An Examination of Selected Contemporary Korean Piano Works

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Authors Kim, HaeOk N.

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An Examination of Selected ContemporaryKorean Piano Works

by

HaeOk N. Kim

,.

\.

A Document Submitted to the Faculty of the

SCHOOL OF MUSIC

in Partial Fu lf illrnent of the RequirementsFor the D eg ree of

DOCTOR OF MUSICAL ARTS

In the Graduate College

THE UNIVERSITY OF ARIZONA

1988

SOUTHErtN eArnSTlHFOLOI... ICAL Scr,'I1:':W U!JRAR'fa.. w..llllun� L.ouJ... ,,1c:, KY 4U..UO

THE UNIVERSITY OF ARIZONA

SCHOOL OF MUSIC

I hereby recommend that this document prepared under my

direction by H_a_8_O_k K_i_m _

entitled A_n__E_x_am in__a_t_i_o_n__o_f__S_8__1_8_c_t_8_d__C_o_n_t_8_m�p_o_r_a_r_y __

Korean Piano Works

be accepted in partial fulfillment of the requirements for the

degre�,of Doctor of Musical Arts.

Professor Date

Acceptance for the School of Music:

fY\ � t_

'7e c. 1--1 1)'-1 I1�5��32'�'�57

ACKNOWLEDGEMENTS

This paper has benefited from invaluable comments,

suggestions, and criticisms contributed by several people. First,

I express my sincere gratitude to the members of my major

committee including Professor Nicholas Zumbro, Professor Paula

Fan, and Professor Rex Woods for their continuous encouragement

and guidance throughout my doctoral program. In particular, I a�'

greatly obliged to ?rofessor Zumbro, my major advisor, who chose

to review the complete manuscript and provided,a gr�at many�

helpful comments and suggestions. I am grateful to Dr. Roy

Johnson, Director of the Graduate Music Program, for his warm-

•

hearted encouragement. My thanks are also due to my father, D.J.

Kim, who did his best to get music scores and materials in Korea /'

needed for my study, and to my husband, Ilyoo Hong, who patiently

helped me to edit and prepare the paper through a computer word

processor.

TABLE OF CONTENTS

I. INTRODUCTION .... 1

A. Music in Korea in Earlier Times . . . . . . . 1

B. Developments Since World War II . . . . . . . . 2

II. KOREAN TRADITIONAL MUSIC •.. . . . 4

A. Types of Korean Traditional Music . . . . . . 4

B. Musical Characteristics of Korean Folk Songs 4

C. Korean Traditional Instruments 5

III. SOURCE OF MUSICAL MATERIAL . . . . 7

A. Works Using Korean Folk Material or Motifs (Vocal or.'

Instrumental Sources) . . . . . . . . . . . . 7

\1. Korean Rhapsod� (1975) by Un-Hoe Pa�k . �"'. . . . . 7

2. Arirang Variations (1975) by Un-�oe Park. . . 15

B. Abstract Music with Western Influence .... • 24

"1. Un-II fur Klavier (1972) by Byung-Dong Paik•

• • 24

2. Legend (1980) by In-Yong La . 27

IV. CONTEMPORARY WESTERN COMPOSITIONAL TECHNIQUES USED INPRESENT DAY KOREAN MUSIC . . . . . . 36

A. Melody • 36

B. Harmony • • • 38

C. Rhythm • • 39

V. CONCLUSION . . • . . . . . . . . . • . . . . . · . 41

REFERENCES • • • • 43

APPENDIX A. Korean Traditional Instruments .. • 45

APPENDIX B. Biographies of the Composers · . 50

ii

1

I. INTRODUCTION

The paper is organized into five sections: (1) Introduction,

(2) Korean Traditional Music, (3) Source of Musical Material, (4)

Compositional Techniques used in Korean piano music, (and (5)

Conclusion. The introduction gives an overview of music in Korea'

in earlier times, and describes the developments in Korean piano

music since World War II. The next section discusses Korean

traditional music from three aspects: types of music, musical

characteristics, and musical instruments. The third section

descrtbes selected contemporary Korean piano works accordin� to

four musical criteria:

First, we examine the source of the thematic material or core

melody of each work. Second, forms employed in each work are

considered. Third, we explore �armonic style., Fourth, we trace

the pianistic influences and technical demands. The section that

follows discusses contemporary compositional techniques used in

present day Korean music in light of the influence of German

serial style. Finally, a Conclusion is presented.

A. Music in Korea in Earlier Times

Western music was first introduced to the Korean people over

a century ago by American missionaries through hymns. The newly

introduced Western melody and rhythm 'so significantly impressed

the Korean people that Western music became a part of the school

curriculum officially in 1906 (Kim, 1976). Influenced by these

developments, the Korean government organized the Royal military

2

band in 1900. The band's instruments were bought from Germany.

The first Korean pianist ever to graduate from a regular music

institute in a foreign country (Japan) was Mr. Yong-Whan Kim. He

returned horne from Japan in 1919, and it is estimated that the

popularity of the piano gradually spread over the country after

that time. In addition, several European-style orchestras

playing classical repertoire were organized in the 1920's among

them, the Seoul Symphony Orchestra. So, Western music was

performed, but not nearly as much ,'as in the post-World War II

period.� �

Only in the 1960's, 'however, did Korean composers begin

composing "modern" piano works under the 'influence of the European

musical style. This may be accounted for by the fact ,that World

War II serves as an important transition point in the music /

history �f Korea. Of the various musical �ctivities with Western

.,

music by Korean musicians, virtually all came after World War II.

Therefore, our study of contemporary Korean piano music focuses on

works composed in the years after 1945. The thirty-six year

period (1910-1945) under Japanese annexation did not lend support

to the development of Korean music. During thisiperiod, Japanese-

style, nostalgic popular songs flooded the country. The Japanese

annexation provided a transition point to a new movement in

musical activities by Korean musicians (Lee, 1980).

