of learning the piri.”64 He points out that increasing numbers of students learn the verbal mnemonic sounds of the instrument first, while old piri music has been transcribed with the five-line staff notation. A few of these scores provide guum 61

Howard, 70-72. Soo Jin Kim, “Diasporic P'ungmul in the United States: A Journey between Korea and the United States.” (Ph.D. diss., The Ohio State University, 2011), 90. 63 Howard, 68. 64 Jung and Kim, Piri Guum Jung Ak Bo, 5. 62

at the bottom of the line. Jae Kook Jung’s other piri book, Piri Sanjo is different from his Guum Jungak Bo. Jung’s Piri Sanjo provides two different notation systems: junggan Bo and five-line staff notation. This book does not provide guum notation (see Examples 3.1 and 3.2). Example 3.1 Jae Kook Jung’s Piri Sanjo: an excerpt of Jin Yang in junggan Bo65

Example 3.2 Jae Kook Jung’s Piri Sanjo: an excerpt of Jin Yang in western notation66

65 66

Jae Kook Jung, Piri Sanjo (Seoul: Eun Ha Publishing Co., 1995), 9. Jung, Piri Sanjo, 3.

Examples 3.1 and 3.2 show different notation systems for Jung’s piece. Both notation systems feature symbols which indicate vibrato, fingering position, and special techniques. The symbols are placed in the right corner of columns in jungganbo and above the notes in Western five-line staff notation. The differences between these two notation system is that jungganbo shows ornamentation notes character-like symbols such as ㅅ,∧,ㄷ,ㄱ,N. Thus, players can distinguish ornamentation notes, represented as symbols in the right of the columns, from the regular notes. However, Western five-line staff notation includes those ornamentation notes not in symbols but with the regular notes. All the ornamentation notes are represented as notes, which means players cannot distinguish which notes are ornamentation notes and which are not. Korean musicologist Do Hee Kwon examines guum bo for the Korean traditional instruments. In her book, Gueum: Dulineun Giboberb (Musical Notation through Oral Sound) she provides all guum (notations of verbal sound) below the five-line staff notation (see Example 3.3).67 Example 3.3 Kwon’s western notation with guum: an excerpt of Geum Jun Ak68

Do Hee Kwon, Gueum Dulineun Giboberb (Musical Notation through Oral Sound)(Seoul: Minsokwon, 2011).

Ibid, 209.

Comparing Jung’s Junggan bo with guum and Kwon’s western notation with guum, ornamentation notes like nira, nire, nanireu, ro, ni, and nina are represented as symbols like ∧, ㄷ, ㄱ, ㄴ,

ㅅ,

and, N. As mentioned earlier, Jung placed those symbols in the right corner of

squares. Kwon does not use symbols for representing ornamentation notes. She records the ornamentation notes as the verbal sounds of the instrument sounds and places them below the five-line Western staff notation. Each verbal sound of the instrument is right under each note. As Kwon’s notation system shows the Western notation system along with vocalizations of the instrument sounds, players can distinguish which notes are ornamentation notes and which are not. In this section, I examined different notation systems for the piri. In the next section, I will demonstrate performance techniques for the instrument.

Piri’s Techniques: Sigimsae In Western music, the three basic elements of music are melody, rhythm, and harmony. The three elements of traditional Korean music are melody, rhythm, and sigimsae; there is no harmony in the Western sense in Korean music. Thus, to understand the differences between Western and Korean music, the starting point is an explanation of sigimsae.69

Sigimase is a Korean musical element such as jangdan (rhythm), sunyul (melody and maintone). MyounWon Yun also states that sigimsae can be found in three categories: oraments, vibration, and special technique.70 The division of ornamentation has three types of before-ornamentation (nira, nire, and

Jeong Seok Lee, “The Interaction of Korean and Western Pracitices in Isang Yun’s Piri of Oboe solo and Other Works.” (D.M.A. diss., The City University of New York, 2011), 12. 70 Myong Won, Yun. “‘Sikimsae’ of the Present Textbook on Music in Korea.” Woo Seok University Collection of Dissertations 18(1996): 244.

nanireu) and three types of after-ornamentations (ro, ni, nina) (See Table 3.2).71 Nira (

)

is a

before-ornamentation that plays two tones higher than the principal and plays before the principal note. Nire (∧), commonly used in piri, is played before the principal note and one note higher than the principal note. Nanireu (ㄷ) is a fast double appoggiatura that consists of one note lower and one note higher than the principal note, and is played rapidly. Ro (ㄱ) is an afterornamentation that is similar to an unaccented appoggiatura in western music. Ni (ㄴ) plays a principal note and the post note is higher than the principal. Also, the third note is lower than both the principal and second note. Nina (N) is another after-ornamentation that indicates the principal note is followed by a higher auxiliary note and another auxiliary note that comes back to the principal note.72 Table 3.2 Piri’s ornaments Sections

Symbols

Verbal(Guum)

Examples of Written in Western Notation

Nira Nire

Fore Ornament

Post Ornament

ㄷ

Nanireu

ㄱ

ㄴ

Nina

Gun Sub Kim, “A Study on the Ornament (Shikimsae) for Piri in Current Yominrak.” (M.A. thesis, Dan Kook University, 1996), 5. 72 Keith Howard, 73.

Vibration is also an important technique for the piri and this can be divided into three types: yosung (western trill or vibrato), chusung (upward glissando or portamento), and toesung (downward glissando) (see Table 3.3). These three vibrations for the piri are played by controlling air pressure in the cheeks. Table 3.3 A chart of vibration technique for the piri Vibration Technique for the Piri Vibration Symbols

Explanations Vibration with light sound

Yosung

Wide vibrato using lips

Chusung

One or two tone ascending glissando without key change

Toesung

One or two tone descending glissando without key change

Lastly, the techniques that are unique to the piri are serchim, siru, and ruder pyo73. These techniques are represented by symbols and verbal sound (Guum). Serchim Pyo(â&#x2C6;&#x2021;)is a musical symbol indicating a technique of tonguing and called Sire in verbal sound.74 When a principal note is notated with serchim pyo, and it is upward or downward to the next note, the main note is then played with heavy tonguing. Siru (6) is an ornament technique in which a grace note is played from a descending order to embellish the principal note. Siru is played with soft tonguing on the grace note. Ruder (9) is when an unaccented appoggiatura is played after the principal note ascending to embellish the next note. Ruder (9) requires a soft key release without tonguing (see Table 3.4).

73 74

Pyo means symbol in Korean. Jung and Kim, Piri Guum Jung Ak Bo, 14.

Table 3.4 Special techniques for the piri Special Techniques for the Piri Verbal Sound

Symbol

Sire (Serchim Pyo)

â&#x2C6;&#x2021;

Siru

Ruder

Explanations A principal note is notated with serchim pyo, and it is upward or downward to the next note, the main note is then played with heavy tonguing A grace note is played from a descending order to embellish the principal note An unaccented appoggiatura is played after the principal note ascending to embellish the next note

CHAPTER 4 PIRI TECHNIQUES IN SORI NO. 10 FOR ALTO SAXOPHONE

In piri techniques, ornamentations and vibratos are very important. YoungJo Lee incorporated those techniques into his Sori No.10 for alto saxophone. Although Western vibratos and glissandos are different techniques, YeonJin Kim notes, “The vibrato in traditional Korean music is broader than Western vibrato and includes portamenti and glissandi as well.”75 Yosung In beginning of Sori No. 10, Lee indicated the shape of the vibrato above the main tone that gradually increases in amplitude. The typical vibrato in the piri is called yosung, which normally has two vibratos, wider and thinner (see Example 4.1).76 The piri’s vibrato can be evoked by moving the lips and controlling air pressure in the cheeks. Additionally, a saxophonist can play this vibrato like piri’s yosung by beginning the main tone without a vibration and gradually widening the amplitude. Example 4.1. Yosung in beginning of Sori No.10: vibrato with sustained main note and gradually widening vibrato

75 76

Yeon Jin Kim, 47. Jong Dae Lee, A Piri Method, 11.

In measure 20, the sign for the decrescendo appears on the G# note and this dynamic sign lasts until the first note of measure 21, A#. Right after the decrescendo sign on A#, the yosung is presented and remains throughout measure 21(see Example 4.2). Example 4.2 Yosung on two notes in measure 21 of Sori No.10: the sign of decrescendo one measure before m.21 and vibrato with sustained A# and gradually wider on F

However, this yosung is quite different from the yosung in mm. 1-12 (see Example 4.1). While the yosung shown in Example 4.1 is performed on the same note, the yosung in measure 21 is played on two notes, A# and F (see Example 4.2). Therefore, the saxophone player should keep in mind to start to play the yosung from the note A#, to sustain the A#, and to smoothly play vibrato gradually wider on the note F. To highlight, if the saxophone player performs the yosung right on the note F in the measure 21, it would be as same as shown in Example 4.1. All three yosung presented in mm. 80-92 are performed exactly the same way as the saxophone player would use for the yosung shown in example 1. This is because the yosung in the final section A is played on the same note (see Example 4.3)

Example 4.3 All three yosung in the last section of Sori No.10: this yosung is the same as Example 4.1

Toesung and Chusung Another vibrato piri technique for vibrato is called chusung (ascending glissandi) and toesung (decending glissandi); itâ&#x20AC;&#x2122;s extremely similar to glissando or pitch bending in Western music. Lee adopted the piri chusung and toesung technique in his saxophone music (see Examples 4.4 and 4.5). Example 4.4 Sori No. 10, triple chusung, mm. 18-19