B. Developments Since World War II

\It is the purpose of this paper to study the characteristics

of Modern Korean piano music, using works by three noted Korean

3

composers. The three composers selected are Un-Hoe Park,

Byung-Dong Paik, and In-Yong La. Un-Hoe Park studied music

composition at Seoul National University and is well-known as a

composer of piano works based on Korean folk songs. Byung-Dong

Paik studied in Germany, and has written composed extensively for

piano. Most of his works are of abstract serial type. In-Yong

La, who has worked in both traditional and European style, had his

music education in America (at University of 'North Carolina).

Works1selected for our study are as follows: Korean Rhapsody and

Arirang Variations by Un-Hoe Park; Un-II fur Klavier by

Byong�Dong Paik; and Legend by In-Yong La. For the purposes ofI

this paper, these works are c�tegorized into two groups: (1) those

using Korean folk material or motifs and (2) Western influenced

abstract music with Western influence. Works that use Korean fol�

material do not strictly conform to modern ,compositional style;

instead, their major focus is on Korean traditional melodic

material and on tonal harmonies, often using pentatonic scales and

fourth-chord (quartal) sonorities. On the otHer hand, abstract

music in Korea reflects the influence of the German serial style,

because many younger Korean composers studied in, Germany in the

1960's and 70's. Composers such as Byung-Dong Paik, In-Chan Choi,

and Chung-Gil Kim studied music at Staadtliche Hochschule fur

Musik, Hanover, Germany.

4

II. KOREAN TRADITIONAL MUSIC

A. Types of Korean Traditional Music

Basically there are two types of Korean traditional music:

court music and folk music. Court music was exclusively performed

in the royal court, and it can be further divided into three

parts: A-ak, Tang-ak, and Hyang-ak. A-ak is confucian ritual

music, and it uses heptatonic scales. Tang-ak is secular pieces

of Chinese origin. Tang-ak was usually played in ceremonies, and

it is based on the pexatonic scale'; do-re-mi-fa-sol-la. Hyang-ak

is Korean native music, and it is �ade up of basically secular

\pieces of Korean origin. Hyang-ak is based on the pentatonic

scale (in other words, do-re-mi-sol-la sc�le). It was usually

performed with dancing. While these three kinds of court music

were designed for the upper class, folk music was generally /

enjoyed by lower class. Korean folk music'is called Sog-ak, and

more commonly, it is referred to as Min-yo by Koreans.

B. Musical Characteristics of Korean Folk Songs

There are three major characteristics of Korean folk songs.

First, they are often in triple meter with dottedl rhythms. Most

of Korean folk music is usually fast and lively, with vigorous,

athletic dancing. Irregular rhythms in compound triple time

predominate (Condit, 1983).

Second, in Korean folk music, phrases are clearly arranged

according to a rule, usually four measures to a phrase. This,

feature is very similar to modern popular songs, in which the same

5

theme is repeated several times.

, The third is geographical uniqueness. As far as Korean folk

songs are concerned, Korean territory may be divided into three

geographical areas; central, northern, and southern. Each

locality has its own unique folk songs that reflect its own life

style (Ministry of Public Information, 1968). Therefore, the

texts of the Korean folk songs vary from area to area, leading to

different musical 'dialects' (Lee, 1977).

C. Korean Traditional ·Instruments,

I� is known that a large number of instruments existed in theI

fifteenth century in Korea. ' Some major categories of instruments

include plucked strings, bowed strings, woodwinds, and drums.

Many of these instruments were played at court, and only a small/

number of them �ere played by the folk and by aristocratic

amateurs (Condit, 1984). Among others, we can list and-briefly

describe important Korean instruments under the four categories

mentioned above., See the Appendix A for illustrations of these

instruments.

1. Plucked Strings

Three important plucked strings are Kumoonko, Kayakum, and

Bipa. Kumoonko is the fretted zither with a long wooden body and

six strings. Of the six strings, I, V, and VI are supported by

movable bridges, while II, III, and IV pass over a series of

sixteen frets which become gradually smaller toward the player's

end of the instrument. The right hand plucks the strings with a

6

pencil-sized bamboo stick, and the left hand depresses the melody

strings on the frets. Kayakum, on'the other hand, is the twelve-

stringed zither that is a little larger than the fretted zither

{Kumoonko}. All twelve strings are supported by movable bridges.

The strings are plucked by the right hand while the left hand

depresses the strings on the other side of the movable bridges.

Its sound is comparable to that of the Western harp. Finally,

BWa is a four-string lute. It is like a guitar.

'/

2. Bowed Strings

Heegum is an important bowed string Ln s t r-umerrt .

\'

Haegum is a

\

two-string fiddle whose tone, quality is mu�ed but strongly nasal.

, I

The player holds it upright on his knee. It is similar to the

cello or violin.

3. Woodwinds

Daegum is a transverse flute made of bamboo with a thin reed

membrane pasted over a hole next to the blow-hole. The membrane

imparts a penetrating buzz to the tone quality '(Condit, 1984).

Piri is double-reed pipe. It is comparable to the Western

instrument, 'oboe.

4. Percussion

Janggo is a hour-glass shaped drum with two heads. It is

one of the most important Korean percussion instruments. The

thinner right head i� struck with a thin bamboo stick, while the

thicker left head is struck with the left palm.

7

III. SOURCE OF MUSICAL MATERIAL

A. Works Using Korean Folk Material or Motifs (Vocalor Instrumental Sources)

1. Korean Rhapsody by Un-Hoe Park

Composed for piano by Un-Hoe Park in 1975, Korean Rhapsody

has been regarded, together with Arirang Variations, as a

significant achievement in modern Korean piano music, .·for the

musical materials u�ed for them are widely different from typical

materials found in modern piano music. It was first·performed in\ ....

1980 by Lucas Foss, the well-known American pianist and composer.

Three important points can be made as to Korean Rhapsody.

First, it uses four traditional Korean folk songs as main themes:

Doraji, Naljomboso, Saeyasaeya, and Taryurig , The piece represents a

unique move toward a new direction in composing style. And it

uses versatile techniques such as (1) bitonality in black and

white keys, (2) black key clusters with white key melody, (3) use

of parallel fifth chord and tritone, (4) full chord used, (5) folk

dance rhythms, and (6) traditional harmony.\

Korean Rhapsody uses rhythmic variations, added harmonies,

and mystical color effects to present Korean traditional folk

material in music that is characterized by the use of

impressionist techniques to create musical humor and elegance.

Korean music critics remarked that this piano composition has made

a significant contr�bution to the artistic development of Korean

folk music (Han, Korean Daily Sports, 16 June 1976).

8

This work consists of eight sections that involve (1) andante, (2)

moderato, (3) scherzando, (4) adagio, (5) andantino, (6) presto,

(7) andante, and (8) prestissimo.

The introduction of the Korean Rhapsody starts with the

Andante section in slow tempo. Bars 1 to 15 are fantasia-like in

structure. They reveal only a part of the Dorafi theme.

Example 1

Andante (J =72)

r

���j�����§/��-��-i-�-i-�� f��- !.JO.

>_-

-*-

Then, the Dorafi theme is fully introduced in bars 16 to 43. In

bars 36 to 43, the left hand accompaniment changes the triplet to

16th notes, while the right hands the theme that appeared in bars

16 through 23.

9

Example 1

leggiero(1- f s..�#T .f1!: �.

� -J.

�"��

-1'1:

�r--

�!{��((

I --..,1-t) I

� mp

�=-

-

..=., ., .,t) T

1'"

The Moderato section (2) which follows is a transition that

connects. to the second theme, Naljomboso. It uses tremolos, and

a fast passage in arpeggio form.

Example 2

1\11 I � .1" fq��' �.11 �'-� -,A

t)

II"

I[ 'I

J.t �.� �'�f:'n: . - � �--

-

� - ....... lr..:..:! t..

Moderato (J =92)

10

Bars from 51 to 53 uses bitonal harmony in B flat major and B

major.

Example 1

/

8va• • • • • - • • • - - - - - •• - - • - • _ • _ • _

__---c�--���

8va- - - - - - - - - - - - - - � - - - - - - - - -,

,

�1!-. , �:=� c:'c: -e: ::.t: �1\ I • •,

, ..�..-:. - - - - �- --- r: � �-

� 8""

-O-itJt ,. l"t , .

'1 ...

In the next section(3), Scherzando, the Nrujomboso melody

appears with quick arpeggiated ornamentation and dissonant fourth-

chord harmony.

Example 2

Scherzando

ffi" I �-� ::>. ." ��;; ::> .=" �� ::.., _f!� -:- -:--.

�"

11 ;.. , ..:i: ��

I I.�" JJ it .!. , e ,-

" v ('\ Y' yI .scnza pCdlll

1 1

�n_j; -:- r f� ,--3- f1\ I bf> � ...... .,...., � � ...

-

-

�---.",

�� -

L.-3--l� f � ,� 1

_fL�it. r � � Ie-

r _11 , . .

" V 'r' I"" r

Bars 76 to 98 introduce rhythmic variation of the Dorafi theme; the

altered right-hand rhythm is J Jj J Then, in bars 99 to 106,

the rhythm becomes, J1Fj jjF]I

, while the left hand plays the

Doraji theme. /

Example 1

\marcalo>

In the Adagio section (4), bars 107 to 114, the Saeyasaeya

melody (on only three different pitches) is introduced through the

left hand with the right hand tremolo accompaniment.

12

Example 1

. .-----::----l:: Adagio (J =56e.- .�IIU • • f!:_ r..

:-

tJ 1-'1'-1 � r:

1-

IT.- �I PPj In

�): [-'-1"

_.

� \;.) � � � -

I

.. 17'

1- --

The Andantino section (5), in bars 115 to 152 introduces the

. Taryung melody. This tune is presented with typical folk dance

rhythms. The right hand plays tone clusters, while the

accompaniment has the open fifth, modally Dormn.

Example 2

Andantino (J =84)It l��' � b. l.t? � I

__�' �_1!:_ _.�;;tJ

mp" I

� �.. -

t)

mpl I I

I _t_ �_ f'_ {2_

> > >

The bars 153 through 212 are a presto section (6). Within

this section, bars 153 to 164 have full chords with a syncopated\

pattern, and bars 165 to 212 introduce rhythmic variation of

13

Naljombosa,

Example 1

:--------

I

In the next section, Andante (7), (bars 213 to 220) the left

hand presents the Saeyasaeya melody, while the right hand has the

Doraji rhythm.

Example 2

Andantef j =72)

mf

Finally, the Prestissimo section (8), bars 221 through 256,

concludes the work. A variation of the Dorafi theme is introduced

with syncopated rhythm in full chords. The formation of the\

chord str�ctures is strongly influenced by Debussy's mature piano

work (cf. Images Book II, Et 18 lune descend sur 1e temple qui fut),

The following are two short excerpts:

Example 1

'Prestissimo (J= 104)

Example 2

E t la lune descend sur le ternpIe qui fut

Lcnt·���. JeGG)dou« et salts=-r�ig�1l:.:.:el:.:.:.lr --;;:-- _

�

14

15

2. Arirang Variations by Un-Hoe Park

The theme of this work, Arirang, is the most popular of all

Korean folk songs, loved by children as well as the aged. Arirang

Variations, another well-known piano composition by Un-Hoe Park,

was written in 1975. Although the song Arireng, was originally

performed with Kayakum or Komunko, major traditional plucked

strings instruments. Park's Arirang Variations was composed for

piano.