Example 4.5 Sori No.10, toesung, mm. 40-41: Downward Glissando

Lee used double chusung in mm. 37-38 (see Example 4.6). The technique of double chusung can be found in Lee’s Yeominlak, literally meaning “Enjoying with the People” which is for court music. Double chusung in Yeominlak is very similar to Lee’s double chusung in Sori No.10 (see Example 4.7). Example 4.6 Sori No.10, double chusung in mm.37-38: upward glissando

Example 4.7 Double chusung in yeominlak, showing upward glissando with whole step77

Moreover, Lee’s triple chusung can be found in yomillak (see Example 4.8). Example 4.8 Triple chusung, showing the end of the measure in excerpt from Yomillak

Chusung and toesung for the piri involve a changing of a note without a key change. For example, the piri can change notes by a half step or whole step without a change in fingering, 77

An excerpt is from Anthology of Korean Music, yomillak, 34.

and this is done by controlling the lips, airflow from the throat, and oral cavity position and voicing. Saxophone players perform this technique by using fingering and this technique is also used for glissando or pitch bending by a half step or a whole step. It’s easily seen in Lee’s two saxophone works that he borrowed the piri’s vibration technique. Yosung is found seven times, in measures 3, 6, 11, 21, 82, 87, and 93. Toesung is found five times, in measures 26, 40, 41, 59, and 89. Chusung is found seven times, in measures 18, 19, 37, 38, 39, 60, and 63. The total number of vibratos are 19 in Sori no.10

Nira Nira (

) is one of the piri’s before-ornaments that plays two tones higher than the

principal and plays before the principal note. Lee used nira in mm.16 and mm.22. After a half rest, nira appears in the first beat of each measure (see Examples 4.9 and 4.10) Example 4.9 Sori No. 10, Nira in measure 16

Example 4.10 Sori No. 10, Nira in measure 23

The most important technique in nira is that the saxophone performer must play this ornament note, nira, without tonguing. Although the duration of the ornament note is very short, the performer must play carefully, i.e. not too fast.

Nire One common ornament technique in piri is Nire (â&#x2C6;§), which is played before the principal tone and one tone higher than the principal note. The difference between nire and nira is that nire is featured between notes but nira is shown after a rest, note, or at the beginning of the phrase. In measure 41, Lee used nire after chusung (see Example 4.11). Example 4.11 Sori No.10, Nire in measure 41

The piri player does not use tonguing for nire. Saxophone performers play nire without tonguing but the ornament note should be shorter than the previous note. Lee uses both nira and nire for expressing the Korean musical atmosphere.

Ro Ro (ă&#x201E;ą) is an after-ornamentation which is can be found in western music as an unaccented appoggiatura. Lee used Ro in measures 62 and 63 (see Examples 4.12 and 4.13).

Howard states about Ro, it is “one tone lower than written; play at end of written (main) tone”78. Saxophone players must be play very smoothly this slur line and carefully finish an eighth note. Example 4.12 Sori No.10, Ro in measure 62

Example 4.13 Ro in measure 63

Ni Ni (ㄴ) is an after-ornament which is the opposite direction of ro, playing a principal note and the post note higher than the principal. The third note is lower than both the principal and second note. Lee adapted ni only one time, in measure 25 (see Example 4.14). Example 4.14 Sori No.10, Ni in measure 25

Sire Sire is special technique which uses heavy tonguing at the sign (∇) above the note. This technique is called serchim pyo. Sire is a kind of before-ornament and is similar to nire and nira. 78

Howard, Korean Musical Instruments: A Practical Guide, 73.

However, there are two differences between sire and other before-ornaments; sire must be played with heavy tonguing and sire usually appears on high notes in the piri (see Example 4.15). Example 4.15 Do Hee Kwon’s guum bo: Sire in Gil Ta Ryoung79

In measure 40, Sire appears in ‘Db’ which is the highest note of Sori No.10 (see Example 4.16). There is a slur between ‘Db’ and ‘B.’ The saxophone performer plays the tonguing technique at the beginning of the slur line, which is Db. However, the performer’s tongue blocks a reed in ‘Db’ and then opens a reed with heavy tonguing in ‘B,’ like pronouncing ‘ta.’ Although ‘Db’ is generally played with the tonguing technique, the performer plays ‘Db’ without the tonguing technique for the sire technique in Sori No.10. Example 4.16 Sori No.10, Sire in measure 40

Do Hee Kwon, 204.

Chapter 5 SORI NO.10 FOR ALTO SAXOHPHONE: BACKGROUND AND ANALYSIS

In this chapter, I will analyze the stylistic features of Lee’s Sori No.10 and examine the ways in which Lee creates forms, rhythms, textures, modes, and melodies. Moreover, I will present performance suggestions section by section.

The Background of Sori No.10 Sori No. 10 was composed in 1997 when YoungJo Lee served as Dean at the School of Music, Korea National University of the Arts (K’arts). I conducted an interview with Lee on May 19, 2013. The interview provided background information about his motivation for composing Sori No.10. Lee notes, “I received a call from the Netherlands. An alumnus of K’arts, Jin Son (1971-) asked me to write a solo piece for his graduation recital at the Rotterdam Conservatory in the Netherlands. I composed Sori No.10 for the alto saxophone upon his request.”80 Son Jin was the first saxophone student at the Korea National University the Arts. He performed Lee’s Sori No.10 when he came back to Korea as a piece for his first recital on November 11, 1999 at the Seoul Arts Center.81 Sori No.10 is one of the eleven solo instrument composition series, all of which are named “Sori,” meaning “sound” in Korean. Lee’s sori series incorporates Korean musical elements into western musical sources. In addition, he also employed the concepts and ideas of Taoism. The word Tao refers to path, or way. According to Yeonjin Kim, “This philosophy 80 81

Young Jo Lee, interview with Author, Yong In, South Korea, May 20, 2013. Access on February 10, 2014, http://www.sac.or.kr/program/schedule/view.jsp?seq=3395&s_date=19991122.

builds on the many dualities in nature, such as dark and bright, low and high, cold and hot, slow and fast, and weak and strong.”82 Kim argues that, “In Lee’s music, this concept of contrasts is very evident, with opposite elements taking the form of high and low, long and short, loud and soft, activity and stillness, major and minor, and harmony and dissonance. Lee’s music, then, follows the supreme goal of Taoist art—to make balance (harmony) between energies that move with yin and yang elements.”83 Applying yin and yang to improvisational and compositional parameters, yin illustrates release, emptiness, passivity, slow, low, soft, legato, smooth, consonant, triadic, unison, and gradual change whereas yang refers to tension, full, fast, height, loud, staccato, accented, dissonant, extensions, harmony, and sudden change84. Especially, Lee focuses on the yin and yang of Taoism for his Sori series. In her DMA thesis, entitled “Korean Organ Music: Fusion of East and West” that focuses on Sori No. 8 for organ, Sun-Min Kim points out, Sori No. 8 consists of two parts, one representing the East and one representing the West. The A part, symbolizing the East, shows a free and relaxed flow without any frame. In contrast to the A part, the second B part commencing in measure 53 and representing the West, develops its formal structure in fugal style.85 She demonstrates that yin shows characteristics of the East and musical elements of the East and yang shows the West and music of the West. Following Sun-Min Kim, I emphasize yin as the musical elements of the East, particularly Korea, and yang as music of the West, respectively. Having contrasting features for a musical piece is obviously found in Lee’s Sori No.10 as well. In the next section, I will examine the ways in which Lee has brought forth the 82

YeonJin Kim, 37. Ibid, 38. 84 Rick VanMatre, “Contrast and Balance in Free Improvisation.” Lecture at the World Saxophone Congress XVI from University of St. Andrews, St. Andrews, Scotland, July 12, 2012. 85 Sun Min Kim, “Korean Organ Music: Fusion of East and West.” (D.M.A. diss., Arizona State University, 2005), 11. 83

contrasting yin and yang concepts in his music through formal structures and divisions of phrases. Overview of Formal Structure and Phrase Sori No.10 divides into six sections along with the addition of two transitions and a cadenza. The six sections make use of different meters and tempos and all the sections have no key signatures. Sori No.10 shows contrasting yin and yang concepts by using various musical means and devices. The following table shows the overall structures and forms of Sori No. 10 (see Table 5.1). Table 5.1 Overall structures and forms of Sori No.10 Section A (mm.1-13)

Phrase Phrase I

Measure 1-5

Phrase II

6-13

14-15

4/4

110

Phrase I

16-22

3/4,4/4

Phrase II

23-31

4/4, 5/4, 4/4, 3/4

32-34 35-36 37-42 43-45

Transition II C (mm.35-45)

Phrase I Phrase II Phrase III

Yin; ornaments, chusung

3/4

Presto

Yang; accent articulations

6/4 3/4, 4/4, 3/4 4/4

Presto

Yin; central tone in G, chusung, toesung

46-56

4/4

Free

Phrase I

57-64

4/4,3/4

Free

Yin; Chusung,toesung

Phrase II

65-69

3/4

A tempo

70-79

4/4,3/4,4/4

110

80-84 85-92

4/4

Tempo I

E A` (mm.80-92)

Musical concept and source Yin; piri-like theme central tone in G, ornaments, yosung Yang; quintuplet, accent articulations

Yang; Improvisation, slap multisound, chromatice scale

Cadenza D (mm.57-67)

Tempo

4/4

Transition I B (mm.16-31)

Meter

Phrase I Phrase II

Yang; Crescendo, accent articulation, tuplets Yang; Staccato theme Yin and Yang; Retrograde of A, yosung,