\In 192�, a pioneer of ,the' Korean movie world, Na Un-Gyu,

produced the silent movie Arirang. In the last scene the hero, an

insane country boy who killed a wicked landowner, passes over the

Arireng Hill as prisoner of the Japanese gendarmes. During this

scene the song Arirang was sung by a singer on the stage before the

screen, accompanied by an instrumental ensemble. The effect was

so pathetic and sentimental that the audience sighed and wept in

silence .----. Still beloved after 60 years Arireng has became the

concrete symbol of Korea's national mood or sentiment (Ministry of

Public Information, 1968). Thus, Arirang Variations is a highly

evocative work to the Korean listener.

The form of Arirang Variations is basically a theme and

variations. It is composed of four parts: introdution, theme, six

variations, and finale. The composition is developed applying a\

simple pentatonic scale to the whole piece to produce an effect of

16

2. Arirang Variations by Un-Hoe Park

The theme of this work, Arirang, is the most popular of all

Korean folk songs, loved by �hildren as well as the aged. Arirang

Variations, another well-known piano composition by Un-Hoe Park,

was written in 1975. The song, Arirang, was originally performed

with major traditional plucked strings instruments such as Kayakum

or Kumoonko. Park's Arirang Variations was composed for piano.

In 1925, a pioneer of 'the Korean movie world, Na Un-Gyu,

produced the silent movie Arireng , In the'last scene the hero,I

an

insane country boy who killed a wicked landowner, passes over th�'

Arireng Hill as prisoner of the Japanese gendarmes. During this

scene the song Arireng was sung by a singer on the stage before t.he :

screen, accompanied by an instrumental ensemble. The effect was

so pathetic and sentimental that the audience sighed and wept in

·silence. Still beloved after 60 years Arirang has became the

concrete symbol of Korea's national mood or sentiment (Ministry of

Public Information, 1968). Thus, Arirang Variations is a highly

evocative wo�k to the Korean listener.

The form of Arirang Variations is basically a theme and

It is composed of four parts: introdution, theme, six

and finale. The composition is developed applying a

.pentatonic scale to the whole piece to produce an effect of

17

The second section (the theme) is in F major and is 17

measures long. This is the Arirang melody with arpeggio

accompaniment. The section is calm and lovely rather than

dynamic. The theme uses altered harmonies with flats in A,

D, and E.

Example 1

THEMEAndante amoroso ( J= 72)� I� ,J. $) J "J ,J j ljjjJI

.. :

tJ

�;r= (I" r"I �

--

�c.

:if: "'v � � *;> � , '* ,.

>-

In Variation It the first four measures present an

atmospheric introduction at sweeping arpeggios, trills, and mixed

major-minor harmony.

Example 2

811a••••••••••

: VARIATION It:'\

18

Then, the 32nd measure introduces the theme in the alto range with

altered chord harmonies, while presenting the ostinato of a

thirty-second note in the upper range, much like the treble figure

at the end of Debussy's Images Book I Pagodes.

Example 1

,,-----..... ...-------_ ...-----...

�I

• !:�.. .."..,... •.�..".. ��� .�'�,._• . '-

.fA.��....

"r-:-

����::� -: I-�

..!�I·'- ._ H .,..1 :�� 1- -t-IIrj-I' r-r- H-IIrj-j'-

l-

t)-

" >- >-� > >-.. -

t). --- ---

�£:�.. <::

_ff&j-",.-�

aA �{: �I :Jl:

Example 2 (excerpts from Pagodes)

.

...___

'U"

� ------------------------

39th bar on, dissonant harmonies of second and fourth

are used, and the theme continues in the middle range in F

19

Example 1

------- ��

4�.�...

'm�UiII t.-.�.lff=�= =: :-r:T=I====I=F�� -.-�- - - =

"

=

�=f;"

mf"'

..�."II �

'.

" -e: ........ ..... -,; . �� ---

,2:( I 'A---

• c;;.

�,

Variation II, in 4/4 time, gives a light and vivid feeling

using staccato chords and accents. It also makes use of chromat:fc

alterations producing interesting augment�d harmonies. The bars

48 through 55 present the theme in the upper range with simple and

traditional harmonies, and then the bars 56 to 63 give the theme

in the lower range.

Example 2

VARIATION IT

20

Unlike, Variation II, Variation III (Grave pesante) is heavy

and dark in mood, using a flatted sixth in the melody and the

lower pianistic range. The bass arpeggio harmonies, 'sff', are

contrast with the 'p' in the upper range melody of Arirang.

Example 1

VARIATION illGrave pesantc(J=>46)

�:r--,

--=== ==--

p

An int\resting pentatonic mode is constructed wi th minor 2nd and

6th, and wi th a major 3rd. Measures star-t Lng from 72 show an

alteration of rhythms from J:rJ to mn , and the 73rd

measure is characterized by an almost doubled speed (change from/'

J= 46 to J = 92) which reaches a climax with 'fff'. From the

75th bar on, we are back to 'a tempo', and the feeling of

excitement is somewhat relaxed.

Example 2

8110---:,

Variation IV (Moderato animato) is bright and merry with

rhythmic figures with syncopations. The rhythm, P.nnm\

is repeated throughout. The piece has no key signature, but it

21

is obvious that it begins with F major and ends with F major.

Example 1

VARIATION N

Then, Variatio� V, Adagio leggiero, is in quadruple time.

The theme is in broken chords with Arpeggio accompaniment. It

continu�s to maintain the rhythmic pattern diminished to a 32nd

note, with a slow tempo. The·key signature/ is reestablished with·

F major. In this variation, the rhythmic pattern is d. j]JJIt also uses continual-octave transposition technique.

Example 2

VARIATION V� Adagio Icggicro(J=58)

*

In Variation VI, Allegro brillante, the theme is in F major,

in syncopated rhythm strangely similar to Scottish folk rhythm

(See next page).,\

22

Example 1

VARIATION VIAll egrctto bri llante ().= 108)

>-�.

>-

The finale, Allegro pomposo, is a continuation of variation'

VI, but it introduces parallel chord harmonizations as in many

Debussy's works.

\Example 2

\.

>-

>- >-

Example 3 (Excerpts from Debussy's Image I Hommege a Rameau)

..... '. ' \

�:>!he Finale proceeds in a very fast tempo, and it is 14 measures

23

long. It uses a pedal tone in the left hand accompaniment.

Dynamics achieve a wider range than before. For example, the

climax part uses sfff and fff along with an accelerando mark.

Example 1

�-1'1f

24

B. Abstract Music with Western Influence

1. Un-II fur Klavier by Byung-Dong Paik

One of the pieces representative of abstract music composed

under Western influence is Un-II fur Klavier (1972) by Byung-Dong

Paik. This is the second work of Mr. Paik's Un-series. Un-I was

composed for oboe; Un-II for piano; and Un-III for harp. �After

1961 Byung-Dong Paik studied composition in Hanover, West Germany.

His works reflect the evident influence of German serial style.

As we will see later, the work under consider/ation shows the use'

of row construction, retrogrades, and etc. Un-II fur Klavier

pursues sonority with mani careful dynamic indi�ations, and makes

effective use of tone color of a large concert piano.I

,

Un-II fur Klavier is an A-B-A', three�part form. The piece

is through-composed. It introduces new rhythmic and melodic ideas

continuously. According to the score, A section is 2/) = ca.

,:':'48-62, B section is 0/; = ca. 96, and A' is 3/; = ca. 48.

�One thing that can be pointed out with regard to ·the ma�erial

� ��uld be the 'unusual' la-tone row that consists of F', F, B, Eb,,J..;, •

_. A', Bb, C_�._�, cr , and D. This la-tone row is illustrated in the, .

' •• t

.,'·following excerpt.

',I

Example 1

2/J en 48

"

,I

=

Byung Dong PAIK (1972)......"

.. ,i�}_� �..

I eJ r �'----=, rf U4J r

( �� pp---

-- mf� IJrI·

-

*,. IIf{___J' :*.

'''1, til

,"

p

25

We can mention two sections that immediately precede the B

part: (1) a cadenza-like section appears ( O/� = ad lib.);

Example 1

and then (2) there appears an osti�ato rhythmi6 pattern in the\

bass. This short section, marked as 7/) ��ca. 62, plays an

important role as a bridge between A and B.

Example 2

'Y!= ca. 62

A major characteristic of the B section is that the score shows

but has no bar lines. This section, in a fast tempo (0/; =.ca.

96), builds up to a very high range.

26

Example 1

�5 ---;-, �.

+t� ���.. !!. ,..1" .. "f=qf: �e :!! Q�r;-'�TI •

J1 �� �q� r=U.r_ f= f- i:= = __ "-__ ". - ":::= -f- -,_ == '-f--f-

, - ;;...-.....,;.�

�� �- � - -

:::::: � ....

< -

;::;.--

� .. II,.. .. - :!..#:!.. 8va-JS-·- - ....... _._-_. - ..

,. I H.:

-:» tI II

r--:;-.7-1 8va-' - ••

�- • • • • • - - ••• - ••

·1- - - - - - - • - - -

p pp

In part A', a retrograde appears that resembles part A. The last

four measures of the A' are a retrograde form of the first four

measures, a well-knqwn German serial technique.

Example 2

\,

.

J1 ,9 (} ,1 rr.

I .J

pJ f.

J r- rc. :t Tpp<

'--3--'

�3",,-r--'1-,

� bb���� r-""I'J--. r-.:

===-- , .H •<:» = It·__9, -

-

PPP\p:J �pppp

However, this relationship is not an exact retrograde, because

values of some notes in part A become augmented values in part A'.

Although this work shows the influence of serialism, the

influence do not reflect exact conformity. Possibly, the composer

has adapted or modified this Western style to create Korean piano

works in a slightly different manner. Three points might be

mentioned about the technical demands of the work. First, the

composer uses large intervals such as 7th, 9ths and lOths at

virtuoso speeds. The second involves the division between the\

hands in unusual ways as in the following.

27

Example 1

�=ca. 96 '�Il G--,.---5�� Il :�,._

[lIM IDm

---

"

mf

-" -,

rf >o::::::::::::__

Third, there are many extreme dynamics and passages requiring

several simultaneous dynamic levels.

Example 2

-

��rr;J�rf � , ..

!J,.l.:' -

\ 'S ""'�

I e) mf f "'-oo/c

n, ,_;...,5 mf

� J.-.. . ..

<

I I mf-

f� � mpmp

3 ,.--3---,:

:'.9'- .:» I; �g. �� HI-� �-

�..::-mp m� -------�p

p p

2. Legend by In-Yong La

The next work for discussion is In-Yang La's Legend, composed

in 1980. The work consists of two parts, Old Story and New

Story. The former was composed according to the European

technique which prevailed during the first half of the Twentieth

century, and the latter was written according to that of the

second half of the century. The work achieves its particular

personality by the use of 'mystical' color effects which combine\

Oriental and Western flavors.

28

(1) Old "Story

The first piece, Old Story, has no explicit divisions.

However, the work could be heard as six sections, as follows.

Section 1 presents, in legato, a lyric dissonant melody built from

fourth chords.