As shown in Table 5.1, the piece has A, Transition 1, B, Transition II, C, Cadenza, D, E, and A’. The right column of the table is how I categorize each section based on yin and yang. In this piece, yin represents his central tone technique and vibrato and ornamentation methods of piri as all those elements are influenced by traditional Korean music. On the contrary, yang symbolizes fast and staccato devices and all the musical elements drawn from the West, such as saxophone performance technique, tuplet notes, heavy articulations, and chromatic and octatonic scales. Interestingly, Lee put yin and yang in alternating order except section E. However, given that section E has only 10 measures which have a staccato theme and this section works to move forward to the last section A’, positioning yang right after the yang of the D section is a reasonable device in this piece. Section A starts in a slow tempo (M.M.=60) with a central tone in G and calm atmosphere, showing yin. Between the A section and B section, there is a two-measure transition which features a fast tempo (M.M.=100). This transition includes heavy articulations and quintuplets and I posit this represents yang. In measure 16, the B section becomes moderato (M.M=80), changes its meter to ¾ , and presents piri techniques which represent yin. Measure 32, the second transition, has three measures played in fast tempo (presto) with sixpulet and heavy articulations. Thus, this symbolizes yang. The C Section in mm. 35-45 begins with 6/4 meter and p with a center tone in G4, showing yin. The cadenza is played in mm. 46-51. As the composer indicates free improvisation, slap tonguing, and multiphonic sound for this section, which shows all the saxophone techniques and western music concepts, I categorize this cadenza as yang. In the measure 57, the first phrase of the D section starts in a soft dynamic (p) which shows characteristics of yin, but the second phrase of D moves to yang in 4/4 meter. In m. 70, The E section comes out with sixteenth notes and staccato, symbolizing yang. Lastly, the A` section 44

begins with a tempo (M.M=60) with a soft dynamic. Although the A` section presents the same dynamic and tempo as found in section A, the A’ section explicitly plays retrograde of the A section. In the following sections, I will analyze each section more in detailed ways.

The A section Section A features in mm. 1-13. This section begins with G in slow tempo (M.M.=60). The note G becomes a central tone, or main note, throughout section A. The melodies of the A section are evolved and developed around the central tone. Jung Soo Hong remarks, “Young Jo Lee emphasizes his compositional style that uses central tone.”86 In measure 4, the central note G moves smoothly up a half tone to Ab with crescendo, then down to G with decrescendo. One beat before measure 6 has a quarter rest. In measure 6, the central note G comes again with vibrato and lasts until measure 7 (see Example 5.1). Example 5.1 Sori No.10, Central tone on G in the A section, mm. 1-13

Jung Soo Hong, 25.

The A section consists of two phrases, the first phrase in mm.1-6 and the second phrase in mm.6- 13. The two phrases of section A are divided by dynamics and a rest. The first phrase ends with the sustained note G and has a quarter rest, while G becomes gradually softer along with the signal decrescendo. The second phrase begins with the whole note G, performed vibrato. The A section of Sori No.10 shows that the Neapolitan scale is Leeâ&#x20AC;&#x2122;s most used scale.87 This section ends with a segment of Neapolitan scale consisting of C-Eb-G-B-Db, which is a C minor major b9 chord (see Example 5.2). Example 5.2 Neapolitan scale in m.10-12 and Neapolitan scale transposed in C

The first transition has two measures in mm.14-15 which show quintuplet notes in forte and moderato tempo (MM.=100). These quintuplets are marked with the fanning out of the beam and accent signs on the top of each note. The fanning out of the beam of the quintuplet gets 87

Sung Bok Gu-Jang, 33-34.

gradually faster with the articulation of each note. The quintuplet starts in G5 and the note G5 moves one octave downwards to note G4. Lee used the Neapolitan scale in Ab which consisting of Ab, A, B, Db, Eb, E and G (see Examples 5.3 and 5.4). Example 5.3 Notes and G target note in transition I, mm 14-15

Example 5.4 Neapolitan scales in Ab

Performance Suggestions As the two phrases of the A section are divied by a rest note, the performer should remember that the most challenging issues for this section are breathing and relaxing for each of rest. Although the rest does not have any sound, the silence in each of the rest is equivalent to playing notes based on the yin and yang philoshopy. It is recommended to practice the A section by breathing all rest notes with clam and stillness. Even though the sixteen rest note in measure 2 is short in duration, two sixteenth rest notes need a breath to create the silence more formally.

One of the suggestions to play this section is that the performer plays G in half note softly, breathes a half rest equally, plays G in the eighth note, and breathes the eighth rest twice. Lee indicated tempo M.M 60 at the beginning of the A section. The A section requires a slow flexible tempo to perform. As mentioned in Chapter 4, the piriâ&#x20AC;&#x2122;s vibrato technique yosung is required in the A section.

The B section After the first short transition, B section in m. 16- 31 begins with an ornament motive and chromatic melody with a new meter 3/4 and slow tempo (M.M.=80). The B section consist of two phrases, the first phrase in mm. 16-22 and the second phrase in mm. 23-32. The phrases are divided by a rest in m. 22 (see Example 5.5). Example 5.5 Two phrases in mm.16-31 and a rest in m.22

In the B section, Lee also presents four motives, each of which has different rhythm, length of notes, and ornamentation patterns. All four motives are also found in the C and D sections. Table 5.2 illustrates each motive and the characteristics of each one (see Table 5.2). Table 5.2 Types of motives in Sori No.10 Number of motive

Rhythmic Patterns

Detail A dotted half note with ornament in 3/4

Motive I A whole note with ornament in 4/4 A half note with ornament and two eighth notes in 3/4 A half note with ornament and eighth note and rest in 3/4 Motive II

A half note with ornament and quarter note in 3/4 A dotted half note with ornament and quarter note in 4/4 A dotted half note with ornament and two eighth notes in 4/4 A dotted quarter note and sixteenth note with sixteenth rest in 3/4 or 4/4

Motive III

A dotted quarter note and two sixteenth notes in 3/4 or 4/4 A dotted quarter note and an eighth note in 3/4 or 4/4

Motive IV

A dotted half note and a sixteenth note in any meter

The first phrase includes four motives. In m.16, the first motive appears, and in m. 17 the second motive is presented. The third motive appears three times in mm. 18-20, while the fourth motive is played in m. 19 (see Example 5.6). Example 5.6 Four motives of the first phrase in the B section, mm. 16-21

The second and fourth motives feature in the second phrase of the B section. The second motive is presented five times in mm. 23-24 and mm. 26-28. The fourth motive is shown in m. 25 (see Example 5.7). Example 5.7 Motives II and IV feature in the second phrase of the B section, mm. 24-31

The melody lines of the B section contain ornamented versions of three motives. The melody of the B section starts with a long note with ornaments. This kind of gesture is very common for Korean traditional music. The composer is drawing a long arch line in mm. 16-22, and another in mm.27-30. The range of the first phrase of the B section is from E3 to A-flat 4 and second phrase of the B section is from D to A. Each phrase of the B section starts with a low note, E3 in first phrase, G3 in second phrase, then the melody moves up to the target note, A-flat 4 in the first phrase, A4 in the second phrase. Lee avoids any harmonic progression or scale in the A section; however he uses the first note G of Section A to present the whole piece Sori no.10. The second transition covers three measures, mm. 32-33. This part starts with presto and the center tone â&#x20AC;&#x153;G.â&#x20AC;? In m. 32, all twelve notes present characteristics of the beam, which changes in tempo gradually. In this measure, Lee uses the beam as a way to increase tempo. Mm.32-33 features all twelve tones in this transition. It is obvious that Lee is stimulated by the twelve tone technique and applies modified twelve tone technique for this transition (see Example 5.8). Example 5.8 Sori No.10, transition II in mm.32-34

Performance Suggestions Each motive with its various piri techniques carries the A section melody toward a pirilike sound more than a saxophone sound. Different from the A section, in B the performer does not need to breathe a sixteenth rest between the triple chunsung technique. If the performer 51

breathes during this phrase, it is difficult to create a climax atmosphere for the melody in an arc which moves forward to the highest note Ab in the last beat of measure 19. For the climactic atmosphere in the B section, it is recommended that the performer practice the chusung technique, portamento. As mentioned in Chapter 3 for piriâ&#x20AC;&#x2122;s chusung, the piri player does not change key with fingering for portamento. However, saxophone players should practice this technique by using fingering. According to James Bunte, In order to get a convincing portamento the performer must have control over finger speed. In the first sixteenth of an inch of opening a key (or the last sixteenth when closing a key) most of the pitch change occurs. In order for a smooth transition between notes to occur, the performer should work to play with the same dynamic level throughout the finger movement, which is most difficult when the key is first opening or almost closing.88 Moreover, the most challenging technique in portamento of the B section is to contrast the dynamic changes, from p to f, using triple chusung technique in mm 18-19 of the B section.

The C Section The C section consists of three phrases, mm.35-45. The first phrase is from 35-36 and the second phrase is from 37- 41. The C section does not have big changes in dynamics despite the crescendo in m. 36 and decrescendo in m. 44. The whole part keeps to soft p. This dynamic prepares for the move forward to the cadenza section which demonstrates a few important performance techniques. As the dynamic is soft, those performance techniques and skills are highlighted. In measure 43, the third phrase begins with 4/4 meter and p. This C section ends with the note B# (see Example 5.9).