Example 1

Then, it introduces a cadenza �f falling" fourth chords in

parallel.

Example 2

with groups of 7- or 6- sixteenth notes.

29

This section also introduces bass theme in 7ths and 9th falling

seconds until it reaches the climax.

Example 1

Section 3 uses fast alternate hands technique. This

technique suggests �he influence of Debussy and Liszt.

Example 2,

'

, The rhythmic pattern appearing in this section resembles the

(opening measures of the third movement of Bartok's Music for

�:String, Perc�ssion, and Celesta. The following are two short

." excerpts; one from In-Yong La's Legend and the other from the

Bartok's composition.

Example 3 (From Legend)

(Ex.3 - Continued on the next page)

30

Example 1 (From the third movement of Bartok's Music for

String, Percussion, and Celesta)

Adagio, .J ea. 66 allarg. -

\ -,

\The effect is often used by the Western avant garde almost as a

cliche, but also resembles Buddhist temple' music.

Section 4 introduces more fourth chord construction.

Example 2

Section 5 reaches a climax with a new bass theme and virtuoso

octaves in ostinato.

Example 3

31

And, finally, section 6 returns to the opening measures.

Example 1

p.-===-pp

The harmony of this work is tied to the use of dissonance

such as second-, fortrth-, parallel fourth-, and fifth-chords; and

it als,\ uses major and minor seventh· and ninth .cho r-ds; Other

important aspects include the chromatic pr?gr�ssion and the

tri tone.

In general, this composition has frequent changes of meter

signs. For example, in measures 6 to 9, meters change from 3/8 to

4/4 to 7jS,to 5/S. The first two measures start like typical

sounds of plucked stringed instruments such as the Korean Kayakum

or Western harp.

Example-2

"""p.

This work also uses �ontrasts of sonority and free repetitions,

rather than thematic development. The composer places much

32

emphasis on effective changes in dynamics. Finally, the work uses

a variety of rhythmic groupings, such as triplets, quintuplets,

sextuplets, and heptuplets.

(2) New Story

The second part of In-Yong La's Legend, New Story, is a

shorter piece of widely-spaced intervals, cluster, avantgarde.

6accelerando notations with fourth-chords and even a maJor 4 chord.

Its mood is in considerable contrast to that in Old Story, as the

title implies. In the 29-measure work, the composer mixes

corrtLguous tones wi th a po Lrrt i.Ll Lst Lc serial t-�chniq't.ie.Excitement is created with greiter harmonic density and dramatic

accelerando. Melodic and rhythmic pattern� change dynamically

throughout the piece, and a retrograde technique is used through

which the composer makes the last measures � replica of the first

three (Ex.la and Ex.lb illustrate first two measures and last two

measures respectively).

Example 1a

Example 1b

33

This piece creates dramatic tension through tremendously

large intervals, rather than using a 'vocal' line. At the same

time, a contrasting effect is also intended when narrower

intervals are used in order to build a climax. In general, the

width of intervals is a seventh and higher for the smaller

intervals, and four octaves and higher for large intervals, as

shown below.

Example 1

b II tt�...

e..r.--'"J , r:: �...+ 'If: �r

��r - :1----- .......

I-,_f-- I--. -

-f* r-",- f--\

A '-\-1-\-. '. I... ...

f-� -f-----J

LL� Tni" t----,\ -�

,

lt1 � -mf I I r L' oJ

"

(�-r

'\--'

�1Wr'V.{

LJ Lti I

•

/

The following excerpt is an illustration of a familiar avant garde'

notation in which the same tone is gradually divided up in rhythm,

being struck at a continually faster tempo. This technique

suggests a percussion instrument.

Example 2

Another striking feature of this work is that the composer demands

\

that the player continually alternate the left and the right

34

hands.

Example 1

LH

1

r f

In the middle of this piece is a cluster of contrasting dynamic

symbols (e. g., f-p-f-p-f) at a distance of one 16th note.

Example 2

\ Lti,

.

�

�.i,' �.( �� )-� i--Il

' �.�I";' �C� .�:� ��e � r'" � 1� � � /.._1\ t 1::. ,. '" ��t �1: � ._ - � r::�� i:: � hf'. f- +- � Jf��.�'_--f-- -

IT.- r- . __ '1 •

J �+.-- I-- � •

\I- - -- --- f--

�J

i--� I--l-I-- r-- �� � ...-

1 ,I f\'i P"-' f L

'P...

�; ��r-.'f

---.

, J -4·

Below we see the use of a chromatic 'slide' in 7ths.

Example 3

The New Story's harmony is mostly dissonant: tritones,

diminished chords, and fourth-chords and even tone-clusters to add

a colorful effect.

35

Example '1

Commonly used rhythmic groups are triplets, sextuplets, and

heptuplets, while grace notes, and syncopated notes are also

present. The score does not show any meter sign and there are/

only dotted lines enclosing unequal "measures"_instead of measure\ '

.

bars. \his implies that the composer wishes to the performer to

play the piece without rigorous rhythmic downbeats.

Example 2

,

36

IV. CONTEMPORARY WESTERN COMPOSITIONAL TECHNIQUES USED IN

PRESENT DAY KOREAN MUSIC

A majority of contemporary Korean piano compositions reflect

a significant level of influence of Western music styles.

Although many Korean piano works still retain Korean traditional

flavor in their themes and in their overall mood, the

compositional techniques underlying these works are often adopted

from the contemporary music theories dominant in Western music./

It is our purpose to examine which contemporary Western music,

' ".

techniques have importantly influenced the technical aspects of

these Korean works. The four Korean cmpositions discussed in the

previous section will be examined for this influence, based on the

�three aspects: (1) melody, (2) harmony, and (3) rhythm.

A. Melody

Four elements of melody that characterize much Korean piano

,music are non-metric groupings, ornaments, pentatonic scales, and

��chromatic moti f s ,

�Non-metric Groupings

Most remarkable in the four selected piano works is the

\ frequency of groupings such as triplets, quadruplets, quintuplets,1

,sextuplets, and septuplets. These groups appear in all four

works, especially in La's Legend and Paik's Un-II fur Klavier.� \

JIn-Yong La, in his Legend, uses a variety of them (cf. Ex.l of

37

Pg.26 and Ex.3 of pg.28).

Ornaments

In addition, the composers of Korean piano works employ

ornaments to add elegant and delicate effects. Grace notesI

(appoggiature etc. ), arpeggii, and tremoli, are common in Un-Hoe

Park's Arirang Variations and Korean Rhapsody. The most

frequently used ornaments in the piano works discussed in the

previous section are 'grace notes' .. Interestingly enough, grace

notes are used in at least two different ways. For example,\ �

"

Byung-Dong Paik leaves a wide leap between the grace note and the

following notes. On the other hand, Un-Hoe�Park uses conjunct

grace notes to emphasize certain rhythms: there is no leap at all

--- the harmony is simply repeated. This is a technique used in a

merry rhythm typical in Korean tradi tional folk music d. jlJ J J ) .

Pentatonic Scale

The pentatonic scale is not very common in these works,

except for Park's compositions which focus on Korean folk melodies

as primary themes. The scale commonly used in much Oriental

,music consists of five tones involving Do-Re-Mi-Sol-La. The use

of this scale in the two compositions by Un-Hoe Park reveals the

composer's desire to retain a Korean national quality in the works

(see exampLe Ex v l of Pg , 17) .

Chromatic Progression

Most Korean piano works studied for this paper involve the

38

use of chromatic progression as an important technique. Chromatic

movement is one of the major compositional techniques in Western

music but not in Korean tradition ( which does not use the

chromatic scale). Logically, we find it in music by Byung�Dong

Paik who was trained in West Germany. In his Un-II fur Klavier

measures 14-16 show an upward chromatic progression with each

successive note value augmented.

Example 1

\

B. Harmony

Second, Parallel Fourth, and Parallel Fifth'Chords:

Three works studied in this examination use both compound

harmonies and minor seconds. Parallel fourth and fifth chords can

also be found in those works, where they seem to be particularly

intended to create an "Oriental-mystical" feeling. For example,

Legend by In-Yong La has a progression of falling' fourth chords in

parallel. In compositions by Byung-Dong Paik or by In-Yong La,

even wider intervals up to major seventh or ninth chords are used

in parallel, even bitonally (see Ex.2 of Pg.28). Common use of

dissonant harmony suggests again the influence of Western

technique.

39

rone Cluster

The use of tone clusters are seen in Korean Rhapsody by Un-

Hoe Park and New Story by In-Yong La. In the early Andantino

section of Korean Rhapsody, three tones are clustered in the left-

hand part, and then six tones in the right-hand part.

Bitonali ty

In his Korean Rhapsody, Un-Hoe Park utilizes 'bitonality' at

the interval of a half-tone. Just before entering the scherzando

section, transitional measures appear with a Bb major key

signature in the right-hand part and B major in the left-hand part

(see E�,.l of Pg.I0).

C. Rhythm

Rhythmic Patterns

First, as discussed above, there appea� a variety of rhythmic

patterns using irrational groupings. Second, bar lines are

missing in Un-II fur Klavier, and it seems that the composer

intends the measures to be played without regular pulse. Under

the heading of rhythmic manipulation in Un-II fur Klavier, a

triplet appearing in the second measure doubles in note length

(i.e., from a triplet with quarter notes to a triplet with half

notes) in the fifth measure, as shown below.

Example 1

2/J = ca. 48

40

Dotted Rhythms and Syncopated Rhythms

. Rhythmic variations such as dotted rhythms. and syncopated

rhythms are also found, especially in the works by Un-Hoe Park.

It seems that such types of rhythms are intended to recall amusing

and merry aspects of Korean folk music (see Ex.l of Pg.21).

The Accelerando-Decelerando Motif

This is importantly used in In-Yong La's,Legend. This is a

motif now often used to create a special effect of a gradually

dividing and accelerating and decelerating rhythm. But in this

piece,\it is intended to �uggest a' Korean tradition�r mood. A

knowledgeable a listener can eEisily assoc�ate it with the wooden

gong sounds commonly heard at Buddhist temples (see Ex.3 of

Pg. 29) •

41

v. CONCLUSION

The study of modern Korean piano music bears implications,

for presumably it could allows one to gain insight into the manner

in which a nation's music evolves as a result of the ,influence of

a dominant contemporaneous culture.

So far, we have' described the selected piano works with

regards to four musical factors. We studied:' (1) What is common,

to both the folk-material based music and the abstract music, and

(2) What is different between the two classes. In terms of

melody\ irrational groupings and ornamentations exist in both

types of music. In terms of harmony, compound harmony can be seen

in most Korean piano works; and seconds, fourth and fifths were

used more often than other intervals. The third common

characteristic is the syncopated rhythmic patterns.

What contrasts can be made between the two types of works?

First, the folk based works naturally place more emphasis on

traditional material, while the Western-influenced works emphasize

various sound effects, sonorities, and serial technique. Second,

works using Korean folk songs usually use parallel fourth and

fifth intervals as harmony, whereas the abstract music is more

likely to use second, fourth, fifth, seventh, and ninth intervals.

Third, the folk-material based works use dotted rhythms which are

typical of most Korean folk songs, while the abstract music uses

free or casual rhythm. Finally, use of pentatonic scale is the

major characteristi6 of folk-material based works, because Korean

traditional harmony was pentatonic. But, the Western-influenced

piano works utilize the atonality of the international serial

style.