James Bunte, 13-14

Example 5.9 Sori No.10, two phrases in the C section, mm. 35-45

In measure 35, the first phrase of the C section begins with the center tone G4 in 6/4 meter and dynamic p. The first phrase, mm. 35-36, has only one G note which changes in length and gets gradually faster as the note G is played on a half note, four quarter notes, six eighth notes, a triplet, four sixteenth notes, and a quintuplet. After using central tone technique in G, a piri-like melody is shown in the second phrase of the C section, mm. 37-42. Lee brings out the melody of second phrase with motives II, III, and IV.

Motive II features in mm. 37-38. Motives III and IV are presented in m. 39. In measures 40

and 41, motive II reappears (see Example 5.10).

Example 5.10 Motives II, III and IV in the second phrase in the C section in mm. 37-42

Performance Suggestions From long to short notes with the serchim tonguing technique and from piano to forte with dynamic change, Leeâ&#x20AC;&#x2122;s piece demands a range of virtuosic skills to emphasize the performerâ&#x20AC;&#x2122;s virtuoso performance. From the beginning of the C section, the performer needs to play with a consistent light tonguing style, maintainly a strict tempo within the rhythmic accelerando to match all this to dynamic changes at the same time. In mm 37-42, this second phrase in the C section has the same performance technique as seen in the first phrase of the B section. The performer should not breathe during the rests between the three motive patterns in order to develop the high climax at measure 40. Lee also alters the time signatures among 3/4, 4/4 and 3/4 to emulate the B section. In mm. 44, there is a fermata with decrescendo in C#. The performer should freely play this C# with relaxation and finish this section calmly on B#.

Cadenza The cadenza is from measure 46 to measure 56. In measure 46, Lee indicates the sign for slap tonguing and free improvisation. He also marks the signs for multi-sound (multiphonic) and

free improvisation the measure 47 to measure 51. These measures are made up of octatonic, chromatic, whole-tone, and octatonic sounds in thirty-second notes and measure 53 uses wholetone, chromatic, and whole-tones in thirty-second notes (see Example 5.11). Example 5.11 Cadenza in the D section, mm. 46-56

Lee’s use of chromaticism can be found easily his other works. Of his violin work, Yeonjin Kim notes, “Lee adapts and uses nineteenth-century chromaticism in his compositions, including several different kinds of chromatic scales, such as the octatonic scale, the whole-tone scale and the hexachord scale.”89 Also, for his organ work, Sung Bok Gu-Jang states, “The

Yeon Jin Kim, 60.

characteristics include the whole tone and pentatonic scales, parallelism, and sound effects through quartal and quintal harmonies.”90 This cadenza ends with the note A, which first features in measure 54 and lasts until measure 56. The note A is played as a whole note in measures 54 and 55 and half note with fermata in measure 56.

Performance Suggestions The saxophone player maximizes the display of performance skills and techniques in this cadenza through slap tonguing, circular breathing, free improvisation, multi-sound, and a variety of symmetric scales. Lee’s dramatic use of instrumental techniques can be found in other works. Of Lee’s Sori No.3, Caputo states, “The great assortment of clarinet sounds are realized through the following techniques: dynamic changes, trills, vibrato and ornamentation of long tones with grace notes, multiphonics, flutter tonguing, glisses, and pitch bends.”91 During my interview with Lee, he said, “It is important to bring out the performer’s virtuosic instrument techniques in all my works.”92 The saxophone performer should play all of the techniques that display the performer’s virtuosity. In the cadenza of Lee’s Sori No.10, three saxophone extend-techniques are required: slap tonguing, multiphonic, and circular breathing.

Slap Tonguing Slap tonguing is the most difficult extended-technique for the saxophone player. Tracy Lee Heavner notes in his Saxophone Secrets, “Slap tonguing is an extended technique use by saxophonists that produces a unique popping sound when articulating notes in a pizzicato style.

90 91 92

Sung Bok Gu-Jang, 48. Michael Christopher Caputo, 103-104. Young Jo Lee, interview with Author, Yong In, South Korea, May 20, 2013.

This effect, sometimes called for in contemporary saxophone literature, is notated either by an X note head or by placing a + sign below the note along with the words slap tongue.â&#x20AC;?93 In measure 46, Youngjo Lee indicated an X note with all notations and signs the slap above the top of the measure (see Example 5.12). Example 5.12 Lee indicated an X note and Slap Sign in measure 46.

When playing the X note, the saxophone player may choose a position which tongues a reed with the middle of the tongue. However, most the important thing is that the front edge of the tongue should be hidden in the space between the front tooth and tongue (see Figure 5.1).

Tracy Lee Heavner, Saxophone Secrets: 60 Performance Strategies for the Advanced Saxophonist (Lanham: Scarecrow Press, 2013), 97.

Figure 5.1 The slap tonguing position by author

Circular Breathing In mm. 52-53, the performer performs this long passage with circular breathing. Londeix defines the definition of circular breathing in his Hello! Mr. Sax: â&#x20AC;&#x153;Continuous breathing, without interruption of the sound, is an ancient traditional technique in the middle and Far East; it has been associated with a specific, essentially modal music in which tonal cadences are nonexistent.â&#x20AC;?94 When playing this passage line with circular breathing, the performer should be keeping air over three whole notes which are derived a fermata in A at measure 54 (see Example 5.13).

Jean-Marie Londeix, Hello! Mr. Sax (Parameters of the Saxophone) ( Paris: Editions Musicales Alphonse Leduc, 1989), 82.

Example 5.13 Circular breathing in mm.52-56.

In measure 47, another saxophone extend-technique, multiphonic sound, is featured with the second theme of the A section. Heavner also states, “Mutiphonics [represent] an extended saxophone technique used in classical, commercial, and jazz style.”95 Although Lee indicated multisound and symbol of mutiphonic sound above the note, Lee left the fingering position of for this multiphonic sound up to the performer. I insert suggested finger positions for Lee’s mulitphonics and explain this fingering in my performance suggestions (see Examples 5.14 and 5.15). Example 5.14 Multiphonic, mm. 47-51

Heavner, 100.

Example 5.15 Added fingering of multiphonics and the multisound in Eb96, mm.47-51

The D section Beginning with the soft dynamic p, the D section from measure 57 to measure 69 consists of two phrases. In this section, Young Jo Lee employs all the motives for the first phrase and the central tone E for the second phrase. This section has the widest registrar range showing B3 to E6. E6 is the highest note in Sori No10 (see Example 5.16). Example 5.16 The D section featuring two phrases and range in mm.57-69

Daniel Kientzy, Les Sons Multiples Aux Saxophones Pour Saxophones Sopranino, Soprano, Alto, Tenor & Baryton (Paris: Salabert Editions,1983), 33-48.

The first phrase, mm. 57-64, has four motives. Lee establishes a piri-like sound in the first phrase of the D section. Motive I features in measure 57 and this is played on the whole note Ab along with the Db ornamentation. Motive II features in measures 58, 59, 60, and 63, and this motive in measure 59, 60 and 63 changes the meter to 3/4. After changing the meter from 4/4 to 3/4 at measure 59, the melody contour shifts from up to down like an arch line until measure 63. In measure 61, the motive melody contour is taken from measure 19 of the A section, with a similarly dramatic climax. Motive II appears in measure 60 and returns to motive II followed by motive IV with an accelerando and crescendo. The first phrase of the D section ends with motive II. As this piece has no key signatures and basically atonal characteristics, Lee brings out melodic figures which are always present in the motive patterns with ornamentation (see Example 5.17). Example 5.17 Sori No. 10, mm 54-64

The second phrase, in mm. 65-69, has the central tone, E. The central tone E changes in the length of the note E as the note is played, including one half note, two eighth notes, one triplet, eight sixteenth notes, one quintuplet, and one sextuplet in mm. 64-67. Lee indicates the dynamic signs for crescendo and accelerando in measure 64 as an attempt to emphasize this central note E. The recurrence of this melody contour can be linked to the second phrase of the C section. In measure 68, the central note E features in one half note, two eighth notes, and one triplet which are shown in the previous two measures 65-66. Lee’s use of central tone technique is one of his unique compositional techniques which bring out his philosophy, Yin. YeonJin Kim argues, “Based on the perception of yin and yang, Lee treats Western and Eastern equally, creating a perfect balance in his music.” The central note E ends with a dotted half note with fermata and rest in measure 69 (see Example 5.18). Example 5.18 Central tone in mm. 66-68

Performance Suggestions Understanding of Lee’s Korean traditional musical style and philosophy is crucial to practice and perform Lee’s contemporary solo saxophone works. Sections A, B, C and A` are composed based on the yin concept which is described as release, empty, passive, slow, low, soft, legato, smooth, consonant, triadic, unison, and gradual change. On the contrary, transitions I, II, 62

cadenza, and section E show tension, full, fast, height, loud, staccato, accented, dissonant, extensions, harmony, and sudden change, as in the yang concept. Saxophonist Rick VanMatre reflects and contributes this yin and yang philosophy concept into saxophone improvisation technique. Rick VanMatre explains, Contrast is relative to each individual and each situation, but it is perhaps the most important tool available to the artist. In any musical art form, intuitive reaction and development of the ear through listening to the great masters is more important than intellectual analysis. Nevertheless, theses ideas hopefully will provide inspiration to experiment to achieve contrast, the hallmark of every artist.97 When practicing in this section, the performer can easily determine simply by listening that the D section mixes yin and yang concepts. The saxophone player should be aware of these yin and yang concepts and express those contrasting ideas.

The E section The E section, mm.70-79, begins with a fast tempo, M.M=110. It is remarkable that this section is the fastest part among all the sections of this piece. Moreover, all notes are staccato and most notes are sixteenth notes except in m. 72, which has eighth notes along with syncopation.

The dynamic in the E section remains in forte. Lee changed meter only twice

from 4/4 to 3/4 in measure 71 and right after this change, it alters from 3/4 to 4/4 in measure 72 again. With a progressive dynamic, tempo, and articulation change in the E section, Young Jo Lee develops new characteristics for the E section that include the chromatic, locrian, octatonic, and whole tone scales, and those scalesâ&#x20AC;&#x2122; harmonic implication for melodic contour. Moreover, Young Jo Lee employs Korean traditional modes such as the kyemyonjo three-note scale or 97

Rick VanMatre, 2012.

yukjabegi scale in other words. Yukjabegi is a southern folk song in South Korea which mostly uses the kyemyonjo and yukjabegi scales (see Examples 5.19).98 Example 5.19 Yukjabegi99and Yukjabegi scale.100

The Yukajabegi scale is the only Korean traditional scale which has a half step between the fourth and fifth tones of the Western minor scale. Yukjabeagi refers to the namdo kyemyonjo mode. Namdo kyemyongjo mode is similar to the Seya scale. Juns Soo Hong demonstrates Lee’s use of the Korean Scale in his composition and says, “Seya Hwahyun[Harmony] is based on the

Inok Paek, “Folk Music: Vocal,” in Music of Korea, ed. Byoung Won Lee and Yong-Shik Lee (Seoul: The National Center for Korean Traditional Performing Arts, 2007), 70. 99 InWha So, Theoretical Perspectives on Korean Traditional Music: An Introduction (Seoul: The National Center for Korean Traditional Performing Arts, 2002), 155. 100 Access on April 3, 2014, http://www.egugak.go.kr/dp/pds/HTML5-2-3-2/HTML5-2-3-2-2/index.htm.

Seya Seya... in Young Jo Lee’s music, Seya Hwahyun[harmony] is often used with an extra note in fifth. If two notes are added in Seya Hwahyun, it became a five-note scale.”101 The Seya scale (nambo kyemyongjo mode) can be found in the southern Korean folk song, Saeya Saeya Parang Saeya (see Example 5.20). Example 5.20 Parang saeya and three-note of namdo kyemyong jo mode

In measure 70, Lee used the seaya scale in D, G and A, and added two extra notes, E and Bb (see Example 5.21). However, it might as well be said that Lee used the yukjabeagi scale or three-note gyemyoung jo.

101

Hong, 60.

Example 5.21 Sori No.10, m.70

Lee mainly used a variety of western scales and modes such as locrian, whole tone, octatonic, chromatic, and so forth. A similar example of using various scales is shown in the cadenza, especially from measure 52 to measure 53. Lee seems to employ half diminished seven chords; of course for its inversion, that modality is the locrian mode through mm. 70-73. Measure 70 has five notes D-E-G-A-Bb which consist of the third inversion of an E half diminished seventh chord, with the exception of A. In measure 71, the stepwise motion delivers F sharp half diminished seven chords, F#-A-C-E-B from previous chords in measure 70. Then, again, F sharp half diminished seven chords return to the previous chord, and the E half

diminished chord five steps up to B half diminished chord, B-D-F-A. The modality of those half diminished chords is locrian mode, which is featured throughout mm. 70-73. Lee used the whole tone scale in both the third beat in measure 73 and the first beat in 75. Those notes, G#-A#-B#C#-D or C##-E-F#, in measures 73 and 75 compose a whole tone scale which ascends in whole steps. Measure 74 shows D#-E-F#-G-A-Bb-C-C#-D# a chord which is an octatonic scale. The notes in this measure are played half step and whole step in turn. Lee presents the octatonic scale with a downward motion. The second part of m. 75 and the first part of m. 76 plays a descending chromatic scale of B-C-D-D#-E-E#-F#-G-G#-A-A# (H-H-H-H-H-H-H-H-H-H-H). Those notes are played thoroughly in half steps and this creates a chromatic scale. The part of mm.77-78 which plays G#-A#-B#-C##-E-F#-G# ends with a whole tone scale and this whole tone scale is also seen in measure 75(see Example 5.22). Example 5.22 Sori No.10, in mm 70-79

To sum up section E, the most active section, the composer uses a variety of scales, fast tingeing to bring this section to a climax. This section presents E locrian (m. 70), F# locrian, and E locrian (m. 71), B locrian (m. 72), E locrian and whole tone (m. 73), ocatonic (m. 74), whole tone and chromatic (m. 75-76), and whole tone (mm.77-78) scales. In particular, Lee uses the whole tone scale when the melody line is an upward gesture. Moreover, the last upward of the whole tone scale in mm.77-78 is reminiscent of the final whole tone scale motion in the cadenza.

Performance Suggestions The well-expressed staccato tonguing technique is essential for an impressive performance of the E section. The dramatic change in register from the bottom note D to the highest note C demands great flexibility from player in order to combine both fingering along with staccato tonguing evenly and perfectly. The performer may consider whether to take the chance to breathe in the E section. Although Lee gave a few rests between passages, it is quite a difficult to breathe in this section. Moreover, melodic leaps will be more secure, when moving quickly from the higher to the lower or from the lower to the higher octaves. An important aspect of the performerâ&#x20AC;&#x2122;s preparation is developing an understanding each scale of this passage and an awareness of this relationship of rest, melody leap, and mode/scale. Crucially, it is recommended to practice the sixteenth note passage by playing each mode individually in a very slow tempo.

The F section The F section is the last part of this musical piece. This section, mm. 80-92, consists of two phrases. The first phrase is from m.80 to m. 84 and the second phrase is from m. 85 to the m. 92. M. 80 begins with the note C with p in dynamic and Tempo I. Also, this phrase has a 68

neapolitan scale, C-Db-Eb-G-B, the same as the A section. In measure 85, Lee uses the central tone technique with a central tone, G, as seen in section A (see Example 5.23). Example 5.23 Two phrases in the F section, mm. 80-92

Interestingly, the F section shows a retrograde of the A Section. Thus, the very last note of the section A, which is C, becomes the first note of the F section. The notes in mm. 80-95 of section F are played completely backwards from m. 13 to the m. 1.

Performance Suggestions The last section F is a retrograde of the A section. However, the melodic contour is considered by the rising motion from C to G, instead of G to C, in the A section. Unmindful blowing has to be changed carefully in the beginning of the F section. The low C is a technically difficult sound to create with a dynamic of p. The performer should coax a clean sound free of overtone out of the C. The iterative and engaging processes of west and Korea fusion in Leeâ&#x20AC;&#x2122;s compositional technique both challenges the player and allows him or her to achieve new enlightenment.

Chapter VI Conclusion

Young Jo Lee’s Sori No.10 for alto saxophone reflects a great amount of originality in its combination of Korean traditional music and Western music. Lee’s incorporation of piri and saxophone techniques, scales and modes of both Korean and Western music, along with Lee’s avant-garde composition style, use of identifiable recurrence motive patterns, and meaningful structure form are valuable to this study. Young Jo Lee’s Sori No.10 represents an excellent example of integrating traditional piri technique into a saxophone piece. His experience learning the piri enabled him to acquire characteristics of piri sound very well and to apply them to his saxophone piece. Lee allowed the piri’s ornamentation, portamento, and vibrato technique to become new material for composing a contemporary saxophone piece. Consequently, this study examined how Lee’s use of the piri’s technique can help the saxophonist play and understand the piece. This study featured the essence of Lee’s compositional style that harmonized Korean traditional piri with saxophone contemporary technique. Lee’s Sori No. 10 presents contemporary saxophone techniques, including slap tonguing, multiphonics, and circular breathing, while the piece requires the different styles of vibrato, portamento, and ornamentation pervasively used in piri. Lee’s Sori No.10 clearly show virtuosity which is created by his choice of instrument, the saxophone. By this study, I believe that my performance suggestions for Lee’s use of contemporary saxophone technique will help performers create a virtuosic more closely to composer intent. Certainly, Lee creates a unique sound by his philosophy of yin and yang, use of Korean 70

traditional kemyoung and seya scales, and use of western scales, such as whole tone, octatonic, locrian, and chromatic scales. Lee’s philosophy plays an important role in harmonizing Korean and Western music. As I suggest, it is easily realized that the entire musical idea and source are located in the musical structure and form of Lee’s philosophy. I believe that performers can understand the music in Lee’s philosophy, distinguishing it in two ways: Korean traditional and Western music, its fusion. Finally, there are few saxophone compositions by Korean composers. I encourage saxophonists to collaborate with Korean composers to compose new saxophone pieces. Perhaps more composition and literature on Korean saxophone pieces would lead to a more developed repertoire for saxophonists worldwide. Hopefully, this new study on Korean saxophone work will help saxophonists and scholars to play and research the sound of the saxophone from South Korea.