42

43

REFERENCES

Carlson, Effie B. A Bio-Bibliographical Dictionary ofTwelve-Tone and Serial Composers. N.J.: Metuchen, TheScare row Press, Inc. 1970.

Chang, Sa-Hun. "A History of Korean Music." Ethnomusicology.21.1 (1977): 138-40.

'Chung, Soo-Hyang. "A Study of Contemporary Piano Works of

Korea." A Masters Thesis, Pusan National University, Pusan,Korea. August 1983. 71 pages.

Condi t, Jonathan. "Uncovering Earlier Melodic Forms from Mode-rn-

Performance: the Kasa Repertoire." Asian Music 9.3 (1978): )29-40. ----...I

Condit, Jonathan. "Korea." The New Oxford Companion to Music.Denis Arnold (ed.), 2 voLs., Oxford, England: Oxford

University Press, 1983.

Condit, Jonathan. Music of the Korean Renaissance: Songsand Dances of the Fifteenth Century. Cambridge,England: Cambridge University Press, 1984.

': Han, Pyung Sook. "Korea's Music Today." Music Journal 16.!

: Apr.-May (1958): 30-310

','Han, Sang-Woo. "A Critique on Un-Hoe Park's Korean Rhapsody."� Korean Daily Sports. June 16, 1976.

:Institute of Korean Traditional Music Study. Korean Instruments.

t.. 198L---,r:;" Kim, Anthony Hakkun. "The History of School Music Education

r in Korea from 1886 to the Present." Dissertation Abstract

; International, 37 (1976): 2045A. U of Northern Colorado."'7

;' Kim, Tong-Jin. "Korea's Musical Development." Music Journal, _

:::'. 1 7 Mar. ( 1959 ): 40.

c, Lee, Byong-Won. "Korea. " The New Grove Dict ionary of Mus ic andMusician. Ed. Stanley Sadie. Vol-. 10, 1980.

Lee, Hye-Gu. An Introduction to Korean Music and Dance. RoyalAsiatic Society, Korea Branch, 1977.

\.,�.'

*refers to a source published in the Korean language.

44

-Lee, Sun-Kyu. "An Analysis of the Piano Works by Modern Korean

Composers." A Masters Thesis, Kyemyong University, Dae Gu

City, Korea. Dec. 1982, 78 pages.

Ministry of Public Information of Republic of Korea, Korean Danceand Music, 1968 (Korean Series No.5).

Rockwell, C. "Kagok: a Traditional Korean Vocal Form."Music Educators Journal. 60 Oct. 1982: 82.

Song, Bang-Song. "A Discography of Korean Music." Asian Music8.2 (1977): 82-121.

*refers to a source �u�lished in the Korean language.

45

APPENDIX A

KOREAN TRADITIONAL INSTRUMENTS

Plucked Strings

1. Kumoonko (fretted zither)2. Kayakum (12-stringed plucked long zither)3. 15-stringed zither4. Bowed zither5. Bipa (four-stringed lute)6. Moon lute7. Five-stringed lute

Bowed strings

8. Fiddle9. Haegum (two-stringed fiddle)

\

Woodwinds

10. Mouth organ11. Shawm12. Piri (double-reed pipe)13. Daegum (Korean flute)

Percussion

14. Jang-go (hour-glass drum).15. Clappers16. Iron-slab chime

�r�an Traditional Music Instru�ents - Continued

Kumoonko (fretted zither)

Kayakum (12-stringed plucked long zither)

i5-stringed zither

Bowed zither

46

�ean Traditional Musi )Instruments- Continued ]�

Moon lute

47

Bipa(four-stringed lute)

\'

.

• f ':1 ..•

Five-stringed lute

.Iean Tradi tional MUE) Instruments- continued ,.,

\ Fiddle

Mouth organ

48

.:

_)

Haegum (two-stringed fiddle)

'Shawm

"Ian Tradi tional Husi'"-)nstruments- Continued 1"

.

-. I •

Piri (double-reed pipe)

49

Ie'• •..•. ,.,.•• I .

Daegum (Korean flute)

Jang-go (hour-glass drum)

Clappers

Iron-slab chime

50

APPENDIX B

BIOGRAPHIES OF THE COMPOSERS

Un-Hoe Park:

- Born in Korea on February 18, 1930.- Studied music composition at College of Music,

Seoul National University.Vice-chairman of Korean Composers' Association since

1978.

\

21 Lyric songs (1974)14 Choral works (1977-81)Korean Rhapsody for Piano (1975)Arirang Variations for Piano Solo (1975)Sonata for Violin and Piano (1978)Korean Rhapsody for Piano and Orchestra (1980)Orchestrated by Lucas Foss;First performance by Seoul PhilharmonicOrchestra conducted by Lucas Foss at the

piano on May 10, 1980 at Sejong CulturalCentre, Seoul.

Korean Folk Suite for Piano Duet (1981)

- Works:

Byung-Dong Paik:

Graduated from Seoul National University with majorin music composition in 1961.

- Completed master course in music composition atStaadtliche Hochschule fur Musik, Hanover,Germany.

Returned horne from Germany in 1971, and engaged incomposing activities.

-,Presently on the faculty of music composition at theCollege of Music at Seoul National University.

- Publications (books): Introduction to Music Theory(1974) and Harmony (1980).

- Works: Three Movements for Symphony (1970)Un Series (I, II, III,�IV, V, and VI) (1972)Sonate-Sonore for Piano Solo (1978)and many others (nearly 100 works in total)

51.

In-Yong La:

Graduated from Yonsei University majoring in musiccomposition

- Graduated from Graduate School of Music, Universityof North Carolina

- Professor of music composition at College of Music, Yonsei

UniversityWorks: Landscape for Piano (1972)

Legend (1980).