Recommended Areas of Future Study

Project: History of Saxophone in Korea I found that the first Korean Classic Saxophone Performance in South Korea was on January 26, 1979. According an article by Dong-A Il Bo102, a major newspaper, Conductor Kim Sun Joo (1929 - ), who is now an Emeritus Professor at Kyoung Hee University, conducted Ibert’s Saxophone Concertino. Saxophonist Choi Young Ho performed Ibert’s Concertino da camera as a premier performance in South Korea.103 However, there is no biography about

102

Dong-A Il Bo is one of the top major newspaper companies established on April 1, 1920. Editorial, Dong-A Il Bo, January 26, 1967. http://newslibrary.naver.com/viewer/index.nhn?articleId=1967012600209205014&editNo=2&printCount=1&publis 103

Saxophonist Choi Young Ho in the current literature, newspaper, etc. Twelve years after Choi’s performance of Ibert, saxophonist and conductor Dae Woo Kim performed classic saxophone pieces in a concert with his professor Tom de Vette at the Seoul Arts Center on July 6th, 1991.104 I found that this was the first solo classic saxophone full recital in South Korea. In the early 1990s in South Korea, classical saxophone began newly, powerfully, and quickly. In addition to Kim’s appearance, the Ministry of Culture, Sports, and Tourism of Korean Government had planned to build a new national conservatory of music. Finally, Korea National University of Arts (K’arts) opened on March 2, 1993. Young Jo Lee was appointed as dean of the School of Music. The first saxophone student was Son Jin Kim, and his teacher Dae Woo Kim was appointed as the first classical saxophone faculty. Now approximately thirty saxophonists have graduated from K’arts. The first saxophone student of K’arts, Jin Son, had studied abroad at Rotterdam Conservatory and the second saxophone student of K’arts, Soon Sub Jung studied at the Coservatoire national de Region de Rueil-Malmaison. Like Son and Jung, many of the other students studied abroad at European music conservatories. I also have gone abroad to the U.S and earned a doctoral degree, as first Korean Saxophonist. Although K’arts began to recruit classical saxophone students, after a couple of years, around 1995, many universities started to recruit saxophone majors as well. Now many classical saxophonists study abroad outside of South Korea and they featured in a classical saxophone recital when they returned to South Korea. Consequentially many saxophonists and their performances have influence on Korean hDate=1967-01-26&officeId=00020&pageNo=5&printNo=13930&publishType=00020 (accessed January 11,2014) 104 Editorial, Hankyoreh, July 5, 1991. http://newslibrary.naver.com/viewer/index.nhn?articleId=1991070500289110003&editNo=4&printCount=1&publis hDate=1991-07-05&officeId=00028&pageNo=10&printNo=969&publishType=00010 (accessed January 12, 2014)

society. Saxophone in South Korea has spread out among the middle class to learn and enjoy saxophone as their recreation or hobby and with the increase in the saxophone population, the saxophone instrumental industry is still growing in South Korea. For a study of the history of the saxophone in Korea, I suggest first creating a database of saxophone studios in universities in Korea. There are approximately ten saxophone studios in universities in Seoul, South Korea. However, there are no full-time faculty in saxophone studios. In this context, it is very important to research how saxophone instructors develop a curriculum in their saxophone studios. Secondly, I suggest investigating a history of saxophone performance by foreign saxophonists in South Korea. As I found, the Northwestern University Saxophone Quartet came to South Korea and performed on May 21 and 22, 1966, led by saxophonist Fredrick Hemke. According to the Kyunghyang newspaper in South Korea, Hemke also performed Paul Creston’s Concerto for alto saxophone with the Seoul Symphony Orchestra on May 22, 1966 in Seoul, South Korea.105 It is first classic saxophone performance by foreign saxophonist from the United States. Twelve years after Hemke’s visit, Defaye Saxophone Quartet came to South Korea and performed on September 19, 1978.106 This was the second classical saxophone performance by a foreign saxophone quartet, and it was the first performance by a French saxophonist in South Korea. Nowadays, many of foreign saxophonists have performed and offered master classes in South Korea, including Sugawa Noboya, Arno Borkamp, Claude Delange, Andrew Dahlke, and Rick VanMatre. Finally, I suggest that long-term field research is needed to categorize

105

Young Whan Choi, “WonSukHan Gi Kyo-Ui Sheoung Wha (Masterful Technique’s Sublimate),” Kyunghang Shinmun, May 25, 1966. 106

Hyoung Joo Kim, “Julmyohan Sun ryol, Saeryeondoen AngSanble Saxophone Sajungjudan Seoul GyongYeon(Delicate Melody, a Refined Ensemble Saxophone Quartet Performance in Seoul),” Dong-A Il Bo, September 21,1978.

saxophone pieces by Korean composers and to study those saxophone works. I believe that Korean composers were becoming interested in the saxophone after the second generation of saxophonists, Jin Sonâ&#x20AC;&#x2122;s returning performance in 1999, and pieces including Young Jo Leeâ&#x20AC;&#x2122;s Sori No.10. However, it is difficult to find a published saxophone piece by a Korean composer. After the 2000s, Korean composers have featured saxophone works in their composition recitals, and performances by college students or newly returned saxophonists from outside of Korea have occurred. This project would require great patience to study but would result in the first literature on the history of the saxophone in South Korea. The researcher who undertakes such a project also needs to understand Korean culture, music, and people who crave new things and are always waiting for a long overdue change for Korea.

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Sutton, R. Anderson. “What’s That Sound? Korean Fusion Music and the Ascendancy of the ‘Haegum’.” Asian Music 39, no 2 (Summer-Fall, 2008): 1-27. Lee, Young Jo. “A Study on Creative Education in West-Germany: the Field of Music Composition.” Yonsei Journal 19, no. 1(1982):235-262. Yun, Myong Won. “‘Sikimsae’ of the Present Textbook on Music in Korea.” University Collection of Dissertations 18(1996):237-282.

Woo Seok

Wen, Andy. “The Music of Ryo Noda, Part II: Analysis of Improvisation I.” Saxophone Symposium 24 (1999): 41–56. ———. “The Music of Ryo Noda, Part III: Pulse 72± and Conclusions.” Saxophone Symposium 26 (2001): 86–124. Dissertations Bunte, James. “A Player’s Guide to the Music of Ryo Noda: Performance and Preparation of Improvisation I and Mai.” D.M.A. diss., University of Cincinnati, 2010. Caputo, Michael Christopher. “Contemporary Korean solo Clarinet Music: Analysis with Performance Recommendations, of Three Compositions (Twentieth century, Woodwind, Single Reed Instruments).” Ph.D. diss., New York University, 1998. Chang, Yoonhee. “Kugagui Segyehwa: Contemporary ‘Traditional’ Music and Globalization in South Korea.” Ph.D. diss., Indiana University, 2010. Choi, Soo Yon. “Expression of Korean Identity through Music for Western Instruments.” D.M.A. diss., Florida State University, 2006. Choi, Ji Sung. “The Merging of Korean Traditional Music and Western Instrumentation as Exemplified in Four Chamber Works for Piano Composed by Isang Yun.” D.M.A diss., University of Miami, 2007. Egge, Mark Nathan. “Toward a Method for Performance Analysis of Twenty Century Music.” M.M. thesis. Bowling Green State University, 2005. Finchum-Sung, Hilary Vanessa, “Uri Saenghwal Umak: Music, Discourse, and Identity in South Korea.” Ph.d. diss., Indiana Universtiy, 2002. Gu-Jang, Sung Bok. “Young Jo Lee: Ana Analysis of Stylistic Features of the Variations for Piano on the Theme Baugoge.” D.M.A. diss., University of Kentucky, 2006. Hauser, Laura. “A Performer’s Analysis of Isang Yun’s Monolog for Bassoon with An Emphasis on the Role of Traditional Korean Influences.” D.M.A. diss., Louisiana State University, 80

2009. Hwang, Keunji Park. “Young-Jo Lee: A Biography and Annotated Works List.” D.M.A. diss., Northwestern University, 2005. Jay C. Easton. “Writing for Saxophones: A Guide to the Tonal Palette of the Saxophone Family for Composer, Arrangers and Performers.” D.M.A. diss., University of Washington, 2006. Kim, Eun Young. “A Study on the ‘Hauppttone Technique’ as Based on the Spirit of Traditional Music.” M.A. thesis., Ewha Woman University, 1998. Kim, Gun Sub. “A Study on the Ornament (Shikimsae) for Piri in Current Yominrak.” M.A. thesis, Dan Kook Univeristy, 1996. Kim, Insung. “Use of East Asian Traditional Flute Techniques in Works by Chou WenChung, Isang Yun, and Toru Takemitsu.” D.M.A. diss., University of California, Los Angeles, 2003. Kim, Jeong Hoon. “A Study of the Korean Opera ‘Whanginie’: Use of Korean Traditional Text and Material.” D.M.A. diss., Arizona State University, 2006. Kim, Kun Woo. “Korean Suite for Piano by Young Jo Lee: An Analysis.” D.A. diss., Ball State University, 2008. Kim, Se Kyoung. “Analysis to the Piri Solo Piece Sound as Symbol by Yoon HyeJin.” M.A. diss., Seoul National University, 2007. Kim, Soo Jin. “Diasporic P'ungmul in the United States: A Journey between Korea and the United States.” Ph.D. diss., The Ohio State University, 2011. Kim, Jasmine Jung-im. “Western music in Korean: Focused on 20th Century Flute Compositions by Korean Composers.” D.M.A. thesis, University of Illinois at Urbana- Champaign, 2002. Kim, Jin-Woo. “Twentieth-century Discourses on Korean music in Korea.” PhD. diss, University of Michigan, 2002. Kim, Sun Min. “Korean Organ Music: Fusion of East and West.” D.M.A. diss., Arizona State University, 2005. Kim, Tae Hyun. “The Korean Traditional Elements in Young-Jo Lee’s Choral Works.” D.M.A. diss., Northern Colorado University, 2013. Kim, Yeon Jin. “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. diss., University of Arizona, 2010. 81

Kwon, Oh Hyang. “Cultural Identity through Music: A Socio-Aesthetic Analysis of Contemporary Music in South Korea.” Ph.D. diss., University of Californian, LosAngeles, 1992. Kwon, Suk Rahn. “Young-Jo Lee’s Variations of the Theme of Baogogae: In Search of his Own Language, a Lecture Recital, together with Three Recital of Selected Works by Haydn, Rachmaninoff, Liszt, Schumann, Messiaen, and Others.” D.M.A diss., University of North Texas, 2000 Lee, Hye Sun. “A Study of a Modern Clarinet, 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.” D.M.A. diss., University of Cincinnati, 2006. Lee, Jeong Seok. “The Interaction of Korean and Western Pracitces in Isang Yun’s Piri for oboe solo and Other Works.” DMA, diss., City University of New York, 2011. Lee, Jung Eung. “An Analytical Study on Seo Yong Suk’s Structure of Piri Sanjo.” M.A. theis., Ewha Woman’s University, 1992. Lee, Young-Jo. “The Horn and Opera.” D.M.A. diss., American Conservatory of Music, 1989. Min, Lauren Hyunhee. “Contemporary Korean Nori Works.” D.M.A treatise, Florida State University, 2001. Nabb, Nathan. “The Contemporary Saxophonist: A Pedagogical and Historical Perspective.” D.M. diss., Northwestern University, 2008. Park, Jangwon. “A Comparative Study on Yun Isang’s Garak and Korean Classical Music Techniques: the cases of flute and Taegum-melody.” M.A. thesis, Yongin University, 2001. Park, Moon Kyu. “A Study of Piri Ku-Eum.” M.A. thesis, Dan Kook University, 1987. Phelps, Boyd A. "A Thesaurus of Saxophone Multiphonics and a Guide to Their Practical Application." D.M.A. diss., University of Washington, 1998. Ryan, Francis J.Jr. “The Performer’s Guide to Analysis: A Method for the study of Music.” Ph.D.diss., The Florida State University, 1978. Sung, Hyun Ju. “Contemporary Piano Solo Works Adapted from Korean Traditional Musical Elements.” D.M.A. diss., Arizona State University, 2009. Wee, Hyun Soo. “A Recording Project on Contemporary Cello Music by Selected Korean Composers.” D.M.A. diss., Arizona State Universtiy, 2004. 82

Willoughby, Heather Alane, “The sound of Han: P’ansori, Timbre, and a South Korean Discourse of Sorrow and Lament.” Ph.D. diss. Columbia University, 2002. Lectures and Interviews Rick, VanMatre. “Contrast and Balance in Free Improvisation.” Lecture at the World Saxophone Congress XVI from University of St. Andrews, St. Andrews, Scotland, July 12, 2012. Lee, Young Jo. Interview with Author. Audio Recording. Yong In, South Korea, May 20, 2013. Scores Jung, Jea Kook. Piri Sanjo. Seoul: Eun Ha Publishing Co., 1995. Recordings Lee, Young Jo. Young Jo Lee: Korean Piano Music. Piano, My Kim. Recorded March 1998. ASV, CD1088, 2000, compact disc. Kang, Clara-Jumi. Modern Solo: Virtuoso Music for Solo Violin. Universal Music, DD8108, 2011, compact disc. Recorded in 2011. Include YoungJo Lee’s Honza Nori. Jung, Jae Kook, Gasan Jung Jae Kook’s Yeasul Seagea (The Music Life of Chung Jae Kook). Art Korea, AKCD-0039B, 2007, compact disc. Recorded in 2007. Include Young Jo Lee’s Ryu for Piri and Orchestra.

Appendix A List of Musical Works by Young Jo Lee Opera Isabu (2014) Sontag Hotel (2005) Mok Wha(Cotton Flower) (2003) Whang Jinie (1999) Tcheo Yong (1987) Orchestra Glory of Dawning for orchestra (2013) Arirang Festival for orchestra (2013) Daehagigok(Big Stream) for Korean Traditional orchestra (2007) Sum Jip Aghi(Island Lullaby) Fantasy for orchestra (2006) Muni(Pattern) for orchestra (2003) Arirang Variations for string orchestra (2003) Requiem for string orchestra (2002) Buddhist Dance (1999) Opera Whangjinie Suite (1999) Concerto for piri and orchestra (1998) Sori for symphonic band (1997) Goblin Dance (1987) Juk-Byuk for orchestra (1979) Choral Four Children Songs based old Korean Childrenâ&#x20AC;&#x2122;s Song for female chorus (2014) Three Songs for Island (2013) Three Psalms for female chorus- Psalm 34, 95, 150 (2012) Three Asian Folk Songs, Arirang-Moriwha-Sakura (2012) Geumoongo(Korean Zither) without String (2012) Ongheiya for male chorus (2011) Rose on the Arirang Ridge (2011) Songs We Sing Again (2009) Five Songs for Unity (2007) Songs of Stars (2004) Four Songs for Death (2004) Sound of Spring (2002) Jung Bang Fall (2002) Song for Four Seasons for female chorus (2002) Three Songs for Love (2001) Han La Mountain (2000) 84

Dong Dong (1994) Three Psalms for chorus and horn (1989) Stabat Mater for female chorus (1986) Farmers Dance (1985) Full Moon for male chorus (1983) Soyoyu for female chorus (1983) A Cliff (1981) Buddhist Dance (1980) Monkâ&#x20AC;&#x2122;s Chorus-Kyoung for male chorus (1975) Credo (1966) Ensemble and Chamber Music Mosaic for violin, cello, and piano (2014) Mori for cello, daekeum(Korean bamboo flute), and sori buk(Korean Drum) (2013) Modern Arirang for chorus and orchestra (2013) Arirang Collage for two pianos (2013) Arirang for string quartet and Korean traditional vocal & percussion ensemble (2013) Arirang for horn ensemble and percussion (2012) Arirang Festival for viola ensemble (2012) Arirang Festival for string (2012) Arirang-Rasyasyang(Malaysis folk tune) for string quartet (2011) Arirang-Sakura for violin and piano (2011) Winter Tree for viola ensemble (2011) Winter Tree for string ensemble (2011) Arirang-Sakura for two violins and four hands piano (2010) Sesi Nori for oboe, cello and piano (2010) Arirang for viola ensemble (2009) Sesi Nori for violin, clarinet and piano (2009) Arirang for three guitars and Korean traditional instruments (2008) Sinawi for three guitars and Korean traditional instruments (2008) Sound Design for violin, viola, cello and piano (2007) Ryul for percussion ensemble (2004) Maze for piano quartet (2003) Sesi Nori for violin, cello and piano (2002) Duo for cello and daekeum(Korean bamboo flute) (2002) Dae Poong Ryu-I for woodwinds quintet (1999) Nesi Nori for percussions (1998) Ryu-III for geomoongo(Korean zither) solo (1998) Bong Sun Wha Variation for violin (1998) Piano Trio based on Pong Dang Pong Dang (1997) Twelve Variations for piano trio based on Bong Sun Wha (1997) Four Variations for cello (1997) Aga for viola and piano (1996) Dear Mother and Sister for cello and piano (1996) Eroica for horn ensemble (1995) 85

Jul Poong Ryu-II, Haneul Cheon Ddaji (1995) Doori Nori for Violin and piano (1995) Dodri for cello and jang gu(Korean glass drum) (1995) Winter Tree (1994) Etude for two vibraphones (1993) Monologue and Dialogue for cello and piano(1987) Suralbul for piccolo and three flutes (1980) Ogamdo(Bird Seeing) for 13 players (1977) Surabul for piccolo, three flutes and percussion (1975) Cantata Songs for Tea Ceremony (2007) Emmao (2006) Song of Prophet (2004) Prelude to His Coming (2004) Credo (2001) From Bethlehem to Calvary (1997) Yongbi Euchunga (1995) Wharang (1995) Three Easter Song (1986) Cross in the Desert (1985) Jerusalem for baritone sole and chorus (1985) Songs Moon Night (2009) Choom Hyangâ&#x20AC;&#x2122;s Prison Song (2008) Six Songs from Whan Jinie (1999-2001) Home (1998) Four Songs on Yoon Dong Joo (1985) Yellow Grape Leaves (1969) Three Romantic Songs by Kim, Sowolsâ&#x20AC;&#x2122;s peom (1968) Clothing Stone (1967) Silky Mist (1962) Dear Mother and Sister (1962) Scared Songs Agnus Dei (1998) The Lord is like a Sweet Grape Tree (1997) Believe and you will be healed (1997) He was Pierced (1993) Five Songs by Palms(1992) Three Psalms for mezzo soprano and horn (1989) Palms 23 (1983) 86

Unaccompanied Solo Music-Sori Series Sori No.13 for trumpet in Bb (2011) Sori No.12 for trombone (2007) Sori No.11 for contra bass (2005) Sori No.10 for alto saxophone (1999) Sori No.9 for cello (1984) Sori No.8 for organ (1983) Sori No.7 for oboe (1982) Sori No.6 for horn in F (1981) Sori No.4 for timpani (1981) Sori No.3 for clarinet in Bb (1979) Sori No.2 for Marimba (1979) Sori No.1 for flute (1979) Other Unaccompanied Solo Music Nori IV for alto saxophone (2012) Honza Nori for percussion (2007) Nori for Clarinet in Bb (2001) Bumbuk Taryoung for cello (1996) Honza Nori for violin (1994) Electronic Music Calvary (1997) Torn Curtain (1997) Kosmos-II for tape and percussion (1982) Piano Monologue for piano (2014) Piano Arirang (2014) Arirang Collage for two pianos (2013) Meditation and Divertimento for piano (2012) Variations on a Lyric Song “Mother’s Heart” for piano (2011) Honza Nori for piano (2010) Six Asian Folk Songs for piano four hands (2006) Fantasy for piano (2005) Five Korean Dances for piano (1998) Five Korean Legends for piano (1998) Schubert-Lee Variations for piano (1984) 3B Variations for piano (Bach-Beethoven-Brahms)(1983) Baugoge Variations on Heung Ryul Lee for piano (1983) Tschum for piano (1983) Three Verses for piano (1971) 87

Organ Zen-II for organ (2011) Crucifix for organ (2009) Credo for organ (2006) Zen-I for organ (1997) Sori No.8 for organ (1983) Kosmos-I for organ (1981) Sirius for organ and brass quintet (1980) Theses and Article “A Study on Creative Education in West-Germany: the Field of Music Composition.” Yonsei Journal 19, no. 1(1982):235-262. “The Horn and Opera.” D.M.A. diss., American Conservatory of Music, 1989. “A Study of Ornamentation of Youngsan Hoesang.” Book Resume Written on a Music Sheet (2002) Practice and Studied on Harmonies (1991)

Appendix B INTEVIEW WITH COMPOSER, YOUNG JO LEE Lee, Young Jo. Interview with Author. Audio Recording. Yong In, South Korea, May 20, 2013. This interview was approximately one hour with the composer, Young Jo Lee at his home, Yong In, South Korea. Lee invited me into his home on May 20, 2013. I asked him questions and he gave me answers. Yeomin Yun: What motivated you to compose a saxophone piece, Sori No.10 for alto saxophone? Composer: I received a call from the Netherlands in 1998. An alumnus of K’arts, Jin Son asked me to write a solo piece for his graduation recital at the Rotterdam Conservatory in the Netherlands. I composed Sori No.10 for the alto saxophone upon his request. Yeomin Yun: What was the general idea throughout the saxophone work? Composer: I studied composition with Un Young Na, who played an important role in my life. Na inspired me to be expressive and compose the melodies of Korean identity and the new music of Korea. Also, when I sent my twenty compositions to Carl Orff for admittance at the University of Munich, Carl Orff was interested in only one composition, Kyoung. I created my own sound that developed a Korean musical idea through choral and percussion sounds. Later Carl Orff said “In Kyoung, I truly feel your spirit and culture.” Similarly, I used Korean traditional woodwind techniques and elements in the saxophone work. Yeomin Yun: Did you have any special purpose in mind when you composed this saxophone piece? Composer: It is important to bring out the performer’s virtuosic instrument techniques in all my works. When you think of the Olympic Games, it brings to mind, faster and higher. My music is like the Olympic Games, higher and faster. I used high altissimo and fast tempo, using both various scales and arpeggio. I also do not use common scales and avoid major scales in Sori No.10. However I used pentatonic, octatonic, and whole tone scales. You know the octatonic scale, whole-half-whole-half or whole tone scale. Anyway, those scales are unfamiliar to laymen. However, those scales make a new sound and timbre. Yeomin Yun: What do you regard as the most special feature of this saxophone piece? Composer: If you want to understand my music, you should know Korean traditional piri or danso melody and technique. (Lee sang a short piri melody with vibrato.) My melody imitates 89

Korean traditional piri music. Korean traditional music is different from Western music. There are key changes, sequences, and a movement of musical development in Western music. I think it is like a volcano erupting and smoking. However, Korean traditional music is not like that. One special feature of Korean music is holding a sound (note), playing and relishing the note. This is why long sustained notes are featured in my work. But I use it with short grace notes or ornaments. (He demonstrated it with singing.) Yeomin Yun: What do you want to present in this saxophone piece? Composer: I really like augmented six chords. Do you know French six chords? (I answered yes) I like French Six chords because they have an augmented 4th and augmented 6th. The augmented 4th is neutral. When I use it, I do not resolve it and try to use it to create other augmented six chords. However, Sori No.10 is a single-melody texture, there is no piano part. In melodies, there are many flats and sharps in the same measure. And the three-note scale in Korean traditional music is shorter than most scales that I know. Of course, arirang has a fivenote scale. However, Seya, Seya, Parang Seya has a three-note scale. (He sang Seya,Seya, Parang Seya.) Although there are only three notes in that scale, it never becomes boring. Do you know the Korean traditional childrenâ&#x20AC;&#x2122;s dance called Gokdoogaksi? When children put on the mask, there are two faces, one is in the back and the other is in the front. If children turn out, it still shows a face, both front and back. It is a traditional Korean dance. Actually, I used the rhythm from this dance. Yeomin Yun: There are the same rhythmic patterns in measures 18, 19, 39, 60, and 63. What are they? Composer: The technique of these rhythmic patterns can be found in Yomillak and Sangryongsan in Korean traditional court music. There are two kind of music in Korean traditional music, one is court music and the other is folk music. At the very beginning and some later sections have Korean traditional folk music style. However, I like court music more than folk music. So I wanted to use Korean traditional court music in this section. I remind you that I also used Korean traditional folk music, such as Sanjo and Shiniwi, at the very beginning of this work. Yeomin Yun: What is the general philosophy of your music? Composer: When I look back on my whole life, I was living between two ideas of culture. Like my country, geopolitically, Korea has been invaded by many countries. This means that other cultures affected [Korea]. The Romans conquered the Greeks. However, finally the Romans were culturally conquered by the Greeks. Our country, it has been ruled by many countries and invaded several times. Moreover, after 1945, South Korean has been westernized or Americanized. Although we seem to divest our identity outwardly, we still have long-lived traditions and culture. In my works, there are our [Korean] culture and other cultures; also there is noble music and lower class music. So that is why I avoid the sonata form, rondo, and other 90

forms. I do not want my music [to fall] into a rigid musical form. My music is creative and freespirited. For example, you can see the red pine tree from the window. The red pine tree is called Juksong, the diamond pine tree. This pine tree is our [Korean] own tree. Our [Korean] music is like this tree with shapely branches. Music is inseparable from nature. There are many dialects in South Korea. This is also my musical idea. Anyway I have two ideas, one from my culture and the other from another culture. However, my identity becomes stronger when I accept the other culture and music. For example, you can compare country to country in areas such as architecture, car design, and fashion design. Even with car design, you can see the difference between a Benz and a Cadillac. Again, I wish to engage with both of the two different cultures. Yeomin Yun: What was your background of study in Korean traditional piri? Composer: When I was an army soldier, I introduced my father to the General of the Eighth, Charles Hartwell Bonesteel, Jr. and we had dinner together before we attended a concert of the Seoul Symphony Orchestra conducted by Han Kook Lee. I also wanted to show Bonesteel a performance of the Korean Orchestra as a way of introducing Korea to him. After the concert, General Bonesteel said to me, “What I want is not this music, but I want to know and see Korean traditional music.” And later I escorted General Bonesteel to the National Center for Korean Traditional Performing Arts. General Bonsteel seemed able to figure out which instruments were original from their effect on China or India in the collection of Korean traditional instruments. However, at the time I did not know anything about Korean traditional music. I also was amazed by the sound of Korean music at the NCKTPA. It was a short visit, but I first began to seek my ‘own sound’ as a result. After I finished my military service, I returned to Yeon Sei University and immediately began to study piri with Master Jeakuk Jung. Yeomin Yun: In beginning of Sori No.10, what technique are you using? Composer: In beginning of Sori No.10, the most important technique is breathing technique. You also can see that late section shows a retrograde of the beginning section. Yeomin Yun: Are you used twelve-tone technique in Sori No.10? Composer: No, I did not use twelve-tone technique in Sori No. 10. However, there is original, inversion, and retrograde in twelve-tone technique. If I used twelve-technique, my music would be like Schoenberg music. I avoid this in my music. However, I used chromatic, octatonic, and whole tone scales in Sori No.10. Also I do not dwell on key. The melody has free passage. Yeomin Yun: In mm. 46-56 of Sori No. 10, there is a free improvisation section. What was the idea throughout this section? Composer: When I was in Germany, I heard multiphonic sound for the first time. I had never heard this sound in South Korea. I was very surprised by this sound. I also liked the overtone 91

sound. Nowadays, I do not like correct pitch in my pieces. Like prayers in church, the sound from prayers in church is really great. For other example, in the evening, so many frogs croak in front of my house, it sounds greater than Beethoven’s Symphony No.9. For this free improvisation section, I believe when the audience listens to this section, they will be surprised and say “Wow, how can a saxophonist play and make this sound?” I used multiphonic sound and slap tonguing in this section. Also the articulation of this section is difference between measure and measure. Yeomin Yun: Is there anything you want to suggest or advise me for my research and performance? Composer: One of the most important parts of contemporary music is collaboration with the performer. Sometimes I do not indicate tempo and dynamic mark on my work. When I was a graduate student, I composed a cello piece. However, I neglected to indicate those marks on the cello piece. I know if there is no tempo or dynamic sign, it is like there is no traffic light on the street. However, I asked my friend to play my cello piece for my graduate recital. I was very surprised that his playing was great, even though there were no marks for dynamic and tempo. He created new sounds by himself. For the performer, when the performer wants to understand my music, I suggest that the performer listen to Korean traditional court music. I think you won’t have any problem with it, because you learned the piri. However, if there is no vibrato sign in measure, you do not need to play it with vibrato. You just hold a note without vibrato. It is possible that the audience can be immersed in this sound. However, saxophone players need good tone quality.

Appendix C Letter of Permission